Ellora 14 - Chapter 6

CHAPTER–6
KAILASH TEMPLE: CULMINATION OF

MONOLITHIC ARCHITECTURE AT ELLORA
Chapter-6
Kailash Temple: Culmination of

Monolithic Architecture at Ellora
Cave 16 is well known as the Kailash or Rang Mahal. It is a great monolithic
temple. The final type of Brahmanical rock-cut architecture consists of one
example only, the Kailash (Siva's Paradise) at Ellora. It stands a class apart by
itself. Instead of the underground halls like caves, it is isolated from the
surrounding rock and carved both on the outside and inside. The architectural
design suggests that its creators threw aside all previous conventions. They
boldly undertook the task to reproduce a structural temple on a very large scale
and in full detail of the period in the living rock. Percy Brown has said "the
Indian artist had an extraordinarily developed plastic sense. No other people
has ever dreamed of sculpting such great temples out of the solid rock as it was.
Indeed, Indian architecture proceeds, not as ours, according to the principles of
construction; it is rather conceived as an object cut out of solid material as any
ivory figure might be.”1
Kailasha is indeed a memorable experience one would never forget. The

scholars in the 80's and 90's have broken new grounds in the study of Kailasha.
One of the new ground way to examine Kailasha as a pilgrimage centre,
although earlier it has appeared in the Puranic list that includes the site as one of
the Jyotirlingas or as a place where shradha would be performed and later in a
tantric text that Kailasha is named as one of the fifty Sakti Pithas.2
1
Brown, Percy. (1956). Indian Architecture (Buddhist and Hindu Periods). Bombay: D.B Taraporewala Sons
and Company.
2
Bhatt, G. P. (2004). Ancient Indian Tradition & Mythology vol. 36. Delhi: Motilal Banarasidas, pp. 759-60.
200 Kailash Temple: Culmination of Monolithic Architecture at Ellora

Figure 89: View of Kailash Temple from North East
Courtesy: Indra Gandhi National Centre for the Arts, New Delhi
South Elevation of Kailash Temple (After Burgess)
Kailash Temple: Culmination of Monolithic Architecture at Ellora 201

Historical Development
In the historical references, the control of Deccan was taken by the Raśtrakutas
from the early Western Chalukyas around 750 CE. In this way they began a
supremacy that was lasted around 973 CE.3 Though the political might of this
family has been widely acknowledged, little is known about the artistic
developments that took place during the period of their supremacy. The major
site related with these rulers is Ellora. Several cave excavations were carried out
at Ellora under the aegis of Raśtrakutas.
Its boldness suggest centuries of traditions in which carving techniques and an

understanding of the rock medium were developed. It enabled craftsmen to push
the architectural type to its limits.4It can be said that the Kailaśa temple is more
than simply a building. It is a huge complex with all the architectural members
of contemporary free standing southern type temple.
It is difficult to say how long it took to create the main temple and its
surroundings elements or the precise sequence of the excavations. Most scholars
today feel that the major portion of the monument, including the central temple
and Nandi shrine as well as the gateway belong to the reign of the Rastrakuta
king Krishna I, who ruled from around 757 to 773 AD.5 However, it may be
possible that the temple was planned and begun under his predecessor,
Dantidurga. It is evident from the cave prior to the Kailaśa temple cave no. 15
which bears an inscription of the earlier king reigned from 735 to 757 CE.6
These two cave temples are very similar in terms of stylization.
3
Huntington, Susan L. (1985). The Art of Ancient India: Buddhist, Hindu, Jain. p. 341.
4
Ibid, p. 342.
5
Dayalan, D., op. cit., p. 3.
6
Ibid, p. 4.

There is some conceptual relation between Kailaśa temple and the Virupaksha
temple at Pattadakal and Kailaśanath temple of Kanchipuram. 7 But here
Soundrarajan8 has opined that „Undeniably, all the three are of the same
genre—the southern architectural style – but perhaps the resemblance almost
ends here. The integrally constructed seven subsidiary shrines of identical
shape built in the thickness of the wall around the central shrine of Kailaśanath
each not only showing identical god-head within, namely, the Somasakanda
panel, but also having only a restricted eastward or westward orientation and
not at all having any front vestibule beyond it transept passage as emerges
from the cella, is so completely and drastically different from the phraseology
implicit in the Virupaksha and the one manifest in the Kailaśaa.’
From an analytical point of view it may be surmised that monolithic Pallava

Rathas at Mahabalipuram were the initiator of this typology in southern part of
the country.9 The Kailaśa temple was conceived and carried out when structural
temple architecture in the stone medium had already developed. It is also
interesting that there was no contemporary monolithic architecture to take
immediate inspiration except for Rathas of Mahabalipuram.10 It must have been
a novel experimentation in terms of freestanding monolithic complex hewn in
the living rock. The most prominent and an innovative experimentation was
done by the King Narsimhvarman I, Māmalla. Mamallapuram was the famous
sea-port of the Pallavas. King Narsimhavarman might have chosen it
implements his dream to make sanctuary of vestured legends.11
7
Bhattacharyya, Asok. (1988). „Ellora Sculpture: A Stylistic Examination‟ in Ellora Caves: Sculpture and
Architecture, Ratan Parimoo, Deepak Kannal, Shivaji Pannikar, et. al, New Delhi: Books & Books. p. 274.
8
Rajan, K. V. Soundra. (1988). The Ellora Monoliths. Delhi: Gian Publishing House. p. 4.
9
Tadgell, Christopher, op. cit., pp. 74-75.
10
Rajan, K. V. Soundra, Rock-cut Temple Styles, op. cit., p. 132.
11
Huntington, Susan L., op. cit., p. 346.

