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Jaina Monuments of Orissa
The semi-circular space (tympana) created by the arched bards over the door-ways of Anarta-Gumpiā ard Tatowa-Gumphā No. 2 are relieved with floral devices and religious activities. In other cases they are, however left plain. Where the front wall of the cells are destroyce or damaged and new masonry work done in their places we do not trace this arcading system.
Railings which popularly known as Buddhist rails are extensively used at Sanchistupa ard Bharkut (1 cw in Calcutta Museum) where they have been lavishly embellished with carvings preserted by rich devotees. In earlier times these rails were employed roud the sacred trees and stupas. The simplest form of rail consisting of square pillars set at a little more tha their own breadth apart and joined by three broad bars rounded on the sides and placed near to one another and to the head rail which joins the top of the pillars. So faithfully have the stupas beer copied in the form of Dagobas, that in icarly every case the rail pattern is one of the features on these altars as well as the umbrella which decorated the stupa.
Thesc railings appear promirently rur nirg in continuation with the parapet on the vererdah ard round the trees worslipped in Ananta-Gumphā and Jaya-Vijaya-Gumpha ard below the sculptured friczes of Rāni-Gumphā, Ganesa-Gumpha and the MañchapuriGumpiā. Except Rani-Gumplā where they are in three barred pattern in other places they represent significantly two long bars. Thus it is evident that railings have nothing special with Buddhist rclics. They too, appear in Jaina monuments. The most obvious and simple mode of fencing is to have uprights at short intervals with connecting bars whese number is regulated by the peculiar exigency of each individual case. These religs have never been designed free standing at this place. Above the tympana arches ard extending along witi the er tire length of the verandah and continuing along the side walls of Ananta-Gumplā, runs a set of railings interrupted orly at places by groups of stepped mcılons (pyramidal baitlements) each alternating with a blue-lotus, a pattern often repeated on the railings of Bharhut.
Two small rooms which ofter regarded as guard rooms are met with the lower storey of Räni-Gumphā, adjacent to its left and right wings. The roof of those two rooms are seen much below the verandah roof of the respective wings but the door-ways are of the usual size.
Provision of standing armed guards in front of the terminal piers of RāņiGumphs, Ganesh-Gumphā, Mañchapuri-Gumphā, Jaya-Vijaya-Gumpha and TätowaGumphi No. 2 yet form another early feature of cave architecture in Orissa. In addition to the armed guard figure gainst the right pilaster of Jaya-Vijaya-Gumphā, a lady hevily weddled with decorative e stumes is standing in front of its left pier. Similarly, though the guards of the lower wings of Rāni-Gumpha are of the usual type, the two on cither side of the main wing of the upper storey of his cave are fashioned mounting or animals. The standing ones are invariably scen cach with long spear and sheathed sword suspended from the shoulders. In rare cases, however, only a sword is held and the other hand rests on the body.
