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Retrieved 7 September 2016. However, the symbolism closer to the centre of the temple is more met with the core ideas of Jainism; a greater prevalence of meditating images and Jinas — the place where the Jain devotee would perform his or her ritual abhisheka worship. The front of the prayer hall is a rock-cut court entered via a flight of steps. Mustaid Khan, a solo of Aurangzeb, free dating aurangabad maharashtra that people visited the area in all seasons but especially during the monsoon. Put away your wallet, you'll never pay a dime to use Loveawake. The entrance to Cave 21 is flanked by large sculptures of the goddesses Ganga and Yamuna representing the two major North rivers and their significance to the Indian culture. Unsourced material may be challenged and removed. The edifice in the inscription being the Kailasa temple Cave 16. Whether you meet your perfect partner or a new love in Maharashtra Aurangabad India or use international dating its all up to you. I will always fo Jay to more about me so solo life partner whatsapp Mashallah. Furthermore, given that both the Hindu and Buddhist caves were predominantly anonymous, with no donative inscriptions having been discovered for the Free dating aurangabad maharashtra Ellora caves other than those of Hindu dynasties that built them, the original intent and nature of these cave temples is speculative. Numerous tantric Idea goddesses are carved in Ellora Cave 12.
Cave 16, in particular, features the largest single monolithic rock excavation in the world, the , a chariot shaped monument dedicated to. The Kailasha temple excavation also features the gods, goddesses, and mythologies found in , as well as relief panels summarizing the two major. There are over 100 caves at the site, all excavated from the basalt cliffs in the Charanandri Hills, 34 of which are open to public. These consist of 12 Buddhist caves 1—12 , 17 Hindu caves 13—29 and 5 Jain caves 30—34 caves, with each group representing deities and mythologies that were prevalent in the 1st millennium CE, as well as monasteries of each respective religion. They were built in proximity to one another and illustrate the religious harmony that existed in ancient India. Funding for the construction of the monuments was provided by royals, traders and the wealthy of the region. Although the caves served as monasteries, temples and a rest stop for pilgrims, its location on an ancient South Asian trade route also made it an important commercial centre in the Deccan region. It is 29 kilometres 18 miles north-west of , and about 300 kilometres 190 miles east-northeast of. Today, the Ellora Caves, along with the nearby , are a major tourist attraction in the region of and a protected monument under the. Ellora, also called Verul or Elura, is the short form of the ancient name Elapura. The edifice in the inscription being the Kailasa temple Cave 16. In the Indian tradition, each cave is named and has a suffix Guha Sanskrit , Lena or Leni Marathi , meaning cave. Ellora Caves, general map the rock is depicted as dark green. The Ellora caves are located in the Indian state of Maharashtra about 29 kilometres 18 miles northwest from the city of , 300 kilometres 190 miles east-northeast from , and about 100 kilometres 62 miles west from the. Ellora occupies a relatively flat rocky region of the , where ancient volcanic activity in this area had created multilayered formations, known as the. The volcanic activity that formed the west-facing cliff, which houses the Ellora caves, occurred during the period. The resulting vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting. The construction at Ellora has been studied since British colonial rule. However, the overlapping styles between the Buddhist, Hindu and Jaina caves has made it difficult to establish agreement concerning the chronology of their construction. The disputes generally concern: one, whether the Buddhist or Hindu caves were carved first and, two, the relative dating of caves within a particular tradition. The broad consensus that has emerged is based on comparing the carving styles, at Ellora, to other cave temples in the Deccan region that have been dated, textual records of various dynasties, and epigraphical evidence found at various archaeological sites near Ellora and elsewhere in Maharashtra, Madhya Pradesh and Karnataka. The earliest caves may have been built during the and dynasties, the