Karka-II, Rastrakuta monarch rightly mentioned about this temple as:12
Elāpur-āchala-gat-ādbhuta-sanniveśaṁ yad=vīkşya
vismita-vimana-char-āmarendrāḥ I
Etat savayambhu siva-dhāma na kṛ trime

srīs dṛ ṣ t=edṛ s=iti satatam bahu charchayanti II
Bhūyas-lathāvidha-kṛ tau vyavasāya-hānir-

Etan-mayā katham-aho kṛ tm=ity-akasmāt I
Karttāpi yasya khalum, ver vismayam-āpa śilpi

Tan-nāma-kīrttanam=akārayyata yena rājnā II
Meaning13: (That King) by whom verily was caused to be constructed a temple

on the hill at Elāpura of wonderful structure, - on seeing which the best of the
immortals who move in celestial cars struck with astonishment, think mush
constantly, saying, “this temple of Śiva is self-existent; in a thing made by art
such beauty is not seen”- a temple, the architect-builder of which, in
consequences of the failure of his energy as regards (the construction of)
another such work, was himself suddenly struck with astonishment, saying, Oh,
how was it that I built it!”
If we see the rock of the Deccan trap it would be difficult to believe that the
complexes at Ellora were created with such an aesthetic perfection. However, it
is equally true that Kailaśa temple was not built in a day. 14 It is evident from the
site that it took ages for the development of architectural skills to reach such a
level of perfection which have been discussed in the subsequent chapters.
12
13
Ibid, p. 4.
14
Dhavalikar, M. K. “Kailasa: A Structural Analysis”, op. cit. p. 353.

At the time of initiation of Kailaśa temple, as already mentioned,
Mahabalipuram group of temples served as a model. But in the late eighth
century monolithic architectural models were well patronized. The earliest of
these temples are- Vettuvankoil15 (800 CE) at Kalugumalai in the Pandyan
country, after that Dhamner (850 CE)16 in Madhya Pradesh, the Chaturbhuj
Viṣ nu on Gwalior Hill17 during late ninth century. The series of seven
monoliths at Masrur in Kangra valley18 of the same time. The small rectangular
unfinished shrine with wagon types sikhara at Coglong in Bihar,19 sometime
later. The excavation of monolithic temples is practically go out of vogue after
ninth century A. D.20
The importance of Ellora largely stems from the awesome showpiece of the
Kailaśa temple. Ellora was part of a chain of monolithic carvings of
architectural forms set in motion from the time of Dantidurga. It carried on up
to the second quarter of the ninth century CE, beyond the time of Govinda III.21
There is much variety in this series of five. The Kailaśa temple built by Krishna
I is the most ambitious, complete and intricate of the series at Ellora. 22 It is
overwhelming and attributed to the perfect rhythm and harmony of component
parts. The double story excavation of Kailaśa temple complex is a marvel
example in realm of monolithic architectural edifices. It is located in the central
place in the 34 caves at Ellora.23 Not only the location but also the style of
execution gives an important place in the history of architecture.
15
Rajan, K. V. Soundra, The Ellora Monoliths, op. cit., pp. 2-3.
16
Dayalan, D. op. cit., p.2
17
Ibid, p. 3.
18
Ibid, p. 4.
19
Ibid, p.5
20
Ibid, p.4.
21
22
Huntington, Susan L., op. cit., p. 342.
23
Dhavalikar, M. K. op. cit., p.6.

Philosophical aspect of the Kailash temple
It is quite strange that the vastu-sastras are almost quiet on this style of
architecture. M. N. Deshpande24 in his paper has proposed that the monolithic
temples in general and the Kailaśa temple at Ellora in particular had the impact
of Śankara‟s philosophy of Advaita (monism). Here, it is important to mention
that the very first reference of monolithic temple‟s association with Advaita
philosophy is from Amṛ tānubhava in Marathi. It is written by Jnāneśvara, a
thirteenth century saint poet of Maharashtra.
Deva deūla parivāru kīje korunī dongaru

Taisā bhaktīkā vyavashāru kana vhāvā I
- Amṛ tānubhava (9.43)25
Meaning:26 “God, shrine and devotee carved in the rocky hill, such is the affair
of non-dualist unity of knowledge and devotion‟.
The physical relationship between the caves and the cliff is a strange one. They
differ from it even as they are of it, and they are visible within it even as they
sometimes seem to disappear in its own variegated surface.27 There also have
physical, philosophical and religious grounding which inspired the construction
of the caves.28 While the relationship between a religion or philosophy and its
physical manifestations is a complicated one, the cave temples at Ellora clearly
depict Indian beliefs about and desires for architecture, pilgrimage sites and
ritual. Stella Kramrisch has written that “tirthas and ksetras on Indian soil are
potent sites where a presence is felt to dwell. Its support is in the place itself.
24
Deshpande, M. N., „Kailāśa: A Study in its symbolism in the light of contemporary Philosophical concepts
and Tradition‟, in Ellora Caves: Sculpture and Architecture, Ratan Parimoo, Deepak Kannal, Shivaji
Pannikar, et. al, (New Delhi: Books & Books, 1988), pp. 232-234.
25
Deshpande, M. N., op. cit. p. 240.
26
Ibid, p. 241.
27
Havell, E. B., op. cit., p. 187.
28
Ibid, p. 188.

