Buddha in meditating mudra. Towards the right of the entrance is the "Mother and Child" sculpture. A figure with begging bowl is the Buddha, watching him are his wife and son. The worship hall is apsidal, with 15 pillars dividing it into two side aisles and one nave. The round pillars have floral reliefs and a fluted shaft topped with Buddha in its capitals. Next, to the Buddha in the capitals are elephants, horses and flying apsara friezes found elsewhere in India, reflecting the style of the Gupta Empire artwork. According to Sharma, the similarities at the Karla Caves Great Chaitya, built in the 2nd century CE, suggest that Cave 19 may have been modeled after it. The walls and the ceiling of the side aisles inside the worship hall are covered with paintings. These show the Buddha, flowers, and in the left aisle the "Mother and Child" legend again. Cave 20 Cave 20 is a monastery hall (16.2 × 17.91 m) from the 5th century. Its construction, states Spink, was started in the 460s by king Upendragupta, with his expressed desire "to make the great tree of religious merit grow". The work on Cave 20 was pursued in parallel with other caves. Cave 20 has exquisite detailing, states Spink, but it was relatively lower on priority than Caves 17 and 19. The work on Cave 20 was intermittently stopped and then continued in the following decade. The vihara consists of a sanctum, four cells for monks and a pillared verandah with two stone cut windows for light. Prior to entering the main hall, on the left of veranda are two Buddhas carved above the window and side cell. The ceiling of the main hall has remnants of painting. The sanctum Buddha is in preaching posture. The cave is known for the sculpture showing seven Buddhas with attendants on its lintel. The cave has a dedicatory Sanskrit inscription in Brahmi script in its verandah, and it calls the cave as a mandapa. Many of the figural and ornamental carvings in Cave 20 are similar to Cave 19, and to a lesser degree to those found in Cave 17. This may be because the same architects and artisans were responsible for the evolution of the three caves. The door frames in Cave 20 are quasi-structural, something unique at the Ajanta site. The decorations are also innovative in Cave 20, such as