latter being known for sponsoring the Ajanta caves. However, it is considered likely that some of the earliest caves, such as Cave 29 Hindu , were built by the -inspired dynasty, while the Buddhist caves were built by the dynasty. The later Hindu caves and early Jaina caves were built by the dynasty, while the last Jaina caves were built by the dynasty, which had also sponsored other Jaina cave temples. These caves are located on the southern side and were built either between 630-700 CE, or 600-730 CE. It was initially thought that the Buddhist caves were the earliest structures that were created between the fifth and eighth centuries, with caves 1-5 in the first phase 400-600 and 6-12 in the later phase 650-750 , but modern scholarship now considers the construction of Hindu caves to have been before the Buddhist caves. The earliest Buddhist cave is Cave 6, then 5, 2, 3, 5 right wing , 4, 7, 8, 10 and 9, with caves 11 and 12, also known as Do Thal and Tin Thal respectively, being the last. Plan of Cave No. The monastery caves have shrines including carvings of , and saints. In some of these caves, sculptors have endeavoured to give the stone the look of wood. Caves 5, 10, 11 and 12 are architecturally important Buddhist caves. Cave 5 is unique among the Ellora caves as it was designed as a hall with a pair of parallel refectory benches in the centre and a Buddha statue in the rear. This cave, and Cave 11 of the , are the only two Buddhist caves in India arranged in such a way. Caves 1 through 9 are all monasteries while Cave 10, the Vīśvakarmā Cave, is a major Buddhist prayer hall. Numerous tantric Buddhist goddesses are carved in Ellora Cave 12. Caves 11 and 12 are three-storied monastery caves with idols, carved into the walls, and numerous goddesses, and Bodhisattva-related iconography, belonging to Buddhism. These are compelling evidence to suggest that Vajrayana and ideas of Buddhism were well established in South Asia by the 8th century CE. The Vishvakarma Cave Notable among the Buddhist caves is Cave 10, a worship hall called the 'Vishvakarma cave' literally the cave of one who accomplishes everything, or the architect of the gods , built around 650 CE. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya-griha prayer house. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. A part of the Carpenter's cave Buddhist Cave 10 Cave 10 combines a vihara with a chapel-like worship hall that has eight subsidiary cells, four in the back wall and four in the right, as well as a portico in the front. It is the only dedicated amongst the Buddhist caves and is constructed along similar lines to Caves 19 and 26 of. Cave 10 also features a , or chandrashala, arched window and a side connection to Cave 9 of Ellora. The main hall of the Visvakarma cave is in plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal high seated Buddha in vyakhyana mudra teaching posture. A large is carved at his back. The hall has a vaulted roof in which ribs known as triforium have been carved in the rock. The friezes above the pillars are Naga queens, and the extensive relief artwork shows characters such as entertainers, dancers and musicians. The front of the prayer hall is a rock-cut court entered via a flight of steps. The entrance of the Cave has a carved facade decorated with numerous Indian motifs including and meditating monks. On either side of the upper level are pillared porticos with small rooms in their back walls. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squared shafts and ghata-pallava vase and foliage capitals. The various levels of Cave 10 also feature idols of male and female deities, such as Maitreya, Tara, Avalokitesvara Vajradhamma , Manjusri, Bhrkuti and Mahamayuri, carved in the Pala dynasty style found in eastern regions of India. Some southern Indian influences can also be found in various works in this cave. Parvati and Dancing Shiva right in an Ellora cave. The Hindu caves were constructed during the Kalachuris period, from the mid 6th century to the end of the 8th century in two phases. Nine cave temples were excavated early in the 6th century, followed by a further four caves caves 17—29. Work first commenced, in order, on Caves 28, 27 and 19 then Caves 29 and 21, which were excavated concurrently with Caves 20 and 26. Caves 17 and 28 were the last ones to be started. The later caves, 14, 15 and 16, were constructed during the period, some being dated to between the 8th to 10th centuries. These