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DAILY
CLASS NOTES
Art & Culture

Lecture - 03
Cave Architecture
(Part-02)
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Cave Architecture (Part-02)

Udaygiri-Khandagiri Hills:
Nestled near Bhubaneswar in Odisha, the Udaygiri-Khandagiri hills house a treasure trove of ancient caves carved
in the 1st century BC. Built under the patronage of the Kalinga king Kharavela, these caves offer a fascinating
window into the world of early Jainism and its artistic expression.
Key Points:
 Location: Udaygiri-Khandagiri Hills, near Bhubaneswar, Odisha
 Period: 1st century BC
 Patron: King Kharavela of Kalinga
 Number of Caves: 33 (18 in Udaygiri and 15 in Khandagiri)
 Purpose: Residential caves for Jain monks
Simple Interiors, Ornate Facades:
 While the cave interiors are largely unadorned, the facades showcase intricate sculptures depicting:
 Sacred Jain objects
 Court activities and royal processions
 Hunting scenes and daily life
 Doorways feature:
 Pilasters with crowning animal figures on both sides
 Arches decorated with flowers, creepers, and animal motifs
Advanced Art and Diverse Themes:
 The caves display advanced sculptural and decorative techniques, surpassing the contemporary styles of
Bharhut and Sanchi.
 Sculptures depict:
 Popular legends and historical episodes
 Religious observances and dance performances
Prominent Caves:
 Ranigumpha, Ganeshgumpha, Swargapuri-Manchapuri, and Hathigumpha are some of the most notable caves
in Udaygiri Hill.
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Ganesha Gumpha:
 Named for carved Ganesha figure and belongs to a later
period.
 First example of elephant sculptures used as guards at
the entrance (two large statues carrying garlands).
 Carvings narrate the elopement story of Ujjayini's
Princess Bassavadatta with Kausambi's King Udayana.
Mancapuri and Swargapuri Gumpha:
 Double-storeyed cave.
 Depicts worship of Kalinga Jina (statue brought back
from Magadha) by two male and two female figures.
 Three inscriptions: one about Kharavela's chief queen, two about his successor Kudepasiri and son/brother
Badukha.

Hathigumpha:
 Large natural cavern, not architecturally significant.
 Notable for elephant carvings and the famous inscription of King Kharavela.
 Inscription details:
 Kharavela's achievements including:
 Canal construction and tax exemptions.
 Public works and infrastructure projects.
 War with Satakarni and defeating Tamil kings.
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 Retrieving Jina images from Magadha.

 Patronage to arts and culture (dance, music, acting).
 Greek ruler retreat to Mathura.
 Vedic sacrifices and Jainism support.
 Building "Palace of Great Victory" (Mahavijaya).
 "Uttarapatha" victory.
 School of artisans and architects, gained wealth from
Pandyas.
 Religious tolerance.
 Composed by someone close to Kharavela since childhood.
Khandagiri Hills (15 caves renovated by Uddyotakeshari):
 Tatowa Gumpha: Parrots carved above the entrance arch.
 Ananta Gumpha: Sculptures of women, elephants, geese.
 Tentuli Gumpha: Small chamber with one column.
 Trusula Gumpha: Three Rishabha Deva sculptures in Kavotsarga
posture, 24 Jain Tirthankaras.
 Ambika Gumpha: Three relief sculptures: two of
Rishabhanatha and one of Amra (sasana-devi of Neminatha).
Gupta Cave Architecture
 The Gupta age witnessed a continuation of the tradition of
cave architecture.
Notable Caves Carved During Gupta Age

 Udayagiri in Madhya Pradesh (MP)

 Bagha in Madhya Pradesh (MP)
 Ajanta in Maharashtra
Udayagiri Caves Overview:
 Originating in the early 5th century CE, Udayagiri Caves were
commissioned by Gupta rulers Chandra Gupta II [375-415] and
Kumargupta [415-454].
 Nestled in two low hills along the Betwa River, near its tributary
Beas River, the caves are situated near Vidisha in Madhya Pradesh
(distinct from Udaigiri caves in Odisha).
 Comprising a total of 20 rock-cut caves, one is dedicated to Jainism,
while the remaining 19 are associated with Hinduism, specifically
Vaishnavism and Shaivism.
Religious Significance:
 The caves house some of the oldest surviving Hindu temples and iconography in India, showcasing the
diversity of Vaishnavism (Vishnu), Shaktism (Durga and Matrikas), and Shaivism (Shiva).
 Notably, Cave 20 features an image of Jain Tirthankara Parshvanatha seated under a serpent hood.
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Varaha Iconography and Hindu Thought:

 Udayagiri Caves delve into Hindu thought
rooted in the Vedic tradition, notably
depicting Vishnu avatars like Narasimha,
Varaha, Vamana/Trivikrama, and Rama as
templates for kings.
 The Varaha iconography, depicting Vishnu in
his boar incarnation, is particularly
emphasized, symbolizing the god's role in
restoring order amidst chaos.
Cave Specifics:
 Cave 4 (Shaivism and Shakti): Known as the Cunningham Vina Cave,
it is dedicated to Shiva, featuring an ekamukha linga. Eroded remnants
of a courtyard outside display matrikas (mother goddesses).

