UDAYAGIRI

Udayagiri (Lat. 200 39’ N and Long. 86 0 16’E) is located at a distance of

about 90 kms from Bhubaneswar and can be approached through NH-5A upto
Chandikhol, where from taking a right turn a distance of about 11kms in the
NH-5A. The road branching at Krishnadaspur on the left side leads to the site
over a distance of 12kms on the way to Ratnagiri. It is 7.5kms from Lalitagiri via
Bandareswar and Kalasri Gopalpur. The site is situated in the foot hills of the
eastern most peak of the Assia range in Darpana tehsil of Jajpur district. Two
arms of the hill, one extending to the north-east and the other to the south-
east form a bay opening to the east that provide a scenic beauty with a lush
green backdrop of the hill. As ascertained from the antiquities of the site
chronologically the Buddhist establishments at Udayagiri is the youngest
among the three Buddhist centres of the Diamond triangle. For a long time
since 1870 when the site was first reported by C S Banerjee, deputy magistrate
of Jajpur, till 1985 when the Archaeological Survey of India took up the work of
excavation, the site was a den for the treasure trovers and antiquity hunters.
Archaeological Survey of India conducted excavations in two phases from 1985
to 1989 and from 1997 to 2000 in two different locations of the site and
brought to limelight two magnificent Buddhist monastic complexes namely,
Madhavapura Mahavihara (Udayagiri-1). Simhaprasta Mahaviharas (Udayagiri-
2) as known from the monastic seals recovered during excavation of the site.

The remains spread over an extensive area with the backdrop of the hill
on three sides and opening to the east overlooking the river Birupa. There is a
rock-cut well surrounded by a stone pavement with two monolithic pillars in
the site that one encounters on approaching the site. A flight of 31 steps leads
down to the water body. The well has an inscription script bearing the
character of the 10th – 11th centuries recording that the well was dedicated by
one Ranaka Vajranaga.

The area on natural tennace gradually sloping towards the well which
was considered extremely rich in antiquarian wealth remained in obscurity
under thick jungle cover till 1997 when Archaeologists spade once again
touched the soil of Udayagiri.

In the winter of 1997 Excavation Branch of the Archaeological Survey of

India from Bhubaneswar took up Excavation there under the Direction of B.
Bandyapadhyay. The objective behind this work was to unravel the antiquarian
remains hidden under thick jungle growth at the natural slope about 100 m
away from the ancient well through an area excavation and to co relate the
findings with the previously excavated materials found from Udayagiri.

After clearance of the jungle extensive remains of a magnificent complex

have been exposed consisting of a monastery, a shrine complex and a walled
reservoir. The monastery is square on plane measuring 30 Sqm. In its
construction well-baked brick was primarily used while use of stone has been
notice in door, count yand, stair case, supporting pillars etc. Entrance to the
monastery is obtained from the north where an elabonate gateway evidently
existed. Frontage of the monastery had a stone paving, there after the ponch,
root of which is mixing. The entrance portion badly damaged but its grandeur
and architectural beauty can be judge from the projected side with elegantly
carved niches in which figures of guardian were placed. An image of Hariti has
been found in site dated to 8th – 9th century A.D. On the eastern eall niches
sitting in alitasana on cashion seat yakhi bolds a pomegranate in her right hand
while the left hand touches lap where badly damaged figure of a child is
placed. The image in its simplicity of form, chaste beauty and vibrant
sensuousness speak frequently of the aesthetic excellence of the Buddhist art
in Odisha. The niche on opposite side is devoid of the image, in all probability it
enshrined the image mentioned as vaisnavana collected from this place and
donated to the Indian museum by local person. The main gateway to the
monastery is totally bare now, only huge blocks of stone laid on the passage
with holes for fixing door bear witness to its existence. During his visit in 1870
CS Banerjee found the gate at its place and left a vivid description of it. In 1875
became came to the site and in order to save it from the vandals removed it to
cuttack where it was placed in the public garden at cuttack at present it is
housed in patna museum.

