The Architecture of Jain saint

CHANDRAPRABHA
Dr Uday Dokras

Jainism is one of the oldest existing religions in the world, with some scholars tracing its origin
to the pre-Vedic, Indus Valley Civilisation. Going by this view, Jainism’s birth is stated by some
to preceed even Hinduism, making it world’s most antique religion. Followers of Jainism may be
numerically small today, but they exert an influence which is far greater than their population.

Who Is A Tirthankar?
Jainism is about simple living and non-violence (Ahimsa). Jainism is a way of life based on the
teachings of 24 Tirthankaras, of whom Lord Mahavira was the last and most prominent The
word Tirthankara signifies the founder of a tirtha which means a fordable passage across the sea
of interminable births and deaths (called saṃsāra). Tirthankaras are variously called "Teaching
Gods", "Ford-Makers", "Crossing Makers" and "Makers of the River-Crossing.
.

The Names And Details Of 24 Tirthankaras

The 24 Tirthankaras have taken birth over last several thousands of years and taught the law of
Dharma (Righteousness). It is interesting that each of these Tirthankaras represent a symbol. So,
here find the names, birthplace, symbols, etc of each of the 24 Tirthankaras:

The 24 Tirthankaras With Their Details:

Sr.N
Name Symbol Birthplace Colour Age
o

Rishabhanatha ( 84,00,000
1 Bull Ayodhya Golden Purva
Adinatha)

72,00,000
2 Ajitanatha Elephant Ayodhya Golden Purva

60,00,000
3 Sambhavanatha Horse Shravasti Golden Purva

Abhinandananat 50,00,000
4 Monkey Samet Sikhar Golden Purva
ha

1
 40,00,000
5 Sumatinatha Heron Ayodhya Golden Purva

30,00,000
6 Padmaprabha Padma Samet Sikhar Red Purva

20,00,000
7 Suparshvanatha Swastika Samet Sikhar Golden Purva

Crescent M 10,00,000
8 Chandraprabha Chandrapuri White Purva
oon

2,00,000
9 Pushpadanta Crocodile Kakandi White Purva

1,00,000
10 Shitalanatha Shrivatsa Bhadrikpuri Golden Purva

84,00,000
11 Shreyanasanatha Rhinoceros Samet Sikhar Golden Years

72,00,000
12 Vasupujya Buffalo Champapuri Red Years

60,00,000
13 Vimalanatha Boar Kampilya Golden Years

30,00,000
14 Anantanatha Falcon Ayodhya Golden Years

10,00,000
15 Dharmanatha Vajra Ratnapuri Golden Years

Antelope or 1,00,000
16 Shantinatha Hastinapur Golden Years
deer

95,000
17 Kunthunatha Goat Hastinapur Golden Years

Nandyavarta 84,000
18 Aranatha Hastinapur Golden Years
or fish

55,000
19 Māllīnātha Kalasha Mithila Blue Years

30,000
20 Munisuvrata Tortoise Kusagranagar Black Years

2
 10,000
21 Naminatha Blue lotus Mithila Golden Years

1,000
22 Neminatha Shankha Dvaraka Black Years

23 Parshvanatha Snake Kashi Blue 100 Years

24 Mahavira Lion Kshatriyakund Golden 72 Years

Future 24 Tirthankaras Names

Below are the names of the future 24 Tirthankaras who are going to apear in the next time
cycle as per Jain Cosmology.

1) Padmanabha (King Shrenika)

2) Surdev (Mahavira's uncle Suparshva)
3) Suparshva (King Kaunik's son king Udayin)
4) Svamprabh (The ascetic Pottil)
5) Sarvanubhuti (Śrāvaka Dridhayadha)
6) Devshruti (Kartik's Shreshti)
7) (Shravak Shamkha)
8) Pedhalputra (Shravak Ananda)
9) Pottil (Shravak Sunand)
10) (Sharavak Shatak)
11) Munivrat (Krishna's mother Devaki)
12) Amam (Krishna)
13) Shrinishkashay (Satyaki Rudhra also Satyaki of Mahabharata)
14) Nishpulak (Krishna's brother Balbhadra also known as Balrama)
15) Nirmam (Shravika Sulsa)
16) Chitragupta (Krishna's brother's mother Rohini Devi)
17) Samadhinath (Revati Gathapatni)
18) Samvarnath (Sharavak Shattilak)
19) Yashodhar (Rishi Dwipayan)
20) Vijay (Karna of Mahabharata)
21) Malyadev (Nirgranthaputra or Mallanarada)
22) Devachandra (Shravak Ambadh)
23) Anantvirya (Shravak Amar)
24) Shribhadrakar (Shanak)

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Sonagiri – The dhaam which Jain Theerthankara Chandraprabha Created

Sonagiri about 60 km from Gwalior, has scores of Jain temples of 9th & 10th century on little
hills. This sacred place is popular among devotees & ascetic saints to practice for self-discipline,
austerity and to attain Nirvana since the time of Chandraprabha (the 8th Teerthankar), five &
half crores of ascetic saints have achieved Moksha from here.
In Hindi, Sonagiri means a mountain (‘giri’) of gold (‘sona’).

With complexation bright as the rays of the moon you had the radiated knowledge like another
moon. You are worshiped by eminent beings; you are the Lord of learned ascetic; and had
conquered all your karmas and internal passion. I bow to you, O Lord Chandraprabha, the
processor of moonlike splendour.
— Svayambhūstotra (8-1-36)

4
Sūryavaṁśa- Solar dynasty

In Indian epics, the Solar dynasty or the Ikshvaku dynasty was founded by the legendary
king Ikshvaku. The dynasty is also known as Sūryavaṁśa ("Solar dynasty" or "Descendants of
the Sun") and along with Lunar dynasty comprises one of the main lineages of the Kshatriya
Varna. Rama belonged to the Ikshavaku dynasty and Krishna belonged to the Lunar Dynasty.
The first Tirthankar of Jainism, Rishabhdeva himself was King Ikshvaku; and other Twenty one
tirthankars were born in this dynasty. According to Buddhist texts and tradition, Gautama
Buddha descended from this dynasty. Many later kings of the Indian subcontinent claimed to be
of Suryavanshi background.

