Udayagiri Caves - 1 (Rani Gumpha)
Rani Gumpha Caves
(Cave no. 1, Udayagiri, Bhubaneshwar)
The earliest rock cut architecture dedicated to the Jaina sect is
situated at Khandagiri and Udayagiri hills near Bhubaneshwar in Odisha. These
are also the oldest rock cut structures of Entire Eastern Indian region. They
have a number of finely and ornately carved caves built during the 1st century
BCE. Some of them also bear
inscriptions, the famous Hathigumpha inscription of Kharavela is one among them
gives detail & vital information of post Mauryan politics.
The Udayagiri hill has 18 extant caves all of them are small single
or double story monasteries, while Khandagiri hill has 15 caves. There was also
a Jaina temple structure constructed on the top of hill which has completely
succumbed to the forces of nature.
Some of the famous caves in complex are Hathi Gumpha, Ananta
Gumpha, Ananta Gumpha, Ganesha Gumpha, Jaya Vijaya etc.
Location:
Khandagiri-Udayagiri hill complex is situated around 8 kilometres
from Bhubaneshwar city in southwest direction towards Brahmapur town (NH-16)
Rani Gumpha
The largest cave on Udayagiri hill is Rani Gumpha. This cave is
also known as Rani ka nauara (Queen Palace) number as Cave no. 1 by ASI. it is
an extensively carved cave and elaborately embellished with sculptural
friezes.
History:
Most of the caves at Udayagiri and Khandagiri were built under the
patronage of Kharavela during 2nd Century BC. the inscriptions here suggest the
commissioning of caves by King himself and his wife and family members. The
Rani Gumpha cave is believed to be built by his queen. Artistically, the
structure and design of the cave is quite old and well can be kept in 2nd
Century BCE period.
Architecture of
the Cave:
This cave is however, smaller compare with the viharas on the
western India but it gives great insight on sculpture and architecture of
Eastern India. The principal face of the cave is west ward. The double storey
monastery consists of a large rectangular courtyard with cells on three sides,
the fourth and south eastern side is open. The original designs included a rail
or a small wall with an entrance gate in the middle.
The caves on the three side are apparently double story but are
exactly not built one above the other. The upper floors are slightly receding
backward. This is done to avoid placing heavy load of upper structure on lower
storey and to provide them strength and stability.
It is 63 feet wide at its base and 43 feet wide at the upper
storey. The two little highly decorated pavilion on both sides of the lower
storey, would represent the angle piers in which perhaps structural part of the
staircase which may have banished over the period of time.
The whole surface is smooth and there are no ribs, beams or
rafters indicating that the architects did not imitate the wooden model. The
veranda roofs are supported by non-functional architraves and rested on pillars
similar to bamboo or wooden posts of a hut.
Planning of Ground
Floor:
The lower veranda is only 43 feet long 8 feet wide, opens into
three cells, the central one having three doors and lateral ones only two each.
None of the pillars at lower floor are remain now and veranda also
has collapsed long time back. It may be observed that the upper rock forming
part of the roof of the upper veranda had fallen and carried away the pillars
that at one time supported and the fall of such a mass may broke through the
roof of lower veranda too. There was a cell connected to the left from the
corridor which has collapsed now, the cell was further connected to a large
corridor which had a few cells connected to it. similarly, the front veranda
terminates in a cell of in the right which is connected to a further right
corridor 7x20 feet also having some cells in the right.
The ceiling over the veranda in front of the lower floor is
slightly arched with a rise of about six inches in the centre.
Planning of Upper
Floor:
The veranda in the upper storey is 63 feet in length, and opens
into four cells of somewhat irregular form, by two doors in each making eight
doorways altogether. These door
entrances are designed in very same fashion as of lower story, comprising of an
arched Torana mounted over two pilasters.
There were originally 9 columns in upper floor veranda (out of 9,
2 are old and 7 are new) forming a corridor. Left side also contained two
additional cells connected to the corridor similarly one large cell connected
at the right side through a narrow pathway to the corridor.
