#: locale=en
## Action
### URL
LinkBehaviour_2ED0DAD0_0CAD_23CE_4196_E095B785093E.source = https://docs.google.com/forms/d/e/1FAIpQLSczSEawGnBc7WfdtoOVjh_mNHAX1nsBfhm-ktTtHL1X1x08NA/viewform?usp=pp_url&entry.329326721=Trirashmi+Caves+(Pandu+Leni),+Nashik
## Hotspot
### Text
HotspotPanoramaOverlayTextImage_72330F16_6864_18C5_41C6_EE756437458F.text = CAVE 12
HotspotPanoramaOverlayTextImage_7137BE0E_6864_78C5_4181_CFB1E225896D.text = CAVE 13
HotspotPanoramaOverlayTextImage_71DB9232_6864_08DD_41C0_7DD8ED645EBB.text = CAVE 14
HotspotPanoramaOverlayTextImage_72B8A99F_6864_3BC2_41BB_D3E9ED3CCA4E.text = CAVE 15
HotspotPanoramaOverlayTextImage_72F5F246_685C_0945_416D_E14DABA0E810.text = CAVE 16
HotspotPanoramaOverlayTextImage_7F435BBD_6DF9_1BCC_41D4_F147D9434C6B.text = CAVE 17
HotspotPanoramaOverlayTextImage_7EBEDD88_6DF9_3FB4_41D3_89064CEAD3AE.text = CAVE 18
HotspotPanoramaOverlayTextImage_7C66B5C3_6DFA_EFB4_41CC_7B37DE5EC4BD.text = CAVE 19
HotspotPanoramaOverlayTextImage_7F91E74C_6DF9_6B4D_41CD_7431EBAA4464.text = CAVE 20
HotspotPanoramaOverlayTextImage_71042E2A_63A2_8DFE_41D8_56258928B9BF.text = CAVE 5
HotspotPanoramaOverlayTextImage_700D44E5_63A2_BE6A_417F_3FE112055503.text = CAVE 6
HotspotPanoramaOverlayTextImage_71565FE2_639F_8A6E_41C4_535761C76C5E.text = CAVE 7
HotspotPanoramaOverlayTextImage_714666B4_639E_9AEA_4188_CFF444572281.text = CAVE 8
HotspotPanoramaOverlayTextImage_7017DF93_6361_8AAE_4144_24CC4D2FD7AF.text = CAVE 9
## Media
### Audio
audiores_C6C74C60_ED24_F0B1_41C4_180245C10A3A.mp3Url = media/audio_C7E95862_ED24_30B6_41C9_EC2D160F7381_en.mp3
audiores_C84370F4_ED64_D192_41E4_69597E4DB232.mp3Url = media/audio_C97DBA65_EB24_D0B2_41E0_A4C711570D0F_en.mp3
audiores_CBB786EE_ED64_F1B1_41E5_A70299B9A9C7.mp3Url = media/audio_CA2D9310_EB64_5091_41D4_3D97329E4551_en.mp3
audiores_C859563E_ED64_D08E_41E1_0F6F934C9856.mp3Url = media/audio_CA583A77_EB24_509E_41EC_92B7798D26DD_en.mp3
audiores_C8476439_ED64_D092_41E5_435072EA0123.mp3Url = media/audio_CA81F0F4_EB25_D192_41E0_F6E724BEAEFF_en.mp3
audiores_C8537F35_ED64_D093_41DC_F092F09DBE61.mp3Url = media/audio_CA9E80BE_ED1C_318E_41D3_667D22D98486_en.mp3
audiores_C842B23C_ED64_D092_41DB_76EEA0E0D226.mp3Url = media/audio_CAAD5684_EB24_5072_41D2_BC29236CCE08_en.mp3
audiores_C84E2E6A_ED64_F0B6_41D6_C9302F68CC30.mp3Url = media/audio_CB3A38CD_EB24_D1F3_41E4_745D63782FC2_en.mp3
audiores_C84B09FC_ED64_F391_41EA_230FA290CC39.mp3Url = media/audio_CB58A072_EB24_3096_41D6_F160F9F397EC_en.mp3
audiores_C85BF890_ED64_D192_41A4_16DE1B3714BD.mp3Url = media/audio_CC92E4B3_ED1C_5196_41E7_C440E9AAEBC8_en.mp3
audiores_C8514D7F_ED64_D08F_41DD_20FAB6D8F3AC.mp3Url = media/audio_CCBE3A4B_ED1C_50F6_41ED_15366E47C0DD_en.mp3
audiores_C85FAC3B_ED64_D096_41E5_60EE0E41BF3D.mp3Url = media/audio_CD0A7FD8_ED1C_4F91_41D2_2D19903E3098_en.mp3
audiores_C85D8AE9_ED64_D1B2_41EC_F0C1993236CA.mp3Url = media/audio_CD352FD3_ED1C_CF97_41A3_952E63D71C64_en.mp3
audiores_C852B030_ED64_3091_41E1_C2533DED4E97.mp3Url = media/audio_CDC3F463_ED1B_D0B6_41D3_B664B27B8857_en.mp3
audiores_F7B3E0D9_E5A1_C77B_41E2_FDB33A2F5DF7.mp3Url = media/audio_D74C2578_CF9E_F560_41E9_5D1D7E8D992A_en.mp3
audiores_F7B44279_E5A1_CB3B_41E6_5A8B9311D8AB.mp3Url = media/audio_D7E34BA3_CF97_9DE7_41E4_96E4A2EF8078_en.mp3
audiores_F456CF32_E5A1_3AC9_41E2_D32EFCA2A11F.mp3Url = media/audio_D80E13C5_CD4C_FF0C_41E3_E8350F8E7863_en.mp3
audiores_F7B19E72_E5A1_FB49_41D4_580A6133DCCA.mp3Url = media/audio_D8184229_CF9E_8EE0_41CF_E30AF4AA0A7B_en.mp3
audiores_F4551D6F_E5A1_3957_41E9_90BEAA3B699E.mp3Url = media/audio_D829CDF4_CD4F_0B0C_41E8_AF0E68177E4F_en.mp3
audiores_F7B6D47D_E5A1_CF3B_41EB_4365E46A48A4.mp3Url = media/audio_D854D6B8_CF96_B7E1_41B4_34B71F94C77D_en.mp3
audiores_F7BD3B52_E5A1_F949_41E5_9630B8D209C5.mp3Url = media/audio_D91E24A9_CFEA_8BE3_41E2_1B3A2197519A_en.mp3
audiores_F7BAA86B_E5A1_C75F_41E7_EB25071A4CB9.mp3Url = media/audio_D97FD5D7_CFEE_B5A0_41CE_468488BF2DA3_en.mp3
audiores_F7A501EE_E5A1_C959_41E2_3DDDB9E02F28.mp3Url = media/audio_D9DE06B3_CFAB_97E0_41E5_98752A5C814C_en.mp3
audiores_F7A603BA_E5A1_C938_41C8_490CDC3A8B0C.mp3Url = media/audio_DA2091DA_CFA9_8DA1_41E1_458D5400DB55_en.mp3
audiores_F7A7052C_E5A1_CED9_41E5_9B85E83E22E2.mp3Url = media/audio_DA4CFF64_CF96_B561_41E8_E7418C7E436F_en.mp3
audiores_F7A2FE5D_E5A1_DB7B_41DF_A11ADF917C5A.mp3Url = media/audio_DA9394EC_CFA9_8B61_41E8_206F1BB957D5_en.mp3
audiores_F7AF7C4D_E5A1_DF5B_41E9_5E2AE9E9D32F.mp3Url = media/audio_DB6E1924_CFB6_BAE1_41DB_44D42879EA1B_en.mp3
audiores_F7AE09C0_E5A1_D948_41E4_67426BC8A2D7.mp3Url = media/audio_DC7AD9F1_CFB9_9D63_41E7_437E716A26A0_en.mp3
audiores_F7AC06F1_E5A1_CB4B_41E1_9FED0C90F771.mp3Url = media/audio_DCA27999_CFBA_BDA3_41D8_F050423AF111_en.mp3
audiores_DFE0A81E_CD47_093D_41AF_6516C86199B9.mp3Url = media/audio_DD48301F_CD44_F93B_41B4_06FE4CDB1A18_en.mp3
audiores_F7AB25D7_E5A1_C948_41E8_9215AB1E1136.mp3Url = media/audio_DDF09A00_CFBA_9EA1_41C6_3AB23B9C2104_en.mp3
audiores_F7A9921F_E5A1_CAF7_41D9_CE8C2080E311.mp3Url = media/audio_DE259936_CFA9_9AE1_41E4_75B7468F84DE_en.mp3
audiores_F7AAD39F_E5A1_C9F8_41D6_644AF39075ED.mp3Url = media/audio_DE6D9799_CFAB_95A0_41E7_0D75C1136C8D_en.mp3
audiores_F457107F_E5A1_C738_41EC_201ADC5EF681.mp3Url = media/audio_DEAB7E12_CFAF_B6A1_41C4_D1A1918B55CF_en.mp3
audiores_DFE9E98B_CD47_0B1B_41D1_FED9160D8A4D.mp3Url = media/audio_DF1D0E7B_CD47_0904_41D0_5A8610538986_en.mp3
audiores_F452BB4A_E5A1_3959_41B9_425D1594904B.mp3Url = media/audio_DF95847B_CD4B_3904_41E3_4EC9BC8F63AF_en.mp3
audiores_E2DDC10F_F579_EBCF_41E0_E742FA331383.mp3Url = media/audio_E4BCE483_F51B_6AB7_41D7_E3F41A1BA05D_en.mp3
audiores_CBBA8D57_ED64_D09F_41ED_2B74F70A276F.mp3Url = media/audio_F0383CEF_EB1D_D18F_41D4_8106B7BB8FB7_en.mp3
audiores_CBA7790B_ED64_D077_41E6_6E4BD04F5DA7.mp3Url = media/audio_F267A3B7_EB1B_D79E_41C7_18A26F049163_en.mp3
audiores_CBB9FB14_ED64_D091_41E7_3622F05807DE.mp3Url = media/audio_F28642DE_EB1D_D191_41E4_2FF9ADD204E6_en.mp3
audiores_CBA2A732_ED64_D096_41D5_7424C1681FAC.mp3Url = media/audio_F2D874F4_EB24_5191_41E3_54A687171DDB_en.mp3
audiores_CBA1E4A0_ED64_D1B2_41E5_B2D8B0E6A1DE.mp3Url = media/audio_F3B6DC46_EB2C_D0FE_41A8_E2BCEECEE675_en.mp3
audiores_CBA325EE_ED64_D38E_41CE_DCA8552DB20D.mp3Url = media/audio_F3F5842B_EB24_30B7_41E6_7673C7D3E9AE_en.mp3
audiores_C8495818_ED64_F092_41E6_0CB6F587A599.mp3Url = media/audio_F5467CE6_EB1C_71BE_41E4_C51997F5F484_en.mp3
audiores_CBBF6F85_ED64_D072_41D3_6D4ED0441162.mp3Url = media/audio_F59D9EAB_EB6F_F1B6_41E0_DDDE9BFDFE89_en.mp3
audiores_C84DDC43_ED64_F0F6_41CE_4B5139A98CD0.mp3Url = media/audio_F5B615ED_EB24_33B2_41E0_11F05DD1DE0C_en.mp3
audiores_CBB243BD_ED64_F793_41AE_8890553C32C4.mp3Url = media/audio_F70429B0_EB7C_3391_41E0_BB83A3CD638B_en.mp3
audiores_CBBEA086_ED64_F07E_41C8_3F144F54E0B5.mp3Url = media/audio_F727E80F_EB64_508E_41D4_1AC03F341982_en.mp3
audiores_CBB4F5B2_ED64_F391_41E9_F87199ECF12F.mp3Url = media/audio_F7531531_EB7D_D092_41E9_F7F9A7752276_en.mp3
audiores_CBB041C8_ED64_F3F1_41CE_BF716361915C.mp3Url = media/audio_F7F56439_EB64_5092_41C6_AE4660E77284_en.mp3
audiores_FF5AFB4E_E8C6_6D2E_4188_18CBF200BA4D.mp3Url = media/audio_F91F4DED_E8CA_6512_41DE_BF638E558806_en.mp3
audiores_CBAF229D_ED64_D192_41D6_91E83FC330C4.mp3Url = media/audio_FC3E520A_EB24_5071_41E4_7F4BF9C07572_en.mp3
audiores_CBAD5088_ED64_D072_41EB_6DCBC170BC63.mp3Url = media/audio_FDAA7705_EB25_D072_41EA_13881F24ED3A_en.mp3
audiores_F2B400D6_E8C5_9B31_4159_FDCF0A705971.mp3Url = media/audio_FDCF1868_E8DA_AB12_41E2_699C1780D8B0_en.mp3
audiores_FF5EADA4_E8C6_6512_41D7_9F2C98A0BCFD.mp3Url = media/audio_FE072F3A_E8CB_E571_41E2_591478EF79D8_en.mp3
audiores_CBA9DD71_ED64_3092_41DD_81130E83049C.mp3Url = media/audio_FE1BD837_EB2D_D09F_41E2_56A0EE1B4341_en.mp3
audiores_CBAB8F72_ED64_3096_41EB_57B486784E89.mp3Url = media/audio_FEC7EFF1_EB24_4F92_41B5_C919482D2C74_en.mp3
### Audio Subtitles
### Description
album_9FE2C27F_8C60_2FEA_41CB_76FECFEE83F6_1.description = The central group of images consists of a 5 feet high Buddha seated \
on a well adorned throne, which is similar in design to the others in \
these caves. On either side are Boddhisattvas, carrying fly-whisks: \
Vajrapani with his vajra on the left & Padmapani with a lotus on the \
right. Over each, there is a 1 & ½ feet tall Buddha seated on a lotus.
album_9FE2C27F_8C60_2FEA_41CB_76FECFEE83F6_2.description = The group on the right is similar to the other 2 groups, and equally \
large as the left group. The fly bearing Boddhisattvas here appear to \
be Vajrapani & Padmapani, based on their attributes.
album_9FE2C27F_8C60_2FEA_41CB_76FECFEE83F6_0.description = The left group is very similar, but much larger than the central group. \
The image of Buddha is ~6 ft 2 in tall and seated on his simhasana. \
The Boddhisattvas are bearing fly-whisks, with their hands on their \
hips.
