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Perhaps the monks who left Ajanta moved to Ellora? The timing is quite consistent - Ajanta was deserted in the 7th century, and at the same time magnificent Hindu temples began to be built in Ellora.
Ellora(like Ajanta) is a complex of cave temples and monasteries. Along the mountain ridge for two kilometers there are 34 caves:
Nos. 1 – 12 – Buddhist (6-8 centuries)
Nos. 13 – 29 – Hindu (7-9 centuries)
No. 30 – 34 – Jain (9th century)
Read also:
One day, at the beginning of the 19th century, a British officer decided to hunt a tiger...
But instead of a tiger, he discovered Ajanta...
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There is probably no other country in the world that has as many diverse temples as India.
Ellora, Kailasanatha Temple
The most impressive and stunning was the Kailasanatha temple. It took about 150 years to build. Or rather, “erected” is not a very appropriate word in this case, because it grew not up, but down. It was cut out from above. It’s hard to imagine - a man climbs a high basalt mountain and from above begins to cut off everything unnecessary that is not a temple.
All its walls are covered with bas-reliefs depicting scenes from Indian mythology. The area of the temple is about 2 thousand square meters, such a grandiose monolithic stone sculpture. It is located inside the mountain, in a huge hollow. I highly recommend climbing up to look at this miracle from there, especially at sunset.
The Ellora caves are not illuminated like the Ajanta temples, and sometimes such interesting sculptures are hidden in the depths that it doesn’t hurt to take a flashlight with you.
Some caves are small, others are huge three-story caves with many columns.
Living ancient statues look at you from the twilight. Every wall and every column is decorated with stone carvings.
You walk and wander under the impression from one cave to another among stone gods and mythical creatures.
Hindu caves even feel very different from Buddhist caves. If
Buddhist ones are overwhelming with their huge size, asceticism, severity,
static and dispassionate meditating Buddhas and Bodhisattvas, then in Hindu ones life is in full swing: gods dance, love, fight demons, play weddings, passions and movement are everywhere.
Buddhist viharas (monasteries). Here the monks meditated and performed their rituals, living in small cells located around the perimeter of the temple.
We didn't have enough time for Ellora one day, and the next morning we came here again. This second day turned out to be even more amazing: we got to the top, where there are no tourists (all hiking trails pass below).
At the top there are several soulful, deserted caves where local sadhus come to meditate, and a small river flows, which ends in a waterfall further down.
Here at the top, in the rocky depressions, it forms small lakes in which you can even swim! What a pleasure this is! We had a blast in the cool, clear water until a local boy tracked us down and brought a bunch of his friends. It's good that we noticed them from afar. I had to jump out of the water and quickly get dressed behind a large stone.
There are also langurs living in Ellora. We sat in the shade and watched as they rushed in a large crowd across the green grass. There were many of them, they were frolicking and enjoying life. And on the side under big tree Langur's grandparents sat and watched with imperturbable calm as the young animals frolicked.
The best time to visit Ellora and Ajanta is November – February.
And one more thing. Don't repeat our mistakes. We arrived by train to Jalgaon, left our things in a storage room at the railway station, took a bus to Ajanta, returned to Jalgaon to get our things, went to Aurangabad, checked into a hotel and from there went to Ellora.
Everything can be made much simpler.
From Jalgaon straight with your things to Ajanta. There you can leave them in the store you like. Wander through the caves. And from Ajanta - straight to Ellora.
In this video you can take a closer look Ellora, its temples and monasteries.
The Ellora cave temple complex is located in the Indian state of Maharashtra, near Ajanta, and consists of 34 cave temples created over the 8th-9th centuries. Twelve of them are Buddhist, two are Jain and the rest are Hindu. The Hindu part of the ensemble includes the huge rock temple of Kailasanatha.
The emergence of the cave temples of Ellora dates back to the era of the state of the Rashtrakuta dynasty, which in the 8th century united the western territories of India under their rule. Medieval Arab chroniclers named the Rashtrakuta state among the greatest states of that time, along with the Arab Caliphate, Byzantium and China.
The Rashtrakutas were the most powerful Indian rulers of that time. Around 750 they began grandiose construction in their lands. There is no doubt that Ellora was influenced by the earlier Ajanta cave temples. But both natural features and the trends of modern times led to the creation in Ellora of a completely original monument, where stone sculpture began to play the main role. The cave halls of Ellora, created at the beginning of the 8th century, differ significantly from Ajanta in their size and more complex plan. Long galleries are laid out in the rocks; the area of some halls reaches 40x40 meters. The walls of the halls are decorated with stone sculptures and reliefs in abundance.
The main cave temple of Ellora is called Tin Thal. This is the largest underground temple ever created in India. It consists of three floors and is located in the depths of a rectangular courtyard, reminiscent of a narrow well 33 meters wide and 20 meters deep, the entrance to which leads through a narrow monolithic gate. The façade of the temple is extremely simple and ascetically austere. It consists of three rows of square columns resting on monolithic rock platforms. The height of the facade is 16 meters.
A narrow staircase carved into the stone leads to the temple. And when a person gets inside the underground sanctuary, vast halls with countless powerful square columns and statues of Buddhist deities open up to his gaze. The halls of Tin Thal are overwhelming with their colossal and harsh, elementally simple forms. The width and depth of the halls reaches 30-40 meters. The gloomy mystical mood in the temple is enhanced by the effect of the darkness deepening in its depths, in which huge stone statues flicker ghostly.
The other, smaller cave temples of Ellora give the same impression. At the Ramesvara temple sculptural relief and stone carving dominates almost the entire surface of the walls and columns. Huge wall high reliefs literally surround the viewer. Terrible fantastic sculptures carved into the rock make a particularly strong and hypnotizing impression due to their plastic power and sharp contrast of light and shadow.
The facades of the Ramesvara Temple are decorated with four columns and two half-columns with intricately carved capitals and large female caryatids located on both sides of the columns. Stone carvings adorn the entire façade of the cave temple, but its splendor only emphasizes the massiveness of the columns, reminiscent of muscles tensed with superhuman effort. In the later cave halls of Ellora, one senses the loss by sculptors of the artistic achievements of the masters of the previous era. The Ellora temple complex completed the ancient Indian tradition of building rock temples.
