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168
jaina Monuments of Orissa
This panel occupying greater space than its counterpart in Ananta-Gumphā is good in perspective but crudely finished. Stella14 Kramrisch who considers the relief on the Jaya-Vijaya Gumphā as a second rate side issue of the work on the Rāņi-Gumphā observes that "the workship of the tree scene, however, deserves notice, in as much as it contains the clearest formulation of the spatial conceptions of early Indian sculpture, widely made use of at the days of Bhārhut, matured into completion in Mahābodhi and in this special example."
The long drawn panel in the space between the second and third doorways of the main wing of Mañchapuri-Gumph, is often ascribed to the reinstalment of the Kalinga Jina by Khāravela15 accompanied by his family members (Fig. 15). In the centre, on a high pedestal rests the objects of worship obliterated beyond recognition. The pedestal is duly flanked on either side by a kneeling figure also blurred. The assemblage on the right is a group of four standing votaries with folded hands, who evidently came there on a majestic elephant carved on to the further right. Above the figures is suggested the aerial region by the symbol of Sun, two flying Gandharvas are seen carrying celestial musical instruments and flying Vidyadhara in the extreme right corner, hastens towards the objects of worship in the attitude of scattering flowers from a tray held in his left hand. D. Mitra16 contemplates, that a similar assemblage must have existed on the left side of the pedestal but it is now thoroughly obliterated, only the feet of the flying Vidyadhara being preserved.
The second figure from the left of the existing panel wears a turreted crown resembling a tiārā on Mauryan heads found at Saranatha. The arrangement of his scarf in the fashion of vttariya passing across his left shoulder is distinct from that of others. All are in long dhoti, scarves and heavy ear-ornaments. The representation of the king is more prominently carved and his dignifying presence is enhanced by the crown and beating of the drum just above his head symbolising royalty.
The opening panel of Ganesa-Gumphā is precisely a repetition of the second full spandril of Rāņi-Gumphā upper storey (Fig. 16). But the decorative constumes and ornaments worn by the figures and the representation of trees and various denizens of forest the Rāņi-Gumphā panel appears to be more elaborate in depiction and vigorus in action. The person at the very entrance of the artificial cave though almost looks like nodding his head on the thigh of the lady seated close to him in Rāņi-Gumphā, he is sleeping comfortably here on being carved in full with his head resting on his right palm. The lady is seated towards his leg contrary to the one available in Rāņi-Gumpha. The figures engaged in battle in the next phase appear to be short and timid but the same figures in Rāni-Gumphā are strong built, tall, robust and full of vitality. Neither the frightened animals in the midst of battle nor the lady holding the shield in her left hand while taken away by the fighter are rendered effectively in this panel. Near the crest of
14. Qtd. B.M. Barua, Old Brahmi Inscriptions, p. 314. 15. T.N. Ramachandra, IHO., Vol. XXVII. No. II, pp. 103-08. 16. D. Mitra, Udayagiri and Khandagiri, p. 33.