 Cave 13 (Vaishnavism): This cave houses a large Anantasayana panel

portraying Vishnu as Narayana in a resting pose. A figure, interpreted as
Chandragupta II, kneels in devotion, symbolizing his reverence to
Vishnu, while another figure likely represents his minister Virasena.
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 Cave 8 (Tawa Cave): Dubbed the "Tawa Cave" by Cunningham, it links Gupta king Chandra Gupta II and
his minister Virasena to the cave's historical and religious significance.

Bagh Caves Overview:

 Located in the Dhar district, Madhya Pradesh, Bagh Caves comprise a group of nine rock-cut monuments
situated on the southern slopes of the Vindhyas, along the Baghani River, in the town of Bagh.
 Architectural Details:
 Developed around the 6th Century A.D., these caves are exclusively dedicated to Buddhism, featuring a
total of nine viharas (monastic cells).
 Architecturally reminiscent of Ajanta caves, Bagh Caves share similarities in design, execution, and
decoration, showcasing remarkable rock-cut shrines and monasteries.
 Discovery and Survival:
 Discovered by F. Dangerfield in 1818 AD, the Bagh Caves originally comprised nine caves, but only five
have survived over time.
 Mural Paintings:
 Bagh Caves are particularly renowned for their mural paintings, which adorn the walls and ceilings.
 Executed in a distinct brownish-orange color, the paintings are characterized as materialistic rather than
spiritualistic in nature.
 The mural technique involves a thick mud plaster base, lime-priming, and the application of paintings
using the tempera technique. This technique employs a fast-drying, water-soluble binder medium for
permanence.
 Tempera Technique and Indian Mural Tradition:
 The Bagh Caves contribute to the broader Indian mural tradition, challenging the perception that Ajanta
Caves are the sole examples of Indian murals.
 The tradition of mural art, initiated at Ajanta, predates it and extends beyond, with Bagh Caves
showcasing paintings related to Buddhism and general life.
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 Continuation of Tradition:
 It is evident that the mural tradition, initiated at Ajanta, did not conclude there but was carried forward
by people of different faiths in various parts of India, emphasizing themes related to Buddhism and life
in general.

The Ajanta Caves

The Ajanta Caves Discovery and Recognition:
 Captain John Smith, an army officer in Madras, discovered the Ajanta Caves accidentally during a hunting
expedition in 1819.
 In 1824, James Alexander detailed the caves in the Journal of the Royal Asiatic Society, significantly
popularizing Ajanta worldwide.
Historical References:
 Fa Hien, during the reign of Chandragupta II (376-415 CE), and Hiuen Tsang, in the era of Harshavardhana
(606-647 CE), made references to Ajanta.
 The 17th-century text Ain-i-Akbari by Abu al-Fazl mentions twenty-four rock-cut cave temples with
remarkable idols.
Ajanta Caves World Heritage Site:
 Designated a World Heritage Site in 1983.
 Located in the Aurangabad district of Maharashtra, on the banks of the Waghora River.
Geographical and Architectural Features:
 Positioned in a panoramic horseshoe-shaped or U-shaped cliff overlooking the River Waghora.
 Carved out of flood basalt rock, the site boasts 30 caves, with 29 in a finished state, including 4 Chaityas
(worship halls) and 25 Viharas (monastic cells).
 One cave remains unfinished.
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Timeline and Cultural Significance:

 The Ajanta Caves span from 200 B.C. to 650 A.D., reflecting a rich cultural history.
 Notably, Ajanta is recognized for its exquisite cave architecture and artistry.
Design and Layout:
 The caves are strategically cut into the cliff, forming a remarkable U-shaped configuration.
 The Waghora River flows nearby, adding to the scenic beauty of the site.
Cave Classification:
 Out of the 30 caves, 29 are in a finished state, showcasing the architectural and artistic prowess of the creators.
 The caves comprise 4 Chaityas, serving as worship halls, and 25 Viharas, designated for monastic purposes.
 One cave remains unfinished, offering insights into the construction process.

