Famous Temples in India

Architecture

The excavated caves at Ellora represent Buddhist, Brahmanical and Jaina faith. They are hewn out of the basaltic rock of the Deccan trap. Another remarkable aspect of Ellora is that here, in the same space, the craftsman completely turns around the conventional understanding of cave-temple architecture, starting with caves with just Mukha mandapa and shrine as in Cave 28 to creating a temple fully carved out of the rock as in Kailasanatha temple. Ellora also successfully combines the penetrative and deductive approaches of cave carving in India. Penetrative method is the conventional approach seen in Western India, like at Ajanta where the carver penetrates into the rock surface and creates space. On the other hand, the deductive method has been practiced in Eastern India at the monuments of Udaygiri [Odisha] and at Mahabalipuram [Tamil Nadu]. Here the carver imagines the exterior form of the cave and systematically removes the rock to achieve that form. The qualities of rock in both regions, the harder rock in eastern India and softer rock in western India, have contributed immensely to the process of carving. This amalgamation of different traditions that took almost 700 years to come about can be seen at Ellora itself which makes it a unique monument in India. The earliest caves at Ellora appear to be caves 28 and 27 carved in the vicinity of the kunda [now known as Sita ki Nahni – meaning where Sita of the epic Ramayana took bath]. Among these, cave 28 can be considered as contemporaneous to Ajanta or even pre-dating Ajanta. When you look at the way space is conceived in these caves, one can place them close to the caves carved in Malwa and Vidarbha regions. Considering the early activity, it is acceptable to call Ellora both the fountainhead and zenith of Brahmanical architecture in Deccan and South India. One should also mention here that the building activity in the Ellora region continues till the 18th century, last being the tomb of Aurangzeb and its marble fencing donated by the Nizam of Hyderabad at Khuldabad. Considering the donations of Maratha ruler Ahalyabai Holkar at Ellora through renovations of Grishneshwara temple and the adjacent kund one can sense the religious significance of Ellora especially to the Saiva sect of Hinduism.

The copper plate inscription dated 742 A.D donated by the Rashtrakuta ruler Dantidurga is of help in defining the position of Ellora as a place of religious and political importance (Dikshit 1939-40). The inscription claims that Dantidurga after taking a bath in the sacred kunda of Verul issued a land grant to a Brahmin from Navasari. The sacred pond mentioned in the inscription is none other than the above mentioned Sita ki Nahni in front of Cave 28, one of the earliest caves at Ellora. Here in the inscription, Dantidurga emphasizes the religious importance of Ellora and expresses his quest for establishing the new dynasty of Rashtrakutas. Eight years later, Dantidurga comes back to Ellora to declare his success in establishing Rashtrakuta rule by displacing Chalukyans as overlords of Deccan (Fergusson and Burgess 1880). These two inscriptions present a picture of the significance of Ellora as a sacred center and its evolution into a center of political importance at least during the Rashtrakuta period, also evident from the art and architectural activities at Ellora under the successors of Dantidurga.

Buddhist Group -

• Cave 1: It is a monastery located on the southern corner of the hillock. It has a hall with four cells in the southern and four in the eastern wall. The hall is devoid of pillars and carving. It probably belongs to the 6th century A.D.
• Cave 2: The hall has a main shrine with two cells on either side and a verandah in front. The entrance door is flanked by Padmapani and Vajrapani. The Bodhisattva Avalokitesvara is standing on the left side of the door. A large image of Jumbhala is also seen to the right of the entry door. The hall has twelve decorative pillars placed on a raised plinth and the side walls are carved with many images of Buddha in pralambapadasana. The door of the main shrine is guarded by colossal images of Padmapani and Vajrapani. Inside the shrine is a large figure of Buddha seated in Pralambapadasana in Dharmachakara Pravartan Mudra.
• Cave 3: The facade of this monastery is partly fallen. The pillars are tapering upwards. In this cave Padmapani Avalokiteshwara is carved on the left side of the main shrine. He is adorned with jata-makuta with Buddha Amitabha. Most of the sculptures are Vajrayana in nature.
• Cave 4: It is a double storeyed monastery. The lower story consists of a hall and a shrine. The main hall consists of twelve pillars of the Ghata-Pallava type. The pillar base is bigger at the base and tapering upwards. To the left side corridor a large figure of Avalokiteshwara seated in Pralambapadasana. The images of Tara, Brukuti and other minor deities are carved by the side of Avalokiteshwara.On the back wall of the shrine is a carved Buddha figure in Dharmachakra Pravartana mudra.
