Caves Of The North Eastern Region
Getting down the pathway leaving ol Ek-Patthar-ki-Bavdi group of caves, we come across the main road running from south to north along the eastern side of Gwalrar fop. Instead of going south, if we proceed towards north, we come across a number of gales tike Hathia Laksman. Ganesh. Bhadron. Hindola and finally to Alang.r gate Jhe last ,s also known as Gwalior gate.
As we turn to gel up the hill tort from this gate, we hnd an improvised ramp running up the hill southwards. Not far from the gate as we move along the ramp, we come across an ancient palace towards the right. This is known as Gujart Mahal.
This was built in honour of Gujari lady of tribal origin whom Mansingh (1486-1516 A.D.), the Tomar king married when she turned out to be a victor in a fight, with a buffalo. It is in this Mahal the present State Archaeological Museum is housed.
Neminatha Cave Temples:
Proceeding still upwards towards south on the ramp away from Gwalior (Alangir) gate, towards the right, we find that the hill vertically shoots upwards from ramp to a height of 40 m. The Nemigiri cave group, can be seen perched almost at the hill top. Evidently, the hill is also known as th Girnar hill derived mainly from famous Neminatha temples of Girnar in Saurastra.
Taking into consideration, the sculptural tradition, this group of caves are the earliest monuments dated to 13 th century A.D. From the image of 22nd Tirthankara, as found in the main temple,this group can be identified as Neminatha group of temples.
The Entrance: The entrance to this group of temples and caves is provided through almost a vertical ascent along the hill slope facing east. A flight of 125 steps are provided with landings at two or three levels all the way along the 40 m. ascent up along the slope (See also the sketch of the Chaitya vihara caves).
The steep stepway upwards, takes us to a wide area of 15x 10 m. which contains a pillared mandapa projecting towards the east from the back wall of the hill. This area contains five caves. Each cave was transformed originally into a temple with a garbhagrha and other adjuncts in front, (plate 22)
Temple -1: This forms the first cave temple of this group. It lies towards the extreme south. The mukhamandapa, a projecting pavilion, is an over- hanging rock forming the row of the cave. This is reinforced, by well spaced granite pillars, that are plain and do not bear any ornamentation.
The Vestibule :
The shrine a passage doorway leading to the garbhagrha towards west. It can be identified as the antarala.
The closed Shrine Chamber (Garbhagrha):
This forms the dark space of the cave. It is a squarish area of side 6 m. It is divided into the upper and lower chambers created by a projecting ceiling slab of 1 m. wide towards west from the eastern wall. It is built fairly above the door lintel on the interior side.
It is the ceiling slab of the front chamber 6 m., above the ground floor of the lower chamber. The height of the garbhagrha is 8 m. from the floor level. Corresponding to the doorway, of entrance, the upper chamber has also a plain rectangular opening that admits sun light into it.
The western wall of the cave shows the image of seated Neminath. The huge image of Tirthankara Neminatha is sculptured to a height of 6 m. from pedestal upto the head and another 6m. from knee to knee.
Over the head of the image, two- elephants are represented on either side pouring waters with pitchers. Again, in between them, in a niche, there is a small standing figure of a Tirthankara. All these are enclosed in a hemispherical scroll work. Above the shoulders of the mulanayaka on either side, the maladhans are seen.
The pedestal over which the image is seen, stands to a height of T50 m. ground floor. The top member of the pedestal has two elephant trunks Irunks on either side. The one towards left is shown shghtly at a lower level as is standing below.
The Open Temple (First Group):
In this group, there are two identical sanctuaries. They are mainly called open temples as there is no front temple, or mukhamandapa at present towards east. They are originally closed temples as in the former, but now, they are fairly open, This could be confirmed from the open space outside, containing three pillar stumps. It is not clearly known if they are really the remnents of a mukhamandapa, in front of the cave sanctuaries.
However, the entrance doors are still intact. But their upper chambers have given way. Thus, both the temples are well lit up, by the sunshine that enters not only through the main entrances but also through an opening in the upper chamber. Even if both are closed temples because of the projecting rock ceiling they would have enjoyed enough lighting, mainly because of the wide open eastern window of the upper chamber.
The Entrance : The main entrance or the dvara, has a prominent sculptured lintel. It shows scroll work on either side of the central niche, which contained something oblitrated figures. The door sakhas on either side are quite plain. They do not show any ornamentation. representations are shown in a pillared frame. Over
ground the head of seated Tirthankara, there is an oval shaped ‘halo’ which contains lotus and floral representations. Because of the exfoliation in stone, the eyes, the S other features are lost. But the ears can be clearly seen,
The hands are shown resting on the thighs. The legs are folded with soles of the feet c ised upwards in the padmasana posture.
