ASSESSMENT OF JAINISM CAVE ARCHITECTURE OF KHANDGIRI … · built. This cave consists of sculpted...

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International Journal of Civil Engineering and Technology (IJCIET)

Volume 9, Issue 7, July 2018, pp. 1713–1723, Article ID: IJCIET_09_07_183

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ISSN Print: 0976-6308 and ISSN Online: 0976-6316

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ASSESSMENT OF JAINISM CAVE

ARCHITECTURE OF KHANDGIRI AND

UDAYGIRI CAVES OF ORISSA

Ar. Ravish Kumar

Assistant Professor, Department of Architecture, NIT Patna, India

Dr. Bijay Kumar Das

Assistant Professor, Department of Architecture, NIT Patna, India

Dr. Fulena Rajak

Professor, Department of Architecture, NIT Patna, India

ABSTRACT

Jainism is one of the antiquated religions of world. In antiquated times, Orissa

was known as Utkal, which implies utkarsh in kala i.e., phenomenal in the arts. Its

rich artistic heritage saturates through time, into present day style, never digressing

from the nuts and bolts. The Orissa showed their noteworthy innovative power, in the

Jain sculptural art. While they constructed their caves like goliaths, they designed the

caves like ace artists. The subject of these models was so fluctuated, for the artist and

his creative ability so profound that, as though, he was composing an epic on the

surface of the stone. KhandagiriUdayagiri is one of the most seasoned and noticeable

siddhakshetras of Digambara Jain people group. It is one of the most punctual Jaina

rock cut sanctuaries which order a one of a kind place in Eastern India in the

historical backdrop of rock cut architecture, art and Jaina religion. The

MahameghVahana line of Kharavela is dealt with as the brilliant time of Jainism. His

profound vision extended to the boundless point and he partonised Jainism as state

religion). The caves in Udayagiri and Khandgiri outline the Jaina legends, folklore

and iconography in the Rani and GanesaGumphas and so forth.So in this paper the

details assessment of jain cave architecture of Khandgiri and Udaygiri is presented.

Key words: Jainism Cave, Architecture, Orissa.

Cite this Article: Ar. Ravish Kumar, Dr. Bijay Kumar Das and Dr. Fulena Rajak,

Assessment of Jainism Cave Architecture of Khandgiri and Udaygiri Caves of Orissa.

International Journal of Civil Engineering and Technology, 9(7), 2018, pp. 1713-

1723.

http://www.iaeme.com/IJCIET/issues.asp?JType=IJCIET&VType=9&IType=7

Assessment of Jainism Cave Architecture of Khandgiri and Udaygiri Caves of Orissa


1. INTRODUCTION

Jainism is one of the old religions of world. The historical backdrop of Jainism in Odisha

follows back to the times of Parsvanatha, the 23rd Tirthankara. Khandagiri-Udayagiri is one

of the most seasoned and noticeable siddhakshetras of Digambara Jain people group. Lord

Kharavela has developed these caves around 2000 years prior for the resting of the Jaina

priests. The twin hills bear the cost of the genuine feelings of serenity and the sacredness for

religious interest. There are upwards of 32 nos. of caves or cells for sramanas or Jaina priests.

A few caverns are as right on time as Mahavirs' time and consecrated by the visit of Arhats

[1].

Khandagiri and Udayagiri, the twin hills, are arranged at a separation of 8kms toward the

west of Bhubaneswar Railway station. Thehills are associated with the city by NH-5. The

entire range was considered as one general name Khandagiri however the north eastern hill

bears a local name, Udayagiri (hill of the dawn). It is one of the soonest Jaina rock cut shelters

which order a remarkable place in Eastern India in the historical backdrop of rock cut

architecture, art and Jaina religion.

The MahameghVahana line of Kharavela is dealt with as the brilliant time of Jainism. The

HathiGumpha inscription initially found by Sterlin and altered by number of researchers give

a precise record of the career and accomplishment of Kharavela till his thirteenth regional

year. The paleography, dialect and art altogether show that he had a place with 1st century

B.C. It is obvious from the inscription that Jainism was the religion he clung to. The

HathiGumpha inscription starts with salutes to Arhats and Sidhas. There are the respected

pancaparamesthin of Jaina convictions i.e, Arhatparamesthin, sidhaparamesthin, and sadhu

paramesthin [2].