caves were completed in the 8th-century with the support of king. Early Hindu temples: Dhumar Lena, Cave 29 View from Cave 29, Ellora Construction in the early Hindu caves commenced before any of the Buddhist or Jaina caves. These early caves were generally dedicated to the Hindu god , although the iconography suggests that the artisans gave other gods and goddesses of Hinduism prominent and equal reverence. A common feature of these cave temples was a rock cut linga-yoni within the core of the shrine with each being surrounded by a space for circumambulation parikrama. Cave 29, also called Dhumar Lena, is one of earliest excavations in Ellora and among the largest. Rameshwar temple, Cave 21 Goddess Ganga at the entrance of Ellora Cave 21. Cave 21, also called Rameshwar Lena, is another early excavation whose construction has been credited to the Kalachuri dynasty. The cave was completed prior to the ascension of Rashtrakuta dynasty which went on to expand the caves at Ellora Although the cave features similar works to those in other Ellora caves, it also has a number of unique pieces, such as those depicting the story of goddess Parvati's pursuit of Shiva. Carvings depicting Parvati and Shiva at leisure, Parvati's wedding to Shiva, Shiva dancing and Kartikeya Skanda have been found in other caves. The cave also features a large display of the Sapta Matrika, the seven mother goddesses of the tradition of Hinduism, flanked on either side by and Shiva. Inside the temple are other goddesses important to Shakti tradition, for example the. The entrance to Cave 21 is flanked by large sculptures of the goddesses Ganga and Yamuna representing the two major Himalayan rivers and their significance to the Indian culture. The cave is laid out symmetrically according to the mandapa square principle and has embedded geometric patterns repeated throughout the cave. The Shiva linga at the sanctum sanctorum of the temple is equidistant from the major statues of goddesses Ganga and Yamuna, with all three set in an equilateral triangle. According to Carmel Berkson, this layout likely symbolizes the — relationship, the interdependence of the masculine and the feminine energies, that is central to Hindu theology. The Kailaśa temple: Cave 16 Kailash temple at Ellora. Right: James Fergusson's 19th century drawing of the temple. Cave 16, known as the , is a particularly notable cave temple in India as a result of its size, architecture and having been entirely carved out of a single rock. The Kailasha temple, inspired by Mount Kailasha, is dedicated to. It is modeled along similar lines to other with a gateway, an assembly hall, a multi-storey main temple surrounded by numerous shrines laid out according to the square principle, an integrated space for circumambulation, a garbha-grihya sanctum sanctorum wherein resides the linga-yoni, and a spire shaped like Mount Kailash — all carved from one rock. Other shrines carved from the same rock are dedicated to , , , the ten of , Vedic gods and goddesses including Indra, Agni, Vayu, Surya and Usha, as well as non-Vedic deities like Ganesha, half Shiva, half Parvati , half Shiva, half Vishnu , Annapurna, Durga and others. The basement level of the temple features numerous Shaiva, Vaishnava and Shakti works; a notable set of carvings include the twelve episodes from the childhood of , an important element of Vaishnavism. The structure is a freestanding, multi-level temple complex covering an area twice the size of the in. It is estimated that the artists removed three million cubic feet of stone, weighing approximately 200,000 tonnes, to excavate the temple. The construction of the temple has been attributed to the king r. The dimensions of the courtyard are 82 meters by 46 meters at the base, and 30 meters high 280 x 160 x 106 feet. The entrance features a low. The central shrine housing the features a flat-roofed supported by 16 pillars, and a. An image of Shiva's mount the sacred bull stands on a porch in front of the temple. Two of the walls in the main temple house rows of carvings depicting the , along the north side, and the , on the south side. The Dashavatara: Cave 15 Vishnu at the Dashavatara Ellora temple. The Dashavatara temple, or Cave 15, is another significant excavation that was completed sometime after Cave 14 Ravan ki Khai, Hindu. Cave 15 has cells and a layout plan that are similar to Buddhist Caves 11 and 12, which suggests this cave was intended to be a Buddhist