The doorway towards the left, must have had some more sculptures carved on the back wall. But nothing can be seen, as the rock surface has peeled off.
Open Temple (Second Group):
Moving towards the right, in the northern direction of the above, in the same row, there is another bigger open temple group. In the former, atleast the temple form is preserved, but in this, it is completely open, without any trace of the entrance of the dvara. However, it retains some sculptures at the back wall (Plate 24).
Now it appears, as though, it is a store house of Jain Tirthankaras and stray images placed along the wall. They are all loose sculptures both in standing and seated postures. Some Tirthankaras are installed in separate niches.
The Sculptures :
The entire set up encloses a space of 8×4 m. The western wall space and a small portion of northern wall have standing Tirthankara images. They are sculptured in stones of different colours. However, they stand to the same level along the western wall.
Towards the extreme south , one Tirthankara is shown in kayotsarga with stretched palms, slightly away from the thighs. The bodily anatomy shows youthful appearance. The lower left hand and the face are slightly broken. But the circular ’halo’ carved with rows of lotus petals is well preserved. Two columns of standing Tirthankaras are portrayed on either side, at the back.
(a) The pedestal over which the standing image is placed contains a running band of standing human figures all along the western wall.
The next panel along the wall shows a huge tree with a seated Tirthankara at the
Six rectangular loose sculptures are kept near the western wall each measuring 90 x 60 !m They contain seated Tirthankaras in rows of three t.rthika pane s. They are differently shown from panel to panel. The Tirthankaras are sculptured tn two or three rows.
Inside there are slabs which are conical at the top and broader at the base. There is yet another, with Tirthankaras arranged in two rectangular rows on either side of the central image.
In most of such slabs, it may be stated that, it is an attempt to portray multiples of chauvimsi panels.
Natural Caves:
Going further towards the north, we come across two natural caves running through a thick rock wall (Plate 25). The one towards north is wider and extends up a natural overhanging cliff corner. Due to exfoliation of the rock, a good lot of sculptured rock surface, might have got detached. They could be easily taken for granted as in the case of natural rock shelters of the prehisto period.
Probably, they were under use eversince. Similar rock- shelters are found in the vicinity of Gwalior at Babu Sahib-ki-Samadhi, Amra Pahad, Veerpur, Kapileshwar, Deokho etc.
Subsequently, the two natural caves might have been utilised by the Jain saints during
First Tirthankara seated towards extreme South
This is placed over vrttapitha decorated with lotu norrow panel of human figures. On the sides of the are seen. The standing human figures of both ,ora,andhuman representations worshippers and devotees. On either side femal might be they lay in miniature form. On separate pedestals.
There are maladharis chamaradharis. Ver the head of images, there are The posture with cross legs and with well exposed soles of the feet suggest that the images are in padmasana which is adopted during penance.
The hands over the thighs and the palms one over the other suggest the dhyanamudra. Overthe chest srivatsa mark is indicated. The face, no doubt, was sculptured, but it was disfigured by the iconoclast?. But the long drawn ears upto the shoulders suggest , the aspect of piety in the imag. Behind the head, the circular prabhavali is sculptured with lotus petals.
As regards the identification of the Tirthankara, nothing has been indicated in symbolic form.
Second Tirthankara (Seated ):
This image, however, makes difference with the former. On either side of circular prabhavali over separate pedestals, two nude standing Tirthankaras in miniature ’es are carved. Besides, over the prabhavali, there is a hemispherical projecton gajakalasha motif.
The sculptural tradition recalls the craftsmanship of late Gupta traditions as found in Deogarh sculptures of 8th century A.D.
Temple No. 2:
This lies towards northern extremity of the series of cave temples. As in the first, the excavation of the hilly slope has provided excellent a natural ceiling as well as the inner space for this temple also. In general, it contains a mukhamandapa, a sabhamandapa, as two adjuncts to the garbhagrha.
The Mukhamandapa:
This is raised on 12 pillars in front of the shrine with 4 pillars lengthwise and 3 widthwise This lies in a squarish area of side 5 m. The pillars have the cross capitals with floral decoration on the sides.
The edges of the cross beams show lion faces. Each pillar with the cross capital is held by dwarfish atlantes, as if they are holding them. Below the capital, there is a vase-of-foliage, ghatapallava decoration along the stem of the pillars .
