The Jain Caves And Their Classification.
These are distributed in the following regions all along the precipitous hill slopes :
| i. South-Eastern region | (Ek-Patthar-ki-Bavdi). |
| ii. North-Eastern region | (Neminatha or Girnar hill). |
| iii. North-Western region | (Namigiri). |
| iv. South-Western region | (Urwahi Gate). |
A. South-Eastern Region :
This contains six groups of caves, stretching all along the eastern slope. The caves are locally indentified as those belonging to ‘Ek-Patthar-ki-Bavdi’. They are also known as Sitalamata or Marimata caves as one of them contain the image of Sitalamata, a patron goddess of fever and other dreaded diseases.
They spread along a kilometer in length from the natural spring well (Bavdi) on the south upto the northern end containing the Gangoli Talav, on the top. They occupy a special width of 100 m. of the rock space for the execution of cave cuttings.
The ancient Jain communities, firstly looked to the availability of Jalasrayas, of natural water springs on hill basadis, as such, they preferred the Ek-Patthar-ki-Bavdi.
(It is an improvised well, made out from the natural spring, of water emerging from the slope of a rocky terrain) on the southern projection of the hill slope. Since the well has the look of a tank, hereafter it can be identified as ‘Cave Tank’.
Secondly a type of spiritual environment away from the wordly bustle, was another requsite, that was aimed which they had in the cave dwellings on the hilly slopes. Evidently these were taken into account when these Jain sanctuaries were excavated.
Cave Groups and their Architecture :
The total number of caves with their religious characteristic feature of architecture and sculpture are pointed out as 26. beginning with Cave I ,n Group l. The nomenclature used In this is an adaptation of the method followed by the Archaeological Survey of India, Central Circle. Bhopal. Conningham identified only ‘XX caves as given in his reports.
The group Classification given here depends on the type of the excavation of the sanctuaries and their architecture. Among these some are open caves with the main images completely exposed, (see Caves 1-13).
Some are half open enabling visitors outside to see only the upper part, (caves 5,6). Some are executed giving the elevation of a temple Cave 18. Some of those that find place as caves can be identified as temples resembling the rock cut temples of Ellora of the Rastrakuta Period. (Caves 2,3,4).
There are typical cave sanctuaries with one or two openings. But inside they are large halls, in two stories housing the figures of Tirthankaras. (Cave 3) Yaksas, Yaksls, Cauri bearers, Maladharis, with their usual inconographic features of garlands in their hands.
All the groups run in series from the southern end to the northern end, across the eastern face of the hill. Some of them are single sanctuaries dedicated to more than one Tirthankara. (Caves 19,20) However, the main images are identified as those carved along the western back wall opposite to the entrances.
In architectural terms, they are shown as mulabheras or mulanayakas, as the sanctuaries containing images are confined to walls, they are identified as the nirandhara type of nagara temples or caves.
There are groups with more than one cave with different mulabheras (Mulanayakas) and their associated images.
(Caves 8, 9) Such images are shown in the same line on the back wall giving importance to both as individual mulabheras with no difference in sculptural execution. But, the identity of each can be made out only from the pedestal bearing the auspicious symbols.
As regards the images found in the caves, in general, it can always be shown that there are bigger, medium sized, small and miniatures. Some miniature images are invariably put in one panel or panels that can be identified as chauvimsis (24 Tirthankaras in one panel) or its multiples.
Some groups are practically empty and some are unfinished caves, (cave 22, 25) Some caves are store houses of several Tlrtharikaras. Cave No. 22 (near the cave containing the relief of Sltalamata) has housed several sculptures. Possibly Jains had
GROUP-1
Cave Tank : This is formed by two huge boulders abutting each other over the natural cave ceiling. The two mighty boulders are located at a height of 2.6 m. above the water level of the squarish tank of size 10 m. It is provided with rectangular cave opening of sides 2x 1 1/2 m. towards the northern side.
The water gushes down into the reservoir through the cleavage of two abutting rocks, fringing the southern slopy rock surface.
