Indian Architecture (Buddhist and Hindu Periods) c17.22

c17.22

The remaining shrines at Udaigiri are an elaboration of the principles applied in the "False Cave", together with a refinement of the treatment generally, as the work of producing them progressed. Added to these examples, in most instances their rock-cut facades, especially the doorways, are richly carved, and in conjunction with them are certain separate sculptured figure-compositions of a high order. The spirited design and experience of form that the rock-carvings display, when compared with the rudimentary technique of the masonry, are an indication of the uneven evolution of the arts at this particular period. While the carved reliefs show every evidence of maturity, the building art, to judge by these porticoed cells, seems still in its infancy, as they are little more than a step removed from the rustic shelter on the hill-side, with its lean-to roof in front of a natural hollow. Yet, in spite of this lingering archaism, a considerable amount of fine workmanship was expended on their production. Several of the doorways are of the kind already referred to as typical of the Gupta style, with the expanded overdoor and intricately moulded jambs all carved on the prepared surface of the rock. On each side were sculptured in high relief figures of *dwarpalas* to guard the entrance, as well as other mythical beings. In the design of the pillars of the structural portion there are signs of careful thought and patient handling, the pillars being all of the Gupta "order", having square pedestals and octagonal shafts surmounted by a vase-shaped capital.