Whatever makes the site conspicuous or memorable is reinforced in its effect by
the attention of the people directed towards and concentrated on that spot.”29
The text of Amṛ tānubhava also gives details about the technique of carving.
Interestingly, Saint Jnāneśvara expresses his surprise about the reverse process
of starting the carving of the Kailaśa temple from top to bottom in a very mystic
style. He says, „the space was created out of a tamarind leaf and the
construction laid down the pinnacle first and the foundation last.‟30 While
praising the skill of the artisans at Ellora, Carmel Berkson has said, “The
Raśtrakutas artists seem to have been driven also by the philosophy which
denied by absolute with corollary. It would nullify an exclusive focus on the
theory that the central point influences all forces within the configuration of the
panel. The conceptions which eliminate God and might also prove to be useful
tool by means of which to approach the art in the relief panels, since magnetic
forces outside the panel sometimes force a relative view of all the elements.”31It
shows the qualities of the absolute exist in the central point. In this way, a
certain ambiguity arises out of the question of what is beyond the circumference
of the cave.
The association of the name Ilapura and Ellora represents a long mythological
tradition. Ila is the Goddess of priests and the kings in the Vedic period. 32 The
Puranas mention a river Ela somewhere in the Deccan and a tribe called Elikas
or Ailikas.33 There is also reference of Chalukyan King Vijyaditya issued a
grant during his military encampment at Elāpura in 704 A.D.34 It may be
29
Kramrisch, Stella, op. cit., p. 4.
30
Baumer, Bettina. (1988). „From Guha to Akasa: The Mystical Cave in the Vedic and Shaiva Traditions, in
the Ellora Caves: Sculpture and Architecture, Ratan Parimoo, Deepak Kannel and Shivaji Panikkar (ed.
all). New Delhi Books & Books. pp. 62-63.p. 77.
31
Berkson, Carmel. (1988). „Daśāvtāra Cave: Its Importance in the History of the World Art‟ in Ellora Caves:
Sculpture and Architecture, Ratan Parimoo, Deepak Kannal, Shivaji Pannikar, et. al. New Delhi: Books &
Books. p. 218.
32
Soar, Micaela, op. cit. p. 81.
33
Ibid, p. 82.
34
Ibid, p. 83.

proposed that the circumference which exists in Ellora was occupied by many
powerful dynasties.
Micaela Soar has stressed on the quasi mythical stories providing a paradigm
for worship at Ellora. This story according to soar, suggest lingam worship by
women at Ellora.35 Another medieval Marathi story about the queen Manikavati
and the king of Elapura was also discussed by Dr. M.K. Dhavalikar. Dhavalikar
has also written a stylistic analysis of Kailasha another interesting study. 36
The Mansara, a text on architecture describes in details that all such cities have
special significance as they are based on cosmic geometry also called vastu-
purush mandala. It is generally square is shape. All the four corners of this
square represent the four cardinal directions of the world. Within this square
there is a circular design. This circular design represents the universe. Square
and circle these two geometrical signs also represent the celestial and domestic
fires. Fire in Vedas is omnipotent. It is the most vital source of energy. This
energy is both spiritual and temporal. It contains occult potentiality. So cosmic
city also consists of spiritual power which is subtle and sublime and it is
inherent in the sacred ecology of the cosmic town.37
Architectural Plan
After visiting Kailash, one could understand that the ground plan of the Kailaśa
approximates in area that of the Parthenon at Athens. Its height is one and half
times that of the same Greek masterpiece, some idea of the magnitude of the
undertaking may be conceived.38
In its plan and general arrangements the Kailaśa bears a certain resemblance to
the Virupaksha temple at Pattadakal, even then a recent building, and one which
was no doubt at the time considered the last word in temple design. But
although the early Chalukyan example may have provided some inspiration.
35
Soar, Micaela. (1988). „The Tirtha at Ellora‟ in Ellora Caves: Sculptures and Architecture. RatanParimoo,
Deepak Kannel and Shivaji Panikkar (ed. all). New Delhi: Books & Books. pp. 80-85.
36
Dhavalikar, M. K., (1988). „Kailasa-A Structural Analysis‟ in Ellora Caves: Sculptures and Architecture.
Ratan Parimoo, (et. all). New Delhi: Books & Books. pp. 351-361.
37
Shukla, D. N. (2003). VastuShastra, vol. 1, Hindu Science of Architecture. New Delhi: Munshiram
Manoharlal Publishers Pvt. Ltd. pp. 368-70.
38
Brown, Percy, op. cit., p. 73.

The Kailash is more than twice its size, and is clearly an illustration of the
normal development of the Dravidian temple-type, adapted to conform to the
particular technique involved.39
Figure 90: Plan of Lower Section, Ellora Kailasa Temple (After Burgess)
Courtesy: Archaeological Survey of India, New Delhi
39
Huntington, Susan L. (1985). The Art of Ancient India: Buddhist, Hindu, Jain. New York and Tokyo:
Weather Hill. pp. 325-330.

Figure 91: Plan of Upper Section Ellora Kailasa Temple (After Burgess)
Courtesy: Lalit Kala Akademy, New Delhi
It is only logical that each individual temple at this formative period of the art,
should be a copy of its predecessor, but improved and enriched by the
accumulation of previous experience. Once the idea of the Kailash was
conceived, its production became a matter of time, patience, and skilled labour,
all of which appear to have been readily forthcoming. It was an expression of
exalted religious emotion. It is obvious, but even this condition could not have
made such a monument possible. It must had the patronage of a ruler with

unlimited resources and who was at the same time moved by the loftiest
ideals.40
Description of the Kailash Temple
Describing Kailash is the most difficult and stupendous job. The sheer
magnitude of the monolithic temple excavated and carved into gigantic form. Its
back cliff rising and falling into an immense colossal mass of stone.
Significantly, a maze of courtyard, galleries, porches, porticoes, a courtyard
surrounding the main temple. The mahamandapa, the dhwajastambhas, the
elephants and semi divinities and divinities are simply a creation of no ordinary
mortals. It is a most beautiful example of the blend of the north and south, both
at its best. It may be called as one of the well-planned and well-designed
temple, excavated with the support of the prosperous Rashtrakuta dynasty.41
Figure 92: Roof of the Rangamandapa has been Decorated with Moving Lions
Courtesy: American Institute of Indian Studies, Gurgaon
It rises to a rocky height of approximately 100 feet, its length about 145 feet
nearly 250 feet deep and 150 feet broad. While making notes on architectural
plan, Percy Brown had observed, "three trenches were made at right angles and
40
Burgess, James. (1972). Elura Cave Temples. Varanasi and Delhi: Indological Book House. pp. 29-32.
41
Ibid, p. 33.

