Ellora Caves - Maharashtra 🇮🇳 India Sacred Place

The Ellora Caves are an impressive complex of Buddhist, Hindu, and Jain cave temples built between the 6th and 10th centuries AD near the ancient Indian village of Ellora. The caves at Ellora were carved out of the vertical face of the Charanandri Hills between the 6th and 10th centuries. The carving work began around 550 AD, about the same time the There are 34 caves in all, 12 Buddhist caves dating from 500 to 750 AD, 17 Hindu caves dating from 600 to 870 AD, and 5 Jain caves dating from 800 to 1000 AD. The caves are numbered roughly chronologically, starting with the oldest Buddhist caves at the south end. The Buddhist caves are used for study, meditation, communal rituals, eating and sleeping. The nobility, serenity, and grace of Buddha are visible in the Buddhist caves. The facade of cave number 11 is starkly bare, except for the two handsomely decorated entrance pillars at the lower level. Here on the left, Bodhisattva Akta sits in a yogic pose, on the seated Buddha in the cistern chamber. The second floor corridor faces onto a large open court. Around the trilobed opening to cave number 10 are beautiful triads, each composed of a male and two female celestials, converging upon the axis of the arch. The magnificent cave number 10 is known as the Carpenter's Cave because of its imitation of wooden beams carved into the ceiling. The main hall, with its impressive colonnade, is focused upon a huge teaching Buddha, seated on a lion throne. The elaborate facade of cave number 9. The ornate arches of the upper level facade house statues of seated Buddhas. Outside the cave, the deity Yaksha Jambala sits with his wife Haridi, who holds one of her 500 children on her lap. A panoramic view of the Buddhist cut rock from cave number 1 to cave number 9. In the cave's main shrine, Buddha faces the monk's cells. This cave has a circumambulatory passage around the shrine. The Ellora caves were built at a time when Buddhism was on the decline in India, and Hinduism was beginning to reassert itself. The Brahmanical movement was especially powerful under the patronage of the Chalukya and kings, who oversaw most of the work at Ellora, including the magnificent Kailasa temple built in the 700s. The caves at Ellora contain some fine specimens of cave temple architecture and exquisitely adorned interiors. These caves were used by Buddhist monks as places of worship and residence. The caves were initially excavated in western India. Some examples of this type of cave structure are the Buddhist chaityas and viharas. Most of these multi-storied structures, equipped with living quarters, sleeping quarters, and kitchens, served as viharas or monasteries for Buddhist monks. Cave number 7 is a large cave supported by only four simple square pillars of a very reduced design. Neither the 12 cells nor the shrine, defined only by a slightly more complex doorway, were ever finished. Cave number 5 is interesting because of its unusual plan and size. It is over 35 meters from front to back. It has long parallel carved benches running down its center. The doorway to cave number 2 is flanked by huge bodhisattvas, topped by converging dwarfs. The pillars in the complex hippo-style hall have cushioned capitals and are decorated with dwarfs and rich friezes, with kirtimukhas, or faces of glory, and garlands. Created during a time of prosperity and revival of Hinduism, the Hindu caves represent an entirely different style of creative vision and skill than the Buddhist caves. The Hindu temples were carved from top to bottom and required several generations of planning and coordination to take shape. There are 17 Hindu caves in all, carved between 600 and 870 AD, grouped around either side of the famous Kailasa temple. From cave number 15, the Nandi Mandapa, a temple for devotion to the sacred bull Nandi, can be seen. Cave number 15, called the Dasavataras, or Ten Incarnations of Lord Vishnu cave, is one of the most impressive caves. The period between the 4th, 5th, and 6th centuries AD witnessed a powerful resurgence of Hinduism after it became the official religion of the Gupta Empire. This revival gave rise to a flourishing of Hindu art, as can be seen by the emergence of innumerable sculpted images of popular Hindu gods and goddesses. The splendidly decorated cave number 14 reflects the increasing focus on feminine divinities and Hindu devotion. This cave is popularly known as the Ravana Ka Kai, or Ashes of Ravana. The plinth supporting the porch at the main entrance to cave number 17 was sculpted in the style of the early Kalakuri period. The porch has heavy moldings, bordered above with alternating panels of dwarfs and floral sprays. Emphasis on female figures with their attendance, both standing and flying, is clear from the pillar's female brackets. On the wall we see the pot-bellied and four-faced Brahma. Here is the broken tusk deity Ganesha. Shiva's consort Durga triumphs over the buffalo demon. She holds the