### Floorplan
### Image
imlevel_22BEEDC8_0CB5_61DE_4198_CFD39F7364C3.url = media/map_51D10C82_5E7B_C46A_4190_D92C7CCFEC9A_en_0.webp
imlevel_22BE9DC8_0CB5_61DE_41A1_49E4B736A818.url = media/map_51D10C82_5E7B_C46A_4190_D92C7CCFEC9A_en_1.webp
imlevel_22BEBDC8_0CB5_61DE_4195_E5CF18DF20CA.url = media/map_51D10C82_5E7B_C46A_4190_D92C7CCFEC9A_en_2.webp
imlevel_22BEADC8_0CB5_61DE_4199_33CA8287707D.url = media/map_51D10C82_5E7B_C46A_4190_D92C7CCFEC9A_en_3.webp
imlevel_22BE5DC9_0CB5_61DE_41A0_E1594D4172E0.url = media/map_51D10C82_5E7B_C46A_4190_D92C7CCFEC9A_en_4.webp
imlevel_CE8AF8DD_F524_F192_41E3_A846D61C6415.url = media/panorama_024C7795_1EB7_48B4_41A1_CC99C0CA7662_HS_bcnr1ulf_en.webp
imlevel_CE8878AF_F524_F18F_41EA_169670EE4E08.url = media/panorama_024C7795_1EB7_48B4_41A1_CC99C0CA7662_HS_ek84ps1z_en.webp
imlevel_CEB64839_F524_F093_41D0_FBF0DF8EEFB8.url = media/panorama_024C7795_1EB7_48B4_41A1_CC99C0CA7662_HS_jk8tdzbl_en.webp
imlevel_CEB7A87F_F524_F08E_41E1_A926B40DCB3E.url = media/panorama_024C7795_1EB7_48B4_41A1_CC99C0CA7662_HS_m5ihf6s2_en.webp
imlevel_CEBF978A_F524_F076_41B1_41D37EB16E62.url = media/panorama_02583791_1EB2_C88C_41B1_7F72A5781281_HS_jdq9t8hi_en.webp
imlevel_CEBD374B_F524_F0F6_41E0_2646B8F8EB06.url = media/panorama_02583791_1EB2_C88C_41B1_7F72A5781281_HS_md2pbqmk_en.webp
imlevel_CEB0B7C0_F524_FFF2_41E8_386944EB6D33.url = media/panorama_02583791_1EB2_C88C_41B1_7F72A5781281_HS_ycltorna_en.webp
imlevel_CEB467F8_F524_FF92_41E0_472E43D0194A.url = media/panorama_02C3EB1C_1EB2_F9B4_418D_5A6931F2C77C_HS_712alug9_en.webp
imlevel_CEB5781C_F524_F092_41E3_79F0975EC546.url = media/panorama_02C3EB1C_1EB2_F9B4_418D_5A6931F2C77C_HS_mz7dqwtv_en.webp
imlevel_CE6B057C_F524_F092_41CB_EBFA114033DF.url = media/panorama_0545976B_1E8F_499C_41B0_A0D88C0A051A_HS_0g48o7k5_en.webp
imlevel_CE6F65FA_F524_F396_41EB_6431ACD45D58.url = media/panorama_0545976B_1E8F_499C_41B0_A0D88C0A051A_HS_nfi2xwrc_en.webp
imlevel_CE608639_F524_F092_41E5_3641E72174A2.url = media/panorama_0545976B_1E8F_499C_41B0_A0D88C0A051A_HS_sxlxeiqk_en.webp
imlevel_CEBC871B_F524_F097_41DD_682ABF2AD7D9.url = media/panorama_0545ACB1_1E8F_788C_4187_FAF9E752DFF0_HS_t1sxzyr6_en.webp
imlevel_CEBB46E1_F524_F1B2_41B2_0F227A94D96E.url = media/panorama_0545ACB1_1E8F_788C_4187_FAF9E752DFF0_HS_vemfhk0o_en.webp
imlevel_7091FF21_6CE2_8BEA_41C9_38866D7C6090.url = media/popup_7C9462ED_6CFF_9A7A_41C2_5BE024FD051A_en_0_0.webp
imlevel_7096FF21_6CE2_8BEA_41C7_0CCAD4C5C395.url = media/popup_7C9462ED_6CFF_9A7A_41C2_5BE024FD051A_en_0_1.webp
imlevel_70968F21_6CE2_8BEA_41CF_6A62246E1349.url = media/popup_7C9462ED_6CFF_9A7A_41C2_5BE024FD051A_en_0_2.webp
### Popup Image
### Subtitle
panorama_9749801C_8788_4E86_41D3_B78B8F8E7EFA.subtitle = ....do take some time to reflect on the journey you’ve just completed. Carved patiently into rock starting over two thousand years ago, the Pandu Leni caves are more than just monuments — they are echoes of devotion, learning, and quiet contemplation etched in stone. For centuries, these shelters watched over trade routes, pilgrims, and changing empires. Monks once walked these halls, debated ideas, meditated in silence, and shaped a legacy that still speaks to us today. \
\
At the foothills are two nearby attractions worth a visit. The Trirashmi Buddha Smarak is a serene Buddhist complex with a large gilded Buddha statue and a gallery showcasing major Buddhist monuments from across India. Close by, the Dadasaheb Phalke Smarak, set amid peaceful 29-acre grounds, features an exhibition centre and park celebrating the life and legacy of the pioneer of Indian cinema. \
\
Thank you for walking through Pandu Leni with us and for giving time to its stories, symbols, and spaces. We hope the experience has helped you appreciate not just the carvings, but the lives and ideas behind them. \
We’d be grateful if you could share your feedback on this tour via a brief survey on your screen or guide@pathikatech.in — your insights help us shape better ways to craft the experience.
panorama_054551A2_1E8F_488C_4182_9713877B4A6E.subtitle = A main door and 2 smaller side doors allow access to the main hall; while 2 windows between the doors provide ventilation & light. There are 16 grihas (cells) adjoining the hall – 5 on the sides & 6 at the back – with benches inside them. Note how, unlike in Cave 3, there is no continuous bench in front of the cells here – their entrances are flush with the floor of the hall. \
Centered between the rear cells is a very interesting relief carving – a tall, striking figure in the foreground, but also that of a stupa in the background. This is the figure of Bhairava, the guardian deity of Jains, that has been etched over the earlier carving of the stupa. It is believed that this 'overwriting' was done around the 11th or 12th century, when the influence of Buddhism was waning.
panorama_0545E38C_1E8F_C894_417B_6FE75ED8CB4C.subtitle = Along your walk, notice the many rock-cut cisterns (water tanks) carved into the hillside adjacent to the caves. These were not just utilities —they were the lifeline of the monastic community, blending engineering skill with spiritual purpose. \
\
The Deccan’s climate is harsh: heavy monsoons followed by long, dry months. To survive year-round, the monks depended on rainwater carefully collected through carved channels and gutters, and stored in these cisterns. This water sustained thousands of bhikkhus (monks) —for drinking, cooking, daily needs, and ritual cleansing. \
\
This dependable supply also made it possible to observe Vassavasa, the four-month monsoon retreat when monks remained in one place, keeping the monastic calendar alive and active. \
\
But the cisterns were more than just practical solutions. Donating a water tank, known as udaka-dāna, was considered a highly virtuous act (punya). Merchants, rulers, and even villagers sponsored their excavation, proudly recording their gifts in inscriptions you can see even today. \
\
By providing water and shelter along major trade routes, these monasteries grew into vibrant centers of spiritual life, commerce, and cultural exchange. \
Even now, these silent stone reservoirs speak of an ancient wisdom—where sustainability, devotion, and community were seamlessly woven together.
panorama_0523FD1E_1EB2_D9B4_419A_995FC8349E14.subtitle = An inscription here reveals that Cave 17 was originally planned as a chaitya griha—a hall with dwelling cells and an attached shrine. However, as you’ll notice inside, the shrine was never completed, and the cave ultimately functioned as a vihara, with a hall surrounded by residential cells. \
\
From the courtyard, steps lead up to the veranda, where the main doorway appears slightly off-centre in relation to the pillars. This was likely unintentional. The rough rock column on the right suggests that an additional pillar was planned but left unfinished, much like the incomplete cell on the right side of the veranda—together explaining the unusual alignment. \
\
The veranda is framed by two pillars and two pilasters, carved in a style familiar from earlier caves. The veranda is framed by two pillars and two pilasters, carved in a style familiar from earlier caves. The back wall of the veranda has an inscription which mentions the cave & cisterns outside to be a gift by Indragnidatta, resident of Dattamitri (likely to be the city of Demetrias, Greece) and a Yavana (Greek) and the son of Dharmadeva. It was donated for the spiritual benefit of his parents.
panorama_07DDA1C6_22B1_4894_41BA_C57113DB6A25.subtitle = As we step into the small hall, we notice 2 cells adjoining it. The cell on the right has a continuous L-shaped bench. \
\
The back wall of the hall immediately captures attention with its image of a Jain tirthankara – believed to be that of Rishabhanatha (or Rishabhadeva). Note the long hair falling on his shoulders - this is a characteristic feature \
distinguishing the first Tirthankara. He's seated in padmasana – cross legged posture. Below him, are seated two forward facing tigers flanking a dharma chakra. Near his left leg is the image of a small child – probably representing the child of the donor. On both sides, there are the mythical creatures – makaras – considered to a hybrid of crocodiles, elephant & fish. There are two figures near his head bearing garlands, and beyond them are two fly-whisk bearers. The Tirthankara has a prabhavali or halo around him, and there are 3 Chhatras over his \
head – divine umbrellas, that signify sovereignty over the 3 worlds. \
\
The right side wall has 2 other images – of Goddess Ambika devi and Veer Manibhadra.
panorama_02161132_1E91_498C_4162_9202CD8BA624.subtitle = As you move further along Cave 23, a small wall recess contains a standing Buddha, draped in robes and sheltered by an umbrella. \
\
Inside the cave shrine, the sculptures unfold in three distinct groups. At the centre sits Buddha, flanked by Bodhisattvas, forming the main focus of worship. On the side walls, Bodhisattvas are accompanied by eight smaller figures—a rich assembly that adds depth and variety to the shrine. \
\
To the left of the shrine entrance, notice a seated Buddha on an ornamented throne, with vidyadharas on either side offering flowers. Just beyond this, a recessed panel framed by three arches shelters a teaching Buddha, flanked by Bodhisattvas. \
\
Along the side wall, you’ll see two groups of five figures. The group on the right follows a simpler, more conventional layout, while the one on the left is more varied—inviting a closer look to appreciate the differences in form and expression.
panorama_933B5818_8338_AD96_41BF_A60D50741876.subtitle = As you move toward the rear of the hall, notice how the shrine sits slightly off-centre. This is because it was carved into the back wall by replacing three earlier gṛihas. The shrine unfolds through a small porch into the garbhagṛiha, or sanctum— framed by two pillars and matching pilasters, richly carved with a tapestry of flowers, vines, and leaves. \
\
On either side of the porch are short entrances to small chambers, likely used by priests or for storage. The doorway to the sanctum is guarded by two Bodhisattvas with their attendants. Inside, a colossal Buddha, flanked by Bodhisattvas and celestial beings, form a serene divine assembly.
panorama_62C4987F_7317_089E_4182_410AB463FDD5.subtitle = As you step into this spacious hall, one of the first things you’ll notice is its asymmetry. On the left wall, two small cells sit slightly higher than the hall floor, flanking a large recessed bench. Their compact size was likely \
intentional, carefully planned to avoid breaking into the massive Chaitya of Cave 18 next door. \
\
On the right wall, you’ll see four cells: three open directly at floor level, while one at the end is raised by a step, adding to the uneven rhythm of the space. \
\
Ahead, on the back wall, is a cell intended to be a shrine as mentioned in the inscriptions. Yet the design seems to have changed mid-way—today, a bench occupies the space instead. Notice the rough stone block in front of the doorway. It was probably meant to become steps but was never finished. Look closely and you’ll spot the early outline of a linga pitha (also called salunkha – the stone base or pedestal of a Shiva linga) carved into it, suggesting a later phase of reuse or religious transition. \
\
In front of this cell runs a short passage framed by two pillars and two pilasters, also having animal capitals. To the right of the doorway stands a striking four-foot-high image of the Buddha in vara mudra, a gesture of blessing—believed to have been added in the 6th century, long after the cave was first excavated.
panorama_77499E22_69A4_18C2_41C5_E5D3EF79D68A.subtitle = At some point, this cave was enclosed by a front wall that has since disappeared. The clues to its former presence still remain—small holes in the ceiling and floor that once held the wooden framework of a doorway. \
\
Inside, three distinct groups of carvings unfold across the walls. The most striking and best-preserved is on the left wall, rich in symbolism and meaning. It depicts the Miracle of Shravasti, when the Buddha is said to have displayed his supreme spiritual powers—an event that transformed Shravasti (in present-day Uttar Pradesh) into one of Buddhism’s most important pilgrimage centres. \
\
The back wall presents a quieter composition, with the Buddha flanked by Bodhisattvas, suggesting a sacred assembly. On the right wall, time has taken its toll—only faint, damaged remnants of the original carvings survive, hinting at what was once a richly adorned space.
panorama_02C3EB1C_1EB2_F9B4_418D_5A6931F2C77C.subtitle = Cave 15, carved around the 6th century CE, marks a shift toward Mahayana Buddhism. It functioned as a shrine and features three prominent sculptural groups depicting the Buddha, Bodhisattvas, and Nāgarājas—reflecting the growing emphasis on devotional imagery during this period. \
\
About 20 feet above, you’ll see Cave 16. A staircase built much later now replaces the original rock-cut steps, but access to the cave itself is currently restricted due to structural weakness. This cave, too, was converted into a Mahayana shrine around 6th CE. It houses three similar groups of images of the Buddha flanked by the Bodhisattvas. You can view archival images of this cave by tapping the spotlight icon. \
\
To the right of the staircase, notice a small rock-cut cistern. Despite its narrow opening, it is surprisingly deep and once held enough water to last the monastic community for several months. \
\
On either side of the caves are unfinished excavations, likely abandoned when flaws or fissures in the rock made further carving unsafe.
panorama_05476891_1E91_588C_41B6_2F2E446A8068.subtitle = Cave 24 is made up of two adjoining cells of unequal size, originally simple dwelling spaces that were later transformed into shrines. \
\
The larger cell on the right features three sculptural groups, one on each wall. Each group centres on a seated Buddha in the teaching pose, flanked by Bodhisattvas and standing Buddhas, with only minor variations in posture and detail. \
\
The smaller cell on the left carries two similar groups of carvings, though the one on the left wall is now partly damaged. Look up as well—the ceiling beam between the two cells is also carved, bearing two small groups of Buddhas in the teaching pose.
panorama_9EE61A03_83C3_AE05_41A2_26D18D692BFB.subtitle = Cave 25 lies further along the path but is currently closed due to damage. Originally a small dwelling cave, it had a veranda and two simple cells of unequal size, though the pillars and walls don't exist now. \
\
What still stands out, however, is the ceiling frieze. A rock band carved to resemble a wooden beam, with four cross-beams, forms its base. The ends of two cross-beams bear the Triratna symbol, while another features two tigers seated back-to-back. Above this runs another beam with rafter-like projections, topped by a two-foot wide decorative frieze. \
\
The frieze is arranged in three distinct bands. The lowest shows animals in full gallop, each followed by a young boy, creating a sense of movement and play. The middle band is a simple rail with three horizontal bars, crowned by a delicate tracery of half-lotus motifs. Along the inner walls, are unusual animal carvings, including a centaur (half human, half horse), an owl, a mouse and a tiger—adding an intriguing touch to this otherwise modest cave.
panorama_0545976B_1E8F_499C_41B0_A0D88C0A051A.subtitle = Cave 5 (to the right of cave 6) is almost completely damaged. It appears to have originally meant to be a dwelling cave – or layana – with 2 cells. The doorways are broken, and there are no inscriptions or sculptures – although traces of pillars & pilasters remain. It appears that due to structural damage, it may have been abandoned & converted into its current form of a cistern, with a hollowed out floor. There appears to be a cell between Caves 5 & 6 – whose partition is now broken. \
\
Cave 6 is also a dwelling cave, with 4 grihas (cells) - 3 in the back & 1 on the right. Even this has been turned into a water reservoir by deepening the floor. It is fronted by a veranda having 2 octagonal pillars & 2 square pillars. The ceiling resembles a wooden structure, with a horizontal flat beam above the pillars supporting 4 cross-beams, which in turn supports rafters – atop which is mounted 2 mouldings & a belt of rail. \
\
Cave 7 is a single cell dwelling cave, with an open doorway & a bench. Like its neighbours, it too seems to have been converted into a water reservoir. \
\
Caves 6 & 7 contain inscriptions that mention that these were donations to the Sangha – the former from a merchant & his family; the latter from a lady ascetic, likely from the donations she herself received & saved.
