KHANDAGIRI-GUMPHA CAVES
Locally Known As : Gumpha
Famous As : A Jain Pilgrimage Centre
Architectural Style : Rock-cut Architecture
CAVE-5 (KHANDAGIRI-GUMPHA):
Next to Cave-4, Cave-5 is called Khandagiri, from the cracks (khanda) in
it, in front of which is a modern flight of steps descending to the main
road. It consists of two plain cells. One above the other, both badly
damaged. To its right, on the left side of the steps, are two more
dilapidated cells, again one above the other the lower one is more a niche
than a cave; the upper one has a small window. Over the top of the latter
once stood a structure, as socket-holes for receiving the bases of the
posts are still existing.
CAVE-6
(DHYANA-GHARA, DHAYANA-GUMPHA OR SHELL-CAVE):
To the south of Cave-5 are four caves almost in one row facing an
artificial terrace. The first of them, Cave-6, is called 'Dhyana-ghara' or
'Dhyana-gumpha', the house or cave of meditation; the alternative name,
Shell-cave, is derived from an inscription in shell characters engraved on
the left wall.
Originally, a cell with a verandah having two pillars, it has now been
turned into a spacious room with the front side open due to the deliberate
removal (chisel-marks are there) of the front wall and also the fall of
two pillars of the verandah. The architrave above the pillars of the
verandah is extant. The floor was originally at a higher level. The
sloping eaves are distinguished by the existence of four rock-cut
handle-like contrivances.
CAVE-7 (NAVAMUNI-GUMPHA):
Next to Cave-6 is Cave-7. Its popular name is due to the figures of nine
(nava) Tirthankaras (munis), excluding the smaller figure of
'Chandraprabha', carved on the back and right walls. In the group
'Parsvanatha' occurs twice, probably on account of his greater importance.
Originally, the cave consisted of two residential cells (as suggested by
the pillow-like slope of the original floor-level) with a common verandah
in front. Later on it was converted into a sanctuary by excavating the
floor to a deeper depth and carving the figures of Tirthankaras. With the
removal of the partition-wall between the two cells and also the front
walls separating the cells from verandah, which was deliberately done to
provide more space for the place of worship and it became a spacious
chamber, open on the front side.
Both the pillars of the verandah have disappeared, leaving scanty traces
of their top below the architrave. The cave was at one time plastered with
shell-lime, patches of the plaster still surviving at many places. The two
masonry pillars and also the floor with the raised portion at the back are
modern constructions. Like Cave-6, the eaves of this cave are provided
with four handle-like perforations.
There are altogether five inscriptions, one mentioning sravakiruvi below
the figure of 'Parsvanatha' on the right wall of the right cell, three on
the remnant of the partition-wall of the right cell, three on the remnant
of the partition-wall and the fifth, the largest and in three lines, on
the inner side of the architrave of the verandah.
The last is the most important, as it records the work of 'Subhachandra'.
Disciple of 'Kulachandra', who was an acharya (teacher) of the Desi-gana
derived from the Graha-kula belonging to the Arya-samgha, in the
eighteenth regnal year of 'Udyotakesari', who belonged to the 'Somavamsi'
dynasty and ruled over Orissa in the 11th century. Of three inscriptions
on the partition-wall, one again mention the same Subhachandra and the
other two the names of two students (chhatra), 'Vijo' and 'Sridhara'.
As stated above, on the back wall of what was originally the right cell
are carved in high relief seven Tirthankaras, 'Rishabhanatha',
'Ajitanatha', 'Sambhavanatha', 'Abhinandana', 'Vasupujya', Parasvanatha
and 'Neminatha', all seated cross-legged with both soles visible
(yoga-mudra) within niches rounded at the top. Over their heads are the
canopies of three-tiered umbrellas flanked by a pair of hands playing on
cymbals.
On either side of Tirthankaras stand fly-whisk-bearers with meagre
loincloth. Though the figures are greatly weathered, partly on account of
the coarse-grained texture and brittle nature of the stone, they display
considerable workmanship. The varied treatment of the hairstyle is
specially noteworthy; some of them have their jatas tied and folded on
their heads and others have them arranged in the shape of a cone, while
Neminatha has his spiral curls arranged in a top-knot like that of Buddha.
None of them has any halo behind them nor any srivatsa-mark on the chest.
Below the figures of Tirthankaras are their sasana-devis, 'Chakresvari',
'Rohini', 'Prajnapti', 'Vajrasrinkhala', 'Gandhari', 'Padmavati' and
'Amra', executed in medium relief. Bedecked in sparse but elegant
ornaments, they are clad in sadis and short diaphanous scarves placed
obliquely on their chests and left shoulders. Preceded by the figure of
Ganesa, seated in Maharajalila and holding a bowl of sweet-balls (to which
his trunk is applied), a hatchet (parasu), a rosary and a radish, the
seven sasana-devis are reminiscent of the Brahmanical Sapta-Matrikas.
The grouping may not be accidental, as most of them show characteristics,
which are not available in the Jain texts, but which appear in their
Brahmanical prototypes, of which a good many sculptures exist at
Bhubaneswar. With their attributes and mounts they disclose unmistakably
the assimilation of the Brahmanical deities into the Jain pantheon.
