93. Plan of Monastery at Takht-i-Bahi. Scale 50 ft. to 1 in.
or at least consist of the same parts. First a circular or square court, AA, surrounded by cells, too small for residence, and evidently intended to contain images, though none were found in situ. In the centre of each stands a circular or square platform or altar, approached by steps. The circular one at Jamalgiri is adorned with cross-legged, conventional, seated figures of Buddha, the square one at Takht-i-Bahi by two rows of pilasters one over the other.[206] Beyond this is an oblong court, BB, called the pantheon, from the number of images, small models of topes, and votive offerings of all sorts, that are found in it. It, like the last court, is surrounded by niches for images. Beyond this again the vihara or residence, CC, with the usual residential cells. At Takht-i-Bahi there is a square court, D, surrounded by a high wall with only one door leading into it. A corresponding court exists at Jamalgiri; but so far detached that it could not be included in the woodcut. It is called the cemetery, and probably not without reason, as Turner in his ‘Embassy to Thibet’[207] describes a similar enclosure at Teshoo Loomboo in which the bodies of the deceased monks were exposed to be devoured by the birds, and what happened there in 1800 may very well have been practised at Peshawur at a much earlier age.
When we attempt to compare these plans with those of our rock-cut examples in India, we at once perceive the difficulty of comparing structural with rock-cut examples. The monastery or residential parts are the only ones readily recognised. The pantheon does not apparently exist at Ajunta, nor is anything analogous to it attached to other series of caves, but a group of small rock-cut dagobas exists just outside the cave at Bhaja, and a much more extensive one at Kenheri,[208] and similar groups may have existed elsewhere. Numbers of small models of topes and votive offerings are found in the neighbourhood of all Buddhist establishments, and were originally no doubt deposited in some such place as this. The circular or square altar is, however, a feature quite new to us, and takes the place of the dagoba in all the rock-cut chaitya halls. From its having steps to ascend to it, it seems as if it was intended either for a platform from which either a congregation could be addressed, or a prayer offered up to a deity. If, however, it was really a dagoba, as General Cunningham supposes, that difficulty disappears, and on the whole I am inclined to believe he may be right in this decision.
One of the most remarkable ornamental features that adorn this monastery is a series of bas-reliefs that adorn the front of the steps of the stairs leading from the so-called Pantheon to the circular court at Jamalgiri. They are sixteen in number, and each is adorned with a bas-relief containing twenty, thirty, or forty figures according to the subject.[209] Among these the Wessantara and Sama jatakas can easily be recognised,[210] and so may others when carefully examined. Besides these there are representations of the chase, processions, dancing, and domestic scenes of various kinds.
94. Corinthian Capital from Jamalgiri.
(From a Photograph.)