• Cave 5: It is the largest Vihara of the Buddhist group in Ellora provided with 24 massive pillars. The pillars are arranged in two rows from front to back dividing the hall into a central nave and two side aisles. The central nave is further divided into three passages by providing two rows of raised rock-cut benches, which run along the nave. This is only the second example of its kind besides Kanheri Caves in Mumbai. It has seventeen cells. The cave was used probably as an assembly hall or for delivering lectures. The main shrine door is guarded by the usual Bodhisatva Avalokiteshwara Padmapani and Vajrapani. On the back wall of the shrine is a carved Buddha figure seated in Pralambapadasana in Dharmachakrapravartana mudra. The cave is dated to 7th century A.D.
• Cave 6: This is a monastery datable to 7th century A. D. The façade of the cave is completely fallen. It consists of a central nave, rectangular hall, and antechamber around the main shrine.
• Cave 7: It is a large plane Vihara datable to 7th century AD the ceiling of the hall is supported by four pillars. There are 12 unfinished cells inside. It appears that these caves were never finished.
• Cave 8: This is monastery datable to 7th century A.D.The shrine is separated from the back wall by a circulatory passage. Several cells are carved inside the wall. The left dwarapala of the main shrine is Padmapani Avalokiteshwara and to the right is Maitraya. On the right wall of the shrine is carved Mahamayuri. She is holding a peacock feather in her right hand and a citrus fruit in the left. Her lower garment shows a decorative trapping in the middle is an interesting sculpture.
• Cave 9: This cave is reached through Cave 6. The architrave is divided into several small panels showing Buddha and Avalokiteshwara figures alternatively with their attendants. Above this are three rows of Chaitya windows with Buddha figure inside. Here an interesting panel of Litany of Tara in which the six dangerous that of snakes, sword, and elephant are seen on her left and higher ship wreaks on the right flanks. This sculpture is the only one of its kind in western India.
• Cave 10: Popularly referred to as “Vishwakarma Cave” the latest chaitya cave of western India is also known as “Sutar Jhopadi” or carpenters hut. The excavation is an imitation of a prototype of wooden construction. The ceiling of the main chaityagriha shows stone ribs carved out of stone in imitation of wooden construction. This chaitya has been excavated in the late half of the 7th century AD. The cave has a very high screen wall which has now partly fallen. The main chaitya hall has three entrances. The chaityagriha is 24.38 m in length, 13.41 m in width and 13.10 m in height. Two rows of the octagonal pillars divide it into a central nave and two flat-roofed aisles. The horseshoe shaped ceiling and the apsidal end is carved an elaborately. A colossal Buddha image is carved in front of rock-cut stupa planned at the end of the aps. The parapet wall of the music gallery is divided into three compartments. On two sides are sculptures of two amorous couples. The chaitya window is very different from those of earlier caves it is in horseshoe type. But on its two sides has seen introduced a new decorative element, which gives it a trefoil shape. The beams may be seen peeping out of the small window. They are in imitation of wooden construction of the two sides of sun window, carved beautiful flying figures. These are Gandharvas. The sculptures show Pallava and Chalukyan influence. The figures are slim and graceful. There are many figures connected to Vajrayana like Tara, Vajrapani, Avalokiteshvara, Rekta-Avalokiteshwara, Rekta-Lokeshwara, Bhrukuti are interesting sculptures in this cave. The upper gallery doorway leads to an internal gallery with a parapet, the inner face of which is sculpted with embracing couples and maidens. The spacious apsidal hall is divided into three aisles by slender octagonal columns; the two central columns of the front row have pot and foliage capitals. Above the columns is a frieze carved with ganas. Curved ribs emphasize the soaring vault of the ceiling. Visvakarma cave represents chaitya architecture in the waning period of Buddhist activity at Ellora. The simplicity of chaitya architecture one witnessed at Ajanta is long gone. The plan of the cave is an amalgamation of the hypostyle mandapa of the viharas opened on the top and placed in front of the chaitya-griha. The chaitya window on the first floor is reduced to a narrow light shaft. It has also been pushed back to create a terrace with intricately carved parapet. The architecture shows a lot many consanguinity to the Kalacuri idiom, for instance the pillars with bulbous upper shaft and cushion capital. Mithuna figures on the parapet as well as gana figures below the bodhisattvas flanking the chaitya window show lot of commonality with carvings on the Ramesvara cave.