The central structure of Ellora is the huge Kailasanatha Temple, carved into a monolithic, lonely rock. The very idea of such a fabulous building, rising among the surrounding cave temples, is unusual. The temple is perfect in its power and size. is unique and can only be compared with the rock temples - Abu Simbel and the temple of the goddess Hatshepsut in Deir el-Bahri. The majestic and unique Kailasanatha rock temple is carved like a sculpture from a monolithic rock, isolated from the slopes of the low mountains surrounding Ellora by three deep, up to thirty meters deep, clefts. This rock mass was hewn from the top to the very bottom, without the use of scaffolding. Initially, the entire Kailasanatha temple was covered with white plaster and was called Ranga Mahal - “painted palace”. Its snow-white silhouette stood out like a bright spot against the background of the rocks.
The Kailasanatha Temple was built, or rather, carved into the rock, for a very long time. It began to be created under the ruler Dantidurga from the Rashtrakuta dynasty, and was completed under Krishnaraja I. The temple rises in the middle of a courtyard carved out of the rock with an area of 58x51 meters and extending more than 33 meters deep into the rock. The area of the temple is 55x36 meters.
The lower part of the temple is carved in the form of a plinth eight meters high. In its center there are monumental sculptures of elephants and lions about three meters high, as if holding the weight of the temple building on their backs. The closely standing rows of elephants are carved in such a way that it seems that this is only the visible part of them, and the rest of the elephants are hidden under the mass of the temple. This idea of a huge structure resting on the backs of elephants and lions is mythological and symbolic in nature - after all, the world, as we know from ancient legends, stands on three elephants. Only there are many more elephants in Kailasanatha...
From top to bottom the temple is covered with stone carvings, executed with great skill. As the Russian pre-revolutionary Indologist I.P. Minaev wrote, the temple in Ellora has “such a mass of images that it can be read as a book of Indian mythology.”
One of the most interesting images On the walls of the Kailasanatha temple there is a relief “Ravana trying to overthrow Mount Kailash.” This is one of the most dramatic works Indian medieval sculpture. Central event relief - the taming by the god Shiva of the demon Ravana, who seeks to destroy the sacred Mount Kailash (a hypostasis of the sacred Mount Meru), on which Shiva lives. This plot symbolizes the clash between the forces of good and evil. The enraged demon, depicted as a terrible multi-headed and multi-armed creature, rages in rage, unsuccessfully trying to shake the sacred mountain. His wife Parvati clung to the almighty Shiva in fear. But the frantic efforts of the demon are not scary to Shiva: with one light wave of his hand, he pacifies the monster.
No less interesting are other reliefs of the Kailasanatha temple: “Shiva the Victorious”, “The Abduction of Sita”. They are performed with such skill, with such captivating expression that the viewer cannot remain just an observer and at some point he is sincerely captured by the drama of the events depicted. Such an impact artistic image per person first appears in Indian art only in Ellora.
Address: India, from 30 km. from Aurangabad, Ellora village
Creation: from 6th to 9th century AD
Number of caves: 34 pcs.
Coordinates: 20°01"21.5"N 75°10"45.1"E
Mysterious and, one might even say, mystical India with its huge number of unique historical and architectural monuments, most interesting culture and numerous religious cults attracted the attention of travelers and traders even in ancient times.
Any scientist who tries to highlight the most interesting and significant sights of this densely populated country will be faced with a rather difficult task: it is too diverse and even multifaceted. the most ancient state of our planet. One of the most interesting places(“one of”, not the most) of India is, of course, the Ellora Caves. They are located in the state of Maharashtra, and along with such monuments as the Egyptian pyramids, Mayan sanctuaries and Stonehenge are still the subject of debate among scientists. Even in our time, it is almost impossible to explain how such huge complexes were built in ancient centuries.
This mystery, as well as stunning sculptures, temples, and a mysterious atmosphere permeating this entire slightly gloomy and even frightening place, made the Ellora caves unique “ business card» India. One has only to imagine that in the dark caves there are 34 temples belonging to three religious cults, the question immediately arises: how the ancient masters, without having ultra-modern tools at hand, could create such a magnificent and huge miracle. It is worth noting that there are quite a lot of miracles in the Ellora caves, it is simply believed that all 17 Hindu, 12 Buddhist and 5 Janai temples are one complex. It is the Ellora Caves that are described on the UNESCO World Heritage List, not each individual temple.
By the way, at the top of the Kailasa mountains there is another huge temple - a Shaivite one, it is called Kailasanatha. It is also classified as part of the Ellora cave complex. So, according to the legends of the ancient Hindus, it is believed that this particular temple leads to heaven, and it is in it that Shiva himself lives. This sanctuary is carved from a monolithic rock and decorated with carvings, the beauty of which is almost impossible to describe in words: perhaps even a huge construction company, possessing the most cutting-edge instruments.
By the way, Kailasanatha was made under the guidance of a person, and not of a god or a representative of an alien civilization. This is evidenced by a copper tablet found in one of the hiding places of the Shaivite temple. It reads something like this: “Oh, Great Shiva, how did I manage to build such a miracle without magic?” After deciphering the master’s address to the god Shiva, it becomes clear that Kailasanatha was built by the most ordinary people. How then, in ancient times, was it possible to literally carve out this temple? Unfortunately, there is no answer to this question yet: there are assumptions by archaeologists, builders and architects, but they remain only theories that have yet to be explained to our descendants. At the moment, one can only be amazed at the work of the ancient masters who showed the world one of the most significant wonders of India - the mysterious Ellora Caves.
Ellora Caves: construction and history
At the beginning of this section, it should be emphasized once again that no confirmed versions of how exactly the Ellora caves were built have yet been put forward by scientists. There are only theories and very few facts indicating at what time 34 temples were carved into the rock. According to some ancient manuscripts and copper tablets, it can be argued that the legendary Indian caves of Ellora began to decorate and build temples in them around the middle of the 6th century AD. All work was completed only in the 9th century.