Before the excavation of the Jain sanctuaries, the natural spring was of lesser dimensions admitting water into a natural tub that overflowed and ran down the slope. By excavating the rock surface near the tub lengthwise and breadthwise, a squarish tank like arrangement was made to keep a minimum level of 1 m. depth of water with two natural pillars as level indicators, in the centre so as to look like a closed mandapa.
Mandapa: The plain architectural tradition with rough capitals supporting the roof, recall the short pillars of the Buddhist caves of 7th and 8th century A.D. This suggests that the cave tank was in use earlier to the excavation of Jaina caves.
Of late, a good lot of conservation was done to the tank by the Archaelogical Survey of India (Central Circle, Bhopal). The entrance to the cave opening is restricted with a collapsible grilled gateway to avoid the misuse of water by the public.
The approach to the cave tank for other Jain sanctuaries is provided by rugged steps along the corner of the slope at southern end of the hill. The steps are provided on an angular incline first from east to west, and then to south.
The steps end, upto the level of an elongated platform running in front of the rest of the caves. The constructional features suggest, that the steps were provided to move into the caves. In this context, it has to be stated that the beginning of the caves and the reliefs go back to the later half of 15th century A.D. as evidenced from the insrciptions found in the caves.
Cave 1 : It is excavated about 8 m. above the level of the common verandah provided ‘or the caves of other groups, next to the cave tank (Plate I).
As already stated, both have a common access, through a stepway from a open verandah. This is formed by simply detaching the rock surface at a – height of 13-14 m. so as to prov.de within, a plinth area of 7×3 m. The cave inside has a uniform width of 3 m. from top to bottom.
Image: On the western back wall, the main image is a seated figure of Parsvanatha, the 23 Tirthankara in the Jain pantheon.
The facial portion outside the cave has the reliefs, reminding those images found in Ajanta. But the ornamentation outside has some Muslim touch with door profiles- suggesting that the Gwalior caves were excavated, a thousand years later than those of Ajanta, i.e. during the Muslim period in India.
The wide open cave sanctum is free from other adjuncts occupied by a huge sculptured image of Parsavanatha, projected from the western back wall. It is raised to a length of 3 m. above an ornate pedestal of about one meter high, (i.e.) above the floor level of the cave.
This pedestal may be identified as simhapitha. It is the platform corresponding to the bottom portion of asanapitha of the mulabhera. It is divided into 5 niches, having miniature figures of yakshas on those at either end. The central niche contains the decoration of the end portion of a leaf, while the two other niches on either side have prancing lions.
Over the pedestal simhapitha and below the main image mulabhera of Parasvnatha, the 23 Tirthankara, there is a circular seat 40 cm. wide which is usually, meant to portray the chinha- the emblem of the Tirthankara.
Hence, it could be identified as chinhapitha. This, however, lies above the simhapitha. Here, also there is an attempt to portray something in relief in a rectangular niche. But nothing could be made out. However, there is an inscription with evolved devnagari characters and date referring to Vikrama Samvat 1496 (1449 A.D.)
The main image above chinhapitha is shown seated in padmasana with the soles to the feet prominently exposed. The seated figure is raised to 4.9 m. above the chinhapitha. the sole of the right foot is raised upwards, in typical yogic posture above the muscle of the left leg and the fingers are proportionally thick, compared with the high stature of the image.
The width of the image from knee to knee measures 3.5 m. The erect body above the thighs is raised to a height of 2.5 m. upto the head. The forearms are shown one over the other on the lap, but they were broken by the inconoclasts.
As in the usual sculptural tradition of the Jains, the genital organ is made prominent and this is maintained in all the images whether they are portrayed as sitting or standing in all the caves, in general.
The contours of the waist and the lower part of abdomen are natural and clearly indicated. Over the chest there is a ‘srlvatsa’ symbol shown with projected floral petals. r ’
On either side of the upper arms, there are two human figures, a male and a female In miniature size. They possibly represent the devotees or parents of Parsvanatha. The j :s broken but the seven hoods of the snake that head is snake that identify him are well sculptured.
On either side, there are Yakshas paying homage with a garland of flowers. Still further above me hoods of the snake, crownmg the head of the Tirthankara, there are two elephants holding a ‘pot of flowing water. Hereafter, it is referred to as the ‘gajakalasha’.