panorama_0545ACB1_1E8F_788C_4187_FAF9E752DFF0.subtitle = Cave 8 is a small, elevated dwelling cave (layana), with rough cut steps beside a cistern. It comprises a veranda and small inner cell with a bench. Only the upper portions of its original two octagonal pillars and two pilasters survive, as also decorative details such as on the top of the right pilaster. Apart from a rail-pattern frieze running along the top of the veranda, the cave is otherwise plain. An inscription records the donor of the cave, and also a donation of the rent of a nearby field for purposes of distributing clothes to monks. \
\
Cave 9, also elevated, has three cells fronted by a veranda supported by two octagonal pillars and two pilasters. The pillars feature inverted pot-shaped capitals, each crowned by lively carvings of animals in dynamic poses. Despite being rather well-finished, there are no inscriptions here.
panorama_02583791_1EB2_C88C_41B1_7F72A5781281.subtitle = Caves 12, 13, and 14 are a closely clustered group of dwelling caves. They have not weathered well - with the partitions, verandas and ceilings quite damaged. Even so, there is an inscription still visible in the veranda of Cave 12, recording the donation of the cave by a merchant. \
\
Cave 14 is located slightly higher & consists of 3 cells. The walls & partitions are broken; Parts of the front façade, including traces of a rail pattern, can still be made out, along with a damaged pilaster on the left bearing faint ornamental details. \
\
Adjacent to Cave 14, you can see a small recess and a cistern. On the left wall of the recess, the remnants of a relief carving is visible – likely to be that of Buddha, based on the elongated earlobes & earrings. \
\
Just beyond this point, the rock face shows the start of another excavation that was abruptly abandoned, probably when natural fissures in the basalt made further carving unsafe.
panorama_0293A08A_1E8E_C89C_41A6_F12ED7A1A938.subtitle = Just beyond Cave 20, after passing a deep cistern on the right, you reach this lesser-known cave. Its roughly finished walls and ceiling, along with the uneven height and width of the hall, immediately set it apart from the more refined viharas nearby. A flat open court spreads out in front, while the pillars and pilasters remain unfinished—square at the ends and octagonal in the middle. \
\
Notably, there are no cells or benches, ruling out its use as a dwelling or dining hall. Given its proximity to the cistern, the cave may have served a practical purpose—perhaps as a kitchen, a storage space, or even a grain distribution centre.
panorama_0545FE4E_1E8F_5B94_41B6_521B08555C55.subtitle = Located at a slightly lower level than it's neighbour, this was originally a dining hall – called Sattra. Cracks in the ceiling suggest that it became waterlogged - & therefore was later converted into a water reservoir by digging up the floor further. The cave has a veranda and a large 20' square hall, with windows flanking the door having a lattice framework. \
\
The veranda has two pillars and pilasters, their capitals richly carved with elephant processions. The ceiling projecting beyond the capitals are rock-cut to imitate wooden rafters. Note how the alternating ends of the rafters have faces of women engraved on them – breaking the monotony & adding a delicate touch! \
\
You may be wondering why these caves so closely resemble wooden structures—with carved beams, rafters, pillars, and ribbed roofs. It's because before this era, architecture in India was predominantly based on wooden structures. Excavating in rock was fairly new, so the artisans just replicated familiar wooden designs in stone. This transition —from fragile timber to enduring rock—played a crucial role in preserving Buddhist art, architecture, and cultural memory for centuries to come.
panorama_6D15C7B7_7CD9_A29A_41C3_8EBD6338AADD.subtitle = Perched about 15 feet above Chaitya Cave 18, Cave 20 opens out as a spacious vihara. Its veranda is laid out with a small cell on the left and a wide benched recess on the right, and is framed by four pillars and two three-quarter pilasters. \
\
These pillars are noticeably plainer than those elsewhere in the complex. Octagonal shafts rise from pot-shaped bases set on pyramidal plates, capped by inverted pot capitals that support a rock band carved to resemble a wooden beam. Unlike many neighbouring caves, animal capitals are entirely absent, giving the façade a restrained, almost austere character. At the base of the veranda, a pattern of vertical bars adds a simple decorative touch. \
\
Alongside the main grooved doorway, flanked by two windows, a smaller side entrance on the left also leads into the hall—an unusual feature. \
\
A revealing inscription in the veranda tells us that the cave was begun by an ascetic named Bopaki, but remained \
unfinished for a long time. It was later completed through the patronage of Vasu, wife of a General Bhavagopa in the 7th year of Yajna Sri Satakarni (200 CE). Studies of the interior reveals that ~400 years later, the cave was excavated deeper & modified into the impressive Mahayana shrine that can be seen today.
panorama_02B7F53C_1E8F_49F4_41B9_4F334BDC7A14.subtitle = Rock cut steps lead to into this rather quaint, elevated dwelling cave consisting of a veranda with a small seat at one corner. There are no pillars here, but a simple facade above the veranda consisting of an ornamental \
rail above a horizontal beam and mouldings. Rafter like ends project from the beam. An inscription close to the doorway, quite well cut & preserved, records this cave as a gift of Ramanayaka, the son of a writer Sivamitra. \
\
Around the 11th CE, this cave was occupied by Jain monks who have marked their workmanship through the relief images that we can see inside.
panorama_022A082A_1E8F_479D_41A7_F28FC70D4799.subtitle = Roughly cut rock steps lead up to Cave 22, a small cave set slightly higher on the hillside and fronted by an open veranda. Much of the cave remains unfinished—the side walls and interior surfaces were never fully dressed. Yet, details like peg holes and door grooves reveal its intended use as a dwelling cave, likely sheltering monks despite its \
incomplete state. \
\
Beyond this point, up to what is now Cave 23, you can spot early excavation attempts in \
the rock face. These were eventually abandoned, most likely because the stone here \
proved too fractured or unsuitable for further carving.
panorama_05459A03_1E8F_5B8C_41B0_FD74531734B7.subtitle = The 45'x41' hall has 18 grihas (cells – or living quarters) - 5 on the left, 6 at the back & 7 on the right – fronted by a bench. The cells are very simple, as expected, with simple doorways and a bench. Grooves are etched at the edges for the doors. You may notice small holes in the cells – these were used to place rods to hang their robes. \
\
The holes in the bench are more modern – probably for tying cattle in the rains; while the holes in the floor were for husking grain. \
\
A stupa (shrine to a relic) carved in relief with significant details and ornamentation adorns the centre of the back wall - a beautifully tiered composition rich in symbolic detail. \
\
The Hinayana & Mahayana branches of Buddhism differ in their goals & the path, and this reflects in their objects of worship. Hinayana focuses on individual liberation, considering Buddha as a human teacher – they thus worship symbols associated with him such as the Stupa, Dharmachakra etc. As can be seen here. Mahayana, on the other hand, focuses on universal enlightenment for all, considers Buddha as divine and thus they worship the images of Buddha & Boddhisattvas.
panorama_B1CEBE7E_96CD_B47B_41C6_A2929350B9B1.subtitle = The Trirashmi complex consists of 25 caves, though two are currently inaccessible due to damaged pathways. \
\
Architecturally, we can see the following types of caves here: \
Layana (marked here in orange): Simple caves used for residence or solitary \
meditation. \
Vihara (Caves 3, 10, 17,19 & 20, marked in blue): monasteries with multiple dwelling \
grihas (or cells) arranged around a central hall meant for community gathering and \
prayers. \
Sattra (Cave 4, Green): Communal dining hall. \
Chaitya (Cave 18, Red): sacred shrine or prayer hall, primarily used for worship, \
meditation and congregation, often featuring a stupa at its core. \
\
Most caves here are layanas or viharas – reflecting the residential nature of this cave \
complex. \
\
We enter the cave complex from the ASI ticket counter, located opposite Cave 10. To \
keep things simple, we’ll explore the caves in their numbered sequence, starting with Cave 1, to your far right (west) as you enter. \
\
Do note—the caves were not excavated in this order. The numbering was assigned later by conservation authorities for ease of reference. \
\
As you explore at your own pace, use the arrows to move through the caves sequentially. You could also use the carousel or map anytime to jump directly to any cave that catches your interest.
panorama_02A3BC06_1EB1_5F94_41B8_AF7E931DF243.subtitle = The interior is austere yet imposing - a sharp contrast to the richly carved façade \
outside. This hall, measuring roughly 40 by 22 feet, draws your eye straight ahead— \
along a row of pillars leading to the large stupa anchoring the far end. \
\
Near the entrance stand two plain, flat columns, likely once supporting a screen \
that could be drawn for privacy. Beyond them, the space opens into a graceful \
rhythm of five octagonal pillars on each side, with another five set behind the \
stupa, slightly away from the wall. Together, they create a clear pradakshina path, \
allowing devotees to circumambulate the stupa in ritual devotion. \
\
Look closely at the side pillars: their bases are carved like water pots resting on \
pyramidal stacks of plates. Notice an intriguing detail—the pillars on the right \
have rough square blocks, possibly intended as capitals, while those on the left \
do not. Above the pillars, the rock has been carved to resemble a wooden beam. \
From here, the wall rises about four feet before curving smoothly into a domed ceiling. \
\
Note the squarish holes on the face of the wall – they're socket holes for fastening \
wooden structural elements – such as ribs of traditional wooden architecture.. Beyond decoration, they would have played a practical role too, helping absorb sound and reduce echoes, lending the hall a calmer, more contemplative atmosphere.
panorama_39D44A17_1E91_5BB3_41BA_A2EE114DE165.subtitle = The long veranda has a beautiful main doorway, flanked by 2 smaller doorways & windows. Typically a symmetry is observed in the cave designs. \
Here however, there is a cell on the far right end, but none on the left – probably because of the adjoining cave 4 and cistern (water pool) - it is likely that it was excavated before Cave 3. \
\
On the capitals of the pillars on the inside, just like the exterior, you can see pairs of various animals. \
\
A beautiful torana (ornamental doorway) welcomes you into the vihara, with two 6'2" towering dwarapalas (guards) flanking it. Around the doorway, there are 19 squarish panels: the 7 on top contains depictions of Buddhist symbols & monks; the 6 on each side contain very intriguing depictions of two different stories – with men & women shown in various animated scenarios. There are diverse views on what these depictions illustrate – yet, they seem to indicate the morality of a married couple, probably indicating to the social scenario prevalent in those days.
panorama_AFE5DA9C_BF9D_993D_41D8_403957715D2F.subtitle = The shrine on the right, the one you reach immediately after walking up, is the most ornate in this group. On the porch, Buddha figures grace the side walls, while Boddhisattvas Padmapani and Vajrapani stand guardon either side of the entrance. \
\
Look up as well—tucked discreetly beneath the ceiling, just above the pillars on the inner face of the porch, runs a beautifully carved frieze that is richly detailed. \
\
Inside the cave shrine proper, the side walls depict Buddha’s Miracle at Shravasti, while the central composition presents Buddha in majesty, flanked once again by Padmapani and Vajrapani. The second, open shrine, continues this visual narrative, with a group of Buddha and Bodhisattvas carved on the back wall and right wall, while the left wall is filled with miniature Buddha images, adding rhythm and density to the space. Beside this shrine is a small half-cell, modest in size but striking in detail. Here, a seated Buddha appears on a prominent lion throne, with Vidyadharas flying above, heightening the sense of celestial presence. Even the wall recesses around this area are animated with seated Buddha figures.
panorama_0545BE2F_1E8F_DB94_41A1_230DA1BFBB68.subtitle = This cave is an example of the transition from Hinayana to Mahayana traditions of Buddhism. \
It began as a simple dwelling cave from around 10 BCE. By 400–500 CE, it was transformed into a Mahayana Buddhist shrine, reflecting the shift towards image worship in later Buddhism. \
\
Originally, the cave had a veranda and two small rear cells, but the Mahayana sculptors broke through the back wall and merged the cells to form a single hall, adorning it with impressive rock-cut imagery. The frieze above the entrance has an old, weather worn rail pattern. A faint & partial inscription here refers to the 6th year of the \
Satavahana King Pulumayi, placing it around 2nd CE. \
\
The recesses inside have Buddha in seated positions, flanked by Bodhisattvas (enlightened beings who choose to delay their own \
liberation (nirvana) to help others achieve enlightenment): Padmapani on his left & Vajrapani on his right. \
\
The group of images are largely similar, with minor differences in depiction. A detailed description is provided in the spotlight for the group of images in the rightmost recess, with differences & nuances highlighted in the other 2 spotlights.
panorama_054518BE_1E8F_D8F4_41A2_6B5B79C2B0CF.subtitle = This is an unfinished cave, and consists broadly of just a veranda and a hall. \
\
The 4 unfinished plain blocks and smoothened sides indicate intentions of having 4 pillars and 2 pilasters (a column attached to the wall) on the side. The beginnings of cells can be seen on either side of the veranda. \
\
An unfinished, but rather well carved frieze (decorative band of sculptures or relief carvings) forms the upper part of the veranda. \
\
In contrast to the detailed frieze, the door & two windows lead to the rudimentary hall. \
\
And a quick note: Some of the graffiti & scribblings you may see here are the result of vandalism. This monument has survived centuries, and its future depends on collective care. We encourage you to respect the site, keep the surroundings clean, and if comfortable, gently discourage any activity that may damage it for future generations.
panorama_0545A879_1E8F_387C_41AA_A56F6A16BF47.subtitle = This is one of the largest and oldest cave here, fronted by a grand façade and an elaborate torana. This vihara (dwelling cave along with a congregation hall) was commissioned by Satavahana King Pulumayi, the son of King Satakarni & Queen Vasithi, on the orders of his grandmother Queen Gautami Balasri – and is named Devi Leni in her honour. \
\
The cave has 3 main parts – veranda, main hall and grihas (cells or rooms). \
\
The front of the cave is sculpted to resemble a wooden structure – with a structure built of beams & rafters. \
\
The 6 octagonal pillars arising from a long bench in the veranda are capped by elaborate capitals having animals carved on all sides. Above the pillars, there is an elaborate frieze with an ornamental rail and a scroll of creepers, containing smaller carvings - numbering almost 29! - of leaves & a variety of animals. \
\
Below the pillars (the lower façade) is an ornate rail, with carvings of beams & rafters. The 6 massive figures – who are dramatically shown slightly hunched over and depicted as carrying the cave on their shoulders - are the celestial beings called Bharvahaks. \
\
The back wall of the veranda contains several inscriptions, the most fascinating ones being elaborate tributes to the illustrious King Satakarni.
panorama_68DB417C_7841_D55D_41CE_38E0E4C4D759.subtitle = This is the oldest cave in this cluster, dating back to around 150–110 BCE. Designed as a small vihara, it unfolds in three clear sections—a veranda, a central hall, and six small dwelling cells (grihas) for monks. \
\
The veranda is framed by two pillars and pilasters, topped by a rock band carved to resemble a wooden beam. Look closely at the pillars here—they are distinct from others in the complex, with square ends, octagonal shafts, and delicate half-flower carvings that mark an early phase of rock-cut design. \
\
The windows feature stone lattice screens, allowing light and air while maintaining seclusion. Above the right window, a two-line inscription in Pali offers a historical anchor. It records that “when Krishna of the Satavahana family was king, this cave was made by the great śramaṇa minister (indicating a minister for religious affairs), an inhabitant of Nashika.” \
\
This historical record from over 2200 years ago beautifully connects royal patronage, monastic life, and the early history of Nashik—making this cave a true starting point of the story here.