The important personalities belonging to this royal house

are Mandhatri, Muchukunda, Ambarisha, Bharata, Bahubali, Harishchandra, Dilīpa, Sagara,
Raghu, Rama and Pasenadi. Although, both the Hindu Puranas and the Buddhist texts
include Shuddodhana, Gautama Buddha and Rahula in their accounts of the Ikshvaku dynasty,
but according to the Buddhist texts, Mahasammata, an ancestor of Ikshvaku was the founder of
this dynasty, who was elected by the people as the first king of the present era.
Suryavansha or Solar Dynasty is the one of the two major legendary Kshatriya dynasties found
in Hindu Puranic and epic literature, the other being Chandravansha or the Lunar Dynasty.
According to Harivamsa, Ikshvaku is considered the primogenitor of the dynasty of, and was
granted the kingdom of Aryavarta by his father Vaivasvata Manu. Manu settled down in
the Aryavarta region after he survived the great flood. A. K. Mozumdar states that Manu is the
one who built a city on the Sarayu and called it Ayodhya meaning the 'invincible city'. This city
served as the capital of many kings from the solar dynasty and is also the birthplace of Rama an
avatar of Vishnu.

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Some Hindu texts suggest Rishi Marichi, one of the seven sages and first human creations
of Brahma as the progenitor of the dynasty. Marichi's eldest son Kashyapa is said to have settled
down in Kashmir (Kashyapa-Meru or Kashyameru). He also contributed to the verses of the
Vedas. Later, Vivasvan son of Kashyapa and Aditi, famously known as the hindu
god Surya married Saranyu who was the daughter of Vishvakarman, the architect of devas. He
had many children but Manu was given the responsibility of building the civilization and as a
result it formed a dynasty that was named 'Suryavansh' or the solar dynasty. Manu is also the
progenitor of the Lunar Dynasty because he married his daughter Ila to Budha, the son
of Chandra or the moon god and the couple gave birth to the magnanimous King Pururavas who
became the first king of the Chandravansh or the Lunar dynasty.

Ikshvaku and his ancestor Manu are also mentioned in the Bhagavata Purana (Canto 9, Chapter
1),
Satyavrata, the saintly king of Draviḍadeśa received spiritual
knowledge at the end of the last millennium by the grace of the
yo ’sau satyavrato Supreme.
nāma
rājarṣir He became known as Vaivasvata Manu, the son of Vivasvān.
draviḍeśvaraḥ
jñānaṁ yo ’tīta- In the next manvantara [period of Manu], I will have received this
kalpānte knowledge from you.
lebhe puruṣa-
sevayā I also understand that such kings as Ikṣvāku were his sons, as you
already explained.
sa vai vivasvataḥ
putro
manur āsīd iti
śrutam
tvattas tasya sutāḥ
proktā
ikṣvāku-pramukhā
nṛpāḥ

Medieval era Indian art depicting King Ikshvaku (Lord Rishabhdeva) imparting the skill of
pottery to his people. The Ikshvaku dynasty has a significant place in Jainism, as twenty-
two Tirthankaras were born in this dynasty.
 Origin
Rishabhanatha (son of King Nabhi), the founder of Jainism in the present Avasarpani era
(descending half time cycle as per Jain cosmology) is said to have founded the Ikshvaku dynasty.
The name for the Ikshvaku dynasty comes from the word ikhsu (sugarcane), another name of
Rishabhanatha, because he taught people how to extract ikshu-rasa (sugarcane-juice).

6
 o Bharata Chakravarti (first Chakravartin) and Bahubali (first Kamadeva), sons of
Rishabha
o Arkakirti and Marichi, son of Bharata
 at the time of Ajitanatha
o Jitashatru (father of Ajitanatha) and his younger brother Sumitra (father of Sagara)
o Ajitanatha (the 2nd Tirthankara) and Sagara (2nd Chakravartin)
o Janhu (eldest son of Sagara), the one who flooded village of Nagas with waters
of Ganga leading to turning of sixty thousand sons of Sagara into ashes by
Jawalanprabha (emperor of Nagas)
o Bhagiratha (eldest grandson of Sagara)
 at the time of Sambhavanatha
o Jitari (father of Sambhavanatha)
o Sambhavanatha, the 3rd Tirthankara
 at the time of Abhinandananatha
o Sanvara (father of Abhinandananatha)
o Abhinandananatha, the 4th Tirthankara
 at the time of Sumatinatha
o Megha (father of Sumatinatha)
o Sumatinatha, the 5th Tirthankara
 at the time of Padmaprabha
o Sidhara (father of Padmaprabha)
o Padmaprabha, the 6th Tirthankara
 at the time of Suparshvanatha
o Pratishtha (father of Suparshvanatha)
o Suparshvanatha, the 7th Tirthankara
 at the time of Chandraprabha
o Mahasena (father of Chanraprabha)
o Chandraprabha, the 8th Tirthankara
 at the time of Pushpadanta
o Sugriva (father of Pushpadanta)
o Pushpadanta, the 9th Tirthankara

7
 at the time of Shitalanatha
o Dridharatha (father of Shitalnatha)
o Shitalanatha, the 10th Tirthankara
 at the time of Shreyanasanatha
o Vishnu (father of Shreyanasanatha)
o Shreyanasanatha, the 11th Tirthankara
 at the time of Vasupujya
o Vasupujya (father of Tirthankara Vasupujya)
o Vasupujya, the 12th Tirthankara
 at the time of Vimalanatha
o Kritavarma (father of Vimalanatha)
o Vimalanatha, the 13th Tirthankara
 at the time of Anantanatha
o Simhasena (father of Anantanatha)
o Anantanatha, the 14th Tirthankara
 at the time of Dharmanatha
o Bhanu (father of Dharmanatha)
o Dharmanatha, the 15th Tirthankara
 at the time of Shantinatha
o Visvasena (father of Shantinatha)
o Shantinatha, the 16th Tirthankara and 5th Chakravarti
o Chakrayudha, son of Shantinatha
o Kuruchandra, son of Chakrayudha[17]
 at the time of Kunthunatha
o Sura (father of Kunthunatha)
o Kunthunatha, the 17th Tirthankara and 6th Chakravarti
 at the time of Aranatha
o Sudarsana (father of Aranatha)
o Arahnatha, the 18th Tirthankara and 7th Chakravarti
 at the time of Mallinatha
o Kumbha (father of Mallinatha)
8
 o Māllīnātha, the 19th Tirthankara
 at the time of Munisuvrata (Munisuvrata himself was not from Ikshvaku, but Harivamsa)[18]
o Dasharatha (father of Rama)
o Rama, Lakshmana, Bharata, Shatrughna
o Luv and Kusha (twin sons of Rama)
 at the time of Naminatha
o Vijaya (father of Naminatha)
o Naminatha, the 21st Tirthankara
 at the time of Parshvanatha
o Asvasena (father of Parshvanatha)
o Parshvanatha, the 23rd Tirthankara
 at the time of Mahavira
o Siddhartha (father of Mahavira)
o Mahavira, the 24th Tirthankara

9
n Jainism, Chandraprabha was the eighth Tirthankara of Avasarpini (present half cycle of time
as per Jain cosmology). Chandraprabhu was born to King Mahasena and Queen Lakshmana Devi
at Chandrapuri to the Ikshvaku dynasty. According to Jain texts, his birth-date was the twelfth
day of the Posh Krishna month of the Indian calendar. He is said to have become a siddha, i.e.
soul at its purest form or a liberated soul.

