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.
Udayagiri
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 or
Queen'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.
The
Lingaraj Temple in Bhubaneswar, dedicated to Lord Shiva, or
Tribhuvaneswar represents the perfect harmony between Orissa's
architectural style and decorative motifs.
