Elephanta Caves ( 1987), Maharashtra - एलेफंटा कॅवेस
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The Elephanta Caves (180 56’ 20” N; 720 55’ 50” E), taluka Uran, district Raigad is located on island hills about 11 km north-east of the Apollo Bandar, Mumbai and 7 km from the shore of the mainland, approximately covering an area of 7 km in circumference. The island is named after a colossal elephant found in the island, which is popularly known as ‘Gharapuri’. At present, the statue of elephant is housed at Jijamata Garden in Mumbai. In ancient period, the place is variously identified as Puri which is mentioned in the Aihole inscription of Pulakesin II. It seems, different dynasties held their sway over this island, namely, the Konkan-Mauryas, Trikutakas, Chalukyas of Badami, Silaharas, Rashtrakutas, Kalyani Chalukyas, Yadavas of Deogiri, Muslim rulers of Ahmedabad and then by the Portuguese. The Marathas also had this island under their control and from them it passed into the control of the British.
There are seven cave excavations in the Elephanta group and these are datable from circa 6th 7th centuries A.D. Among the cave excavations, the Cave 1 is the most impressive which represents the evolved Brahmanical rock-cut architecture. The cave is also famous for the exquisite and vibrant sculptures. On plan it almost resembles the Dumar Lena (Cave 29) of Ellora. The cave has a main entrance on the north with two other openings on the east and west respectively and a central hall with six rows of pillared columns, six in each row except on the western corner, where a shrine of lingam is provided.
On plan, there are three large square recesses divided off by pilasters each of them bearing a gigantic image of a dvarapala. The panel on the east has a figure of ardhanarisvara, a form of Siva with the combined energies of male and female; and on the west figures of Siva and Parvati playing chausar is carved. The central recess holds the most famous and remarkable sculpture of this period known as the Mahesa-murti. It is a colossal bust of the three forms of Siva, the aghora, turbulent and fearsome; tatpurusha, benign and meditative and vamadeva, mild pleasing and lovable. The other notable panels in the main cave are Andhakasuravada murti; comic dance of Nataraja; Kalyanasundara murti; Gangadhara murti; Ravana shaking Kailasa and Siva as Lakulisa. A panel depicting Saptamatrikas near the eastern opening is also remarkable.
The north entrance to the cave (plan), shown here, is on axis with the great three-headed Shiva on the south wall, while the linga shrine is placed off-center (so as not to obscure the three-headed Shiva) on the east-west axis. This dual scheme allows Shiva to be presented in his iconic and aniconic forms.
The island of Elephanta was named by the Portuguese after a stone elephant found there in the 16th century. The historical name of the island was Gharapuri. It is very dark inside the cave, so only a small selection of photographs, illuminated by what little natural light there is, can be presented in the following pages. The viewer is recommended to consult Michell and Zimmer (vol. 2, plates 248 - 265), for a full appreciation of this marvelous site.
The linga shrine in the cave temple of Shiva is unusual in having four entrances, one at each compass point. Beautiful dvarapalas guard the entrance openings. Although detached from the walls, the shrine is, like everything else in the cave, cut from a matrix of living rock.
Extensive damage to the guardians and other sculptures was caused, it is said, by the Portuguese. However, more than enough remains to justify the general opinion that the sculpture here is among the finest in India.
The columns at Elephanta do not actually bear weight; the cave roof is self-supporting. Architecturally, the columns define the temple space as a large, multi-columned hall whose grid plan is laid out according to a precise mathematical scheme (illustration).
The columns display a compound geometry. Their squared-off lower shafts support fluted round upper shafts which expand into pincushion capitals. The upper shafts and capitals bulge as if compressed by the (illusory) weight of the ceiling. Small ganas at the upper corners, now mostly destroyed, mark the transition between the lower and upper shafts. Carved brackets and beams reinforce the convincing simulation of a structural building.
Neither the central-shrine plan nor the form of the columns had lasting influence on later temple architecture. By the mid-seventh century, shrines were located at one end of the hall, while Elephanta-type columns were supplanted by unfluted columns with pot-and-foliage capitals.
The Elephanta Island is the site of the magnificent Elephanta caves,containing beautiful carvings,sculptures,and a temple to the Hindu God,Lord Shiva. These caves are located at a distance of 11-km from Mumbai and are now designated as a UNESCO World Heritage Site. The island of Elephanta,being a commercial,military and religious center for centuries has traces of early Buddhist culture.