Early Life: Chandraprabha was the eighth Jain Tīrthankara of the present age (avasarpini).He
was born to King Mahasena and Queen Lakshmana Devi at Chandrapuri, Varanasi on 12th day
month Pausa in the Ikshvaku clan. Nine months before the birth of Chandraprabha,
Queen Lakshmana Devi dreamt the sixteen most auspicious dreams. Chandraprabha spent
2 lakh pūrva as youth (kumāra kāla) and ruled His kingdom for 6 lakh pūrva and
24 pūrvāṇga (rājya kāla). During his rule, Chandraprabhu was apathetic towards the ordinary
delights and princely grandeur.

Renunciation
He decided to renounced his worldly life, soon after his ascension to throne and after 3 months
he obtained Kevala Jnana (omniscience) while mediating under Naga tree. After a many years of
spreading his knowledge, he is said to have attained nirvana at Sammed Shikharji on the seventh
day of the bright half of the month of Bhadradha.

Disciples
According to Jain texts Vaidarbha Svami was the leader of the Chandraprabha disciples.
24 th: Svayambhūstotra by Acharya Samantabhadra is the adoration of twenty-
four Tīrthankaras. Its five slokas (aphorisms) are dedicated to Tīrthankara Chandraprabha.

With complexation bright as the rays of the moon you had the radiated knowledge like
another moon. You are worshiped by eminent beings; you are the Lord of learned ascetic;
and had conquered all your karmas and internal passion. I bow to you, O Lord
Chandraprabha, the processor of moonlike splendour.— Svayambhūstotra (8-1-36)

Chandraprabha is associated with crescent moon emblem, Naga tree, Vijya or Syama (Dig.) &
Vijya (Svet.) Yaksha and Jwalamalini (Dig.) & Bhrikuti (Svet.) Yakshi.[9][2][10]

Chandraprabha is usually depicted in a lotus or kayotsarga posture, with a crescent moon symbol
beneath him; each tīrthankara has a distinct emblem, which allows worshippers to distinguish
similar idols. Like all tirthankaras, he is depicted with a Shrivatsa and downcast eyes.[14]
The earliest known sculpture of Chandraprabha was installed
by Maharajadhiraja Ramagupta of Gupta dynasty. Chandraprabha has been popular amongst Jain
everywhere in India. The iconography of Chandraprabha is particularly popular in Eastern India
in Bihar, Bengal and Orissa. Sculptures of Chandraprabha were also popular in Jain temples,
Deogarh, Khajuraho Jain temples and Sonagiri .
 Idol at Jain temple, Lakkundi

10


1. Idol at Saavira Kambada Basadi

2. The famous idol of Chandraprabhu at Tijara
3. Chandraprabhu Bhagwan, Sonagiri Ji
4. Chandraprabhu idol at (Patnaganj, Rehli, M.P)
5. Chandraprabha temple inside Jaisalmer Fort
 Tijara Jain Temple
 Saavira Kambada Basadi in Moodabidri
 Jainimedu Jain temple
 Chandravati
 Kumbakonam Jain Temple
 Prabhas Patan
 Lunwa Jain temple
 Vijayamangalam Jain temple


1. Saavira Kambada Basadi also known as "The 1000 Pillars Temple"

2. Chandraprabhu Jain Temple inside the Jaisalmer fort
3. Sonagiri Jain Tirth
4.Sonagiri Jain temple

1. Tijara Jain temple, Tijara, Rajasthan

2. Vijayamangalam Jain temple built in 678 C.E.
3. Chandranatha basadi Dharmasthala
4. Naliya Jain Derasar
Jainism in Kerala: A study of Vishnugudi and Janardhanagudi temples of Wayanad
More

11
 Manikyapattanam Sree Chandhraprabha Digambara Basadi: A
conversation on myth and memory
Jainism, one of the oldest existing religions, must have evolved gradually, taking
an organised form around the end of ninth century BCE, through the preaching of
Parsvanatha, the 23rd tirthankara and Mahavira, the 24th thirthankara. It is
believed that Jainism spread to South India when King Chandragupta of Maurya
Dynasty (c. 324 BC to c. 188 BC) adopted this religion and migrated to
Karnataka along with the Jain saint Bhadrabhahu. This incident is described in an
inscription at Sravanabelgola, dated to CE 600. In Kerala, structural evidence for
Jain culture dates back to eight or ninth century CE. However, this tradition is
not well understood at a popular level. The allied article focuses on two Jain
temples located respectively at Janardhnagudi and Vishnugudi in Wayanad
district of Kerala. These are stone structures which are rich in relief sculptures.
While other Jain temples in Kerala also have sculptures associated with them,
these temples are especially rich in terms of the motifs represented. The image
gallery has a set of rare images from these age-old Jain temples of Wayanad,
vividly capturing the architectural, structural as well as historical peculiarities of
these temples. It also has an interview with the caretaker of one of the Jain
temples in Palakkad, Kerala.

Jaseera C.M. interviews Sunil Kumar C.L. who is the caretaker of the Jainamedu
Jain temple, Palakkad

12
Sunil Kumar C.L. is the caretaker of the Jainamedu Jain temple. He is a Jain
from Wayanad district of Kerala, and his mother tongue is Kannada. He moved
to Palakkad 15 years ago to work in the newspaper Mathrubhumi. At that time,
he was associated with the temple at Jainamedu as a devotee but he took charge
of temple affairs when he realised there was no one from the native Jain
community of Jainamedu to take care of it. Now, he resides within the temple
premises with his family. As a caretaker of the temple, he guides visitors and
manages temple affairs.

Manikyapattanam Sree Chandhraprabha Digamabara basadi is located around

three kilometres from Palakkad. The temple is popularly known as the Jainamedu
Jain temple and was built in the fifteenth century. This conversation opens up a
new discussion about the spread and development of Jainism in Kerala. The story
goes that Palakkad was a trading centre in the fifteenth century and this temple
may have been built with the patronage of traders. This interview enables us to
re-imagine how ideology travels along with the movement of people, which
ultimately paves the way for the development of a new religion in any region.

