Junnar taluka is almost surrounded from all sides at the Sahyadri mountain rangani and the mountain ranges of the very paripakva and strengthen agnijnya kings of rock ruled, traders, worshipers of pleasure for most of hotyabauddha bhikkhum carved many caves for Buddhist bhikkhum, Chaitya, for prayer, home care for the Dharne The construction of the zoology was made in these transactions.
The Carney group of Junnar taluka is the largest of all the countries in the Shalgroups and there are around 450 people. Almost all the Buddhist caves are from Hinayana (Theravada) tradition. Ahanyaan worshiped the Buddha symbols, Buddhism symbolizes Siripura, Bodhrikhana, and Stupa. Later, after the formation of Buddha in the time of Emperor Kanishka, Mahayana Buddhist saints performed the Buddha statue Starting the Colonel. The reconciliation of Hinayana and Mahayana people can be seen from the Buddha statue that has been carved in the stupa. In the stupas, the Buddha statue can be seen in the lanes like Kanheri, Veerul and Ajanta.
The formation of the Shealagraha took place from 1st to 3rd century AD. The caves of Junnar taluka are divided into different areas and groups according to their production and location. Like the Tulja caves, Manmodi, Bhimashankar, Amba Ambika, Bhutleini, Shivneri, Ganesh, Chavand, Jivdhan, Naneghat, Hudsar, Nimgiri, Khireshwarlane are divided into this category.
Lenyadri caves are stacked by Lenny's entry in the above inscriptions, with 'Kapadita', a quiet place called 'Ganesh Pahad' and 'Suleman Dongar'. There are 40 chalguras in this area, with the main 30-square-facing south facing Junnar in the east-west queue. Or 30 cylinders 6th and 14th is the chateau house, ie the place of worship, and the rest of the viharas are the residence of the devotees. Of these, Gumpha no.7 is the largest spacious place. The rest of the other caves are viharas and some are divided into two to three areas. All these years have been counted as the first century to the third century. Cave no. 6 This is the main chapel in this group. The verandah in the side area is divided into three sections, namely, the Prayatan chapters are divided into two sections of the column. The roof is on the gazette. The stupa of Gautam Buddha is in the last part of the mandapa. An inscription of 2th century AD is engraved on the inner wall of the verandah. In this inscription, Sonasa's son donated the donation mentioned in Sulalsatta, the Kalyan. Gateway no. 7 This is the biggest viceroy in Junnar taluka. There is a spacious pavilion in the middle of the Vihara center, and there are 20 apartments of different sizes on three sides. There is a gene on the steps stacked in the stone for entry. At the end of which the entrance to the middle door of the verandah is accessible from the middle of the verandah. Gumpha No. 14 is a chaityagree. But the pavilion is rectangular and the terrace is flat. The Chaitagrha is covered with veranda and a inscription in the verandah is composed. This inscription is about the donation given to a charity by a Buddhist worshiper, Anand of Kapila's grandson and Tapas. The time for these caves is about 2 hundredth century. An inscription in the 2nd century is engraved on the wall on the inner wall of the verandah. In this inscription, Sonasa's son donated the donation mentioned in Sulalsatta, the Kalyan. Gateway no. 7 This is the biggest viceroy in Junnar taluka. There is a spacious pavilion in the middle of the Vihara center, and there are 20 apartments of different sizes on three sides. There is a gene on the steps stacked in the stone for entry. At the end of which the entrance to the middle door of the verandah is accessible from the middle of the verandah. Gumpha No. 14 is a chaityagree. But the pavilion is rectangular and the terrace is flat. The Chaitagrha is covered with veranda and a inscription in the verandah is composed. This inscription is about the donation given to a charity by a Buddhist worshiper, Anand of Kapila's grandson and Tapas. The time for these caves is about 2 hundredth century. An inscription in the 2nd century is engraved on the wall on the inner wall of the verandah. In this inscription, Sonasa's son donated the donation mentioned in Sulalsatta, the Kalyan. Gateway no. 7 This is the biggest viceroy in Junnar taluka. There is a spacious pavilion in the middle of the Vihara center, and there are 20 apartments of different sizes on three sides. There is a gene on the steps stacked in the stone for entry. At the end of which the entrance to the middle door of the verandah is accessible from the middle of the verandah. Gumpha No. 14 is a chaityagree. But the pavilion is rectangular and the terrace is flat. The Chaitagrha is covered with veranda and a inscription in the verandah is composed. This inscription is about the donation given to a charity by a Buddhist worshiper, Anand of Kapila's grandson and Tapas. The time for these caves is about 2 hundredth century. This son of gold is mentioned in Kalyan. Gateway no. 7 This is the biggest viceroy in Junnar taluka. There is a spacious pavilion in the middle of the Vihara center, and there are 20 apartments of different sizes on three sides. There is a gene on the steps stacked in the stone for entry. At the end of which the entrance to the middle door of the verandah is accessible from the middle of the verandah. Gumpha No. 14 is a chaityagree. But the pavilion is rectangular and the terrace is flat. The Chaitagrha is covered with veranda and a inscription in the verandah is composed. This inscription is about the donation given to a charity by a Buddhist worshiper, Anand of Kapila's grandson and Tapas. The time for these caves is about 2 hundredth century. This son of gold is mentioned in Kalyan. Gateway no. 7 This is the biggest viceroy in Junnar taluka. There is a spacious pavilion in the middle of the Vihara center, and there are 20 apartments of different sizes on three sides. There is a gene on the steps stacked in the stone for entry. At the end of which the entrance to the middle door of the verandah is accessible from the middle of the verandah. Gumpha No. 14 is a chaityagree. But the pavilion is rectangular and the terrace is flat. The Chaitagrha is covered with veranda and a inscription in the verandah is composed. This inscription is about the donation given to a charity by a Buddhist worshiper, Anand of Kapila's grandson and Tapas. The time for these caves is about 2 hundredth century. There is a gene on the steps stacked in the stone for entry. At the end of which the entrance to the middle door of the verandah is accessible from the middle of the verandah. Gumpha No. 14 is a chaityagree. But the pavilion is rectangular and the terrace is flat. The Chaitagrha is covered with veranda and a inscription in the verandah is composed. This inscription is about the donation given to a charity by a Buddhist worshiper, Anand of Kapila's grandson and Tapas. The time for these caves is about 2 hundredth century. There is a gene on the steps stacked in the stone for entry. At the end of which the entrance to the middle door of the verandah is accessible from the middle of the verandah. Gumpha No. 14 is a chaityagree. But the pavilion is rectangular and the terrace is flat. The Chaitagrha is covered with veranda and a inscription in the verandah is composed. This inscription is about the donation given to a charity by a Buddhist worshiper, Anand of Kapila's grandson and Tapas. The time for these caves is about 2 hundredth century.
The stairs which are full of stereoscopes in the caves are visible in the caves, but they are carved in wood, as well as the pillars around the stupa and the pillars in front of the chamber. Lions and elephants have carved sculptures. Lions and elephants are a very important place in Buddhist Dhamma. In the language of Sinha, Shakya and elephant are known as Mathang in Pali language. We know that Emperor Asoka has written four lions on his pillar and the Republican India has accepted the monetary status of Ashoka as Indian Raj Mudra.
It is the historic heritage of India that Lanyadyri caves in Junnar taluka takes you in the era of two thousand years ago and we understand that the craft of Indian art is so advanced.
Siddhartha
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