panorama_6C775CA0_7DDF_E6B7_41DC_699576EE09CA.subtitle = This spacious vihara, stretching nearly 40 × 45 feet, began life much like Cave 3, originally planned with six cells on each side. Over the centuries though, it was cut deeper into the rock, new cells were added, and the rear wall was dramatically transformed into a Mahayana shrine. Evidences of these are in the inscriptions, shifting styles and fresher chisel marks that break the visual rhythm of the original design. \
\
A long stone bench runs along the front of the cells, though it trails off unfinished near the left doorway—perhaps the work was halted mid-task. One cell on the right, larger than the rest, also seems to have been abandoned before completion, while most others remain simple and austere. \
\
At the heart of the hall, note the slightly raised platform - it may have been the seat of the chief monk or a spot for \
sacred objects during gatherings. Nearby, two circular stone discs with central holes catch the eye. Used in modern times for grinding grain, they too may once have formed part of ritual or ceremonial settings. \
\
Over the doorway of the last cell, an inscription mentions the cave to be a gift of Mamma, a female worshipper.
panorama_05E5D8F0_2193_D88C_41AD_434D378C68A8.subtitle = This vihara is also famous as Nahapana Vihara, honouring the contributions from the 1st or 2nd century ruler Nahapana & his family, recorded in majority of the inscriptions here. \
\
One of the largest viharas at the site, it closely resembles Cave 3 in layout – with a veranda, hall and accompanying grihas (cells). While the façade is simpler compared to Cave 3, it is equally well carved and ornamented. \
\
The veranda has small cells at both ends, and is fronted by 4 free-standing octagonal pillars and two pillars attached to the pilasters (or three-quarter pilasters). Just under the ceiling in the veranda, the entire 40' back wall is filled with inscriptions – they're the longest in these caves. These inscriptions, as also above the doorway of the cells, are mostly in Prakrit & Sanskrit, and are well cut and clearly visible. \
\
Caves 10 & 11 reveal a fascinating religious transition, showing how Jainism reshaped earlier Buddhist spaces here. \
\
Here, on the left wall, a striking figure of Bhairava—the Jain guardian spirit—commands attention. Inside, too, the influence of Jainism is evident, reflecting the site’s evolving religious layers.
panorama_024C7795_1EB7_48B4_41A1_CC99C0CA7662.subtitle = We’ve now arrived at the most iconic cluster of caves in the complex. At its heart stands a Chaitya or Buddhist prayer hall (Cave 18) —the spiritual focal point of this site. We’ll explore this remarkable cave first, before \
moving on to Caves 17, 19, and 20. \
\
The grand façade of Cave 18 is instantly recognizable, crowned with multiple horseshoe-shaped arches and framed by the pillars of the neighboring caves. This dramatic composition has become one of the defining \
images of Pandu Leni. \
\
To the left of the doorway, you can still make out a heavily eroded yaksha figure. Look closely and you’ll \
notice a lotus in his right hand, while his left once held the end of his waistband. The corresponding figure on \
the right side of the entrance has sadly been lost to time. Above the doorway, a lattice-patterned panel survives, topped by a finely carved relief featuring animals and the Buddhist Triratna symbol. \
\
The repeating horseshoe arches follow a unified design, complete with ribbed undersides, carved to \
resemble structural supports. The central arch bears grooves that once held a wooden window frame, \
allowing light and air into the hall. Above, layered rail motifs, miniature stupas, and arches come together to \
create the richly ornamented upper façade.
panorama_05472FC4_1E8E_D895_41B7_4BC3F5AB0203.subtitle = What you see here was once five or six modest dwelling caves, later transformed around 6th CE into a vast, irregular hall and a Mahayana shrine by breaking down the walls between individual cells. Today, the complex contains three shrine groups—two enclosed within caves and one set in a more open cell. Even the exposed walls \
are adorned with sculptures carved into recesses. \
\
At the far right, a small cave shrine stands out, complete with a porch and garbhagriha (sanctum) and a large cistern just in front. Its walls—both in the porch and sanctum—are densely covered with intricate carvings. Beside it lies what was likely a two-room cell; the bench of the first room survives, though most of its walls were later \
removed. The remaining side and back walls continue the visual narrative with carved images. \
\
Moving further left, you encounter another richly carved cave shrine, its walls entirely filled with sculpture. Additional figures appear in recesses along the side walls, creating a layered, immersive sacred space that reflects the flourishing of Mahayana devotion here. \
\
Let's start exploring from the right most cave shrine.
panorama_02ED8D46_1E93_3994_41B0_F574E2CE1F98.subtitle = A warm welcome to Trirashmi Caves, more popularly known as Pandu Leni or Pandav Leni. \
\
These ~200 steps winding through the lush green slopes are a bridge to the past! \
To the 2000 year old Buddhist caves – among the earliest in Western India. They serve as remarkable examples of early Buddhist rock-cut architecture. The caves cut into the rock weren't just monuments - but living spaces for residence, art and prayers. The finely carved sculptures of Buddha, Bodhisattvas, and stupas, showcase rich artistic traditions. Besides these, there are innumerable, rather well-preserved inscriptions that provide valuable insights into ancient Indian history, society, culture & religion. \
\
As you explore these caves, you'll be able to appreciate the rise & decline of different spiritual traditions among the sects of Buddhism, Jainism & Hinduism. \
\
It may be interesting to note that the misnomer Pandav Leni and local legends associate these caves with the Pandavas of Mahabharata – however, there is no evidence that this is accurate. \
\
When you stop for a break in the ~20 min climb to the ASI ticketing counter, click on the Next arrow for a quick context setting background.
### Title
video_F0EF11EE_E5E1_C959_41C6_4CA605BB0F91.label = 01 Welcome
video_F46F8964_E5AF_3949_41E9_B373FA161162.label = 01a Intro Video
video_F9FE8AC3_E5A1_3B48_41D1_3536BAA8F12F.label = 02 Layout
video_F08207CA_E5E1_C959_41E1_ED40EA648C15.label = 03 Cave01
video_F00FA456_E5E0_CF48_41E3_4D5582EFBA4E.label = 04 Cave02
video_F3CDDE13_E5E3_DACF_41E8_89F435B202BB.label = 05 Cistern
video_F3C634B0_E5E0_CFC9_41CD_6CDC266F7E11.label = 06 Cave03
video_F3CEC32F_E5E1_4AD7_41AE_2C2141D08802.label = 07 Cave03 Entrance
video_F390EBF2_E5E1_3948_41A9_71319465D3B5.label = 08 Cave03 Interior
video_F3AECD82_E5E0_D9C9_41E1_A12D08D3EEC0.label = 09 Cave04
video_F3EE641C_E5E0_CEF9_41E2_971E411A726D.label = 09 Cave04
video_F32EBB8E_E5EF_F9D8_41D5_BDABDA1AA4C7.label = 10 Cave5to7
video_C5CC8C7D_E6A0_DF38_41CC_71C77BAD5DFE.label = 11 Caves8n9
video_C4489FC9_E6A0_D95B_41D8_BE04C3DB6044.label = 12 Cave10
video_D0627305_E6E1_4AC8_41E4_A707A0005167.label = 12a Cave10 interior
video_C448628F_E6A0_CBD7_41B3_58C3D49D05F2.label = 13 Cave11
video_DD62E04B_E6A7_475F_41E4_E9AC7DD72984.label = 13a Cave11 Interior
video_C448553E_E6A0_C939_41B7_200A82E53F35.label = 14 Caves12to14
video_C448581C_E6A0_C6F8_41DD_EC71D3D93767.label = 15 Cave15
video_C448BAE3_E6A3_3B48_41DC_A7841468DFB6.label = 16 Cave15 interior
video_C4484D7C_E6A3_3939_416C_EE566F263CCA.label = 17 Cave16
video_C448E036_E6A3_46C9_41E1_6E309712C800.label = 18 Cave17
video_C448D2DC_E6A3_4B79_41E8_09816405CA61.label = 19 Cave17 interior
video_F383BBC7_EB2C_57FD_41D5_B5C9F16346A4.label = 20 Cave18
video_C448E83E_E6A3_4738_41E9_DB5BE6D1E1D7.label = 21 Cave18 Interior
video_C4489AD5_E6A3_5B48_41CD_381FA2A7897E.label = 22 Cave19
video_C448A02C_E6A3_46D8_41E9_AF0646B22200.label = 23 Cave20
video_C4488D8C_E6A3_59D8_41C2_EA029C19E06B.label = 23 Cave20 Interior
video_C448B2C6_E6A3_4B49_41CB_3E5F9D1E4D94.label = 24 Cave20 Shrine
video_C44B455A_E6A3_4979_41EA_4005DE662F0B.label = 25 Cave21
video_C448A81F_E6A3_46F7_41C6_510E093B75C9.label = 26 Cave22
video_C44B7AB6_E6A3_7BC8_41BF_4C944D47FC80.label = 27 Cave23
video_CAF6C0FE_ED6C_D191_41D0_E44E9731C265.label = 27a Cave23 - Right
video_C8EA4FDC_ED6C_4F93_41D3_BC234B67D1A2.label = 27b Cave23 - Center
video_C44B4D85_E6A3_79CB_41D3_212749137645.label = 28 Cave24
video_C44B2052_E6A3_4749_41CB_8B82CEAC098F.label = 29 Cave25
video_C44B52FF_E6A3_4B37_41B9_3010291B6FAE.label = 30 Heading Back
panorama_054518BE_1E8F_D8F4_41A2_6B5B79C2B0CF.label = Cave 01
panorama_0545BE2F_1E8F_DB94_41A1_230DA1BFBB68.label = Cave 02
panorama_0545A879_1E8F_387C_41AA_A56F6A16BF47.label = Cave 03
panorama_39D44A17_1E91_5BB3_41BA_A2EE114DE165.label = Cave 03 Entrance
panorama_05459A03_1E8F_5B8C_41B0_FD74531734B7.label = Cave 03 Interior
panorama_0545FE4E_1E8F_5B94_41B6_521B08555C55.label = Cave 04
panorama_05E5D8F0_2193_D88C_41AD_434D378C68A8.label = Cave 10
panorama_054551A2_1E8F_488C_4182_9713877B4A6E.label = Cave 10 Interiors
panorama_02B7F53C_1E8F_49F4_41B9_4F334BDC7A14.label = Cave 11
panorama_07DDA1C6_22B1_4894_41BA_C57113DB6A25.label = Cave 11 Interior
panorama_02583791_1EB2_C88C_41B1_7F72A5781281.label = Cave 12 to 14
panorama_77499E22_69A4_18C2_41C5_E5D3EF79D68A.label = Cave 15 Interior
panorama_02C3EB1C_1EB2_F9B4_418D_5A6931F2C77C.label = Cave 15, 16
album_9FE2C27F_8C60_2FEA_41CB_76FECFEE83F6.label = Cave 16
panorama_0523FD1E_1EB2_D9B4_419A_995FC8349E14.label = Cave 17
panorama_62C4987F_7317_089E_4182_410AB463FDD5.label = Cave 17 Interiors
panorama_02A3BC06_1EB1_5F94_41B8_AF7E931DF243.label = Cave 18
panorama_68DB417C_7841_D55D_41CE_38E0E4C4D759.label = Cave 19
panorama_6D15C7B7_7CD9_A29A_41C3_8EBD6338AADD.label = Cave 20
panorama_6C775CA0_7DDF_E6B7_41DC_699576EE09CA.label = Cave 20 Interiors
panorama_933B5818_8338_AD96_41BF_A60D50741876.label = Cave 20 Shrine
panorama_0293A08A_1E8E_C89C_41A6_F12ED7A1A938.label = Cave 21
panorama_022A082A_1E8F_479D_41A7_F28FC70D4799.label = Cave 22
panorama_05472FC4_1E8E_D895_41B7_4BC3F5AB0203.label = Cave 23
panorama_02161132_1E91_498C_4162_9202CD8BA624.label = Cave 23 Center
panorama_AFE5DA9C_BF9D_993D_41D8_403957715D2F.label = Cave 23 Right
panorama_05476891_1E91_588C_41B6_2F2E446A8068.label = Cave 24
panorama_9EE61A03_83C3_AE05_41A2_26D18D692BFB.label = Cave 25
album_9FE2C27F_8C60_2FEA_41CB_76FECFEE83F6_1.label = Cave16 - Central Group
album_9FE2C27F_8C60_2FEA_41CB_76FECFEE83F6_0.label = Cave16 - Left Group
album_9FE2C27F_8C60_2FEA_41CB_76FECFEE83F6_2.label = Cave16 - Right Group
panorama_0545976B_1E8F_499C_41B0_A0D88C0A051A.label = Caves 05 to 07
panorama_0545ACB1_1E8F_788C_4187_FAF9E752DFF0.label = Caves 08, 09
panorama_024C7795_1EB7_48B4_41A1_CC99C0CA7662.label = Caves 17 to 20
panorama_0545E38C_1E8F_C894_417B_6FE75ED8CB4C.label = Cisterns
photo_01A1B88C_1E93_D894_41AC_96D326B252C4.label = HS03 C01-1
photo_3DE9172E_1FF2_C994_41B9_495EBD8A4D91.label = HS04 C01-2
photo_3C007154_1F93_49B4_41BB_450940643749.label = HS05 C02-1
photo_3CBD8910_1F97_598C_41BF_1B52D17F5709.label = HS06 C02-2
photo_3C3B64AF_1FB3_4894_41AF_7A23708B506A.label = HS08 C03-1
photo_3C830C88_1FB1_389C_41BE_F7A22D851A7F.label = HS09 C03-2 Lower facade
photo_712E1BE7_63E2_8A77_41B8_CAAFE6B541C0.label = HS10 C03-3 Left Pillars
photo_3B6B90D8_1FB2_C8BC_4188_D7C81CBC94F8.label = HS11 C03-4 Right Pillars
photo_3BDBAE32_1F93_3B8D_41B1_AE3B0BEA5459.label = HS12 C03-5 Pilasters
photo_2FCC9858_0C9F_2EFE_418F_6267AEE929C4.label = HS14 C03-7 LeftStoryPanel
photo_2F1E34A3_0C9F_6652_4196_FF896C04EE7F.label = HS15 C03-8 RightStoryPanel
photo_20F3ED4D_0C9D_66D6_4164_917B68F4000D.label = HS16 C03-9 TopPanel
photo_050FD19C_21B6_C8B5_41BA_16BAE2AFD044.label = HS18 C03-11 Chaitya
photo_04AE773B_21B3_C9FC_419B_7B9CC0039A41.label = HS19 C04-01 Capitals
photo_05E2CEE8_218F_D89C_41A1_4A6C8C4C7202.label = HS23 C09-01 Capitals
photo_05822EE3_2197_788C_41B1_507B981BA180.label = HS24 C10-1 Bhairava
photo_066CFFE5_2193_D894_4144_04DF9A9A5B81.label = HS25 C10-2 Pillars
photo_06CCDA5F_219F_FBB4_41B2_F0BC104E5C71.label = HS26 C10-3 Inscriptions
photo_6C51F91B_7DC9_EF89_41D9_3F2EF89AECFB.label = HS26a C10-4 Game
photo_06AC93D4_2271_C8B4_41B1_0D8832DA6FD8.label = HS27 C10-4 Bhairava
photo_FE8994BF_E8C6_9B6F_41D6_F1A32D352D18.label = HS27a C10-5 Rise n Fall
photo_081C93F5_2191_4877_41B9_8F5756FC4918.label = HS28 C10-5 Inner Capitals
photo_7076FB29_687C_18CF_41D1_FA10FBF9C4DB.label = HS29 C11-1 Rishabhadeva
photo_7088993A_687C_38CD_41C6_8C75DAA0E502.label = HS30 C11-2 Ambika
photo_7CF87809_6D79_E4B7_41D8_E7081BED1E23.label = HS31 C15-1 LeftBuddha
photo_7F375A65_6DCB_257C_41CD_7DF836047925.label = HS32 C15-2 CentreBuddha
photo_7FCE169F_6DCB_EDCB_4178_6A20D0FBFB6C.label = HS33 C15-3 RightBuddha
photo_67D8BFE4_72C7_3B7D_41D5_1576455C5062.label = HS34 C17-1 OuterCapitals
photo_674E1053_72C9_2554_41CD_1EC4A401A931.label = HS35 C17-2 InnerCapitals
photo_7F7356A2_6D4B_2DF4_41D6_3913FF4FEAF0.label = HS37 C18-1 Motif
photo_7E9EC1D1_6D59_2757_41D5_684577CE5E63.label = HS38 C18-2 Facade
photo_7B988FF6_6ED9_1B5D_41D5_BA9F4EBE0363.label = HS40a C18-5 Stupa elements
photo_6D55DF3D_7CDF_638E_41A4_2601A6F2FD99.label = HS41 C19-1 Interiors
photo_921044DE_8242_BA3F_41DF_3C6DCB8B2DA1.label = HS42 C20-1 Pillar
photo_9364485D_8243_EA3D_41DF_D82E57A75CB8.label = HS43 C20-2 Entrance
photo_9040F94E_8242_AA1F_418B_544480A69C8A.label = HS44 C20-3 Sanctum
photo_97CF9467_82C2_DA0D_417A_E274A8203416.label = HS45 C23-1 Entrance
photo_965C049E_82C3_DA3F_41BE_48B50D6CDBDD.label = HS46 C23-2 CeilingPanel
photo_94FF49FE_82C6_ADFF_41C7_8CF17506BA98.label = HS47 C23-3 Cave shrine
photo_940E7ECF_82C2_E61D_41C4_39164BE6E45B.label = HS50 C23-6 Rt group
photo_9707C397_82C2_DE0D_41CE_665D30E571AF.label = HS51 C23-7 Lt group
photo_9F01C7FC_83C1_A603_41BE_CB8A09988A73.label = HS52 C24-1 RtInterior
photo_9A8A9169_824E_7A05_41DD_A56228915610.label = HS52 C24-3 Ceiling
photo_718147C5_69A4_1747_41D5_F871F40B5C32.label = HS55 Boddhisattva
photo_7E57514A_6D4E_E4B5_41DA_64F107D3278A.label = HS56 Triratna
photo_947E7321_8DE0_2D19_41B0_0E71ADF7406A.label = HS60 Buddha's Throne
panorama_9749801C_8788_4E86_41D3_B78B8F8E7EFA.label = Heading back...
