The Antiquities of Orissa v2.c16.54

v2.c16.54

Passing through the verandah the visitor comes to a large room with three doors. It measures 20 x 7 x 7 feet, and is perfectly bare of ornament, as indeed the interior of all other cells and caves invariably are. The doors, however, have around them on the outside a rich framing formed of two side pilasters with lion capitals (Illustration No. 2), and surmounted by a semi-circular flat band filled with scroll work (A. 13.) The outer edge of the band is surmounted by a triangular pointed [4] crest or finial enclosing a floral ornament, or a figure. This style of ornamenting the door-frame is common to all the caves of Udayagiri, but the ornaments on the band, instead of being repeated throughout as is uaully the case in Greek and Roman buildings, are greatly diversified, and scrolls, single flowers, figures of men and animals have been carved at option without any reference to uniformity. Each frame is complete by itself, and, except in outline and general character, bears no relation to its neighbour. The spring of the arch generally begins with a couchant lion, or elephant, or deer, and the space between the two nearest springs is connected by a flat band representing a five-barred fence, with uprights at short itnervals. This fence or rail is peculiarly Buddhistic in character, and is to be met with either in original or effigy in every Buddhist structure throughout India without an exception. At Sāñchi, Amarāvatī, and Buddhagayā, it occupies a most prominent position round the sacred fane, and at Ceylon, its counterpart is met with round the great Tope of Anurāhdāpur. ⁶ Its presence in the cave unmistakably indicates the true character of this dwelling. Standing on this rail are a series of human figures engaged in various acts of devotion. The first in the series beginning from the north or left side (A. 13) is a dwarf with outstretched knees and ponderous ear ornaments, resting against a tree. The next is a female standing with folded hands in the act of salutation. She has heavy anklets, necklets and pendulous ear-ornaments, but only a very narrow strip of cloth round the hip by way of dress. Her husband next to her is better habilimented, with a flowiug plait of cloth (*koñchā*) reaching the ground, and a scarf tied round the waist. He has a light turban on his head, and heavy ear-ornaments, but no necklet or anklet. His hands are reverentially folded like those of his wife. The fourth figure is a famle (a second wife?) dressed and ornamented as the first female figure; but holding a large tray on one hand and an urn on the other. A counterpart of this figure is to be seen on the opposite side of the arch, but without the urn. The three central figures of the second compartment (A. 14) represent the husband and his two wives dancing in ecstatic devotion. Then comes the famale with the urn and tray to be replaced on the other side of the arch by a full-blown lotus. The third compartment (A. 15) exhibits a female dancing under a canopy supported on carved posts, and four seated companions playing on musical instruments, the nearest thumping a tom-tom, the next ringing cymbals lifted over her head, the third striking a harp, and the fourth blowing a flute. The fourth compartment (A. 16) begins with a female holding forth a tray, followed by a man in a heavy turban advancing with folded hands, and a woman carrying a tray and an urn. The last figure is a boy, not a dwarf, as at the other end, standing under a tree with his hands crossed over his chest.