After crossing the gateway countyand is reached. The 16 S.q.m

countyard has been found paved with irregular flag stones many of which since
ret noved. At a certain stage during living pd of the monastery the level of the
countryand was probably raised because no further traces of any earlier
activity has been found. No evidence of a kerb has been found. There is a 2.4
m broad runningverandah in front of the cells on all sides, traces of brick soling
have been noticed on the pathway. The vernandah had it roof held over pillar
evidence of which has been found.

The central shrine, a brick chamber enshrining a massive seated Buddha

image is located at the centre on the southern side facing north. It has been
found in a bad state of preservation with no trace of root, the huge stone lintel
of the gate fallen inside obstructing the passage. Wall with cracks all around
and a sinking floor. The chamber has a dimension of 3.75x2.75 Sq.m. While the
site wall have a thickness of 1.5 m. The 2.60 m high image of Buddha seated in
bhusparsa mudra is made of stone blocks, some detached from proper place.
Pedestal of the image rests on the stone paving, it has mark of repair, floor has
been made over boulders and stone chips, use of two course brick soling has
been noticed below stone paving. Even in a ruined state the image inspires
awe and reverence and can be dated to 8 th-9th century on aesthetic
considerations. An ambulatory path 1.4 m wide around the shrine chamber is a
novel feature of the monastery for ventilation two vaulted windows were
provided on the back wall which were totally closed at a later date. Another
interesting discovery is the existence of an upper shrine chamber on the first
floor just at the back of the central shrine on the southern back wall of the
monastery. The chamber 2x2m in dimension has been found provided with a
stone pedestal, the enshrining deity mission. Originally floor of the chamber
was paved with stones later on stone were covered with rammed brick jelly,
pathes of lime plaster have been traced on the floor. Arrangement of the cells
has been found in the following order two each or both wings of the central
shrine in the south, three each in the east and the west while three in the
north.

The cells have a narrow low height opeining 1.5 x 0.7 m made of stone
blocks inside are around 2.90x 2.70 m with minor variations, floor made of
random brick laying on brick soling, in some cells use of brick tiles also noticed.
Height of roof could not be accurately ascertained as no celling exists but
measured not less than 3.60m. The ceiling made of brick tiles rested on
wooden becomes and rafters, then are gaps on the walls to hold them. The
wall have been unearthed in a good state of preservation serving the heavy
weight of debris probably due to their thickness and extremely good quality
bricks. A significant thing noticeable in this monastery is the use of long anches
in the shape of a vaulted passage particularly noticed formation of 2 m high,
1.44 m long and 1.70 m wide arches on the window part over an unusually
high left sometimes more than 90 cm high from the floor level. The excellence
in manastry over architecture achived by the engineers of this monastery is not
be eloquently praised when the arches are visualized in their original shape
even today serving the ravages of time for over a thousand years. Another
important factor lies in the discovery of an inner secret chamber provided
below the floor of the left on the window side towards west. The secret
chamber 83.5 x75 x 98.5 cm probably served the purpose of treasury. Towards
north-east certain novel & centres have been noticed because here the only
room has stone flooring, a drain ushering from the county and passed through
it raising the possibilities for morn serving the purpose of toilet of the
monastery. Excavation of the monastery its peripheral area has been
excavated. On the area to the eastern outer side of the monastery in a trench
laid towards the edge of the mound foundation of stone structure has been
found with a view to tracing the link between the monastery and the area on
the north-west of the mound where an assemblage of votive stupas has been
noticed and a massive images of Avalokitesvana stands over the ground
through excavation of the area has been undertaken. The area which may be
termed as the Avalokite svana area primarily consists of shrine zone. The
enclosed elevated shrine complex has its opening towards east access
obtained through stairs lowest two steps of which are in stone being intact.
While the upper steps in brick are totally dilapidated inside area consists of a
courtyard with a running verandah, floor of which is still retained evidently
stone pillars hold the root between the passage and sanctum cells as well as
carved niches, remnants have been found. The wall inside had provision for
holding images within carved niches. Situated at the corner almost adjacent to
the outer wall of the monastery is an interesting find in the form of a huge
reservoir which has its floor on the rockbed. Its inner dimension is around 6.70
x 6.20m while the depth is slightly more than 2m on its northern site a wide
brick platform is noticed, wall of the tank is sloping here by use of special
shaped bricks. The tank surely had it use in dry seasons.