cut down at right angles to the level of the base of the hill. First a mass of rock
200 feet long, 100 feet wide, 100 feet in height was isolated. Than the mass was
hammered into shape. Then the sculptors began their work.”42
Figure 93: Lion trampling elephant on the sukanasa

Courtesy: National Museum, New Delhi
Each part of the carved

details appears to have been
completely finished as the
work progressed downwards.
It might be obvious that the
entire plan of the temple was
conceived before starting the
excavation which can be Figure 94: Lion on the karankuta
postulated on the basis of its
dimensions, the location of the halls and pillars, staircases, the panels, the
42
Brown, Percy, op. cit., pp. 73-75.

shikaras of the main and sub shrines, lotuses, elephants, lions on the roof, then
the karnakutas, the salas, the kapota etc., all were pre-conceived. The walls of
the main shrine that were carved with flying gandharvas above and other
deities. The main hall, then the huge adhisthana (plinth) with a vyalavari, the
jagati (tall flat course). The upama of the adhisthana (plinth) showing lions
attacking elephants at corners and finally the upapitha rising from the floor
level with a series recessed offsets.43
Figure 95: Adhisthana of the temple is supported by the elephants

Courtesy: Archaeological Survey of India, New Delhi
The work was commenced by cutting three mighty trenches in the solid
rock―two of them at right angles to the front of the rock. More than 90 yards in
length, and the third connecting their inner ends, over 50 yards long and 107
feet deep.44 A great mass of rock was left in front of the court to represent
the gopura of Dravidian temples which is here in two storeys. The lower one
43
Rajan, K. V. Soundara. (1988). The Ellora Monoliths. Delhi: Gian Publishing House. pp. 35-40.
44
Ibid, p. 41.

with rooms inside, and the exterior adorned with figures of Siva, Vishnu and
other Hindu pantheon.45
The gopura is pierced in the centre, by an entrance passage with rooms on each
side. Beyond this, a large sculpture of Lakshmi seated on lotuses with her
attendant elephants has been carved. The leaves of the lotuses contain some
letters and a date, probably of the 15th century CE. There have been inscriptions
on the bases of the pilasters on each side, which bear characters of the 8thcentury
CE.46
Gajalakshmi panel
Figure 96: Gajalakshmi Panel on the entrance porch below Nandimandapa © Kushal Parkash
Courtesy: Lalit Kala Akademy, New Delhi
45
Ibid, p. 42.
46
Qureshi, Dulari. (2010). Rock-cut Temple of Western India. Delhi: Bhartiya Kala Prakashan. pp. 165-70.

Right in front of the entrance gateway when one enters the gateway, the
magnificent panel of Gajalakshmi is carved below the Nandimandapa facing
west. Lakshmi is generally regarded as goddesses of fortune. Though the panel
has been mutilated, the deity of wealth and fortune is seated on a double lotus in
the middle of kshirsagar (Milk Ocean) from where she was born as a result of
churning of the ocean. Four elephants represent the four cardinal directions who
are pouring water on the deity47. Another panel is located opposite the entrance
passage leading to the Lankeshwara shrine on the northern side. She has been
mentioned in Rig Veda as a destroyer of the evil48.
Eta ena vyakaran khile ga vishthitaaiv I

Ramanta pranyan lakshmiryan papishta aneensham II (RV 10:71:2
As mentioned earlier, the Kailasha is a combination of the southern and

northern styles. It has, however, a strong Dravidian Complex with the following
components:49
(i) Gopuram or entrance gate-way
(ii) Nandi mandapa
(iii) The main vimana
(iv) The surrounding cloisters and
(v) An adjoining mandapa.
On the two sides of the courtyard (the north and the south) supplementary halls
are carved. In the northern courtyard is the Lankesvara shrine, and the shrine of
the river goddesses.50 These however may be later additions.
47
Deshpande, M. N.,“Kailasha: A Study in its Symbilism in the Light of Contemporary philosophical
Concepts and Tradition” in the Ellora Caves: Sculpture and Architecture, Ratan Parimoo, Deepak Kannel
and Shivaji Panikkar (ed. all), P.245.
48
Kapoor, Subodh, Indian Gods and Goddesses, pp. 50-51.
49
Ibid, p. 52.
50
Rajan, K. V. Soundara, op. cit., pp. 85-92.

The entrance gateway is two storeyed and has a sala-sikhara. Over the upper
entrance is a rectangular griva and a wagon topped sikhara. The Nandi mandapa
is 25 feet square and stands on a highly decorative base. The plinth or adisthana
shows mouldings.
The lower mouldings, however, are not

properly finished. The plinth shows
pilasters with sculptured panels. Near the
floor the base rises in the series of
recessed offset. Above, in the central
space of the side, is a frieze of elephants
and lions. Above the plinth is frieze of
elephants and then the kapota. The kantha
of the plinth shows a number of mithuna
sculptures. The Nandi mandapa is
connected with the gate of the bridge. The
gate house is double storeyed with ample
Figure 97: Mithuna couple on the wall of
accommodation for the temple mandapa
Courtesy: American Institute of Indian Studies,
guardians.51 Gurgaon
The base of the vimana proper measures 164 feet from the east to west, and 109
feet from north to south. The adhisthana or plinth of the vimana is a solid mass
of rock and its impressive height lends grandeous to the entire structure. The
base greatly resembles the lower part of a chariot. The whole temple looks like a
chariot resting on the back of elephants.52
51
Ibid, p. 93.
52
Brown, Percy, op. cit. pp. 74-75.

