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CAVE-9 (TRISULA-GUMPHA, SATBAKHRA OR MAHAVIRA-GUMPHA):
Adjacent to Cave-8, this cave, like the two preceding ones, was
originally a dwelling cell with three doorways and a verandah having two
pillars and pilasters of the usual type and two shelves at either end, but
had its walls between the doorways removed and floor lowered at the time
of its conversion to a sanctuary, which, to judge from the workmanship of
the reliefs, took place last in the series.
Both the pillars of the verandah are modern and also are the concrete ones
supporting the remnant of the partition between the doorways. Patches of
old plaster may still be seen adhering to the walls and pilasters at
places.
Ranged along the three sides of the chamber are the reliefs of
twenty-four robeless Tirthankaras of crude workmanship. Stylistically they
are much later than those in Cave-8 and do not seem to date earlier than
the 15th century. Parsvanatha, instead of being placed before 'Mahavira',
the twenty-fourth Tirthankara, occupies a roughly central place on the
back wall.
Of the Tirthankaras, eight- 'Rishabhanatha', 'Ajitanatha', 'Sitalanatha',
'Parsvanatha', 'Vasupujya', 'Vimalanatha', 'Sreyamsanatha' and 'Mahavira'
-are standing in kayotsarga pose. That they were regarded as the more
important in the group is suggested by their height being larger than
those of the seated ones, the latter more or less of a uniform size.
The figure of Rishabhanatha, the first Tirthankara, is the largest in the
group. The seated figures are poised in yoga-mudra on lotuses resting on
simhasana. All of them have fly-whisk-bearers; the standing ones further
distinguished by the addition of two naga devotees. Over most of the
figures are the representations of the top of a pidha-deul.
The three chlorite images of Rishabhanatha which are installed on the
masonry altar at the rear end of the chamber did not originally belong to
this cave, but found their way after the extinction of the place of their
initial enshrinement, probably a structural temple, All of them stand
robeless in kayotsarga pose on a double -petalled lotus, below which are
their lanchhana, bull.
On either side of their legs is a standing fly-whisk-bearer draped in a
dhoti and decked in ornaments and above are the flying figures holding
garlands and hands playing on cymbals and drums. The head of the smallest
of the three, now mutilated, has a halo with a finely carved border. The
back slabs of the other two are distinguished by the figures of either
grahas, 'Surya' holding the stalks of two full-bloomed lotuses, 'Chandra',
'Mangala', 'Budha', 'Brihaspati', 'Sukra' and 'Sani', each having a vase
in its left hand and 'Rahu', represented by its head only, carrying the
moon. The largest of the three has a trefoil arch behind its head.
The facial expression of the figures is highly pleasing; so also is the
youthful modelling of the body. Particularly noteworthy is their hairstyle
where the artist has lavished al his skill. The srivatsa-mark is absent in
all cases. The figures, to judge from the workmanship are the work of the
11th-12th century A D.
On the top of this cave is an oblong masonry structure with its roof and
crowning elements fashioned after a temple of the pidha order. It was
probably built in a comparatively recent period, when the three images
were installed inside by the Jain's, who also added a structural pillared
verandah to the cave, removed in the first decade of the present century.
CAVE-10:
Proceeding southward, the visitor will find to his right traces of caves,
now completely destroyed by large-scale quarrying which has extensively
disturbed this part of the hill and removed the vestiges of many a cave.
Three reliefs, two of 'Rishabhanatha' and one of 'Amra', the sasana-devis
of 'Neminatha', may be seen carved against the back wall of one of these
extinct caves.
The reliefs, perched at a height of about 5m, are now inaccessible, the
original level of the hill having been considerably lowered by quarrying.
But for the scanty remnant of the partition-wall, on which also was a
relief, the prior existence of a cave here would never have been
suspected.
