Cave XXVI. is a chaitya, resembling Cave XIX., but larger, and very much more elaborately ornamented than any other cave of the series. Its principal characteristic is the excessive multiplication of the figures of Buddha, of every size and in all attitudes, almost to the exclusion of every other ornament. The sculptures however, are somewhat inferior in design and monotonous in the style of execution. The cave may have been commenced in the 6th century, but its sculptures were carried down to about the middle of the 7th. It had a broad verandah along the whole front, supported by four columns, of which portions of three still remain. There was a chamber at each end of the verandah, with two pillars and pilasters, resembling those in the left side chapel of Cave III. at Aurangabad. The court outside has extended some way right and left; and on the right are two panels above one another, containing the litany of Avalokitesvara. To the right of this is a standing figure of Buddha in the attitude of blessing Over the verandah, in front of the great window and upper facade of the cave, was a balcony, 8 feet 3 inches by 40 feet, entered at the end from the front of the last cave. The sill of the great arch was raised 2 feet 9 inches above this; and a stone parapet 3 feet 9 inches high, carved in front with small Buddhas, is on the inner side of the sill, which is 7 feet 2 inches deep, The outer arch is 14 feet 3 inches high, and the inner one from the top of the screen is 8 feet 10 inches. The whole facade outside the great arch, and the projecting side walls at the ends of the balcony, have been divided into compartments of various sizes, sculptured with Buddhas. On each side of the great arch is a seated figure of Kubera; and beyond it, in a projecting alcove, is a standing Buddha. A figure of Buddha, 16 feet high, with his robe descending from the left shoulder to the ankle, and having the right shoulder bare, stands on each side of the upper part of the end walls of this terrace. Under the figure on the left is a short inscription. [" The Sakya Bhikshu, the Badanta Gunakara's meritorious gift; may whatever merit is in this, be for the attainment of supreme knowledge by all sentient beings, mother and father being first."
Under a similar statue opposite is the following:-" Hail ! the meritorious gift....." &c.
Under a small sculpture in the right aisle-"The meritorious gift of the Sakya, Bhikshu Sanghamitra'] On the left of the entrance is a longer Sanskrit inscription, which on palaeographic grounds, may be ascribed to the end of the 6th, or the early part of the 7th century. It records the excavation of the cave by a monk Buddhabhadra, who was probably the head of a sect, and was on terms of friendship with Devaraja and Bhavviraja, two ministers of Asmaka raja. [Varaha Mihira in the Brihat Samhita places the Asmakas in the north-west. There is a passage in Hiouen Thsang's itinerary, in which the Chinese pilgrim evidently mentions the Ajanta caves as being on the eastern frontiers of Maharashtra, and alludes to two elephants, probably those in front of Cave XVI. The inscription mentions a Sthavira Achala as one of the early excavators of viharas at Ajanta, and he is evidently Hiouen Thsang's Arhat 'O-che-lo, who founded the monastery here. The translation of the inscription is as follows:-
" Victory to him who pays attention to and strives for the welfare of the people..... comforts, who knows the highest aim (of men) in whom all the three-fold spotless qualities have been developed, (who has freed men from fear), and who sheds the spotles radiance of mercy.
" He who completely conquered repeated deaths and the like (misfortunes), and who obtained eternal youth and immortality, does good to the world, though he has reached the happy fearless, and houseless city of emancipation.
" For this cause, adoration and praise (offered to him) remains not without its reward, and yields great and abundant advantage; and if on that occasion, even one flower be offered, it becomes the cause of the reward called heaven and final liberation.
" Therefore, a wise man who seeks rewards, must devoutly worship the Tatha-gatas' reward, whose virtues are famous, who are exceedingly affectionate towards the people, and whose hearts melt with pity.
" The Devas, through being (themselves) subject to miseries, have lost the power of conquering (the misfortunes of others). In consequence of a curse, Sambhu even was afflicted with blinking eyes. Krishna, though he obeyed no other man's sway, fell under the sway of death. Therefore the Sugatas who are freed from fear are (alone) victorious.
" The ascetic Sthavara Achala, who glorified the faith and was grateful, caused to be built a mountain-dwelling for the Teacher, though his wishes were fulfilled.
" How much more must not fame in this world be acquired by opulent Bodhisattvas, both by those who are desirous of mundane happiness, and by those who desire final liberation?
" A corporeal being rejoices in heaven as long as his fame (remains) among men. Therefore it is meet to acquire in the mountains a fame which lasts as long as the sun and moon endure.
" (In honour of) the minister of the high-minded Asmaka king, who was bound to him by friendship during many births, who was firm, grateful, clover, wise, and learned in the opinions of the teachers of the gods and of the demons;
" Who knew the world, was lucky in small and great affairs, fulfilled the desires of all needy men, was eloquent, exalted by his virtues, (but) lowly through modesty, and gained fame on earth by his virtuous conduct;
"Who, being a most excellent minister of the king, settled by peaceful means even the most tedious business, which is (usually) settled by severity (only).
