Narrative Panels in Odisha

The facade of good number of caves at Udayagiri and Khandagiri are decorated with sculptural panels in relief. These sculptural representations are broadly divided into three categories^[1] viz.,

(a) the narrative panels on the facades of caves by illustrating various aspects of religious observances, dancing performances, military conquests and historical legends etc.,

(b) individual figurines in relief such as Tirthankaras, Sasanadevis, guards, bracket figures, vidyadharas and crowning animals etc., and

(c) a series of decorative motifs of both floral and linear within the arch-bands, pilasters, brackets and railings etc.

The facades of lower main wing of Rani-Gumpha are carved with nine narrative panels^[2]. The first frieze at the lower wing of Rani-Gumpha depicts a tree and a double storied building with barrel-vaulted roof crowned by a row of finials, is the earliest illustrated reference to the building architecture of Odisha. The lower storey has two doors while upper storey has one and each with a straight hyperthyroid having an arched moulding over it. Female figures are represented from each doors and balcony. The second panel narrates a procession either may be of a royal conquests or military but is badly disfigured. But, from the third freeze onwards up to the 8^th freeze all are defaced with the vagaries of nature.

Followers holding umbrella, royal insignia and in folded hands along with a royal personage are artistically depicted on the eighth frieze. Two women, one carrying a tray and the other in the posture of offering flower from her raised hands and two kneeling figures one of which with flowing fillets round the head are noticed. Kneeling figures are seem to have arrived from the caparisoned horse standing on the extreme right and three more figures with folded hands. The last frieze depicts the ceremonial greeting to the triumphant king at the very return to the capital. Men and women are depicted with outstretched welcoming hands and few women carry pitchers on their heads. The artists here try to narrate a story by his wonderful creation of art. He is very cautiously provided the entire essential feature for each person in the narrative panel. Umbrella, royal insignia and caparisoned horse are represented as the symbol of royalty or superiority of the king.

The facade of the lower right wing depicts four scenes^[3]. The first half spandril from the left is carved with a dwarfish figure standing under tree and lady in outstretched undergarment, third lady in folded hands with dhoti tied on the waist and having earrings and a light turban. The fourth female figure is carrying offerings, a tray in the left hand and a casket like object on the right hand. The second panel has three figures, one male and two females with folded hands seated on a bench or cushion. They flanked on either side by lady figure holding a tray on the right and a vase like object on the left. The third panel depicts a girl dancing gracefully under a pillared pavilion and four seated female companions forming the orchestra, playing with mridanga, dhakka, harp and flute. The fourth scene exhibits a turban man with folded hands and a woman carrying a tray and a vase like object before a female holding a tray. In the right wing of Rani-Gumpha the artist tried to represent all the physical feature, dress, ornaments, the contemporary dance and music in an illustrated manner which is quite amazing in Odishan Jaina art.

The facade of upper storey of Rani-Gumpha have seven full and two half spandrils represents a narrative story and it appears that they may represent some episodes from Jaina mythology^[4]. The beginning and end of the entire frieze represented with the figures of flying vidyadharas with trays of offerings and lotus stalks.

The first full spandril is embodied with a combat between a herd of elephants and a man and ten women in a forest as suggested by a flowering tree and by the side of a hill with natural cave contains a lion. The panel depicts three elephants were sporting in the lotus pond. A group of men and women had arrived at the spot and they were disturbed and apprehending counter attack by the herd of elephants the group became panic and made efforts to dislodge the elephants from the pond with whatever objects they could procure readily. Two rings like objects (anklets) are seen already sticking on the body of the front elephant. Courage and bravery as well as helplessness and creating great chaos in fear and helping nature, all the qualities of a woman is well represented here through sculptural art.

The second full spandril represents a woman seated cross-legged and a man resting his head on her thigh. Then a warrior armed with sword and shield is seen leading towards them. The centre of the panel shows the woman armed with shield and sword bravely fighting with the warrior and evidently defeated in this combat as she is being carried away forcibly by the victorious warrior in his arms. The representation of monkeys, snake, tree, a frightened animal and lion cubs indicates all things are happened within in a forest.

The third-full-spandril is also laid in forest and represents three male attendants, one holding an umbrella and chauri, the second a staff like object (or sword), and the third, a water-pot suspended from a stick carried over his shoulder. The richly caparisoned horse has a thick pad, many strapped bridle and a richly-plumed crest and a boy stands in front of it. The royal person has a sword in scabbard hanging by his left and aiming arrow at an antelope and two fawns. The scene ends with his bow at rest on the left shoulder and right hand in abhayamudra in front of a woman, seated on a tree. The lady points through her finger the wounded antelope. The lady seated on the tree appears naked and as her private organs are prominently displayed.

