Cave 5:
The T-shaped porched doorway is the only feature because the scooping did not go beyond it. The exuberant carvings are evident here and the jambs and the lintems seem to be of later century.

Cave 6:
This was the first important cave of the Mahayana phase. The sculptors were probably copying wooden prototypes, or wanted stable supports, so they included one central pillar in their lower story. The simple octagonal pillars are bare, unlike the pillars of other caves, which have capitals and bases. There extensions at the end of the front and the rear aisles to enable pilgrims to circumambulate the Buddha's throne.
There is a Buddha image in the lower cave 6. He is sitting with his feet squat on the base, in a rigid pose, only enlivened by the gestures of his hand and the flying couples above him. There could be circumambulation around the Buddha's shrine. This is a late cave, because, instead of attendant bodhisattavas, there are attendants Buddha.
The porch doorway is simple with not much carved decoration except attached female figures. There is a medallion in this cave in the colonnade of the shrine vestibule. The couple in the medallion is skillfully carved, but the medallion itself is conventional.

Bhikshu with Lotus :
The painting of Bhikshu in this cave in the middle, done about 5th century, is almost like a relief. There is the rhythmic vitality in the line and boldness of drawing. The painting is almost like a sculpture. The folds of the garment, the rounded belly, and the calm on the face suggest a devote worshipper.

CAVE 7:
The verandah of this cave must at one time have been elaborate. The ceiling was obviously painted. The carving is simple.