Being a crazy history lover especially ancient history, I could not resist to visit Udaigiri Caves in Vidisha, Madhya Pradesh. We reached Sant Hirdaram Nagar Station (previously known as Bairagarh Station) from Ujjain by train (for exploring Vidisha Sanchi Station is better). We booked a hotel outside the city (Bhopal). Ujjain was the first place in Madhya Pradesh where I got a glimpse of the “heart of India”. And now my curious eyes and soul loved every bit of the views on the way to hotel. It was evening when we reached the hotel.
Next morning we booked a cab on Ola for the day to explore Udaigiri and Sanchi. On the way I found almost zero littering on the road which amazed me. “Cities are well-kept here!” I thought. And I was wrong! As our journey continued I saw even the roads outside the city are equally neat and clean which is rare experience when you travel in India. Hats off to MP Tourism!
Location of Udaygiri Caves: Due to the fact that Udaygiri name sometimes leads to confusion as tourist spots with same name in Bihar and Odisha are there. Hence when you want to visit Udaygiri in Madhya Pradesh type correctly and check it on GPS. Udaygiri Caves are located in Vidisha , approximately 6kms from Vidisha town. Udaygiri hills are situated near the river Betwa which was important center of Vaishnava cult during Gupta period. The caves are slightly north of Tropic of Cancer. From the air the place looks like a foot print hence it is also called “Vishnupadagiri” meaning foot of Lord Vishnu”.
How to visit Udaygiri Caves: Bhopal is the nearest place to reach by air. If you want to visit by train, Vidisha is the nearest railway station. You can also hire a cab from Bhopal or autorickshaw from Vidisha.
Where to stay: There are hotels in Vidisha town. Hotel Grand Ashok and MPT Jungle Resort are popular among the tourists.
Entry fee: Upon reaching we purchased ticket from the ticket counter @Rs.25/- per person (for Indians). There is vehicle parking facility @Rs.50/-. For foreigners entry fee is Rs.300/- per person.
Time and duration to visit Udaygiri Caves: The caves remain open everyday from 9am to 6pm. Try to visit in the morning when the weather is less hot. Best time to visit is from November to February. As the place is mesmerizing and you will be inclined to notice detailed curvings that stood thousands of years, 2-2.5 hours will be easily spent in the complex. Also be aware of the fact that there are stairs cut out of stones which require little bit of physical strength. You will start exploring the caves from south and complete it in a circle shape.
Brief history of Udaygiri Caves: “Uday” means rise and “giri” means hill. Hence Udaygiri means the hills from where first sunrise is seen. Gupta empire existed from early 4th Century CE to early 6th Century CE which is also called Golden Age of India by the historians as majority of Indian subcontinent was under Gupta rulers and also culturally much development happened during this period. During late 4th century CE TO early 5th century CE famous Gupta king Chandragupta II carved various sculptures belonging to Shaivism, Vaishnivism and Jainism. Carvings in Udaygiri Caves remain one of the sites verifiably associated with Gupta period due to the inscriptions on the stone walls which survived thousands of years. Apart from Chandragupta II there is also mention of Kumargupta I, son of Chandragupta II and another Gupta emperor, in the inscriptions found in Udaygiri Caves. Between 5th and 12th century CE the site remained an important pilgrimage site. The place In 1818-19 Colonial Officers, Edward Fell and John Henry Begnold came tosurvey the antiquities of this area. In 1850, Charles Crump produced detailed illustration of Varaha panel (Cave no.5) and Chandragupta cave (Cave no.6). However, first archeological investigations were conducted by Alexander Cunningham in 1875. There are 20 caves in the complex out of which 19 are dedicated to Hindu Gods and Goddesses. Cave no.1 represents earliest phase in the development of temple architecture in India. Cave no. 20 located in the north-western edge of the hills is the only cave dedicated to Jainism. The complex is a magnificent exhibition of Vaishnavism (nine caves) , Shaktism (three caves), Shaivism (seven caves) and Jainism (one cave).