photo_EE94D68A_F529_56B1_41B5_76294C2C6FFA.label = IC11 Help Screen
panorama_B1CEBE7E_96CD_B47B_41C6_A2929350B9B1.label = Layout
video_EB63FDE5_F885_5A10_41DE_03C8BFB8943D.label = Loading 2
map_51D10C82_5E7B_C46A_4190_D92C7CCFEC9A.label = Pandu Leni Map 1
video_A3055656_E661_4B48_41EB_64BC085B1EBE.label = V02 rise-fall-buddhism-final
panorama_02ED8D46_1E93_3994_41B0_F574E2CE1F98.label = Welcome
### Video
videolevel_22379125_0CB5_3E57_419D_49DEB2CCD4CA.url = media/video_A3055656_E661_4B48_41EB_64BC085B1EBE_en.mp4
videolevel_22379125_0CB5_3E57_419D_49DEB2CCD4CA.posterURL = media/video_A3055656_E661_4B48_41EB_64BC085B1EBE_poster_en.jpg
videolevel_22522D3E_0CB5_26B5_41A1_78156BEEB1C8.url = media/video_C4484D7C_E6A3_3939_416C_EE566F263CCA_en.mp4
videolevel_22522D3E_0CB5_26B5_41A1_78156BEEB1C8.posterURL = media/video_C4484D7C_E6A3_3939_416C_EE566F263CCA_poster_en.jpg
videolevel_225B9E7B_0CB5_22B3_4199_962C7B41A413.url = media/video_C448553E_E6A0_C939_41B7_200A82E53F35_en.mp4
videolevel_225B9E7B_0CB5_22B3_4199_962C7B41A413.posterURL = media/video_C448553E_E6A0_C939_41B7_200A82E53F35_poster_en.jpg
videolevel_22588E06_0CB5_2255_4154_346D23144ED3.url = media/video_C448581C_E6A0_C6F8_41DD_EC71D3D93767_en.mp4
videolevel_22588E06_0CB5_2255_4154_346D23144ED3.posterURL = media/video_C448581C_E6A0_C6F8_41DD_EC71D3D93767_poster_en.jpg
videolevel_22269EDD_0CB5_23F6_417C_FCF8253F1E66.url = media/video_C448628F_E6A0_CBD7_41B3_58C3D49D05F2_en.mp4
videolevel_22269EDD_0CB5_23F6_417C_FCF8253F1E66.posterURL = media/video_C448628F_E6A0_CBD7_41B3_58C3D49D05F2_poster_en.jpg
videolevel_22413AB4_0CB5_23B5_41A0_7CDF3D7BA91A.url = media/video_C4488D8C_E6A3_59D8_41C2_EA029C19E06B_en.mp4
videolevel_22413AB4_0CB5_23B5_41A0_7CDF3D7BA91A.posterURL = media/video_C4488D8C_E6A3_59D8_41C2_EA029C19E06B_poster_en.jpg
videolevel_224C0B19_0CB5_227F_4190_4C461307112F.url = media/video_C4489AD5_E6A3_5B48_41CD_381FA2A7897E_en.mp4
videolevel_224C0B19_0CB5_227F_4190_4C461307112F.posterURL = media/video_C4489AD5_E6A3_5B48_41CD_381FA2A7897E_poster_en.jpg
videolevel_2221CF40_0CB5_22CD_418E_B96766CBF294.url = media/video_C4489FC9_E6A0_D95B_41D8_BE04C3DB6044_en.mp4
videolevel_2221CF40_0CB5_22CD_418E_B96766CBF294.posterURL = media/video_C4489FC9_E6A0_D95B_41D8_BE04C3DB6044_poster_en.jpg
videolevel_2247EA50_0CB5_22CE_4195_46EFBC47DE8B.url = media/video_C448A02C_E6A3_46D8_41E9_AF0646B22200_en.mp4
videolevel_2247EA50_0CB5_22CE_4195_46EFBC47DE8B.posterURL = media/video_C448A02C_E6A3_46D8_41E9_AF0646B22200_poster_en.jpg
videolevel_227EB924_0CB5_2E56_4198_FAA6882713D0.url = media/video_C448A81F_E6A3_46F7_41C6_510E093B75C9_en.mp4
videolevel_227EB924_0CB5_2E56_4198_FAA6882713D0.posterURL = media/video_C448A81F_E6A3_46F7_41C6_510E093B75C9_poster_en.jpg
videolevel_2244D9EC_0CB5_21D5_419F_235AB3ADDBDC.url = media/video_C448B2C6_E6A3_4B49_41CB_3E5F9D1E4D94_en.mp4
videolevel_2244D9EC_0CB5_21D5_419F_235AB3ADDBDC.posterURL = media/video_C448B2C6_E6A3_4B49_41CB_3E5F9D1E4D94_poster_en.jpg
videolevel_225D3DA2_0CB5_2652_419E_43EDCEF54B95.url = media/video_C448BAE3_E6A3_3B48_41DC_A7841468DFB6_en.mp4
videolevel_225D3DA2_0CB5_2652_419E_43EDCEF54B95.posterURL = media/video_C448BAE3_E6A3_3B48_41DC_A7841468DFB6_poster_en.jpg
videolevel_2255BC44_0CB5_26D5_419B_DBDA585122E5.url = media/video_C448D2DC_E6A3_4B79_41E8_09816405CA61_en.mp4
videolevel_2255BC44_0CB5_26D5_419B_DBDA585122E5.posterURL = media/video_C448D2DC_E6A3_4B79_41E8_09816405CA61_poster_en.jpg
videolevel_2250FCDA_0CB5_27FD_419E_061A0EC96302.url = media/video_C448E036_E6A3_46C9_41E1_6E309712C800_en.mp4
videolevel_2250FCDA_0CB5_27FD_419E_061A0EC96302.posterURL = media/video_C448E036_E6A3_46C9_41E1_6E309712C800_poster_en.jpg
videolevel_224F9B7C_0CB5_22B5_4180_2FCF31DAC772.url = media/video_C448E83E_E6A3_4738_41E9_DB5BE6D1E1D7_en.mp4
videolevel_224F9B7C_0CB5_22B5_4180_2FCF31DAC772.posterURL = media/video_C448E83E_E6A3_4738_41E9_DB5BE6D1E1D7_poster_en.jpg
videolevel_2276C7F9_0CB5_21BF_4159_0E847FAB7452.url = media/video_C44B2052_E6A3_4749_41CB_8B82CEAC098F_en.mp4
videolevel_2276C7F9_0CB5_21BF_4159_0E847FAB7452.posterURL = media/video_C44B2052_E6A3_4749_41CB_8B82CEAC098F_poster_en.jpg
videolevel_2279A989_0CB5_2E5F_4189_CACCE3E1CF7F.url = media/video_C44B455A_E6A3_4979_41EA_4005DE662F0B_en.mp4
videolevel_2279A989_0CB5_2E5F_4189_CACCE3E1CF7F.posterURL = media/video_C44B455A_E6A3_4979_41EA_4005DE662F0B_poster_en.jpg
videolevel_2270185C_0CB5_2EF5_4187_EB3156B7F5A3.url = media/video_C44B4D85_E6A3_79CB_41D3_212749137645_en.mp4
videolevel_2270185C_0CB5_2EF5_4187_EB3156B7F5A3.posterURL = media/video_C44B4D85_E6A3_79CB_41D3_212749137645_poster_en.jpg
videolevel_226BA794_0CB5_2276_419C_179FED9BBE10.url = media/video_C44B52FF_E6A3_4B37_41B9_3010291B6FAE_en.mp4
videolevel_226BA794_0CB5_2276_419C_179FED9BBE10.posterURL = media/video_C44B52FF_E6A3_4B37_41B9_3010291B6FAE_poster_en.jpg
videolevel_227328BF_0CB5_2FB3_415D_38C3C20DC6CF.url = media/video_C44B7AB6_E6A3_7BC8_41BF_4C944D47FC80_en.mp4
videolevel_227328BF_0CB5_2FB3_415D_38C3C20DC6CF.posterURL = media/video_C44B7AB6_E6A3_7BC8_41BF_4C944D47FC80_poster_en.jpg
videolevel_22688731_0CB5_224F_419A_80CD9CD0FC57.url = media/video_C5CC8C7D_E6A0_DF38_41CC_71C77BAD5DFE_en.mp4
videolevel_22688731_0CB5_224F_419A_80CD9CD0FC57.posterURL = media/video_C5CC8C7D_E6A0_DF38_41CC_71C77BAD5DFE_poster_en.jpg
videolevel_223460C1_0CB5_3FCF_4171_CC6741A8584A.url = media/video_C8EA4FDC_ED6C_4F93_41D3_BC234B67D1A2_en.mp4
videolevel_223460C1_0CB5_3FCF_4171_CC6741A8584A.posterURL = media/video_C8EA4FDC_ED6C_4F93_41D3_BC234B67D1A2_poster_en.jpg
videolevel_2229505D_0CB5_3EF6_419D_9255A6939B1F.url = media/video_CAF6C0FE_ED6C_D191_41D0_E44E9731C265_en.mp4
videolevel_2229505D_0CB5_3EF6_419D_9255A6939B1F.posterURL = media/video_CAF6C0FE_ED6C_D191_41D0_E44E9731C265_poster_en.jpg
videolevel_222CEF95_0CB5_2277_4194_AEB83CD62AF6.url = media/video_D0627305_E6E1_4AC8_41E4_A707A0005167_en.mp4
videolevel_222CEF95_0CB5_2277_4194_AEB83CD62AF6.posterURL = media/video_D0627305_E6E1_4AC8_41E4_A707A0005167_poster_en.jpg
videolevel_222E1FF9_0CB5_21BF_4188_A9ACFE9B576E.url = media/video_DD62E04B_E6A7_475F_41E4_E9AC7DD72984_en.mp4
videolevel_222E1FF9_0CB5_21BF_4188_A9ACFE9B576E.posterURL = media/video_DD62E04B_E6A7_475F_41E4_E9AC7DD72984_poster_en.jpg
videolevel_220276BD_0CB5_23B7_4174_B5CB4622FD67.url = media/video_EB63FDE5_F885_5A10_41DE_03C8BFB8943D_en.mp4
videolevel_220276BD_0CB5_23B7_4174_B5CB4622FD67.posterURL = media/video_EB63FDE5_F885_5A10_41DE_03C8BFB8943D_poster_en.jpg
videolevel_22673605_0CB5_2257_417F_D16655A339BE.url = media/video_F00FA456_E5E0_CF48_41E3_4D5582EFBA4E_en.mp4
videolevel_22673605_0CB5_2257_417F_D16655A339BE.posterURL = media/video_F00FA456_E5E0_CF48_41E3_4D5582EFBA4E_poster_en.jpg
videolevel_22620669_0CB5_22DF_4191_658203B28DC1.url = media/video_F08207CA_E5E1_C959_41E1_ED40EA648C15_en.mp4
videolevel_22620669_0CB5_22DF_4191_658203B28DC1.posterURL = media/video_F08207CA_E5E1_C959_41E1_ED40EA648C15_poster_en.jpg
videolevel_228A0328_0CB5_225E_418F_84C637E5507D.url = media/video_F0EF11EE_E5E1_C959_41C6_4CA605BB0F91_en.mp4
videolevel_228A0328_0CB5_225E_418F_84C637E5507D.posterURL = media/video_F0EF11EE_E5E1_C959_41C6_4CA605BB0F91_poster_en.jpg
videolevel_2294A38B_0CB5_2253_4184_38B6E6C5B4E0.url = media/video_F32EBB8E_E5EF_F9D8_41D5_BDABDA1AA4C7_en.mp4
videolevel_2294A38B_0CB5_2253_4184_38B6E6C5B4E0.posterURL = media/video_F32EBB8E_E5EF_F9D8_41D5_BDABDA1AA4C7_poster_en.jpg
videolevel_224ABBE0_0CB5_21CD_419E_6151AB57EE33.url = media/video_F383BBC7_EB2C_57FD_41D5_B5C9F16346A4_en.mp4
videolevel_224ABBE0_0CB5_21CD_419E_6151AB57EE33.posterURL = media/video_F383BBC7_EB2C_57FD_41D5_B5C9F16346A4_poster_en.jpg
videolevel_229C4497_0CB5_2673_419D_EAA5B018BF92.url = media/video_F390EBF2_E5E1_3948_41A9_71319465D3B5_en.mp4
videolevel_229C4497_0CB5_2673_419D_EAA5B018BF92.posterURL = media/video_F390EBF2_E5E1_3948_41A9_71319465D3B5_poster_en.jpg
videolevel_2292C442_0CB5_26CD_4191_4BF0B7CEB8F1.url = media/video_F3AECD82_E5E0_D9C9_41E1_A12D08D3EEC0_en.mp4
videolevel_2292C442_0CB5_26CD_4191_4BF0B7CEB8F1.posterURL = media/video_F3AECD82_E5E0_D9C9_41E1_A12D08D3EEC0_poster_en.jpg
videolevel_229A654F_0CB5_26D3_4199_6B06E15A94BB.url = media/video_F3C634B0_E5E0_CFC9_41CD_6CDC266F7E11_en.mp4
videolevel_229A654F_0CB5_26D3_4199_6B06E15A94BB.posterURL = media/video_F3C634B0_E5E0_CFC9_41CD_6CDC266F7E11_poster_en.jpg
videolevel_2265C5B1_0CB5_264F_4186_E3A7E6744CA4.url = media/video_F3CDDE13_E5E3_DACF_41E8_89F435B202BB_en.mp4
videolevel_2265C5B1_0CB5_264F_4186_E3A7E6744CA4.posterURL = media/video_F3CDDE13_E5E3_DACF_41E8_89F435B202BB_poster_en.jpg
videolevel_229F44FA_0CB5_27BD_4197_1309CD7BD8BA.url = media/video_F3CEC32F_E5E1_4AD7_41AE_2C2141D08802_en.mp4
videolevel_229F44FA_0CB5_27BD_4197_1309CD7BD8BA.posterURL = media/video_F3CEC32F_E5E1_4AD7_41AE_2C2141D08802_poster_en.jpg
videolevel_2297C3E0_0CB5_21CD_4190_541FC1C1EB5B.url = media/video_F3EE641C_E5E0_CEF9_41E2_971E411A726D_en.mp4
videolevel_2297C3E0_0CB5_21CD_4190_541FC1C1EB5B.posterURL = media/video_F3EE641C_E5E0_CEF9_41E2_971E411A726D_poster_en.jpg
videolevel_22832114_0CB5_5E75_418E_32C0FE167C8C.url = media/video_F46F8964_E5AF_3949_41E9_B373FA161162_en.mp4
videolevel_22832114_0CB5_5E75_418E_32C0FE167C8C.posterURL = media/video_F46F8964_E5AF_3949_41E9_B373FA161162_poster_en.jpg
videolevel_226D46BC_0CB5_23B6_4199_56F89AFFA00B.url = media/video_F9FE8AC3_E5A1_3B48_41D1_3536BAA8F12F_en.mp4
videolevel_226D46BC_0CB5_23B6_4199_56F89AFFA00B.posterURL = media/video_F9FE8AC3_E5A1_3B48_41D1_3536BAA8F12F_poster_en.jpg
### Video Subtitles
## Popup
### Body
htmlText_FE58B833_E8CA_6B77_41E5_2A83A5D203F3.html =
htmlText_EFB7D16D_F52F_AA72_41E6_8C41139F6AE1.html =
htmlText_72BC242E_69A4_08C5_41CB_0D7ECB1B6814.html = The idea of Bodhisattvas is understood differently across Buddhist traditions.