Both the figures of Rishabhanatha are robeless and stand in kayotsarga
pose on a double-petalled lotus supported by a pair of lion with a bull
below. On their sides are eight grahas and two fly-whisk-bearers. Above
their heads are three-tiered umbrellas flanked by cymbals and drums played
by hands, below which are flying figures holding garlands. Both wear the
jata-mukuta, but in different fashions.
The left half of Amra is partly destroyed. Standing under a mango-tree
above which is her jina approached by a flying figure, and clad and decked
in a sadi, a girdle, bangles, armlets and kundalas, she stands in a
captivating tribhanga (three-flexioned) pose on a double-petalled lotus,
below which is a lion. Her facial expression and hairstyle are remarkable.
Near her right palm stands a boy.
CAVE-11
(LALATENDUKESARI-GUMPHA):
Immediately after Cave-10, at a re-entering angle of the face of rock, is
a cave locally called the Lalatendukesari-gumpha. This cave has fared no
better than the preceding one. Originally, it consisted of two cells
preceded by a pillared verandah. The pillars, partition-wall and the major
portion of the floor, together with the rock beneath, have been quarried
away, so that the cave is now inaccessible. The surviving pilasters are of
the usual type.
One the back and left walls of the left cell are carved two figures of
Rishabhanatha and three of Parsvanatha, all standing in kayotsarga with
their usual paraphernalia. The right cell has three figures, two of
Parsvanatha and one of Rishabhanatha, in the same pose. On its back wall
above an empty niche (which might have contained a detached image) and
also above Rishabjanatha is a damaged inscription, in five lines, dated in
the fifth regnal year of the Somavamsi king Udyotakesari, recording the
restoration of a decayed vapi (step well) and decayed temples on the
Kumara hill (present Khandagiri) and also the setting up of the images of
twenty-four Tirthankaras there.
The vapi referred to in the inscription is probably the Akasa-ganga, a
rockcut stepped pool situated close to this cave and originally connected
with it by a flight of steps, of which seven have escaped the hands of
stone-cutters. Due to the quarrying operations the pool is now at a level
higher than the footpath and is only approachable from the top.
From the inscription it is not clear whether the images of the
twenty-four Tirthankaras were installed in structural temples or were mere
reliefs on the walls of a cave. At the same time, the find of detached
images, coupled with a large number of architectural members of masonry
temples, including amalakas and khapuris, that lie a little further south
near the fork of the footpath, proves the existence of structural temples
near the cave.
CAVES 12-15 AND OTHER MINOR
MONUMENTS:
From the fork bifurcates a second track going up, first to the
Akasa-ganga and next to the Jain temple on the crest of the hill. The
undermentioned monuments along the main track beyond this point are
unimportant, and the visitor may omit them and proceed to the Jain temple
via the Akasa-ganga.
Following the main track for a short distance one will encounter a small
rock-cut pool, called the Radhakunda; at its southwestern corner is the
remnant of a dwelling cave (Cave-12) consisting of two cells, with the
floor raised, as usual, at the rear end. Beyond this is another cave
(Cave-13) with two long dwelling cells, the front portion of which,
together with the partition, has fallen. In front of the cells is a
benched and four-pillared verandah, in ruins.
A flight of steps from the left side of the Radhakunda leads up to a
barren ledge. About 100m from this place is a natural cavern with a
depression in the middle of the floor containing water and provided with a
modern masonry entrance. It is locally known as the Syama-kunda.
A few metres to the southwest, at a lower level, is a long dwelling cave,
Cave-14, locally called the Ekadasi-gumpha, open in front. Its roof is
supported a modern masonry pillar. Traces of its plaster with bands in red
pigment still linger on the sidewalls.
Circling round the hill for some distance, a small cave, Cave-15, open in
front, is visible on the west side, near the foot of the hill. The floor
of the cell, which faces west, has the usual pillow-like inclination.
To the northeast of the last, at a higher level, is a long natural
tunnel. At the rear end is a small pool of water, locally known as the
Gupta-ganga. To its left are three low natural caverns slightly improved
by the human hand. The walls of the central one, the best of the three,
have been made smooth by chiselling.