Cave 1: This is the first monastery at the southern end of Ellora. It has four residential cells cut into the side walls. The cave is devoid of any carvings or sculptures.
Cave 2: This has a verandah, with a recess at the right, housing images of Panchika, the god od wealth, and Hariti, the goddess of prosperity. The entrance is flanked by guardians, next to whom are figures of the Buddha and other divinities. Each of the lateral walls in the hall has sculptures of five seated Buddhas flanked by celestial figures and by Bodhisattvas, or saintly beings who are destined to become Buddhas. A similar but larger figure of the Buddha can be seen in the sanctuary. The porch to the right of the sanctuary depicts the Miracle of Shravasti when the Buddha manifested himself in a thousand forms.
Cave 3: This cave has an unfinished image of the seated Buddha in a shrine. Pot and foliage motifs adorm the columns of the hall.
Cave 4: A two-storeyed excavation, this cave is now mostly in ruins. At the lower level is a plain hall, with a columned asile leading to a shrine where a figure of the seated Buddha is accompanied by attendants. A similar but smaller shrine is located on the upper story.
Cave 5: Excavated at a higher level, this large cave consists of a spacious hall divided into three aisles. Porches in the middle of the side walls have small cells on either side. Columns are decorated with medallions and other motifs surrounded by intricate foliage. Several benches are carved out of the floor. The entrcane to the central shrine is carved with Bodhisattvas bedecked with intricate headgear and jewellery. In the shrine is a figure of the seated Buddha.
Cave 6: The rectangular hall in this cave has columns with pot and foliage capitals. The walls of an antechamber in the rear of the hall, which leads into a small shrine, are covered with figures of the Boddhisattva and the goddesses Tara and Mahamayuri. The doorway of the shrine is carved with elaborate sculptures on other side. On the left is Analokiteshwara holding a lotus and a rosary in his hands, with a deer-skin draped on his left shoulder. On theright is the sculpture of Mahamayuri, the Buddhist goddess of learning, within the shrine is the figure of the seated Buddha, flanked by multiple smaller Buddhist figures, attendants and devotees on the side walls.
Cave 7: This is a simple hall with four plain pillars.
Cave 8: This is the only monastery at Ellora, where the sanctum is isolated from the rear wall, with a circular passage around it. The passageway has three cells on the left, an incomplete columned gallery at the rear and two columns in the front. Sculptures of the Buddha adorn the hall.
Cave 9: This consists of an open terrace with a balcony and a shrine housing figures of Buddhist divinities. The embellished façade has, among other motifs, an unusual scene of the goddess Tara rescuing devotees from the perils of a snake, a sword, an elephant (left). Fire and a shipwreck (right).
Cave 10 (Vishvakarma): Named after Vishvakarma, the architect of the gods, this cave marks the culmination of Chaitya architecture in India. The hall has porticos on three sides, raised on a basement carved with animals. A long frieze depicting a hunting scene appears above the brackets in the hall. A Stupa in the middle of the rear wall has a seated Buddha figure. A flight of steps in the verandah leads to the upper gallery. The façade behind this gallery consists of a doorway flanked by Chaitya window motifs, flying celestials, and Bodhisattvas with female attendants. On either side of the doorway, to the inner gallery, are recesses housing the figures of female deitied and the Bodhisattva. A large figure of the Buddha , in the teaching position, is carved on to the front of the central Stupa accompanied by flying attendants and Bodhisattvas.
Cave 11 (Do Tal): A three-storeyed excavation dating back to the 8th century. Do Tal, or two storeys, was the name erroneously given to this cave when its ground floor was buried under debris. The lowest level has two cells and a central sanctuary withg figures of the Buddha in the teaching position. The intermediate level consists of five excavations, the first being incomplete and the last being a cell with a rock -cut bed. The remaining three have images of the Buddha attended by Bodhisattvas the uppermost level has a long columned hall with a shrine in the cenntre. On the rear wall are images of the goddess Durga and Lord Ganesha , indicating that this cave was later converted for worship by Hindus.
Three tiered Cave Number 12 known as Teen Tal, is a Buddhist chaitya or prayer hall and vihara, or monastery. But it was subsequently discovered that Do Tal was in fact Teen Tal and that the basement had been buried by several centuries of earth.
The ultiate culmination of rock-cut architecture in terms of sheer mastery of technique and dazzling conception, is Cave 16, better known as the Kailasa temple.
Of the remaining caves in the Hindu series, Cave 21, known as Rameshwara must be singled out for its beautiful sculpture. The goddesses Ganga, Jamna and Parvati, and the gods Siva and Kartikeya all figure on the friezes.
Cave 29, Dhumar Lena, is said to be influenced by the pattern of caves at Elephanta near Bombay. It is certainly amongst the most imposing on the site and dates to the late sixth century.
Cave 30 is known as Chota Kailasa for rather obvious reasons. It is rather stunted copy of cave16 but about a quarter of the original size. Inside are images of the Tirthankaras and of Mahavira Jain on his Lion throne.
Cave 32, the Indra Sabha, is so richly carved and decorated that it occasionally become rather overwhelming. The sides of the temple are covered with elaborate carving of Elephants, Lions and vases.
One of the most beautiful elements in the caves at Ellora is the variety of carved pillars. The columns are all sturdy and have massive proportions to suit the size and scale of the caves in which they belong. Some pillars are plain, others have carved bases, capitals, brackets and fluted shafts.
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