trident, sword, and kakra, or wheel. The interior space is filled with eight huge pillars, disposed in two equally spaced groups of four on either side of a widened central aisle, leading to the shrine. The facade of cave 18 is enclosed by a court housing the Nandi shrine. The plan of the main hall is simple and functional, with a four-pillared porch leading to a two-pillared shrine antechamber and lingam shrine behind. A representation of Ravapala guards the doorway to the main shrine in cave 19. The main hall has 12 columns. Cave 20 bears the image of Kubera. Its main hall, however, is without sculptures or columns. The porch and main shrine doorway of cave 21 with its Nandi pitha structure in front. Cave 21, the Rameshwara, dates from the late 500s and is thought to be the oldest Hindu cave at Ellora. It is approached through a court with a stone Nandi bull on a plinth in the middle and side shrines. The river goddess Ganga is represented on the columns along the side of the main facade. The cave houses some fine sculptures like the marriage of Shiva and Parvati in the sub-shrine. In contrast to the serene and solemn Buddhas of the earlier caves, the walls of the Hindu caves are covered in lively ba-reliefs depicting events from the Hindu scriptures. All of the caves are dedicated to the god Shiva, but there are also some images of Vishnu and his various incarnations. Cave 22, known as Nilkantha, is notable for its freestanding damaged Nandi shrine and separate shrines for the group of Hindu goddesses called the Matrikas. On either side of the main entrance to the cave stands a sculpture of the fierce looking guard Varapala. Nandi, the white bull on which Lord Shiva rides in its enclosure or Nandi Mandapa, is in the front courtyard. An image of Ganesha with Parvati standing next to him doing penance. The column tall in the main shrine is a Linga sanctuary with a surrounding passageway. A Linga is a symbol for the worship of the Hindu deity Shiva. The use of this symbol for worship is an ancient tradition in India extending back at least to the early Indus valley civilization. The interpretation of what the symbol represents is a source of much debate. Cave 24 houses eight small shrines. All of them are bare except for the lingam structure A sculpture of Ganesha, the lord of beginnings, is in the main hall. A representation of the three-headed Shiva or Maheshamurti is found in the cave's lingam room. The columned facade of cave 25 has a base of Nandi Pitha in the open courtyard in front. A lotus medallion is visible on the ceiling in the main hall. On the ceiling of the vestibule a detail of Surya, the solar deity, on his chariot. The Kubera sculpture is at the entrance to the sub-shrine. Cave 29, dating from the late 500s, has an unusual cross-shaped plan. Inside the walls are covered in large friezes. Pairs of lions guard its three staircases. The Jain caves date from the late 800s and 900s. They reflect the distinctive Jain philosophy and tradition including a strict sense of asceticism. In cave 32 an elephant can be found in the inner courtyard of the Indra Sabha or assembly hall of Indra, the lord of heaven. The Jain caves are not large compared to the others but contain exceptionally detailed artwork. Many of them were decorated with elaborate paintings on their ceilings, fragments of which are still visible. The most notable of the group is cave 32, the Indra Sabha, a miniature of the Kailash temple. The bottom level is plain but the upper floor has elaborate carvings. Four elephants support the porch to one of the entrances. 17 seated Tirthankars or enlightened persons at the entrance to the cave. The pillared open or mandapa hall with its lotus medallion on the ceiling is one of the most interesting rooms. The Ellora caves represent a tremendous achievement not only in terms of their architectural brilliance but also because of the degree of religious harmony that they symbolize. These numerous cave temples and monasteries co-existed and flourished side by side in antiquity reflecting the atmosphere of religious tolerance and pluralism that characterized the period. The ceilings and walls of cave 32, the shrine of Indra Sabha, are embellished with splendid intricate designs and rich paintings. A sculpture of Jinnas is seated in the pillared main shrine flanked by columns. The sides of the courtyard are adorned with lines and friezes depicting elephants. These caves reflect Jain philosophy and traditions especially its strict sense of asceticism. Relatively small they nonetheless present exceptionally detailed artwork. Cave 33 is similar to cave 32 also called the Jagannatha Sabha. Its sculptures have been well preserved. It consists of five independent shrines each with a columned mandapa and a sanctuary built on two levels. The four Jain caves were excavated under the patronage of the later Rashtrakuta rulers. Compared to the other caves at Ellora, the Jain caves are relatively small but their particularly refined artwork is outstanding. The