How old is this temple ?- It is said to be 2000 years old.There is a village called
Kanakagiri in Chamarajanagar taluk in Mysore district of Karnataka. There is
a muni there now, Bhuvana Thirtha Bhattaraka Swamiji. Jain temples in Kerala
are under his leadership. Three Jain brothers came to Jainamedu from Kanakagiri
to trade in pearls and rubies, via Coimbatore–Sathyamangalam. These three
brothers were called Ujjaina Shetty, Payappa Shetty and Chikkapayappa Shetty.
Chikka means small in Kannada and Shetty means great. They frequently came
here for business. There was an Elachari Jaina muni here in Jainamedu. There is
an idol in the memory of the muni. The brothers used to visit the saint. When
Chikkapayappa Shetty passed away, the brothers decided to leave the place and
the business. Then the saint asked the elder brothers to build a temple in memory
of the younger brother and they followed the order. The temple was of
Chandraprabha Tirthankara, who is the main deity there. They brought a Jain
family from Kanakagiri here and over time the number of Jain families grew
to around 400 families. As the brothers were in the pearl [muthu] and ruby
[manikyam] trade, the adjacent towns were named Manikyapattanam, where the
temple is situated, and Muthupattanam, on the opposite side of the road.
Muthupattanam no longer exists. These Jain families brought goldsmiths
[thattan] from Karnataka to make jewellery. There is a nearby place called
Thattathara (abode of goldsmiths). They were also given a deity—the Mariamman
temple is for them. The sticks for the puja in that temple are brought from here.
Elephants come here and start their procession from here. It is said that during
Tipu Sultan’s attack [in the eighteenth century], most Jain families left for
Wayanad or Kanakagiri.

The Jains in Wayanad now, are they the descendents of those who fled during
Tipu’s attack?They are also there. Also, people who came from Karnataka.
JCM: Did people leave for Kanakagiri and Wayanad around the same time?

13
However, not all people left then. Some families stayed back. This was one such
family (Nagaratnam’s family) that stayed back. It is said that the Jains discarded
all their wealth in the wells around here before leaving. In Mundoor-Velikkad,
there are remnants of an old Jain temple with two Tirthankara idols. That is now
taken care of by Indian National Trust for Art and Cultural Heritage (INTACH).
The Jain family left that place after the land reforms by E.M.S. [Namboodiripad].
They had given a lot of land on lease and they were to lose it to their tenants. So,
they left.

Chandraprabha Tirthankara . The major idol is of the twelth Tirthankara called

Chandraprabha Tirthankara. The other deities are the Yakshi-Yakshas called
Jwalamalini, Padmavathi and Vijaya Brahmadevam. The main worship rituals
are jalabhishekam (water-ablution of the idol), palabhishekam (milk-ablution)
and gandhabhishekam (sandal-ablution). Jwalamalini and Padmavathi
have kumkumarchana (sprinkling the idols with kumkum) as well.
The Kshetrapalan (temple guard) and the snake gods also have palabhishekam.
Devotees can offer sarees to Jwalamalini and Padmavathi at any time. As per the
request of devotees we also carry out panchamrutha abhishekam (ablution with
five substances such as cow milk, curd, honey, liquid jaggery and ghee). Then
there is a special offering called navakalasa abhishekam, which is carried out
only on particular occasions.

The architectural specificities of the temple ?

During the March equinox, the rays of the sun fall directly on the idol, in the
morning at around 6:30–7:00 am. The construction of the facade of the temple is
like that—if not blocked by trees, the light falls squarely on the idol. The
speciality of the temple is the diamond-like pattern that illuminates the idol when
lit by the rays of sun.The temple was renovated once in 1962. The roof used to be
covered with terracotta tiles and in the renovation it was concreted. In 2009,
granite was laid on the floor. The kalasamandapam, an open hall for conducting
rituals like navakalasam, was also reconstructed.
https://www.sahapedia.org/manikyapattanam-sree-chandhraprabha-digambara-
basadi-conversation-myth-and-memory

14
TemplesJain Temple IndiaMadhya PradeshMadhya Pradesh : Tikamgarh - Panagar Jain
Tirth - Bh. Rishabhdev

Panagar Jain Tirth - Bh. Rishabhdev

Tikamgarh, Madhya Pradesh

Papora, Tikamgarh, Madhya Pradesh-472001

History of Papouraji : According to the history Papouraji is more than 800 years old. The place is
surrounded by scenic beauty and is surrounded by a vast rampart of 3 km at a distance of 5 km in
the east of Tikamgarh. This Kshetra has 108 artistic temples. Papoura is also known as
Pampapur. A dense forest named as Ramanna i.e. Forest of Lord Rama is located in the vicinity
of this kshetra. It is believed that Lord Rama had visited and spent some time at this place during
his 14 years of exile. There are two underground basements and one of them has three idols. The
temple is associated with many legends and miracles. A pond exists here in the temple premises.
According to one miracle if a person wrote a list of utensils in a paper and dropped in the pond,
then who receive tem for use. After using and cleaning it they were to be returned to the pond.
The utensils would disappear. The miracle does not happen now because a person had not
returned the utensils received from the pond.

A well can be seen here and is known as `Patrakhan Well`. As per the legend an elderly women
had organized a party when the construction of the temple was complete. During the celebrations
the water of the well was over. The old woman then went down into the well and prayed to the

15
lord with full devotion. A miracle then took place, water began flowing in the well and the
woman inside was also lifted up by the force of the water. Slowly the level of the water
increased. The well can still be seen near the mess of school here. The temple is said to have
miraculous powers. It is said if one prays here with full devotion and dedication then his desires
get fulfilled.

Temple of Digambar Jain Kshetra : The temple of Digambar Jain Kshetra is very ancient. It has
been magnificently carved with intricate designs. The principal deity of the temple is Bhagwan
Rishabh Dev. The idol is made of black stone and is very attractive. It is 2 feet and 8 inch in
height. There are many more idols on either side of the main idols. These are also of the same
colour. All the three idols were installed in V. S. 1202 and are oldest at this Kshetra. The temple
is adorned with sky high spires and has been embellished with attractive designs. The existence
of Meru, Matha, Garbha Griha and Manastambha adorn this place and make it more attractive.
Among the different temples located here four temples date back to ancient times. These are
temple No. 5, 7, 41 and 42. The oldest temple located here is in the basement. Temple No. 7 and
41 are Meru Mandir. Among these temples five of them belong to 17th and 18th century. The
main places located are as follows:

Prachin Samuchchaya : This is the oldest place and it is popular as `Sabha Mandapa'. In the
centre of this place a temple has been created. The place is enclosed by 12 Mathas depicting the
ancient style. The designs appear to be like the 12 assemblies of Samavsharan. There are two
underground basements located here. One of them is very high and vast with 3 rooms. One room
is almost 22 feet X 9 feet in size.
Chaubeesee Mandir : There are 6 temples situated in each direction. These surround a big
temple. All the temples house an idol of Tirthankara. This type of Chaubeesee is very rare to be
seen.