The Elephanta caves are thought to date back to the Silhara kings belonging to the period between 9th - 12th centuries. Legends and history suggest that the great warrior prince of Chalukya dynasty Pulkesin ll,raised the shrine to celebrate his victory. Some historians also suggest that these caves were built by the Kalchuri King Krishnaraja in 6th century AD. The entire cave temple complex covers an area of about 60,000 square feet. Elephanta Caves The World of Lord Shiva,Elephanta is the place where the main events in the mythology of Lord Shiva are depicted most powerfully,consistently and exclusively. At Ellora though other Gods appear on the panel with Shiva,but at Elephanta there is nothing but Shiva. According to Hindu Mythology three Gods govern their world : Brahma -- the creator,Vishnu -- the Preserver and Maheshwara -- the Destroyer. Elephanta has a story that there was a pillar whose end could not be found. Even the Gods failed to determine the length of the pillar. The temples in the Elephanta caves and the carvings on the walls show Shiva in different moods and shapes,Lord Shiva practicing Yoga,Lord Shiva meditating with snakes coiled around his neck,and at places Shiva is in the company of his wife,Parvati.
Panel 6 of the caves represents the marriage of Shiva with Parvati with the rites being performed by Brahma and scores of other Gods attending the marriage. Panel 5 of the cave describes the coming of Ganga from heaven to Earth. As the great force of Ganga might have destroyed the Earth,she lands in the hair locks of Shiva who then gently releases her. The wise and righteous Lord before whom the forces of evil and ignorance,flee,and are terrified into submission is carved on the 7th panel. Similarly other wall panels narrate the story of Lord Shiva. On the western end is the sanctuary of Linga denoting the essence of creative power,in which Lord Shiva is worshipped as the Lord of Fertility and Procreation.
The Monasteries of Ajanta lead us directly to Elephanta. It appears that the same families of craftsmen and sculptors who were working on the Kailasa temple of Ellora and adjoining Buddhist caves at Ellora were employed at Elephanta. An exquisite ensample of rock-cut artistry,can be found here. No doubt the cave was the creation of an unknown genius,a master architect,who having thoroughly absorbed and assimilated the magnificent contribution of his predecessors in the dual traditions of the independent free standing sculpture and rock-cut architecture,produced a monument which introduced a whole new world of form,quite distinct from any previous achievement.
The sculptors carved out of solid basalt rock,a representation of the heavenly mountain residence of Lord Shiva. Opening out from three sides,the temple lets in light from many angles making the sculptures seem to move with the changing angles of light.
The temple plan is so symmetric with important focal points worked out in a geometric Mandala (the design that represents the energy field). The pillars inside the cave give an impression that these pillars support the roof. Again the cross beams on the roof makes the visitor feel there is a ceiling of the caves. The pillars have been deliberately kept simple as to attract the attention towards the exquisite carvings on the panels,which are nine in number. There are three openings to the caves,which allows light to enter from various angles in different seasons giving an expression that the images are moving with transition of light.
There are seven cave excavations in the Elephanta group and these are datable from circa 6th 7th centuries A.D. Among the cave excavations, the Cave 1 is the most impressive which represents the evolved Brahmanical rock-cut architecture. The cave is also famous for the exquisite and vibrant sculptures. On plan it almost resembles the Dumar Lena (Cave 29) of Ellora. The cave has a main entrance on the north with two other openings on the east and west respectively and a central hall with six rows of pillared columns, six in each row except on the western corner, where a shrine of lingam is provided.
On plan, there are three large square recesses divided off by pilasters each of them bearing a gigantic image of a dvarapala. The panel on the east has a figure of ardhanarisvara, a form of Siva with the combined energies of male and female; and on the west figures of Siva and Parvati playing chausar is carved. The central recess holds the most famous and remarkable sculpture of this period known as the Mahesa-murti. It is a colossal bust of the three forms of Siva, the aghora, turbulent and fearsome; tatpurusha, benign and meditative and vamadeva, mild pleasing and lovable. The other notable panels in the main cave are Andhakasuravada murti; comic dance of Nataraja; Kalyanasundara murti; Gangadhara murti; Ravana shaking Kailasa and Siva as Lakulisa. A panel depicting Saptamatrikas near the eastern opening is also remarkable.
Cave Temple of Shiva , Elephanta Island
The cave temple of Shiva, located on Elephanta Island in Bombay Harbor, was excavated out of the rock sometime in the 6th century. Inside, it contains a square linga shrine. The interior of the cave is decorated with a dozen large relief sculptures of the great god Shiva in his fierce and kindly aspects: dancing, practicing yoga, playing dice with Parvati, slaying the demon Andhaka, receiving the Gages river in his hair, etc.The north entrance to the cave (plan), shown here, is on axis with the great three-headed Shiva on the south wall, while the linga shrine is placed off-center (so as not to obscure the three-headed Shiva) on the east-west axis. This dual scheme allows Shiva to be presented in his iconic and aniconic forms.
The island of Elephanta was named by the Portuguese after a stone elephant found there in the 16th century. The historical name of the island was Gharapuri. It is very dark inside the cave, so only a small selection of photographs, illuminated by what little natural light there is, can be presented in the following pages. The viewer is recommended to consult Michell and Zimmer (vol. 2, plates 248 - 265), for a full appreciation of this marvelous site.