Truly the cave architecture backpedals to Mauryan period. The cave architecture was

produced by the utilization of stones for development purposes. The caverns in the hillocks

and rockcutshelters were basically implied for the nomades for brief period. The most huge

and antiquated architectures are the HathiGumpha cavern with the inscription of the Kalinga

King Kharavela of the Chedi tradition, the Rani Gumpha, Svargapuri and Manchapuri caves,

Ganesa-Gumpha. Jainism is one of the old religions of world. It is one of the soonest Jaina

rock cut shelters which order a remarkable place in Eastern India in the historical backdrop of

rock cut architecture, art and Jaina religion. The MahameghVahana tradition of Kharavela is

dealt with as the brilliant time of Jainism. His profound vision extended to the boundless point

and he partonised Jainism as state religion. The caves in Udayagiri delineate the Jaina

legends, mythology and iconography in the Rani and GanesaGumphas. The caves in

Udayagiri represent the Jaina legends, mythology and iconography in the Rani and

GanesaGumphas. The representations of Kalinga regal figures are appeared in the Rani

Gumpha and Manchapuri caves [3].

2. OBJECTIVES OF THE STUDY

To study the Jainism and its Cave architecture

To study the cave architecture of khandgiri and udaygiri caves of orissa

3. SCOPE OF THE STUDY

The main scope of this study is to examine the various Jain cave architecture existed in

Kahandgiri and udaygiri.

Ar. Ravish Kumar, Dr. Bijay Kumar Das and Dr. Fulena Rajak


4. METHODOLOGY

The study is mainly based on primary sources, collected from different museums, archives,

libraries and through the means of field study. Interview with the artists, the sculptors and

their survivors was undertaken, to know the genesis and the condition of the sculptors, and

artists who shed their sweat and blood, and devoted their lives. Checking and cross checking

of source materials, were done before their utilization and interpretation. The modern

scientific, historical research methodology was also adopted instantly, for the preparation of

the paper.

5. MAIN CHARACTERISTICS

There are two hills in Orissa named as Udayagiri and Khanagiri. They are near to

Bhubaneswar and located in the difference of 150-200 m with each other. These hills itself a

place of monuments of ancient Indian culture.

These hills are known as the collection of caves of Jain architecture. There are 18 caves in

Udayagiri and 14 caves in Khandagiri. Apart from that the area of caves is diverse. If we look

out some other sources then there are around 35 caves in both of the hills and some other

sources say that there are 27 caves. [4]. Out of all these caves some are double storeyed caves

and some are single. The major portion of caves is single storeyed which is presented in

figure.

These all caves belong to Jain culture and heritage. These caves are in rock- cut design

and made by jainpriests in the ruling of King Kharavela but some other are naturaly made.

Udayagiri and Khandagiri is a rich heritage of jain architecture. But It can be seen a

similarity between Udayagiri and Khanagiri art and contemporaneous art in sanchi.

no. of single-storeyed caves

89%

no. of double-storeyed caves

11%

Caves on the Basis of number of stories

No. of Square plan caves

11%

No. of Rectangular plan caves

89%

CAVES WRT PLAN SHAPE



6. ARCHITECTURAL DESCRIPTION OF VARIOUS JAINISMCAVES

OF KHANDGIRI AND UDAYGIRI

6.1. Caves of Udayagiri

The caves in Udayagiri are to some degree better known because of a few imperative

monuments of history and art [5]:

Cave 1:Rani Gumpha is also known as Rani kaNaur and Queen's Cave, Queen's Palace Cave.

It has a double storeyed monastery. There are seven entry doors with frontal face. Apart from

that there is an upper floor which contains 9 columns. There is a monument of women who is

dancing and playing musical instrument. There are also depection of royal people in

splendour, rampaging elephants, and monkeys. This cave is famous due to exceptional

accoustic characteristics. It is possible that the cave was used for chants and theatre

performance, most likely - for Samaja celebration. Cave contains also image of Surya riding a

chariot.

Cave 2:BajagharaGumpha is known as with two massive built columns in front part, also

inner columns are built, e.g. not carved of live rock. It is known as a simple and small cave. It

has rectangular shaped pillars. There is no other sculture found in this cave.

Cave 3:ChotaHathiGumpha is known as a small size. There are six small elephants figures in

the facade. The word 'chotahathi' means small elephant'. ChotaHathiGumpha has a front door

onboth sides along with the exquisite relief with elephants.

Cave 4:AlkapuriGumpha is known as double storeyed cave. There are part of columns is

built. This cave consists of sculpted ornaments and sculptures. There are exquisite reliefs

depicting elephants on rock-cut pillars capital. There are some winged creatures people.