Most scholars who study the history and culture of India insist that the temples in this place were built for a reason: it was here that the largest trade route passed in ancient times. What do religious cults have to do with trade? The answer to this question may seem too simple and even banal: “The most direct!” The thing is that India in ancient centuries conducted uninterrupted trade: its goods were extremely highly valued in other countries. Many merchants and maharajas were extremely wealthy people. They donated a certain part of their income for the construction of religious temples and the erection of sculptures in the caves of Ellora. There was no need to send gold, which was used to pay for the work of ancient skilled craftsmen, far. Temples were built right along the trade route, in the place where most transactions were concluded.
If you carefully study the history of India, you can understand why Hindu temples predominate in the Ellora Caves. From the middle of the 6th century AD, Buddhism began to be replaced by Hinduism in most of the country. Archaeologists have excavated and studied the age of temples in the Ellora cave complex only in once again prove that Buddhist temples were carved first, and only then Hindu ones. In the 8th century, a huge Kailasanatha temple was built, and by the end of the 10th century, five Jain temples were carved out. By and large, the Ellora Caves are a kind of history textbook, telling through temples and sculptures about the religious cults that arose in India at one time or another.
For the convenience of scientists, guides and tourists, all Ellora caves are numbered in the order in which they were built.. Below, the material will describe the most interesting temples and the most interesting sculptures of one of the main attractions of India. Naturally, it will be most convenient to describe them by numbers, but first of all, you should still focus on the monolithic (!) Kailasanatha Temple, located at the top of the Kailasa Mountains. The thing is that this is the largest and most interesting temple, so we will talk about it first of all. True, as mentioned above, it was carved into basalt rock already in the 8th century, after the appearance of Buddhist temples in the Ellora caves.
Kailasanatha Temple: “Top of the World”
The highest cave temple of Kailasanatha was created by craftsmen at the direction of the Indian Raja, who was part of the legendary Rashtrakuta family. Modern architects they claim that this sanctuary was built according to a plan that was verified to the smallest detail. Historians who have studied ancient documents that have survived to this day say: “The Kailasanatha Temple was of utmost importance: it was the gateway to heaven and represented an intermediate link between man and higher powers.” They began to cut it into the rock from top to bottom, gradually giving it shape from the sides. This method in construction is unique and has not been used anywhere else. At the top, workers dug a deep trench in the stone, which would allow carvers from all sides to create passages into huge halls. At the same time, craftsmen carved out the roof of the “top of the world” from above. From this we can conclude that initially a kind of well was dug, and only then all the work was carried out in it.
If you look at the architectural elements of the Kailasanatha Temple, you can even assume that its style is reminiscent of Dravidian. True, it only reminds... The huge sanctuary, whose height is 30 meters, width 33 meters, and length 61 meters, is unique in its kind. Both its plan and construction method are unique. At the very beginning of the material it was said that it is not yet possible to explain, thanks to what technologies it was possible to carve Kailasanatha into the rock. Calculations by modern experts shed light on the difficulties that ancient workers had to face in the 8th century. To completely complete the construction of the temple, which was dedicated to Shiva, more than 400,000 tons (!) of rock had to be hollowed out and removed from the site. It is even impossible to imagine how many people were involved in the construction of the “top of the world.”
Kailasanatha, according to the architect's plan, was divided into three parts. In addition to these three parts, you can count a huge number of additional rooms, each of which is dedicated to a specific deity. In the temple you can see a sculpture of Shiva himself, a multi-armed demon named Ravan, who, according to the cult, was the ruler of all dark forces. If you carefully examine the entire sanctuary, which, by the way, can take several hours, you can even conclude without the help of a guide: the temple was built for a long time and conscientiously. Not a single smooth surface: all the walls at Kailasanatha are covered with patterns that, upon closer inspection, appear three-dimensional. Just look at the figures of sacred lions and elephants, made by sculptors with attention to the smallest details.
The Indian temple of Kailasanatha, even if you look at its facade, fascinates and puts the traveler who was brought to India into a state of silent stupor. It is a particularly magical sight at sunset. As soon as the sun goes down to the horizon and many shadows appear from the carved figures, it seems that they are about to come to life and begin to offer prayers to Shiva. This visual effect is not accidental: most likely it was carefully thought out and brought to life by an unknown architect. The fact that it was one person has already been proven thanks to a copper tablet found in an ancient cache. But his name is still reliably hidden by the veil of time. It will not be possible to describe in words all the decorative elements of the temple in one material: moreover, it is even almost impossible to collect photos of Kailasanath on one page, which would give a complete picture of all the splendor of this Shaivite sanctuary.
Buddhist temples in Ellora Caves
Buddhist caves are designated in many guidebooks as numbers 1-12. Each number of caves is, as mentioned above, a kind of temple. However, if you carefully study all of them in order, the conclusion suggests itself that these are not separate sanctuaries, but a temple complex. For example, Ellora caves numbered 1 and 5 are the most common cells for monks where they rested after a hard day of work, prayer and meditation. Buddhist cave number 2, in which you can still see sculptures of the keeper of earthly treasures and the patroness of children, was most likely used by the monks for long meditations. If we try to highlight one of the most interesting caves in which the Buddha was worshiped, then it would probably be cave number 6. It is in it that the figures of the Buddha and his disciples, Tara and the goddess Mahamayuri, who in Buddhism patronizes learning, are best preserved to this day .
Cave number 11 is of particular interest. Until 1876, no one knew that it also had a third tier, which for some unknown reason was skillfully disguised by builders or Buddhist monks. No one doubts that the “eleventh” cave was undergoing reconstruction. After Buddhists abandoned it, they tried to convert the cave into a Hindu temple. However, for unknown reasons, the Buddha statues remained in their places, only on the back wall were images of the deities Ganesha and Durga. These two representatives higher powers belong to the Hindu religion.
Ellora Caves: Hindu Temples
There are the most Hindu caves in the Ellora temple complex: 17. They are numbered from 13 to 29. They are surprisingly similar to Buddhist caves, among them there are cells for monks, halls for meditation, communication with the god Shiva and refectories. The main difference is that among the numerous sculptures you will not find Buddha: most often in the Hindu caves of Ellora there are images of Shiva and other deities belonging to this cult. It is simply not possible to describe all the caves built before the end of the 8th century, each of which is unique in its own way. The main thing that will be interesting to know for a tourist who is going to visit the largest and most interesting temple complex on our planet is that the number of Hindu temples includes the legendary “roof of the world” Kailasanatha. It, like all Ellora caves, has its own number - 16. Most tourists who come to this mysterious and mysterious place, immediately head to “number sixteen”.
