The Ajanta
and Ellora Caves are the ancient repository and Indian architectural
heritage pride of Maharashtra, India. Both these sites are world famous and are
cut in rocks. These caves are marvelous example of the highest degree of skills
and artistry that Indian craftsmen had achieved several hundred years ago with
primitive tools. Ajanta dates back 100 B.C. while Ellora is younger by some 600
years.
Ellora
Caves are close to the modern time city Aurangabad in Maharashtra. Aurangabad City
was founded in 1610, on the site of a village, Khirki by Malik Ambar and has
always been a prominent region on the Deccan plateau. Having been inhabited
since the Stone Age, it has a long artistic and cultural history - to which
several dynasties have made major contributions over the years. Maurya rule
marked the arrival of Buddhism in Maharashtra.
Ajanta
and Ellora caves were shrouded in ignominy for over a millennium, till John
Smith, a British Army Officer stumbled upon them while on a hunting expedition
in 1819. Today Ajanta and Ellora caves have been honored the world heritage
site status to be preserved as an artistic legacy for generations to
witness.
Ellora
Caves
Ellora
Caves is an archaeological site, 30 km from the city of Aurangabad in the
Indian State of Maharashtra, India. The Caves were carved under patronage of
the then Rashtrakuta dynasty. Ellora, With 34 caves devoted to Buddhist, Jain
and Hindu faiths, represents the epitome of Indian rock cut architecture. Ellora
caves are carved into the sides of a basaltic hill. As the finest specimens of
cave temples, Ellora caves have elaborate facades and intricately aesthetic
interiors to hypnotize your sensibilities. The name Ellora itself inspires
everyone as it represents one of the largest rock-hewn monastic-temple
complexes in the entire world. Ellora is also world famous for the largest
single monolithic excavation in the world, the great Kailasa (Cave 16). The 12 Buddhist ( Caves 1 to 12), 17 Hindu (Caves
13 to 29) and 5 Jain (Caves 30 to 34) Caves, built in proximity, demonstrate
the religious harmony prevalent during this period of Indian history.
The
caves were carved out of a slope in the hill in a north–south direction. They
face west, so they receive light from the setting sun. All the caves were
carved from the top to the bottom, so workers did not require scaffolding.
For
some unknown reason, Ajanta was abandoned around the 7th century and the people
making the caves moved to Ellora, 100km south.
The
period of construction of these caves is in following order:
Buddhist
Caves:
5th
century to 7th century AD
Caves
1 to 12 at the southern end
Hindu
Caves:
8th
century to 10th century AD
Caves
13 to 29 in the middle
Jain
Caves:
9th
century to 11th century AD
Caves
30 to 34 at the northern end
The
Buddhist Caves
It
was initially thought that the Buddhist caves (also called Vishvakarma Caves)
were one of the earliest structures, created between the fifth and eighth
centuries, with caves 1-5 in the first phase (400-600AD) and 6-12 in the later
phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some
of the Hindu caves (27, 29, 21, 28, 19, 26, 20, 17 and 14) precede these caves.
The earliest Buddhist cave is Cave 6, followed by 5, 2, 3, 5 (right wing), 4, 7,
8, 10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were
constructed between 630-700 AD. All except Cave 10 which is a chaitya (temple),
are Viharas (monasteries), which were used for study, meditation, communal
rituals, eating and sleeping. The caves are not as architecturally interesting
as the Hindu caves.
Cave
1
The
cave is a plain vihara with eight small cells, four in the back wall and four
in the right wall. It may have served as a granary for the other viharas.
Cave 2
The
cave is much more impressive. A large central chamber supported by 12
great square pillars is lined with sculptures of seated Buddhas. There are two
large, standing dwarapalas (door guards).
Inside the cave, the shrine is a stately seated Buddha and two standing
Buddhas, while along each of the side walls are five Buddhas accomplanied by
Budhisattvas seated under trees.
Caves 3
and 4
These
caves have a similar design as Cave 2, but are in poor condition.