• Cave 11: It is a monastery datable to 8th century A.D. known as Dotal. Earlier the lower story was buried under debris, now it’s all three stories are now visible. The courtyard is very imposing and the architecture of the cave has exhibited a fine aesthetic sense in excavating such an imposing one. Inside the shrine in the back wall is seated Buddha in Dharma chakra pravartana mudra. At the left of the verandah is a staircase, which leads to the first floor. The verandah on the first floor is narrow. There are minor deities of the Vajrayana are carved on the first floor. It is an unfinished cave.
• Cave 12: It is a three-storeyed vihara and is the largest excavation in Ellora, locally known as Teen Taal. The facade of the cave impresses by its more size and simplicity. The ground floor measures 35.35 m in length by 12.80 m in width. The hall is supported by three rows of eight pillars. In the center of the back wall of the ground story, an antechamber approachable from the main hall having massive rectangular pillars is provided. The antechamber has two rows of three pillars each. There are 11 cells, three in the left with stone beds, six in the back wall, and two in the right wall. On the back of the wall, the Buddha Mandala is carved, which represents the deities like Raktalokeshwara, Sthirachakra, Dnyanketu, Manjushri, Tara, Padmpani, Vajrapani, and Cunda. The first floor has 22 pillars and 16 cells. The main shrine door is flanked by Padmpani and Vajrapani. The side depicts the usual Buddha Mandala and deities of the Vajrayana sect. A staircase of 12 steps leads to the second story. The entire floor gives a wonderful architectural effect. It is planned on a majestic scale. The hall itself is divided into four transverse aisles by rows of pillars. On the back wall of the hall, on the right and left side, are carved 14 large images of Buddha. They are Vipasi, Sikhi, Vishvabhu, Krachakunda, Kanakmuni, Kashyapa, and Sakya Simha and left-right are Vairochanda, Akshobhya, Ratna Sambhava, Amitabha, Amogha Siddhi, Vajrasattva and Vajra Raja. On the right side back wall six female figures are seen, i.e. Janguli, Mahamyuri, Pandra, Brukuti, Tara, Usanisavijaya. The main shrine provided at the back wall has two dwarapalas. On the left inside wall of the main shrine are carved four standing Bodhisattvas- Maitreya, Sthirachakra, Manjushri and Dnyanketu. On the back wall, a huge image of Buddha in Bhumisparsha mudra is carved in the shrine.

Brahmanical Group -

• Cave 13: It is a small rectangular plain cave without cells, pillars or sculpture. The plan of the cave greatly resembles the plan of Cave 1 excepting the cells there. As the cave is very simple and plane it might have been used by the artists to store their tools and materials.
• Cave14: It is probably excavated in 8th century A.D. and consists of a pillared hall and a shrine that is isolated from the backside by a circumambulatory passage. The pillars of the hall are plain and square. The sidewalls of the hall are scooped into several deep recessed compartments separated by ornately carved pilasters and contain sculptural composition prominently brought into relief. The first panel on the left wall, beginning from the front Verandah, represents Durga and two Gandharvas are seen above. The second niche contains the figure of Gajalakshmi seated on a lotus in a lalitasana mudra. The third panel represents Vishnu in Varah incarnation. The fourth panel depicts Lord Vishnu with his two wives Sridevi and Bhudevi respectively. The fifth and last panel is that of Vishnu with his wife Sridevi. The gigantic figures of dwarapalas and standing goddesses Ganga and Yamuna depicted on their respective mounts. Several panels on the right wall represent various themes of Shaivism. Starting from the back end the Virabhadra, Saptamatrikas, Ganesa, Kala, and Kali respectively could be seen. The right wall divided into five compartments depicting the panels of Andhakasuravadha-murthi, Ravana-anugriha murti, the dancing Siva, Siva and Parvati are playing Chausar and Mahishasuramardini respectively.
