#: locale=en ## Media ### Subtitle panorama_054551A2_1E8F_488C_4182_9713877B4A6E.subtitle = A main door and 2 smaller side doors allow access to the main hall; while 2 windows between the doors provide ventilation & light. There are 16 grihas (cells) adjoining the hall – 5 on the sides & 6 at the back – with benches inside them. Note how, unlike in Cave 3, there is no continuous bench in front of the cells here – their entrances are flush with the floor of the hall. Centered between the rear cells is a very interesting relief carving – a tall, striking figure in the foreground, but also that of a stupa in the background. This is the figure of Bhairava, the guardian deity of Jains, that has been etched over the earlier carving of the stupa. It is believed that this 'overwriting' was done around the 11th or 12th century, when the influence of Buddhism was waning. panorama_0545976B_1E8F_499C_41B0_A0D88C0A051A.subtitle = Cave 5 (to the right of cave 6) is almost completely damaged. It appears to have originally meant to be a dwelling \ cave – or layana – with 2 cells. The doorways are broken, and there are no inscriptions or sculptures – although traces of pillars & pilasters remain. It appears that due to structural damage, it may have been abandoned & converted into its current form of a cistern, with a hollowed out floor. There appears to be a cell between Caves 5 & 6 – whose partition is now broken. ​ \ \ Cave 6 is also a dwelling cave, with 4 grihas (cells) - 3 in the back & 1 on the right. Even this has been turned into a water reservoir by deepening the floor. It is fronted by a veranda having 2 octagonal pillars & 2 square pillars. Note the ceiling – it resembles a wooden structure, with a horizontal flat beam above the pillars supporting 4 cross-beams, which in turn supports rafters – atop which is mounted 2 mouldings & a belt of rail. ​ \ \ Cave 7 is a single cell dwelling cave, with an open doorway & a bench. Like its neighbours, it too seems to have been converted into a water reservoir. ​ \ \ Caves 6 & 7 contain inscriptions that mention that these were donations to the Sangha – the former from a merchant & his family; the latter from a lady ascetic, likely from the donations she herself received & saved. ​ panorama_0545ACB1_1E8F_788C_4187_FAF9E752DFF0.subtitle = Cave 8 is a small, elevated dwelling cave (layana), with rough cut steps beside a cistern. It comprises a veranda and \ small inner cell with a bench. Only the upper portions of its original two octagonal pillars and two pilasters survive, as \ also decorative details such as on the top of the right pilaster. Apart from a rail-pattern frieze running along the top of \ the veranda, the cave is otherwise plain. An inscription records the donor of the cave, and also a donation of the rent \ of a nearby field for purposes of distributing clothes to monks. ​ \ \ Cave 9, also elevated, has three cells fronted by a veranda supported by two octagonal pillars and two pilasters. The \ pillars feature inverted pot-shaped capitals, each crowned by lively carvings of animals in dynamic poses. Despite \ being rather well-finished, there are no inscriptions here. ​​ panorama_0545FE4E_1E8F_5B94_41B6_521B08555C55.subtitle = Located at a slightly lower level than it's neighbour, this was originally a dining hall – called Sattra. Cracks in the ceiling suggest that it became waterlogged - & therefore was later converted into a water reservoir by digging up the floor further. The cave has a veranda and a large 20' square hall, with windows flanking the door having a lattice framework. \ \ The veranda has two pillars and pilasters, their capitals richly carved with elephant processions. The ceiling projecting beyond the capitals are rock-cut to imitate wooden rafters. Note how the alternating ends of the rafters have faces of women engraved on them – breaking the monotony & adding a \ delicate touch!​ \ \ ​ panorama_05459A03_1E8F_5B8C_41B0_FD74531734B7.subtitle = The 45'x41' hall has 18 grihas (cells – or living quarters) - 5 on the left, 6 at the back & 7 on the right – fronted by a bench. The cells are very simple, as expected, with simple doorways and a bench. Grooves are etched at the edges for the doors. You may notice small holes in the cells – these were \ used to place rods to hang their robes. ​ \ \ The holes in the bench are more modern – probably for tying cattle in the rains; while the holes in the floor were for husking grain. ​ \ \ A stupa (shrine to a relic) carved in relief with significant details and ornamentation adorns the centre of the back wall - a beautifully tiered composition rich in symbolic detail.