Bodhisattvas (from the words Bodhi = awakening & Sattva = being) are enlightened beings who choose to guide others on the path to awakening—a concept central to Mahayana Buddhism.
Rather than seeking liberation for themselves alone, they embody deep compassion and selflessness, willingly remaining within the cycle of rebirth (samsara) to help all beings attain
enlightenment. They are worshipped by Mahayana followers, who are encouraged to walk the Bodhisattva path, guided by the belief that everyone possesses Buddha-nature and can ultimately become a Buddha.
In contrast, the earlier Hinayana tradition uses the term Bodhisattva more narrowly—referring mainly to the Buddha himself in his previous lives, before enlightenment—while placing less
emphasis on Bodhisattva worship.
While several Bodhisattvas are described in Buddhist texts, some of the most important you may encounter in Buddhist art include Avalokiteshara or Padmapani (compassion), Vajrapani (spiritual power), Manjushri (wisdom), Maitreya (the future Buddha) and
Samantabhadra (practice and virtue).
The very significant depiction of Buddha on the left wall is comparatively better
preserved than others in the cave. Seated on a lotus in padmasana (cross legged posture), with a prabhamandala (aura), he is depicted in the dharmachakra mudra – the teaching pose.
3 smaller images of Buddha are positioned on the right side. There originally would have been 3 similar images on the left side – not visible anymore due to damage. This is a representation of the legends related to one of Buddha's great miracles in Shravasti. In response to a challenge from his rivals and naysayers, he created multiple replicas of himself in the air to preach dhamma (the teachings of the Buddha, equivalent to "dharma" in Sanskrit). This symbolizes the spiritual powers of Buddha and his abilities to propagate his teachings in the universe.
Look closely at the base of the lotus pedestal: two Nāgarājas, the serpent
kings Nanda and Upananda, rise beneath it, supporting the lotus stalk from which buds and leaves emerge. Revered in Mahayana traditions, they are believed to have created the golden lotus for the Buddha and are seen as his
eternal protectors and helpers of the Buddhist community.
At the centre of the shrine sits a 7ft 4in tall Buddha, shown in dharmachakra mudra. His richly carved throne is
easier to see here than in earlier caves—decorated with pairs of elephants and lions, makaras, Nagaraja, and vidyadharas flying in near his halo. Flanking him are two 6 & half feet tall Bodhisattvas, Padmapani and Vajrapani, each holding a fly whisk. Although the figure of Vajrapani on the right is damaged, his vajra (thunderbolt) is still visible in his left hand.
On the side walls, the Buddha appears again, seated on a lotus in padmāsana, with his hands in dhyāna mudra, the
pose of meditation. Each of these figures is surrounded by three smaller Buddhas—the central one meditating, while the upper and lower figures display dharmachakra mudra. Just like in Cave 15, these repeated images likely depict the Miracle of Shravasti, where the Buddha multiplied himself to demonstrate his spiritual power and presence.
At the centre of the shrine sits a 7ft 4in tall Buddha, shown in dharmachakra mudra. His richly carved throne is
easier to see here than in earlier caves—decorated with pairs of elephants and lions, makaras, Nagaraja, and
vidyadharas flying in near his halo. Flanking him are two 6 & half feet tall Bodhisattvas, Padmapani and Vajrapani, each holding a fly whisk. Although the figure of Vajrapani on the right is damaged, his vajra (thunderbolt) is still visible in his left hand.
On the side walls, the Buddha appears again, seated on a lotus in padmāsana, with his hands in dhyāna mudra, the
pose of meditation. Each of these figures is surrounded by three smaller Buddhas—the central one meditating, while the upper and lower figures display dharmachakra mudra. Just like in Cave 15, these repeated images likely depict the Miracle of Shravasti, where the Buddha multiplied himself to demonstrate his spiritual power and presence.
At the heart of the sanctum sits a majestic 10-foot-tall Buddha, enthroned on a simhāsana (lion throne), his feet resting on a lotus pedestal. His hands are held in dharmachakra (or dhammachakra) mudra—the gesture of teaching—symbolizing the moment the Buddha set the "Wheel of Dharma" in motion with his first sermon at Sarnath.
Notice how the thumb and index finger of each hand form a circle, like a wheel, while the right hand faces outward and
the left inward, reinforcing the idea of wisdom being shared with the world.
The throne itself is a visual feast. Lions guard its base, while the backrest is alive with carved figures—elephants,
mythical lions with riders, makaras, and nāgarājas, their many hoods fanned protectively around the Buddha. Beside
his radiant aura, celestial beings known as vidyādharas, accompanied by their consorts, appear to hover in devotion.
Standing at the corners are two towering Bodhisattvas, each nearly 9 feet tall. To the left is Padmapani, holding a lotus stalk; to the right, Vajrapani, gripping his vajra, the thunderbolt of spiritual power. Both carry chauras (fly whisks) in their right hands—symbols of reverence, purity, and the gentle clearing away of ignorance. Together, they embody the Bodhisattvas’ role as compassionate guides, helping all beings move toward enlightenment.
Buddha, in his teaching pose, is depicted seated on a bench with feet resting on a lotus. He is flanked by 2 Boddhisattvas standing on lotuses - Vajrapani on the left & Padmapani on the right – both carrying flywhisks. A figure is depicted with arms folded, in a kneeling position – likely representing the person who paid for the carving of this group.
Flanking the doorway are two imposing 9 ft 5 in tall Bodhisattvas—Maitreya on the left and Padmapani on the right—standing in samapada (balanced stance). Both raise their hands in abhaya mudra, the gesture of reassurance, with an akshamala (rosary) draped across their palms. In their left hands they hold lotus stalks with buds, though the lotus of the left Bodhisattva has now broken away.
Notice their striking jatamukutas - crowns of matted hair —symbols of asceticism and spiritual attainment. If you look closely - Maitreya’s headdress bears a tiny carved stupa, while Padmapani’s contains a seated Buddha. Their elongated earlobes, just like the images of the Buddha, recall the heavy ornaments they once wore and renounced. They also signify wisdom, compassion, and the ability to hear the suffering of the world. A softly carved aura surrounds each head, with smaller Buddha figures appearing alongside.
Completing the scene are two attendants. On the left stands a 5 ft 7 in male attendant, holding a leaf and lotus, with one hand resting on his waistband. On the right is a shorter female attendant, about 5 ft tall, carrying a garland and adorned with a tall headdress, large earrings, and flowing robes. These figures are believed to represent Mamma and her husband—the patrons of this cave—or possibly even her parents, quietly immortalized in stone beside the sacred guardians of the shrine.
Of the original cells, only fragments survive—the bench of the outer room and the walls of the inner chamber. On the back wall, a serene seated Buddha takes centre stage, flanked by two Bodhisattvas holding lotus stalks and fly
whisks, while vidyadharas float above, flying toward him with garlands in offering.
The right side wall once held a similar composition, now heavily damaged. You can still make out a seated Buddha,
originally flanked by two fly-whisk-bearing Bodhisattvas—only the feet of the right figure remain today. Above them sit two smaller Bodhisattvas, hands folded in reverence: one crowned with a jatamukuta, the other with his hair tied in a top-knot. On the pedestal below, faint carvings show two deer flanking a dharmachakra, along with a male and female figure, likely the donors of this sculpture.
The left side wall is more intact, displaying three rows of seated Buddhas, two in each row. Though the lowest row is damaged, all are shown seated on a lotus in padmāsana, with hands in dharmachakra mudra.
On the back wall sits a 6'2" tall Buddha, seated on an ornate throne and flanked by Vajrapani and Padmapani. These
Bodhisattvas are carved with striking simplicity, without elaborate ornaments. Beyond them stand two Buddhas,
equally restrained in style, shown holding their robes and offering blessings in varada mudra.
The left and right walls repeat a similar composition, though here the Bodhisattvas hold fly-whisks, adding a note of reverence. Some of the lower portions of these figures are either unfinished or damaged.
On the left wall, celestial Vidyadharas glide toward the Buddha, carrying flowers and a garland.
The right wall features two small seated Buddhas, and closer to the entrance, three more Buddhas appear—seated on lotuses in the teaching pose, quietly completing the sacred ensemble.
The back wall of the cell is dominated by a five-foot-tall relief of the Buddha, with a prabhamandala (aura), seated on a simhasan (lion throne) with feet resting on a pedestal. On the back of the throne, there are two tigers (the left
more clearly visible than the right) which support the mythical makaras. Above
them, are two floating figures of Nagarajas with their 5 hoods visible above their heads and hands folded in reverence. Although parts of the sculpture, including the Buddha’s leg and wrists, are damaged, his posture suggests the dharmachakra mudra, the gesture of teaching. The dharmachakra (wheel of dharma) flanked by 2 deers adorn the pedestal – a reference to Buddha's first sermon at Sarnath.
The Buddha is flanked by Bodhisattvas. The figure on the right has largely eroded, leaving only the lower portion visible. The Bodhisattva on the left is
better preserved, identifiable by his matted hair; one hand rests on the throne while the other holds a lotus. Above each Bodhisattva is a small image of Buddha, seated on a lotus.
The group on the right centres on a teaching Buddha, seated on a simple, backless throne with his feet resting on a
lotus. He is flanked by two fly-whisk bearing Bodhisattvas standing on lotuses. If you look closely, the left Bodhisattva also carries a slender water jug (chambu), an unusual detail.
On either side of this trio stand standing Buddhas, with the figure on the right noticeably smaller than the one on the
left, adding a subtle variation to the composition.
The hall is lined with six simple grihas (cells), with two cells set into each of the three walls. Each cell includes a stone bench, offering a glimpse into the austere daily life of the resident monks.
Each doorway is crowned with a horseshoe-shaped arch, all linked by a continuous band of rail with rafter-like projections, echoing wooden construction in stone from the very start of this cave complex. Along the side walls, this otherwise straight rail changes to a wavy rhythm between the arches.
This cell-shrine is quite damaged, but some restoration work has enhanced the visibility of the carvings. The back wall contains Buddha in his teaching pose, seated on his richly adorned throne. He is flanked by 2 Boddhisattvas carrying fly-whisks – the images of seated Buddhas are clearly visible in their jatamukuta. Small images of Buddha seated on a lotus are depicted above them.
The images on the left wall are quite damaged – only the lotus bud is now visible there.
The right wall contains the top portion of Buddha, standing in vara mudra & holding his robe, flanked by 2 smaller
images above him.
Sadly, the lower portion of all images are damaged.
Ambika devi, the Jain goddess, is shown seated cross-legged on a lion and under a mango tree. Her sons Priyankara and Shubhankara are depicted alongside, seated on her lap & standing nearby. Her hair is drawn into a large roll to her left, and she wears earrings and a necklace. What she held in her right hand is eroded , but it was likely a mango branch with fruits or mangoes, as prescribed in Jain texts. To her right stands a bearded worshipper with an umbrella in his right hand and a conch in his left. While she is worshipped independently, she is also considered to be the yakshini (guardian deity) of Neminatha, the 22nd Tirthankara.
To the right of Ambika devi is the yaksha, Veer Manibhadra, seated on his elephant, with his hands resting on his bent knees and with a four-tiered conical crown. Manibhadra is regarded as a Kshetrapala in Jainism – a protector of the temple area – and is worshipped for protection, blessings and fulfillment of desires.
5 of the 6 panels on each side show a story, starting with the second-last one; with the bottom most panel too eroded to make out the depiction.
One interpretation is that the left panel shows a story of a couple falling in love; the woman being carried off by force and then being rescued by her partner.
Details (described in early references, when the images were probably much clearer & not as weather worn)(Bottom to top): A couple is shown holding hands; then they're shown with their arms around each other's shoulders. A different pair of man & woman, in different dresses, are shown on the third panel. The first woman is being carried away, apparently by force – as she's shown clinging to the neck of the second woman. In the 5th & topmost panel, the first man is shown tenderly carrying back the first woman.
Source: www.buddhistchannel.tv
A depiction of Buddha, along with Vajrapani and Padmapani, similar to the other 2 panels
Here, the Bodhisattva on the right of seated Buddha has his left hand simply
resting on his thigh. At the top, the floating celestial beings – Vidyadharas –
both are holding garlands. On the left, facing the inner side, is a standing
Buddha – almost 4'10" high – with the right palm in vara mudra and the left
holding the ends of his chivar (robes).
A detailed explanation of the pillars is provided in the spotlight on the Left Pillars.
Further to that, on the right, the pillars are crowned with pairs of lions, elephants and bulls, each carrying a driver.
The elephants carry an additional rider, and are well carved – also shown carrying lotus flowers & buds.
A slightly larger and clearer depiction of Buddha, along with Vajrapani and
Padmapani.
Here the lions supporting the throne of Buddha are clearly visible, as also the halo behind Buddha's head. Behind the throne, the outline of a depiction of makaras (a mythical hybrid sea creature) are visible.
Two Nagarajas (serpent kings) are depicted floating above the makaras – with the outline of their 5 hoods fairly visible. In Buddhism, the Nagarajas are divine "kings of the nāgas" - mythical serpent-beings, who are protectors of the Boddhisatvas, the teachings and the
monuments such as stupas.