Before exploring the caves we visited the Museum. I feel every tourist must visit the museum to understand the cave carving better later on. Opposite to the ticket counter Udaigiri Caves are situated. The security staff checked our tickets and journey of exploring the ancient caves began.
Cave No. 1 and 2: Cave no. 1 is the southernmost cave. It has pillars, mandapa, sanctum. On the wall there is a carved image of deity which is unknown due to damage caused by chiseling later. Cave no. 2 is also damaged. On the doorjamb there are some partially visible reliefs.
Cave No. 3 – Skanda Temple: Cave no. 3 has plain entrance and towards entrance there is a deep horizontal cutting above suggesting the presence of portico/roof (Mandapa). Inside Skanda or Kartikeya, son of Lord Shiva and Goddess Parvati who is the war God can be seen on monolithic plinth. Hence this cave is also known as Skanda Temple.
According to American scholar James Harle, the image of Kartikeya as the most beautiful image of the 5th century CE. The deity is in standing pose, wearing necklace and holding a spear in his right hand while the left hand is resting close to the waist portion. The hairs are shown in three strands.
Cave No. 4 – Ekmukha Linga: Alexander Cunningham named Cave No. 4 as Vina Cave. The temple sanctum is dedicated to Lord Shiva containing Ekmukha Linga. In the courtyard a group of eroded matrikas or Mother Goddesses can be found.
As per Archeological Survey of India, “Cunningham named Cave no. 4 “Bina Cave” because of a human figure playing the Indian harp (Bina/Vina) in the left boss, out of the five cusped bosses with small circular panel at the lintel portion. While in the extreme right cusped there is a human figure playing Sarangi. The central boss comprises lion and rest represents crocodile. The cave no. 5 also represents the standing Vina player towards the back side of Vraha image in the top lane. Gupta ruler Samudragupta is depicted with the vina on his gold coins. The sanctum is dedicated to Ekmukhalinga, symbolic representation of Shiva, placed on a square pedestal within the cave. The face of Trinetra (Shiva) shows exceptional beauty with his necklace, hair knot and sapta jata (seven strands) falling on both sides. The cave dwarsakhas also shows exceptional beauty“.
To the scholars the complex within Cave no. 5 (Varaha Cave) and Cave no. 6 (Sankanika Cave) is known as “God’s valley“.
Cave No. 5 – Varaha Cave: Detailed curving of third Avtar or incarnation of Lord Vishnu – Varaha is surely a delight to the eye. Massive Varaha panel is one of the earliest depictions of Hindu Mythology. The panel showcases how “Bhudevi” – mother Earth was saved from demon “Hiranyaksha” by Lord Vishnu.
The story is: Lord Vishnu’s door keepers Jaya and Vijaya were cursed by four sons of Lord Brahma for not letting them enter Vaikunth when Lord Vishnu was resting. Lord Vishnu assured that both of them will be liberated by Him. Jaya and Vijaya were born as twin demons named Hiranyakashyap and Hiranyaksha. After penance Hiranyaksha was blessed with immense power from Lord Brahma that no God, animal or human could kill him. He then started torturing Gods, humans and all the creatures. Gods took shelter in the mountains of the Earth. Hiranyaksha then took mother Earth and submerged in the bottom of ocean. Then Manu who was ruling over the Earth alongwith his wife Shatarupa went to meet Lord Brahma. Lord Brahma then prayed to Lord Vishnu, a tiny boar fell from his nostril which grew bigger and bigger to a large mountain size. Lord Vishnu dived deep in the ocean to rescue Mother Earth. Hiranyaksha was slayed by Varaha avtar and saved Mother Earth “Bhoodevi”.