"His son, Devaraja, in like manner, became a man of business (in the king's service), and after his' father's death, exalted his dignity by his virtues.
" In honour of that Bhavviraja and of his (own) parents, the monk Buddha-bhadra has caused a temple of Sugata to be erected.
" When I had recourse to the monk Dharmadatta, and (my) good pupil Bhadhrabandhu, these two constructed this temple for me.
"May the merit which is in this (work) procure for those three and the world the reward of Mahabodhi, which is filled with all spotless qualities.
" He, who, possessed of noble birth, became, after he had perfectly learnt the path of Buddha's teaching, an ascetic in his youth, performed many religious observances, purified his mind by virtuous conduct, and strove for the final liberation of the people.
" No happiness obtained in the circle of births, produces (real) happiness.....
"This temple, which (is praised by) the people, has been erected for the welfare of (my) parents (on the hill which is tuneful with the songs) of various birds, whose caves resound with cries of Golangula monkeys, whose summit...... which is inhabited by lords of Yogis.
" And this Buddhistic (inscription or eulogy) given above, has been likewise composed by the Acharya, after he had taken upon himself the care of the people........"
According to the inscription, the person who ordered the cave to be excavated, and provided the funds for the work was a monk called Buddhabhadra. His agents were the monk Dharmadatta and his own pupil Bhadrabandhu (?), who superintendended the actual work. Buddhabhadra enjoyed the friendship of the minister of the king of Asmaka.
It is stated that 'O-che-lo, a native of Western India, traced his mother (who had died, but had been born again as a woman) to a village in Maharashtra, converted her to Buddhism, and touched by the kindness he had received from her who had given birth to him and nursed him, and thinking with emotion of the acts in her former life, caused a convent to be built (on the eastern frontier of the kingdom of Maharashtra) in order to thank her for her great benefits.-See Archaeological Survey of Western India, Vol. IV.] This connects the excavators with Cave XVII. and with the large vihara at Ghatotkach. Besides the central opening, there is a smaller side door loading into each aisle. The temple is 67 feet 10 inches by 36 feet 3 inches, and is 31 feet 3 inches high. The nave, which is 17 feet 7 inches wide, and 33 feet 8 inches long up to the dagoba, has twenty-six columns inside, besides two in front. The pillars behind the dagoba are plain octagons; but the others resemble the pillars in the verandah of Cave II. These are 12 feet high, and contain a four-armed bracket dwarf over each capital, on the front of the narrow architrave. The frieze projects a few inches over the architrave, and is divided into compartments elaborately sculptured. The stone ribs of the roof project inwards, and the vault rises 2 feet 9 inches to the ridge pole. The body of the dagoba is cylindrical, but has a broad face in front, carved with pilasters, cornice, and mandapa top. In the centre is a Buddha sitting on a lion throne, and his robe reaches to his ankles. His feet are on a lotus upheld by two small figures with Naga canopies, behind which, and under the lions are two elephants. The rest of the cylinder is divided by pilasters into compartments containing figures of Buddha in various attitudes. The dome has a compressed appearance, and its greatest diameter is at about one-third of its height. The box above is carved on the sides with a row of standing, and a row of sitting Buddhas. Over it are eight projecting fillets, crowned by a fragment of a small stone umbrella. The right aisle has large compartments, with Buddha and attendants sculptured in relief,-their feet resting on the lotus, upheld by Naga protected figures with rich head-dresses, and others sitting beside them. Flying figures are above the Buddhas, and are succeeded by a line of arabesques, with small compartments containing groups. On the left wall near the small door is a representation of the death scene of Buddha, in which a gigantic figure of him, 28 feet 3 inches long, reclines on a couch with face turned towards the north. [Fa Hian described the place where it happened as follows:-" It is to the north of Kusinara, betwixt two sal trees, on the bank of the river Hiranyavati, that the " illustrious sage of the age," his face turned to the north, entered nirvana."] A tree is at the head, and another at the foot of the figure; and Ananda, the relative and attendant of Buddha, stands under the second tree. Some very odd figures are above this, and perhaps represent the devas “making the air ring with celestial music, and scattering flowers and incense.” In front of the couch are several disciples, exhibiting their grief at Buddha’s departure, while a worshipper has a flower in his hand and some little offerings in a tray. Further along the wall is Buddha teaching, between a Bodhisattva on the right and perhaps Padmapani on the left; and then follows a large and beautiful piece of sculpture, representing the trial of Buddha by Mara. To the left stands prince Mira, with a bow and arrow, and protected by an umbrella. Before him are his daughters, Tanha, Rati, and Ranga, wearing richly adorned head-dresses, together with a number of other females, some sitting and some dancing A female beats two drums standing on end with one hand, and a third drum is placed on its side, which she almost sits upon and beats with the other hand. Mara appears again at the right side, disappointed at his failure. Above are his demon forces attacking Buddha, who is seated under a Bodhi tree, with the left hand in his lap, the right hand pointing to the earth and with the drum of the devas being beaten above him. The painting has nearly all disappeared, but there are some fragments of yellow Buddhas on the roof.