​ panorama_39D44A17_1E91_5BB3_41BA_A2EE114DE165.subtitle = The long veranda has a beautiful main doorway, flanked by 2 smaller doorways & windows. Typically a symmetry is observed in the cave designs. \ Here however, there is a cell on the far right end, but none on the left – probably because of the adjoining cave 4 and cistern (water pool) - it is likely that it was excavated before Cave 3. ​ \ \ On the capitals of the pillars on the inside, just like the exterior, you can see pairs of various animals. ​ \ \ A beautiful torana (ornamental doorway) welcomes you into the vihara, with two 6'2" towering dwarapalas (guards) flanking it. Around the doorway, there are 19 squarish panels: the 7 on top contains depictions of Buddhist symbols & monks; the 6 on each side contain very intriguing depictions of two different stories – with men & women shown in various animated \ scenarios. There are diverse views on what these depictions illustrate – yet, they seem to indicate the morality of a married couple, probably indicating to the social scenario prevalent in those days. ​ panorama_0545BE2F_1E8F_DB94_41A1_230DA1BFBB68.subtitle = This began as a simple dwelling cave from around the 1st century BCE. By 400–500 CE, it was transformed into a Mahayana Buddhist shrine, \ reflecting the shift towards image worship in later Buddhism. ​ \ \ Originally, the cave had a veranda and two small rear cells, but the Mahayana sculptors broke through the back wall and merged the cells \ to form a single hall, adorning it with impressive rock-cut imagery. The frieze above the entrance has an old, weather worn rail pattern. A faint & partial inscription here refers to the 6th year of King Pulumayi, son of Vasithi (Vasishthi). ​ \ \ The recesses inside have Buddha in seated positions, flanked by Bodhisattvas (enlightened beings who choose to delay their own \ liberation (nirvana) to help others achieve enlightenment): Padmapani on his left & Vajrapani on his right. ​ \ \ The group of images are largely similar, with minor differences in \ depiction. A detailed description is provided in the spotlight for the group of images in the right recess, with differences & nuances highlighted in the other 2 spotlights. ​ \ \ ​ panorama_054518BE_1E8F_D8F4_41A2_6B5B79C2B0CF.subtitle = This is an unfinished cave, and consists broadly of just a veranda and a hall. ​ \ \ The 4 unfinished plain blocks and smoothened sides indicate intentions of having 4 pillars and 2 pilasters on the side. The beginnings of cells can be seen on either side of the veranda. ​ \ \ An unfinished, but rather well carved frieze (decorative band of sculptures or relief carvings) forms the upper part of the veranda. ​ \ \ In contrast to the detailed frieze, the door & two windows lead to the rudimentary hall. panorama_0545A879_1E8F_387C_41AA_A56F6A16BF47.subtitle = This is one of the largest and oldest cave here, fronted by a grand façade. This vihara (dwelling cave along with a congregation hall) was commissioned by King Pulumayi, the son of Vasithi, on the orders of his grandmother Gautami – and is named Devi Leni in her honour. ​ \ \ The cave has 3 main parts – veranda, main hall and grihas (cells or rooms). ​ \ \ The front of the cave is sculpted to resemble a wooden structure – built of of beams & rafters ! ​ \ \ The veranda has 6 octagonal pillars arising from a long bench, and capped by \ an elaborate capital, having animals carved on all sides. Above the pillars, there is an elaborate frieze with an ornamental rail and a scroll of creepers, containing smaller carvings - numbering almost 29! - of leaves & a variety of \ animals. ​​ \ \ Below the pillars (the lower façade) is an ornate rail, with carvings of beams & rafters. The 6 massive figures – who are dramatically shown slightly \ hunched over and depicted as carrying the cave on their shoulders - are the \ celestial beings called Bharvahaks. ​ panorama_05E5D8F0_2193_D88C_41AD_434D378C68A8.subtitle = This vihara is also famous as Nahapana Vihara, honouring the contributions from the 1st or 2nd century ruler Nahapana & his family, recorded in majority of the inscriptions here. ​ \ \ One of the largest viharas at the site, it closely resembles Cave 3 in layout – with a veranda, hall and accompanying grihas (cells). While the façade is simpler compared to Cave 3, it is equally well carved and ornamented. ​ \ \ The veranda has small cells at both ends, and is fronted by 4 free-standing octagonal pillars and two pillars attached to the pilasters (or three-quarter pilasters). Just under the ceiling in the veranda, the entire 40' back wall is filled with inscriptions – they're the longest in these caves. These inscriptions, as also above the doorway of the cells, are mostly in Prakrit & Sanskrit, and are well cut and clearly visible. ​ \ \ On the left wall, a striking figure of Bhairava—the Jain guardian spirit—commands attention. Inside, too, the influence \ of Jainism is evident, where an image of Bhairava has been carved over an earlier stupa, reflecting the site’s evolving \ religious layers.