The rock cut caves of Pitalkhora
One is not mentally prepared as you set off to find Pitalkhora caves. The last point beyond which the vehicle can not go is a klat hill surface. There is a path going down. As you start descending the steps your glance alights on some caves on the right side below across a chasm. These caves were excavated by dedicated hands two thousand years ago.
In 2nd C BC Pitalkora contained a Chaitya and Viharas.The rich carving on the
one splendid façade which has faced the ravages of time, collapsed since, gives glimpses
into the rich past.Some of the statues found near the Viharas have inscribed names of
donors like glodsmiths.
Pitalkhora in ancdient times was known as Pitangalya. Ptolemy mentions it as Petrigala in his works. It was close to the Satavahana's capital Pratisthana. The ancient caravan rout from Surparaka(Sapora) to Nasik and further north was adjacent to Pitalkhora caves.It is common knowledge that the Viharas served the traders as bankers rendered them hospitality and in turn were richly rewarded by the merchant community. Thus in 2nd C BC contrary to Buddha's injunctions to lead a life of bare necessities the Viharas develop as Appendages of trade they boast of richly carved facades as in Pitalkhora, Karle and Bhaja or Sculpted gateways of Sanchi where Buddha, following the Hinayana stipulations could'nt be depicted in human form.His presence is indicated by footprints, an umbrella or a stupa. The Mahayana which has sway in India since 1st C-2nd C AD depicted Buddha as god. Not only was Buddha depicted in later times with attributes like hthe Chakra on his toes, his hair curling towards the right, considered as lakshanas of a Mahapurushas but scenes from his life like his miracles at Sravasti, his taming of a wild elephant Nalagiri etc were favourite subjects of the sculptures. Painting of Buddha attained a new peak from 4th C AD onwards as can be seen in Ajanta caves.
Pitalkhora too exhibits a similar tendency. One can see the evolution of
Buddhist art from 2nd C BC to 6th C AD.
There are thirteen caves in all in Pitalkhora. Nine of them are located on the left side of hill stream and four on the right side.
Very little is left to jude about . Cave -1,2,3,4 and 5 were excavated in 2nd C BC. Towards the west of cave number 5, some caves from 6to 9 were built in 1st C BC. At the same time caves 12-13 were built on the opposite side.Caves 10-11 belongs to a later date namely 2nd C AD.
Cave 3 is important for a number of reasons. Its construction goes back to 2 C B.C. it is a chaitya which apsidal. There are some sixteen pillars some incriptions were found on these pillars of 2 C B.C. indicate that they were gifts from Mita deva of Gadhika family and another by sons of Samghaka from Pralisthana. These inscriptions are a common feature of caves in western Deccan. These pillars sidewalls as well as the ceiling of the cave were painted with figures of Buddha after 4 C A.D.
Remnants of stupa are found in the chaitrga. Crystal reliquants with bones were found inside the stupa. On either side of the steps leading to the chaitya are three figures two yakshas holding the balustrade and a winged horse a typical feature of art of 2 C B.C. The Yakshas are pot bellied and genial.
The most beautiful vihara and richly sculptured is next to the Chaitya. It is located on a high plinth. The entrance with a flight of steps leading to the Vihara is remarkable. It is flanked by two bejewelled dvarapalas, holding javelins. They scem strong, guarding the vihara. What is striking is their benign expression. They have an elaborate head gear and heavy ear rings, resembling those of Bharhut and Sanchi. The doorway is lined by a design of half whoses and trisula both imp symbols in Buddhist art, lotus being the symbol of fertility, abondance and trishul stands for Buddha, Dharma and the Sangha. Above the dvarapalas there is an elephant each in movement. On the elephants one can see Kinnaras half human half bird figures between the elepahants there was a slab sculpture of Gaja Lakshmi which was found on the floor. The inmates of these viharas had an ingenuous way of collecting rainwater, they made rock cut channels. Towards the right of the dvarapola on the right there is a beautiful sculpture of a five hooded cobra. In the hoods one can see holes through which the water from the rock channel came out. One is reminded of other instances when nagas sculpted are shown in their element - kondavite,nagas and a water cisten close by Mamallapuram. All the spirits - water, tree, air, worshipped by autochtons have a place in Buddhist structures of 2 C B.C. The dvarapalas of Pitalkhora lok very human unlike the otherwordly look of later dvarapalas of Ellora who are sculpted as larger than life size and they already form the Mahayana pantheon - Avalokiteswara and Vajrapani. Pitalkhora is unique in producing works of a sealarnative figures of female chauribearers Yaksha and a female Chauribearer, Yakshi with a casket on her head Musicians, mahouts, a royal couple with attendants, a stag. Many sculptures of mithunas which become very prominent in later Buddhist chaityas and Hindu temples are found here. The sculpting is frontal as the artist had not yet mastered the three dimensional effect of Amaravati and Nagarjunakonda. Yet the figures are charming and expressive.