V.S. Agrawala^[5] identified the story with that of the story of Dushyanta visiting the hermitage of sage Kanva and falling in love at first sight with Sakuntala.

On the basis of Parsvanatha-Charita written by Bhavadeva Suri of the circa 13^th century CE, M.M. Chakravarty^[6] connects these representations with the life story of Parsvanatha, the twenty-third Tirthankara of the Jaina pantheon. He relates the elephant scene with Parsvanatha’s future wife, her relatives and attendants and the next scene shows she is abducted by the Kalinga king and rescued by Parsvanatha in a forest while hunting. The following scene depicts the wedding feast and consummation of marriage and march with elephants. The scene in the next panel is much mutilated and appears to the performance of a dance by troupe of an orchestra before two important personalities.

In the whole panel the artist gracefully depicts the story in such a manner that it can touch the heart of everyone. All the characteristic feature of a woman is beautifully depicted such as nature of weakness as well as bravery, scariness and forgiveness.

The facade of Chhota-Hathi-Gumpha depicts six vigorous elephants including cubs, tusker and she elephants on either side of the arch over the door-way^[7]. They have been represented as they are depositing the bunch of flowers and leaves held in their trunks near the crest of the arch.

The facade of Jaya-Vijaya-Gumpha represents a sacred tree within railing which is worshipped by a couple. The religious sanctity of the tree is shown by placing an umbrella over it. The male figures are standing with folded hands and their consorts with carrying trays of flowers and garlands. Flying vidyadharas holding a tray of flowers and lotus buds are noticed on either side. Similar depiction also noticed at the Ananta-Gumpha of Khandagiri hill. So, railings, parasol, flowers and kneeling devotees are the essential features which are depicted with the surrounding of the tree to make it venerated by the artist.

The reinstatement of the Kalilga Jina by Kharavela accompanied by his family members is represented on the space between the second and third doorways of the main wing of Manchapuri-Gumpha^[8]. An object of worship, fully obliterated one beyond recognition is flanked by a kneeling figure on either side are shown on the center of the panel. A majestic elephant and four devotees with folded hands carved on the right side of the pedestal. The symbol of Sun, two flying gandharvas with celestial musical instruments and flying vidyadharas in the extreme right corner are also seen. The second figure from the left wears a turreted crown resembling a tiara and an uttariya passing across his left shoulder make him distinct from others. The representation of the king is more prominently carved and his elegance presence is enhanced by the crown and beating of the drum just above his head symbolizing royalty. The frieze is so lively carved on the stone surface, it makes bound the scholar to correlate it with the Kalinga Jina as described in the Hati-Gumha inscription.

The left panel of the facade at Ganesa-Gumpha is precisely a replication of the so called Dusmanta-Shankutala or Parsvanatha’s life noticed in Rani-Gumpha with minor changes in the representation of the ornaments and costumes of the lady and the environmental set-up depicted. It appears to be more elaborate in depiction and enthusiastic in action than Rani-Gumpha.

The last frieze of Ganesa-Gumpha in the space between the third and fourth arches over door-ways depicts a story of Udayana-Vasavadatta as described by V.S. Agrawala on the basis of terracotta plaques recovered from the ancient site of Kausambi, the capital of Vatsaraja Udayana^[9]. The frieze depicts three kilted soldiers armed with swords and shields are chasing an elephant mounted by three person. The woman sitting at the front act as a mahunta is driving the elephant with the goad and holds a harp. The person who is seated at the middle is shooting arrows at the persons those who are chasing them. The person seated at the back is partially leaning and distributing coins from a bag held in one of his hands. One of the soldiers is seen collecting the coins fallen on the ground. The second episode depicts the dismounting of the three persons from the kneeling elephant near a tree indicates the woods where the scene took place. Next to it the elephant is kneeling and the persons on its back in the earlier part shown standing around it after being dismounted. Next the archer no longer in kilt, leads the other two, the woman carrying a bunch of mangoes in her right hand and with her left hand resting on the shoulders of the archer and the attendant with the money bag placed on his right shoulder. The last scene represents the woman in reclining posture on a bed in pensive mood. The man standing to her side is attempting to console her. The attendant holds the bow of her master and the money bag. In the whole story, the artist beautifully narrates the episode with a common man’s tendency and clever man’s victory. The presence of mind of disbursing coin to avoid the soldiers for chasing them shows the extraordinary mindset/concept of the artist and reflect that grid for acquiring money is a common tendency in the past also. The story of Udayana as available in Buddhist, Jaina and Brahmanical literature is essentially a love romance, and there are no differences based on religion in the main outline of the story.

