Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c12.s4.30

c12.s4.30

There are no chaitya halls or shrines for worship in the Orissan caves as they are found in western India. In addition to this unique feature the architectural planning of the three enclosing gallaries round the courtyard with one side used as frontal approach, together with the broad and spacious verandah points to some special purpose which was in the minds of those responsible for these excavations. From the beginning the Jaina monks were interested in the life of the community. It appears that these large double-storeyed caves served the purpose of popular entertainment by the performance of dramatic shows. This is chiefly indicated by the scenes carved on the back wall of the verandah, illustrating some famous dramatic legends from Indian literature and folklore. There are the well known scenes of the Udayana-Vāsavadattā story which has been identified beyond any doubt and also probably the story of Duḥshyanta and Śakuntalā. The frieze occupying upper part of the verandah of the upper storey in the Rāṇīgumphā cave contains seven bas-reliefs within the interspaces of the eight doorways. Of the scenes in the frieze of the Gaṇeshgumphā only two are of major importance.¹