The vajra (thunderbolt) is more clearly visible in the left hand of Vajrapani here;
as also the matted hair that is worn as a crown – called jatamukuta (jata = hair;
mukuta = crown).
Animals are far more than decoration in Buddhist art—they are powerful symbols reflecting aspects of Buddha’s
life and teachings. Especially during the Hinayana phase, animals, along with symbols like the stupa, lotus, and
dharmachakra, became powerful stand-ins to communicate complex ideas.
Deers recall the Deer Park at Sarnath, where the Buddha delivered his first sermon, symbolizing peace, compassion and the time the "Wheel of Dharma" was set in motion.
Elephants stand for purity and strength, and are linked to the Buddha’s conception, when Queen Maya
dreamt of a white elephant entering her womb.
Horses recall Kanthaka, the steed that carried Prince Siddhartha away from palace life during the Great
Renunciation. They symbolize resolve, sacrifice, and the first step on the path to enlightenment.
Bulls represent steadfastness, inner strength, and moral discipline—qualities essential on the path to enlightenment.
Tigers embody courage and spiritual energy, reminding us of the fearlessness of an awakened mind.
Together, these animals narrate the Buddha’s journey—from birth and awakening to teaching and fearless
wisdom—etched into stone as timeless spiritual symbols.
At the ends of the veranda, there are pilasters decorated with full & half lotus
flowers. There are lilies by the side of the lotus flowers – they're unfinished
on the right pilaster, but better defined on the left.
Near the right pilaster, the face of the side wall has several rails & ornamentation – a lot of these though have eroded. The band at the center is
still visible – with festoons at the top, rails in between and a scroll with animals at the bottom. Below it is a beam borne on 3 birds, of which only the
center one is still visible.
Buddha is seated in the dharmachakra pravartana mudra (literally translating to
'Wheel of dharma teaching pose') on his lion-throne, with his feet resting on a
lotus. From the lotus stalk, there rise two more flowers, each supporting a
Bodhisattva. On this right, holding a fly-whisk and a long lotus stalk, is Padmapani Lokesvara – also known as Avalokiteshvara - a representation associated with compassion and kindness (Padma= Lotus; Pani=
hands in Pali & Sanskrit). On the left, holding a fly-whisk and a vajra (thunderbolt), is a depiction of Vajrapani Lokesvara – a more fiercesome representation, associated with protection & power. Further to the left of Vajrapani, are three small stacked panels with carvings of Buddha.
Above them float celestial beings called Vidyadharas – with the one on the right
holding flowers and the one on the left holding a garland.
The walls flanking the recess contain two standing Buddhas - their right hands
hanging with open palms, in the vara mudra – denoting grant of blessings and compassion. They are holding their chivar - the simple robe worn by Buddhist monks – with their left hand.
In the floor below, later carvings depict a linga, Nandi and a flying Hanuman -
suggesting later Hindu influences.
Each octagonal pillar rises to an inverted pot-shaped capital, delicately
engraved with leaf-like motifs. Above it rests the amalaka – the notched torus (ring shaped element) enclosed within a cuboidal frame. On the four central pillars, this frame is adorned with figures at the corners — the inner pair featuring human forms, while the outer ones display animal figures.
Stacked above are six progressively taller square plates, forming a graceful
upward rhythm that supports a horizontal rock beam carved to imitate a
wooden girder — which in turn carries the ceiling.
Crowning the pillars is a sculpted frame resembling brackets that appear to
“hold” the beam in place. These brackets are intricately carved with tigers, elephants, and fantastic hybrid creatures on both the front and back. Each animal bears a driver on its back, while the elephants also carry a rider. The hybrids are particularly striking — with the body of a tiger, the face of a bird, and the long ears of a rabbit — an imaginative blend of power and grace.
Each pillar rises from a water-pot base, through an octagonal shaft, to an inverted pot capital, topped with pyramidal plates and animal capitals. The pilasters are essentially three-quarter pillars, attached to the side
walls.
Look closely at the capitals: elephants decorate the outer faces, while the inner ones feature lions and hybrid creatures. Above them, the stone is carved to resemble a wooden beam supporting rafters, capped with a broad rail frieze of four horizontal bars.
On the capitals pairs of elephants are carved back-to-back, each brought to life with riders full of personality and motion. No two pairs are exactly alike—subtle changes in posture, gesture, and expression turn the façade into a lively stone procession. On one pillar, a woman helps another mount the elephant; on another, a lady raises her hands in salutation. Even the varied hairstyles of the women are carefully detailed, adding charm and individuality to these animated scenes.
If you observe closely, you'll see that the walls of the cave still bear the marks of
chisels or axes, giving indications of how the cave was created or excavated. We
can observe the beginnings of a recess on the right, with steps leading up - likely
for working on a large carving, the outlines of which are visible. Work on the cave
may have been abandoned due to a damaged ceiling.
In many of these caves, you’ll notice the Buddha seated on an elaborate throne with sculpted creatures gracefully arranged around him. These are not mere decorations; each figure recalls an episode from the Buddha’s life or a teaching from his life.
Nāgarajas: serpent beings linked to water and protection, evoke the story of the naga king Mucalinda, who shielded the meditating Buddha from a raging storm. They symbolize guardianship, inner strength, wisdom, and the protective forces of nature.
Swans: recalls an episode from Siddhartha’s youth, when he saved an injured swan shot by his cousin Devadatta—an early reflection of the compassion that would define his path.
Makaras: powerful mythical creatures emerging from deep waters, represent protection and transformation, reminding us that spiritual clarity often arises from confronting confusion and fear.
Horses: allude to the Great Renunciation, when Prince Siddhartha left palace life astride his loyal horse Kanthaka. Here, it symbolizes disciplined strength and a focused mind carrying one forward on the path of the Dharma.
Often hovering nearby are Vidyadharas, celestial beings shown flying toward the Buddha with flowers. They are regarded as divine attendants and guardians, celebrating and protecting the enlightened presence.
Together, these carvings turn the Buddha’s throne into a visual story—where art, symbolism, and spiritual teaching merge into a single, powerful image.
It literally translates to load-bearer (Bhar=Load; vahak=one who carries).
They are often depicted as carrying the weight of beams, pillars, or cornices
on their shoulders or raised arms. As is the case here, they are typically depicted as muscular & powerful, shown kneeling, crouching & supporting the weight of the structures above them. Here, they're symbolized as carrying the cave from the heavens to the earth, & an inscription in the veranda states that the cave is as perfect as the heavenly chariots!
Despite the strain, they're often shown as cheerful & happy – especially
seen in the smiling faces of the Bharvahaks on the right.
Just like the exterior, the inner side of the capitals of pillars have pairs of animals, especially elephants.
The most interesting ones: on the second
pillar from the left, are mythical hybrid animals – bird-like faces, long ears &
with bodies of animals; the elephant on the 3rd pillar from the left is holding
a woman in its trunk; & the 5th pillar from the left has goat like animals with riders.
Monument Protected & Maintained by Archaeological Survey of India (ASI)
Content creation: Pathika Technologies Private Limited Team
Key information sources & References:
Bombay Presidency Gazetteer (1883)
The Cave Temples of Western India – James Fergusson & James Burgess (1880)
Inscriptions from the Cave Temples of Western India – Jas Burgess and Bhagwanlal Indraji Pandit (1881)
The Indian Buddhist Iconography – Benoytosh Bhattacharyya (1958)
Nashik Trirashmi Caves – Atul Bhosekar (2019)
A Note on Content: We’ve taken every effort to ensure the accuracy and authenticity while curating the content herein. No disrespect or misrepresentation is intended.
The audio narration is AI-generated, and a few words may be pronounced imperfectly. We appreciate your understanding.
Should you find any inaccuracies, please let us know at guide@pathikatech.in — we value your feedback.
One interpretation of the story on the right side is that of a couple who marry; but the woman tries to elope with another younger man. The first man tries to get her back, and when unsuccessful,
carries her away by force.
Details (Bottom to top): At the bottom, a woman in an elaborate headdress is
shown leaning against a tree & feeding a swan. Then he's shown putting his hand around her neck, raising his right to her face – as if cajoling her, while another young man is shown holding her foot.
The third panel shows the couple with their arms around each others shoulders, with the young man watching on. Next, she's shown under a tree with her arms around the young man's neck,
while the first man tries to drag her back – her reluctance is apparent in the way her head is turned away from the man &
looking at the seated younger man. In the fifth, the man is shown carrying the woman back, as if by force.
Starting with a base moulding ornamented with lotus-petal tracery, rises a plinth, topped by a band of rail decorated with eight-petalled flowers. A dome, a shaft and 4-plated tee are mounted over the plinth. There are 5
pyramidal ornaments over the top plate.
Crowning the stupa are three double chatravalis (umbrellas) — with each
side chatra sprouting from the mast of the central one. A lion and a wheel frame the relic shrine, together forming the Triratna, or Three Jewels of Buddhism — the Buddha (represented by the stupa), the Dharma (by the Lion), and the Sangha (Wheel). Even the 3 chatravalis are symbolic of the triratnas.
Flanking the shrine are two graceful female attendants – one bowing slightly
with hands folded in reverence, while the other is waving a fly-whisk. Both are adorned with anklets, earrings and a simple waist cloth.
Floating above the stupa are two celestial Gandharvas in graceful motion — the right one scattering flowers from a basket, the other extending a garland toward the sacred shrine.
Stupas are of various types – enclosing relics or remains of significant Buddhist figures, housing objects of their daily use, commemorative or symbolic and constructed for worship.
They typically are shaped like an inverted bowl placed on a pedestal, and consist of:
Medhi: The square or drum like base, that could have a railing or vedika (sacred boundary) forming the circumambulatory path
Anda: The hemispherical dome, that may contain a casket with relics or sacred symbols
Harmika: The square railing structure that represents a sacred enclosure where the Gods reside
Yashti: A central mast or pole rising from the harmika, representing the cosmic axis (missing or not visible here)
Chhatras: Tiered umbrellas, in the shape of discs or plates, that symbolize royalty, protection and path to enlightenment; also regarded as a symbol of Buddhist triratnas.
Toranas: Present in larger structures, they are the ceremonial gateways located at the four cardinal directions; also relate to 4 events in Buddha's life
The stupas are regarded to have different symbolic representations - of Lord Buddha's enlightened mind; the path to enlightenment; Lord Buddha's body in a seated, meditative pose; the universe – among others.
The structural features of the stupa are also associated with 5 elements of earth, water, fire, air & space.
The Dwarapalas (guards), stand tall and commanding at the entrance. Their postures and attire mirror each other,
yet each bears subtle distinctions in detail. Though not very graceful in form, their imposing size and details in
carving lend them a powerful presence. Each holds a bunch of flowers, dressed in a dhoti with an additional cloth
tied at the waist and its ends draping loosely. They are adorned with bracelets, armlets, earrings, and a finely styled turban.
The beams or crossbars of the torana, above the doorway, are decorated
with lotus flowers at the top & garlands at the bottom. They have volutes (spiral ornamentation) at the end, with the bottom one supported by lion
brackets.
In between, there are 7 panels created with pilasters or vertical columns. The
3 central panels have the Buddhist symbols of the Bodhi tree (peepal), a
stupa flanked by guards (mimicking the posture of the larger dwarapalas
below), and a dharma-chakra. Monks in different attires with their hands folded occupy the 4 panels on the side.
The central 3 figures in the left group mirror the right group: a seated, teaching Buddha flanked by 2 standing
Boddhisattvas, all on lotuses. On the extreme right is another image of a seated, teaching Buddha.
At the extreme left, however, is a more sombre depiction. Here, Buddha is shown in parinirvana mudra—reclining on
his right side, head gently supported by his right hand—symbolising his attainment of nirvana (salvation).
The frieze forming the façade, above the pillars, consists of three horizontal bands – the details have faded due to weather & erosion, while some portions seem unfinished.
The top band consists of semi-circular flowers. The middle band consists of an ornamental rail – decorated with symbols & animals. The bottom band consists of depictions of animals,
interspersed with leaves of a creeper – some of the clearer ones are marked in the image.
At the very bottom, you can see rectangular projections – mimicking the ends of beams supporting the ceiling, as if it were a wooden structure.
The lower part of the façade has a decorative garland at the top – with
intermediate lillies or lotus pods.
There is a prominent ornamental rail or
screen at the centre, below which is a worn out scroll – perhaps containing
creepers & animals. This is supported by a horizontal beam, which has the end of rectangular rafters protruding from it. Further below, are 6 larger beams that appear to hold up the entire cave – resting on the broad shoulders of the Bharvahaks.
There are 2 groups on either side of the doorway.
The left one honours Queen Gautami Balasri as a pious and virtuous woman, revered as the “wife of a sage.” For the
most part, it glorifies her son King Satakarni, whose strength is likened to the cosmic mountains Himavat, Meru, and Mandara. He is declared superior to kings across regions such as Asika, Asmaka, Saurastra, Aparanta, Vidarbha,
Akara, and Avanti, with dominion spanning the Deccan’s great mountain ranges. His imperial reach is captured in the striking epithet Trisamudratoyapitavahana—“he whose horses drank the waters of the three oceans”— and the title
Daksinapathesvara - "Lord of the Deccan". The record credits him with defeating the Ksatrapas, especially
Nahapana, as well as the Sakas, Yavanas and Pallavas. His valor is compared to heroes of the Mahabharata and
Ramayana, and his greatness is said to be witnessed by gods and celestial beings—underscoring a rule believed to
be both powerful and divinely sanctioned. Another inscription on the left records the grants provided by King
Pulumavi.
On the right, an inscription records King Satakarni’s capture of territory from Nahapana —the same ruler who
had earlier sponsored the vihara of Cave 10. This reclaimed land was then granted to the monks for cultivation. The inscription suggests that this cave was begun during Satakarni’s reign but completed later under his son Pulumavi. A second inscription mentions additional grants of land and villages, provided in exchange for earlier plots that had remained unused.
A striking image of Bhairava dominates the left wall of the cave, sheltered beneath a five-hooded serpent canopy. Wielding a large, wavy dagger and mace,
the wide eyes and protruding fangs radiate his fierce energy. Adorned with large earrings, serpent necklace, armlets, bracelets, a broad belt, and a garland at his feet, he is flanked by two female attendants positioned near his head.
Originally a fierce manifestation of Shiva in Hinduism, Bhairava was later adopted into Jainism as a guardian deity (kshetrapala). His imagery was reinterpreted to align with Jain beliefs, and he came to be venerated as a
protector of temples and devotees, particularly in association with Bhagwan
Parshwanatha, the 23rd Jain Tirthankara.
Atop the left pilaster is a dynamic carving of a deer, its foreleg raised and folded – almost as if just about to get up.
The left pillar features two seated bulls, one in the act of scratching its mouth with a hind leg.
On the right pillar, two elephants with riders come to life — one appears to be rising from a seated position with its forelegs raised causing its rider to lean back; the other is carrying a woman in its trunk.
Crowning the right pilaster is a majestic tiger, seated with its forelegs elegantly crossed.
Just beneath the arch, a short inscription and a finely carved relief panel catch the eye. Lively figures of elephants, horses, bulls, and tigers unfold in rhythmic procession between the bands of a circular rail. At the center stands the Buddhist Triratna symbol—marked by a prominent trident and dharmachakra—beautifully woven into buds and rail patterns. Above the trident is a graceful volute carving, thought to represent the fourfold Buddhist community: monks, nuns, and lay followers of both genders.
Below this composition, a lattice of six-petalled flowers fills the space above the doorway, adding elegance and
balance to the façade.
The inscription beneath the arch reads: “The gift of the village of Dhambika by the inhabitants of Nasika.” This is particularly striking, as land grants were usually made by kings, not common citizens. Scholars suggest it may refer instead to a collective donation by a guild of grain merchants of ancient Nashik, highlighting the strong role of local communities in supporting Buddhism.