Chandraprabha Mandir : This is a magnificent temple decorated with artistic designs. The
principal deity of this temple is Lord Chandraprabha. The idol is almond colored and is seen in a
standing posture. It is 7 feet and 3 inch in height and has been very attractively carved. In V. S.
1524 it was installed in the temple. The temple also houses 9 other idols which are also very
ancient. Out of this temple an artistic pavilion can be seen standing on four pillars.
Rathakar Mandir : The temple is in the shape of a chariot. This 75th temple located in Papouraji
is strikingly beautiful and has been artistically designed.

Bahubali Mandir : This is a round shaped temple dedicated to Lord Bahubali. The magnificent
temple stands on 24 pillars in 225 feet circumference. The idol of the Lord is 15 feet in height
and is seen in a standing posture. Apart from the main idol there are idols of 24 Jain Tirthankars
installed in 24 tiny temples around the wall. Four Manastambhas a have also been constructed in
V. S. 1999, 2006, 2013 and 2015.

Digambar Jain Kshetra is enveloped by natural beauty. There are four gardens that have been
created here which bear beautiful flowers and fruits. Pilgrims come and relax here. The dense
series of high trees surrounding the temple also enhances the beauty of the place. The temple
organises annual festival from Kartik Shukla 13 to 15 every year. It has provisions for
dharamshalas or rest houses for the pilgrims visiting the temple.

16
https://www.jainsamaj.org/content.php?url=Madhya_Pradesh_-_Papora_Tirth
Vighnahar Parshvanatha Digambar Jain Temple located in Maharashtra is dedicated to Lord
Parshvanatha. The temple also houses idols of Bhagwan Rishabh Dev, Lord Suparshavnatha,
Lord Chandraprabha and others.

Vighnahar Parshvanatha Digambar Jain Temple is a Jain pilgrimage centre in Maharashtra. It is

an Atishaya Kshetra i.e. place of miracles. Ashta is a city located in Sangli district in
Maharashtra. Ashta dates back to the days of the British rule, from the year 1853. The principal
deity of the temple is Lord Parshvanatha.

History of Vighnahar Parshvanatha Digambar Jain Temple : According to the history the temple
is about 500 years old. This place has been named as `Ashta Kasar` after Kasar Jains. Earlier
around 200-250 families of Kasar Jains resided here. During the rule of the Mughal Dynastythe
idol of Lord Parshvanatha was moved to a safer place into a wooden box. However, a miraculous
incident took place. The bullock cart carrying the idol suddenly stopped near Dustapur which is
2.5 Kilometers away from Ashta. After several efforts the cart did not moved forward. On that
night the daughter in law of the village head saw a dream. In the dream she saw the lord refused
to go anywhere and instructed her to reinstall him. The next day she narrated the dream to her
family members. As per the instruction of the Lord the idol was brought back with great joy and
devotion. A beautiful temple was constructed where the idol was installed with reverence. Since
then this idol is being worshiped as the Village Lord.

17
Temple of Vighnahar Parshvanatha : The new temple of Vighnahar Parshvanatha has been built
artistically with intricate designs. Earlier the temple was of `Hemadpanthi Style` whose remains
can still be seen. The principal deity of the temple is Lord Parshvanatha. The idol is almost 1.5
feet in height and is seated in a padmasana posture. The idol is believed to have miraculous
powers and has been installed in main altar of sanctum of the temple. Devotees get rid of their
problems and difficulties after worshipping the idol hence it is known as "Vighnahar
Parshvanath". It is a hoodless idol of Parshvanatha. As per the information present over the idol,
this idol was reverenced in V. S. 1472. Two slabs having 24 idols each are also present in
temple. The temple also houses idols of Bhagwan Rishabh Dev, Lord Suparshavnatha, Lord
Chandraprabha and others.

Vighnahar Parshvanatha Digambar Jain Temple also organises various festivals and ceremonies.
Every year an annual fair is organized on Chaitra Krishna for two days. Devotees and other
people of nearby area participate in the annual fair. The temple has provision for dharmashalas or
rest houses for the pilgrims that have been built in the upper part of this temple.

18
The earliest well known architectural marvel featuring the jain jina or Saint
Chandraprabha are the Khandagiri Jain Cave 9 Suparsva Chandraprabha Pushpadanta
Jinas

Let us talk of the Khandagiri Caves in General and then come to Chandraprabha.

Udayagiri and Khandagiri Caves, formerly called Kattaka Caves or Cuttack caves, are partly
natural and partly artificial caves of archaeological, historical and religious importance near the
city of Bhubaneswar in Odisha, India. The caves are situated on two adjacent hills, Udayagiri
and Khandagiri, mentioned as Kumari Parvata in the Hathigumpha inscription.[1] They have a

19
number of finely and ornately carved caves built during the 1st century BCE. [2][3] It is believed
that most of these caves were carved out as residential blocks for Jaina monks during the reign of
King Kharavela.[4] Udayagiri means "Sunrise Hill" and has 18 caves while Khandagiri has 15
caves.

The caves of Udayagiri and Khandagiri, called lena or leṇa in the inscriptions, were dug out
mostly during the reign of Kharavela for the abode of Jaina ascetics. The most important of this
group is Ranigumpha in Udayagiri which is a double storeyed monastery. Other important caves
include Hathi gumpha, Ananta gumpha, Ganesha gumpha, Jaya Vijaya gumpha, Mancapuri
gumpha, Bagha/Byaghra/Vyaghra gumpha and Sarpa gumpha

This complex is situated on the two prominence of the same hill, separated by a modern road.
Locals assign four different names to its four separate prominence, Udayagiri (Sun-rise hill),
Khandagiri (Broken hill), Nilagiri (Blue hill) and Dhavalagiri (White hill). While few scholars
try to identify these four within the same hill range, Mohapatra 1 identifies Nilagiri with Gumpha
Mundia near Nuapalli village and Dhavalagiri with Dhauli.

On the origin of these hill, Sterling 2 narrates an interesting legend which he learnt from its locals.
As the legend goes, these hills were originally part of the Himalayas and were inhabited by
numerous sages who dug out the caves for their residence. When Hanuman was carrying it for
building of the bridge for Lord Rama, by some accident, he dropped these at the present location.
As per epigraphical evidences, these twin hills were known as Kumara and Kumari Parvata3.
It is understood that the excavations at Udayagiri started off earlier than Khandagiri as presence
of inscriptions of the Kharavela family. Though Khandagiri may have started late however it
survived longer than its former cousin. The last inscription at Udayagiri is dated to 11th century
CE, corresponding to the reign of Somavamshi king Uddyotakesari. Udayagiri lost its
importance soon after the reign of Uddyotakesari while Khandagiri gained prominence and
continued to be a Jain tirtha, the status which it celebrates even today.