The “roof of the world” in India was described in more or less detail in the middle of the material. However, in this subsection, I would like to add that according to the assurances of local guides, who are getting their information from nowhere, the construction of cave No. 16 lasted a century and a half, and more than 7,000 people took part in its carving. This statement cannot be taken seriously; the point is that 7,000 people (three generations) simply could not have time to cut and remove 400,000 tons of rock in a century and a half: and that’s not counting huge amount patterns and sculptures for which Kailasanatha is famous throughout the world.
Jain caves of Ellora
Five caves numbered 30 to 34, in which the Jain cult flourished for a short period of time, pale before the grandeur of Hindu and Buddhist temples. Only cave number 32 may be of interest to a tourist. In it, one can get an idea of Gomateshvara, a Jain religious cult, and the importance it placed on meditation. It preserves a completely naked sculpture of a deity in a state of deep meditation. So deep that time has no power over it: the dangling legs are entangled in vines, and under the sculpture itself images of scorpions, snakes and even animals are visible.
All other caves belonging to the Jain cult remained unfinished. True, it is worth noting that the servants of this religion at one time tried to create something similar to Kailasanatha. A miniature copy of a Shaivite temple, which was never fully completed, is located in cave number 30. If you count the number of Jain caves in Ellora and examine their interior, you can confidently say that Gomateshvara, Parshvanatha and Jina Mahavira were worshiped in India for only a short time.
Ellora Caves: a small reminder for tourists
Before visiting the Ellora Caves, you should remember that they are all listed on the UNESCO World Heritage List and are constantly under protection. All that is allowed on the territory of the cave temple complex are excursions, during which you can take stunning photos of the Ellora caves. Taking “pebbles” from this mystical place as souvenirs is strictly prohibited: tourists are accompanied almost everywhere by guards, who, by the way, are quite difficult to distinguish from local tourists or guides. They reveal themselves only when an unlucky traveler tries to break the rules of staying in the Ellora caves.
The cave complex, which consists of 34 temples and a huge number of sculptures, is open from sunrise to sunset. There are no time restrictions. As soon as the first rays of the sun illuminate the attraction, which is almost on a par with the “Golden Temple” and the temple in Bodhgaya and is considered the most visited place by tourists in India, entry into its territory is allowed. After sunset, according to current rules, only their caretakers have the right to be in the Ellora caves.
The cost of the tour is only 250 rupees, which is quite a bit when you consider how much the Indian government is spending on preserving the largest cave temple complex in the world. “How to get to the Ellora Caves?” is a question that a tourist might ask if he only learned about this amazing place in India. The easiest way to get to the temple complex is from a city called Aurangabad, located 40 kilometers from the caves. By the way, this city has an airport, so even if a traveler has arrived in Delhi, he will be able to cover the distance between the capital of India and Aurangabad in a short period of time.
Showing you this object, I am once again amazed and once again somehow can’t even believe that such majestic structures could have been built a long time ago. How much work, effort and energy was invested in these rocks!
Maharashtra's most visited ancient site, the ELLORA Caves, 29 km north-west of Aurangabad, may not be in as impressive a location as their more ancient sisters at Ajanta, but the amazing richness of their sculpture makes up for this, and their not to be missed if you are traveling to or from Mumbai, which is 400 km to the southwest. A total of 34 Buddhist, Hindu and Jain caves - some of which were created simultaneously, competing with each other - encircle the base of the two-kilometer-long Chamadiri cliff where it meets open plains. The main attraction of this territory - the gargantuan-sized Kailasha Temple - rises up from a huge, steep-walled depression in the hillside. The largest monolith in the world, this incredibly huge piece of solid basalt has been transformed into a picturesque cluster of intersecting colonnaded halls, galleries and sacred altars. But let's talk about everything in more detail...
The Ellora temples arose during the era of the state of the Rashtrakuta dynasty, which in the 8th century united the western part of India under their rule. In the Middle Ages, the Rashtrakuta state was considered by many to be the greatest state and was compared to such powerful powers as the Arab Caliphate, Byzantium and China. The most powerful Indian rulers at that time were the Rashtrakutas.
The caves were created between the 6th and 9th centuries AD. There are a total of 34 temples and monasteries in Ellora. Interior decoration The temples are not as dramatic and ornate as the Ajanta Caves. However, there are more sophisticated sculptures here beautiful shape, observed complex plan and the sizes of the temples themselves are larger. And all the reminders have been much better preserved to this day. Long galleries were created in the rocks, and the area of one hall sometimes reached 40x40 meters. The walls are skillfully decorated with reliefs and stone sculptures. Temples and monasteries were created in the basalt hills over half a millennium (6th-10th century AD). It is also characteristic that the construction of the Ellora caves began around the time when the holy places of Ajanta were abandoned and lost sight of.
In the 13th century, on the orders of Raja Krishna, the Kailasantha cave temple was created. The temple was built according to very specific treatises on construction; everything was outlined in them down to the smallest detail. Between the heavenly and earthly temples, Kailasantha was supposed to be intermediate. A kind of gate.
Kailasantha measures 61 meters by 33 meters. The height of the entire temple is 30 meters. Kailasantha was created gradually; they began to cut down the temple from the top. First, they dug a trench around the block, which over time turned into a temple. Holes were cut into it; later these would be galleries and halls.
By hollowing out about 400,000 tons of rock, the Kailasantha Temple at Ellora was created. From this we can judge that those who created the plan for this temple had extraordinary imagination. Features of the Dravidian style are demonstrated by Kailasantha. This can be seen in the gate in front of the Nandin entrance, and in the very outline of the temple, which gradually narrows towards the top, and along the facade with miniature sculptures as decoration.
All Hindu buildings are located around the most outstanding Kailash temple, which personifies the sacred mountain of Tibet. In contrast to the calm and more ascetic decoration of Buddhist caves, Hindu temples are decorated with catchy and bright carvings, which is very typical of Indian architecture.