Phase I (100 BCE - 100 CE):

 Patron: Satavahana dynasty (230 BCE - 220 CE)
 Tradition: Hinayana Buddhism (Theravada)
 Caves: 9, 10, 12, 13, 15A
 Key features:
 Oldest caves; lack figurative sculpture.
 Focus on stupas as symbols of the Buddha's enlightenment.
 Murals depict Jataka tales (stories of the Buddha's past lives).
Phase II (460 CE - 480 CE):
 Patron: Vakataka king Harisena
 Tradition: Mahayana Buddhism (Greater Vehicle)
 Caves: Most remaining caves (26 caves total)
 Key features:
 Latest and most beautiful caves.
 Rich in figurative sculptures and paintings.
 Murals depict Mahayana Buddhist themes, Jataka tales, and scenes from Buddha's life.
Unique Features of Ajanta Paintings:
 Only surviving example of 1st century BCE and 5th century CE paintings in India.
 Depicts everyday life: shops, festivals, jesters, palaces, performance art, foreign traders, textile production.
 Technical artistry:
 Colors extracted from natural materials.
 Variety of human emotions portrayed.
 Intelligent use of light and shadow.
 Stories narrated through panels.
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Other Notable Aspects:

 Sculpture: Buddha statues, Yakshis, Hariti with children, Avalokitesvara.
 Technique: Plaster made of vegetable fibers, paddy husk, rock-grit, and sand. Thin lime layer for pigment
application. Use of cloth reinforcement.
Satavahana Period Cave 9 (and 10):
 Oldest chaitya hall (worship hall).
 Distinct apsidal shape with nave, aisle, and apse.
 Row of 23 pillars.
 Vaulted ceiling.
 Stupa at the centre of the apse with a
circumambulation path.
 Murals depict Buddhas in orange robes and
protected by chatra umbrellas.
 Votaries approaching the stupa suggest a
devotional tradition.
Cave 10 - Grandeur and Jataka Tales:
 Cave 10, larger than Cave 9, features a spacious central apsidal hall with 39 octagonal pillars and a distinct
nave separating the aisle.
 The hall culminates in a stupa for worship, complete with a
circumambulatory path (pradakshina patha).
 Notably, a Sanskrit inscription in Brahmi script dating back
to the 2nd century BCE adds historical significance.
 The cave boasts numerous paintings from two periods,
predominantly depicting Jataka tales in a clockwise
sequence. Both Hinayana and Mahayana stage paintings
are present, including stories like Chaddanta Jataka and Shyama Jataka.
Cave 12 - Early Stage Hinayana Monastery:
 Cave 12, representing an early stage Hinayana (Theravada) monastery, has suffered damage, with its front
wall entirely collapsed.
 The interior comprises twelve cells on three sides, each featuring two stone beds.
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Cave 13 - Small Monastery:

 Cave 13, another small monastery from the early period, consists of a hall with seven cells, each equipped
with two stone beds, all carved out of the rock.
Cave 15A - Ancient Hinayana Cave:
 The smallest among the caves, Cave 15A is an ancient Hinayana cave with three cells surrounding a minuscule
central hall.
 Its doors are adorned with a rail and arch pattern, though an inscription in an ancient script has been lost over
time.
Later Phase (Gupta Era) - Vakatakas and Important Patrons:
 During the Gupta era and under Vakataka rule, important patrons supported the creation of specific caves:
 Cave 4: Mathuradas
 Cave 16: Varahadeva
 Caves 17-20: Upendra Gupta, the Prime Minister of Harishena
 Cave 26: Buddhabhadra, a feudatory of Harishena.
Royal Patronage and Cultural Synthesis:
 The Ajanta Caves exemplify a unique period where both Buddha and Hindu gods were revered concurrently
in Indian culture.
 Sponsored and built not only by Buddhists but also by Hindus, the caves showcase a cultural synthesis.
 Cave 1, sponsored by Emperor Harisena, is noteworthy, suggesting that even though he was likely a Hindu,
he supported the creation of a remarkable Buddhist cave, reflecting the cultural diversity of the time.
Chaitya Caves (Nos. 19 and 26) - Elaborate Carvings:
 Cave Nos. 19 and 26, designed as chaitya (worship halls), feature elaborate carvings on their facades.
 The facades are adorned with images of Buddha and Bodhisattva, showcasing intricate craftsmanship.
 These chaitya caves follow the apsidal-vault-roof variety, emphasizing a distinctive architectural style.
Cave No. 26 - Grand Interior Carvings:
 Cave No. 26 is notably expansive, with its entire interior hall intricately carved with a variety of Buddha
images.
 The central focus is on the Mahaparinibbana image, representing the final moments of Buddha's life.
Vihara Caves - Layout and Characteristics:
 The remaining caves serve as viharas, comprising a pillared veranda, a pillared hall, and cells along the walls.
 The back wall of each vihara hosts the main Buddha shrine, grand in size and significance.
 Some vihara caves remain unfinished, providing insights into the construction process.
Artistic Elements - Paintings and Sculptures:
 These caves also showcase paintings depicting the past lives and rebirths of the Buddha.
 Pictorial tales from Aryasura's Jatakamala are illustrated on the walls, adding narrative richness to the caves.
 Additionally, rock-cut sculptures of Buddhist scenes are present, exemplified by a depiction of a Buru deer
being escorted to the royal palace in procession, known as Ajans.
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Cave 19 - Ornate Entrance and Sculptures:

