Udayagiri & Khandagiri Caves One of the earliest groups
of Jain rock-cut shelters, the caves of Udayagiri (Hill of Sunrise) and
Khandagiri (Broken Hills) command a unique position in the filed of history,
rock-cut architecture, art and religion. The two hills rise abruptly from the
coastal plain, about six km west of Bhubaneswar, separated by a highway.
Called lena, in the inscriptions, the caves of Udayagiri and
Khandagin are essentially dwelling retreats or cells of the Jain ascetics,
opening directly into the verandah or the open space in front. Mostly excavated
near the top of the ledge or boulder, they simply provided dry shelter for
meditation and prayer, with very little amenities even for small comforts. The
height being too low, does not allow a man to stand erect.
Each cell was tenanted by several monks. The cells are
austerely plain, but their facades are encrusted with sculptures depicting
auspicious objects worshipped by Jains, court scenes, royal processions,
hunting expeditions and scenes of daily life. The austere later additions, when
Jainism no longer enjoyed royal patronage in this part, show 24 Jain
tirthankars. At present, all the important caves have been numbered for to
avoid confusion in nomenclature.
From
Bhubaneswar, Udayagiri is the hill on the right and access
to its 18 caves is provided by a flight of steps. The largest and the most
beautiful, Cave 1, Rani Gumpha orQueen's Cave, off the pain path to the right is double storeyed.
Excavated on three sides of a quadrangle with fine wall friezes and some
recently restored pillars, not exactly architectural marvel, but has some
beautiful sculptures.
The right wing of the lower storey consists of a single cell
with three entrances and a pillared varandah. On the walls, flanking the
terminal pilasters of the verandah, are carved two dwara palas (sentries). The
pilasters of entrances to the cell are embellished with side pilasters crowned
by animals. Over them there are toranas (arches) relieved with religious and
royal scenes-couple standing reverentially with folded hands, a female dancer
with accompanying female musicians, etc.
The main central wing, consisting of four cells, has themes
apparently indicating victory march of a king, starting from his capital and
returning back after passing through various lands. At the angles, where the
right and left wings meet, are two small guard rooms which are lavishly
decorated-springs cascading down the hills, fruits laden trees, wild animals,
sporting elephants in lotus pools, etc.
In the better preserved Upper Storey there are six cells, one
each in the left and right wings and four in the rear. All the four cells of
the main wing are provided with two doorways each, flanked by two pilasters,
from which springs a ornately carved torana (arch) with auspicious Jain symbols
(snake and lotus), and friezes depicting scenes laid in wild surroundings story
reminiscent of Dushyanta's first meeting with Sakuntala, a dance performance
for the royal couple, etc.
Cave 2, Chota Hathi Gumpha, or Small Elephant Cave, is notable for its facade having
masterly carving of six vigorous elephants flanking its entrance. Cave 4, Alakapuri Gumpha, contain sculptures of a lion holding a prey, in its mouth,
and pillars topped by pairs of winged animals, some human and some bird headed.
Cave 5,Jaya Vijaya
Gumpha, is double storeyed and a bodhi tree is carved in
the central apartment. The high sanctity of the tree is represented by an
umbrella over it and being worshipped by a couple on either side.
Cave 9, Manchapuri and Swargapuri up the hill and around to right house
a damaged relief, the subject of which is worship of some Jain religious
symbol. The assemblage on the right is a group of four, votaries with folded
hands, dressed in long dhotis, scarves and heavy kundalas (ear rings). The
second crowned figure from the left is thought to be the Chedi King, Vakradeva,
whose donative inscription occurs on the roof-line of the facade of the cell to
the right side of the varandah.
Cave 10, Ganesh Gumpha, about 50 m from the top of the steps takes its name from
the figure of Ganesh carved on the back of its right cell. The carvings tell
the story of the elopement of Bassavadatta, Princess of Ujjayini, with King
Udayan of Kausambi in the company of Vasantaka. Proceeding to the top of the
Udayagiri Hill by a pathway to right, the visitor will reach the ruins of an
apsidal structure, unearthed in 1958. This Chaitya hall was the place of
worship by the monks and in all probability once housed the legendary
Kalinga-Jina that Kharavel recovered after it had been removed by Nanda king of
Magadha.
Below the ruins is Cave 12, Bagh Gumpha or Tiger cave, so called on account of its front carved into the shape of
a tiger's mouth, with distended upper jaw, full of teeth, forming the roof of
the verandah and the gullet forming the entrance. The Cave 14, Hathi Gumpha or
Elephant Cave is a large natural cavern and on the walls are scratched a few
names. Architecturally plain, but a 117 line famous inscription of king
Kharavel is important. It relates to the life history of Kharavel, his
expeditions and exploits off the battlefield inscribed in the Magadhi
characters.
Khandagiri
Coming
down to the main road by a flight of steps in front of Cave 17 of Udayagiri and
going up the road for about 15m, the visitor will find a track to his left
leading to the summit of the Khandagiri hill. Following this track for a few
meters, brings you at Cave 1 and 2, known as Tatowa Gumpha or Parrot Caves,
known so from the figures of parrots carved on the arches of their doorways.
Guarding the entrance to Cave 1, are two sentries in dhotis
and scarves and armed with swords. Between the two arches of the doorways
providing entrance to cell is a one line inscription calling the cave that of
Kusuna. Cave 2 is more spacious and its decorations more elaborate. On the back
wall of the cell are Brahmi inscriptions in red pigment, of the first century
BC to first century AD, presumably scrawled by a monk in attempt to improve his
handwriting.
Farther ascending by the same flight of steps, the path goes
to Cave 3, Ananta Gumpha or Snake Cave after the figures of twin serpents on
the door arches. It is one of the most important caves on the Khandagiri hill
on account of its unique motifs in some relief figures of boys chasing animals
including lions and bulls, geese with spread wings holding in its bill the
stalk of a lotus bud or a blue lotus, a royal elephant flanked by a smaller one
carrying lotus flower, a female figure driving a chariot drawn by four horses and
the Lakshmi in a lotus pool being bathed with water from pitchers held by two
elephants.
On the back wall of the cell is carved a nandipada on a
stepped pedestal flanked on either side by a set of three symbols-a triangle
headed symbol, a srivatsa and a swastika, auspicious to the Jains. Cave 7, Navamuni Gumpha, called so due to the figures of nine (nava) tirthankars
carved on the back and right walls and Cave 8,Barabhuji Gumpha, named so from two 12 armed (bara-bhuj) figures of
sasana-devis carved on the side walls of the verandah, both also have relief of
Hindu deities.
The last noteworthy Cave out of 15 Caves of Khandagiri, Cave 9, like Cave 8 was also reconverted in medieval times.
Ranged along the three sides of the chamber is the relief of 24 robeless
tirthankars. Except for the three standing images of Rishabnath, the rest of
images exhibit some crude workmanship.
The 18th century, Jain Temple, at the top of
the hill dedicated to Rishabnath, was most probably built on the site of an
earlier shrine. The temple enshrines some old tirthankars and affords a
panoramic view across the plains. The site, every year, late in January, for a
week attracts holy men who assemble on the hillside to intone verses from Hindu
epics and meditate. A lively fair comes up at the foot of hills attracting
crowds who enjoy the religious spectacle and the shops set along the roadside
do brisk business.
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