As per Archeological Survey of India, “the most outstanding contribution of Gupta period to the Indian sculptural art at Udaygiri is the carving of a huge image of Varaha incarnation. The image is impressive in size, shows powerful execution and aggressiveness. Here Varaha image represented as a man with boar’s head. Ichnographically, the face shows aggressiveness, left hand kept over the hip and the right hand is resting on the knee. The left foot stamps upon the coil of Naga king, who has a canopy of thirteen snake hoods (seven in front and six in intervals). The mother earth is raised with his right tusk from the deep water shown in the form of a series of wavy lines. Behind the Naga king, the kneeing image may be a portrait of Chandragupta II. Towards the right side four and left side five rows are containing – Brahma, Shiva on Nandi, other Gods shown with haloes, heavenly musician, Asurs or demons, Rishis, humans etc.on the right and left side niche sculptor has portrayed the descent of Ganga and Yamuna from the heaven to sea. Here heaven is represented by the flying Devas and Apsaras are playing and dancing below them. The sea God Varuna has also carved on the lower portion and holding a water vessel in his hands. The Varaha incarnation might be known as a political metaphor. According to the scholars, Chandragupta’s conquest were an extraordinary achievement, which only the Emperor was able to accomplish because he represented the glory of Maha-Varaha, the Primeval Boar. The idea caught the imagination of the people”
Cave No. 6 – Sankanika Cave – amalgamation of Shaktism and Shaivism: Cave No. 6 is known as “Sankanika Cave” after the findings of an inscription about a chief of a local tribe Sankanika, who speaks about the victory of Chandragupta II, over the north-eastern Malwa region. The cave was excavated in honor of Lord Shiva who is also known as Shambhu. you can see Maa Durga slaying buffalo demon named ” Mahishasura”. This is believed to be one of the earliest depictions of Maa Durga with 10 hands in a cave temple. On the left of the entrance there is Lord Ganesha holding his favorite laddu or modak. In the same cave you will also find broken images of matrikas (Mother Goddess).
Description from the Udaygiri Museum is “ At a short distance from Cave no. 6 there is an almost isolated mass of rock hewn into the shape of a semi hemispherical Stupa with square base. It is crowned by a large flat stones resembling a gigantic
Inside Cave no. 6 above the Yoni-pitha, an unfinished Linga is erected. The cave is guarded by impressive images of dwarpalas whose charm and strength are accompanied by Vishnu with his personified weapons chakra and gada. The dwarpalas are regarded as the most powerful works of early Gupta artists.
Cave No. 7 – Mother Goddesses: In Cave no. 7 damaged eight Mother Goddesses each with a weapon above their head.
Cave No. 8 – Tawa Cave: Alexander Cunningham called Cave no. 8 “Tawa Cave” due to it’s shape like Indian griddle used by common people to make flat breads. Structures inside the cave are badly damaged. From the historical perspective this cave is important as it contains inscriptions by the minister Virasena about Chandragupta II who paid visit to Udaygiri before conquering the world which is the only evidence about Gupta Emperor Chandragupta’s visit to Udaygiri.
Cave No. 9, 10 and 11 – dedicated to Lord Vishnu: Next to Cave no. 8 there are three small caves all dedicated to Lord Vishnu.
Cave No. 12 – Narasimha avtar: According to Archeological Survey of India, “although, it looks like a niche but it is considered as a small cave because of two dwarpala shown in standing posture either side of the cave below the main deity. The cave is dedicated to the Lord Vishnu in his Narasimha-avtar. It is the earliest known Narasimha incarnation image observed so far. The large shell inscriptions are also noticed on the rock face. The shell inscriptions are curvilinear in style sometimes (like here) and are not deciphered so far. Udaygiri caves contain the largest repository of 5th century CE inscriptions which may be the names of ascetics of donors”.
Cave No. 13 – Sheshashayi Vishnu: This panel represents Lord Vishnu in resting posture. Below Lord Vishnu there are two men, one is larger kneeling position and another one is smaller in standing position. Kneeling devotee is believed to be King Chandragupta II and standing man is King’s Minister Virasena.
Cave No. 14 – the last cave on left hand side: Cave no. 14 is the last cave on left hand side consisting of two preserved square sides. Perhaps in the past there were structures on the walls. At present you can find no curvings on the walls which might have gotten eroded gradually.