​ ### Title panorama_02A783AD_1E9E_C897_4181_F56972F6B16E.label = 00 Layout panorama_02ED8D46_1E93_3994_41B0_F574E2CE1F98.label = 00 Path panorama_054518BE_1E8F_D8F4_41A2_6B5B79C2B0CF.label = 01 Cave 01 panorama_0545BE2F_1E8F_DB94_41A1_230DA1BFBB68.label = 02 Cave 02 panorama_0545E38C_1E8F_C894_417B_6FE75ED8CB4C.label = 03 Cistern panorama_0545A879_1E8F_387C_41AA_A56F6A16BF47.label = 04 Cave03 panorama_39D44A17_1E91_5BB3_41BA_A2EE114DE165.label = 05 Cave03 Entrance panorama_0545E4DE_1E8F_48B4_41A3_7E7B6B1D5B8D.label = 05a Cave03 Entrance panorama_05459A03_1E8F_5B8C_41B0_FD74531734B7.label = 06 Cave03 Interior panorama_0545FE4E_1E8F_5B94_41B6_521B08555C55.label = 07 Cave04 panorama_0545A2BC_1E8F_48F4_41B2_26FA4793E0BC.label = 07a Cave05 panorama_0545976B_1E8F_499C_41B0_A0D88C0A051A.label = 08 Cave05-06-07 panorama_0545ACB1_1E8F_788C_4187_FAF9E752DFF0.label = 09 Cave08-09 panorama_024D57C3_1E96_C893_4187_DA90AE81CC72.label = 09a Cave08-09 panorama_05E5D8F0_2193_D88C_41AD_434D378C68A8.label = 10 Cave10 panorama_054551A2_1E8F_488C_4182_9713877B4A6E.label = 11 Cave10 Interiors panorama_054546C6_1E8F_4895_41AB_E4AD81B5DBF7.label = 11a Cave10 Interiors panorama_02B7F53C_1E8F_49F4_41B9_4F334BDC7A14.label = 12 Cave11 panorama_02583791_1EB2_C88C_41B1_7F72A5781281.label = 13 Cave12-14 panorama_02C3EB1C_1EB2_F9B4_418D_5A6931F2C77C.label = 14 Cave15-16 panorama_024C7795_1EB7_48B4_41A1_CC99C0CA7662.label = 15 Caves17-20 panorama_02A3BC06_1EB1_5F94_41B8_AF7E931DF243.label = 16 Cave18 panorama_0523FD1E_1EB2_D9B4_419A_995FC8349E14.label = 17 Cave17 panorama_02162C7E_1EB7_7875_41BA_DF2DAAFFDFD0.label = 18 Cave17 Interiors panorama_021E9EBD_1EB3_F8F7_41B9_3133D36861F3.label = 19 Cave19-20 panorama_0293A08A_1E8E_C89C_41A6_F12ED7A1A938.label = 20 Cave21 panorama_022A082A_1E8F_479D_41A7_F28FC70D4799.label = 21 Cave22 panorama_05472FC4_1E8E_D895_41B7_4BC3F5AB0203.label = 22 Cave23 pano panorama_3FC18B79_1FB1_587F_419C_7138EB5663B3.label = 23 Cave23R panorama_05472EEF_1E91_3893_41AA_5488B4142BFF.label = 24 Cave23C panorama_02161132_1E91_498C_4162_9202CD8BA624.label = 25 Cave23L panorama_05476891_1E91_588C_41B6_2F2E446A8068.label = 27 Cave24 panorama_05472D4C_1E91_5995_41B6_E42159E001AF.label = 28 Cave24 Interior panorama_03D8D679_1E91_487C_4198_6C8D20307F0C.label = 29 End photo_01A1B88C_1E93_D894_41AC_96D326B252C4.label = HS03 C01-1 photo_3DE9172E_1FF2_C994_41B9_495EBD8A4D91.label = HS04 C01-2 photo_3C007154_1F93_49B4_41BB_450940643749.label = HS05 C02-1 photo_3CBD8910_1F97_598C_41BF_1B52D17F5709.label = HS06 C02-2 photo_3C3B64AF_1FB3_4894_41AF_7A23708B506A.label = HS08 C03-1 photo_3C830C88_1FB1_389C_41BE_F7A22D851A7F.label = HS09 C03-2 Lower facade photo_3B6B90D8_1FB2_C8BC_4188_D7C81CBC94F8.label = HS11 C03-4 Right Pillars photo_3BDBAE32_1F93_3B8D_41B1_AE3B0BEA5459.label = HS12 C03-5 Pilasters photo_3BFFAB59_1F92_D9BF_41B8_385AFC40E469.label = HS13 C03-6 Dwarapalas photo_3B500217_1EB1_CBB4_41BC_A446B115EE84.label = HS14 C03-7 LeftStoryPanel photo_3B439159_1EBF_49BC_41BE_BDA8E86C42F0.label = HS15 C03-8 RightStoryPanel photo_04BD3ECA_2191_389C_41BC_F7E8E5F29834.label = HS16 C03-9 TopPanel photo_05044663_218F_4B93_41B3_11FB199C0F1D.label = HS17 C03-10 Pillars photo_050FD19C_21B6_C8B5_41BA_16BAE2AFD044.label = HS18 C03-11 Chaitya photo_04AE773B_21B3_C9FC_419B_7B9CC0039A41.label = HS19 C04-01 Capitals photo_05E2CEE8_218F_D89C_41A1_4A6C8C4C7202.label = HS23 C09-01 Capitals photo_05822EE3_2197_788C_41B1_507B981BA180.label = HS24 C10-1 Bhairava photo_066CFFE5_2193_D894_4144_04DF9A9A5B81.label = HS25 C10-2 Pillars photo_06CCDA5F_219F_FBB4_41B2_F0BC104E5C71.label = HS26 C10-3 Inscriptions photo_06AC93D4_2271_C8B4_41B1_0D8832DA6FD8.label = HS27 C10-4 Bhairava photo_081C93F5_2191_4877_41B9_8F5756FC4918.label = HS28 C10-5 Inner Capitals ## Popup ### Body htmlText_3C5C2E69_1E91_5B9C_41A3_5AFC2DBFAA7A.html =