• Cave 15: It is a double-storeyed structure known as ‘Dasha Avatara’ that can be approached by a long flight of steps. The lower story has two cells in the back wall near each end. The first land is lighted by windows with bas-reliefs of Saivite deities. Another flight of steps leads to the front aisle of the great hall above besides two in front of the vestibule. The sculptures on one side are mostly Vaishnavite and those on the other side are Saivite. On the back wall is Siva springing out of the Linga to protect his worshipper Markandeya from Yama. The pillars in front of the antechamber have struts, each carved with a pair of figures and foliage. To the left of the antechamber to the shrine is a huge Ganapati. The back wall to the left of the shrine door has Parvati seated on a Padmasana; to the right of the shrine door is Gajalakshmi. In the south end of the vestibule is Vishnu with lotus. The south side back wall has panels of Siva, Vishnu, Brahma are depicted. The mandapa is supported by four square pillars with plane square brackets and molded bases. It had a porch in front of a perforated window. Over this window, there is an inscription in Devnagri mentions the names of the earlier kings of the Rashtrakuta dynasty. In another inscription, Krishnaraja, the uncle and successor of Dantidurga is said to have established Elapura or Ellora. Large sculptural panels are carved on these walls. They illustrate a wide range of mythological subjects like (on the left wall) Andhakasuravadha, Siva and Parvati playing dice, Kalyanasundaramurti or the marriage of Siva and Parvati, and Ravananugrahamurti or Ravana shaking Kailasa (rear wall, left side) Siva emerging from the linga to rescue Markandeya, and Siva with Parvati receiving Ganga in his hair (antechamber walls) Ganesha, an unidentified Buddhist goddess (a relic from the earlier phase), Gaja Lakshmi and Kartikeya (rear wall, right side) Lingodbhavamurti and Tripurantaka; and (right wall) Krishna, Seshasayi Vishnu, Garuda-arudha Vishnu, Varaha, Trivikrama and Narasimha. The upper level of the cave shows many evidences of appropriation of an originally Buddhist structure, perhaps by the Rashtrakutas themselves. One of the outer columns of the upper-level mandapa has a seated Buddha figure carved on it. The antechamber also has an image of a goddess possibly from the Buddhist pantheon. Sculptures in the niches, especially on the left side have been carved deeply, maybe after erasing pre-existing sculptures. Sculptures on the left wall are of a more dynamic demeanor compared to their counterparts on the right. The dvarapalas carved flanking the mandapa have a lot of commonalities with the dynamic dvarapalas of late Chalukyan art seen at Pattadakkal and elsewhere. The Nandi mandapa has elongated udgama crowning the niches, quite akin to the Kasivisvesvara temple at Pattadakkal which is attributed to Dantidurga himself. Mithuna figures carved on the exterior of the Nandi mandapa reminds one of the similar mithuna figures in Virupaksha and Mallikarjuna temple at Pattadkal. Such affiliations to Pattadakkal clearly point towards the date of 750 A.D when Dantidurga introduced the monolith tradition in Ellora soon after he took over the empire from the Chalukyas.
• Cave16: The largest monolithic rock-cut temple ‘Kailasa’ was executed most probably by Krishnaraja (Circa 757-83 A.D.) of the Rashtrakuta dynasty, its name is due to a famous sculpture that it bears Ravana shaking the mount Kailasa. The cave is executed in the Dravidian style in the shape of Vimana or Chariot. After completion, the temple evidenced the renewed the plaster and paintings twice about A.D. 1258 and 1463. Even as late as in the 18th-century Holkars of Indore got Kailas plastered and painted. Ganga on Makara, Cave 21 Image of Surya of Chariot, Cave 25 Andhakasurvadha murti Detached Sanctum of Cave 29. By entrenching vertically into the hill and by cutting all sides of a central rectangle(60 mx30 mx30 m) was isolated to carve the components of a temple complex- a Vimana containing sanctum with Shivalingam, an antarala, axial mandap with porches on three sides, a Nandi mandapa and a gopuram. The main hall of Parlanka (Sabhamandapa) pillars has carved with floral and animal designs. On the ceiling of the main hall is carved full relief the figure of dancing Siva. The floor level of the trench all round formed a circumambulatory.The thick mass lift in front of the forecourt is shaped into the front enclosure wall, with a double-storeyed gopuram entrance having a sala sikhara above. The upper story is connected with the floor of the Nandi mandapa by a rock-cut bridge. The screen wall to the left and right of the main entrance contains various manifestations of Siva and Vishnu and Astadikpalas. Facing the entrance is the panel of Gajalakshmi seated on the full-bloomed lotus in the midst of the lotus pond while the elephants above pour water by a ritual adoration. The left side corridor contains panels of Mahishasuramardini, Krishna lifting Mount Govardhana, Rati-Madana, and Vishnu riding a Garuda (Eagle). In the courtyard, on each side of the main temple, there are free-standing Dwajastambhas and elephants. A pillared chamber in the north-west