CNDA or Coded Nomenclature for Digital Assets: Streamlining India’s Buddhist Cave Temples Archaeology

1. Introduction

Welcome to our digital journey through the ancient marvels of Ajanta. In this endeavour, we face the unique challenge of organizing and managing an extensive array of digital assets without a traditional Digital Asset Management (DAM) system. Each cave, with its plethora of photographs and artifacts, represents a distinct narrative thread in the tapestry of Ajanta’s history. To address this, I’ve developed a specialized coding system that not only simplifies the naming of each file but also brings order to the potential chaos of numerous posts, pages, galleries, and categories.

This coding system transcends its primary function of identification; it’s the backbone of our backend file management, facilitated by a dedicated plugin. The folder structures, mirroring this nomenclature, serve as intuitive signposts, guiding our categorization and tagging processes. This methodical approach ensures that every digital asset is easily traceable, be it a narrative painting from a specific cave or an inscription from a secluded corner. Our goal is to make these ancient treasures accessible and navigable, not just for enthusiasts and scholars but for anyone drawn to the allure of Ajanta.

As you explore this site, the invisible yet efficient structure of our backend organization enhances your experience. This introduction is more than a briefing on our system; it’s an invitation to delve into a world where history, technology, and meticulous organization converge to preserve and celebrate the legacy of Ajanta.

2. Code Structure

The code structure is meticulously designed to encapsulate a comprehensive range of information about each digital asset or artifact. Follow this sequence to ensure a standardized and informative coding system:

General Structure: Codes are structured as follows: [State Code]-[Site Code]-[Cave Number]-[Part of Building]-[Category/Genre]-[Specific Identifier]-[if applicable: Scene No. in brackets ()]-[if applicable: additional photo no.]
Example: MA-AJA-001-HA-NAR-S50(2)-1

3. State Codes

A 2 or 3-letter abbreviation representing the Indian state where the site is located. Example: MA for Maharashtra.

AP: Andhra Pradesh
BI: Bihar
CH: Chhattisgarh
GO: Goa
GU: Gujarat
MA: Maharashtra
MP: Madhya Pradesh
OD: Odisha
RAJ: Rajasthan
UP: Uttar Pradesh

4. Site Codes

A unique abbreviation for the archaeological site within the state. Example: AJA for Ajanta.

5. Cave Numbers

A 3-digit representation of the cave number within the site. Always include leading zeros for consistency. Example: 001.

6. Part of Building

Abbreviated codes reflecting the specific part of the cave temple where the asset is found or related to. Example: FC for Frontcourt.

FC: Frontcourt
PO: Porch
HA: Hall
SA: Shrine Antechamber
SH: Shrine
VE: Vestibule
CE: Cell
Roo: Roof
Oth: Others (for any part not covered by the above categories)

7. Category/Genre

Classify each artifact or digital asset using the following categories to ensure systematic archiving and easy retrieval:

ARC (Architecture): Use this code for assets related to the structural elements, layout designs, and architectural details of the cave temples.
PAI (Painting): This code is for all types of paintings. Paintings often carry rich historical and cultural narratives or depict ornamental and devotional themes.
SCU (Sculpture): This category is for three-dimensional art forms and sculptures, encompassing a range of artistic expressions from narrative to devotional.
Sub-genre Identifier:
- NAR (Narrative): For paintings and sculptures with narrative themes. Include Schlingloff’s identifier for a precise reference (e.g., NAR-S50).
- DOT (Devotional & Ornamental): For paintings and sculptures focusing on devotional figures or ornamental motifs. Utilize Zin’s identifier for these themes (e.g., DOT-Z12).
Narrative Scene Number (if applicable): For narrative themes, indicate the scene number in parentheses to capture the sequence and specific scene within the narrative or theme (e.g., NAR-S50(2)).
Additional Photo Number (if applicable): Include an additional sequential number at the end of the code to distinguish multiple photos or variations of the same asset (e.g., -1, -2).
INS (Inscription): For any inscriptions found within the caves, including incised or painted. Inscriptions provide valuable historical, religious, or cultural insights.

Complete Example: Following this structure, a narrative sculpture in the frontcourt of Cave 001 at the Ajanta site in Maharashtra, identified as the 50^th narrative theme according to Schlingloff, and being the first photo of this scene, would be coded as: MA-AJA-001-FC-SCU-NAR-S50-1.

8. Additional Guidelines

Ensure all codes are used consistently across all documentation and databases.
Update and maintain a master list of all state, site, and category codes for reference.
Train all relevant personnel in the understanding and application of these codes.
Review and update the coding system periodically to reflect any new discoveries or changes in archaeological classifications.

