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13 km from Sanchi and 4 km from Vidisha are a group of rock- cut
cave sanctuaries, carved into a sandstone hill that stands, sentinel
like, on the horizon.
An inscription in one of these states that it was produced during
the reign of Chandragupta II (382-401 AD ), thus dating these caves
to 4-5 AD.
The caves possess all the distinctive features that gave Gupta art
its unique vitality, vigour nd richness of expression, the beautifully
moulded capitals, The treatment of the intercolomination, the design
of the enterance way and the system of continuing the architrave
as a sting course round the structure.
They have been numbered probably according to the sequence in which
they were excavated, beginning with came 1, which has a frontage
adapted out of a natural ledge of rock, thus forming both the roof
of the cella and its portico.
The row offour pillars bear the 'vase and foliage' pattern, of which
the eminent art historian, Percy Brown, so eloquently says; ' the
gupta capital typifies a renewal of faith, the water nourshing the
plant trailing from its brim, an allegory which has produced the
vase and flower motif, one of the most graceful forms in Indian
architecture' .
Characterised by richly carved facades and doorways, the shrines
are progressively more spacious and more ornate. Cave No.9 is remarkable
for its large cella and massive, 8 feet high pillars, its long portico
and pillared hall.
Throughout, there is evidence that the master craftsman of Besnagar
Practised their art with skill and artistry under the Guptas, four
centuries later. Cave No. 5 is awe- inspiring in the sheer magnificence
of the vision of its builders; here, a massive carving depicts Vishnu,
in his Varaha (Boar) incarnation, holding the earth goddess Prithvi
aloft upon one tusk.
Yet another stupendous sculpture is of the reclining Vishnu. Taken
as a whole, this stupendous group is a rich representation of the
vitality and strength of Gupta art and architecture.