cave; however, the presence of non Buddhist features, such as a Nrtya Mandapa an pavilion at its entrance, indicated otherwise. According to James Harle, Hindu images have been found in Buddhist Cave 11, while many Hindu deities have been incorporated in Buddhist caves of the region. This overlap in disparate designs between Buddhist and Hindu caves may be due to the sites being worked on by the same architects and workers, or perhaps a planned Buddhist cave was adapted into a Hindu monument. According to Geri Malandra, all the Buddhist caves at Ellora were an intrusion in a place that was already an established Brahmanical Hindu pilgrimage site , and not the other way around. Furthermore, given that both the Hindu and Buddhist caves were predominantly anonymous, with no donative inscriptions having been discovered for the Buddhist Ellora caves other than those of Hindu dynasties that built them, the original intent and nature of these cave temples is speculative. An early 19th-century painting of Ellora Cave 15. The Hindu temple housed in Cave 15 has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, including the ten of Vishnu. An inscription of , critical to establishing the age of the temple, is on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion form, emerges from a pillar to lay a fatal hand upon his shoulder. Other reliefs in Cave 15 include the Gangadhara, marriage of Shiva and Parvati, Tripurantika of Shakti tradition, Markendeya, Garuda, aspects of life, Nandi in mandapa, dancing Shiva, Andhakasura, Govardhanadhari, Gajendravarada and others. Other Hindu caves Other notable Hindu caves are the Ravan ki Khai Cave 14 and the Nilkantha Cave 22 , both of which house numerous sculptures, Cave 25 in particular features a carving of Surya in its ceiling. At the north end of Ellora are the five Jain caves belonging to the sect, which were excavated in the ninth and early tenth centuries. These caves are smaller than the Buddhist and Hindu caves but nonetheless feature highly detailed carvings. They, and the later era Hindu caves, were built at a similar time and both share architectural and devotional ideas such as a pillared veranda, symmetric mandapa and puja worship. However, unlike the Hindu temples, emphasis is placed on the depiction of the twenty four spiritual conquerors who have gained liberation from the endless cycle of rebirths. In addition to these Jinas, the works at the Jain temples include carvings of gods and goddesses, yaksa male nature deity , yaksi female nature deity and human devotees prevalent in Jaina mythology of 1st millennium CE. Shikhar of Indra Sabha According to Jose Pereira, the five caves were actually 23 distinct excavations, over different periods. A 13 of these are in Indra Sabha, 6 in Jagannatha Sabha and rest in the Chhota Kailash. Pareira used numerous sources to conclude that the Jain caves at Ellora likely began in late 8th-century, with construction and excavation activity extending beyond the 10th century and into the 13th century before coming to a halt with the invasion of the region by the Delhi Sultanate. Particularly important Jain shrines are the Chhota Kailash cave 30, 4 excavations , the Indra Sabha cave 32, 13 excavations and the Jagannath Sabha cave 33, 4 excavations ; cave 31 is an unfinished four-pillared hall, and shrine. Cave 34 is a small cave, which can be accessed through an opening in the left side of Cave 33. The Jain caves contain some of the earliest images among its devotional carvings. The Samavasarana is of particular importance to Jains being the hall where the preaches after attaining liberating omniscience. Another interesting feature found in these caves is the pairing of sacred figures in Jainism, specifically and , which appear 19 times. Other artwork of significance include those of deities Sarasvati, Sri, Saudharmendra, Sarvanubhuti, Gomukha, Ambika, Cakresvari, Padmavati, Ksetrapala and Hanuman. Chotta Kailasha: Cave 30 Chotta Kailasha The Chotta Kailasha, or the little Kailasha, is so named due to the similarity of the carvings to those in the Kailasha temple. This temple was likely built in the early 9th century, concurrent with the construction of the lower level of the Indra Sabha, some decades after the completion of the Kailasha Temple. It features two larger-than-life size reliefs of dancing Indra, one with 8 arms and another with 12, both adorned with ornaments and a crown; Indra's arms are shown in various mudra reminiscent