Another interesting feature which inspired later architects of temples like
Kailashnath in Ellora are the elephant caryatids which they have been sculpted below cave
no 4 and seem to be carrying the entire weight of the cave on their backs.
Cave No. 4 was a Vihara. It has seven cells with a verandah. Over the doorways there are chaitya window arches with the design of homarishi façade. Next to the arches there are winged animals, spinres sitting back to back. Below the arch next to the doorway there windows.
Cave number 5 was also a Vihara with 5 cells on each side. On the backside there are four cells. All of them have two steps at the entrance. An inscription found close by on a boalder has been deciphered as the Vihara being a gift of a quild of bankers. The inscription belongs to the 2 C B.C. The cells have benches. Cave No. 6b is interesting for the brackets and pyramidal pattern over the architrave of the rear walls of the backcells. These viharas were once painted vestiges ofpaint can still be sceen.
Cave number 7 also has 15 cells. The ceiling of the cell is vaulted and has grooves for wooden ribs. Wood continued to be used even after the artisans changed the medium in the 2 C B.C.
Cave Number 8 and 9 were also Viharas the partition walls of most of the alls have collapsed. There is a half finished cistern between caves 7 and 8.
On the right side of the crevice opposite to these 9 caves, 4 caves have been excavated. Caves 10,11 at a higher level and 12 and 13 at a lower plane. The cave 10 was an apsidal chaitya hall. It has a broken stupa.
Cave number 11 has 3 rockcut stupas. One of which is intact. Cave Number 12 and 13 are chaityas. The façade of cave 12 has collapsed, from the remains of sculpture at the entrance one can surmise that it must have had equally beautifully dvarapala figures as in cave number 4. The stupa is damaged. In cave number 13 there are two rows of pillars as in cave number 3 and other chaityas at Ajanta and elsewhere dividing the hall into central nave and side aisle. Outside cave 12 is a mithuna sculpture over the harmika are one of its …………
Outside the cave is a sculpture of a horse and female rider with a javelin in hand.
Most of the loose sculptures of Pitalkora have been housed in different museums, some of them are in the National Museum in New Delhi and Albert Museum, Bombay. The most impressive among them is Yaksha carrying a bowl. The Yaksha is grinning. There is a prominent necklace in his neck it is tied at the back with a string which hangs on the back. Two sarpakundalas are attached to the ears. There is an inscription on the right palm stating that it is made by Kanhadasa a goldsmith. The attention to detail in the statue testifies to this.
The other sculptures found include Gajalakshmi flanked by elephants bathing her with water, yakshi door keeper, yakshi carrying a casket on her head with folds of her dress gracefully flowing from her arms, Kinnaras etc.
Crystal objects with relics, ring were discovered. A few copper vessels, pottery (redware) were also found.
Among the Buddhist monuments of 2 C B.C. Pitalkhora occupies a significant place.
Just as in other monuments of this period when Buddha was not sculpted, but the devotees of his creed and their devotion emphasised, in Pitalkhora too the figures are yakshas, yakshis, dvarapalas, kinnaras and nagas as guardians and loyal followers of the creed.
They precede in time and space the gateways of Sanchi. The secular life too occupies a prominent place in Pitalkhora, the mithuna couples, royal couples and their attendants are sculpted. The dvarapalas, are very humane, life like compared to the later larger then lifelike Mahayana dvarapalas of Ellora.
Pitalkhora is lucked away in hills, its caves have sceen the ravages of time and are slowly crumbling but there was a time when it was a rich repository of cultural and social life, when for loads of caravans it was a favourite destination.