Just like Cave 3, the facade is beautifully carved in stone to resemble a wooden structure!
The pillars arise from a pot placed on a stack of pyramidal plates, and are
topped with an inverted pot capital. Atop this, there's a square box containing a ribbed stone disk, or amalaka. Above it sits an inverted pyramid of plates, which along with well carved animals for brackets, give the appearance of holding up a beam. Further up, there are rafters with ends projecting a couple of inches beyond another beam. There is a frieze consisting of a simple rail pattern with 3 horizontal bars, sandwiched between plain rounded mouldings, that sits on top of the rafters.
Exterior Capitals
There's a single lion (identified by its mane) with a rider atop the left pilaster.
The next pillar has 2 seated bulls, each with a rider. The central two pillars, as well as the right pilaster have a pair of elephants each, seated back-to-back - all with a driver (mahout) and an accompanying rider; while the 5th pillar has 2 lions with riders.
Standing in the veranda, you can see other animals forming the inner side of the pillar capitals. Unlike the ones on the exterior, some of these include mythical creatures and carry no riders.
From the left to right (when facing the
cave's courtyard) :
Left Pillars: The pilaster has 2 lions, with the right one resting its head on its crossed fore-legs. The 1st pillar has 2 sheep, the right one being a ram (male goat) with massive, carved horns. The 2nd pillar depicts two sphinx – with a human-like head & the body of a tiger. They are called narasimha in Buddhist art in India & Sri Lanka (they're distinct
from Lord Vishnu's Narasimha avatar) - and regarded as protectors of the north direction.
Right Pillars: The 3rd pillar (adjoining the doorway) has 2 seated lions. The 4th pillar has an interesting mythical creature – with the face & beak of a bird and body of a tiger. The pilaster on the right has a hybrid animal – with the body of a tiger, but a head with branching horns; and another animal with its head turned behind.
The capitals on the pillars & pilasters consist of elegantly carved elephants seated back to back; although it has
completely eroded on the pilaster on the extreme left.
On the left pillar, the first elephant has a driver (mahout) & a rider; the right elephant has a driver & 2 women riders.
The 2nd rider in an elaborate headdress is shown pulling the hand of another woman, helping her mount the elephant.
On the right pillar, the hair-do of the women riders are slightly different than on the earlier pillar. Note how the first rider has her arms raised & folded; while the second is leaning forward, resting on her hand.
On the right pilaster, the woman rider seems to be adjusting her hair, while looking into a hand-held mirror. Her manservant is seated alongside holding some artifact.
Despite their similar composition, the varied gestures and interactions of the elephants and riders infuse the entire procession with a lively sense of movement and charm.
The right wall tells its story only in fragments. Faint traces remain— parts of Buddha’s throne with makaras, the feet of Bodhisattvas, and a few small seated Buddhas hint at what was once a richly carved panel.
On either side of the doorway, there were likely standing figures of the Buddha, welcoming devotees into the space. Today, you can only see the remains of worn outlines of their feet.
There are well preserved & finely engraved inscriptions in the verandah – on the back wall, which records the donation of this cave by Ushavadata, son-in-law of King Nahapana of Kshaharata dynasty. It also records a long list of his other donations at various other places in his reign – such as gold, food, cows, rest-houses, gardens, wells, boats to cross rivers, clothes etc. The inscription also mentions the name of this hill as Trirashmi hills.
The cells at both ends of the veranda were donated by Ushavadata's wife and Nahapana's daughter, Dakhamitra –
recorded in the inscriptions above the doorway of the cells.
This 6' tall image of Bhairava is similar to the one at the entrance. He's depicted gripping a dagger in his right fist, with the left resting on a mace. The ornamentation & face is not as sharp as the exterior one, but you can make out the armlets & bracelets; as well as the mala (garland) draped across his shoulders and extending to just above his ankles. In the background, you can
still make out the remnants of a stupa – including its dome, harmika (the square railing like structure on top of the dome) and the three double chatravalis (umbrellas).
There are 2 women attendants on the side – one with arms raised & folded in reverence, the other probably carrying a fly whisk – that were retained from earlier.
Above the rounded moulding lining the plain walls — with a faded inscription on the left— the façade rises into an ornately layered middle section. It begins with a carved beam at the bottom, its rafter-like ends projecting
outward, alternating between simple forms and delicately sculpted female heads. This beam supports a broad rail
motif composed of three clean, horizontal bands.
Framing the large horseshoe-shaped arch is an even wider rail band, topped by a narrow belt carved with rafters.
Resting on this are pillars on either side of the arch, punctuated by relief carvings of stupas—remarkably similar in
design to the stupa found inside the cave. The pillars themselves are finely worked, featuring pyramidal stacks of plates and animal capitals crowning their tops. Above each stupa sits another rail band and a small decorative horseshoe arch, while the spaces between the pillars are filled with intricate lattice patterns.
Look closely near the crown of the arch—you’ll spot two coiled cobras with raised hoods, peering out dramatically
from either side.
The uppermost section unfolds in three tiers of mouldings, capped by three rail bands. Four smaller arches dominate this level, each containing a series of nested arches and a lattice window. Between them are lively figures of men and women, captured in varied postures. Near the spire of the arch, notice the tiny flying celestial beings—Vidyadharas - one carrying a basket while the other scatters flowers. The top rail is edged with miniature arches, their undersides carefully detailed with ribbed designs, completing this richly sculpted façade.
The etched pachisi board you see here — similar board games are etched on the floor inside the cave & in a few other caves — is intriguing. Its weathered appearance suggests it is not recent vandalism, but something that was added much later.
Buddhist texts actually list several forms of recreation that the Buddha advised monks to avoid, including board games, dice, toys, and guessing games, as they were seen as distractions from mindfulness and the path to enlightenment. It is therefore likely
that these game boards were etched by later occupants of the caves, rather than by the original Buddhist monks who once lived and meditated here.
The two major doctrinal traditions in Buddhism are Hinayana ("Small Vehicle") and Mahayana("Great Vehicle") with key differences in goals, Buddha's status, and path to enlightenment.
Hinayana focuses on individual liberation through self-discipline, seeing Buddha as a human teacher.
Mahayana emphasizes universal salvation via the Bodhisattva ideal, who delays Nirvana to help all beings, viewing Buddha as a divine, guiding entity.
The caves in Pandu Leni beautifully reflect the evolution of Buddhism in India, especially the transition from Hinayana to Mahayana traditions.
Hinayana (Early Buddhism): The earliest caves here belong to this tradition, which emphasised simplicity, meditation, and monastic discipline. Worship focused on symbols rather than images—such as the stupa, Dharmachakra, footprints, or the Bodhi tree—representing the Buddha’s presence without depicting him in human form. These caves typically feature plain cells for monks, austere halls, and a central chaitya (stupa shrine) meant for circumambulation.
Mahayana (Later Buddhism): By around the 4th–5th century CE, Mahayana Buddhism gained prominence, bringing a more devotional and visual approach. Here this is seen in caves that were modified or reworked to include large sculpted images of the Buddha and Bodhisattvas. The Buddha is depicted in teaching or blessing postures, often seated on a lion throne and accompanied by celestial beings.
Mahayana ideas emphasised compassion and the role of Bodhisattvas— enlightened beings who help others attain liberation.
The stupa before you rises to about 12 feet, carefully proportioned in distinct
symbolic layers. The medhi (drum-like base), stands ~5'4" high, supporting the sacred structure. Above it runs a 9 inch-wide railing band, marking the boundary between the earthly and the spiritual. Resting on this is the anda (smooth, semi-circular dome) rising about 3 feet—the visual heart of the stupa.
Crowning the dome is the harmika (square box structure) encircled by two bands of railings. From here emerges a framework of rafters, visible on the underside, supporting five chhatras (ceremonial umbrellas). These appear as square stone plates, stacked in ascending order, with the topmost plate decorated with a rail pattern. At its centre, hidden from our view, is a hole for the yashti (the central mast), with four smaller corner holes once holding flags that would have fluttered above the monument.
According to Buddhist texts, the stupa’s form was inspired by the Buddha himself. Before attaining nirvana, he instructed his disciple Ananda to enshrine his relics in stupas at eight sacred locations, so they might bring peace and well-being to all who visited. When asked how these stupas should look, the Buddha demonstrated: he
folded his robe on the ground (which became the base), placed his begging bowl on top (which became the dome), and set his staff upright (which became the mast and umbrellas).
While styles and ornamentation changed across regions and centuries, this simple yet profound form—a base, an inverted bowl, and a rising spire—has remained the enduring signature of Buddhist stupas.
On the 5th & 6th pillars on the right, we can see 4 vertical lines of inscriptions in
large, well preserved letters. They are to be read together.
In summary, it mentions that the cave was built on the Trirashmi mountain by the royal minister Arahalaya, and by Satariya, the daughter of Lisilanaka and mother of Kapananaka.
Running above the pillars and pilasters is a beam-like band of rock, linking their animal capitals. The pillars & pilasters were probably meant to be as refined and shaped like the elegant pillars seen in the other caves. However, they are plain, squarish, and rough, giving the impression that the work was left unfinished.
The animal capitals themselves echo the lively carvings on the veranda outside. On the outer faces, you’ll notice elephants animated with multiple riders, full of movement and character. Turn inward, and the imagery shifts to a mix
of elephants and hybrid creatures, adding another layer of symbolism and visual interest as you move through the
space.
The entrance to the shrine is marked by 7 feet tall Boddhisattvas – Padmapani on the left and Vajrapani on the right.
Padmapani is depicted with his right hand in Vitarka mudra (signifying teaching or discourse), with an akshamala (rosary) across his palm; and a lotus stalk with bud in his left hand. His jatamukuta (hair shaped like a
crown) has a small image of Buddha at its centre. To his lower left, is a depiction of the Mahayana Goddess Arya Tara with her right hand in abhaya mudra. She is regarded as a female Boddhisattva, embodying compassion,
wisdom & protection.
Vajrapani is depicted with his right hand holding a flower, and the left holding his vajra (thunderbolt) against his thigh. More richly adorned than Padmapani, he wears a formal crown, large earrings, a three-stringed necklace, a four-banded waist ornament, along with bracelets and armlets,
On both the side walls of the porch, we see Buddha in varada mudra with his left hand holding his chivar (robe) – sadly both images are damaged significantly. The spaces between the large images carry smaller depictions of Buddha.
The pillars and pilasters are similar with richly layered designs. They rise from plain square bases, above which circular forms appear on the flat faces, filled with delicate floral and leafy patterns on both the inner and outer sides.
From this emerges a round shaft about two feet high, wrapped in three decorative bands—flowing leaves at the base, blooming lotus flowers in the middle, and, at the top, hanging rosaries interspersed with half-lotuses.
Crowning each pillar is an amalaka capital - a ribbed stone disc - its corners adorned with leaf-like motifs and lotus blossoms carved at the centre of each face.
Above this rests a simple stone plate, which supports the beam-like rock above, completing the elegant illusion of a wooden structure rendered in stone.
Tucked just beneath the ceiling and facing the shrine entrance is a small yet exquisitely detailed panel. It depicts
five seated Buddhas arranged in a rhythmic sequence. The central Buddha and the two at either end are shown in dharmachakra mudra, while the two intermediate figures sit serenely in padmāsana. This alternation beautifully balances the paths of contemplation and instruction.
Each Buddha is attended by a Bodhisattva holding a chauri, or fly whisk.
Turning to the inner faces of the capitals, the carvings grow even more varied. Alongside elephants, you’ll spot lions and fascinating hybrid creatures.
On the far-right pilaster—as you stand in the veranda facing outward—two striking hybrids appear: bird-like faces, large ears, and tiger bodies, each ridden by a woman. The left pillar shows a pair of lions, one accompanied by a woman and the other by a man. Meanwhile, the right pillar and left pilaster return to elephant motifs, each with male and female riders.
{{viewer.miniHS PhotoViewer.photo.description}}
{{viewer.miniHS PhotoViewer.photo.description}}
Narration for dummy 3
<Checking for scroll bar>
Narration for the dummy 2
<Checking for scroll bar>
Narration for the dummy 2
<Checking for scroll bar>
Narration for the dummy 2
<Checking for scroll bar>
Narration for the dummy 2
<Checking for scroll bar>
Narration for the dummy 2
<Checking for scroll bar>
Naga Shrine
Nagas are semi-divine entities, half-human and half-serpent and are believed to reside in Patala (netherworld).
In Hindu iconography, they are typically depicted in three forms: as entirely human adorned with snakes from head to toe, as half-human, half-snake or as a serpent.
In India, they are worshipped as nature spirits. They are often associated with water bodies, wealth and treasures, and most importantly worshipped by women as a symbol of fertility.
Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
This is one of the three kalyanis in the temple: the other one is just behind the mantapa at the entrance, and the largest & main kalyani is to the north of the main temple complex, adjacent to the Vasanta mantapa.
The intricately carved Yali pillars can be seen near the entrance. Inside the mantapa there is a raised platform where the deity might have been placed for the ritualistic bath. All the pillars in the mantapa have carvings of deities, sages, animals, and scenes from daily lives of people, enhancing the beauty of the Mantapa.
This panel depicts Shiva Parvati along with Nandi in human form, and madanikas who seem to be welcoming them.
Beautifully carved birds can be seen on the upper part of the panel and ganas are depicted on the lower part.
Mahanavami dibba
The term "Dibba" in Telugu means a "mound," which essentially describes it as a raised platform. The King or elders would be seated on this platform, and it played a central role during festivals like Dasara and Mahanavami, serving as a stage for viewing grand processions.
This structure appears to be a smaller version of the Mahanavami Dibba in Hampi.
The Mahanavami Dibba in Hampi, built by the Vijayanagara rulers, is an important historical structure.
Located near the market area, this elevated platform is adorned with intricate carvings. What's intriguing about the dibba at Hampi is that there's a hidden door that leads to an underground tunnel connecting directly to the royal palace, likely for safe & convenient travel.
There are ornate engravings on the panels and walls behind the Umamaheshwara shrine. One of the panels depicts Saptarishis with the Trimurtis (Brahma, Vishnu, Shiva) and another panel depicts a set of deities.
This kalyani or water tank was constructed by the Vijayanagaras as a part of horizontal expansion. This is a specific feature of the Vijayanagaras.
This kalyani was mostly used for the ritualistic bathing of the temple deity. The water from here might have been carried to the Vasantha mantapa for the ritualistic bath.
The Kalyanis may have not just been of ritualistic importance but also as a part of social importance.
Research was conducted on the subterranean water flow and its points of discharge, with the aim of comprehending the strategic locations for the construction of Kalyanis.
This is the largest kalyani in the temple complex. The Kalyani has 20 steps, and a pillared porch on an elevated platform surrounding it, with doorways at four directions.
Initially the gopura on top was constructed from bricks but it did not stand the test of time. The ASI has rigorously & scientifically reconstructed the gopuras as they were, without any changes and to the same dimensions as before.
It is believed that the kalyani may also have been used by the devotees considering the entrance into the kalyani is directly from the outside of the temple complex. Also considering the architecture of the kalyani and the courtyard surrounding it, It may also have served as a resting space for devotees or a social space for the people of neighboring villages.
The second kalyani of the temple is just behind the mantapa at the entrance. The exact date of construction of this kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.
Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace.
{{viewer.PhotoStory Viewer.photo.title}}
{{viewer.PhotoStory Viewer.photo.description}}
{{viewer.PhotoStory Viewer.photo.title}}
{{viewer.PhotoStory Viewer.photo.description}}