SCULPUTURE AND IMAGES OF UDAYAGIRI-2

Udayagiri-2 has yielded a host of antiquities which are varied and

distoinet. Besides the massive Buddha image in the central shrine and the
Haritiin situ on the 4 nontal niche, the standing Avalokitesvana on the shrine
area deserves special mention cut on a single piece of stone this image is a
remarkable piece of sculpture even in its partially damage state. Delineation of
form displayed through soft contour of body is reminiscent of the gupta
classicism in its eastern version already noticed in some of the earlier
sculptures from Lalitagiri. There is a twenty five line Nagari inscription in
characters of the 8th century on back side which opens with the Buddhist creed
and evidently contains an extract from some text. The god standing erect with
a slight bend of the body is four armed holding, right upper water pot and the
stalk of full blown lotous is held in the lower arm. He is princely ornamented,
has an elaborate jatamukta the centre of which is embellished by a figure of
Dhyani Buddha Amitabha. On the top of slab are seated seven manusi Buddhas
inside beautifully carved niches. Below on right corner is seen headless Tara in
youthful form holding a lotus in one of her hands, then hand is engaged in
opening its petals. The male figure on left lower its siterce looking, dwantish
wearing on animal skin. It is front arms are placed against chest in a mudra
while the back right hand is upraised in the form of salutation, the lower left
arm is placed below on the top of a staff. This can be identified as an image of
Itayagriva.

Decoration of the back slabe is interesting because it is suggestive of a

forest environment, as along with creepers animals like elephant, monkey and
even a lion peeping out of a cave are noticed. On the back slab over the right
arm a goddess is placed holding stem of a lotus is one arm, object in the other
arm is idistinct over the left arem on a niche is placed another goddess on a
lotus seat holding in front right aksamala, the other arm is upraised in a mudra.
A lotus is placed on the left upper while a Kamandalu is on the lower arm
resting on lap. On tap of this figure on extreme left is placed a male figure in
Maharajalilasan whose left arem touches the seat while a lotus is held in the
right arm. Three garland bearing lean and thin figures are noticed on the
backslab below the row of the manusi Buddha. There is a twenty five line
Nagari inscription on the back side of the image containing the Buddhist creed
and some mantras. This partly damaged image of 8 th century occupies a
distinct place not only on stylistic ground but also to understand the
development of tantric Buddhism on Odisha. On the Basis of our knowledge on
evolution of Buddhism it is known that due to the added influence of
tantrayana worship of a pantheon of gods and goddesses spread in Buddhism
and various sects developed among the mahayanists. One of the main centers
of this tantric of worship was Nalanda Mahavihara. The exvavated antiquites of
at Ratnagiri throw a flood of light on the development of art and iconography
where wide prevalence of little known tantric gods and goddesses is noticed in
this part of Odisha. Later discoveries of Lalitigiri and Udayagiri have proved
that this region served as a flourishing centre of Buddhist learning and culture
through the monasteries. Along with religious tenets ant and architecture also
reached their prime glory, some remains of them making the viewer spell-
bound by sheer charm and elegance. Therefore Ratnagiri, Udayagiri and
Lalitagiri play a major role in the evojution and development of art in Odisha.
Sadhanamala occupies a major place in the development of uddhist
iconography because it contains the description of images according to the
respective dhyana.

Several such images have been found from Ratnagiri and Udayagiri
giving rise of the area that this form was very popular in these monastic
centres. A recently discovered massive image found while digging below
foundation of the Mahakala temple at Ratnagiri is unique. The excavated
antiquities from Udayagiri are mainly in stone, terracotta and metal numerous
stone image of Buddhist deities have been found. Among the goddesses image
of chunda deserves special mention. One such image display the goddess
seated in Vajrapanyankasana holding a flat plate in her two lower hands on
aksvamala left holding a Kamanadalu. It may not be out of place here to
mention that worship of the goddess in various forms was prevalent in the
vajnayana Buddhist centres of eastern India. A good number of inscribed stone
have been found which mostly contain the Buddhist creed and dharanis. The
terracotta objects mostly contain inscribed seals large number of which are
badly weathered, therefore illegible. Their importance however lies in the
reading of some of them clearly indicating the name of the monastery as “Sri
Simhaprastha Mahavihana” in characters of 10th century A.D. some of the seals
contain the Buddhist creed dharanis etc. Use of symbols like lotus, flame and
conch have also been noticed. Some animal figurines have also been found is
terracotta.

