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Jaina Art of Orissa
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The forms are so densely set that the entire wall is dissolved into a deep and rough texture. Even the figure of a bird which by its smallness might become inconspicuous, is represented as a clearly visible entity by means of a receptacle, so to say carved around it of circular or squarish shape. These very elaborate devices make up one of the earliest pure "landscape" scenes of Indian sculpture.
The forest here is rendered in the same way as the jungle grows. One forms next to the other, densely crowded not allowing any horizon to be seen, any path to be found, an intricate pattern in which the single forms arrange themselves by crowding into every nook and corner. The heavier and more voluminous fall to the ground, the smaller and more slender from rise up. The density of the pattern worked in high relief, pervaded by the contrast of light and shade scarcely gives room for any rhythms except a perchance the rigorous discipline of densely set figures in superimposed rows, it is of the same type as the method of crowding with figures, the reliefs of the Sanchi Gate-way.
Charles Fabri13 associates these relief sculptures with that of Bhaja. "The rest of the carving conjures up reminiscences of the rather involved relieve work at Bhājā, though this Rāni-Gumphā work is even more complicated a fine mess of fantastic shapes, obviously redolent of the world of the jungle, rocks with caves and wild beasts, water falls and trees and spirits and godlings of the untamed primordial wood, elephants bathing in ponds, all conceived in an almost surrealistic juxtaposition.
The long frieze on the facade of Chhota-Hāthi-Gumphā attracts the instant attention of the visitors to the caves of Udayagiri hill. Due to disappearance of the verandah, the frieze is now seen from a distance in its much ruined condition.
This frieze depicts the masterly carving of six vigorous elephants there on either side of the arch, over its only door-way. From the entire group, the front ones are the cubs, the middle ones are the tuskers and the rear ones, the she-elephants. The cubs appear to have been engaged in depositing the bunches of flowers and leaves held in their trunks near the crest of the arch. The she elephant to the right is seen emerging from the mango tope. The two tuskers in the centre of the groups are more shown in vigorous and rhythmic positions. They have been symmetrically represented except the right one lowering its trunk near the arch and the left one placing the same over the arched band. Faint traces of flower are visible above the pinnacle which probably adorned the symbolical representation of the object of veneration. Elephants holding stalks of lotuses, flywhisks and umbrellas also met elsewhere in the caves of Udayagiri and Khandagiri.
The sacred tree within railing of the facade of Jaya-Vijaya-Gumphā is worshipped by a couple on each side (Fig. 14). The male figures are standing with folded hands and their consorts with scarves on, carrying trays of flowers and garlands. The religious sanction behind the tree is revealed from the umbrella placed over it. The details of costumes and decorative elements of the figures are badly eroded. Flying figures holding a tray of flowers and lotus buds are noticed on either side.
13. Charles Fabri, History of the Art of Orissa, p. 20.
