Udayagiri Caves

Early 5th century Hindu cave temples in Madhya Pradesh

The Udayagiri Caves are twenty rock cut caves near Vidisha, Madhya Pradesh primarily denoted to the Hindu gods Vishnu and Shiva from the early years of the 3rd century CE to 5th century CE. They are the only site that can be verifiably associated with a Gupta period monarch from its inscriptions. They are notable for the ancient monumental relief sculpture of Vishnu in his incarnation as the man boar Varaha, rescuing the earth symbolically represented by Bhudevi clinging to the boar's tusk as described in Hindu mythology. In addition to these, Udayagiri has a series of rock shelters and petroglyphs, ruined buildings, inscriptions, water systems, fortifications and habitation mounds, all of which remain a subject of continuing archaeological studies. The Udayagiri Caves complex consists of twenty caves, of which one is dedicated to Jainism and all others to Hinduism. or is possibly a Gupta period rework of a Mauryan capital.]] Udayagiri, means the 'sunrise mountain'. The region of Udayagiri and Vidisha was a Buddhist and Bhagavata site by the 2nd century BCE as evidenced by the stupas of Sanchi and the Heliodorus pillar. While the Heliodorus pillar has been preserved, others have survived in ruins. Buddhism was prominent in Sanchi, near Udayagiri, in the last centuries of the 1st millennium BCE. According to Dass and Willis, recent archaeological evidence such as the Udayagiri Lion Capital suggests that there was a Sun Temple at Udayagiri. The Surya tradition in Udayagiri dates at least from the 2nd century BCE, and possibly one that predated the arrival of Buddhism. It is this tradition that gives it the 'sunrise mountain' name. The town is referred to as Udaygiri or Udaigiri in some texts. The site is also referred to as Visnupadagiri, as in inscriptions at the site. The term means the hill at 'the feet of Vishnu'.

Udayagiri Caves are set in two low hills near Betwa River, on the banks of its tributary Bes River. The site is connected to the capital Bhopal by a highway. Bhopal is the nearest major railway station and airport with regular services. Udayagiri is slightly north of the current Tropic of Cancer, but over a millennium ago it would have been nearer and directly on it. Udayagiri residents must have seen the sun directly overhead on the Summer solstice day, and this likely played a role in the sacred of this site for the Hindus. A post consecration Sanskrit inscription in Cave 6 by a Vaishnava minister, the inscription mentions Chandragupta II and "year 82" (old Indian Gupta calendar, c. 401 CE). This is sometimes referred to as the "inscription in Chandragupta cave" or the "Chandragupta inscription of Udayagiri". A Shaiva devotee's Sanskrit inscription on the back wall of Cave 7, which does not mention a date but the information therein suggests it too is from 5th century. A Sanskrit inscription in Cave 20 by a Jainism devotee dated 425 CE. This is sometimes referred to as the "Kumaragupta inscription of Udayagiri". These inscriptions are not isolated. There are a number of additional stone inscriptions elsewhere at the Udayagiri site and nearby which mention court officials and Chandragupta II. Further the site also contains inscriptions from later centuries providing a firm floruit for historical events, religious beliefs and the development of Indian script. For example, a Sanskrit inscription found on the left pillar at the entrance of Cave 19 states a date of Vikrama 1093 (c. 1037 CE), mentions the word Visnupada, states that this temple that was made by Chandragupta,

Many of the artifacts found in the area are now located in the Gwalior Fort Archaeological Museum. Due to these changes, the exact numbering sequence in early reports and later publications sometimes varies. The complex has seven caves dedicated to Shaivism related caves, nine to Vaishnavism, and three to Shaktism. However, a few of these caves are quite small. The significant caves include iconography of all three major traditions of Hinduism. Some of the caves have inscriptions. Caves 1, 3, 4, 5, 6 and 13 have the most number of sculptures. The largest is Cave 19. In addition, there are rock cut water tanks at various locations, as well as platforms and shrine monuments on the top of the hill related to Shaivism, Vaishnavism and Shaktism. There were more of these before the excavations of 1910s, but these were destroyed in the attempt to find evidence of Buddhist monuments underneath.

Cave 1 is the southernmost cave and a false one because one of the side and its front is not of the original rock but added in. Its roof is integrated from the natural ledge of the rock. It moulding style is similar to those found in Tigawa Hindu temple. The mandapa inside the temple is a square with 7 feet (2 m) side, while the sanctum is 7 feet by 6 feet. Outside, Cunningham reported four square pillars. The back wall of the cave has a deity carved into the rock wall, but this was damaged by chiseling later at some point. The iconographic markers are gone and the deity is unknown.

Cave 2 is to the north of Cave 1, but still on the southern foothill isolated from the main cluster of caves. Its front wall was damaged at some point, and the interior has been eroded by weather. It is about in area and the only traces of two pilasters are visible, along with evidence underneath its roof of a structural mandapa. The doorjamb has some reliefs, but these are only partially visible.