Near Chennai in Tamilnan there is the Mamallapuram Temple, the tower of the Kailasantha Temple is similar to its towers. They were built around the same time.
Incredible efforts went into building the temple. This temple stands in a well 100 meters long and 50 meters wide. At Kailasanatha, the base is not only a three-tiered monument, but also a huge complex with a temple courtyard, porticoes, galleries, halls, and statues.
The lower part ends with a base of 8 meters; it is surrounded on all sides by figures of sacred animals, elephants and lions. The figures guard and at the same time support the temple.
The original reason why this rather remote location became a center of such intense religious and artistic activity was the busy caravan route that ran through it, connecting the thriving cities of the north with the ports of the west coast. The profits from the profitable trade went towards the construction of the sanctuaries of this stone-hewn complex over five hundred years, begun in the mid-6th century. n. e., approximately at the same time when Ajanta, located 100 km to the northeast, was abandoned. This was the period of decline of the Buddhist era in central India: towards the end of the 7th century. Hinduism began to rise again. The Brahmanical revival gained momentum over the next three centuries under the patronage of the Chalukya and Rashtrakuta kings, two powerful dynasties responsible for much of the work at Ellora, including the creation of the Kailasha temple in the 8th century. The third and final stage of the rise of construction activity in this area occurred at the end of the first millennium new era, when local rulers turned from Shaivism to Jainism of the Digambara direction. A small cluster of less prominent caves to the north of the main group stands as a reminder of this era.
Unlike the secluded location of Ajanta, Ellora did not escape the consequences of the fanatical struggle with other religions that accompanied the rise to power of the Muslims in the 13th century. The worst extremes were taken during the reign of Aurangzeb, who, in a fit of piety, ordered the systematic destruction of “pagan idols.” Although Ellora still bears the scars of that time, much of her sculpture remains miraculously intact. The fact that the caves were carved out of solid rock, out of the zone of monsoon rainfall, determined their preservation in remarkably good condition.
All caves are numbered, approximately according to the chronology of their creation. Rooms 1 to 12 in the southern part of the complex are the oldest and date back to the Vajrayana Buddhist era (500-750 AD). The Hindu caves, numbered 17 to 29, were built at the same time as the later Buddhist caves and date back to between 600 and 870 BC. new era. Further north, the Jain caves - numbers 30 to 34 - were hollowed out from 800 AD until the end of the 11th century. Due to the sloping nature of the hillside, most of the cave entrances are set back from level earth's surface and is located behind open courtyards and large columned verandas, or porticoes. Entrance to all caves, except Kailash Temple, is free.
To see the oldest caves first, turn right from the bus parking lot and follow the main path to Cave 1. From here, gradually work your way further north, resisting the temptation to go to Cave 16 - the Kailash Temple, which is best left for later , when all the tour groups have left at the end of the day and the long shadows cast by the setting sun bring its striking stone sculpture to life.
Artificial rock caves scattered across the volcanic hills of the northwestern Deccan are among the most amazing religious monuments in Asia, if not the world. Ranging from tiny monastic cells to colossal, elaborate temples, they are remarkable because they were hand-carved into solid stone. Early caves of the 3rd century. BC e., it seems, were temporary refuges for Buddhist monks when heavy monsoon rains interrupted their wanderings. They copied earlier wooden buildings and were financed by merchants for whom the casteless new faith provided an attractive alternative to the old, discriminatory social order. Gradually, inspired by the example of Emperor Ashoka Maurya, local ruling dynasties also began to convert to Buddhism. Under their patronage, during the 2nd century. BC e., the first large cave monasteries were created in Karli, Bhaja and Ajanta.
At this time, the ascetic Theravada Buddhist school predominated in India. Closed monastic communities had little interaction with outside world. The caves created during this era were mostly simple “prayer halls” (chaityas) - long, rectangular apsidal chambers with barrel-vaulted roofs and two low columned passages curving gently around the rear of the monolithic stupa. As symbols of the Buddha's enlightenment, these hemispherical burial mounds were the main centers of worship and meditation around which communities of monks performed their ritual circuits.
The methods used to create caves have changed little over the centuries. First, the main dimensions of the decorative facade were applied to the front of the rock. Teams of masons would then carve a crude hole (which would become the elegant horseshoe-shaped chaitya window) through which they would cut further into the depths of the rock. As workers reached the floor level using heavy iron picks, they left behind pieces of untouched rock that skilled sculptors then transformed into columns, prayer friezes and stupas.
By the 4th century. n. e. The Hinayana school began to give way to the more luxurious school of the Mahayana, or “Great Vehicle”. This school's greater emphasis was on an ever-increasing pantheon of deities and bodhisattvas (merciful saints who deferred own achievement Nirvana, to help humanity in its progress towards Enlightenment) was expressed in a change architectural styles. The chaityas were replaced by richly decorated monastery halls, or viharas, in which the monks both lived and prayed, and the image of the Buddha acquired greater significance. Taking the place where there used to be a stupa at the end of the hall, around which ritual circumambulation was made, a colossal image appeared that bore 32 characteristics (lakshanas), including long drooping earlobes, a convex skull, and curls of hair that distinguish the Buddha from other beings. Mahayana art reached its peak at the end of the Buddhist era. Creating a vast catalog of themes and images contained in ancient manuscripts such as the Jatakas (legends of previous incarnations of the Buddha), as well as those presented in the amazing, evoking feelings The reverence for the wall paintings at Ajanta may have been partly an attempt to stir up interest in a faith that had by then begun to fade in the region.
Buddhism's desire to compete with the resurgent Hinduism, which emerged in the 6th century, eventually led to the creation of a new, more esoteric religious movement within the Mahayana. The Vajrayana direction, or “Thunder Chariot”, emphasizing and affirming creative principle feminine principle, shakti; Spells and magic formulas were used here in secret rituals. Ultimately, however, such modifications proved powerless in India in the face of the renewed appeal of Brahmanism.