These images so far the biggest early metal sculptures discovered from
this region, are represented by an image of Buddha and a Buddhisattava. The
first one a standing Buddha – 36x10x6 cm two armed, showing abhaya in the
right while the left arm is missing from elbow. Strictly frantal pose, placed over
a pedestal with the help of struts, pedestal badly broken and detached. The
second one is a standing Bodhisattva two-armed both broken below elbow. He
is princely ornamented, matted hair is surmounted by a conical crown. The
slender figure with a suggestion of movement is graced by the facial charm. At
the time of discovery the image was found detached from the pedestal, after
chemical cleaning reinstalled. It measures 30.5 x 6.5 x 3.5 cm without pedestal.
Both the images can be attributed to 9th century A.D on stylistic considerations.

Other metal objects include iron implements like sikles, door bolt and
spear head etc. Pottery has been represented by mainly two warex, i.e, grey
were and red ware, main shapes are jar, small vases, high neck pots, bowls,
sprinklers, miniature pots, lamps, dishes, basins, carinated handis, large
storage jars etc.

The existence of some rock-cut sculptures on a hill top at Udayagiri,

though known to the scholars didn’t find much mention in the publications
perhaps due to the maccessibility. During the course of encavation at Udayagiri
-2 the hilly terrain was cleared of vegetation and an approach formed for the
cliff towards south-west of the newly discovered monastery. Though known to
the local villagers as solapuama these rock cut sculptures depicting Buddha.
Buddhisattva Avalokitesvana and Tantric goddess were almost obscured due to
indiseriminate application of oil and vermilion. The sculptures have revealed
their hidden beauty after thorough cleaning and certain unique features have
been noticed. There are almgether give images and an inscribed stupa from
left to right they are a standing Bodhisattva, Avalokitesvana, a standing
Buddha, inscribed stupa, a goddess scatted over a stupa, a standing
Bodhisattva. The standing Avalokitesvana on extreme left is two armed
showing varada in his out stretched right arm while the frontally extended left
ones holds the stalk of a lotus.

The next image is that of standing Buddha which though looks some
what over the indicating excessive stylizations yet contains the elegance of
form. There is stupa in low relief next in order containing some inscription. The
image of the goddess located in third position from left is very interesting. The
image of standing Avalokitesvara bearing cognate characteristic features with
the other image of the same deity. The last one being that of a seated
Avalokitesvana is quite interesting. The god princely ornamented, site in
lalitasana over a double pedalled lotus placed on a stool, right hand display
vanada while left hand is place on the pedestal from which the stalk of a lotus
emerges. The most curious thing in this composition is the depiction of
thirteen seated figures in different postures placed above head and both sides
of the main figure. The conception is unique and no identification basing on
tests has been possible. The image exhibits superb modelling and graceful
charm.
 CONCLUSION

The approach from the rock-cut well towards north leads to a natural
terrace where the archaeological excavations conducted from 1977-2000
unearthed an extensive monastic complex and a walled reservoir, which was
originally covered under a thick jungle. The monastery, square on plan
measuring 30 sqm, was constructed of well baked bricks. The monastery,
facing towards north, has the usual plan of a spacious stone paved central
courtyard, which is surrounded by verandah leading to cells on all the four
sides. The entrance is badly damaged. However, it was from here John Beams
shifted an ornamental gateway in 1875, which is now housed in Patna
museum. The central courtyard, measuring 16 sqm, is surrounded by a
verandha of 2.40 m wide running on all sides. The central shrine cell located at
the centre on the southern side and facing towards north enshrines a massive
image of a seated Buddha in Bhumisparsa mudra. Made of separate blocks of
stones the image in its simplicity and damaged conditions is perfect piece of
art that still inspires spirituality, encountenence and reverence. Stylistically it is
dated to the 8th – 9th centuries AD. There is an amulatory path
(Pradakshinapatha) of 1.4 m wide around the shrine, which is a unique feature
not found elsewhere in Odishan monastic establishment. The monastery has
altogether 13 cells, arranged in two each on the both sides of the central
shrine in the south, three each in the east and the west and three in the north.
Inner walls of the cells having provision of niches with vaulted roofs were
probably use for keeping lamps, personal belongings of the monks. The
scheme of vaulted arches used in this monastery is an architectural marvel
exhibiting the excellent structural engineering of the 8 th – 9th century Odisha.
The only cell with stone paved flooring and drain passing through it from the
central courtyard in the north-east corner was probably serving the purpose of
a toilet of the monastery as supposed by the excavator. Next to the toilet cell is
a flight of steps in stone giving access to the upper storey. The stair case in the
north-east corner and the ruins of an upper shrine on the southern wall amply
suggest that the monastery was originally a double storied structure, which
served the establishment for more than four hundred years with evidence of
repairs and renovations.