Khandagiri hill and its complex has been an issue of contention for its ownership and custody for
protection from the start of 20th century CE 4. In 1912, the then Government of Orissa and Bihar
declared this complex as protected. In 1915, the Commissioner of Orissa became the sole
guardian of these protected sites. This resulted in a protest from its then supposed stakeholders,
the Hindus as well as the Jains. The contention continued till 1947, but became severe when ASI
requested for land acquisition and stopped construction of permanent building, replacing a
thatched structure, for Padukamath, a Hindu math located at the foothills.

In April 1951, an organization of Hindus sadhus and saints, mostly from lower castes, started
celebration of Sarbajanina Ananta Mela, a public fare, and printed handbills asking devotees to
congregate at Khandagiri to witness self-emanation of Lord Ananta. These handbills claimed that
these images of Barabhuji and Ananta were the glories of the Kesari dynasty. The organizers
wanted to construct a temporary shed however were not allowed by ASI and local officials due
to the protected nature of the monument. However, after escalating it to higher levels by the
organizers, the tehsildar allowed this permission, the temporary shed got constructed and mela
was held.

20
This fare is still held under the name of Khandagiri Mela, held every year on the day of Magha
Saptami. The presiding deity of Khandagiri, Ananta Kesari Dev, which is presently residing in
Jagamara village, is brought in a procession to this hill during the fare. Many saints and sages
attend this fare, they first congregate at Chandrabhaga beach at Konark where they take a dip to
start their journey to Khandagiri. Reaching Khandagiri, they participate in the fire ritual on the
hill. As per a legend5, demon Sambhasur was suffering from a skin disease. He prayed to lord
Surya for recovery. The lord asked him to take a dip at Chandrabhaga beach and take a journey
to Khandagiri on foot which will cure him from the disease.

Panchashakha literature associates Khandagiri hills with the Kalki avatara, the last incarnation of
Lord Vishnu. Panchashakhas were religious saints of medieval Odisha, supposed to be the
disciples of Chaitanya, the famous 16th century Vaishnava saint who popularized the Gaudiya
sect. The Panchashakhas were Jagannatha Das, Balaram Das, Achyutananda Das, Jasobanta Das
and Ananta Das. Jagannatha Das is famous for its very popular Oriya rendition of Shrimad
Bhagavatam. Balaram Das is famous for his Oriya rendition of Ramayana. Apart from these,
their malikas or books of prophesies are very popular in Odisha. These were written between
16th and 18th century. The Kalki event is mentioned in the malikas such as Yugabdha Gita,
Kaliyuga Malika, Bhabisyata Parabhda, Padmakalpa all are the works of Achyutananda Das, and
Bhabisyat Purana of Ananta Das.

These malikas prophesies that lord will manifest at the hills of Khandagiri, and will only save the
devotees who are righteous and congregate at the hill. Bhabisyata Purana prophesies that Hari
(Vishnu) will take his Kalki form at Khandagiri. This manifestation will be witnessed by 12
rishis and 60,000 sages who all will congregate at Khandagiri, as per Agata Bhabisya Malika.
Yugabhdha Gita also prophesies that lord Janardana will stay at Khandagiri with a turban on his
head and from here he will manifest his Kalki form. Padmakalpatika mentions that at the time of
pralaya (apocalypse) when Orissa will be engulfed under floods, the Lord will protect his
devotees by giving shelter in the Ananta-gumpha at Khandagiri hill.
At present, the hill is equally sacred to the Hindus as well as the Jains. This is one of the most
important pilgrimage site for the Jain community in Odisha. The site is also frequented by the
Hindu community of the nearby villages and towns however it has not yet attained the celebrated
pilgrimage status among the wide community of the Hindus.

B. M. Barua, based on a reading of line 14 of the Hathigumpha inscription, declared that a total
of 117 caves were excavated by Kharavela and others on the Kumari hill (Udayagiri). Marshall
has counted more than 35 caves in both the hills, while M.M. Ganguli has enumerated only 27
caves.

The number of existing caves at Udayagiri is 18, while Khandagiri has 15.[8] The local names of
the existing caves are listed below, numbered according to the enumeration of
the Archaeological Survey of India.

In Udayagiri, Hathigumpha (cave 14) and Ganeshagumpha (cave 10) are especially well
known due to art treasures of their sculptures and reliefs as well as due to their historical

21
importance. Raninka Na'ara (Queen's Palace cave, cave 1) is also an extensively carved cave and
elaborately embellished with sculptural friezes.[6] Khandagiri offers a fine view back over
Bhubaneswar from its summit. The Ananta cave (cave 3) depicts carved figures of women,
elephants, athletes, and geese carrying flowers.[9]
The Udayagiri hills fall on your right side when you enter into this area from Bhubaneswar.
Compared to Khandagiri, Udayagiri offers more beautiful and better maintained cave shrines.
There are 18 caves in Udayagiri

1. Rani Gumpha "Cave of the Queen"

Rani Gumpha is the largest and most popular cave among the caves of Udayagiri and
Khandagiri. The word 'Rani' means Queen. [ Although it is not an architectural marvel, it has
some ancient beautiful sculptures.
This cave is double storeyed. Each storey has three wings and the central wing is bigger among
all the three wings. The lower floor has seven entrances in the middle wing whereas the upper
floor has nine columns. The upper portion of the central wing has relief images depicting the
victory march of a king. Many of the cells have carved dwara pala images;[13] some of them are
disfigured. The area that connects the central wing with right and left wings have some panels
where the sculptures of wild animals, fruit-laden trees, human figures, women playing musical
instruments, monkeys and playful elephants are found. The pilasters contain the toranas (arches)
decorated with sculptures of Jain religious importance and royal scenes
Cave No.1 "Rani Gumpha" (Cave of the Queen)

General view

Diagram section of Rani Gumpha

Plans of both floors of Rani Gumpha

Ground floor

Rani Gumpha ground floor.

22
 Left aisle relief/ Left aisle relief (detail)

Apsara making an offering/ Doorway arrangement

Indian warrior detail/’ Right corner relief

Second floor


Panorama of first floor

23
 Corridor

Right corner with Yavana warrior/ Pillar relief with elephants

Pillar relief: battle scene/Yavana warrior.

2. Bajaghara Gumpha
Bajaghara Gumpha is very simple and small. It has stone bed and pillow and it was obviously
used as the Jain monks' shelter in the ancient times. Apart from the plain rectangular shaped
pillars, there is no other sculpture found in this cave.
3. Chota Hathi Gumpha
Chota Hathi Gumpha is small in size. It has six small elephant figures in the facade and a statue
of a guardian.[16]
4. Alakapuri Gumpha
Alakapuri Gumpha has a relief sculpture of a lion holding its prey in its mouth. The pillars with
the human figures (divine beings) with wings are found in this cave. It is double storeyed.
5. Jaya Vijaya Gumpha

A tree-worship relief from the Jaya Vijaya cave.