The subsequent transfer of royal and popular patronage to the new faith is best evident in the example of Ellora, where throughout the 8th century. Many of the old viharas were converted into temples, and polished shivalingas were installed in their sanctuaries instead of stupas or Buddha statues. Hindu cave architecture, with its penchant for dramatic mythological sculpture, received its highest expression in the 10th century, when the majestic Kailasha Temple was created - a giant copy of structures on the surface of the earth, which had already begun to replace caves carved into the rocks. It was Hinduism that bore the brunt of the fanatical medieval persecution of other religions by Islam, which reigned in the Deccan, and Buddhism by that time had long since moved to the relatively safe Himalayas, where it flourishes to this day.
Buddhist caves are located on the sides of a gentle depression in the side of the Chamadiri cliff. All but Cave 10 are viharas, or monastic halls, which the monks originally used for study, private meditation and communal prayer, as well as for such mundane activities as eating and sleeping. As you walk through them, the halls will gradually become more impressive in size and style. Scholars attribute this to the rise of Hinduism and the need to compete for the patronage of rulers with the more successful reverential Saivite cave temples that were being excavated so close next door.
Caves 1 to 5
Cave 1, which may have been a granary, as its largest hall is a simple, unadorned vihara containing eight small cells and almost no sculpture. In the much more impressive Cave 2, the large central chamber is supported by twelve massive columns with square bases, and Buddha statues sit along the side walls. Flanking the entrance leading to the shrine are the figures of two gigantic dvarapalas, or gate guards: the unusually muscular Padmapani, the bodhisattva of compassion with a lotus in his hand, on the left, and the richly jeweled Maitreya, the “Buddha of the Future,” on the right. Both are accompanied by their spouses. Inside the sanctum itself, a majestic Buddha sits on a lion throne, looking stronger and more determined than his serene predecessors at Ajanta. Caves 3 and 4, which are slightly older and similar in design to Cave 2, are in fairly poor condition.
Known as “Maharvada” (because it was the shelter of the local Mahar tribe during the monsoon rains), Cave 5 is the largest single-storey vihara in Ellora. Its huge, 36 m long, rectangular meeting hall is said to have been used as a refectory by the monks, with two rows of benches carved out of stone. At the far end of the hall, the entrance to the central sanctuary is guarded by two beautiful statues of bodhisattvas - Padmapani and Vajrapani (“Thunder Holder”). Inside sits the Buddha, this time on a raised platform; his right hand touches the ground making a gesture indicating the “Miracle of a Thousand Buddhas” that the Master performed to confuse a group of heretics.
Cave 6
The next four caves were dug at approximately the same time in the 7th century. and are merely a repetition of their predecessors. On the walls of the vestibule at the far end of the central hall in Cave 6 are the most famous and beautifully crafted statues. Tara, the consort of the bodhisattva Avalokiteshvara, stands on the left, with an expressive, friendly face. On the opposite side is the Buddhist goddess of the teachings of Mahamayuri, depicted with a symbol in the form of a peacock, and a diligent student sits at the table in front of her. There is an obvious parallel between Mahayuri and the corresponding Hindu goddess of knowledge and wisdom Saraswati (the latter’s mythological vehicle, however, was a goose), which clearly shows to what extent Indian Buddhism of the 7th century. borrowed elements from a rival religion in an attempt to revive his own flagging popularity.
Caves 10, 11 and 12
Dug at the beginning of the 8th century. Cave 10 is one of the last and most magnificent chaitya halls in the Deccan Caves. To the left of her large veranda there are steps leading up to upper balcony, from where a triple passage leads to the inner balcony, with flying horsemen, celestial nymphs and a frieze decorated with playful dwarfs. From here you have a wonderful view of the hall with its octagonal columns and vaulted roof. From the stone “rafters” carved into the ceiling, imitations of beams that were present in earlier wooden structures, comes the popular name of this cave - “Sutar Jhopadi” - “Carpenter’s Workshop”. At the far end of the hall, the Buddha sits on a throne in front of a votive stupa - this group represents the central place of worship.
Despite the discovery of its previously hidden underground floor in 1876, Cave 11 is still called the "Dho Tal", or "two-tier" cave. Its top floor is a long pillared meeting hall with a Buddha shrine, and images on its rear wall of Durga and Ganesha, the elephant-headed son of Shiva, indicate that the cave was converted into a Hindu temple after being abandoned by Buddhists.
Nearby Cave 12 - "Tin Tal", or "three-tiered" - is another three-tiered vihara, entered through a large open courtyard. Once again, the main attractions are on the top floor, which was once used for study and meditation. On the sides of the altar room at the end of the hall, along the walls of which five large figures of bodhisattvas are located, there are statues of five Buddhas, each of which depicts one of his previous incarnations of the Teacher. The figures on the left are shown in a state of deep meditation, and on the right are again in the “Miracle of a Thousand Buddhas” position.
The seventeen Hindu caves of Ellora cluster around the middle of the cliff where the majestic Kailasha temple is located. Carved out at the beginning of the Brahmanical revival in the Deccan, a time of relative stability, the cave temples are full of a sense of life that their subdued Buddhist predecessors lacked. There are no longer rows of big-eyed, soft-faced Buddhas and bodhisattvas. Instead, huge bas-reliefs stretch along the walls, depicting dynamic scenes from Hindu legends. Most of them are associated with the name of Shiva, the god of destruction and rebirth (and the main deity of all the Hindu caves in the complex), although you will also find numerous images of Vishnu, the guardian of the Universe, and his many incarnations.
The same patterns are repeated again and again, which gave the artisans of Ellora a wonderful opportunity to hone their technique over the centuries, the crowning and greatest achievement of which was the Kailasha Temple (Cave 16). The temple described separately is an attraction that you should definitely visit while in Ellora. However, you can better appreciate its beautiful sculpture if you first explore the earlier Hindu caves. If you don't have too much time, consider that numbers 14 and 15, located directly to the south, are the most interesting of the group.
