Cave-26

Cave 26 is actually a complex of caves: a large caitya hall and two side viharas. According to the inscription, these caves were donated by a monk named Buddhabhadra. The entire facade of Cave 26 is covered in Buddhas and related images, many of which were probably added after Buddhabhadra's involvement with the cave. This overflow of intrusive imagery indicates regular use and popularity of the cave image. The Cave 26 complex had a large courtyard, connecting the right and left wings to the main cave. The facade may have originally been more elaborate as well, with a deep porch (the cliff has crumbled away).

The door is in late Gupta style, with a T-shape, and the river goddesses in the corners not supported by the pilasters. This indicates that Cave 26 was one of the latest caves to be excavated at the site. The Lakshmi-Hariti image over the door of the porch cell suggests origins in Gandhara, though the style is clearly Vakataka: smooth, massive volumes. The interior is also elaborately carved, with a frieze of Buddhas and attendants running along the corbel, and the "beams" carved and painted. The ambulatory ceiling was painted with an elaborate lotus lake motif, seen in many of the caves at Ajanta. Here, several geese sport amid lotus buds. The blue pigment used forthis scene was made from lapis, and would have been very expensive. The walls of the ambulatory are carved with scenes of the Buddha's life and miracles, including the Temptation by Mara, and the famous colossal Parinirvana, with disciples mourning the Buddha on his deathbed.

Looking now at the inside of the, slightly later, Cave 26, we see a serious development in the conception of the stupa hall. The arched interior surrounded by a colonnade and an outer aisle are familiar, but the degree of rich ornamentation is both overwhelming and new, and the presence of the Buddha on the stupa seems altogether new.

The hall’s architecture takes full advantage of its sculptural formation. Pillars are rounded out of 32 and 64 faceted forms. Like those seen at Sanchi and the other facades here, they carry elegantly fluted pot capitals.

The brackets above them and in the clerestory we get a repetition of Buddhas seated in architectural frame works. As on the facade of 19 we are in the presence of the cosmos of Buddha Ksetras. The ceiling is still a barrel vaulted hall, though unlike those we have seen earlier this one is done in the stone of the mountain, not added wood.

Buddha, a sculpture of colossal proportions was carved in cave 26, where the parinirvana (extinction) of the master is treated with utmost warmth of feeling. Here, in the Final Renunction, the Buddha leaves his mortal body to achieve divine bliss, below him are grieving disciples, who mourn the passing of their Master. One of these grieving figures is also shown in the detail.

Cave 26 contains a large number of small and large sculptured panels on its interior walls. On the left side is depicted the temptation of Buddha by Mara. An attempt to disturb Buddha meditating under the Bodhi tree, Mara thought of spreading a golden snare and commanded his youthful daughters Rati (lust). Trishna (thirst) and Arati (delight) to tempt him by their bewitching charm. Their music,dances, postures, gestures, all failed to tempt Gautama. Finally they are shown seated on the right lower portion with their father, after the failure in their mission. The unity is seen in whole composition and the artist has excelled in the postures and the placement of each sculpture.

The stupa, representing the end of existence, has here been upstaged by a many-storied palace, representing the heaven of the cosmic Buddha at the center of a universe of alternative Buddha worlds. The two story architecture of the palace is topped with a dome that reminds us of the form of the old stupa, but its symbolism is transcended. Above, the tower of parasols that surmounted the harmika has been broken.