Cave No. 15, 16, 17 and 18 – deidcated to Lord Shiva, Shakti and Lord Ganesh: Cave no. 15 is small in size without any distinct sanctum. Cave no. 16 is dedicated to Lord Shiva. Cave no. 17 is dedicated to Maa Shakti in Mahishasuramardini form and Lord Ganesha. Cave no. 18 has four armed Lord Ganesha carved on the wall.
Cave No. 19 – dedicated to Lord Shiva: The cave is also known as “Amrit Cave” because of the episode of Amritmanthan/ Samudramanthan carved on the lintel portion of it’s much elaborated doorway. The scene is depicting the well-known story of Samudramanthan (churning of the ocean for obtaining nectar) which shows the mountain Meru in the center on the back of Kurma (second incarnation of Lord Vishnu) with the mythical snake (Vasuki) coiling round and forming a rope by which Gods and demons churned the ocean. The cave itself is divided into nine sections by false beams on the ceiling supported by highly decorated pillars with lion brackets. The images of Ganga and Yamuna are also in the upper part of the doorway. The images of dwarpalas, provision of antarala and standing mandapa pillars outside show highly decorative and complete cave temple. It also shows the zenith of Gupta temple architecture at Udaygiri. The cave contains inscriptions in Nagari script and Sanskrit language of 11th century CE.
Cave No. 20 – one and only cave dedicated to Jainism: Entry to the Cave no. 20 is barred. The inscriptions found inside this temple refers to the Gupta era 106. It belongs to the reign of Kumaragupta while the name of the emperor is not mentioned. It records how Sankara, a disciple of Acharya Gosarman made an image of Parsvanatha fierced with serpent hood.
Epigraphical Records in Udaygiri: If you walk slowly you will find inscriptions from the Gupta period curved on the cave walls. As per Archeological Survey of India, “Although the archeology of Udaygiri hill was started in 3rd to 2nd century BCE but epigraphical records from the caves and cliff dated back to 4th to 5th century CE. These inscriptions are in Shell script and Brahmi script while a few inscriptions are of 11th century CE with Nagari script and Sanskrit language. Udaygiri is an important site that contains the artistic values and cultural richness of the Gupta rulers. The inscriptions found here are about 12 in numbers, highlighting the political, socio-economic, religious and cultural aspect of the society. The well-known inscriptions are of Cave no. 6, 7, 19 and 20“.
Inscription in Cave no. 6 (Chandragupta cave) is historically valuable. On the cave wall inscription was carved during the reign of Chandragupta II. It indicates the presence of the emperor with his minister of peace and war, Saba Virasena at Udaygiri. The inscription also lets us know about the excavation of a cave dedicated to the God Shambhu. It throws a welcome light on the military expeditions of Chandragupta II against the western Kshatrapa.
There is another inscription which speaks about the victory of Chandragupta II over north-eastern Malwa, ruled by a chief of Sankanika tribe. It was engraved in the Gupta era 82 (c.401-2 CE).
Inscription at Cave no. 19 (Amrit Cave) is engraved on the north face of a pillar located left from the entrance. It contains the date of Vikrama year 1093. The inscription is highly important from the historical point of view as it shows the living tradition that associated with Udaygiri and Chandragupta II after six centuries of his rule. The cave was restored by one pilgrim Kanha.
The Missing Gupta Temple: Udaygiri hills is a huge complex with full of surprises. Remnants of a temple complex is usually missed by the tourists due to lack of information available on the internet. The area was unearthed during an excavation 1914. There is very little information about this impressive Gupta temple. Early Gupta period temples usually have a high plinth, a small covered porch with columns and a covered path that extends around the building.
After walking stone stairs and stony path you will find magnificent work from Gupta period. The complex is thought to be a temple. Remains of very high plinth and broken columns probably the side pillars
To your left broken pillar with lions carved on it can be seen. On the top of it there was four lion statues which was moved to Gujari Mahal Museum in Gwalior in late 1920s.
Visit to Udaygiri Caves is a must for the tourists to learn about ancient India. Other historically significant places nearby Udaygiri are Heliodorus Pillar, Ramgarh (seven rock cut caves are there belonging to Gupta period) and Sanchi.
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