The historic ensemble of Dhamnar

Description

The Dhamnar caves are located on a hill near the village of Dhamnar spread across a span of 5.2 hectares. Dhamnar village is in the Mandsaur district of the state of Madhya pradesh, India. Mandsaur village, formerly known as Dasapura is located 22 km from the location of the caves. This rock cut site consists of a total of 51 caves of varying sizes carved into the laterite hill. The hill consists of two groups of structures, the series of Buddhist caves and the hindu temple complex known as the Dharmarajeshwara temple, also called Dharmanath temple. The series of caves consists of 14 larger caves and 37 smaller caves. The caves consist of dwellings, halls of various sizes, stupas, statues of Buddha in rare postures and displays of craftsmanship in the works with the stone imitating the details of wooden elements and decorative designs. The dwellings demonstrate features of large doorways and window elements. The temple complex is situated 170 feet away from the north of cave number 12 of the Buddhist set of caves. The pit of the temple complex is measured to be 170 feet long, 66 feet broad and 30 feet deep. The southern side of the hill has a crescent shape, where the entrances to the caves are found. The caves have been mentioned by three different accounts of explorers James Tod who visited the site in 1821, James Furgusson in 1845 and later by Alexander Cunningham who visited the site in 1864-65. Each of the authors have made descriptions of the caves and have mentioned the count of caves as per their findings.

Justification of Outstanding Universal Value

The grand Dhamnar Buddhist caves were cut between the 5th-7th century CE, which falls under the second wave of cave constructions in India. A series of 51 caves that are cut out from a hill of coarse laterite stone with dwellings and monasteries are found facing the south direction. The 51 monolithic caves were not constructed in a traditional way but rather were hewn from a living rock. The development of the caves and its planning principles as a strong response to the geographical context, is a sign of remarkable workmanship. The monolithic spaces were further chiselled out, forming elements such as grand doors with carvings, columns, various levels and religious sculptural symbols. The caves also include secluded spaces for monks known as Viharas. The Viharas are fairly simple volumes with a lack of ornamentation.

Criterion (ii):  Built around 1123 years ago, a series of 51 rock-cut Buddhist caves, stupas, Chaityas, passages and compact dwellings were carved in the 5th, 6th and 7th century CE which is also the second wave of cave construction in India (Dr Oza Preeti, 2021). Made over a hill composed of coarse laterite stone, also the development of the Bhramanical rock hewn in the shape of a temple, the Dharmaraajeshwara temple.

The exchange of knowledge with respect to its resemblance to the Ellora cave’s structure and elements. A connection and network to pilgrimages across regions within the country. Representation of Buddha by motifs and sculptures as a form of religious symbolic art, especially in the rare depiction of Buddha in the state of Nirvana.

Criterion (iv): Rock-cut architecture with features found in earlier Buddhist caves with a planar composition of stupas, Viharas, Chaitya and Chaitya-Vihara layouts of caves with dwellings. With most caves decorated with motifs and sculptural ornamentation resembling wooden elements of architecture, representing Gautama Buddha’s image. The stupa with three-tier chhatra is also to be found. Caves found with no iconic elements or ornamentation which indicates to possibly belong to the Hinayana Sect of Buddhism. The caves in Dhamnar bear witness to two religions, i.e. Buddhism and Hinduism with the presence of the Dharmarajeshwara temple, as they illustrate the spirit of tolerance, which permitted the religions to establish their sanctuaries and their communities in a single place, which thus served to reinforce universal value.

Statements of authenticity and/or integrity

Authenticity
The authenticity of the Dhamnar caves has been preserved by retaining its association to its immediate context and natural setting. Effects of degradation from water damage and vandalism are observed to have some parts in poor condition of preservation. The originality of the forms and designs of the spaces as per its earlier use and purpose of function has remained unchanged. The representation of the faith through its carvings and craftsmanship and the use of numerous sculptural depictions of the Buddha are features that establish a resemblance to other buddhist cave structures and monasteries around the globe.  

Integrity
Except for the archaeological excavations that took place to examine the caves, the site lies undisturbed and, as yet, artificially unaltered. The Dhamnar group of caves continues to retain its geomorphological character, the natural formations of its rock shelters, and the ecosystem within its surrounding terrain. Changes, if any, have been through the forces of nature and use of the sites as places of religious and cultural significance by the local communities. The essence of the symbiotic relationship of man and nature through its uninterrupted existence is what represents the property’s significance. This man-nature relationship is reflected in the archaeological finds of the earliest period onwards, and together the rock shelter craftsmanship stand testimony to time, integral to the site, preserving an almost insular evolution of human cultural history within a microcosm.

Comparison with other similar properties

The historic ensemble of Dhamnar, though different chronologically, can be compared to Ellora, Rock shelters of Bhimbetka and at an international level to the rock cut sites of Lalibela in Ethiopia and Rangiri Dambulla cave temple in Sri Lanka. The architecture principles and the religious Buddhist elements and symbols have taken influence from earlier developed Buddhist caves. The sites are very different in scale yet in both the sites, architecture forms a harmonious whole, due to the coherent use of the natural material and techniques leading to a unique architectural style.

At an international level, the Rock-Hewn Churches in Lalibela that belong to the 13th century situated in a mountainous region in the heart of Ethiopia. A set of 11 medieval monolithic churches divided into two main groups, one north to the river Jordan and the others to the south of the river. The entire network of structures are connected by trenches and ceremonial passages.

Another international example is the Rangiri Dambulla, an important shrine in the Buddhist religion in Sri Lanka. It also displays a remarkable example of religious art and expression of its surrounding culture. It is known for its long-standing traditions and Buddhist religious practices and pilgrimage for more than two millennia.

In comparison to rock carved Buddhas at the Yungang grottoes in China, the fusion of Buddhist religious symbolic art with Chinese cultural traditions is a symbol of integration of cultural endurance and influences between two regions. It also displayed the evolution of early Chinese cave art in the region.

The rock shelters of Bhimbetka are proposed as a cultural landscape that is amidst natural landscape and has provided invaluable evidence of evolution of humankind. It also contains artistic value with the presence of rich profusion of paintings within the rock shelters. The contents of the caves revealed a continuity, especially the creative, and finds to have expression in the traditional lifestyles of the surrounding tribes and settlements.