The vimana proper is approached by flights of steps from both the courtyards.
The flight of steps lead to a porch, the ceiling of which shows some interesting
painting. The oldest of these may be contemporaneous with the temple.53
River Goddesses Shrine
A shrine 23½ feet long by 9 feet deep and 11 feet high, with two pillars in front,
is just behind the northern elephant. The pillars have moulded bases, sixteen-
sided shafts, and massive capitals with a double bracket above. The floor is
approached by five steps, with an elephant's head and front feet on each side of
them. The rest of the podium is divided into three panels on each side,
containing small sculptures. 54
Figure 98: River Goddesses shrine

The ends also had the heads of elephants. The facade was terminated by
gigantic dvarapalas with several arms and wearing high tiaras. The doorway of
the shrine is intricately decorated with geometrical patterns and human figures.
53
Ranade, P. V. (1980).Ellora Paintings. Aurangabad: Parimal Prakashan. pp. 12-18.
54
Burgess, Jas, op. cit., pp. 27-33.

On either side are female dwarapalikas. On the left hand side is the River
goddess Ganga, standing on a makara, and on the right Yamuna standing on a
tortoise.55
The other two lean slightly towards her-the one on the left standing on a lotus
flower, with creeping plants and birds among their leaves. To the right on a
tortoise (kurma), with creepers and water-plants behind. These two represent
Sarasvati and Yamuna respectively. The frieze of the facade has been divided
into seven panels. In the central panel three figures and in each of the others a
male and female have been shown seated together. Over these are some
mouldings. In front this of an unfinished cave is located above. It has a low rail
carved with water jars, separated by two little colonnades.56
Cloisters
The cloisters that surround the main temple are of great interest presenting as
they do through the medium of stone. The story of Shiva and other gods of the
Hindu pantheon. In the panel of the cloisters. The Hindu mythology springs into
life in all its glory. A plethora of Hindu gods full of life and energy depicting all
human emotions of love, hate, greed, anger, ecstasy.57
The demon Ravana sacrificing his heads to God Shiva or God Shiva himself
setting out in a chariot driven by Brahma to destroy the triple castles of the
Asuras. Vishnu pushing king Bali into the earth, or killing the demon
Hiranyakashyapa these and other sculptures fills the walls of the side cloisters.58
Some of the best panels are the Siva Kalyanasundaramurti. The graceful figure
of Parvati at the first touch of her Lord makes her blush coyly. One of the most
expressive panels is the powerful dancing pose of Shiva are some of the most
55
Rajan, K. V. Soundara, op. cit., p. 103.
56
Burgess, James, op. cit., pp. 36-38.
57
Qureshi, Dulari, op. cit., pp. 160-165.
58
Rajan, K. V. Soundara, op. cit., 172-175.

memorable sculptures in these cloisters.59 The great saga of the past moves
before one's eyes and then one gets lost into it. The effect is overwhelming, as it
is full of strength, life, vigour and beauty. The architectural effect when the
visitor looks at the long rows of columns and the continuous series of sculptural
panels from one end of them its most fascinating.60
On the back wall is-1, Ganapati; 2, a

female with a child sitting on a wolf;
3, Indrani; 4, Parvati with a bull in
front of the seat, and a child destroyed;
5, Vaishnavi and child destroyed, with
Garuda below; 6, Kartikeyi, and child
crawling on the knee, with a peacock
holding a snake as a cognizance; 7,
a devi with trisula and a humped bull
below; 8, Sarasvati holding a rosary;
and 9, another Devi with four arms,
holding a shallow vessel.61
On the east wall are three female

seated figures. These are sometimes
Figure 99: Panel of Kalyansundarmurti Shiva
named Sivakali Bhadrakali, and Courtesy: Indra Gandhi National Centre for the Arts,
New Delhi
Mahakali. Each holding a chauri, but
without the nimbus and cognizance. They are separated from the others by a fat
dwarf who sits with his back to the three. Under the west end of the sacrificial
hall is a small low cave, the verandah of which is divided from the inner room
by an arch springing from two attached pillars. The inside has an altar for some
59
60
Ibid, p. 183.
61
Dhavalikar, M. K., op. cit., pp. 65-67.

idol. The rock on the right side of the great temple has been excavated in four
storeys, none of them quite finished.62
This corridor on the south side measures 118 feet in length. The wall is divided
by pilasters into twelve compartments, each containing a large sculpture as
follows:63
1. Annapurna, four-armed, holding a water pot, rosary, spike or bud, and
wearing her hair in the jata style.
2. Siva as Balaji who slew Indrajit, the son of Ravana, four-armed, with
club, discus or chakra, and conch; has a supplicant and a small female in
front of his club.
3. Vishnu as Krishna, four-armed, with the sankha and sword, holding the
seven-hooded snake Kaliya by the tail, and planting his foot on its breast.
4. Varaha, four-armed, with the chakra, sankha, and the snake under his foot,
raising Prithvi.
5. A four-armed Vishnu on Garuda. 6. Vishnu, six-armed, with a long sword,
club, shield, chakra, and sankha, in the Vamana or dwarf incarnation, with
his foot uplifted over the head of Bali, holding his pot of jewels.
7. A four-armed Vishnu as Krishna upholding the lintel of a compartment to
represent the base of a hill over the flocks of Vraj.
8. Sesha Narayana or Vishnu on the great snake, with Brahma on the lotus
springing from his navel, and five fat little figures below.
9. Narasimha, tearing out the entrails of his enemy.
10. A figure with three faces and four arms, trying to pull up the linga.
11. Siva, four-armed, with Nandi.
12. Ardhanariswar, four-armed, with Nandi.
62
Ibid, p. 68.
63