24
Jaya Vijaya Gumpha is double storeyed. The cave has carving of a female wearing heavy
earrings, bands, beautifully decorated hair. On one hand of the carving is a parrot and other
resting on her waist
6. Panasa Gumpha
Panasa Gumpha is very small and simple cave without any significant features.
7. Thakurani Gumpha
Thakurani Gumpha is double storied but is very simple in style. It has few tiny relief sculptures.
8. Patalapuri Gumpha
Patalapuri Gumpha is slightly bigger with a pillared verandah. However, there is no notable
feature in this cave.
9. Mancapuri and Swargapuri Gumpha

Manchapuri cave relief depicting the worship of Kalinga Jina

Mancapuri and Swargapuri Gumpha is double storeyed. Manchapuri cave depicts two male
figure and 2 female figure worshipping to the Kalinga Jina that Kharval brought back from
Magadha.[17] It has a damaged Jain religious symbol which was probably used for worship.
There are three inscriptions found in this cave. One inscription talks about the chief queen of
Kharavela. The other two inscriptions talk about Kudepasiri, the successor of Kharavela and
Badukha, the son or brother of Kudepasiri.

10. Ganesha Gumpha

Ganesha Gumpha is one of the most important caves in Udayagiri. The cave got this name due to
carved figure of Ganesha on the back of its right cell. Of course, it would have been carved in the
later period and it cannot be the original work. The cave has two big statues of elephants carrying
garlands at the entrance and is the first example of sculpture animals used as guard to the
entrance.[11] Also, the carved figures of dwara palas are found at the entrances. The carvings in
this cave narrate the story of the elopement of Bassavadatta, Princess of Ujjayini, with King
Udayana of Kausambi in the company of Vasantaka.
Cave No.10 "Ganesha Gumpha" (Cave of Ganesha)


25
 Ganesha cave

Elephant statue/Warrior guardian/ Relief of a devotee

Relief in the veranda/ The Ganesha idol at the back of the cave
11. Jambesvara Gumpha
Jambesvara Gumpha is a very simple and small cave with one column and two pilasters. [18] The
inscription tells that it is the cave of Nayaki, wife of Mahamade.
12. Vyaghra Gumpha

26
 Tiger (Bagha/Byaghra Gumpha) (cave no-12), Udayagiri
Vyaghra Gumpha is one of the popular caves in Udayagiri. The cave, which is in ruins, has the
entrance carves like a large mouth of a tiger with single cell in cave acting as Tiger's throat. It is
one of the most photographed sites in Udayagiri. The word vyaghra means tiger.. The inscription
found here tells that this cave belongs to the city judge Sabhuti.
13. Sarpa Gumpha
Sarpa Gumpha is an unusually very small cave. There are two inscriptions found in this cave.
The word sarpa means snake.
14. Hati Gumpha
Hati Gumpha is a large natural cavern. On the wall, the inscription erected by Kharavela is
found. It is the main source of history of Kharavela. The cave is known as Hati Gumpha due to
its exquisite carvings of elephant. The word hati means elephant.

Cave No.14 "Hathi Gumpha" (Elephant Cave)

Hathi Gumpha (cave no-14), Udayagiri/ Hathi Gumpha

27
 Hathigumpha inscription/ Detail of Hathigumpha inscription
15. Dhanaghara Gumpha
Dhanaghara Gumpha is a small cave which has two wide pillars and dwara pala sculptures
carved at the entrance.
16. Haridasa Gumpha
Haridasa Gumpha is a small cave with three entrances and a verandah in the front side. [24] There
is an inscription found here.
17. Jagannatha Gumpha
Jagannatha Gumpha is roughly cut cave with three entrances.
18. Rasui Gumpha
Rasui Gumpha is an unusually very small cave.

Brahmi Inscriptions

Hathigumpha inscription

Hathigumpha inscription in Udaigiri

The Hathigumpha inscription starts with a version of the auspicious Jain Namokar
Mantra venerating Arihant and Siddhas for in Jainism.

28
The Hathigumpha cave ("Elephant Cave") has the Hathigumpha inscription, written by
Raja Kharavela, the king of Kalinga in India, during the 2nd century BCE.[4] The Hathigumpha
inscription consists of seventeen lines incised in deep cut Brahmi letters on the overhanging
brow of a natural cavern Hathigumpha in the south side of the Udayagiri hill. The inscription
also refers to the Kharaval's feat of bringing back Jain image which was taken by Nanda
empire. It faces the rock edicts of Asoka at Dhauli, situated about six miles away.

Other minor inscriptions

Besides Hathigumpha Inscription of Kharavela, there are some other minor Brahmi inscriptions
in the twin hillocks of Udayagiri and Khandagiri, which were deciphered earlier by Prof RD
Banergy during 1915–16 (Epigraphic Indica-XIII) and BM Baraua (Indian Historical Quarterly-
XIV). Sadananda Agrawal has given further clarifications about them and are produced as under:
I- Mancapuri cave inscription (Upper storey) This inscription refers to the construction of
temple of arhats and excavation of cave for Jain monks by Aga-mahisi, chief queen of
Kharavela.[25] The inscription also mention Kharavela as chakravatin of Kalinga.[28]
II- Mancapuri cave inscription (Upper storey)-A This inscription is incised on a raised bend
between the 3rd and 4th doorways from the left and contains single line. The text
in Devanagari script is as under:
Translation – This is the cave of Aira Mahameghavahana Maharaja Kudepasiri, the overlord
of Kalinga.
Note:- Kudepasiri seems to be the immediate successor of Kharavela.
III-Manchapuri cave inscription (Lower storey)-B This inscription has been engraved on the
right wall of Veranda, to the right of the entrance to the right-hand side chamber of the main
wing, consisting of one line. The text in Devanagari script is as under:
Translation – [This is] the cave of Prince Vaḍukha.
Note:- On palaeographic ground Prof Banergy considers this inscription to be a little earlier than
the inscription of King Kudepasiri. According to Sadananda Agrawal, Prince Badukha stands an
obscure figure in history, but Badukha seems to be the son or brother of Kudepasiri.
IV- Inscriptions in the Sarpagumpha (Over the doorway)
This inscription consisting of one line, is incised over the doorway of the Sarpagumpha. The text
in Devanagari script is as under:

Translation – The chamber and veranda/or side chamber of cūlakama. Note:- However Dr. Sahu
interpreted Ajeya being united by a Sandhi qualifying Koṭha thereby denoting invincible. But he
ignored the conjunction ca (Devanagari: च) which follows Koṭha(Devanagari: and Jeya

V- Inscription in the Sarpagumpha ( to the left of the doorway) The text in Devanagari script
is as under:L1 and L2
Translation: [The pavilion is the] gift of Kamma and Halakhina.
Note:- Most probably Halakhiṇa was the wife of Kamma. Chūlakamma – found in the
inscription No.IV and Kamma of this record indicates official designations rather than the proper
names. Kamma may be taken as minister of works (Karma saciva) and Cūlakamma appears to be
a junior cadre of minister in the Department of works.

