When the Rocks Speak

As our car sped along the Aurangabad-Chalisgaon Road, about 30 km northwest of Aurangabad, I was completely mesmerised reading about this group of caves called the Ellora Caves. In the first millenium, generations of men had laboured, hewn, excavated and carved away on the basaltic rock formations, caused by volcanic activity in the Sahayadri ranges of the Deccan millions of years ago, to create these masterpieces of rock-cut architecture. These caves are located on the Charanandri hills through which flow many streams, like the Elaganga, which drain into the river Shiv, a tributary of the Godavari. The name of the village is Verul and locals call the caves Verul Leni (leni being the Marathi word for caves).

Unlike the Ajanta, these caves were never lost to oblivion, due to their close proximity to the trade route. There have been numerous written records to indicate that these caves were visited regularly by monks, travellers, traders and rulers too. Ellora was declared a World Heritage Site in 1983 by UNESCO and these caves are now maintained by the Archaeological Survey of India.

The 34 caves open to the public at Ellora are an impressive ensemble of Buddhist, Hindu, and Jain cave temples. The caves include Buddhist chaityas and viharas, Hindu temples and Jain shrines. The rock-cut activity was carried out in three phases from the 6th century to the 12th century CE. The earliest caves (caves 1–12), excavated between the 5th and 8th centuries CE, reflect the Mahayana philosophy of Buddhism. The Brahmanical group of caves (caves 13–29), including the renowned Kailasha temple (cave 16), was excavated in two phases between the 6th and 10th centuries CE. The last phase, between the 9th and 12th centuries CE, saw the excavation of a group of caves (caves 30–34) reflecting Jain philosophy. Most part of the Hindu caves and Buddhist caves were built during the Kalachuri and the Rashtrakuta dynasties. The Jain caves came later, possibly, during the later Rashtrakuta and the Yadava rulers. 

The men who built them lived hundreds of years ago. The kings who patronized them are dead and gone. The Gods we still worship but somewhere along the way we are forgetting to live in harmony of which these caves are a beautiful example. We are so busy renaming Aurangabad to Chhatrapati Sambhaji Nagar that we miss out on seeing this rock-cut marvel right next to it. And how many times have we felt the twenty-rupee note between our finger and thumb but missed noticing the picture on it? Maybe it is time to pause and pay our tribute to those men who lived and died creating this wonderland among the rocks.

The Hindu Monuments: Caves 13–29

The caves are arranged in the shape of a semi-circle with the Buddhists caves on the southern end of the arc, the Jain caves on the northern end and Hindu caves in the centre spread over a 2 km stretch. 

Cave 16 is the largest and is prominently located at the centre. On one side of it are Caves 1-15 and on the other Caves 17-25. The Jain group of temples (30-34) and the remaining Hindu temples (26-29) are a little away from the main group but they now have electric buggies to transport you there.

Cave 16: Kailashanatha Temple- the largest monolithic rock-cut temple in the world

Kailashanatha Temple (Cave 16), carved out of a single rock, is designed to resemble Shiva’s abode: Mount Kailasha. The Kailasha is a multi-level temple excavated from top to bottom and cut through from outside to inside. It took 200 years and several generations of human labour to complete it. It is believed that the excavation began under Rashtrakuta King Dantidurga (735-757 CE) and continued through the reigns of Krishna 1 and other Rashtrakuta rulers.

As the name suggests this temple complex was inspired by Mount Kailasha and is dedicated to Lord Shiva. It is modelled along similar lines to other Hindu temples with a gateway, an assembly hall, a chariot-like main temple surrounded by numerous other shrines laid out according to the square principle, an integrated space for circumambulation, a garbha-griha (sanctum sanctorum) to place the linga-yoni, and a spire- shaped vimana to recreate Mount Kailash. And wherein lies the wonder? All carved with hammer and chisel from one rock on the face of a cliff.