5 of the 6 panels on each side show a story, starting with the second-last one; with the bottom most panel too eroded to make out the depiction.
​
​One interpretation is that the left panel shows a story of a couple falling in love; the woman being carried off by force and then being rescued by her partner. ​
Details (described in early references, when the images were probably much clearer & not as weather worn)(Bottom to top): A couple is shown holding hands; then they're shown with their arms around each other's shoulders. A different pair of man & woman, in different dresses, are shown on the third panel. The first woman is being carried away, apparently by force – as she's shown clinging to the neck of the second woman. In the 5th & topmost panel, the first man is shown tenderly carrying back the first woman. ​
​
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A depiction of Buddha, along with Vajrapani and Padmapani, similar to the other 2 panels
Here, the Bodhisattva on the right of seated Buddha has his left hand simply
resting on his thigh. At the top, the floating celestial beings – Vidyadharas –
both are holding garlands. On the left, facing the inner side, is a standing
Buddha – almost 4'10" high – with the right palm in vara mudra and the left
holding the ends of his chivar (robes).
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At the ends of the veranda, there are pilasters decorated with full & half lotus
flowers. There are lilies by the side of the lotus flowers – they're unfinished
on the right pilaster, but better defined on the left. ​
Near the right pilaster, the face of the side wall has several rails & ornamentation – a lot of these though have eroded. The band at the center is
still visible – with festoons at the top, rails in between and a scroll with animals at the bottom. Below it is a beam borne on 3 birds, of which only the
center one is still visible. ​
​
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Buddha is seated in the dharmachakra pravartana mudra (literally translating to
'Wheel of dharma teaching pose') on his lion-throne, with his feet resting on a
lotus. From the lotus stalk, there rise two more flowers, each supporting a
Bodhisattva. On this right, holding a fly-whisk and a long lotus stalk, is Padmapani Lokesvara – also known as Avalokiteshvara - a representation associated with compassion and kindness (Padma= Lotus; Pani=
hands in Pali & Sanskrit). On the left, holding a fly-whisk and a vajra (thunderbolt), is a depiction of Vajrapani Lokesvara – a more fiercesome representation, associated with protection & power. Further to the left of Vajrapani, are three small stacked panels with carvings of Buddha. ​
​Above them float celestial beings called Vidyadharas – with the one on the right
holding flowers and the one on the left holding a garland. ​
​The walls flanking the recess contain two standing Buddhas - their right hands
hanging with open palms, in the vara mudra – denoting grant of blessings and compassion. They are holding their chivar - the simple robe worn by Buddhist monks – with their left hand. ​
In the floor below, later carvings depict a linga, Nandi and a flying Hanuman,
suggesting later Hindu influences.​
​​
​
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Further to the details provided in the spotlight on the left pillars, on the right, the pillars are crowned with pairs of
lions, elephants and bulls, each carrying a driver. The elephants carry an additional rider, and are well carved – also shown
carrying lotus flowers & buds.
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Just like the exterior, the inner side of the capitals of pillars have pairs of
animals, especially elephants.
The most interesting ones: on the second
pillar from the left, are mythical hybrid animals – bird-like faces, long ears &
with bodies of animals; the elephant on the 3rd pillar from the left is holding
a woman in its trunk; & the 5th pillar from the left has goat like animals with
riders.
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One interpretation of the story on the right side is that of a couple who marry; but the woman tries to elope with another younger man. The first man tries to get her back, and when unsuccessful,
carries her away by force. ​
Details (Bottom to top): At the bottom, a woman in an elaborate headdress is
shown leaning against a tree & feeding a swan. Then he's shown putting his hand around her neck, raising his right to her face – as if cajoling her, while another young man is shown holding her foot.