 Cave 19 boasts an ornate entrance, featuring two round pillars adorned with fluted floral patterns and carved
garlands supporting a porch.
 The pillars' capitals are intricately designed as inverted lotuses, connecting to an amalaka.
 On the left side stands a Buddha in varada hasta mudra, with a devotee prostrating at his feet, while the right
side showcases a relief of a woman holding a pitcher and touching her chin.
 The figure with a begging bowl represents the Buddha, observed by his wife and son.
 Notably, the cave is renowned for its exquisite sculpture work.
Artistic Elements - Naga Figures and Paintings:
 Naga figures with a serpent canopy, protecting the Buddha, grace the entrance.
 The cave includes Yaksha dvarapala images on the sides, depictions of flying couples, sitting Buddhas, and
standing Buddhas.
 The ceiling, which was once painted, features Nagaraja in ardhaparyanka asana, accompanied by his wife
holding a lotus and wearing a mangalasutra.
Cave 19 - Worship Hall (Chaitya Griha):
 Functioning as a worship hall or chaitya griha, Cave 19 dates back to the 5th century CE.
 The cave marks a significant departure from the earlier Hinayana tradition, introducing a carved Buddha into
the stupa.
 The worship hall follows an apsidal plan, with 15 round pillars dividing it into two side aisles and one nave.
 These pillars showcase floral reliefs and have fluted (ridged) shafts topped with Buddha in their capitals.
 The capitals also feature elephants, horses, and flying apsara friezes, reflecting the artistic style of the Gupta
Empire.
 The walls and ceiling of the side aisles inside the worship hall are adorned with paintings depicting scenes of
Buddha.
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Cave 26 - Grand Chaitya with Vihara Elements:

 Cave 26 stands as a chaitya or worship hall, sharing a plan similar to Cave 19 but on a much larger scale,
incorporating elements of a vihara design.
 A notable inscription reveals that a monk named Buddhabhadra, along with his friend, a minister serving the
king of Asmaka, gifted this vast cave.
 The inscription includes a vision statement, expressing the aim to create "a memorial on the mountain that will
endure for as long as the moon and the sun continue."
 Builders likely prioritized sculpture over paintings, believing that stone sculptures would endure longer than
wall paintings.
Complex Layout and Sculptural Elaboration:
 The Cave 26 complex was initially planned with two upper stories, evidencing intentions for four wings, yet
only the carved Buddhas on the right and left walls were completed.
 Elaborate and intricate sculptures characterize Cave 26, placing it among the last caves excavated, with an
inscription suggesting a date in the late 5th or early 6th century.
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Stupa and Symbolism:

 At the center of the apse, a rock-cut stupa is prominent, featuring an image of the Buddha on its front.
 The stupa includes 18 panels on its base, adorned with depictions of Apsaras, followed by 18 panels above
and a three-tiered torana.
 Apsaras are intricately carved on the hemispherical egg (anda), and a nine-tiered harmika above symbolizes
the nine samsara heavens in cosmology.
Extensive Carvings and Damages:
 The walls, pillars, and brackets are extensively carved with various Buddhist themes.
 Many wall reliefs and images in Cave 26 suffered damage over time.
 An inscription between Cave 26 and its left-wing, dating from the late 7th or early 8th century, by a courtier
of Rashtrakuta Nanaraj, serves as the last inscription in Ajanta.
Apsidal Hall and Intrusive Additions:
 The cave comprises an apsidal hall with side aisles for circumambulation (pradikshana), featuring carved
Buddhist legends along the path.
 Depictions include the Miracle of Sravasti, seated Buddhas in various mudras, Mahaparinirvana of Buddha
(reclining Buddha) on the wall, and Temptations by Mara.
 Many of these depictions were added later by devotees, introducing elements that are intrusive to the original
planners' intentions.
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