Two guardians, carved in high
relief at each corner of the veranda, are shown riding over animals. The one on
the left is shown riding a bull while the one on the right is riding a lion.
Doorways:
Both upper and lower story doorways are of very low height,
approximate 4 feet high. The upper portion of the doorways are terminating in semi-circular
shape. these upper portions are filled with different wall reliefs and friezes.
Entrances to the cells are designed with two pilasters supporting an arched Torana.
he arched Torana of all the three entrances, is connected by a railing. The
capitals of the pilasters are shown with animals, winged-lions and bulls. These
horse shoe shape Torana frieze contains floral wreath design connecting both
the capitals. This arrangement, results in two full and two half spandrels at
ground floor doorways on which four scenes are carved.
Upper Storey
Friezes on the doorways:
The frieze occupying the upper part of the veranda of the upper
storey is divided by the heads of the eight doorways into seven complete and
separate with two half ones at the ends. This arrangement of four cells, two doorways each, results in nine
spandrels which are embellished with sculptures and carvings.
1. The latter part is the best protected from weather are occupied
by two running figures with their faces turned towards the centre.
2. The first scene has
a flying vidhyadhara holding a basket and a lotus stalk.
3. The Second bas relief between the doors is of a conflict between a herd of elephants and a picnic
party. The herd has three elephants while the picnic party has ten people, men
and women together. The herd enters into a lotus pond, creating panic into the
party. The party tried to avoid this intrusion however all in vain. Men and
women are shown holding different objects, whatever they could lay their hands
on to nearby available.
4. The Third bas relief is repeated in some other caves too and is
best preserved. It contains eight figures, four males and four females in four
groups. narrating a story of
capture of a lady by an armed man. The surrounding is of a forest, with a hill
in the background where few natural caverns are shown. In one cave are few
monkeys, terrified because of a serpent coming out of another cavern. The scene
starts with a couple, the male partner is resting in the lap of his lady
partner inside a cavern. The next scene shows the couple standing side by side.
In the next is the combat between an armed man and armed lady. The last scene
shows the defeat of the lady, where the latter is carried away by the armed
male in his arms. The lady has her right hand our stretched, pointing towards
the scene of the combat.
5. The fourth Bas relief, the scene starts from the left where a horse is shown with three
attendants. The king has just alighted from the horse and is shown standing
next to it, aiming his arrow towards a deer on his left. The deer is shown with
wings and accompanied with two fawns. The next part shows the king standing
resting his bow nearby and to his left is a woman sitting over a tree. The lady
is in attitude of persuading the king not to kill the deer, which is lying near
the base of the tree, while the king is shown with his hand in Abaya mudra,
granting the wish of the lady.
6. The fifth bas relief, scene
is of a dance & music performance in a court. The performance happens in
the middle, and at the ends are seated the queen and the king. The queen, at
the left end, is attended by five females. The part where king and his
attendants are shown is much damaged. The music party is comprised of six females,
three dancing and three paying instruments, mridangam, harp and cymbals.
7. The sixth scene is
completely damaged and nothing can be derived out of what is left.
8. the seventh contained three
couples with possible a fourth for the right-hand end is very ruined. The first
pair are seated on a couch, the gentleman with his arms round the lady's waist,
and a wine bottle on the ground in front of them. In the second group the lady
is seated on the gentleman's lap and there is a table with refreshments before
them. The third is very difficult to describe and fourth is too nearly obliterated.
9. The next bas relief is partially destroyed and was not cast
Lower storey
friezes on the doorways:
1. Starting from left, the first scene shows a double-story
building with vaulted-roof. The upper story has an entrance on its long axis,
and a balcony with railing all around. A woman is standing in the balcony while
a male head is peeping out of entrance. The lower story has two entrances, with
a female figure in each one. A mango tree is shown right of this building.
2. The next scene is much defaced, only outlines of three figures
riding an animal can be made out.
3. The next compartment shows a royal procession, evident by
present of an umbrella. From what remains, it appears a person is riding an
animal while his attendants are following him.