The third panel shows the couple with their arms around each others shoulders, with the young man watching on. Next, she's shown under a tree with her arms around the young man's neck,
while the first man tries to drag her back – her reluctance is apparent in the way her head is turned away from the man &
looking at the seated younger man. In the fifth, the man is shown carrying the woman back, as if by force. ​
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Starting with a base moulding ornamented with lotus-petal tracery, rises a plinth, topped by a band of rail decorated with eight-petalled flowers. A
dome, a shaft and 4-plated tee are mounted over the plinth. There are 5
pyramidal ornaments over the top plate. ​
Crowning the stupa are three double chatravalis (umbrellas) — with each
side chatra sprouting from the mast of the central one. A lion and a wheel
frame the relic shrine, together forming the Triratna, or Three Jewels of Buddhism — the Buddha (represented by the stupa), the Dharma (by the Lion), and the Sangha (Wheel). Even the 3 chatravalis are symbolic of the triratnas. ​
Flanking the shrine are two graceful female attendants – one bowing slightly
with hands folded in reverence, while the other is waving a fly-whisk. Both are adorned with anklets, earrings and a simple waist cloth. ​
Floating above the stupa are two celestial Gandharvas in graceful motion — the right one scattering flowers from a basket, the other extending a garland
toward the sacred shrine.​​
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The Dwarapalas (guards), stand tall and commanding at the entrance. Their postures and attire mirror each other,
yet each bears subtle distinctions in detail. Though not very graceful in form, their imposing size and details in
carving lend them a powerful presence. Each holds a bunch of flowers, dressed in a dhoti with an additional cloth
tied at the waist and its ends draping loosely. They are adorned with bracelets, armlets, earrings, and a finely styled turban.​
​
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The frieze forming the façade, above the pillars, consists of three horizontal bands – the details have faded due to weather & erosion, while some portions seem unfinished. ​
The top band consists of semi-circular flowers. The middle band consists of an ornamental rail – decorated with symbols & animals. The bottom band consists of depictions of animals,
interspersed with leaves of a creeper – some of the clearer ones are marked in the image. ​
At the very bottom, you can see rectangular projections – mimicking the ends of beams supporting the ceiling, as if it were a wooden structure. ​
​
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​A striking image of Bhairava dominates the left wall of the cave, sheltered
beneath a five-hooded serpent canopy. Wielding a large, wavy dagger and mace,
the wide eyes and protruding fangs radiate his fierce energy. Adorned with large earrings, serpent necklace, armlets, bracelets, a broad belt, and a garland at his feet, he is flanked by two female attendants positioned near his head.​
Originally a fierce manifestation of Shiva in Hinduism, Bhairava was later adopted into Jainism as a guardian deity (kshetrapala). His imagery was
reinterpreted to align with Jain beliefs, and he came to be venerated as a
protector of temples and devotees, particularly in association with Bhagwan
Parshwanatha, the 23rd Jain Tirthankara.​
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​Atop the left pilaster is a dynamic carving of a deer, its foreleg raised and folded – almost as if just about to get up.
The left pillar features two seated bulls, one in the act of scratching its mouth with a hind leg.
On the right pillar, two elephants with riders come to life — one appears to be rising from a seated position with its forelegs raised causing its rider to lean back; the other is carrying a woman in its trunk.
Crowning the right pilaster is a majestic tiger, seated with its forelegs elegantly crossed.
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​Just like Cave 3, the facade is beautifully carved in stone to resemble a wooden structure! ​
The pillars arise from a pot placed on a stack of pyramidal plates, and are
topped with an inverted pot capital. Atop this, there's a square box containing a ribbed stone disk, or amalaka. Above it sits an inverted pyramid of plates, which along with well carved animals for brackets, give the appearance of holding up a beam. Further up, there are rafters with ends projecting a couple of inches beyond another beam. There is a frieze consisting of a simple rail pattern with 3 horizontal bars, sandwiched between plain rounded mouldings, that sits on top of the rafters. ​