corner houses a shrine dedicated to the three rivers goddesses Ganga, Yamuna and Saraswati. On the northern face of the temple, plinth are represented the scenes from the epic Mahabharata and on the southern side plinth shown the scenes from Ramayana. The northern gallery in circumambulating contains panels representing various manifestations of Siva. The eastern gallery contains several sculptural panels of Saivite themes. The southern gallery contains several panels represent various forms of Siva and Vishnu. The exterior of the main shrine and subsidiary shrines are carved with a variety of mythological sculptures. Below the bridge connecting the Nandi mandapa and the main temple, the sidewall contains huge panels of Siva as Mahayogi and Gajasurvadha murthi. The walls are rhythmically divided by slender pilasters that frame carved panels or pierced stone windows; a parapet of miniature roof forms is positioned above. On the Nandi pavilion the brackets are more elaborate, the corner pilasters with ganas at the top are almost free of the walls. The niches here are framed by pediments with arch-like motifs. The porches have intricately decorated columns overhung by curved eaves and their balconies decorated with pot motifs and foliate friezes. The pyramidal mass of the tower over the main sanctuary rises high above the level of the court. The superstructure is divided into three receding stories, each with carved panels, pilastered walls, and a parapet. The roof is an octagonal dome. The projection on the front face, over the antechamber, has a vaulted form; within its arched end is a seated image of Shiva surrounded by ganas and jeweled garlands. Subsidiary corner shrines have similar but smaller towers. The mandapa roof is flat. In the middle is a large lotus with four striding lions carved in full relief. Lions also adorn the roof of the Nandi pavilion. This monument represents the climax of the rock-cut phase of Deccan architecture. It was a royal temple patronized probably first by Dantidurga and after him Krishna I in mid-eighth century, and then later by many Rashtrakuta kings including Amogha Varsha and Govinda III. Five major phases of excavations are seen in the Kailasa complex. The main temple of Kailasa with the victory pillars and guarding elephants represent the initial phase of excavation. On the left the river Goddess shrine attributed to Govinda III and Lankesvara cave show many features revealing their subsequence to Kailasa, like the elaborate carvings on the columns and the contrapposto approaches to sculptures. Paralanka on the right has huge unadorned galleries, perhaps a manifestation of decadence in the architecture by the end of activities at Ellora. The gallery circumambulating the main shrine is probably an afterthought and display many elements like intricately carved geometric patterns on its plinth. The sculptures in the gallery have been carved by a new guild not seen at Ellora prior to this series. Yajna Sala on the right is a Sapta Matrika shrine which was added later to Kailasa temple as deduced from the style of the carved figures. Kailasa temple has a Maha mandapa with sixteen columns placed in 4 clusters creating space in the middle. The Maha mandapa opens into mukha chatushkis on the west, south, and north with the main shrine carved on the eastern side. The placement of the Maha mandapa and the mukha chatushkis is close to the architectural layout of the Virupaksha temple at Pattadakal. The open circumambulatory path around the shrine with five sub-shrines is a new feature introduced at Ellora taking inspiration from Pattadakkal and Kanchipuram. The wall and the sikhara of the temple have been conceived in a manner that increases the verticality of the structure emphasized by the flying figures carved on the wall. The niche decoration follows the Chalukyan precedents but with an accentuated exuberance. The sub-shrines cannot be placed in the same period as the main shrine as there are many experiments in the carvings on the walls of the sub-shrines. They might have been left unadorned or even unfinished allowing the later emperors of the dynasty to add to them. The most interesting aspect of Kailasa is the perceived presence of craftsmen from various regions working together to produce the magnificent complex. The architecture and sculpture of Ellora Kailasa clearly show the presence of craftsmen from the Chalukyan region working along with those of Pallava and Western Indian regions. The architecture layout might have been inspired by the Chalukyan idiom while the carving technique employed is definitely from the Pallava region as the unfinished scrap of rock on the right upper side of the temple complex demonstrates. Western Indian carvers who worked on the other caves at Ellora too might have been employed to work on the interior spaces at Kailasa. The sculptures show these regional variations. For example, sculptures on the north side of the temple, like the Mahishasuramardini panel show their consanguinity to the Pallava idiom while the northern wall has many carvings displaying Chalukyan ancestry. The Jatayuvadha carved on the southern wall next to the porch is a copy of the same theme from Virupaksha