Cave 4 is one of the four rock-cut cave temples carved into a red sandstone hill near Badami in Karnataka, India. As the name suggests, it is the fourth cave encountered from the main entrance through which visitors enter the cave complex.
Explore the following pages for a detailed explanation of the other three caves:
| Cave | Dedication | Reliefs |
|---|---|---|
| Cave 1 | Shiva | Nataraja, Dwarapala, Ardhanarishvara, Harihara |
| Cave 2 | Vishnu | Varahavatara, Vamanavatara |
| Cave 3 | Maha Vishnu | Maha Vishnu, Ashtabhuja Vishnu, Varahavatara, Vamanavatara, Narasimhavatara |
Facade and Entrance
Cave 4 is the
Unlike the other three caves, which are Hindu temples, Cave 4 is a Jain temple and is a testament to the peaceful co-existence of different religions in ancient India.
Layout and Access
Just like the other three caves, the garbhagriha (inner sanctum) is at the rear of the cave. In front of it are three successive halls: 1. Antarala (ante-chamber) 2. Sabhamantapa (main hall) 3. Mukhamantapa (verandah). The ground plan on the left shows the arrangement of these spaces.
The
Today, the only access to this cave is through a flight of steps from Cave 3. However, when the temple was originally built, it could also be approached from the eastern side.
Mahavira: The 24th Tirthankara — Serene and Enlightened
The image shows a sculptural relief of a Tirthankara, most-likely Mahavira, seated majestically on a lion throne carved of the back wall of the
Mahavira is seated beneath a chaitya
Note: The word tirtha means a ford — a shallow crossing of a river or stream — and Tirthankara means ford maker. In Jain philosophy, a Tirthankara is an extraordinary being who understood the true meaning of samsara (continuous cycle of life, death, and rebirth) and obtained Kevala Jnana (Omniscience). He is a teacher who builds a ford for others (i.e., guides) to follow the path from samsara to moksha (liberation from S
The Majestic Figure of Adinatha — the First Tirthankara
The image shows a life-size sculptural relief depicting Adinatha (also known as Rishabhanatha), the first of the 24 Tirthankaras of Jainism, carved into the left sidewall of the
Adinatha is a
Note: One of the distinguishing features of Adinatha’s iconography is the presence of these flowing locks, which help identify his sculptures
Parshvanatha: The Serpent-Crowned Tirthankara
The image shows a life-size sculptural relief of Parshvanatha, the 23rd Tirthankara of Jainism, carved into the interior walls of Cave 4.
Parshvanatha is the successor of Neminatha and the predecessor of Mahavira, the most well-known and final Tirthankara. Historians believe that both Mahavira and Parshvanatha were historical figures.
Born in the holy city of Varanasi, Parshvanatha lived around 877 BCE and attained moksha on Mount Summeta (present-day Madhuban in the state of Jharkhand, India).
In this relief, Parshvanatha is depicted as a
Bahubali: The Ascetic Prince
The image shows a life-size sculptural relief depicting Bahubali carved into the interior walls of Cave 4.
Bahubali is one of the 100 sons of Adinatha (Rishabhanatha). Although Bharata, the eldest, was heir to the throne, Bahubali challenged him for sovereignty.
According to Jain tradition, Bahubali defeated his brother in three non-violent games. However, realizing the futility of worldly power, he renounced everything in disgust and lived the life of an ascetic. He is said to have meditated by standing up unclothed for twelve years to attain moksha. Because he was completely motionless, vines grew around his legs and body — a distinctive feature of Bahubali’s standard iconography, which portrays him standing nude with his body encircled by vines.
The Devotion of Jakkave
The relief shown in the image depicts a pious Jain nun named Jakkave, who is believed to have attained moksha through sallekhana. She is seated beside Mahavira, who is depicted with his standard iconography.
The carving of Jakkave appears on the right sidewall near the entrance to the cave.
Note: Sallekhana is a religious practice in Jainism in which a person gradually renounces food and bodily comforts while rigorously following certain vows to reduce human passions and attain spiritual purification.
Echoes of Jain Heritage
Though the smallest of the four caves, Cave 4 holds profound spiritual and artistic significance. The cave’s layout follows a traditional plan with a sanctum and successive halls, and its walls are adorned with life-size sculptural reliefs of Mahavira, Adinatha, Parshvanatha, and Bahubali, each rich in symbolic meaning. The presence of the Jain nun Jakkave further highlights the depth of devotion represented in the cave. Together, these carvings reflect the philosophical ideals of renunciation, enlightenment, and liberation, offering visitors a serene journey into Jain heritage preserved in stone.
Related Pages
– Badami, Cave Temples of Badami, Cave 1, Cave 2, Cave 3
– Durga Temple at Aihole
– Belur Chennakeshava Temple – Bracket Figures
– Belur Chennakeshava Temple – Navaranga
– Belur Chennakeshava Temple – Garbhagriha Outer Wall
– Belur Chennakeshava Temple – Kappe Chennigaraya Shrine
– Hampi Virupaksha Temple Murals
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