The sculptures from the west end of the twelve corresponding bays on the north
side (120 feet in length) are:64
1. Siva springing from the linga to protect Markandeya from Yama, the god
of death.
2. Siva and two worshippers, one of them a huntsman with a bow.
3. Siva and Parvati playing at chausar; below are Nandi and eleven gana.
4. Siva and Parvati, with Narada below playing on some wind instrument.
5. Siva, with Parvati above, her arms twined in Siya's; Ravana is below, but
not complete.
6. Rishi Muchhukunda, with two arms and a bag on his left shoulder.
7. Siva and Parvati seated, facing one another.
8. Siva, four-armed, with snake and rosary, and Nandi on the right.
9. Siva and Parvati seated, and Nandi below.
10. The same pair, with a linga altar between them, and Nandi below.
11. Siva with Parvati on his left knee, and a seated and a standing figure below.
12. A linga with nine heads round it, and a kneeling figure of Ravana
upholding the vedi, and cutting off his tenth head in devotion to Siva.65
The nineteen subjects occupying the compartments in the east corridor (189 feet
in length) are:66
1. Siva as Kala Bhairava, four-armed, with the trisila, and accompanied by

Parvati.
64
Burgess, Jas, op. cit. pp. 27-32.
65
Ibid, p. 33.
66
Fergusson, James & Burgess, James, op. cit., pp. 456-458.

2. A god stepping out from lotuses, with a small figure of a goddess holding
him by the finger.
3. Siva, four-armed, with the trisula, beside Parvati.
4. Siva, four-armed, with the trisula in one of the left hands,

and gandharvas above and other attendants below.
5. Siva with a long-shafted trisula dancing on a dwarf.
6. Chanda or Bhupala Bhairava, with a ribbon over his thighs, a trisula over
his left shoulder, a begging bowl in the left hand, and a small drum in the
right, with Parvati in front of him.
7. Siva, four-armed, holding a cobra, with Nandi on the right and Parvati on
the left.
8. Siva and Nandi.
9. Brahma, three-faced and four-armed, with the ascetic's water-pot and

rosary, and his sacred goose.
10. Siva with a cobra and Nandi.
11. Vishnu, four-armed, with sankh and lotus; also a worshipper with his hands
clasped.
12. Siva holding the trisula, with Nandi and a worshipper.
13. Siva, holding a snake, the Ganges flowing from his hair; Parvati is on his
left and an elephant on his right; above is Brahma, and overhead
a gandharva
14. Siva in a linga with Brahma and Varaha.
15. Siva with four-arms, damru, club, and bell.

16. Siva and Parvati, with Nandi below.
17. Siva with six arms, going to war against Tripurasura; Brahma, armed
with trisula, club, bow, and quiver, drives him in the sun's chariot, with the
four Vedas as horses; Nandi is on the top of the club.
18. Virabhadra, six-armed, with damru, bowl, and trisula, holding up his
victim Ratnasura. He is accompanied by Parvati, Kali, a goblin, and a
vampire.
19. Siva holding a flower, with Parvati on his left, and Bhringi, his skeleton
attendant, waiting below. A door from the north corridor leads into a
continuation of it, 57 feet long. This is situated immediately under
Lankesvara, and the two front pillars are elegantly ornamented, but there
are no sculptures at the back.67
Mandapa
A mandapa, 26 feet square and two storeys in height. It has been carved in front
of the court. The lower storey of the mandapa is solid, and the upper one is
connected with the gopura and with the temple by bridges cut in the rock.
Figures of lions and fat dwarfs are placed on the roofs of the gopura, of the
Nandi mandapa, and of the great hall itself. They stand about 4 feet high, and
are executed in the same bold style as the figures of lions and elephants round
the base of the temple.68
The main hall on the first floor is a substantial dimensions measuring 57 by 55.
Sixteen beautifully carved pillars support the ceiling. Earlier these pillars and
plans have already been discussed. On the ceiling of the central hall is a panel
depicting Siva dancing the Lalitam.69
67
Ibid, p. 459.
68
69
Qureshi, Dulari, op. cit., 168-70.

The entrance to the hall is to the left, in front of the Nandi. A low screen wall
connects the west line of pillars. The roof is low, and is supported by twenty-
seven massive pillars and corresponding pilasters, most of them richly carved
and of varied and appropriate design, but of later date than the central temple.70
The arrangement of the sixteen pillars in the centre is identical with that of the
greater temple. The central aisle and the central cross aisle are wider. The hall
has a more spacious appearance than the porch of the temple. The floor of the
central area is somewhat raised above the surrounding aisles.71
Antechamber: The vestibule of the shrine is at the east end of the hall. On the
left side wall of the antechamber is a big standing Nandi accompanied by
Ganesha.72 On the ceiling of the antechamber is a beautifully carved Annapurna,
standing on a lotus, with high jata head-dress. Brahma squats at her right elbow
and probably Vishnu is on her left. Gandharvas have been depicted on corners
of the sculpture.73 The north wall of the vestibule has the depiction of Siva and
Parvati. They are shown playing the chausur. On the south, both are on Nandi
couchant on a slab supported by four ganas, with a fifth at the end. Siva has a
child on his right knee and behind him are four attendants.74 The dvarapalas on
each side of the shrine door is flanked by female dvarpalas. One of them is on
a makara, and the other on a tortoise. These female dvarpalas can be identified
as Ganga and Yamuna respectively. The shrine is a plain cell, 15 feet square
inside, with a large rosette on the roof.
The central fane is raised on a solid basement of rock 27 feet high. Under the
bridge connecting the temple with the mandapa are two large sculptures,-the
one on the west being Siva as Kala Bhairava in a state of frantic excitement. He
70
Ibid, p. 29.
71
72
73
74

