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Jain Thought and Culture
friezes of sculptures which are the most elaborate in the Ganesa and the Ranigumphas The identification of these caves still remains uncertain The Rani-ka-nur or the Ramgumpha in the Udayagiri is the largest and the best preserved of all the caves It consists of two storeys, each preceded by a verandah supported on pillars A continuous frieze of relief carvings on the facade of the Rani-ka-nur cave at Udayagırı is supposed by some scholars to illustrate incidents in the life history of the 23rd Jain Parsvanatha 20
These two caves contain a number of sculptured friezes and panels which nevertheless speak of a distinct local or provincial dialect The Manchpuri cave in Udayagiri and Anantagumpha reliefs in Khandagırı are both characterized by a robust vitality and vigorous movements, masses modelled in high relief produce strong contrast of light and darkness The treatment of elephants and foliage are particularly noticeable But the general treatment is coarse and movement less Technically the reliefs are less advanced and isolated and compact figures prevent forceful composition
Unlike the Buddhist caves in Western India these caves are devoid of the Caitya halls All are Viharas These caves are supposed to be of Jain origin as on the mouth of Hathigumpha cave we find the inscription21 of king Kharavela the first king of Mahameghavahana family of the Ceti dynasty, dated around the middle of the second century BC The inscription begins with a Jain way of veneration King Kharavela was himself a Jain and is said to have brought back image of Kalinga Jina from Nandas of Magadha 22 It is not unlikely that this sacred Kalinga Jina image had originally been installed on Udayagırı hill itself and later on after its recovery was reinstalled there by Kharvela 23
Apart from the Viharas, Jainas also erected pasadas and, stupas Unfortunately not a single ancient monumument of Jainas is now available A number of inscriptions and other sculptural
20 It is noteworthy that the three hooded serpent in the Serpent cave is supposed to represent Parsya 21 See, DC Sircar, Select Inscriptions bearing on Indian History and Civilization, 1, Calcutta, 1955, pp 213-21 22 Barua gives a different version of it, see, Comprehensive History of India, Vol II, pp 115 fn 23 Debala Mitra in Jain Art and Architecture, Vol 1, New Delhi 1975, p 74