29
VI- Haridas cave inscription
This inscription contains one line has been incised over one of the three entrances to the main
chamber of the cave from the veranda. The text in Devanagari script is as under:
Translation: The chamber and veranda (or side chamber) are the gifts of cūlakama.
VII- Vyāghragumphā inscription
The record is incised on the outer wall of the inner chamber. The text in Devanagari script is as
under:
L.1- L.2- Translation: The cave of Bhūti, the city judge.
VIII- Jambesavara cave inscription
This inscription has been engraved over the entrances to the inner chamber of the cave. The text
in Devanagari script is as under:
Translation: The cave of Mahāmāda Nākiya and Bāriyā.
X- Tatowāgumphā inscription (Cave No −1)
The record of this inscription is incised over one of the entrances to the inner chamber. The Text
reads in Sanskrit as

Translation: The cave of Kusuma, the padamulika.

Notes:- There is a syllable after the word lenam, which may be read
as ni or phi, padamulika literally means, one who serves at the feet [of king].
Note:- Sadananda Agrawal has interpreted Masikanagara as Asikanagara and identified with the
city Adam (Nagpur district). In view of the evidence of a highly prosperous city unearthed at
Adam, Prof AM Shastri is of the opinion that Adam itself represents the Asikanagara
of Hathigumpha inscription. It is worth noting in the present context that a terracotta sealing
having a legend, has been discovered from Adam,[29] situated on the right bank of the
river Wainganga, which reads Asakajanapadasa (Devanagari: असकजनपदस).

XI- Ananta Gumpha inscription (A)

The record is incised on the architrave between the left ante and the fifth pillar. The text in Oriya
script is: Odia: ଦୋହଦ ସମଣନ ଲେଖ

Translation: The cave of the Dohada Śramaṇas.

Carving of Rishabhanatha and Ambika, Ambika Gumpha

30
Carving of Tirthankaras & their respective Yakshini (attendant deities) inside Navamuni
Gumpha///Carving of Jaina Tirthanakaras, Lalatendu Keshari Gumpha

Stone work in Cave 12

The Khandagiri hills fall on your left side when you enter into this area from Bhubaneswar.
There are 15 caves in Khandagiri. These caves were renovated during the reign of
Uddyotakeshari of Somavamshi dynasty
1. Tatowa Gumpha
The parrots are carved above the entrance arch and hence it is called as Tatowa Gumpha. It has
two dwarapala figures too. There are sculptures of friezes, railing, arch, with kalasa inside the
cave.[30]
2. Tatowa Gumpha
The cave is decorated with sculptural friezes like nayikas, gandhrvas, different animals and birds,
chaitya arch, pilaster design, rafters and voulted roof
3. Ananta Gumpha
The cave has sculptures of women, elephants, geese, etc.
4. Tentuli Gumpha
It is a small rock-cut chamber with just one column.
5. Khandagiri Gumpha
It is a roughly cut cell and has double storeys.
6. Dhyana Gumpha
It is a roughly cut cell.
7. Navamuni Gumpha

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Navamuni Gumpha is a roughly cut cell with the sculptures of nine Jain Tirthankaras and Sasana
Devis. These sculpture were added to the caves in 11th century by Somavamshi dynasty.[4][33]
8. Barabhuji Gumpha
There are altogether twenty five figures of Tirthankaras on the walls of the cell on three sides,
[4]
Parsvanatha being repeated twice. Beneath the Tirthankara, their respective Sasanadevis are
found. Chakareswari is depicted with 12 arms giving the cave name Barabhuji. The image are
now now worshipped as Brahminical deity. These sculpture were added to the caves in 11th
century by Somavamshi dynasty.[34]
9. Trusula Gumpha
There are three sculptures of Rishabha Deva who is found in the Kayotsarga posture.[35] Apart
from these sculptures, there are sculptures of 24 Jain Tirthankaras which look rough.[4]
10. Ambika Gumpha
There are three relief sculptures, two of Rishabhanatha and one Amra the sasana-devi
of Neminatha.[4][36]
11. Lalatendu Keshari Gumpha
In cell 1, There are 2 image of Rishabhantha and 3 of Parshvanatha and in cell 2, 2 image of
Parshvanatha and 1 of Rishabhantha. These sculpture were added to the caves in 11th century
by Somavamshi dynasty.[4][37]
Caves 12, 13 and 15 are unnamed. Cave 14 is very simple and called as Ekadasi Gumpha.

The chambers at the caves designed especially for the monks

While the temples in the city such as the Lingaraja and Mukteswara often are on top of a tourist's
wish-list, I would highly recommend a short trip to the Udaygiri and Khandagiri Caves. Tracing
their roots to the 1st Century BCE, these caves are largely empty chambers. King Kharavela
reshapes the Kingdom of Kalinga as he rises leaning towards Jainism. His desire was to build a
shelter for the hermits, who were nomads and didn't like to stay in one place for more than day.
This craving was his inspiration to the creation of the Udaygiri and Khandagiri Caves. Over two
thousand years ago when the caves were built, the monsoon months lasted four months and it
was during the rainy season that the monks required a place to settle down. The chambers in the
caves were resting places for the monks. Overlooking the forest and the lush greenery of the
region, the monks would feel right at home steps away from nature. Kharavela's genuis was also

32
paramount for he built he chambers on a slight incline to allow the the monsoon water to flow
down and not congregate within the confines of the shelter.
For other than those four months though, the caves served the purpose of an amphitheatre.
Kharavela would call upon a congregation of his subjects and listen to their troubles as well as
host cultural performances here. As you walk along the ruins, you'll notice that a lot of the
sculptures have eroded. Interestingly, the stones from the cave were used in the creation of many
Kalinga styled temples hence, the damage.

The love affair of King Kharavela with his second wife is depicted through these carvings at the
caves
The carvings that are still intact are extraordinarily detailed and narrate the King's love story with
his second wife. You'll see how the King comes to the forest in search for a hunt and rescues his
future wife who has escaped from her kidnappers. It is in these carvings where you see
Kharavela go through a change of heart as did Ashoka when Kharavela's to-be wife tells him not
to kills the animal - an integral principal of Jainism. In an another astounding sculpture, you can
comprehend the interactions between Alexander the Great and Kharavela.
https://www.outlookindia.com/outlooktraveller/explore/story/69295/udayagiri-and-khandagiri-
caves-an-overview

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