A similar carving is seen at the pillar bases. Towards, the southern extremity of the mukhamandapa, there is a shrine with a Tirthankara panel on the western wall.
This forms the last shrine in the Neminatha group of caves. It is a closed squarish shrine of 3 m. in length. Within the shrine, there is one sculpture representing-trltirthika. The three standing Tirthankaras, cannot be identified, as they have no identifying symbols on them. However, with gajakalasha motif, the entire tritirthika panel, measure 21/2×11/2 m.
Corresponding to the dvara of the sabhamandapa, there is another plain doorway leading to the main shrine inside. The dvarasakhas, the door sill, the lintel, are free from any ornamentation.
Getting through the dvara into the interior of the sanctum- sanctorum, we find a passage like vestibule measuring 3×2 m. The walls of this chamber are also devoid of any decoration.
But, a panel on the wall shows the three Tirthankaras in one. Thus, it is a tritirthika panel with the images in each, standing to a height of 3 m.
Still, further towards west, lies the garbhagrha the backwall on which contains a huge, seated image in padmasana. Evidently, he is the mulanayaka. Unfortunately the sculpture is badly damaged by the iconoclasts. The face is disfigured. The hands and sides are broken. But with hoods of the snake appearing on the sides, indicate, that mulanayaka could be no other than ‘Parsvanatha.’ The image measures 2.5 m. in length,
The width from knee to knee measures 1. 75 m. The image is thus placed in dhyanamudra. Its pedestal measures about 1.5 m. in height. Further up, on either side above neck and shoulders, there are two standing figures in miniature sizes holding garlands.
Evidently, they are maladharies, an important associate o t e am Tirthankaras, in most of the caves. Again, above the head, there are two elephants holding a kalasha from either side. This is the usual gafakalasha motrf associated with the mulanayakas.
The Northern Wall:
Towards the centre of this wall, there is a huge panel showing standing figures of nude Tirthankaras. On examination, it is found that it represents the panel of three chauvimsis three in one (72 images). The panel can thus be shown as tritirthika. Possibly, there appears to be some meaninng in the representation of 24 Tirthankaras in multiples in Jain art tradition. It is a pious way of utilising the karma in imprinting the Jinas in sanctuaries.
Temple No. 3 :
This lies towards the extreme north of the above mentioned open temples. The mukhamanqjapa facing east commands an excellent view of the Gwalior city complex, about 200 -300 m. below. Originally, it had three shrines chambers but the one towards south is open without any walls or sculptures. The mandapa in front measures 5×2 m.
The garbhagrha or the central shrine behind the mandapa is dedicted to Adinatha. It measures 5 m. lengthwise and 3.5 m. breadthwise. The Adinatha image is sculptured on the western back wall. It is a seated image of length of 2.7 m. from the pedestal up to the head. Again from, knee to knee widthwise it measures 2.25 m.
Right side panel of the Garbhagrha :
This shows a seated image of Mahavira. It is sculptured to a height of 3.3 m. and across the knees its width measures 2. 70 m. The image seated in padmasana with the palms over the lap, can be made out, that the image is in dhyanamudra. Again, there are usual maladharis and chamaradharis on either side.
The Sabhamandapa :
Axially alligned towards east of the garbhagrha, is the sabhamandapa. Here, the right side portion is no more seen, but the left side shows different types of panels towards the eastern wall by the side, of the dvara leading to the garbhagrha.
Again, the eastern side of the dvara leads to, another adjunct of the sanctuary side of the sabhamandapa. It has the huge figure of a Tirthankara standing to a height of 5 m. It is shown, as if protecting the dvara like the dvarapala. Of course, there would have been a similar standing Tirthankara, on the right side also. Evidently, it is not seen now, as it was removed by the iconoclasts.
The pedestal over which the Tirthankara is placed, shows a padmapitha. The symbol is indicated. The main image is similar to the rest of others observed earlier. The two palms of the hands have lotuses. Unlike the others, not much prominence is given to the genital organ. The srivatsa is squarish as found in the other temples in the region.
Behind the head, an oval shaped lotus is seen and from ‘^/^“ihatitiTa elephants, with raised up trunks holding a pitcher. It could be eaab-indicated motif of gajakalasha. Even the mala and chamaradharis are as Tirthankaras are incorporated In this,
MOS, spectacular of the scenes are the standing figures of Indra and Indrani toWatds ,hp ieX^he Tirthankara. Indra is seen with a faceted crown, seated over the back o( an elephant the trunk of which is raised towards the left.
