KANHERI CAVE 38

Herbert Daniel Gebauer - 06/01/2018

There can be no doubt that this [Kanheri Cave 38], and also the other galleries Nos. 39, 40, and 41, are merely artificial enlargements of natural hollows in the face of a precipice, where a stratum of soft perishable rock lies between two harder strata. The two latter [Kanheri Cave 40, Kanheri Cave 41], being exposed to the rain, became blackened, while the softer stratum decays into dust, and is blown away, leaving a long hollow under the brow of the hill, where the rock, being sheltered from the rain remains of its natural yellow sandy colour. Much such hollows occur in the valleyes to the north-east of the caves, some of which have been enlarged by art, but are scarcely accessible (WEST 1861b: 116). SITUATION: The only safe entrance into gallery No. 38 is from above, where a path cut in the rock, and furnished with steps where necessary, traverses the lower plateau of rolling ridges, and may be approached either down the steep slope south of cave No. 55, or by keeping below the terace-wall in front of cave No. 36 … Following this path southwards, it turn suddenly to the right over the brow of the precipice, alongside which it descends by steps (cut in a rock almost detached by a deep fissute), which are in a very broken condition, and terminate in another rock path, leading northwards into No. 39, and southwads into No. 38. Following the path into No.38, we descend some steps and ascend others to the level of the floor of the gallery, and soon are sheltered by the rock above. Here occur the letters cut in the rock, forming the back of the gallery (WEST 1861b: 116). CAVE DESCRIPTION: The floor of the gallery, which seems covered with brick-dust, is found to consisst of the foundations of small brick topes [stupas, dagobas] buried in their own debris, and probably 15 to 20 in number, though only 7 of them have been opened out, and marked on the accompanying plan of the gallery. Beyond these are the ruins of a large stone tope … Behind this tope are three small cambers, containing much sculpture … [note 1]. Passing the large tope, the floor of the gallery suddenly rises about 14 feet [4.3 m] to a short level, on which are the foundations of 11 small brick topes, buried in their debris; then another rise of 3 feet [0.9 m] to a level containing the foundations of 33 similar topes, which have been buried in their debris. These topes have been built upon a platform paaved with brick, and the rock above is cut out in some places to make room for them. The brick debris, indicating further topes, extends just beyond the fourth chamber, which is semicircular, with a small rock dagob in the centre, which is much decayed, and a small recess at the back, about two feet above the floor level, which is two feet below the surface of the brick debris outside. From this point, the bricks disappear fro about 80 feet [24.4 m], the floor of the gallery beginning shortly to ascend, past another semicircular chamber, above the level of the gallery, with a small rck dagob in the centre, and an umbrella-shaped canopy cut on the ceiling; then past a dagob in bas-relief and the commencement of a cell, where the brick debris appears again, and continues for about 200 feet [61 m], no doubt covering the foundations of a row of brick topes, with a second row for some distance. The floor of the gallery then rises rapidly to the end, where there is a bench cut in the rock, commanding a fine view of Bassein [note 2]. Near the end of the gallery are three recesses, with benches, from 6 to 10 feet [1.8 to 3 m] above the level of the floor; and below the first recess are three sockets cut in the rock, for fixing rock work. There was formerly a rock path past the end of the gallery, leading to steps which ascend the hill; but the first part of this path has slipped down the precipice, and the communication is cut off (WEST 1861b: 117-118). CULTURAL HISTORY: The cave (man-made rock chamber used for religious purposes) contains one inscription (rock art: epigaphy) on the rock near the entrance to the open gallery under the south-western brow of the hill, which appears to have been a cemetry-gallery (WEST 1861a: 7 item 22). It seems likely that … this gallery has been the general necropolis of the caves (WEST 1861b: 120).ck dagob in the centre, and an umbrella-shaped canopy cut on the ceiling; then past a dagob in bas-relief and the commencement of a cell, where the brick debris appears again, and continues for about 200 feet [61 m], no doubt covering the foundations of a row of brick topes, with a second row for some distance. The floor of the gallery then rises rapidly to the end, where there is a bench cut in the rock, commanding a fine view of Bassein [note 2]. Near the end of the gallery are three recesses, with benches, from 6 to 10 feet [1.8 to 3 m] above the level of the floor; and below the first recess are three sockets cut in the rock, for fixing rock work. There was formerly a rock path past the end of the gallery, leading to steps which ascend the hill; but the first part of this path has slipped down the precipice, and the communication is cut off (WEST 1861b: 117-118). CULTURAL HISTORY: The cave (man-made rock chamber used for religious purposes) contains one inscription (rock art: epigaphy) on the rock near the entrance to the open gallery under the south-western brow of the hill, which appears to have been a cemetry-gallery (WEST 1861a: 7 item 22). It seems likely that … this gallery has been the general necropolis of the caves (WEST 1861b: 120).