In the previous posts cave shrines #3, #2, #1 and the natural cave were visited. This article is dedicated to cave shrine #4., the last of the four manmade caves.
A board planted in the courtyard describes the cave as follows:
Cave-4 is a Jaina cave-temple, the smallest among the cave-temples at Badami and datable to early 7th century CE. Somewhat unfinished, it consists of an open verandah and an oblong antechamber with a sanctuary piercing into its rear wall. Its verandah walls accommodate relief sculptures of Bahubali (also called Gommata) in penance and Parsvanatha in penance overcoming the obstacles of his demonic enemy Kamatha. The sanctuary doorframe depicts Kama as the door-guardian. On the rear wall of the sanctuary is the relief sculpture of a sermon- delivering Tirthankara, probably Mahavira with halo behind and seated on a lion- throne under a chaitya-tree and triple-umbrella, and attended by chauri-bearers, Vidyadharas offering flowers and divine drums beating by themselves. There are several smaller and larger figures of Tirthankaras in the antechamber. The small lady, seated beside a Tirthankara, carved at the right side of the entrance to the cave is Jakkave, a pious votary who attained salvation according to the Jaina vow called Sallekhana. Kolimanchi is among the craftsmen who have signed on the boulder of the cave. The cave was originally accessed from the east side and separated from cave-3 by a stone wall.
As we start climbing the steps going into the cave, the most noticeable thing is the lion at the base of the pillar. Though they are lions, I always see them as frogs first and then correct myself. On climbing the steps we go towards the right sidewall which has a relief sculpture of Mahavira.
The pillars design is similar to the ones in the other caves. The verandah's right sidewall with Mahavira on it. This little image is an important one as it features an woman seated besides Mahavira.
A closer look at the image of Mahavira seated under a triple umbrella. The woman seated besides Mahavira is Jakkave, a Jaina nun who is said to have taken the vow of Sallekana. Once the vow is taken, the person fasts until life leaves the body. In Jaina Dharma, Sallekana is a path to Moksha.
In the space between the first & second rows (of columns), on the left sidewall is a image of Bahubali. This image has the features seen in Bahubali (Gomateshwara) statues of Shravanabelagola or Dharmastala... meditation in standing position and vines around the limbs. On the columns to the right are smaller images of Thirthankaras.
On the right sidewall (straight ahead) is an image of Adinatha (also known as Rishabadeva).
Adinatha is the first of the 24 Thirthankara. Here on either sides of Adinatha are 12 Thirthankara. Adinatha is a Digambara standing in Kayotsarga pose, which means renouncing comfort and body movements. Adinatha can be identified by the long flowy hair on his shoulders. Adinatha had 100 sons, Bharata and Bahubali being the first & second sons.
Below is a collage of Bahubali and a Thrithankara. The former is on the left sidewall and latter on the inner wall, next to the Garbhagudi entrance. When Adinatha renounces the throne and becomes a monk, the eldest son Bharata's succession to the throne is challenged by Bahubali. It was decided to settle the dispute by contest of three non-violent games- eye-fight, water-fight and wrestling. Bahulbali wins all contests but instead of taking the throne he renounces everything and becomes a monk and meditates in Kayotsarga pose for 12 years.
This image shows another Thirthankara flanked by 24 Jaina Thirthankara. This is the front facing wall on the right hand side. This is a standard format of Thirthankara image i.e. large image of the Thirthankara to which this is dedicated to, flanked by 12 smaller images on either sides, below is a panel of four standing Thirthankara and further below is a panel of 5 seated Thirthankara.
This is another view of the space in front of the Garbhagudi, a slightly lower angle than a previous picture. On the wall ahead is Adinatha. The idea of posting this picture is to get a view of the balustrades flanking the steps. This design is quite common in Chalukyan temples. A similar one can be seen in the rock-cut Jaina Basadi at Aihole.
Before I close this post, I thought of adding a collage and a table comparing basic information of each of the caves.
Talking of rock-cut shrines, the 5th one on this side of the hill is Arali-Honda situated at the upper edge of this hill, about a kilometer away. One way to reach Arali Honda is to climb up to the fort ruins and walk along the edge of the hill. Alternate way is to climb up North hill and walk along the edge towards south fort. Here's the link to the article on the less known Arali Honda or Arali-Tirta.
This is the view of North fort and Agastyathirta from Cave-4. That's where we will be heading next.
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Nice elaborate description 👏🏻
ReplyDeleteThank you.
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