Besides, behind the image, a number of secular scenes are sculptured. Those lnclude nitnunas. kings and ordinary people.
On the other side of the dvara, i.e. to the right of the Tirthankara, there might have been the representation of Upendra; similarly sculptured over the elephant above his consort, But this is not seen in this temple.
Even the sabhamandapa contains the upper chamber. This lies above by the ceiling slab placed 2.5 m. above the ground floor. It is projected all along the northern wall. The Tirthankara at the dvara goes beyond the level of the first ceiling . This also suggests that the walls of the upper chamber of the sabhamandapa have also secular scenes in temples.
Towards the end of the eastern wall of the dvara in the north-eastern corner, there is a continuation of sculptures on the northern wall.
But this wall shows mostly the religious scenes. The wall space is divided into several panels with standing and sitting Tirthankaras.ln between, much below smaller figures of Tirthankaras standing to a height of 2 m. are depicted near the ceiling of the sabhamandapa. Even these, are shown with divinely associates.
Most spectacular of the secular scenes are the dancing figures, ladies playing music, male and females in raptuous embrace while in some are shown paying homage and gazing at the stature of the Tirthankaras. (Plate 27) Another speciality is the representation of elephant, to witness the divinity even as it emerges from waters along with the divinities and other human beings moving vigorously.
The sculptural tradition here recalls the Ravana nugraha murti panels, of Ellora caves.
The religious scenes witnessed among the divine beings, are yaksas and yaksls to wrtness the birth of Mahavira. Here the child Mahavira is shown with mother Trishala while she fondles him. Ths is rejoiced even by monkeys and children.
I n this connection, it has to be stated that the Chaturbhuja temple built slightly towards the south of Girnar hill (Nemgiri) has a dated inscription of 876 A.D. mentioning the name of the place as Gopagiri, during Bhoj-Pratihara period.
In contrast, we find the inscriptions of Dungarsen and Kirtisen of the Tomar dynasty that reigned from Gwalior itself from the beginning of 15 th century. Their sculptures are generally devoid of ornamentation and decoration.
However, the kirtimukha motif, the gajakalasha, maladharis, chamaradharis, etc. are all rare features. They are quite popular in the modern period.
More important in Jain images is the height. Earlier such heights have not been achieved. Moreover, the lotus representation of palms is a new feature in Jain craftsmanship. But both lotus and purnaghata the auspicious pot, full of foliage, are earlier motif of sculptural art.
Again the earlier concept of Gajalaksmi is shown as a gajakalasha. All the above three features are newly introduced during the period of Tomar kings.
Thus, the early Jain sculptures of the post Gupta period and of Rastrakutas have common sculptural links with Bhoj-Pratihara period of 9th century-AX), at these may be added, the massive pillars of the natural water tank of .
Evidently the ancient lithic spring of water could have been re.nforced to form a tank reservoir during the period of the Rastrakuta occupation.
hot iHp mass excavation of Jain caves undertaken by
It may now be summarised that the m excavation ol NemigIi
Tomar kings may be said to have taken plac caves by the Bhoj Pratihara kings.
Lastly in the sculptures of Nemigiri (Neminatha) group of temples, the intermixing of religious and secular scenes may be more attributed to the Rastrakuta period. In the other Jain caves Ek-Patthar-ki-Bavdi, Namigiri and even in those of Urwahi group , no secular scenes are associated.
This is a tradition that migrated to Gopachal with the influence possibly of Rastrakuta craftsmen, during their brief period. This is avoided in the Jain sculptural tradition of Tomar kings.
In this connection, it has to be stated that the regions of Nimar, Dasarna and possibly upto Gopachal, and parts of Malwa as their records profess, that the Rastrakuta kings Dhruva, Govinda m and Indra in, carried successful compaigns to the north at the expense of Pratihara contemporaries Vatsaraj, Nagbhatta and Mahipala.
There is, however, no inscriptional evidence at Gopachal as regards the presence of Rastrakutas. However, their influence can be inferred from the structural features of Teli- ka-mandir and more prominently in the sculptural tradition of the Neminatha group of temples.
Incidentally, very near this group of Jain caves, there is a temple built in single rock with an inscription attributed to the period of Mihira Bhoja of 9th century A. D. From this, it could be concluded that during the short period of Rastrakutas, a few craftsmen that worked on stone medium were assigned the work at Teli-ka-mandir and the Jain group of temples.
Even after the region was taken over by the Bhoja-Pratiharas from Rastrakutas, possibly the craftsmen were allowed to continue their work in their taditional styles, for some time.