Relief sculptures often having narrative characters are also noticed at Ananta-Gumpha. The first tympanum from left represent a four-tusked huge elephant which is flanked by elephants holding lotus flower with long stalk in their trunk on either side. A similar panel with minor variations is also depicted in one of the pillar tops of the verandah of Alakapuri-Gumpha viz., the four-tusked elephant at the centre is flanked by the two she-elephants with fly whisk and parasol contrary to the lotus stalks. Alexander E. Caddy^[10] is connected this episode with Chadanta Jataka while N.K. Sahu^[11] with that of the white elephant of Vesantara Jataka who averted drought and famine in Kalinga.

The second narrative panel in facade of the cave depicts a turbaned personage wearing heavy kundalas, necklace and bangles with an umbrella overhead. He is flanked by female figures holding a fly-whisk on either side and driving a chariot drawn by four spirited horses. The moon surrounded by stars and sun are also represented above the person. The potbellied dwarf stands near the wheel of the chariot holds a spouted water vase in his left hand and a banner in his right hand.

N.K. Sahu^[12] relates this depiction to a royal figure as similar type of depiction is available in the right top panel of the South gate of Bharhut where king Prasenjit, being accompanied by female attendants is found riding a chariot drawn by four horses. But, scholars like Alexander E. Caddy, S. Srivastava and D. Mitra^[13] identify this relief panel with the Sun God Surya driving his chariot. However, the differences is present because four horses are represented instead of the conventional seven, ladies on either side holding flywhisks instead of shooting arrows and symbolical representation of both sun and moon in the symphony.

Goddess Lakshmi represents in the third tympanum of the cave. She is standing with holding two full blown lotus flowers in her two hands which rests on her loins. She is flanked by two elephants by her sides which are pouring water over her head for her ceremonial bath from pitchers held in their uplifted trunks. A tree within railing is worshipped by a couple and two others fellow is also depicted here in the third tympanum.

Besides, individual figures, important events of his life i.e. Kamatha’s alias Samvara’s attack scene are also found in Odisha. The depictions of such scenes in the Parsvanatha images are reported from Ada, Ayodhya, Shergarh of Balasore district and Tentulidiha of Jajpur district. The depiction of Kamatha’s attack is just like the Buddhist episode of Mara’s army attacking the Buddha.

According to one account Samvara was Kamatha in an earlier birth and was the brother of Parsva, who was known as Marubhuti. Kamatha as an esoteric mendicant was practicing the “ordeal of five fires”. Parsva (as Marabhuti) saved a pair of serpents from being burnt in the fire, and they eventually became his yakasha and Yakshi, as Dharanendra and Padmavati. Later, when Parsva was in deep meditation, Samvara attacked him with his retinue of serpents, genii, and the like for seven days. He also caused such a downpour that the water level came up to the Jina’s nose. It was then that Dharanendra protected Parsva with his hoods. Parsva, oblivious of the happenings around him, continued to mediate. Eventually accepting the defeat, Samvara bowed before Parsva and left with his retinue.

Footnotes and references:

[1]:

R.P. Mohapatra, Jaina Monuments of Orissa, Delhi, 1984, p.161.

[2]:

Ibid.

[3]:

Ibid., p.162.

[4]:

D. Mitra, Udayagiri and Khandagiri, New Delhi, 1992, pp.26-31.

[5]:

V.S. Agrawala, Indian Art, Varanasi, 2003, pp.181-182

[6]:

M.M. Chakravarty, Bengal District Gazetteer, Puri, LSS’ OMalley (ed.), 1908, p.256.

[7]:

D. Mitra, op.cit., pp.31-32.

[8]:

S. Agrawal, Sri Kharavela, Cuttack, 2000, pp.116-118.

[9]:

V.S. Agrawala, op.cit., pp.179-180.

[10]:

R.P. Mohapatra, op.cit., p.170.

[11]:

N.K. Sahu, History of Odisha, Vol.I, Bhubaneswar, 1964, p. 385.

[12]:

Ibid., pp.385-386.

[13]:

D. Mitra, op.cit., pp.52-56.