On the either side, towards north and south of the main sculpture of Parasvanatha, there are standing figures of two Tirthankaras of 3 m. high over a pedestal. The one on the south is damaged near the legs and arms. Behind the heads of both, the divine symbol ‘halo’ is carved with lotus petals and stalk. This is hereafter indentified as the padmaprabhavali.
The face portion on both the sides is cut vertically and the chisel marks are clearly seen. This feature is observed not only in this cave but in most of other caves even, in the other regions of the hill. However, there are some caves with the complete faces, in which thir original ancient character is preserved, Evidentaly, these features of chisel marks in many images in the region suggest that the faces were later moulded with a plaster and not sculptured in the rock itself. In some cases, the moulds had slipped off due to ravages of time.
On the pedestal of the Tirthankara, on the south wall, there is niche in the centre. It contained a figure of ‘buffalo.’ Here the ‘buffalo’ is the animal symbol of Vimalanatha, the 13th Tirthankara. A similar niche found in the pedestal of the image of northern wall, contains the symbol of a ‘cresent moon’ from which he could be identified as the ‘Chandraprabha’– the Sth Tirthankara. Next to Chandraprabha, there is an oval shaped hole in the rock surface as wide as 1.2 m.
Again, on either side of Parsvanatha, the western wall shows some projections at the corners. Half way up the projections, there are Tirthankaras carved in niches standing to a height of 1.7 m. These are also disfigured yet, the legs and hands are clearly seen.
GROUP- 2
Most important feature in the excavation of these cave groups, in general, is the provision of a common open verandah beginning from Group 2 and terminating with Cave 26 in Group 6, all the way from south to north. It is a common pathway covering most of the caves. It is hereafter shown a common verandah.
Evidently, this verandah was provided evenbefo.e the excavation of the cave cuttings.
A retaining wall was constructed towards east as a protective measure. No doubt, it varies in width but runs in a level in front of the caves from 2 to 16 in the first stage. Later it is made wider but raised to 10 m. above the former. From second stage onwards, the common verandah is wider but has uneven floor. This runs in front of the caves 18 to 26.
Corresponding to Cave No. 16, there is a wicket gate along the eastern retaining wall and still a wider iron gate towards north. These give access for visitors to enter the verandah of the cave complex. The common verandah is connected by a wide stepway along the eastern slope down to the foot of the hill. Of late, an iron railing was provided to it, on either side of the step way, from the foot of the hill, to the cave groups.
Coming down from Cave No. 1, we meet with common verandah (Plate 2). It starts with the second cave group containing caves 2 and 3. This group is isolated from the others as the next groups have some different common architectural elements. But the Tirthankaras at the back wall add divine grace to the entire cave group.
Cave 2 : This has a narrow but elongated entrance 5×1 1/2 m. through rectangualr covered portico 5 x 3 m. in front of the sanctum. This portiico contains a solid squarish plateform of side 1 1/2 m. This can be identified as ‘Savatobhadrika’ locally it is known as chauki, a square platfrom, on which flowers and oblations are placed by the devotees before entering the cave shrine.
The ceiling of the portico is as high as 10 m. and contains the circular carving of a lotus medallion, with its petals arranged in three concentric circles within a projected seed pod. A similar feature is found in most of the ceilings of the cave sanctuaries.
The entrance to the cave sanctum from the portico is very unimpressive. With high profile of the main image on the western wall and its simhapitha, the interior of the cave sanctum is also not very spacious. At a height of 5 m. there is a frame like balcony cut on the sides towards south, east and north in stone. It is rectangular running on all the three sides and has a projecting width of 75 cm. This is possibly an attempt to have an upper chamber at the top.
The images, coming to the mufanayakas in the sanctum, the pedestal on which the Tirthankaras stand is executed and sculptured in a similar way as that of the former cave. On either side of the pedestal along the front elevation of mukhapattika, there are two niches on either side of a central niche containing two lions placed back to back. These two niches contain the images of the yakshas and yakshls on either side associated with the Tirthankaras.
The lotus decorahons seen near the feet and in the palms ol the hands, indicate the sanctity of the image. The legs and hands are featureless and run high across the back wall of the cave. Other bodily features of the image are similar to those of Parsvanatha in Cave 1.