of the dancing Shiva artworks found in nearby Hindu caves. However, the iconography has several differences that indicate this cave shows a dancing Indra and not a dancing Shiva. The Indra panels at the entrance also feature other deities, celestials, musicians and dancers. Art historian Lisa Owen has raised questions concerning whether music and dance were part of 9th century Jainism considering given that Jain theology focuses on meditative. Rajan, for example, has proposed that Cave 30 may have originally been a Hindu monument that was later converted into a Jaina temple. However, Owen suggests that the celebration-filled artwork in this temple is better understood as part of the Samavasarana doctrine in Jainism. The overlap between Jain and Hindu mythologies has caused confusion, given Book Three of the Hindu Mahabharata describes Indra's abode as one filled with a variety of heroes, courtesans and artisans, within a paradise-like setting. This imagery is repeated throughout Cave 30, similar to the Hindu caves, setting the context of the temple. However, the symbolism closer to the centre of the temple is more aligned with the core ideas of Jainism; a greater prevalence of meditating images and Jinas — the place where the Jain devotee would perform his or her ritual abhisheka worship. Cave 31 Mahavira with yaksha Matanga and yakshi Siddhaiki Cave 31, consisting of four pillars, a small shrine a number of carvings, was not completed. Carvings of , guarded by with his 7 hoods, and were made into the left and right walls of the hall, respectively, while within the shrine resides an idol of Mahavir Swami. The idol is seated in a on a lion-throne and a chakra is seen in the middle panel of the throne. The figure of Matanga on an elephant is on the left side of shrine while one of Siddhaiki, seated in savya-lalitasana on a lion with a child on her lap, is on the right. The Indra Sabha: Cave 32 Indra Sabha Temple The Indra Sabha Cave 32 , excavated in the 9th century, is a two-storey cave with a monolithic shrine in its court. Indra is an important deity in all three major religions, but is of particular importance in Jainism as not only is he one of 64 deities who reign over the heavens, he is, specifically, the king of the first Jain heaven, Saudharmakalpa, and the chief architect of the celestial assembly hall according to the Adipurana, a Jain holy text. Painting in Cave 32 The Indra Sabha Jain temple is historically significant as it contains evidence, in the form of layered deposits and textual records, of active worship inside by the Jain community. In particular, rituals were known to have been held in the upper level, where the artwork may have played a central role. As with many caves in Ellora, numerous carvings adorn the temple, such as those of the flower on the ceiling. On the upper level of the shrine, excavated at the rear of the court, is an image of , the of , seated on her lion under a mango tree, laden with fruit. The centre of the shrine presents Sarvatobhadra, where four Tirthankaras of Jainism — Rshibha 1st , Neminatha 22nd , Parsvanatha 23rd and Mahavira 24th are aligned to the cardinal directions, forming a place of worship for devotees. The Jagannatha Sabha: Cave 33 Carvings on the pillars of the Jagannatha Sabha The Jagannatha Sabha Cave 33 is the second largest Jain cave at Ellora and dates to the 9th century according to the inscriptions on the pillars. It is a two storeyed cave with twelve massive pillars and elephant heads projecting towards a porch, all carved from a single rock. The hall has two heavy square pillars in front, four in the middle area, and a pillared interior square principle hall with fluted shafts, all intricately carved with capitals, ridges and brackets. Inside the major idols are of and Mahavira, the last two in Jainism. Cave 34 Goddess sitting on a lion, Cave 34 Certain inscriptions in Cave 34, or J26 according to historian , are not deciphered as yet but were likely to have been executed between 800 and 850 CE. Other inscriptions, such as the one by Sri Nagavarma, are thought to date from the 9th or 10th century. This cave features a large seated Parshvanatha Jina with four camara attendants, two of whom hold fly-whisks and seemingly emerge from the back of the Jina's throne. As with many other Jain excavations, a large pair of -yaksi is also found in this cave near the Jina. In the back of the cave is a bearded figure with a bowl containing round sacrificial