Exterior Capitals
There's a single lion (identified by its mane) with a rider atop the left pilaster.
The next pillar has 2 seated bulls, each with a rider. The central two pillars, as
well as the right pilaster have a pair of elephants each, seated back-to-back -
all with a driver (mahout) and an accompanying rider; while the 5th pillar has 2 lions with riders. ​
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​Standing in the veranda, you can see other animals forming the inner side of the pillar capitals. Unlike the ones on
the exterior, some of these include mythical creatures and carry no riders.
From the left to right (when facing the
cave's courtyard) : ​
Left Pillars: The pilaster has 2 lions, with the right one resting its head on its crossed fore-legs. The 1st pillar has 2
sheep, the right one being a ram (male goat) with massive, carved horns. The 2nd pillar depicts two sphinx – with a
human-like head & the body of a tiger. They are called narasimha in Buddhist art in India & Sri Lanka (they're distinct
from Lord Vishnu's Narasimha avatar) - and regarded as protectors of the north direction. ​
Right Pillars: The 3rd pillar (adjoining the doorway) has 2 seated lions. The 4th pillar has an interesting mythical creature – with the face & beak of a bird and body of a tiger. The pilaster on the right has a hybrid animal – with the
body of a tiger, but a head with branching horns; and another animal with its head turned behind.   ​
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​The capitals on the pillars & pilasters consist of elegantly carved elephants seated back to back; although it has
completely eroded on the pilaster on the extreme left. ​
On the left pillar, the first elephant has a driver (mahout) & a rider; the right elephant has a driver & 2 women riders.
The 2nd rider in an elaborate headdress is shown pulling the hand of another woman, helping her mount the
elephant. ​
On the right pillar, the hair-do of the women riders are slightly different than on the earlier pillar. Note how the first
rider has her arms raised & folded; while the second is leaning forward, resting on her hand. ​
On the right pilaster, the woman rider seems to be adjusting her hair, while looking into a hand-held mirror. Her
manservant is seated alongside holding some artifact. ​
​Despite their similar composition, the varied gestures and interactions of the elephants and riders infuse the entire procession with a lively sense of movement and charm.​
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​There are well preserved & finely engraved inscriptions in the verandah – on the back wall, which records the donation of this cave by Ushavadata, son-in-law of King Nahapana of Kshaharata dynasty. It also records a long list of his other donations at various other places in his reign – such as gold, food, cows, rest-houses, gardens, wells, boats to cross
rivers, clothes etc. The inscription also mentions the name of this hill as Trirashmi hills. ​
The cells at both ends of the veranda were donated by Ushavadata's wife and Nahapana's daugther, Dakhamitra –
recorded in the inscriptions above the doorway of the cells.
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​This 6' tall image of Bhairava is similar to the one at the entrance. He's depicted gripping a dagger in his right fist, with the left resting on a mace. The ornamentation & face is not as sharp as the exterior one, but you can make
out the armlets & bracelets; as well as the mala (garland) draped across his
shoulders and extending to just above his ankles. In the background, you can
still make out the remnants of a stupa – including its dome, harmika (the
square railing like structure on top of the dome) and the three double chatravalis (umbrellas).
There are 2 women attendants on the side – one with arms raised & folded in reverence, the other probably carrying a fly whisk – that were still retained from earlier. ​
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A slightly larger and clearer depiction of Buddha, along with Vajrapani and
Padmapani.
Here the lions supporting the throne of Buddha are clearly visible, as also the halo behind Buddha's head. Behind the throne, the outline of a depiction of makaras (a mythical hybrid sea creature) are visible, with their horns & tongues.