temple, Pattadakkal. The monumental Ravana shaking Kailasa on the southern adhishtana shows a kind of fusion of all the styles and appears to be an afterthought. The mammoth size plinth enhances the overall experience of the monumentality of Kailasa. The plinth appears to be an afterthought. The entire lower floor of the temple is dedicated to the plinth which defies the established norms of the proportion of architecture of that period. As the carving of the temple began from the top, as was the convention, it is quite possible that the space initially conceived would have cramped the lower portion of the temple and reduced the overall spectacle of the monument. By increasing just the size of one of the components of the basement molding (Gajadhara in this case) the architect has achieved the desired result of monumentality which the patron was looking for. The victory pillars are placed symmetrically flanking the Nandi mandapa visually enhancing the verticality of the monument. The monumental three-dimensionally carved elephants re-emphasize the imperial connection to the monument. Interestingly, most of the Rashtrakuta monuments have monumental elephants carved as seen at the Jain caves at Ellora, Jain temple at Pattadakkal, and Kharosa (Latur district, Maharashtra). Overall, Kailasa represents the state of the art of architecture and sculpture, taking inspiration from the preceding traditions of Western India, Deccan, and south India. Craftsmen from these regions might have migrated to Ellora as the areas they belonged to did not engage them in artistic activities for certain reasons. The next generation of artists and architects took the Kailasa style further into the medieval period through Silaharas, later Chalukyan styles in Maharashtra and Karnataka regions. Grandeur, monumentality, and complexity which were the watchwords of medieval art and architecture of India gets initiated here at Kailasa and matures elsewhere.
• Cave 17: This cave comprises 12 pillars with graceful bracket figures, salabhanjikas. As one enters the cave, on the right, is a panel of standing Brahma on either side of whom are Savitri and Saraswati. On the left is a panel of Vishnu. On the south and north walls are the panels of Mahishasuramardini and Ganesa respectively. The door of the sanctum is in the Dravidian style and it is being guarded by two doorkeepers with attendants. The shrine with Sivalinga; possesses a Pradakshinapath (circumambulating passage). Some of the portions of this cave are unfinished, perhaps due to political upheaval.
• Cave 18: The facade of the cave is supported by four pillars. The cave contains a large hall, an antechamber and a shrine with a lingam. The cave is devoid of any sculpture.
• Cave 19: The cave contains a hall and a shrine with a Sivalinga. Around the shrine is a pradakshanapath. The main hall is provided with 16 pillars. The door of the shrine is been guarded by two dwarapalas. Both are ornamental and accompanied by Gandharvas above.
• Cave 20: This is a small cave temple dedicated to Lord Siva. The doorframe is very decorative and is being guarded by two doorkeepers flanked by male dwarfs and females. There is a circumambulating pathway around the shrine. On the two sides of the shrine are two plane chambers supported by a pair of pillars.
• Cave 21: Cave 21, locally known as ‘Ramesvara’, is datable to the 8th century A.D. or little earlier. Its shrine is separated from the parent rock by means of a circumambulatory passage. It has an oblong hall with two side chapels. Another notable feature is the screen wall with extremely ornate pillars. The cave has a beautiful facade, supported by beautifully engraved pillars and pilasters. Outside the cave, on the sidewalls are figures of River Goddesses Ganga and Yamuna. The sculpture of Ganga is a classic example which reminds of Vakataka art. The bracket figures, Salabanjikas are charming. The northern chapel contains the scenes depicting Kartikeya and the marriage of Siva and Parvati. On the right side is carved Parvati performing penance and Siva in the guise of brahmacharin. The lower frieze represents dwarfs and musicians. The right sidewall of the chapel depicts the Mahisasuramardhini episode. On the back wall of the hall, and to the left of the shrine is portrayed the scene of Ravana shaking the Kailasa. In the southern side chapel represents the dance of Siva in Tribhanga pose and on the back wall is depicted in a row the Saptamatrikas flanked by Siva and Ganas on the right side wall is seen the family of Kala and Kali. The Ramesvara (Cave 21) is approached through a court with a monolithic Nandi on a plinth in the middle. This leads to a verandah provided with side shrines, off which opens a linga sanctuary. The monument is celebrated for the charm of its sculptures. Female figures adorn the brackets of the outer columns of the verandah while amorous couples in panels are carved on the balcony wall. Carved panels in Ramesvara cave include the marriage of Siva and Parvati, Kartikeya, Durga, Ravana shaking Kailasa, Siva and Parvati playing dice, Nataraja Siva, the Sapta Matrikas with Ganesa and Veenadhara Siva, Mahakala and Kali placed in the verandah and flanking sub-shrines.