offerings, which have shapes reminiscent of rice balls or laddus sweetmeat. This suggests the scene may be related to Jain devotional worship, possibly a shraddha ceremony. The Parshvanatha in the cave is paired with a standing Gommateshvara, and accompanied by other carvings showing musicians playing a variety of instruments such as horns, drums, conchs, trumpets, and cymbals. A particularly notable feature of the cave is a giant, open lotus carving on its ceiling and rooftop, which is found in only one other Jain excavation and one Hindu Cave 25 in all of Ellora. The placement of the lotus on the cave rather than a sculpture symbolizes that the temple is a divine place. There have been several records written in the centuries following their completion indicating these caves were visited regularly, particularly as it was within sight of a trade route; for example, Ellora was known to have been frequented by Buddhist monks in the 9th and 10th centuries. Other records were written by , Thevenot 1633—67 , Niccolao Manucci 1653-1708 , Charles Warre Malet 1794 , and Seely 1824. Ellora was a well-known site in times: the emperor used to picnic there with his family, as did other Mughal nobles. Mustaid Khan, a courtier of Aurangzeb, stated that people visited the area in all seasons but especially during the monsoon. Desecrated statues in a Hindu Cave left and a Buddhist Cave. The Lalitacaritra, a Marathi text dated to the late 13th century CE, is the first report stating that active use of Ellora ceased in the 13th century. Islamic court records indicated that Deogiri, the capital of the Yadava dynasty, and situated about 10 kilometers from Ellora, had come under sustained attack during this period and subsequently fell to the in 1294 CE. According to José Pareira, there is evidence that work in the Jain caves at Ellora had flourished under Singhana, who ruled the Yadava dynasty between ~1200-1247 CE, and these caves were in use by Jaina visitors and worshippers into the 13th-century. However, Jain religious activity ceased after the region came under Islamic rule in the late 13th century. The Buddhist, Hindu and Jain monuments at Ellora show substantial damage, particularly to the idols, whereas intricate carvings on the pillars, and of natural objects on the walls, remain intact. The desecration of idols and images was traced to the 15th to 17th centuries when this region of the Deccan peninsula was subjected to by Muslim armies. Several inscriptions at Ellora date from the 6th century onwards, the best known of which is an inscription by c. Jagannatha Sabha, Jain cave 33, has 3 inscriptions that give the names of monks and donors, while a Parshvanath temple on the hill has an 11th-century inscription that gives the name of a donor from Vardhanapura. A copper plate inscription found in Baroda, Gujarat, states that a great edifice was built on a hill by Krishnaraja at Elapura Ellora :... The architect builder of which... Ellora, with its uninterrupted sequence of monuments dating from A. Not only is the Ellora complex a unique artistic creation and a technological exploit but, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India. Dhavalikar 1982 , , Bulletin of the Deccan College Research Institute, Vol. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. Archived from on 9 December 2010. Journal of the International Association of Buddhist Studies. Retrieved 6 March 2016. The Rosen Publishing Group. Journal of the International Association of Buddhist Studies. Introduction to Indian Art, New Delhi: Munshiram Manoharlal, , p. Journal of the International Association of Buddhist Studies. Journal of the International Association of Buddhist Studies. Archaeological Survey of India, Aurangabad Circle, Aurangabad, Maharashtra, Government of India. Retrieved 7 May 2017. The Venetian Niccolao Manucci, whose history of the Mughals reaches Paris in 1701 or 1702, attributed the excavations to the Chinese... As they are so cleverly done, and their appearance somewhat Chinese, many say that they were executed by the ancient Chinese. The Mughal World: Life in India's Last Golden Age. David Gilmartin; Bruce B. University Press of Florida. Encyclopaedia of the History of Science, Technology, and Medicine in Non-Westen Cultures. Cambridge University Press Reprinted 2013. Oxford University Press, New Delhi. State University of New York Press. Archaeological Survey of India.
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