Cave 5: Jaya-vijaya is known as double storied cave. In this cave there are some rock-cut

columns and some built.It has a relief image of Bodhi tree with umbrella on its top and

flanked by people worshipping it.

Case 6: PanasaGumpha is known as Simple cell along with two built columns. It is another

shelter with ochre paintings near to this cave.



Cave 7:ThakuraniGumpha is known as Double storeyed cave. In this cave there are some

rock-cut and other are built. It has a relief carving with winged animals.It has few tiny relief

sculptures.

Cave 8:PatalapuriGumpha is cut cave designed roughly. There are two columns at verandah.

The columns are decorated with reliefs depicting winged beings.However, there is no notable

feature in this cave.

Cave 9:MancapuriGumpha is known as double storeyed cave. There are four columns on the

lower floor.There are several sculptures and reliefs, inscriptions in this cave.Out of those

inscriptions, two inscriptions resembles about Kudepasiri, the successor of Kharavela and

Badukha, the son or brother of Kudepasiri.

Cave 10:GanesaGumpha is known because of its stone monuments. It has monuments of Jain

Tirthankara and some of like fighting people in action. There is an inscription also. It consists

of two dwelling cells with low ceilings along with the verandah with a bench in front.

Sometimes later the monuments of Ganesha were made along with the large sculptures of two

elephants in front of cave.

Cave 11:JambesvaraGumpha has a two plain door opening with low cell. There is an entrance

with one column and two pilasters. There is an inscription also which indicates that the cave

of Nakyia, wife of Mahamade.

Cave 12:VyaghraGumpha is a small cave temple. The word 'vyaghra' means tiger.It's

entrance is shaped like some animal‟s head and entrance door is look like the animal‟s throat.

The entrance is decorated with domed elements. The cave is of town-judge Sabhuti.Some

inscriptions are also there which talk about this cave which belongs to the city of Judge

Sabhuti.

Cave 13: SarpaGumpha is a small cave which is unusual and decorated on the upper side of

entrance.It names „sarpana‟ because „sarpa‟ mean snake. There are two inscriptions found in

this cave.

Cave 14:HathiGumphahad a great historyand records of King Kharavela‟s empire. It has a

natural artificial structure like columns of Verandah. There is an inscription in this cave.

Apart from this there are lots of symbols and footprints drawn on this cave. There is a

hollowed boulder with entrance doors and windows in the front of HathiGumpha.

Cave 15:DhanagharaGumpha has an enntrance of two columns which are massive and

unfinished, decorated adorned with door keeper‟s sculpture.

Cave 16:HaridasaGumpha is cut cave designed roughly, verandah with one column. There is

a inscription in this cave.

Cave 17:JagammathGumpha is a roughly rock cut cave.

Cave 18:RosaiGumpha is a very small cave and it has only one entarnce.

Udayagiri contains also fundament of some structure - floor is laid with levelled blocks of

stone, in the stone hewn post holes.

The carpet area of 18 Udayagiri caves is presented in graph:



…

0

5

10

15

20

25

30

Caves

No

. of

cells

No. of Cells within 18 Udayagiri Caves



6.2. Caves of Khandagiri

Khandagiri hill contains to some degree less caves. Jaina caves in Khandagiri are

progressively infringed by neighborhoodBrahmins transforming them into Hindu shrines [6]

0

1

2

3

4

5

6

Caves

No

. of

Cel

ls

No. of Cells within 17 Udayagiri Caves



Cave 1: TatowaGumpha is named this because of the portrayal of parrots cut over the

entrance curve. Cave is luxuriously enhanced, decorated with two door-attendants also. The

two entrances in the cells thusly are "watched" by two bulls and two lions.

Cave 2:TatowaGumpha has a veranda decorated with pilasters;capitals of pilasters contain

impeccable carvings.

Cave 3:AnantaGumphaconsists of dazzling figures of women, elephants, athletes, geese

conveying blossoms.

Cave 4:TentuliGumpha is a small rock-cut chamber. There is a verandah with one column.

Entrances in shrones decorated with portals.

Cave 5:KhandagiriGumphais known as cut cave double storeyed.

Cave 6:DhyanaGumpha is generally has a cut cell architecture.

Cave 7:NavamuniGumpha is generally has a cut cell, raise wall embellished with Jain

Thirtankaras, Sasanadevis and Ganesh. Inscription is carved here. There is a small figure of

Chandrparbha seated on alotus. There is a figure of Naga also.

