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'Poonah' Bilder und Clips Suchergebnisse page 1 of 1

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Poonah.
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Scene in the Diamond Mines of Poonah.
The steam ship 'Poonah', 1850
A plan of Cantonment and part of Suburban limits, Poona
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A map of the Mahratta country which consists of two main parts, the Poonah or Western division, and the Berar or Eastern division
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The entrance of Indra Sabha. Indra Sabha is the largest of the Jain caves at Ellora and dates from the 9th century Rashtrakuta period. A simple gateway leads into an open court in the middle of which stands a monolithic temple with a pyramidal superstructure and an octagonal roof. There is a free-standing elephant and a column with a capital composed of a group of Tirthankaras (Jain foudners). At the back of the court there is a double-storeyed excavated temple. The sculptural panels represent Ambika, a Jain favourite goddess and Mahavira, Gomateshvara and Parshvanatha, three of the Jain saints
Dehr Warra. This single-storey excavation is in the southernmost group of the Buddhist caves, and dates back to the 6th century. It consists of a long spacious hall or vihara which was used as a Buddhist monastery as it is indicated by the residential cells cut into the side walls which can be seen in this print. The two long lines of benches carved out of the floor were probably intended for the use of the monks when studying or dining. The hall is divided into three aisles by two rows of columns
The Ashes of Ravana, interior view. The cave known as Ravana-ki Khai is a single-storeyed excavation dating from the 7th century and consists of a square columned mandapa and a verandah. The facade has lost several of its piers revealing the large pillared hall behind. The columns of the hall have pot and foliage capitals and rectangular brackets. Figural panels include Shaivite sculptures on the south wall and Vaishnava images on the north wall
Paraswa Rama Sabha. The interior of this cave, dedicated to the Jain saint Parsvanath, has columns with square shafts, turning into the vase and foliage motif, amalaka capitals and plain brackets
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Das Avatara. This cave was started as a Buddhist monastery, but in the 8th century was converted into a Hindu sanctuary under the patronage of the Rashtrakuta king Dantidurga (c.730-55). It consists of an open court with a free-standing monolithic mandapa in the middle and a two-storeyed hall at the back, the original Buddhist monastery, the walls of which were covered with reliefs illustrating Hindu mythology
Indra Sabha. Indra Sabha is the largest of the Jain series and dates from the 9th century under Rashtrakuta patronage. The interior of the cave has a columned mandapa or hall with niches on the three sides and the sanctuary in the middle of the back wall. The columns have rectangular shafts with exuberant foliate and garland motifs and cushion capitals typical of the last phase of Ellora architecture
Do-tali. Do-Thal or 'two-storeyed' as this cave was called when it was discovered in 1876 consists of a broad forecourt with superimposed halls extending deep into the cliff. The pillars are square and have simple brackets capitals. The shrines have seated Buddhas but some carvings depicting Durga and Ganesa indicate that this Buddhist cave was later converted to Hindu worship
Viswakarma. The interior of the chaitya hall of the 7th century Vishvakarma cave, the last important such chaitya hall made in western India, is divided into three aisles by 28 octagonal pillars with plain bracket capitals (omitted in the print). Above the columns there is a frieze of ganas, dwarf attendants and preaching Buddhas with Boddhisattvas. The vault of the ceiling is carved with ribs imitating a wooden structure. In the far end of the central nave there is a large seated Buddha in the teaching position carved on the front of the votive stupa, with attendant Bodhisattvas
View of Indra Sabha, looking outward. The monolithic shrine, with a pyramidal superstructure topped by an octagonal roof, stands in the middle of the inner court of Indra Sabha cave. Beside it are a free-standing elephant and a column with Jain figures seated on top. The sides of the court are decorated with lion and elephant friezes and Tirthankaras
Viswakarma, exterior view. The cave known as Vishvakarma (named after the archietect to the gods), is a 7th century cave and one of the latest rock-cut Buddhist chaityas in Western India. The elaborate facade at the end of the large open court has a pillared verandah which admits into the long interior, with an open gallery above. The gallery's roof is carved into the imitation of a wooden one with ribs and rafters, and above it is a series of auspicious mithuna (or loving) couples. In the rear wall of the gallery, which is decorated with celestial flying figures, windows, one circular within an arch (a relic of the horseshoe shaped arches of early Buddhist chaitya halls), admit light into the interior
The Ashes of Ravana. The cave known as Ravana-ki Khai is a single-storeyed excavation dating from the 7th century and consists of a square columned mandapa and a verandah. The facade has lost several of its piers revealing the large pillared hall behind. The columns of the hall have pot and foliage capitals and rectangular brackets. Figural panels include Shaivite sculptures on the south wall and Vaishnava images on the north wall
Junwassa. This cave at Ellora in the Hindu sequence shows part-fluted columns of the type found in Elephanta, with tall square bases and squashed cushion capitals, and is similarly datable to the 6th century. Two guardian figures or dwarapalas are sculpted on the sides of the entrance
Jagannatha Sabha. Jagannatha Sabha is one of a group of five Jain caves dating back to the 9th century excavated under Rashtrakuta patronage to the north of the site. The facade of this red granite rock cave consists of an architrave supported by heavy columns with cushion capitals and ridged shafts with animal brackets. Inside are sculptured figures of Parasvanath and Mahavira, two of the Jain founders
The Entrance to Kailasa. The principal shrine stands in the middle of a courtyard enclosed in a walled complex entered through a two-storeyed gate, all of it entirely hewn from the rock. Figures of guardians, the Dikpalas and the river goddesses are carved on the sides of the gateway and its extension screens
Rameswara. This Hindu cave is famous for the beauty of its sculptures. Sensuously carved female figures adorn the brackets on either side of the verandah pillars. Large guardian figures stand on either side of the shrine, while at the end of the outer verandah may be seen the sculptures of the marriage of Siva and Parvati, and, facing outwards into the court, Siva and Parvati on Kailasa disturbed by Ravana
N.E. view of Kailasa. This view is from the rear of the deep pit which had been excavated to carve the temple. The basement of the main temple of the Kailasanath is constituted by a frieze of elephants in high relief almost life-size. The colonnade the right is overhung by the sheer walls of the trench that surrounds the temple
Tin-tali. Tin-Thal is a Buddhist excavation which dates probably from about the 7th century. It consists of a broad forecourt with three superimposed halls extending deep into the cliff. The pillars are square and have simple brackets capitals. The halls were used for congregational purposes and each was provided with a sanctuary with a seated Buddha and Bodhisattva attendants