Cave 14
Dating back to the early 7th century, one of the last caves early period- Cave 14 was a Buddhist vihara converted into a Hindu temple. Its layout is similar to Cave 8, with an altar chamber separated from the rear wall and surrounded by a circular passage. The entrance to the sanctuary is guarded by two imposing statues of river goddesses - Ganga and Yamuna, and in an alcove behind and to the right, seven Sapta Matrika fertility goddesses rock well-fed babies on their laps. The son of Shiva - Ganesha with the head of an elephant - sits to their right next to two terrifying images of Kala and Kali, goddesses of death. Beautiful friezes decorate the long walls of the cave. Starting from the front, the friezes on the left (as you face the altar) depict Durga slaying the buffalo demon Mahisha; Lakshmi, the goddess of wealth, sits on a lotus throne while her elephant attendants pour water from their trunks; Vishnu in the form of the boar Varaha, saving the earth goddess Prithvi from the flood; and finally Vishnu with his wives. The panels on the opposite wall are dedicated exclusively to Shiva. The second one from the front shows him playing dice with his wife Parvati; then he performs the dance of the creation of the Universe in the form of Nataraja; and on the fourth frieze, he blithely ignores the futile attempts of the demon Ravana to throw him and his wife off their earthly home - Mount Kailash.
Cave 15
Like the neighboring cave, the two-story Cave 15, reached by a long staircase, began life as a Buddhist vihara but was occupied by Hindus and turned into a Shiva sanctuary. You can skip the generally not particularly interesting first floor and immediately go upstairs, where there are several examples of Ellora's most magnificent sculpture. The name of the cave - "Das Avatara" ("Ten Avatars") - comes from a series of panels located along the right wall, which represent five of the ten incarnations - the avatar - Vishnu. On the panel closest to the entrance, Vishnu is shown in his fourth image of the Lion Man - Narasimha, which he took to destroy the demon, which could not be killed by “neither man nor beast, neither by day nor by night, neither inside the palace nor without” ( Vishnu defeated him, hiding at dawn on the threshold of the palace). Notice the serene expression on the face of the demon before death, who is confident and calm, because he knows that, having been killed by God, he will receive salvation. On the second frieze from the entrance, the Guardian is depicted in the embodiment of the sleeping “Primeval Dreamer”, reclining on the rings of Ananda - the cosmic serpent of Infinity. A shoot of a lotus flower is about to grow from his navel, and Brahma will emerge from it and begin the creation of the world.
The carved panel in the recess to the right of the vestibule depicts Shiva emerging from the linga. His rivals, Brahma and Vishnu, stand before his vision humbly and pleadingly, symbolizing the predominance of Shaivism in this region. Finally, in the middle of the left wall of the room, facing the sanctum, the most elegant sculpture of the cave depicts Shiva in the form of Nataraja, frozen in a dancing pose.
Caves 17 to 29
Only three Hindu caves located on the hillside north of the Kailash temple are worth visiting. Cave 21 - “Ramesvara” - was created at the end of the 6th century. Believed to be the oldest Hindu cave in Ellora, it contains several marvelously executed pieces of sculpture, including a pair of beautiful river goddesses flanking the veranda, two wonderful statues of gatekeepers, and several sensual loving couples (mithunas) adorning the walls of the balcony. Note also the magnificent panel depicting Shiva and Parvati. In Cave 25, located further away, there is a striking image of the Sun God - Surya, driving his chariot towards the dawn.
From here the path leads past two more caves, and then descends sharply along the surface of a steep cliff to its foot, where a small river gorge is located. Crossing a seasonal river with a waterfall, the path climbs up the other side of the chasm and leads to Cave 29 - “Dhumar Lena”. This one dates back to the end of the 6th century. The cave is distinguished by an unusual ground plan in the form of a cross, similar to the Elephanta Cave in Mumbai Harbour. Its three staircases are guarded by pairs of rearing lions, and the walls inside are decorated with huge friezes. To the left of the entrance, Shiva pierces the demon Andhaka; in the adjacent panel he reflects the attempts of the many-armed Ravana to shake him and Parvati off the top of Mount Kailasha (note the fat-cheeked dwarf taunting the evil demon). The south side depicts scenes of a game of dice, in which Shiva teases Parvati by holding her hand as she prepares to throw.
Kailash Temple (Cave 16)
Cave 16, the colossal Kailash Temple (daily 6am to 6pm; 5 rupees) is Ellora's masterpiece. In this case, the term “cave” turns out to be erroneous. Although the temple, like all caves, was cut out of solid rock, it is strikingly similar to the usual structures on the surface of the earth - at Pattadakal and Kanchipuram in South India, after which it was built. It is believed that this monolith was conceived by the Rashtrakuta ruler Krishna I (756 - 773). However, a hundred years passed and four generations of kings, architects and artisans passed until this project was completed. Climb up the path that runs along the outcropping of the complex's northern cliff to a platform above the squat main tower and you'll see why.
The size of the structure alone is amazing. The work began with the digging of three deep trenches at the top of the hill using picks, hoes and pieces of wood which, soaked in water and inserted into narrow cracks, widened and crushed the basalt. When a huge piece of raw rock was thus exposed, the royal sculptors began to work. It is estimated that a total of a quarter of a million tons of fragments and chips were cut from the hillside, there was no room for improvisation or error. The temple was conceived as a gigantic replica of the Himalayan abode of Shiva and Parvati - the pyramidal Mount Kailash (Kailasa) - a Tibetan peak that is said to be the “divine axis” between heaven and earth. Today, almost all of the thick layer of white lime plaster that gave the temple the appearance of a snow-capped mountain has fallen away, revealing carefully crafted surfaces of grey-brown stone. At the rear of the tower, these projections had been exposed to centuries of erosion and were faded and blurred, as if the giant sculpture was slowly melting under the brutal heat of the Deccan.
The main entrance to the temple leads through a high stone partition, which is designed to delimit the transition from the secular to the realm of the sacred. Passing between the two river goddesses Ganga and Yamuna guarding the entrance, you find yourself in a narrow passage that opens into the main forecourt, opposite a panel depicting Lakshmi - the Goddess of Wealth - being showered by a pair of elephants - a scene known to Hindus as “Gajalakshmi”. Custom dictates that pilgrims circumambulate Mount Kailash in a clockwise direction, so take the steps on the left and walk across the front of the courtyard to the nearest corner.