Even in this, the face appears unfinished. Behind the head, there is a lotus prabhavali, above which a chhatra (umbrella) is held high by the trunks of two elephants. He is attended by chauri (fly whisk) and mala (garland) bearers on either side outside, along the waist of the image.
Two more smaller figures on the western back wall, are shown on either side of the main image. They stand to a height of 1.2 m. They are nude.
Hence they can be identified only as Tirthankaras. They emerge from the base of the pedestal and go upto knees of the main image. They do not show any symbol on the pedestals, on which they are placed. However, the chhatra (umbrella) and the prabhavali behind the heads are prominent indicating their divinity.
Another pair of standing Tirthankaras 90 cm. in length are carved on either side of the arms, on the the upper level of the back wall of the balcony. Even these do not show any symbols (chinhas) to identify them.
Besides, the southern and northern walls of the main sanctuary, there are two more images of the same size as that of the main image.
They stand on lotuses over a chinhapitha, the mukhapattika of which contains the representation of a deer, On the wall towards south, there is a deer and the wall towards north has a bull. These images indicate that they are- Santinatha- 16th Tirthankar and Adinath, the 1st Tirthankara.
Two more miniature Tirthankaras find place on either side of the above images, but no symbols are indicated in them.
Again, the one on the north-eastern corner towards the right of entrance, and an other towards south-western corner of the main image, there are two more Tirthankara images. Of these one could be identified by the symbol ‘buffalo’ on the chinhapitha, as such, he could be indentified as Vimalanatha.
Elongated common niche above Cave parapet.
Verandah if we observe the cliff of the hill, right Standing outside, on the common . mnninn all alono
a . -j it mctanaular niche 50×1.5 m. running an along above the Cave 2, there is a wide undercut rectangular.
On the rives 3 and 4 (plate 3). There are three temples with shikharas which is more decorative. They are temples that coutd be dentihed as rekhanagara prasadas. The first one among them contains the reiief ol a seated Tlrthankara, near the entrance, while the other two on either side have no images. As in the case of Tirthankaras. most peculiar, is that the temple itself has the usual gajakalasha motif at the top.
Suggesting that the temple itself, is as sacred as the Tlrthankara. In between on either side, two miniature standing Tirthankaras are seen from the base of the temple. The ceiling of the sanctum shows the representation of a lotus medallian with a projected seed pod in a squarish framework.
Cave 3 : The lower portion of the back wall of the main images in the sanctum is partially seen in the former cave, from the common verandah, through the entrance, this cave is closed in the lower part, below the lintel of the entrance.
However in caves 2 and 3, the upper part is open. This is mainly attributed to the removal of the lithic wall from the parapet upto the level of the lintel. This does not have the entrance as elaborately as the former. The opening above the lintel is common to both the Caves 2 and 3.
However, a rectangular window like opening serves as the entrance and another squarish window lies within the pillared jambs. Below the lintel and covering the jambs on either side of the entrance, there is a representation of the gajakalasha motif. Incidentally, it has to be stated, that this cave is excavated one meter below the level of Cave 2, which could be clearly seen from the differences in the levels of their ceilings as well as on the western back wall. The niche has the reliefs of rekhanagara prasadas.
Above the parapet of this cave sanctuary, as already stated, there is a huge elongated rectangualr niche 9 x 1.5 m. It is cut deep into the vertical section of the hill. This is common to both the caves. The back wall of Cave 2 projects out, one meter above Cave 3. However, the same niche covers both the caves. A part of the niche above Cave 2, has one rekhanagara prasada, while Cave 3, has two similar temples, all placed side by side as seen in the plate 3.
Though Cave 2, in general, is plainer without embellishments, but the niche above the parapet of the cave has a much embellished temple shikhara with a prominent seated image possibly of Parsvanatha at the entrance.
Images . The interior of the sanctum has a plinth measuring 6 m. in length, 5 m. in
This main mulanayaka occupies, a height of 6.5 m. and is shown seated in padmasana with cross legs measuring 5 m. between the knees (Plate 4). The soles of the feet are raised upwards. The palms of the hands are placed over the lap in meditative posture.