• Cave 22: The Cave 22 is locally known as ‘Nilakantha’ was probably excavated in the 8th century A.D. The main hall of the cave is the shrine and its roof is supported by the pillars there is a Nandimandapa in the courtyard. On the right side is a chamber containing panels of Virabhadra, Saptamatrikas, Ganesa and Kala. On the north wall of antechamber are the panels Ganesa and Parvati. On the back wall, on either side of the shrine door, the panels of Saraswati and Gaja Lakshmi while on the south wall is a panel of Kartikeya. Inside the shrine is a lingam.
• Cave 23: There is a shrine at the back containing a Siva lingam. The front portion is supported by five plain pillars. On the back wall of the shrine is the figure of Trimurthi. On the ceiling of the hall has a beautiful lotus.
• Cave 24: The cave is locally known as ‘Telika Ghana’ is a combination of four smaller caves each with an antechamber and a shrine. In one of the shrines is a Sivalinga and on the left wall of the antechamber of the Shrine is a panel of Ganesa and on the right wall is a standing figure of a divinity with attendants and Gandharvas.
• Cave 25: Locally known as ‘Kumbharvada’, the cave is excavated on a high plinth. The main hall is provided with 8 massive pillars. On the ceiling of the hall, in the center, is a form of petalled lotus. On the ceiling of the antechamber to the shrine, in the center, is a panel of the Sun God is riding a chariot drawn by seven horses. Besides, the charioteer on either side is a female archer (Usha and Pratyusha) with a drawn arrow on the point of discharge. The door of the shrine is displaying Dravidian style and it is being guarded by two doorkeepers. The cave bears marks of old plaster and paintings.
• Cave 26: Locally known as ‘Janavasa’, the façade of the cave is supported by four fluted cushions type pillars and pilasters with dwarfs at the corner. On either side of the hall is a chamber supported by a pair of fluted cushion type pillars and pilasters. The antechamber to the shrine is provided with the same type of pillars. On each pilaster of an antechamber is an image of a female whisk-bearer with either a male or a female dwarf. The door of the sanctum is being guarded by two door-keepers. The shrine contains a Siva linga and has a circumambulatory passage.
• Cave 27: In the verandah of the cave, the panels of Varaha and Sheshashayi Narayan are depicted on its north and south walls. On the back wall on the left of the door are the panels of Mahishasurmardhini, Brahma, Vishnu, and Mahesh and on the right of the door the panels of Siva, Laxmi and Vishnu are carved.
• Cave 28: This is a small cave situated on the left of cave 29. It is a deep-down valley and in the monsoon a waterfall covers it. Two dwarapalas are seen guarding the shrine.
• Cave 29: Locally known as ‘Dumarlena’ is a cave temple dedicated to Lord Siva, datable to the 8th century A.D. The cave comprises 26 fluted cushion type pillars with the corresponding pilasters. The main hall is divided into a central nave and to aisles on either side. The hall is supported by three porticos on the south, north and west respectively. The sanctum containing Siva linga is in the form of a Mandapa having four entrances in four directions. On the north wall of the front portico is a big panel of eight-armed Andhakasuravadha murthi of Siva. Opposite to this panel, on the right wall of the portico is a panel depicting the Ravananugriha murthi of Siva On the west wall of the north portico is a panel of Siva dancing in a Tribhanga pose. On the wall opposite to this is the panel of Siva as Lakulisha seated in Padmasana on a double petalled lotus. Outside the portico, on the east wall, is a panel of river goddess Yamuna. On the left wall of the southern portico is a panel of marriage scene of Siva and Parvati. On the opposite wall is seen the panel of Siva playing the game of dice with Parvati. Outside the southern portico, on the east wall, is the panel of river goddess Ganga. In this and the other portico in the middle, are sacrificial pits. On both sides are flights of steps, guarded by lions. The architecture and architectural decoration of the cave show maturity of style and hence suggest a date later than Elephanta. However, the cave gives an impression of ruptured activity. It is plausible that carving activity at Dhumar Lena was disturbed when Kalacuris were engaged in war with Chalukyas in the late 6th century. The caves in sequence between Ramesvara and Dhumar Lena, except Cave 27 and 28, show similar disturbances in carving activities.