Cave 5
The
cave is named as the Maharwada Cave because it was used by local
Mahar tribes people as a shelter during the monsoon. The shrine Buddha is
seated on a stool with his right hand touching the ground in the Earth Witness
gesture.
Cave 6
The
cave is home to two of the finest sculptures at Ellora. On the left is the
goddess Tara, with an intense but kind expression. Opposite her on the right is
Mahamayuri, the Buddhist goddess of learning, shown with her attribute, the
peacock. A diligent student sits at his desk below. The boundaries between religions melt here as
Hindu’s consider Buddha as the incarnation of their Vishnu and Mahamayuri as
Saraswati, the Hindu Goddess of learning.
Cave 7
The
cave is in for of an austere hall with pillars, is the first a two- storied
cave.
Ellora-Caves
8-9
These
two caves have nothing special.
Cave 10
The
cave 10 is the most famous of the Buddhist caves. The magnificent Cave
10 dates from the early 700s AD and is known as the “Suttar Jhopadi or
Carpenter’s Cave”, a tribute to Visvakarma, the architect of Demi Gods. At the
far end, a seated Buddha is enthroned in front of a large stone stupa. The hall has a vaulted roof in which ribs
have been carved in the rock imitating the wooden ones. Decorating the walls
are loving couples indicating how much Buddhism had changed from its early
ascetic days.
Cave
11
This
cave is known as the Dho Tal or "Two Floors" cave. The
lowest level (basement) is a veranda with a shrine and two cells at the back of
it., The middle level has eight front pillars and fiver rear cells of which
only the central are completed and decorated. The top floor is a long assembly
hall lined with columns. It has both a Buddha shrine and images of Durga and
Ganesh, indicating the cave was converted into a Hindu temple after it was
abandoned by the Buddhists. The third storey which was discovered later has
cells for sleeping (note the stone benches) on the lower floors but it is the
figures of the Buddha which are of particular interest. The rows of seven
Buddhas are symbolic of the belief that he appears on earth every 5000 years
and has already visited it seven times.
Cave 12
The
cave is known as “Tin Thal or three storeyed”. The cave has cells for
sleeping (stone benches) on the lower floor. The walls of the shrine room are lined with
five large bodhisattvas and are flanked by seven Buddhas. The rows of seven
Buddhas are symbolic of the belief that he appears on earth every 5000 years
and has already visited it seven times.
The Hindu
Caves
The
Hindu caves were constructed between the middle of sixth century to the end of
the eighth century. The Hindu Caves are more impressive, profusely sculptured
with Shiva and Vishnu Images. The caves are covered lively with 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. The caves created during a time of prosperity
and revival of Hinduism, represent entirely different style of vision and skill
than of Buddhist caves. The early caves (caves 17–29) were constructed during
the Kalachuri period. The caves occupy the center of the cave
complex, grouped either side of the famous Kailasa Temple. Some were of such
complexity that they required several generations of planning and co-ordination
to complete.
Cave 13
This
cave marks the first of those caves carved by the Hindus. It’s a simple, plain room.
Cave 14
The
cave known as Ravana ki khai, seventh century, is single storeyed and the
last of the collection from the early period. The cave has sculptures of Varah
(half-boar), Laxmi and Shiva. At the
entrance of the sanctum are sculptures of the river goddesses Ganga and Yamuna.
Nearby are carvings of the Sapta Matrikas. On the right wall there are carvings
of Shiva as playing chess, Dancing Tandava and ignoring Ravana’s attempt to
shake Mount Kailash.
Cave 15
The
cave named “Dashavatara or ten incarnation of Lord Vishnu” is a Buddhist
monastery later modified for Hindus. The
various avatars of Vishnu narrate numerous tales while Shiva rides the divine
chariot and prepares to destroy the palaces of the demons. There is a Nandi
bull and many sculptures. On the upper floor are some of the most outstanding
carvings, including Lord Narasimha (Lord Vishnu as half lion) Lord Vishnu
rescuing Gajendra, the elephant.