Every sculpture here has a meaning and a purpose. The two elephants and free-standing Pillars of Victory in the courtyard reflect the supremacy and power of the Rashtrakuta rule. The figures of Sankha-Nidhi and Padma-Nidhi and the panels of Gajalaxmi in the courtyard symbolise their prosperity. The idols of Ganga, Yamuna and Saraswati symbolise Purity, Devotion and Knowledge respectively.

The main temple is called the Rang Mahal because after its completion it was plastered and painted possibly between 9th-11th C. The 7-metre plinth is decorated with scenes from the Ramayana and Mahabharata epics. The main temple has a Vadya Mandapa, Nandi Mandapa, a pillared hall, an ante-chamber and five subsidiary shrines (Panchayatana).

Cave 15: Dasavatara Cave

Cave 15: This is the Dasavatara Cave with the ten reincarnations of Vishnu belonging the to 8^th C. It is also a meeting place of both Shaivism and Vaishnavism. Images and emblems of the Buddha can also be also be found here. A steep flight of steps leads you to the temple housed in this cave. It has an open court with a free-standing monolithic Natya Mandapa (Dance Hall) in the middle and a two-storeyed excavated temple at the rear. An inscription on the wall of this small mandapa in the foreground attributes it to Dantidurga of the Rashtrakuta dynasty. The ground floor is a huge hall with pillars and cells but no sculptures. Another short flight of steps leads you to the upper storey where the sanctum sanctorum houses the Shiva lingam guarded by two huge doorkeepers. In the middle of the pillared hall is Nandi seated majestically. The sculptures on the north honour Lord Shiva while those on the southern side belong to Lord Vishnu. The finest relief of this cave is the one depicting the death of Hiranyakashyap, where Vishnu in man-lion (Narasimha) form kills the demon. Apart from Narasimha, Vamana, Varaha and other avatars of Vishnu, prominent reliefs in Cave 15 include the Gangadhara, the marriage of Shiva and Parvati, Garuda, and Dancing Shiva, 

 

Cave 21- Rameshvara Cave

Cave 21: Rameshvara Cave is dedicated to Lord Shiva and is attributed to the first phase of the Hindu caves dated between 6th to 8th C, possibly built under the patronage of the Kaluchari kings prior to the Rashtrakutas. The Nandi platform in the courtyard is massive and immediately catches the eye. The entrance to the cave has river goddesses Ganga and Yamuna on either side. Equidistant from the two goddesses, at the vertex of an imaginary triangle is placed the Shiv lingam. There is a sculptured deity of the goddess Durga. A panel of seven Mother Goddesses (Sapta Matrikas) of the Shakti tradition, flanked on each end by Ganesha and Shiva, can be seen on the outside wall of this cave and is considered to be an artistic masterpiece.

 

Cave 29- Dumar Lena 

Cave 29 named as Dumar Lena is one of earliest cave excavations in Ellora and among the largest. The cave is also known as Sita-ki-Nahani because of a pool formed by a natural waterfall on the river Elaganga and a beautifully carved figure of Yamuna having been mistakenly identified as Sita. The waterfall is visible from a rock-carved balcony and has been described as "falling over great Shiva's brow". The steps leading to the cave temple have statues of two formidable lions on either side. The central hall is of gigantic proportions with huge fluted pillars with corresponding pilasters supporting the whole structure. Deep inside is housed the garbha griha with the Shiva linga which has four entrances flanked by huge dwarpalakas. The figures in portico and verandahs are so massive and life-like that it is hard to believe they are 1500 years old. The most famous carved panels are those of Ravana shaking Mount Kailash, Shiva killing Andhakasura and Shiva Parvati playing a board game.

 

The Buddhist monuments: Caves 1–12

These caves are located on the southern side and were built either between 7^th and 8^th century CE. Eleven out of the twelve Buddhist caves consist of viharas, or monasteries with prayer halls. The monastery caves have shrines including carved images and emblems of Gautama Buddha, the Bodhisattvas and saints.

