Occurrence of Attributes in Original Text
The text related to the cultural heritage 'Ajanta Caves' has mentioned 'Worship' in the following places:
| Occurrence Sentence | Text Source |
|---|---|
| Contents 1 History 1.1 Caves of the first (Satavahana) period 1.2 Caves of the later, or Vxc4x81kxc4x81xe1xb9xadaka, period 1.3 Re-discovery 2 Sites and monasteries 2.1 Sites 2.2 Monasteries 2.3 Worship halls 3 Paintings 4 Spink's chronology and cave history 4.1 Hindu and Buddhist sponsorship 5 Individual caves 5.1 Cave 1 5.2 Cave 2 5.3 Cave 3 5.4 Cave 4 5.5 Cave 5 5.6 Cave 6 5.7 Cave 7 5.8 Cave 8 5.9 Cave 9 5.10 Cave 10 5.11 Caves 11 5.12 Caves 12 5.13 Cave 13, 14, 15, 15A 5.14 Cave 16 5.15 Cave 17 5.16 Cave 18 5.17 Cave 19 (5th century CE) 5.18 Cave 20 5.19 Caves 21, 22, 23, 24 and 25 5.20 Cave 26 (5th century CE) 5.21 Caves 27, 28 and 29 5.22 Cave 30 5.23 Other infrastructure 5.24 Recent excavations 6 Copies of the paintings 7 Significance 7.1 Natives, society and culture in the arts at Ajanta 7.2 Foreigners in the paintings of Ajanta 8 Impact on later painting and other arts 9 See also 10 Notes 11 References 11.1 Bibliography 12 External links | WIKI |
| Cave 9, a first-period Hinayana-style chaitya worship hall with stupa but no idols | WIKI |
| [31] Of these, caves 9 and 10 are stupa containing worship halls of chaitya-griha form, and caves 12, 13, and 15A are vihxc4x81ras (see the architecture section below for descriptions of these types). | WIKI |
| Worship halls[edit] | WIKI |
| Top: Interior of Ajanta chaitya hall, Cave 26, photo by Robert Gill (c. 1868); Bottom: James Fergusson painting of Cave 19 worship hall. | WIKI |
| The oldest worship halls at Ajanta were built in the 2nd to 1st century BCE, the newest ones in the late 5th century CE, and the architecture of both resembles the architecture of a Christian church, but without the crossing or chapel chevette. | WIKI |
| [76] These chaitya-griha are called worship or prayer halls. | WIKI |
| All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). | WIKI |
| Cave 10: a worship hall with Jataka tales-related art (1st century BCE)[84] Cave 9: a worship hall with early paintings and animal friezes (1st century CE)[84] Cave 19: known for its figures of the Buddha, Kubera and other arts (5th century CE)[84] Cave 19: another view (5th century CE) | WIKI |
| They are luxurious, sensuous and celebrate physical beauty, aspects that early Western observers felt were shockingly out of place in these caves presumed to be meant for religious worship and ascetic monastic life. | WIKI |
| That one could worship both the Buddha and the Hindu gods may well account for Varahadeva's participation here, just as it can explain why the emperor Harisena himself could sponsor the remarkable Cave 1, even though most scholars agree that he was certainly a Hindu, like earlier Vakataka kings. | WIKI |
| [106][107][108] This suggest that the deity was possibly under worship by the artisans. | WIKI |
| According to Spink, it is one of the last caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. | WIKI |
| The upper level of Cave 6 is significant in that it shows a devotee in a kneeling posture at the Buddha's feet, an indication of devotional worship practices by the 5th century. | WIKI |
| The most intact painting in Cave 6: Buddha seated in dharma-chakra-mudra[146] Painting showing the Mahayana devotional worship to the Buddha[138][143] Buddha in the upper level, deer below and apsaras above (artificial lighting)[147][148] | WIKI |
| Entrance to the Cave 9 worship hall. | WIKI |
| Caves 9 and 10 are the two chaitya or worship halls from the 2nd to 1st century BCE xe2x80x93 the first period of construction, though both were reworked upon the end of the second period of construction in the 5th century CE. | WIKI |
| [159] This devotionalism and the worship hall character of this cave is the likely reason why four additional shrinelets 9A, 9B, 9C, and 9D were added between Cave 9 and 10. | WIKI |
| [163] It has a large central apsidal hall with a row of 39 octagonal pillars, a nave separating its aisle and stupa at the end for worship. | WIKI |
| [168] Both Hinayana and Mahayana stage paintings are discernable, though the former are more faded and begrimed with early centuries of Hinayana worship. | WIKI |
| [189] After the Nanda-related frescos, the cave presents Manushi Buddhas, followed by flying votaries with offerings to worship the Buddha and the Buddha seated in teaching asana and dharma chakra mudra. | WIKI |
| Entrance faxc3xa7ade and inside worship hall, Cave 19, sponsored by king Upendragupta. | WIKI |
| Cave 19 is a worship hall (chaitya griha, 16.05 xc3x97 7.09 m) datable to the fifth century CE. | WIKI |
| [114][207] This worship hall is now visited through what was previously a carved room. | WIKI |
| The entrance facade of the Cave 19 worship hall is ornate. | WIKI |
| The worship hall is apsidal, with 15 pillars dividing it into two side aisles and one nave. | WIKI |
| The walls and the ceiling of the side aisles inside the worship hall are covered with paintings. | WIKI |
| Cave 26 is a worship hall (chaityagriha, 25.34 xc3x97 11.52 m) similar in plan to Cave 19. | WIKI |
| [243] The sculptured dagoba (stupa) in the worship hall. | WIKI |
| [106] A terracotta plaque of Mahishasuramardini was also found, which was possibly under worship by the artisans. | WIKI |
| According to Richard Cohen, Ajanta Caves to them has been yet another example of "worship this stock, or that stone, or monstrous idol". | WIKI |
| Similar depictions are found in the paintings of Cave 17, but this time in direct relation to the worship of the Buddha. | WIKI |