ART OF CAVES IN ORISSA
Locally Known As : Gumpha
Famous As : A Jain Pilgrimage Centre
Architectural Style : Rock-cut Architecture
ART
Although conforming to the common denominator of the art-tradition of
Madhyadesa, as illustrated in the reliefs of 'Bharhut' (District Satna),
Bodh-Gaya (District Gaya) and Sanchi (District Raisen), the sculptured
friezes of Udayagiri and Khandagiri have a distinct place of their own in
early Indian art.
The
Incomparable Artifacts
The facial features of many of the figures have a provincial look. The
workmanship of the carvings is by no means uniform, but taken as a whole
the execution displays a decided advance on the work of Bharhut (2nd
century B.C.)
The friezes on the façade of the main wing of the upper storey of
Cave-1 (Rani-gumpha)
of Udayagiri compare favourably with the reliefs of the gateways of
Sanchi, with which they are more or less contemporaneous, and have hardly
anything that savours of the archaic traits of Bharhut. The artist is no
longer labouring under the law of frontality and lack of perspective but
has attained sufficient mastery over form and skill in depicting figures
in every position- front, back and side.
The faces are shown in full or in three-quarter and half profiles. The
poses of the figures are easy and natural, their movement vivacious and
elastic and emotions, like agony, pleasure, fear, determination and mental
tension, tolerably well-expressed. The composition is fairly coherent and
effective; the different figures bear relationship with one another. The
reliefs have also matured into depth, displaying a considerable plasticity
of form and naturalism of modelling. Slender figures of men and women are
marked by a suavity of outline.
The reliefs on the other caves, Caves 5
('Jaya-Vijaya-gumpha'), 9
(Manchapuri
and Svargapuri) and 10
(Ganesa-gumpha) of Udayagiri and Caves 2 & 3
('Tatowa-gumpha'
and 'Ananta-gumpha') of Khandagiri, and even those on the lower
storey of Cave-1 (Rani-gumpha)
of Udayagiri, however, do not attain this standard. They are relatively
crude and inferior in dramatic vigour and plastic treatment of figures.
The figures are less elastic, modelling more coarse and grouping less
coherent.
This inequality in workmanship becomes glaring when one compares the
abduction scene in Cave-10 (Ganesa-gumpha) of Udayagiri with the identical
scene on the upper storey of Cave-1 of the same hill. The difference in
style may be due to either varied authorship or interval of time, which
enabled the artist, improving through experience, to attain mastery in
carving, through the interval could not have been appreciable.
Know more about this Package !!!
279/A, Masjid Moth, South Extention - II
New Delhi - 110 049 (INDIA)
Tel : +91-11-4164 3999 / 2626 2004
Fax : +91-11-2625 9695
Email : info@indiainfoweb.com
Home | Attractions | Destinations | Hotels | Tour Packages | Travel Agents | Help DeskDisclaimer | Privacy Policy | Old Site | Feedback / Contact Us
Copyright © 2007 India Infoweb. All Rights Reserved.