As usual, the face is partially sculptured in the outline. Above the shoulders on either side two wheel decorations padmachakras and miniature maladharis, the garland bearers are seen. The image is flanked by two ornate pillars, appearing as lamp stands. They are raised over a squarish base and contains two standing human figures.
They are seen, as though they are protecting him, during meditation. The capital of the pillars are connected by a scroll of a wavy garland, raised above the head of the Tlrthankara. This wavy ornamentation is found in contemporary Hindu sculptures as well. Such scroll work is usually identified as the kirtimukha, depicting usually a lion face in the centre. But in this case, it appears like a casket showing the image of a miniature seated Tlrthankara (see the niche with seated Tlrthankara in plate 4).
Away on either side, lies the gajakalasha motif of two elephants shown in raised trunks with a pot in the centre. The ceiling of the sanctum above the image of Parsvanatha, has a lotus medallian carved inside a projected squarish base.
On the southern side in the garbhagriha, there is an imposing figure of standing Tlrthankara over a raised pitha. It has the chinha showing the relief of a ‘deer’ indicating that the image represents Santinatha. He stands to a height of 2 1/2 m. and has the usual chamaradharis on the sides and maladharis on the top. Behind the head, there is a lotus prabhavali.
Again, very near the ceiling, the gajakalasha motif is represented over the head of the image. Towards the left of the image another, standing Tlrthankara in a smaller scale is seen. From the chinhapitha it could be made out that it is ‘Adinatha1. He is thus shown with all the sculptural attributes, and the bull as his chinha.
On the eastern wall a panel of three Tirthankaras is carved in a rectangular niche of sides 1 x.75 m. The panel may be shown as tritlrthika. They also have all the attributes like gajakalasha., chamara and maladharis as normally found in the case of the mam demes the mulanayakas.
GROUP -3
This group containing 6 caves is possibly more impressive from the visitors point of view. It has a series of Tirthankaras on the back wall in a meditative posture. It not, only gives the stature to the tradition of Jain art of the times, but also teaches the concept of hard realities with religious determination (see plates 5 and 6)
Architecturally, this group is cut into two compartments containing two caves in one, and four in the other. In the first compartment, the caves are designated as 4 and 5 while in the other, they are 6, 7, 8 and 9. All the 6 caves have a common roof.
An elogated rectangular cutting on the top as seen from outside, shows that the first two caves 4, 5 are similar to that of cave 3. They have the representation of two rekhanagara temples. But they are not so ornamented as in the earlier group. These are individual simple shrines.
In the second compartment, there is a continuous cutting upto Cave 9. It is mainly seen from the projecting roof over the array of the main images. The first cave in this compartment i.e. in Cave 6 has two images at the back wall, while the others have single image in each, corresponding to the mulanayakas in the sanctuaries.
In general, all of them stand to height of 8 m. and 3 m. in width, across the shoulders.
In both the compartments the upper portion of the images are exposed and could be prominently seen not only from the common verandah, but also from the eastern side, at the foot of the hill. A closer view with iconographic details can be had from the common verandah.
While the faces of images in cave 4 and 5 are intact, those in the next compartment, as usual, the facial moulds have given way. A semi-circular lotus projection appearing like a projecting crown above the heads of each image, suggests their heavenly sanctity. On the back wall over the projecting lotus, the usual gajakalasha motif is represented in all of them.
The entrances to the caves, however, show a rugged profile. Some have laminated plain wall with rectangular entrance opening and window like arrangements, corresponding to the upper balconies of the caves. In some, the stepped cuttings initially done for the excavation of the images in the sancturies have not been treated with perfection.
Even the cave openings are not perfectly executed. They display some angular treatment in the lintels door jambs, etc.
Cave 4 : This contain two huge images in a row placed along the western back wall. The ima9eS Stan in . 3 gasana Over a rectangular projecting pedestal about a meter hiah and shows Prancing bons on ei,her way on the mukhapattlaka in two niches ot the rnhapitha’The central niche shows the pepal leaf decoration. On extreme two niches of pedestal, there are two figures of theyakshaand the yakshini which could be identified Kusuma and Manoveg.