The linga shrine in the cave temple of Shiva is unusual in having four entrances, one at each compass point. Beautiful dvarapalas guard the entrance openings. Although detached from the walls, the shrine is, like everything else in the cave, cut from a matrix of living rock.
Extensive damage to the guardians and other sculptures was caused, it is said, by the Portuguese. However, more than enough remains to justify the general opinion that the sculpture here is among the finest in India.
Dvarapala
The dvarapalas at Elephanta wear the same crown and jewels as Shiva himself, proclaiming their connection with the god. Now largely missing are the clubs and swords they held, and the ganas (dwarf followers of Shiva) which accompanied them. Stylistically, the dvarapalas trace back to Gupta-period Buddhist traditions of the preceding century: details of body and facial form, as well as decoration and hair style, clearly link them to the bodhisattvas of Ajanta.The columns at Elephanta do not actually bear weight; the cave roof is self-supporting. Architecturally, the columns define the temple space as a large, multi-columned hall whose grid plan is laid out according to a precise mathematical scheme (illustration).
The columns display a compound geometry. Their squared-off lower shafts support fluted round upper shafts which expand into pincushion capitals. The upper shafts and capitals bulge as if compressed by the (illusory) weight of the ceiling. Small ganas at the upper corners, now mostly destroyed, mark the transition between the lower and upper shafts. Carved brackets and beams reinforce the convincing simulation of a structural building.
Neither the central-shrine plan nor the form of the columns had lasting influence on later temple architecture. By the mid-seventh century, shrines were located at one end of the hall, while Elephanta-type columns were supplanted by unfluted columns with pot-and-foliage capitals.
The Elephanta Island is the site of the magnificent Elephanta caves,containing beautiful carvings,sculptures,and a temple to the Hindu God,Lord Shiva. These caves are located at a distance of 11-km from Mumbai and are now designated as a UNESCO World Heritage Site. The island of Elephanta,being a commercial,military and religious center for centuries has traces of early Buddhist culture.
The Elephanta caves are thought to date back to the Silhara kings belonging to the period between 9th - 12th centuries. Legends and history suggest that the great warrior prince of Chalukya dynasty Pulkesin ll,raised the shrine to celebrate his victory. Some historians also suggest that these caves were built by the Kalchuri King Krishnaraja in 6th century AD. The entire cave temple complex covers an area of about 60,000 square feet. Elephanta Caves The World of Lord Shiva,Elephanta is the place where the main events in the mythology of Lord Shiva are depicted most powerfully,consistently and exclusively. At Ellora though other Gods appear on the panel with Shiva,but at Elephanta there is nothing but Shiva. According to Hindu Mythology three Gods govern their world : Brahma -- the creator,Vishnu -- the Preserver and Maheshwara -- the Destroyer. Elephanta has a story that there was a pillar whose end could not be found. Even the Gods failed to determine the length of the pillar. The temples in the Elephanta caves and the carvings on the walls show Shiva in different moods and shapes,Lord Shiva practicing Yoga,Lord Shiva meditating with snakes coiled around his neck,and at places Shiva is in the company of his wife,Parvati.
Panel 6 of the caves represents the marriage of Shiva with Parvati with the rites being performed by Brahma and scores of other Gods attending the marriage. Panel 5 of the cave describes the coming of Ganga from heaven to Earth. As the great force of Ganga might have destroyed the Earth,she lands in the hair locks of Shiva who then gently releases her. The wise and righteous Lord before whom the forces of evil and ignorance,flee,and are terrified into submission is carved on the 7th panel. Similarly other wall panels narrate the story of Lord Shiva. On the western end is the sanctuary of Linga denoting the essence of creative power,in which Lord Shiva is worshipped as the Lord of Fertility and Procreation.
The Monasteries of Ajanta lead us directly to Elephanta. It appears that the same families of craftsmen and sculptors who were working on the Kailasa temple of Ellora and adjoining Buddhist caves at Ellora were employed at Elephanta. An exquisite ensample of rock-cut artistry,can be found here. No doubt the cave was the creation of an unknown genius,a master architect,who having thoroughly absorbed and assimilated the magnificent contribution of his predecessors in the dual traditions of the independent free standing sculpture and rock-cut architecture,produced a monument which introduced a whole new world of form,quite distinct from any previous achievement.
The sculptors carved out of solid basalt rock,a representation of the heavenly mountain residence of Lord Shiva. Opening out from three sides,the temple lets in light from many angles making the sculptures seem to move with the changing angles of light.
The temple plan is so symmetric with important focal points worked out in a geometric Mandala (the design that represents the energy field). The pillars inside the cave give an impression that these pillars support the roof. Again the cross beams on the roof makes the visitor feel there is a ceiling of the caves. The pillars have been deliberately kept simple as to attract the attention towards the exquisite carvings on the panels,which are nine in number. There are three openings to the caves,which allows light to enter from various angles in different seasons giving an expression that the images are moving with transition of light.
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