Udaygiri Caves

The Udayagiri Caves (Location) include a portion of the most established Hindu pictures and holy cave temples in India. They are situated close to the city of Vidisha, upper east of Bhopal in the territory of Madhya Pradesh. One of India's most vital archaeological locales from the Gupta period, the Udayagiri slopes and its caves are an archeological site under the security of the Archeological Survey of India.

Udayagiri comprises of two low slopes instantly beside the River Bes. Found a short separation from the earthen defenses of the old city site of Besnagar, Udayagiri is around 4 km from the town of Vidisha and around 13 km from the Buddhist site of Sanchi. Udayagiri is best known for a series of rock cut asylums and pictures unearthed into slope in the early years of the fifth century CE. The site is eminent for its ancient stupendous relief figure of Hindu god Vishnu, in his incarnation as the hog headed Varaha, safeguarding the earth emblematically spoke to by Bhudevi sticking to the hog's tusk as portrayed in Hindu folklore. The site has critical engravings of the Gupta administration having a place with the rules of Chandragupta II and Kumaragupta I. Notwithstanding these remaining parts, Udayagiri has a series of rock sanctuaries and petroglyphs, destroyed structures, engravings, water frameworks, fortresses and residence hills, all of which have been just incompletely examined. The complex comprises of twenty caves, of which one is committed to Jainism and all others to Hinduism.

Cave Complex

Cave 4 has a rectangular cella with a stone cut plinth in which is set a marvellous Śiva linga. The hair is tied up into a topknot with long secures falling each side. The course of action of the hair reviews the tale of how Śiva dampened the fall of the River Gaṅgā as the dilutes originated from paradise. There is a water divert in the plinth and in the floor of the chamber prompting a gap that punctures in the surrender divider. The give in is entered through a passage of lovely extents with carefully cut botanical parchments. The lintel of the entryway stretches out past the frames to make a T-shape, a typical normal for early sanctuary design. Not at all like most entryways, be that as it may, the casing comprises just of square embellishment, indistinguishable on the best and sides. The base of the supports and the ledge are present day substitutions. Remotely, the buckle is flanked by shake cut pilasters and two watchmen (dvārapāla) now harmed and climate worn.

Ekmukhlinga

                                               

Cave 13 contains a vast figure of Nārāyaṇa, the prostrate figure of Viṣṇu resting. Prior to the specialty are two shallow break in the floor. These got column bases for some kind of yard. There is a shallow vertical break over the give in, coordinated by a comparative break in the inverse bluff face, recommending that there was some kind of compositional shade divider over the entry now. The buckle has gotten a current in screen, an extraordinary deformation. 

Adjacent to the picture of Nārāyaṇa is a bowing aficionado, and it has been contended that this figure is a delineation of Chandragupta II himself, symbolizing his dedication to Viṣṇu.

Chandragupta II bowing to Narayana

      

Sleeping Narayana

Cave 5 is a shallow specialty more than a cave and contains the abundantly praised figure of Viṣṇu in his Varāha or Boar-headed incarnation. The mind boggling iconography of the scene has been clarified by Debala Mitra. Willis has portrayed the alleviation as the "iconographic focus bit of Udayagiri". 

When the demon attacked mother earth and tried to submerge her under water, Narayana incarnated himself as the Varaha or the boar headed and lifted mother earth on his tusks, thereby punishing the demon,

In picture two it is clearly visible that the demon is begging for his life while the other Devs and Devis are watching.

Varaha saving Bhudevi

Demon getting punished

Devs and Devis

Bhudevi rescued by Varaha

                                     

Cave 14, the last cave on the left hand side at the highest point of the section. It comprises of a recessed square council of which just two sides are saved. The blueprint of the chamber is obvious in the floor, with a water channel penetrated through the divider on one side as in alternate hollows at the site. One side of the doorjamb is saved, demonstrating pillars with subsiding faces however with no alleviation cutting.

Cave 14

Some Miscellaneous Caves and carvings

Gateway

3 Shrines

Mahishasur Mardini

Cave 6 is specifically next to Cave 5 and comprises of shake slice cella entered through a detailed T-formed entryway. The first picture inside is missing yet it was presumably a Śiva liṅga. Outside the cave is a board with an engraving recording the making of the 'worthy blessing' (deyadharma), likely the cave and the contiguous pictures, in Gupta year 82 (401 CE).In the roof of the cave is an undated explorer record of some person named Śivāditya.

The entryway watchmen flanking the passage are viewed by workmanship history specialists as among the most capable works of early Gupta design. Close to them, on either side, are figures of Viṣṇu and of Śiva Gaṅgādhāra, the last much worn from the falling of water over the picture. Of extraordinary note is Durgā killing the Buffalo Demon, one of the most punctual portrayals of the topic in India. Of unique note additionally is the figure of situated Gaṇeśa, to one side of the cave entrance, and the rectangular specialty with situated goddesses, situated to one side. Beside this being the most established datable Gaṇeśa in India, the game plan, with a protected sanctum in the inside, Gaṇeśa on one side and the mother goddesses on alternate, augurs the game plan of sanctuary space in consequent hundreds of years.

Durga Killing Buffalo Demon

Narshimha

Dvarpala

Shiv ling

Horse carving

Lord Ganesha