Two Nagarajas (serpent kings) are depicted floating above the makaras – with the outline of their 5 hoods fairly visible. In Buddhism, the Nagarajas are divine "kings of the nāgas" - mythical serpent-beings, who are protectors of the Boddhisatvas, the teachings and the
monuments such as stupas. ​


The vajra (thunderbolt) is more clearly visible in the left hand of Vajrapani here;
as also the matted hair that is worn as a crown – called jatamukuta (jata = hair;
mukuta = crown). ​
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If you observe closely, you'll see that the walls of the cave still bear the marks of
chisels or axes, giving indications of how the cave was created or excavated. We
can observe the beginnings of a recess on the right, with steps leading up - likely
for working on a large carving, the outlines of which are visible. Work on the cave
may have been abandoned due to a damaged ceiling. ​


​
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It literally translates to load-bearer (Bhar=Load; vahak=one who carries).
They are often depicted as carrying the weight of beams, pillars, or cornices
on their shoulders or raised arms. As is the case here, they are typically depicted as muscular & powerful, shown kneeling, crouching & supporting the weight of the structures above them. Here, they're symbolized as carrying the cave from the heavens to the earth, & an inscription in the veranda states that the cave is as perfect as the heavenly chariots! ​


Despite the strain, they're often shown as cheerful & happy – as especially
seen in the smiling faces of the Bharvahaks on the right.
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It literally translates to load-bearer (Bhar=Load; vahak=one who carries).
They are often depicted as carrying the weight of beams, pillars, or cornices
on their shoulders or raised arms. As is the case here, they are typically depicted as muscular & powerful, shown kneeling, crouching & supporting the weight of the structures above them. Here, they're symbolized as carrying the cave from the heavens to the earth, & an inscription in the veranda states that the cave is as perfect as the heavenly chariots! ​