Cave 16
Kailasanatha
The
Cave, is also known as the Kailasa or the Kailasanatha, is the
centerpiece of Ellora. It is the largest monolithic structure in the world.
This is designed to recall Mount Kailash, the abode of Lord Shiva and looks
like a freestanding, multi-storeyed temple complex, but it was carved out of
one single rock.
In
the cave and within the courtyard are three structures. As is traditional in
Shiva temples, first is large image of the sacred bull Nandi in the front
of the central temple. In the Nandi Pavilion facing the entrance is a beautiful
carving of Lakshmi surrounded by adoring figures seated in a pond, she is being
bathed by elephants carrying pots in their trunks. Also be on the lookout for
mithunas- male and female figures in erotic situations. Central temple - Nandi
Mandap - is housing the lingam. Nandi Mandap stands on 16 pillars. The base of
the Nandi Mandap has been carved to suggest that life-sized elephants are
holding the structure aloft. A living rock bridge connects the Nandi Mandap to
the Shiva temple behind it. The temple itself is tall pyramidal structure
reminiscent of a South Indian Dravidian temple. The shrine, complete with
pillars, windows, inner and outer rooms, gathering halls, and an enormous
lingam at its heart – carved from living stone, is carved with niches,
pilasters, windows as well as images of deities. Most of the deities at the
left of the entrance are Shaivaite (followers of Shiva) while on the right
hand side the deities are Vaishnavaites (followers of Vishnu). There are two
Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand
sculpture of Ravana attempting to lift Mount Kailasa, the abode of
Lord Shiva, with his full might is a landmark in Indian art. The construction
of this cave was a feat of human genius – it entailed removal of 200,000 tonnes
of rock, and took 100 years to complete.
Other
Hindu caves
Other
notable Hindu caves are the Rameshvara (Cave 21), which has figurines
of river goddesses Ganga and Yamuma at the entrance and the Dhumar
Lena (Cave 29) whose design is similar to the cave temple on Elephanta
Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and
the Nilkantha (Cave 22) also have several sculptures. The rest of the
Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave
27) have no significant sculptures.
The Jain
Caves
The
five Jain caves at Ellora belong to the ninth and tenth centuries. They all
belong to the Digambara sect. These caves reveal specific dimensions of Jain
philosophy and tradition. These Caves are an anticlimax after the Hindu ones,
but they have an aura of peace and simplicity. These caves are not as large as
compared to others, but they present exceptionally detailed artwork. The Jain
caves 30 to 34 were excavated from 800AD until the late 11th century.
Because of the sloping hillside, most of the cave entrances are set back from
the level ground behind open courtyards and large colonnaded verandas or
porches. The most remarkable Jain shrines are the Chhota
Kailash (cave 30), the Indra Sabha (cave 32) and
the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared
hall and a shrine. Cave 34 is a small cave, which can be approached
through an opening on the left side of Cave 33.
Cave 30
The
cave 30, (Chhota Kailasa) is the largest and the first to be excavated. It’s a
smaller incomplete replica of the Hindu Kailasa cave, decorated with Jain
saints and goddesses; within the sanctuary is an image of the founder of
Jainism, Mahavira, who sits on a lion throne.
Cave 32, Indra
Sabha
The Indra
Sabha or Indra Assembly hall (Cave 32) is finest of the jain caves with
two storied structure and one more monolithic shrine in its court. It’s a
miniature version of Kailash Temple. It has a very fine carving of the lotus flower
on the ceiling. The naked figure of the Gomatesvara, on the right, is
fulfilling a vow of silence in the forest. It got the appellation "Indra Sabha"
probably because of the sculpture of the yaksha (dedicated attendant
deity) Matanga on an elephant, which was wrongly identified as that of Indra.
On the upper level of the double-storied shrine excavated at the rear of the
court, an imposing image of Ambika, the yakshini of Neminath, is found seated
on her lion under a mango tree, laden with fruits.
Other Jain
caves
All
other Jain caves are also characterized by intricate detailing. Many of the
structures had rich paintings in the ceilings – fragments of which are still
visible.