On the right wall are two reliefs, one of Parsvanatha and the other
Rishabhanatha, both seated in yogasana on a lotus flanked by
fly-whisk-bearers. Parsvanatha, seated under a seven-hooded canopy, is
distinguished for his bejewelled jata-mukuta. On either side of the canopy
is a flying figure holding a garland. Beneath the lotus-seat is a ghata
flanked by a naga-figure.
Below this relief is the inscription reading sravakiruvi. Rishabhanatha
has a halo round his head. Below his seat is his cognizance, bull. The
relief is unfinished and may not be contemporary with the main group.
On the left wall is carved a small figure of Chandraprabha seated on a
lotus, below which is the representation of the moon. His spiral curls are
arranged in a top-knot.
CAVE-8
(BARABHUJI-GUMPHA):
Adjoining Cave-7, beyond a rock-cut stairway, is Cave-8,
Barabhuji-gumpha, so called from two twelve-armed (bara-bhuji) figures of
sasana-devis carved on the sidewalls of the verandah. It is a long
chamber, with a convex ceiling, preceded by a pillared verandah.
The cell was originally a dormitory, as proved by the pillow like
inclination of the floor. When it was, like Cave-7, converted into a
sanctuary by carving the images, it was felt necessary to increase its
height, and this was achieved by scooping out the floor to a greater
depth. The backbench together with the dividing walls between the three
doorways was also removed in this period. The two concrete piers and the
flooring are modern. At one time the entire chamber was coated with
plaster of shell-lime.
Two modern pillars have taken the place of the missing old ones, of which
the tops can still be seen, with a bracket relieved with two honeysuckles
alternating with lotuses. The missing pillars, on the analogy of the
pilasters, were square below and above and octagonal in the middle.
Accommodated in the left wall of the verandah is a shelf. The roof of the
verandah projects in front to form the caves.
There are altogether twenty-five figures of Tirthankaras on the walls of
the cell, distributed on all three walls, Parsvanatha being repeated
twice. Of the two figures of Parsvanatha, one is in its usual position the
series; the other occupies the first place on the back wall. The latter is
larger in size than the rest and is shown stripped of all raiments,
standing in Kayotsarga pose, with its long hands hanging by its sides, on
a double-petalled lotus under the seven-hooded canopy of a serpent.
Above its head are three-tiered umbrella cymbals beaten by hands and
flying figures holding garlands. On his either side is a three-hooded naga
seated with folded hands and a standing fly-whisk-bearer, one above the
other. The figure of his sasana-devi is absent. Parsvanatha occupies the
position of the mula-nayaka (chief lord) of the cave.
The remaining Tirthankaras are seated cross-legged with their feet
resting on thighs (yogasana) on double-pettalled lotuses supported on
lions, in yoga-mudra beneath the trees under which they attained their
kevala-jnana (Supreme knowledge); above their heads is a three-tiered
umbrella, one of the eight pratiharyas.
Flanked on either side by an attendant holding a fly-whish, all, except
Parsvanatha, have a halo round their heads. Celestial music is indicated
by cymbals played by the hands of invisible persons; near them are two
flying figures holding garlands.
The general appearance of all these figures is the same as if they have
been cast in the same as if they have been cast in the same mould: but for
their distinctive lanchhanas (emblems) carved below their lotus-seats,
they would have passed as the same Tirthankara. The lanchhanas, it may be
noted, do not always tally with those prescribed in the canons. The
srivatsa mark is absent on the chests of the Tirthankaras.
Beneath the Tirthankaras are, in separate compartment, their respective
sasana-devis, all seated in ardhaparyankasana except 'Mahamanasi', who is
seated cross-legged, and 'Bahurupini', who is lying. Twenty of them sit on
legged seats, and four-the fourth, sixteenth, twenty-second and
twenty-third-on lotuses, below which are their animal-mounts. All, except
Bahurupini and 'Padmavati' who has a canopy of snake, have haloes behind
their heads. Draped in sadis, they are all decked in usual ornaments like
bangles, necklaces, ear-ornaments, girdles and jata-mukutas.
On the left wall of the verandah is a twelve-armed figure of
'Chakresvari' wearing a sadi held by a girdle, bangles, armlets, a
necklace, an upavita, anklets, kundalas and a mukuta and seated in
lalitasana on a double-petalled lotus, below which are 'Garuda' and a
devotee with a water-pot in between. One of her right hands is varada, the
second holds a sword and the third a disc. Of her left hands, one is held
against her chest and three carry a shield, a bell and a disc.
The remaining attributes are damaged. The relief was originally painted;
traces of black lines on a darkish red background are discernible at
places. Above her head is her Jina 'Rishabhanatha' with a bull below.
On the right wall of the verandah is a twelve-armed figure of 'Rohini'
seated with her bull below, in the same pose as 'Chakresvari'. Among the
attributes, vara, banner, ankusa and disc in the right hands and sankha,
water-pot, twig or tridandaka and disc in the left are recognizable. Above
her head is her Jina 'Ajitanatha' with an elephant.
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