From the top of the concrete staircase in the corner, all three main sections of the complex are visible. The first is the entrance with the Nandi buffalo statue - vehicle Shiva lying in front of the altar; next are the intricately decorated, stone-set walls of the main meeting hall, or mandapa, which still bears traces of the colored plaster that originally covered the entire interior of the structure; and finally, the sanctuary itself with its short and thick 29-meter pyramidal tower, or shikhara (best viewed from above). These three components rest on an appropriately sized raised platform supported by dozens of lotus-picking elephants. In addition to symbolizing the sacred mountain of Shiva, the temple also depicts a giant chariot. The transepts projecting from the side of the main hall are its wheels, the Nandi shrine is its yoke, and the two life-size trunkless elephants at the front of the courtyard (mutilated by marauding Muslims) are its draft animals.
Most of the main attractions of the temple itself are limited to its side walls, which are covered with expressive sculpture. Along the staircase leading to the northern part of the mandapa, a long panel vividly depicts scenes from the Mahabharata. It shows some scenes from the life of Krishna, including the one in the lower right corner of the infant god suckling the poisoned breast of a wet nurse sent by his evil uncle to kill him. Krishna survived, but the poison turned his skin a characteristic blue color. If you continue to explore the temple clockwise, you will see that most of the panels in the lower sections of the temple are dedicated to Shiva. At the southern end of the mandapa, in an alcove carved from the most prominent part of it, you will find a bas-relief generally considered to be the finest example of sculpture in the complex. It shows Shiva and Parvati being disturbed by the many-headed demon Ravana, who was imprisoned inside a sacred mountain and is now shaking the walls of his prison with his many arms. Shiva is about to assert his supremacy by calming the earthquake with his movement thumb legs. Parvati, meanwhile, watches him carefree, leaning on her elbow, while one of her maids runs away in panic.
At this point, take a slight detour and climb the stairs at the lower (southwest) corner of the courtyard to the “Hall of Sacrifice” with its striking frieze of the seven mother goddesses, the Sapta Matrika, and their terrifying companions Kala and Kali (represented standing on top of mountains of corpses), or head straight up the steps of the main meeting hall, past the energetic battle scenes of the spectacular Ramayana frieze, into the shrine room. The sixteen-pillared meeting hall is shrouded in a gloomy half-light, designed to focus the attention of worshipers on the presence of the deity within. Using a portable electric flashlight, the chowkidar will illuminate fragments of the ceiling painting, where Shiva in the form of Nataraja performs the dance of the birth of the Universe, and numerous erotic Mithuna couples are also presented. The sanctuary itself is no longer a functioning altar, although it still contains a large stone linga mounted on a yoni pedestal, symbolizing the dual aspect of Shiva's generative energy.
It is remarkable that after so many years, the cultural, historical and architectural heritage of the planet is forever imprinted on our land. And one of them is the Ellora caves. The caves and temples of Ellora are included in the UNESCO list as monuments that are a global heritage of mankind.
One of the questions that interests me is this: a lot of people probably lived here or came here. How were the water pipes arranged here? Yes, at least the same sewer topas
Ellora Caves ( Elloru, Elloru caves) is a complex located in India in the state of Maharashtra, 30 km west of the city of Aurangabad - silent evidence of the peaceful coexistence of three religions at once, which, along with its highly artistic value, makes this place even more significant for world culture.
The Ellora Caves are 34 temples and monasteries, covering about 2 km in length, carved into basalt rocks. They were created between the 6th and 10th centuries by representatives of different religious movements. Sanctuaries of Buddhism (12 caves), Hinduism (17 caves) and Jainism (5 caves) grew here one after another century after century, and today are a clear demonstration of the religious tolerance that reigned then on Indian lands. In the 14th century, the temples of Ellora suffered greatly from the struggle of Muslims against pagans, but, despite their efforts, they were unable to overcome the hard basalt.
The temples are carved out of rock with many passages. Almost all the caves are viharas (place of residence, home, monastery), which the monks used for study, meditation, as well as for such mundane activities as eating and sleeping. As you explore these caves, you will notice how their halls gradually increase in size and acquire a more sophisticated style.
The caves in Ellora are a whole ensemble of magnificent temples, statues, columns and sculptures. Considered to be the most outstanding Kailasanatha Temple (Kailasanatha), a kind of center of Ellora. It was created over a hundred years in the 8th century and was carved from a single monolith, but not, as usual, something is built from the bottom up, but from the top down and from the sides! The temple, decorated with magnificent carvings, symbolizes Mount Kailash, considered sacred by representatives of four religions - Buddhists, Hindus, Jains and Bon adherents, the “heart of the world”. In particular, followers of Hinduism revere Kailas as the mountain where Shiva’s abode is located. Initially, the temple was even whitewashed, specifically to give it a resemblance to a snow-capped holy mountain. And in the main hiding place of the temple a copper tablet was found with the inscription: “Oh, how could I do this without magic?” Indeed: “How?!”
Buddhist caves (also called Vishwakarma Caves) are the earliest of the Ellora caves and date from 500 to 750 AD. Interestingly, the caves become larger and more beautiful as you move to the north side. Scientists explained this by the growing need to compete with Hinduism, because already in 600 the first Hindu temple appeared here.
Hindu monasteries of Ellora are completely different from Buddhist caves, both in terms of style and decoration. These caves were carved from top to bottom and shaped in several stages. There are 17 caves in total, carved between 600 and 870 years. They occupy the central part of the rock, grouped around the famous Kailasa temple. Unlike the solemn and serene Buddhist caves, the walls of Hindu monasteries are covered with living bas-reliefs depicting the events of their Hindu scriptures. All of them are dedicated to the god Shiva, but there are also images of Vishnu and his various reincarnations.
Jaina Caves- the youngest in the Ellora complex and date back to 800-900 years. They are located 2 kilometers to the north, where an asphalt road leads. They reflect the distinctness of Jain philosophy and tradition, including strict asceticism along with elaborate artistic design. These monasteries are not as large as Hindu and Buddhist ones but contain exceptionally detailed artwork. Amazing paintings that once completely covered the ceilings of temples have been partially preserved here.
The architectural cave complex in Ellora can rightfully be called one of the wonders of the world. The skill of the ancient architects was appreciated by UNESCO, which included the caves on the World Heritage List.
PHOTOS OF ELLORA CAVES |