Indian Columbus

I have been documenting the Kanheri Caves through a series of detailed articles. In earlier parts, I explored the architectural layout and sculptural grandeur of Cave No. 3, covering its majestic entrance, the imposing pillars within the Chaitya hall, colossal Buddha images, donor couple sculptures, extensive sculptural panels along the verandah walls, the central stupa, lion-crowned pillars, votive stupas, some of the earliest Buddha figures and started explaining the inscriptions found in the site. This is the 15th article in the series. In this part, I continue focusing on the inscriptions found in and around Cave No. 3, which add another layer of depth to our understanding of the site’s history, patronage, and Buddhist affiliations. Inscription 6  This inscription is engraved on a  small bas-relief stupa  located on the  right side wall outside the verandah  of  Chaitya Cave No. 3 . The votive stupa itself is modest in scale and carved directly on the r...

I have been documenting the Kanheri Caves through a series of detailed articles. In earlier parts, I explored the architectural layout and sculptural grandeur of Cave No. 3—covering its majestic entrance, the imposing pillars within the Chaitya hall, colossal Buddha images, donor couple sculptures, extensive sculptural panels along the verandah walls, the central stupa, lion-crowned pillars, votive stupas, and some of the earliest Buddha figures found in the site. This is the 14th article in the series. In this part, I begin focusing on the inscriptions found in and around Cave No. 3, which add another layer of depth to our understanding of the site’s history, patronage, and Buddhist affiliations. Inscription No. 1 This large and prominently carved inscription is found on the right-hand gatepost of the Chaitya, as viewed by an approaching visitor. Characters : Brahmi script, 2nd century CE Language : Prakrit Content :  The inscription is significant on many levels. It records t...

In my earlier installments, I explored the architectural layout and sculptural richness of Cave No. 3 at Kanheri, including its entrance features, massive interior pillars, colossal Buddha images, donor couples, and numerous sculptural panels adorning the verandah walls. In this article, I continue my exploration of Cave No. 3 by stepping into the inner hall, where unfinished stonework, votive stupas, and one of the earliest depictions of the Buddha in western India await our attention. As previously discussed, Cave No. 3, also known as the Chaitya Cave, faces west and houses a spacious apsidal prayer hall. The hall comprises a central nave and two side aisles, supported by a total of 34 stone pillars . Several of these pillars remain unfinished, suggesting that work was left incomplete, possibly due to changes in patronage or shifting priorities. The twelve pillars near the hall’s entrance, six on each side, are stylistically refined, featuring a tiered base, octagonal shaft, cushio...

This is the twelfth article in my series on the Kanheri Caves. In my earlier installments, I provided detailed descriptions of Cave No. 1 and Cave No. 2, and in the ninth installment, I began exploring Cave No. 3. As mentioned earlier, Cave No. 3, also known as the Chaitya Cave , faces west and is located north of Cave No. 2. It is the most frequently visited and extensively documented cave in the Kanheri group. This Chaitya Cave stands out as the largest and most architecturally refined structure at Kanheri, bearing a strong resemblance in style and layout to the renowned Karla Caves. The cave opens to the west into a spacious courtyard, accessed through a gateway flanked by two low parapet walls. These walls feature intricate carvings, including an animal frieze at the base and an ornamental rail pattern above. At the inner ends of the parapet walls, two imposing Dwarapalas (door guardians) stand, while a striking sculpture of a Naga is prominently positioned at the southern end of...

This is the 11th installment in my series on the Kanheri Caves. In earlier articles, I explored Cave No. 1 and Cave No. 2 in detail. In the last two episodes, I introduced Cave No. 3, discussing its entrance, sculptures, and the two massive pillars at the inner entrance. As mentioned before, this cave features a well-crafted forecourt with a flight of steps leading to a rectangular verandah and an apsidal Chaitya at the rear. In this episode, I focus on two large Buddha sculptures in the verandah. I will cover the remaining sculptures of the verandah, Chaitya and inscriptions in the forth-coming episodes.  Cave No. 3 faces west. Within its rectangular verandah, two towering Buddha sculptures—each 7 meters high—stand on the north and south-facing walls. The South-Facing Buddha Positioned to the viewer's left upon entering the verandah, this Buddha is depicted in a standing posture (Samapāda-sthānaka), with both feet firmly placed parallel to each other. The body exhibits a subtle co...

This is the tenth installment in my series on the Kanheri Caves. In earlier articles, I explored Cave No. 1 and Cave No. 2 in detail. In the previous article, I introduced Cave No. 3, highlighting its entrance and the accompanying sculptures. Now, let us step inside to uncover its interior marvels. Cave No. 3 was excavated by two merchant brothers, Gajasena and Gajamita, during the reign of Yajnashri Satkarni, a Satavahana ruler from the late 2nd century CE. The cave features a well-crafted forecourt with a flight of steps leading to a rectangular verandah and an apsidal Chaitya at the rear. Two massive pillars, emerging from the side walls, dominate the entrance. In this article, I will focus on these impressive pillars. The kumbha (base) forms the foundation of the pillars. Here, the base is adorned with intricate reliefs, including miniature aediculae (shrine-like motifs) and figurative depictions, representing religious or narrative themes. The stambha, or shaft, is the elongated c...