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Jaina Architecture of Orissa
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laterite. The dexter wall is of sand stone and is prominently battered; it is discernible up to the original steps leading to the cave which contains the inscription of the chief queen or Kharavela. Carved stone railings and upper part of a female statue in sand stone have been found near the steps. The railings might have embellished Sindhula's shrine.
The archaeological evidence put together suggests that the shrine over the HathiGumpha, the ramp in front of it and cave to which the dexter wall leads, were the product of a single building activity. It thus confirms the epigraphic evidence about the location of the shrines of Kharavela and Sindhula as well as the site for the assembly of the monks.
In fact, the apsidal structure practically covers the entire top of this particular portion of the hill, the vacant space not being extensive enough to accommodate any assemblage. To make necessary accommodation for the occasional gathering this artificial terrace was raised in front of the Hathi-Gumpha with necessary filling retained by walls. running towards cave 9 and 17 of Udayagiri hill.
An instance of a double storeyed building is available in the opening pannel of the lower main wing of Räni-Gumpha. It represents a barrel-vaulted roof crowned by a row of finials. The upper storey has only one entrance, through which a person is looking out, there is a balustrated open balcony round it, on which a woman is standing. The lower storey has two doors each with a female figure. To the left side of this structure is a thickly grown mango tree. This gives an indirect reference to the structural habitation of the people as well as confirm to the mention of the Mahavijaya palace in the HathiGumpha inscription. But whether this particular building represents the palace of king Kharavela or just a building, out of the many available in the capital is difficult to be ascertained at this stage. To this representation Charles Fabri1 considers-"What may seem at first sight to be a house of two storeys, is actually a representation of two mud huts, one behind the other, lack of knowledge about perspective made the artist carve them one over the other. But there are two mud huts, both with thatched roofs, with doors and windows made of bamboo, and the upper or further one has a delightful indication of a hedge running round of it."
But the subsequent pannels of the same wing represent military exploits of a royal person who may tentatively be identified with Kharavela. On the basis of this analogy, the double storeyed building represented in the opening panel may be identified with the palace of Kharavela from which his campaigns actually commenced. This building gives us a fair idea on the state of civil architecture prevalent during the period.
From the end of the Chedi rule we do not find any architectural complex till the advent of the early medieval period which can be specifically related to the Jaina pantheon though Yuan Chwang indirectly supports their prevalence in the area. The numerous remains of chaumukhas designed in the shape of miniature rekha or pidha style of temples
17. Charles Fabri, History of the Art of Orissa, p. 21.