By adhering to these rules, we can ensure a standardized approach to cataloguing and referencing digital assets in archaeology, facilitating better organization, retrieval, and scholarly communication.

Appendix A: Archaeological sites of ancient Buddhist cave temples

AP-AKK-Akkanna Madanna, Vijayawada
AP-Belum, Kolimigundla
AP-Bodhikonda, near Ramateertham
AP-Bojjanna Konda / Lingala Konda / Sankaram
AP-Guntupalli
AP-Kotturu
AP-Padavula, near Peddapuram
AP-Undavalli, Vijayawada
ASS-Dubapara
BI-Barabar Hill
BI-Nagarjuni Hill
BI-Saptaparni, Rajgir
BI-Swarn Bhandar, Rajgir
CH-Sitabengra & Jogimara
GO-Arvalem, Sanquelim
GO-Lamgaon, Bicholim
GO-Rivona, Sanguem
GO-Siddhanatha, Surla, Bicholim
GU-Baba Pyare, Girnar Hill
GU-Dhank, N-W of Upleta
GU-Kadiya Dungar
GU-Khambhalida, N-E of Jetpur
GU-Khapra Kodiya, Girnar
GU-Prabhas Patan
GU-Sana Vakiya, Sana Dungar
GU-Siyot, Lakhpat
GU-Talaja
GU-Uparkot, Girnar
MA-Agashiva / Karad
MA-AIN-Ainari
MA-Aja-Ajanta
MA-Ambika Group, Manmodi Hill, Junnar
MA-Ambivali, Ambiwadi T. Kothal Khalati
MA-Ankai & Tankai, south of Manmad
MA-AUR-Aurangabad
MA-Bahrot, near Dhamangaon
MA-Banmoli, Mangaon
MA-Banoti / Dhareshwar, Soegaon
MA-Bedse
MA-Bhaje
MA-Bhandara, west of Chakan
MA-Bhimashankar Group, Manmodi Hill, Junnar
MA-Bhivkund, east of Nagpur
MA-Bhutaleni Group, Manmodi Hill, Junnar
MA-Bhuyari, Nagpur
MA-Chamar, near Osmanabad
MA-Dharashiva, N-W of Osmanabad
MA-Digewadi
MA-Dongrai, near Agashiva Hills
MA-Elephanta Caves 2-4 (originally Buddhist?)
MA-Ellora Caves 1-12?
MA-Gandharpale, Mahad
MA-Ganesh Pahad Group / Lenyadri, Junnar
MA-Ghatotkacha near Janjala
MA-Ghorawadi / Ghorwadeshwar, Talegaon Dabhade
MA-Gomasi, Nandgaon
MA-Hal, near Khopoli
MA-Jivadani temple, near Virar
MA-Jogeshwari
MA-Kanheri
MA-Karla
MA-Kaudanya, near Agashiva Hills
MA-Kerumata, Navi Mumbai airport (destroyed)
MA-Khadsamble / Nenavali, Ghera Sudhagad
MA-Khed, in Khed town
MA-Kol, S-E of Mahad
MA-Kondhane
MA-Kondivita / Mahakali
MA-Kuda, Rahtad
MA-Kunghara
MA-Lachunda, near Osmanabad
MA-Lonad, near Mumbai
MA-MA-Shilatane, near Karla
MA-Mahur, near Mahurgad
MA-Mandapeshwar
MA-Mrugagad, Kurvande
MA-Naneghat
MA-Pale
MA-Palsambe
MA-Panhale Kazi
MA-Patan, south of Karla
MA-Pitalkhora
MA-Pohale, south of Wadi Ratnagiri
MA-Rajwada, Khireshwar
MA-Shirwal
MA-Shivaneri Group, Shivaneri Hill, Junnar
MA-Sutonda, near Banoti
MA-Thanale / Nadsur, Ghera Sudhagad
MA-Tikona Fort, Gevhande Khadak
MA-Tulja Leni Group, Tulja Hill, Junnar
MA-Ukasan, off Kamshet
MA-Vijasan, Bhadravati
MA-Waghdevi, Chinchoti
MA-Wakrul
MA-Yelghol, south of Kamshet
MA-Yerphale, near Patan
MP-Bagh
MP-Dhamnar, Chandwasa
MP-Khejadiya Bhop
MP-Lohani, Mandav, Mandu
MP-Pandav, Panchamarhi
MP-Salbardi
MP-Saru-Maru, N-W of Itarsi
OD-Kaima
OD-Langudi
OD-Udayagiri & Khandagiri
RAJ-Binnayaga
RAJ-Hathiyagor, Jhalawar
RAJ-Kolvi, Harnawada
UP-Deogarh rock shelter, near Garhol