has been depicted with flaming eyes. The Saptamatras have been depicted on
his feet. On the east side, Siva is shown as Mahayogi.75
The whole of the temple was plastered over and painted, and hence its name
Rang Mahal or the painted palace. The painting was renewed again and again,
and some bits of old fresco-paintings of two or three successive coatings, still
remain on the roof of the porch of the upper temple.76
Figure 100: Dancing Shiva in Rangmandapa Figure 101: Pillar in the mandapa
Courtesy: Archaeological Survey of India, Courtesy: Lalit Kala Akademy, New Delhi
New Delhi
A door leads to the main hall of the temple. It is 57 side and 55 deep. There are
sixteen pillars, somewhat in the style of the four great central columns. The
door at each end of the cross aisle leads out into a side balcony with two richly
carved pillars in front. The massiveness of the sixteen great square pillars gives
a solidity and grandeur to the hall. These pillars represents the dynamism in the
history of Indian architecture.77
75
76
Fergusson, James & Burgess, James, op. cit., p. 450-52.
77
Brown, Percy, op. cit., p. 74-76.

These pillars are arranged in groups of four, one in each quarter, leaving a big
central nave and two huge procession paths. One from the door to the vestibule
which leads to the cellar and the other to the two side balconies. The whole
arrangement according to Dr. Gupta is that of a navarangamandapa. In this the
navaranga are as follows:78
(i) The central square
(ii) The space between the two groups of northern pillars
(iii) The space between the eastern pillars
(iv) The space between the southern pillars
(v) The space between the western pillars
(vi) The space between four north western pillars
(vii) The space between four north eastern pillars
(viii) The space between four south

eastern pillars
(ix) The space between four south

western pillars
Two doors on the eastern side of the

mahamandapa open into the open terrace
behind.
The door is guarded by gigantic

Saiva dvarapalas, leaning on heavy
maces. It has wide central and cross
aisles. The four massive square columns Figure 102: Naga-hooded figures
in each corner are supporting the roof. Courtesy: American Institute of Indian Studies,
Gurgaon
78
Qureshi, Dulari, op. cit., pp. 165-170.

The four pillars round the central area are of one pattern, differing only in the
details of their sculpture. The remaining twelve are also of general type. 79
Among the details worth noting are the windows and panels. There are six
windows, two in front and two on each side, of which one on the south-east is very
much broken. Three of them are arabesques of very rich but entirely different
designs, and the other two are a combination of animal and vegetable forms.80
Rati: the goddess of sensuousness
In the next panel to the Mashishmardini Durga, Rati is depicted significantly

with Kamadev (Pradyumna)81. They are represented standing side by side
holding the sugar-cane stalk which represents the rasa- essence of life82. As per
her beauty and sensuality she is pictured here as a maiden who holds the power
to enchant the god of passion. When Shiva burnt her husband to ashes, it was
Rati, whose penance leads to the promise of Kamadeva's resurrection 83. Often,
this resurrection occurs when Kamadev is reborn as Pradyumna, the son of
Krishna. Another depiction of Rati with Kamadev can be observed along the
inside aspect of the front enclosure wall. Kamadeva is shown having an arrow
in his hand and Ikshukhanda has been depicted in between the twosome. Rati is
shown standing in abhanga pose84.
Uma/ Parvati
The earliest reference of Uma Himavati is found in the Kena Upnshad where
she looks to remove ignorance arisen due to egotism85. Hence, she appears a
goddess of knowledge.
79
Dhavalikar, M. K. (2003). Monumental Legacy: Ellora. New Delhi: Oxford University Press. pp. 53-59.
80
Ibid, p. 60.
81
Ibid, pp. 74-75.
82
Rajan, K. V. Soundra, op. cit., p.100
83
Ibid, p.101
84
Ibid, p. 102
85
Panikkar, Shivaji K., op. cit., p. 23.

A rare iconic sculpture of Parvati is depicted along the gateway complex
(gopura dvara) which is surmounted by Shala shikhara) where she becomes part
of the triad. In the niche Shiva is shown carrying the linga on his shoulders and
Brahma and Vishnu are depicted in the lateral part of Shala Shikhra86.
Along the inside look of front enclosure wall, Parvati is depicted in Uma-sahita
Shiva panel. She is depicted seated in ardhaprayanka pose. In the same panel,
the female seated cross-legged in a mood of indecision and male is with is legs
placed forward and arms in protestation, seemingly pulling the female to make
the next move. The upper torso of the female is plain. This incident corresponds
to the narrative that of Uma and garrulous Brahmachari form taken by Shiva
took to test Uma87.
Mahishasurmardini Durga:
After holy bath at river goddess shrine, the sculpted

panel of Durga as Mahishasurmardini can be
noticed in the south-west corner of the northern
flank of the courtyard. Durga is depicted here as a
dynamic force of Prakriti (nature) as a destroyer of
the evil88. In the panel Durga is shown trampling
Mahishasur which is represented both with the
animal head as well as the human body emerging of
the neck of the human form of the demon 89. On
both sides, one each is depicted fighting with Figure 103: Mahisasurmardini ©
Archaeological Survey of India
Durga. It may be a synoptic view showing all the Courtesy: National Museum, New Delhi
three demon figures probably being the
86
Deshpande, M. N., op. cit., p. 242.
87
Rajan, K. V. Sounda, op. cit., p. 103.
88
Ibid, p. 243.
89
Soundara Rajan, K. V., op. cit., pp. 95-96.