Jaina Group -

• Cave30: The cave 30, locally called ‘Chhota Kailasa’ is the most southerly cave of the group and is a free-standing monolithic shrine, an imitation, on a small scale, of the great Brahmanical temple of Kailasa. The hall is 11 m square and has 16 columns arranged in 4 groups. The porch in front 3 m square and the shrine at the back is 4 mx3.52 m. The whole temple is positioned in 24.38 x 39.62 m area, with small excavation on each side. The exterior is in Dravidian style, being only one story, but the spire is low and unfinished. Probably, this and the larger Kailasa are not far distant in date, although the former contains several loose sculptures of the 13th century and one was found dated shaka 1169 or 1247.
• Cave 31: The cave 31 was unfinished. Its porch is hewn out entirely on three sides and stands in a deep excavated pit. A small cave is seen on the right. The hall of this cave has four pillars and a small shrine in the back wall. On the left wall of the small hall is a fine sculpture depicting Parshvanatha, the 23rd Tirthankara, guarded by the serpent king Dharanendra with his 7 hoods. On his two sides many interesting figures are carved. These are attempting to wean him away from practicing penance. To the right of this panel is the figure of Vardhamana Mahavira, the last Tirthankara, in padmasana and dhyana mudra, above him triple umbrellas have been carved. On the back wall, to the left of the shrine, is the figure of Matanga on an elephant. Foliage is seen above his head. He is attended by two attendants. On the same wall, to the right of the shrine-door is the figure of Siddhaiki seated in savya-lalitasana on a lion with a child on her lap. She is accompanied by an attendant holding an umbrella on the left and a male attendant on the right. Foliage is also seen over the head of Siddhaiki. Inside the shrine is the figure of Vardhamana Mahavira seated on a lion-throne and seen above his head. A chakra is seen in the middle panel on the throne. On the right wall of the hall is first, Gommatesvara in the kayotsarga pose. His body is entwined with creepers. To his right, a flying Gandhara is carrying a garland. Near and a Gandharva carrying a garland are shown.
• Cave 32: This Jain cave is locally known as “Indra Sabha” and is datable to 10th century A.D. In front of the main hall of the ground floor, there is a courtyard consists of a small mandapa, a Manstambha and an elephant statue-like cave 16. The main mandapa is detached from a neighboring rock and carved in the Dravidian architectural style as Chaumukhi mandapa. The main hall again consists of a verandah and in the back wall has a shrine dedicated to the last Tirthankara, Mahavira. It is an unfinished hall. The left side staircase leads to the first story. The upper story has a verandah and big hall supported by twelve extremely decorative pillars. The hall contains figures of Mahavira, Parshvantha, Goammateshwara, and other goddesses of Jain pantheon.
• Cave 33: The cave is datable to the 11th century A.D. It is a double storied. The ground floor has a main hall with entrance. The two sides of the entrance have the figures of Matanga and Siddhaika under the minutely carved toranas. The back wall has enshrined Mahavira, seated in padmasana in dhyana-murdha. The first floor has a big hall, with shrines in three sidewalls. The figures of Mahavira, dwarapalas, Mataga, Siddhaika adorns inside the hall. The doorjambs of the shrine carved 24 seated figures of Jain Tirthankaras and lower ends of the jambs have the figures of Ganga and Yamuna.
• Cave 34: The cave 34 is a little to the west of the preceding and is the last in the series. The verandah had two square columns and pilasters, and the front is pierced for a door and two windows. In the verandah of these caves no sculpture is seen. Inside, on the two sides of the shrine are Matanga and Siddhaika. The figure of Siddhaika is in a very fine state of preservation. Her hair dress is very beautiful and the foliage above her head is better to have than anywhere else. On the left of Siddhaika is an interesting figure a male with beards and mustaches. On the two sidewalls of the chamber are Parshvanatha and Gommatesvara. In the shrine is a figure of Mahavira in padmasana and in the dhyana mudra. This cave is datable to the 10th-11th century A.D.