4. The fourth scene is of elephant riders.
5. In the fifth compartment, a royal procession is shown where a
royal personage is followed by two attendants, holding an umbrella and sword.
Opposite to this royal personage, four figures are shown, in veneration.
6. In the sixth scene, we see three standing figures, of which one
would be a royal person as evident with an umbrella above him.
7. The seventh scene depicts a royal party around a person of
royal personage as he has an umbrella above him.
8. The eighth compartment is overcrowded with many figures. On
extreme left is a royal personage, probably a king, standing with his two
attendants, one holding umbrella and another with folded hands. In front of
them are three figures kneeling below. The kneeling figure on the side of the
king appears to be part of the latter’s party. Two kneeling figures opposite to
him, seems to be in submission mode. One of them wear a flowing fillet round
the head, a Greek feature. On the side panel is shown a horse without rider and
three attendants. It can be drawn that the two kneeling figures have been
alighted from this horse and submitting to the king. Behind these two kneeling
figures, are two women, one carrying basket and another offering flowers.
9. The last and ninth compartment appears to display reception of
the victorious king back to his capital. On the left is standing the king,
under umbrella, with his attendants behind him. On his right are six figures,
four women and two men. All the women carry water pitchers, while one is
pouring its content to wash feet of the king.
Lower Story Right
Wing:
1. Starting from the left, the first scene depicts a couple
standing with folded hands with two attendants, one dwarf of the left and a
lady holding a basket of offerings on the right. Heavy earrings are most
striking among other jewellery items.
2. The next scene shows one male seated with two females, all with
folded hands in veneration. They are accompanied with two female attendants,
standing on either side, holding baskets of offerings. Presence of umbrella
above the seated party suggests their royal connection. They all wear heavy jewellery,
earring, bangles, necklaces etc.
3. The next spandrel has a scene of a dancing party where a female
is dancing under a pavilion. She is accompanied with four musicians, playing
mridangam, Dhakka, harp and flute.
4. The fourth and the last scene is of a family, consisting of a
male, a female and a child, all marching to some place of veneration. There is
also a female attendant in the party. Both the females in the scene hold a
basket of offerings.
Additional Depictions
:
1. The four persons, King and queen and attenders offering their
pray to Bodhi tree inside railing. Attenders are carrying trays full of
offerings.
2. In another picture Kings and other courtiers are standing in
veneration with the folded hands, elephants and Miyahara’s are also depicted.
This is probably King Kharavela worshiping after a victorious march.
The other
sculptures carved on the rock:
1. Right side contain a sculpture of man and woman are seen
approaching the centre their hands joined in the attitude of prayer. Behind
them is a dwarf and before them a woman bearing offerings. In the corresponding
compartment at the other end of the veranda. Three women one may be a man and
child are seen bearing what may also be offerings.
The left-hand full compartment is occupied by a woman dancing
under a canopy borne by four pillars, to the accompaniment of four musicians
one playing on a flute, another on harp, a third on a drum and fourth
apparently on a Vina or some guitar like instrument.
In the other full division are three women, either sitting on a
bench with their legs crossed in front or dancing.
2. There are individual figures single figures in alto rilievo.
They are generally life size image placed at either end of the verandas of the
caves as dwarapalas or sentinels. The stalwart figures in tight fitted cloths
in the ordinary native costumes and of carrying spear, clubs and shield also have
scabbard in their left side.
3. on the top floor two human figures stand as guard to the
sanctuary. The right figure pot-bellied Oriya dressed in close tucked dhoti
wrap around but he is without shoes and does not carry any arm.
3. At the north end of the upper veranda of this cave, a woman
riding astride on a lion.
4. Behind the group stands a warrior in a Yavana costume, the
dress consists of a short tunic or kilt reaching to the knee with a scarf
thrown over the left shoulders and knotted on the right. On his left side hangs
a short sword of curiously roman Gladius type and on his feet, he wears short
boots or hose reaching to the calf of the leg.
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