co-existence of structures from three different religions serve as a splendid visual representation of the prevailing religious tolerance of India. Cave 16, the Kailasana temple dedicated to Lord Shiva, is the most impressive of all the caves at Ellora. Excavated in the 8th and 9th centuries AD, this temple is a masterpiece hewn out of a monolith in the Dravidian style. Over 200,000 tons of stone were removed to carve this colossal temple which took over a century to complete. It is some 50 meters in length, 33 meters wide and 30 meters tall. Its gateway, pavilion, courtyard, assembly hall, vestibule, shrines, pillars and panels are all carved out of the same enormous rock. All the carvings are done on more than one level. A two-storied gateway opens to reveal a u-shaped courtyard. The two large monolith pillars in the center of the courtyard are probably flagpoles. They are decorated with various geometric designs and molds. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels and alcoves containing enormous sculptures of various deities. A wall carving depicts the supremacy of Lord Shiva. A lotus medallion adorns the ceiling of each cave. Cave 16 is considered one of the most astonishing buildings in the history of architecture. Inside the temple, the depiction of the demon Ravana shaking Mount Kailash is a masterpiece containing scenes from semi-mythological history, the royal court and popular life in ancient times as told in romances and plays. The temple's carved walls have narrative friezes depicting episodes from the Hindu epics and icons of Shiva framed by pairs of pilasters supporting foliated makaras or arched motifs containing miniature temple towers, attendant maidens and amorous couples. The Nandi pavilion faces the main shrine. The two structures are connected by a series of walkways. Nandi the bull is Shiva's companion. He is also the perfect devotee, the soul of man kneeling humbly before the god Shiva ever concentrated on him. The underlying tenets of Hinduism cannot be easily defined. There is no unique philosophy that forms the basis of the faith of the majority of India's population. Hinduism is perhaps the only religious tradition that is so diversified in its theoretical premises and practical expressions as to be called a museum of religions. This religion cannot be traced to a specific founder nor does it have one holy book as a basic scriptural guide. The Rig Veda, Upanishads and the Bhagavad Gita can all be described as sacred Hindu texts. Unlike most other religions, Hinduism does not advocate the worship of one particular deity. One may worship Shiva or Vishnu or Rama or Krishna or some other gods and goddesses or one may believe in the supreme spirit or the indestructible soul within each individual and still be called a good Hindu. Religion is a way of life in India and forms an integral part of the entire Indian civilization. For the majority of Indians, religion permeates every aspect of life from commonplace daily chores to education and politics. Secular India is home to many religious traditions. Hinduism however is the The rows of elephants on the side walls of the main Shiva temple give the impression that they are literally holding up the temple. The wall has a gallery that leads onto a large courtyard surrounding the main temple measuring 81 meters long by 47 meters wide and 33 meters high at the Hindu mythology is a network of intermingling connecting threads which if it could be perfectly understood would provide a clear narrative map to the rich tapestry that is Hindu thought. The decorations of a Hindu temple confront the viewer as a mysterious mythic story in which everything has philosophical or religious significance. The postures of the figures depicted, the objects held by them, the way they relate to each other all have specific meanings. So it is with Hindu mythology as passed down orally and as written in the great epics and religious texts. The invisible deities are represented by a complexity of images and idols symbolizing divine powers. Many of these idols are housed within ornate temples of unparalleled beauty and grandeur. The Hindu gods are very much alive and live in temples on snow-capped peaks in rivers and oceans and in the very hearts and minds of Hindus. Shiva is one of the principal Hindu deities worshipped as the destroyer and restorer of worlds and in numerous other forms. Shiva is often conceived as a member of the triad including Brahma and Vishnu. As in the other caves, the main hall of this temple is large. A long frieze depicting a hunting scene appears above the brackets in the hall. The chamber's columns divided into a nave and aisles. Ellora was named a UNESCO World Heritage Site in 1983. Besides being a major tourist attraction, this site is a valuable resource for artists, architects and archaeologists. It is one of the many World Heritage Sites located in India, a country with a rich and ancient civilization too little taught and appreciated in the West.