Introduction:
The Udayagiri caves are situated on a hilly terrain near Vidisha, in Madhya Pradesh. It is trans-literated to 'Sunrise Mountain'. The site is also referred to as 'Visnupadagiri', evidenced from an inscription from the site. The term means the hill at 'the feet of Vishnu'.
Udayagiri, Hill Temple Landscape
Cave Temple Development
During the Gupta dynasty's reign in the Malwa region, Vidisha was an important art center, which flourished under its ruler Chandragupta II. The time period that he reigned was known as the 'Golden Age of the Gupta Empire'. The site in actuality are a set of temples that had been spatialized over a time frame of a few centuries.
Map of the Udayagiri Hill Landscape
Chandragupta II envisaged a temple development unifying the temples into a common, religious themed landscape. He left evidence of his soverignty over the region in the form of two epigraphs on the site.
Two hills are combined with a narrow way through in between. This leads to temples located on higher levels
The hill consists of 20 caves inter-related with one another. It was a part of a development undertaken by Chandragupta II & his minister Virasena. The cave development overall, is suggested to have followed 3 core objectives that contributed to its materialization:
1. Astronomical in Application: The location of the site and the cave temples are based on the cardinal directions. Most of the topographical changes, physical reorientation or placement of monuments is based on this scheme.
2. Religious in Nature: The very essence of the site temple complex experience is religious, integrated with art forms & narratives placing sacred deities accordingly, including the incarnations of Ganga, Yamuna & Shiva. Other than Hinduism, it also includes features from Jainism.
3. Political Objective: To project a flourishing image of the Ruler. The art was subjected to subtle changes by the king, oriented towards a glorifying image of himself, & his empire.
Cave Temple Architecture
The caves in themselves have been subjected as creations of many art form varieties. The temples have been constructed within the natural cave formations. Cave sculptured temples such as this can be seen all over India.
Cave temples set in their natural formation
Each cave temple has been carved out, for varied purposes. Some have simple exhibitive panelled niches with carved art forms depicting a mythological story or deities. Others, are temple rooms with figures of specific dieties. Many wall surfaces of the caves also carry inscriptions describing the purpose/intention of each temple. The temples have been numbered, purposed for easy identification and to provide temple specific description.
Identified as the 'Tawa' cave
The cave is named so, because of its resemblance to an Indian gridle (tawa), used for cooking. Two abraded figurines guard the entrance to the inner chamber. Inside, the cave is empty apart from a lotus carved in the ceiling. Outside the cave, the faded rectangular detailing (on the right), provide evidence that there was a mandapa outside the cave.
Representation of Skanda
The sanctum includes a rock cut image of Kārttikeya (Skanda), the god of War. The sculpture is partially desecrated, with his staff or club and parts of limbs broken and missing. The surviving remnants show a torso, with Skanda's weight distributed equally on both legs. The figure is adorned with carved jewelry. The head gear resembles that similar to ancient Egyptian representations.
A sanctum dedicated to Shiva
The cave includes a Shiva lingam with a carved face. The hair is tied into a topknot with long cascading locks on the sides. This symbolism portrays Shiva breaking the fall of the River Ganga as the waters came down from heaven.
The form creation of Shiva, with a round face is characteristic of art features from the Kushan Empire. The empire was branched out from its base, the Greek which spread out to the South Asian territories of Afghanistan, Pakistan and Northern to Central India.
Many caves include water channel outlets such as the above mentioned. The concept behind these is the inclusion of water features depicting sacred river resources such as the Ganga & the Yamuna.
The 'Varaha' Cave
This is one of the most important caves, as well as one of the most exhibitory. This was excavated during the reign of Chandragupta II, inferred from one of the inscriptions along it. The representation is that of Varaha, one of the 10 incarnations of Visnu, carrying out the role as the preserver of the Universe. This representation has the head of a boar, with the body of a man. It remains as a dominant feature because of the large size.
The representations have many different narratives based on themes such as mythology and religion. Most of the themes are mutually inclusive of one another. One of the most relevant is of the region of Madhyadesha (Madhya Pradesh), the heartland of the rising Gupta empire, through which Ganga & Yamuna flow.
This also serves as an iconography for Udayagiri Caves.
Cave 6, Shiva Temple
This rock cut temple, is designed with a front veranda. Its facade includes an entrance framed with an ornamental door jamb and carved art forms along its outer walls. The door jambs include figurines of the river godesses, Ganga & Yamuna on the two corners above. It is one of the most aesthetically detailed temples from the cluster. It is guarded by rock cut figurines of deities within rectangular niches. These include Dvwarapala (door guardians), Visnu, Durga Mahishasurmardini and Ganesha.
From L to R: Dwarapala, Vishnu & Durga Mahishasurmardini along the facade. R: Figure of Lord Ganesha
Saptamatrkas Cave
The cave is located along the right inner wall, opposite Ganesha's figure from Cave 6. It includes rock cut figures of "seven mothers" (saptamatrkas). These are placed on the central wall. This is flanked by abraded figures of Kārttikeya and Gaṇeśa.
They are consorts of several Hindu Gods who helped Shiva destroy multiple representations of the asura Andhaka. Each were initially carved with weapons, which now have been distorted. They symbolize victory in the case of spiritual wisdom (vidya). This, Cave 6 and the Varaha cave are said to have been excavated during the same time period.
Anantasayana carving
The rectangular cave panel includes a carving of Visnu in a recumbent position. It is said that the two figures carved below this are of Chandragupta II's and the other, assumed to be Virasena. This is because of the king's devotion towards the deity.
Site Landscape in 1914
The site is overall physically fragile ever since its first excavation around late 19th century. In the sense that many of its features are either missing, fragmented or destroyed. This is quite possibly because of the many excavations that were carried out after the initial, with the intention of unearthing new evidences. This has also affected its continuance to orchestrate a narrative that could trace its origins & relevant significance. Many of the missing pieces are now preserved in the Gwalior Museum.
Complementary Literature & Resources:
Huntington, S. L. (1985). The Art of Ancient India. Weatherhill.
Gazetteer of India, Srivastav, P. N., & Verma, Dr R. (Eds.). (1979). Madhya Pradesh District Gazetteers: Vidisha. District Gazetteers Department, Madhya Pradesh.
Meera I Dass. (2001, September). Udayagiri, A Sacred Hill: Its Art, Architecture & Landscape. PRASADA.
*The photos have been sourced through self. The map is sourced from the above listed sources.