Occurrence of Attributes in Original Text
The text related to the cultural heritage 'Ajanta Caves' has mentioned 'Shrine' in the following places:
| Occurrence Sentence | Text Source |
|---|---|
| [65] A vast majority of the caves were carved in the second period, wherein a shrine or sanctuary is appended at the rear of the cave, centred on a large statue of the Buddha, along with exuberantly detailed reliefs and deities near him as well as on the pillars and walls, all carved out of the natural rock. | WIKI |
| [21][68] Spink places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase. | WIKI |
| Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. | WIKI |
| Cave 12 plan: an early type of vihara (1st century BCE) without internal shrine Cave 1 plan, a monastery known for its paintings[71] Cave 6: a two-storey monastery with "Miracle of Sravasti" and "Temptation of Mara" painted[72] Cave 16: a monastery featuring two side aisles[72] | 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 |
| This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have happened if the garland-hooks around the shrine had been in use for any period of time. | WIKI |
| There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. | WIKI |
| The two most famous individual painted images at Ajanta are the two over-life-size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). | WIKI |
| Outside view and main hall with shrine, Cave 2. | WIKI |
| The unfinished upper floor of cave 6 has many private votive sculptures, and a shrine Buddha. | WIKI |
| [138][143] The colossal Buddha of the shrine has an elaborate throne back, but was hastily finished in 477/478 CE, when king Harisena died. | WIKI |
| [144] The shrine antechamber of the cave features an unfinished sculptural group of the Six Buddhas of the Past, of which only five statues were carved. | WIKI |
| External view of Cave 7, and inside shrine | WIKI |
| It consists only of the two porticos and a shrine room with antechamber, with no central hall. | WIKI |
| Cave 7 plan (Robert Gill sketch, 1850)[153] Cave 7: Buddhas on the antechamber left wall (James Burgess sketch, 1880)[150] Buddhas on the antechamber's right wall[150] The shallow corridor before the shrine | WIKI |
| Spink, in contrast, states that Cave 8 is perhaps the earliest cave from the second period, its shrine an "afterthought". | WIKI |
| The Cave 17 monastery includes a colonnaded porch, a number of pillars each with a distinct style, a peristyle design for the interior hall, a shrine antechamber located deep in the cave, larger windows and doors for more light, along with extensive integrated carvings of Indian gods and goddesses. | WIKI |
| Cave 20: exterior, and main shrine with pillars | WIKI |
| Some slightly creative copies of Ajanta frescos, especially the painting of the Adoration of the Buddha from the shrine antechamber of Cave 17, were commissioned by Thomas Holbein Hendley (1847xe2x80x931917) for the decoration of the walls of the hall of the Albert Hall Museum, Jaipur, India. | WIKI |