Cave 3 is the first of the central group or cluster of shrines and reliefs. It has a plain entrance and a sanctum. Traces of two pilasters are seen on both sides of the entrance and there is a deep horizontal cutting above which shows that there was some sort of portico (mandapa) in front of the shrine. Inside there is a rock cut image of Skanda, the war god, on a monolithic plinth. The mouldings and spout of the plinth are now damaged. The Skanda sculpture is desecrated, with his staff or club and parts of limbs broken and missing. The surviving remnants show an impressive muscular torso, with Skanda's weight distributed equally on both legs. Cave 3 is sometimes called the Skanda temple. Willis has described the relief as the "iconographic centre piece of Udayagiri". The Hindu legend has roots in the Vedic literature such as Taittariya Samhita and Shatapatha Brahmana, and is found in many post Vedic texts. The legend depicts goddess earth (Bhudevi, Prithivi) in an existential crisis after she has been attacked and kidnapped by oppressive demon Hiranyaksha, where neither she nor the life she supports can survive. She is drowning and overwhelmed in the cosmic ocean. Vishnu emerges in the form of a man boar avatar. He, as the hero in the legend, descends into the ocean, finds her, she hangs onto his tusk, he lifts her out to safety. The good wins, the crisis ends, and Vishnu once again fulfills his cosmic duty. The Varaha legend has been one of many historic legends in the Hindu text embedded with right versus wrong, good versus evil symbolism, and of someone willing to go to the depths and do what is necessary to rescue the good, the right, the dharma. The panel shows (the number corresponds to the attached image): Of special note also is the figure of seated Ganesha in this cave, to the left of the entrance, and the rectangular niche with seated goddesses, located to the right. The Ganesha is potbellied, has modaka (laddu or rice balls, sweetmeat) in his left hand and his trunk is reaching out to get one. This makes the cave notable as it sets the floruit for the widespread acceptance and significance of Ganesha in the Hindu pantheon to about 401 CE. The presence of all three major traditions within the same temple is also significant and it presages the norm for temple space in subsequent centuries. In addition to Durga, Cave 6 depicts the Hindu matrikas (mother goddesses from all three traditions). One group of these divine mothers are so "badly destroyed", states Sara L. Schastok, that only limited information can be inferred. The matrikas are prominent because they are placed immediately to the right of Visnu. The outline of the seated matrikas in Cave 6 suggests that they are similar to early Gupta era iconography for matrikas such as those found in Badoh Pathari and Besnagar archaeological sites. Outside the cave is a panel with an inscription that mentions Gupta year 82 (401 CE), and that the Gupta king Chandragupta II and his minister Virasena visited this cave. In the ceiling of the cave is an undated pilgrim record of somebody named Śivāditya.

Cave 7 is located a few steps east of Cave 6. It consists of a large niche containing damaged figures of the eight mother goddesses, each with a weapon above their head, carved on the back wall of the cave. The cave is flanked by shallow niches with abraded figures of Kārttikeya and Gaṇeśa, now visible only in outline.

There is a passage prior to Cave 8 which consists of a natural cleft or canyon in the rock running approximately east to west. The passage has been subject to modifications, the sets of steps cut into the floor being the most conspicuous feature. The lowest set of steps on the right hand side are eroded. Sankha Lipi or shell inscriptions – so called because of their shell like shape, are found on the upper walls of the passage. These are quite large. Those inscriptions have been cut through to make the caves, which means they existed before the caves were created around 401 CE. The inscriptions had not been deciphered, and proposed interpretations have been controversial. The upper walls of the passage have large notches at several places, indicating that stone beams and slabs were used to roof over parts of the passage, giving it a significantly different appearance from what can be seen today.

The three caves are small excavations to the side of Cave 8. All three are next to each other. Their entrance opens north northwest, and all have damaged Vishnu carvings. Cave 9 and 10 are rectangular niche like openings, while Cave 11 is a bit bigger and has a square plan. Cave 10, the middle one is a bit higher in its elevation.

Cave 12 is a Vaishnavism related cave known for its niche containing a standing figure of Narasimha or the man lion avatar of Vishnu. The Narasimha carving is flanked below by two standing images of Vishnu. Cave 12 is notable for having the clearest evidence that the cave was excavated into a rock with pre existing inscriptions. The script is Sankha lipi, probably several versions of it given the different styles, all of which remain undeciphered. It is this which confirms that Udayagiri and Vidisha were inhabited and an active site of literate people before these caves were produced. Further, it also establishes 401 CE as the floruit for the existence and the use of Sankha lipi. The cave also has a flat top with evidence that there was likely a structure above, but this structure has not survived into the modern era.

Cave 13 contains a large Anantasayana panel, which depicts a resting figure of Vishnu as Narayana. Below the leg of Vishnu are two men, one larger kneeling devotee in namaste posture, and another smaller standing figure behind him. The kneeling figure is generally interpreted as Chandragupta II, symbolising his devotion to Vishnu. The other figure is likely his minister Virasena.

Cave 14, the last cave on the left hand side at the top of the passage. It consists of a recessed square chamber of which only two sides are preserved. The outline of the chamber is visible in the floor, with a water channel pierced through the wall on one side as in the other caves at the site. One side of the doorjamb is preserved, showing jambs with receding faces but without any relief carving.

Cave 15 is small square cave without separate sanctum and pitha (pedestal). Cave 16 is a Shaivism related cave based on the pitha and iconography. The sanctum and the mukha mandapa are both squares. Cave 17 has a square plan. To the left of its entrance is single dvarapala. Further left is a niche with Ganesha image. On the right of the entrance is a niche with Durga in her Mahishasura mardini form. The cave has an intricate symmetric lotus set in a geometric pattern on the ceiling. Cave 18 is notable for including a four armed Ganesha. With him is a devotee who is shown carrying a banana plant.

[[File:100 Old Inscription (33653734866). jpg|thumb|left|upright=0.85|Cave 19 inscription by some pilgrim Kanha. The "१०୯३" is Nagari for "1093", a year that is 1036 37 in Georgian calendar. The cave also includes a somewhat damaged image of Ganesha on its floor, where is depicted carrying an axe while looking in his left direction.