On the north-east frontal area of the monastery several brick structures

have been exposed. However, excavation of the area on the north west of the
monastery exposed several votive stupas along with a massive image of
Avalokitesvar measuring 2.40m high. The Avalokitesvara area as the excavator
designates primarily contained shrines within enclosure walls that opens
towards east. Another interesting structure of Udayagiri-2 is a huge reservoir in
the south west corner or the outer wall of the monastery. Its inner dimension
depth of 2m, which certainly served the monastery in dry season.

Another important attraction at Udayagiri is a gallery of Buddhist rock-

cut images situated on the top of the western spur, overlooking the Birupa
river locally known as “Solapuamaa” these rock-cut images in rock-cut niches,
five in number, from left to right are, a life size standing Boddhisattva,
Avolokitesvar, a standing Buddha, a goddess seated over a stupa, a standing
Boddhisattva and a seated over a stupa, a standing Boddhisattava and a seated
Boddhisattva. The Avalokitesvar on the left bear two inscriptions, while the
first one is the popular Buddhist dharini the second one records that the image
was gifted by one Simyaka. The two armed Boddhisattva stands in a flexed
pose with his right hand varada and the raised left hand holds the stalk of a
lotus. He has a beautifully carved tall jatamukuta. The second image is that of
standing Buddha with his right hand in varada. His pose equally flexed like that
of the Avalokitesvara. There is stupa in low relief next in order that has same
inscription. The third figure, smaller than the standing images, is a seated four-
armed kurukulla with the dharani inscribed just below her seat. She is seated
on a visvapadma in lalitasana beautifully carved with youthful grace and
elligance, bedecked with ornaments and a bun shaped chignon as her head-
gear. The fourth figure is another standing Boddhisattya with his right in
varada mudra. He holds lotus in his left hand. The last image is a seated
Majusri, locally called as “Solapuamma” or the mother of sixteen sons carved
in relief in the background, which are smaller in size. Though there are only
thirteen figures representing five Tathagata Buddhas on the top edge being
surrounded by eight Boddhisattvas forming the mandala the local people call it
sixteen and Manjusri who is male deity as a mother. The central figure
Manjusri seated in lalitasana with his right hand resting on the knee is varada
mudra. His left hand placed behind the thigh holds the stalk of a lotus which
carried a manuscript / book on it top. At Udayagiri-2 have led to the discovery
of the remains of a brick-built, double monastic complex with
Pradakshinapatha around the sancturm, vaulted windows and an upper shrine
chamber on the first floor.
 A massive shrine complex exhibiting niches on its wall enshrining
complex exhibiting niches on its wall enshrining Buddhist divinities around a
large inscribed image of Avalokitesvana, who predumbly was the presiding
deity within an enclosure wall a stone platform is topped bay an apsidal
chaityagirva subsequently converted to a rectangular one with images of lion
and a host of masorry and brick stupas.

A large number of sculptures of the Buddha and other Buddhist divinites

like Tara, Manjushri, Bhrikuti, Hariti, Chanda, Avalokritesvara, Maiterya,
Aparajita, Virochonereda, Vasudhara etc., have been discovered along with
many anoquities of stone, terracotta and metals. The site is dated from the 1 st
– 2nd centuries A.D to 13th century A.D.