Here the Yakshais shown with a bovine head, on the right, while yakshini|S s^own a human face (broken) on the left. The four hands of the yakshini tain rosary a book, a lotus while the last is in varada posture. Hence, the Tirthankar can X identified as Padmaprabha.
image 1 : The image of standing Padmaprabha has a circular pedestal which could be identified as vrttapitha below the feet. The image stands to a height of 8 m. It has the attributes of chamari bearers, along the shoulders and maladharls on neither side with the gajakalasha motif overhead. The ceiling contains a lotus medallian carved in asquarish niche corresponding to the head of Tirthankara and a similar feature is found in all the six caves of this group.
Towards the right on the southern wall of the cave, there is a miniature rectangular niche the mukhapattika of which contains the ‘conch’ the symbol of Neminatha. Below the above niche, there is yet another smaller niche (45×25 cm.) showing the reclining figure of Trishala, with raised up left leg. The child Mahavira is seen near the head.
Image 2 : The first image on the western wall containing the two Tirthankaras in a line, in this group is identified as Gommathaswami (Plate 5). Although, he is not to be treated as Tirthankara, he is noted for his sincerity to attain the goal of Siddha Tirthankara through austerriteis. With full determination, he stands firm even if the creepers, snakes, entwine the hands and legs. This is clearly seen in the kayotsarga posture portryed in the sculptural tradition. In this context, it has to be stated that Bahubali or Gommathaswami, in Jain mythology, is the son of the first Tirthankara Adinatha and his brother is known by name as Bharata.
Cave 5 : This contains one big image in the sanctum with two medium sized images
on either side on the western wall.
The Image: This rises to a height. The mulanayaka with the symbol goat can iconographical details are the same as described in t e or nf kunthunatha, there is another Tirthankara Towards the south of the mam image standing to a height of 3 m. and in an elongated niche. He is shown in khadgasana standmg
inconoqraphical features are similar to those of others. The legs and the soles of the tee, shown over a raised semi-circular foot-stool padapllha. to a height of 1 m. It has a diameter of 30 cm. and thickness 15 cm.
Thy symbol in the mukhapatbka is a disclosing his identity as Aranatha. the- eighteenth Tirthankara.
The simhapitha pedestal below the image, has a centrally projected niche It is not shown with the usual lions, placed back to back on either side of a pepal leaf decoration, in the projection. However, away near the head, on the top of the main image, there are maladharis in miniature size above the shoulders along with the usual prominant ‘gajakalasha’ overhead.
In the niche towards north, the image shown, is also similar to the above in all respects. But the padmapitha below the feet contains the animal symbol of a ‘rhinocerus’. This suggests that the image is that of Sreyamsnatha, the 11 th Trithankara, in the pantheon.
The figure is shown seated in padmasana with crossed legs and with the soles of the feet raised upwards In the centre.
The palms of the hands are shown over the feet, with the right over the left. It has the usual attributes of- maladharis, chamaradharis and gajakalasha motifs on either side. The chinhapitha shows the symbol of a ‘conch’ indicating that the image is that of Neminatha.
Fairly below, towards the corner of the same wall, there is another small niche 75×20 cm. containing the reclining figure of lady with a small baby. This is evidently the mother Trishala, that gave birth to baby Mahavira. Such figures are shown in the caves of the other groups and regions as well.
Cave 6 : This is the first of the four caves in this compartment (Plate 6).
The Image : It is dedicated to 21st Tirthankara, Naminatha. The attributes are not shown on an ornate pedestal. His symbol ‘the bud’ is shown below his feet, on a platform that runs common to all the Tirthankaras in the four caves.
This image is of the same dimensions as the former. It is seen with maladharis on either side, along with the prabhavali, a ‘halo’ round to head. The iconography is similar in all the four images. The chamaradharis and other associated figures are similarly shown on either side as in the former cave..
On the wall towards the south, a 2 m. high a figure of Neminatha is shown in a rectangular niche measuring 2 {meters in length and 1 m. In width. He is found with the symbol ‘conch’ below the seat. It has the usual gajakalasha motif above the head.
cave 7: JenWton is a ‘conch’. Hence™’