Cave 8:BarabhujiGumpha is embellished with Jain Thirtankaras and SasanaDevis. Rock-cut

footprints. There are two relief images found in this cave which talk about 12 armed

SasanaDevis, hence it is called as BarabhujiGumpha. Some Tirthankara sculptures are also

found in this cave.

Cave 9:TrusulaGumpha was displayed in medieval circumstances through a few changes.

There are three models of Rishabha Deva were found in this collapse the standing posture and

look excellent. Aside from these figures there are models of 24 Jain Tirthankaras which look

rough.

Cave 10:AmbikaGumphahas a Few relief images of SasanaDevis are found here

Cave 11:LalatendukesariGumpha has a raise wall embellished with reliefs of Mahavira,

Parsvanatha, JainThirtankaras.

Cave 14: EkadasiGumpha has a basic cell structure. It is very small and simple. No

inscriptions are found here.

86%

14%

Caves on the Basis of Number of Stories



7. CONCLUSIONS

Subsequently, it is concluded from this study sculptural art convention in Odisha is an

interesting subject in perspective of the way that, the monuments related with it have made

050

100150200250300350400

Car

pet

Are

a (S

q.F

t.)

Caves

Size of 14 Khandagiri Caves

0

1

2

3

4

5

6

Car

pet

Are

a (S

q.F

t.)

Caves

No. of Cells within 14 Khandagiri Caves

0

50

100

150

200

250

300

Car

pet

Are

a (S

q.F

t.)

Caves

Cell Size within 14 Khandagiri Caves



due, all things considered, through the assaults of time. Distinctive leaders of various decision

dynasties of Odisha fabricated various temples, caves and artifacts contending with each

other. They made due close around two thousand years through the changes of time bearing

an intriguing study to the understudies and scientists of history and sculptural art in particular.

The portrayal of flying Gandharvas, watches, section figures crowing creatures alongside

improving themes in the caves demonstrate the rich art custom of Odisha and also the cave

architecture once in a while found in India. Kharavela being a Jain was the harbinger of

peacefulness and peace, are reflected in the cave architecture of both Khandagiri and

Udayagiri in a one of a kind way which bring the general population of the world together

[7].As per analysis, there are in total 32 caves (18 in Udaygiri and 14 in Khandgiri). The area

of these caves are diverse.On Udaygiri hill 11 % cave cells are Square in Plan while 89 %

caves are rectangular in plan. 11% of caves are double storeyed and 89 % are single storeyed.

Rani gumpha is the largest cave with 27 numbers of caves and RasuiGumpha is the smallest

cave.On Khandgiri hill all caves are rectangular in plan. 14% of caves are double storied and

86 % are single storied. Khandgirigumpha having 6 numbers of highest number of cell and

NavamuniGumpha is the largest cave in area.

On both of these hills the roof height in most of the cells are 3‟-6” with flat roof and some

of the caves having gable roof configuration varies from 5‟-6” to 6‟-6”. The verandah roof

height is 6‟-3 to 6‟9”. With the exception of HathiGumpha.

REFERENCES

[1] Banarjee, SatyaRanjan, Jainism in Different States of India, Jain Bhawan, P-25, Kalakar

Street, Calcutta-7, 2001

[2] Basa, K.K and Mohanty, P. (Ed.). 2000. Archaeology of Orissa. Vol. I & II. Delhi:

PratibhaPrakasan.

[3] TirtharajBhoi (2004) “A Study Of Jain Activity In Western Orissa (From c.B.C. 200–

600A.D.)”, OHRJ, Vol. 5I, No. 1, 131-136

[4] Bandyopadhyay, B. 2007. Excavations at Udaygiri-2. (1997-2000), Memoirs of the

Archaeological Survey India.

[5] Suchitra Das (2015) “Kharavela and Jain Cave Architectures in Udayagiri”,

SHRINKHALA, VOL-II, ISSUE-V, 38-40

[6] Akhaya Kumar Mishra (2017) “Sculptural Art Of Jains In Odisha: A Study”, International

Journal of Humanities and Social Sciences (IJHSS), Vol. 6, Issue 4, 115-126.

[7] Ar. PranotiKiranMeghal (2018) “Development of Jain Architecture from Caves to Temple

Architecture in Maharashtra”, International Journal of Engineering Research, Volume

No.7, Issue Special 2, pp: 188-19

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