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(a) The Early ( Hinayana ) Phase of the Rock-Cut Caitya-grhas (2 nd Cent. B. C. to 2 nd Cent. A. D.) The Caitya-griha 36 as it accommodated a caitya or Stupa. took the form of a large valuted hall having an apsidal end and divided longitudinally by two colonnades into a broad nave and two aisles. In the apse stood the stupa, also carved out of the natural rock, consisting of an elaborated representation of the structural tumulus. The side aisles and apsidal end were for the purpose of procession and circumambulation of the stupa. and the nave was required for the congregational service. 37 The Hinayana rock-cut monasterias with caityagrihas represent a definite regional development, as they are limited to the western side of India, many of them lying within the Maharastra state. Taking Nasik as the centre they are all situated within a circle having a radius of less than two hundred miles (320 Kms.) from that town. This architecture resolves itself into some ten separate groups of conventual establishments, each group being separate and self-contained on each originally consists of a prayer-hall (caitya-griha) and its accompanying monastery.38 Of the two kinds of structure, the caityagriha and the Vihara (monastery), the more important from every 35. A. 1. pp. 81-82. 36. In English, the structure is usually designated as chaitya-hall but the original word was 'Caitya-ghara' (i e. Caitya-griha) which obviously is a more appropriate term. 37. IABH, p. p. 25 38 IABH, p. p. 25 plts: XV-XVII.

14 a .. The Structural Temples of Gujarat point of view was the caitya-griha. There are eight of those belonging to the Hinayana period as follows: Bhaja³ 38, Kondane, 38 Pitalkhora, Ajanta (No. 10), Bedsa, Ajanta (No. 9), Nasik and Karle 381 c, probably executed in the order named. All the eight examples were excavated just previous to the Christian era, the first four in the 2 nd cent. and the remainder in the first century B. C.. To these may be added two caitya halls from a numerous, and miscellaneous group at Junnar 38/ one of which is small but complete, while the other is unfinished, but they are both of the same type and date as that at Nasik.38/e Finally executed towards the middle of the second century A. D. is the caitya hall at Kanneri on Salsette near Bombay, which marks the end of the Hinayana movement as far as its rock architecture is concerned. 39 In the chronological sequence, these caityagrihas were copies of wooden construction. The pillars appear as copies of plain wooden posts without either capitals or bases. The particular shape of the arch, frequently described as 'horse-shoe arch' forming the main feature of the facade of Caitya halls, seemed to have been evolved first at Bhaja; the arched aperature of which ultimately tend towards circular shape and that to such an extent that in the 7 th cent. the facade of Visvakarma cave at Elora, there is no longer a horse-arch but almost a complete circle. Finally, when the caitya-arch motif appeared as a decorative feature in the Brahmanical temple it assumed a variety of forms, 40 Further, the caitya-arch contained a window at the centre, through which the light was admitted in to the body of the hall. This window was clearly an enlargement and elaboration of the dormer window of the 38/a. IABH, p. plt XVIII. Fig. 1. 38/b. IABH, p. plt XVIII. Fig. 2. 38/c. IABH. p. plt XX. Fig. 1 & 2 38/d. IABH. p. plt XXII Fig. 1 38/e. IABH. p. plt XXVIII A Fig. 1 39. IABH p. p. 27 40. For Illustration. Vide IABH p. plt xxi Fig. 6 opp. p. 28

The Evolution of the Caitya-griha 15 vedic hut. In shape it is stilted semi-circular aperature divided in to lunettes and radiating like the spokes of a wheel. As an architectural conception and at the same time as an artistic and effective method of introducing light, this early form of traceried window is a remarkable achievement. 41 (b) The Later (Mahayana) phase Of the Rock-cut Caitya-griha (c. A. D. 450-642 A. D.) The Mahayana rock-cut architecture is restricted to certain specified localites in western India. At Ajanta towards the beginning of the christian era, Hinayana order has excavated a group of large halls and manastic abodes, after a quiescent period of four centuries the Mahayana order again excavated it. At Elora no earlier excavation had been made, it was previously unoccupied and an entirely new undertaking was initiated by Mahayana Buddhist and eventually developed under the Jains and Brahmanas, into the most important and comprehensive range of rock-cut monuments in India. The Mahayana Buddhist movements, both at Ajanta and Elora, appear to have begun simaltaneously about the middle of the 5 th cent. 42 At Ajanta they excavated two caitya-grihas viz., No. 19 (c. A. D 550 ) and No. 26 (A. D. 550-600) The two of this group No. 19 is the earlier and finer. It corresponds in size to the already existing Caitya griha No. 10, the smaller and latter of the Hinayana series, and, as with the caitya griha No. 26 (Mahayana), it follows the earlier type in having flat ceilings to its side aisles. In the interior there is the stupa standing on a slightly elevated platform within the centre of the apse, 43 The other Caitya-griha of the series is No. 26 and excavated atleast fifty years latter than the preceeding. It is exceedingly fine and rich in production. The architectural treatment of this hall is in much the same style as No. 19, 41. LABH p. p. 27-28 42. IABH p. p. 68-69 43. IABH p. p. 70-71 ( plts; XLI. ) was

16 The Structural Temples of Gujarat but the ornamentation has been increased. The stupa is an imposing conception, overlaid with a wealth of carving; yet it lacks the graceful proportions and rhythmic effect of the earlier type. 44 At Elora twelve rock-cut halls belonging to the Buddhist creed were produced. The series may be resolved into two sub-groups, Nos. 1 to 5. and a group slightly later in date consisting of Nos. 6 to 12. Each sub-group comprises a prayerhall and its attached monastaries. Of the first group No. 5 is the largest and most remarkble. It measures 35.8 ms. deep by 17-8 ms. wide, exclusive of two fair sized side recesses; and is divided into a nave and two aisles by 24' cushion pillars in two rows. In addition it has three cells opening out of its sides. At the far end is a transverse vestibule, beyond which is a square cella containing a seated figure of the Buddha with his attendants. 45 The most notable production of the whole Buddhist series at Elora, is the caitya griha No. 10 datable to 7 th cent. commonly known as the Visvakarma or Lord of the Arts. It resembles in many respects the two almost contemporary Mahayana, Caitya grihas at Ajanta previously described, although it is appreciably larger. It is not quite so richly carved as Ajanta example, but its interior is planned and decorated on much the same general principles. (The stupa contains a seated figure of the Lord Buddha.46 This phase. (c. A. D. 450-642 A. D.) of the rock-cut architecture of western India is characterised by a practical elimination of timber constructions or imitations thereof and by the introduction of the Buddha statuary as a dominent feature of the architectural design. But, on the whole, in the the whole, in the architectural sense, it displays no marked departure from that of the early period. The plan of the Caitya-hall remained essentially identical with that of the previous phase. This is exemplified by Caitya-grhas 44. 1 ABH p. 71 pit. XLII Fig. 1 opp. p. 69 45. 1 ABH p. p. 72. 46. IABH pp 73 PP

The Evolution of the Caitya-grha 17 Nos. 19* and 26搂 at Ajanta which are the earliest products of this phase. The former which is earlier (c. 500 A. D.) and finer of the two has practically the same plan and dimensions as Ajanta Caitya-grha No. 10 of the previous phase. Caitya-griha No. 26 (c. 6 th cent.) eventhough little larger and lacking in grace and dignity of the preceeding one also resembles hall no. 10.47 *IABH p. plt. XL. Fig. 2. 搂 IABH p. plt. XLII Fig. 1. 47. Al. p. 87-88.