Despite the strain, they're often shown as cheerful & happy – as especially
seen in the smiling faces of the Bharvahaks on the right.
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The Dwarapalas (guards), stand tall and commanding at the entrance. Their postures and attire mirror each other,
yet each bears subtle distinctions in detail. Though not very graceful in form, their imposing size and details in
carving lend them a powerful presence. Each holds a bunch of flowers, dressed in a dhoti with an additional cloth
tied at the waist and its ends draping loosely. They are adorned with bracelets, armlets, earrings, and a finely styled turban.​


​
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The beams or crossbars of the torana, above the doorway, are decorated
with lotus flowers at the top & garlands at the bottom. They have volutes (spiral ornamentation) at the end, with the bottom one supported by lion
brackets. ​


In between, there are 7 panels created with pilasters or vertical columns. The
3 central panels have the Buddhist symbols of the Bodhi tree (peepal), a
stupa flanked by guards (mimicking the posture of the larger dwarapalas
below), and a dharma-chakra. Monks in different attires with their hands folded occupy the 4 panels on the side. ​


​
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The lower part of the façade has a decorative garland at the top – with
intermediate lillies or lotus pods.
There is a prominent ornamental rail or
screen at the centre, below which is a worn out scroll – perhaps containing
creepers & animals. This is supported by a horizontal beam, which has the end of rectangular rafters protruding from it. Further below, are 6 larger beams that appear to hold up the entire cave – resting on the broad shoulders of the Bharvahaks.
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Naga Shrine
Nagas are semi-divine entities, half-human and half-serpent and are believed to reside in Patala (netherworld).
In Hindu iconography, they are typically depicted in three forms: as entirely human adorned with snakes from head to toe, as half-human, half-snake or as a serpent.
In India, they are worshipped as nature spirits. They are often associated with water bodies, wealth and treasures, and most importantly worshipped by women as a symbol of fertility.
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Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
This is one of the three kalyanis in the temple: the other one is just behind the mantapa at the entrance, and the largest & main kalyani is to the north of the main temple complex, adjacent to the Vasanta mantapa.
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The intricately carved Yali pillars can be seen near the entrance. Inside the mantapa there is a raised platform where the deity might have been placed for the ritualistic bath. All the pillars in the mantapa have carvings of deities, sages, animals, and scenes from daily lives of people, enhancing the beauty of the Mantapa.
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This panel depicts Shiva Parvati along with Nandi in human form, and madanikas who seem to be welcoming them. ​


Beautifully carved birds can be seen on the upper part of the panel and ganas are depicted on the lower part.
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Mahanavami dibba
The term "Dibba" in Telugu means a "mound," which essentially describes it as a raised platform. The King or elders would be seated on this platform, and it played a central role during festivals like Dasara and Mahanavami, serving as a stage for viewing grand processions. ​
This structure appears to be a smaller version of the Mahanavami Dibba in Hampi.


The Mahanavami Dibba in Hampi, built by the Vijayanagara rulers, is an important historical structure.
Located near the market area, this elevated platform is adorned with intricate carvings. What's intriguing about the dibba at Hampi is that there's a hidden door that leads to an underground tunnel connecting directly to the royal palace, likely for safe & convenient travel.
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There are ornate engravings on the panels and walls behind​ the Umamaheshwara shrine. ​One of the panels depicts Saptarishis with the Trimurtis (Brahma, Vishnu, Shiva) and another panel depicts a set of deities.


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This kalyani or water tank was constructed by the Vijayanagaras as a part of horizontal expansion. This is a specific feature of the Vijayanagaras.
This kalyani was mostly used for the ritualistic bathing of the temple deity. The water from here might have been carried to the Vasantha mantapa for the ritualistic bath. ​


The Kalyanis may have not just been of ritualistic importance but also as a part of social importance. ​
Research was conducted on the subterranean water flow and its points of discharge, with the aim of comprehending the strategic locations for the construction of Kalyanis.​


This is the largest kalyani in the temple complex. The Kalyani has 20 steps, and a pillared porch on an elevated platform surrounding it, with doorways at four directions. ​


Initially the gopura on top was constructed from bricks but it did not stand the test of time. The ASI has rigorously & scientifically reconstructed the gopuras as they were, without any changes and to the same dimensions as before.


It is believed that the kalyani may also have been used by the devotees considering the entrance into the kalyani is directly from the outside of the temple complex. Also considering the architecture of the kalyani and the courtyard surrounding it, It may also have served as a resting space for devotees or a social space for the people of neighboring villages.
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The second kalyani of the temple is just behind the mantapa at the entrance. The exact date of construction of this kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.


Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace.
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## Tour ### Description ### Title tour.name = 99a Pandu Leni