Cave 5 is unique among the Ellora caves as it was designed as a dining or assembly hall with a Buddha statue in the rear end. In the central space between the rows of pillars can be seen low lying tables or benches hewn out of the rocks used for eating or studying by the monks. 

Cave 10- The Vishvakarma Cave

Notable among the Buddhist caves is Cave 10, a chaitya or prayer hall called the 'Vishvakarma cave', built around 650 CE. It is also known as the "Carpenter's Cave", because the roof of the hall has been given a finish that has the appearance of wooden beams.  It has double-storey with balcony on the upper storey overlooking the entrance. At the heart of this cave is a 15-foot statue of Buddha seated under the Bodhi tree in a teaching posture. Buddha is flanked by two Bodhisattvas and celestial couples. The stupa has carvings of Bodhisattvas and other figures.

The main hall of the Vishvakarma cave is apsidal in plan like in churches and is divided into a central nave and side aisles by 28 octagonal columns. The ribbed vault gives an echo effect in the hall when a person is standing at one end of the columns.

The most remarkable feature is the music gallery on the upper storey giving it a theatre like effect. Music played there or any chants uttered would be amplified because of the construction and could be heard even by people assembled outside.

Caves 11(do-tal or double-storeyed) and Cave 12(teen-tal or triple-storeyed) are Mahayana monastery caves with idols, mandalas carved into the walls along with goddesses, and Bodhisattva-related iconography. 

The Jain monuments: Caves 30–34

At the north end of Ellora are the five Jain caves belonging to the Digambara sect, which were excavated in the 9^th and early 10^th C. They are much smaller in size when compared with Buddhist and the Hindu caves, Unlike the Hindu temples, emphasis is placed on the depiction of the twenty-four tirthankaras (spiritual conquerors who have gained liberation from the endless cycle of rebirths). 

Cave 30- The Chhota Kailasha

Chhota Kailasha is another monolithic rock-cut structure like the Kailasha Temple (Cave 16) but is mostly destroyed or incomplete. You need to go up a few steps on a narrow path to reach it. Here too the sculptors had excavated from top to bottom on a single block of rock. This temple was likely built in the early 9th century some decades after the completion of the Kailasha Temple. 

Cave 32: This is a double-storeyed cave dedicated to the Digambar sect dated between 10^th-11^th C.  It came to be known as Indra Sabha most likely because of a sculpture of Matanga (God of Wealth) which was mistakenly identified as that of Indra. There is a central courtyard with a monolithic shrine housing Lord Mahavira. In the courtyard we also find the victory pillar and the sculpture of an elephant. It has all the signs of Digambara Jain temple with a courtyard, a verandah, an ornate pillared hall with statues of the Jain Tirthankaras including Gomateshwara and Parshvanatha. There are friezes and panels with intricate detailed carvings all over and paintings on the ceiling. This is the largest and the most ornate of all the Jain group of cave temples.

Cave 33: Jagganatha Sabha or court of Jagganatha (Lord of the world) is dedicated to Digambara sect of Jainism, datable to 10^th-11^th C. The verandah is decorated with sculpture of Matanga (God of Wealth) and Siddhaika (Goddess of Prosperity). While the walls of the hall are sculptured with Jain deities, the sanctum sanctorum houses Lord Mahavira on a lion-throne in meditation pose. The carvings are very ornate and detailed. The lotus on the ceiling and the intricately carved torans bring to mind the Jain Dilwara temple of Mount Abu, Rajasthan. The upper floor also has a verandah flanked by chapels and a big pillared hall. The wall panels are richly carved with Tirthankaras and with paintings.

Let us step back for a while from our chaotic, intolerant, materialistic world 

Let us stand before these caves nestled in the lap of nature

Let us bow our heads in reverence to both God and man

Let us pause and listen

Listen to what the rocks have to say.

 

DS