Mahishasur90. The appearance of Durga is quite interesting. She appears or
made to appear by Vishnu and Shiva at the request of Brahma 91. She appears
from the fire came out as an anger from the mouth of Vishnu and Shiva with
inexpressible beauty92. A beautiful and vigorous representation of
Mahishasurmardini Durga can also be seen on the inner face of the front
enclosure wall. Durga is shown seated on the lion is an ardhapryankasana pose
in fight with Mahishasur. She is holding a bow in one of her hands with the
other hand, she is discharging the arrows. The bend of the bow denotes the full
stretch in discharge of the arrows. The remaining of her eight arms carries
different weapons like Sula (trident), Khadaga (sword) and Khetak (shield)93.
The front of the mandapa, to the north of the entrance, has a panel with Siva,
four-armed, standing on the back of a kneeling figure, with Parvati by his side.
He holds with one of his hands a long lock of hair out of the top of his head-
dress.94
Ravananugrahmurti
The sculptures of the lofty basement of the

temple commence from behind these bas-
reliefs, and continue in an unbroken line, but
not on the south side, which had a bridge,
since fallen down, from the balcony of the
temple to a cave in the scarp. Beneath this is a
fine sculpture of Ravana under Kailaśa.95
Figure 104: Panel of Ravana Shaking

Kailash on the southern side of the porch
90
Ibid, p. 97. Courtesy: Indra Gandhi National Centre
91
Kapoor, Subodh pp. 74-75. for the Arts, New Delhi
92
Ibid, p. 74-75.
93
Rajan, K. V. Soundra op. cit., p. 99.
94
Huntington, Susan L., pp. 342-345.
95
Rajan, K. V. Soundara, op. cit., p. 107.

The Ravana-anugrahmurti panel represents the majestic three dimensional
sculpture. In the panel, the upper half depicts Parvati restlessly clutches Shiva96.
Ravana is depicted multi-armed who is shaking the Mount Kailasha where
Shiva is shown seated in repose, and the pride of Ravana is trampled by just the
pressure of the toe of Shiva. Parvati represents the aristocratic strain of the
feminine is easily observable. There are also many others panel in the eastern
and northern cloister wall representing various narratives such as- Shiva rescued
from the lotus pond, Shiva as a mendicant, Shiva playing Chaupad game with
Parvati, Vinadhara Shiva and Shiva seated with Parvati.
Gangadhra Shiva Panel
The Gangadhara panel on the northerly

side of the mandapa (porch) represents
Shiva, stands one side of the dialog
box on the back of Ghana (attendant)
in abhanga pose. Parvati is depicted
standing cross-legged resting on
lotuses and right arm is holding the left
arm of Shiva. Here the artisan very
nicely expressed the mutual
understanding of the fact that the
origin of the Ganga and acceptance by
Shiva shows rivalry in her territory.
The bashful, aristocratically Parvati
appears again in a well curved Figure 105: Gangadhar Shiva panel © Kushal Parkash
tribhanga pose in Gangadharashiva Courtesy: Archaeological Survey of India, New Delhi
panel. Heinrich Zimmer97 says „The Perfect serenity and timeless harmony of
the couple is emphasized in this relief by their response to an attempt of a
demon to shake their Olympus from below.’ In the antrala (vestibule), on the
96
Datta, Bimal Kumar Introduction to Indian Art, p. 70.
97
Deshpande, M. N., op. cit., p. 249.

left, Shiva and Parvati are shown in akshakrida, the eternal game of creation
from the union of Purusha and Prakriti. And on the right side is Uma-sahita
Skandamurti Shiva98. Near the Gangadhara Shiva panel facing south is shown
further in the corner panel of Ardhanarishwara (an androgynous form of Shiva).
It exhibits the feminine outline on the left side of the body also including left
part of the head. Though maximum parts of hands, whole of the head and legs
are lost. The remaining part such as the shoulder of Shiva and curved shoulder
of Uma and smoothly rounded breast along with a hand resting on the well-
formed hips are a singular representation of Purusha and Prakriti. The fertility
aspect of the nature is well represented here. It seems an attempt of making a
conciliation between the Shiva and Shakti cults signifying the fusion of the two
to make a composite cult.99
Privardevata Shrine
On three sides of the terrace and at the two back corners, there are five sub-
shrines. These are mounted over prominent projections of the tall base and have
their own adhisthana. The terrace itself forms the base of the spire, which rises
to a height of 96 feet from the court below. Below, between pilasters are a
number of Shiva and Vishnu panels. Above these are some interesting flying
figures carved in various postures of front, back and sides. Over these begin the
horizontal mouldings of the sikhara.100
Moulding on adhistahna
A door in each of the back corners of the hall leads to the terrace behind, and a
wide path goes round the outside of the shrine, which forms the base of
the sikhara or spire. The pradakshina for circumambulation is provided for by
the doors in the east wall leading on to the terrace, on which are also five small
shrines. These have little carving on their walls, beyond the dvarapalas at the
98
M. N. Deshpande, op. cit., p. 245.
99
100
Ibid, p. 58.

door; and there are altars in all of them for images, but the shrine on the south
side has also a bench round the back and ends.101
In an advanced recess in the corner of the temple facing the shrine in the north
side is an image of Ganapati. On the facade above is a figure with its face to the
wall. The image in the corresponding recess on the south-west of the temple is
perhaps Vishnu.102
The base is in panels, six on each side and five on the back. These panels
contain the various forms of Shiva, Durga, and Vishnu, standing on fat dwarfs
and accompanied by other attendants. At the upper corners of the panels are
conventionalised figures of peacocks with long tails. A Devi is shown seated
cross-legged over each panel. The wall above contains flying figures, and over
them are the horizontal mouldings of the sikhara.103
Gopura and Nandi Shrine
The entrance of the hall is connected by a bridge outside the porch, to a pavilion
with four doors and a broken Nandi. Several chambers are located to the west,
over the entrance porch. There is access to the roof of the small chambers that
form the screen in front of the court. The screen is covered with mythological
sculptures in recessed panels, and is crowned on the outer side by a defended
parapet.104 Each parapet has been carved with three balls, and below them is a
string of small figures in high relief, on foot, on horseback, in carts and fighting.
There are twenty-five large panels. The south of the screen is a rock-cut cistern
22 feet by 19 feet. On each side of the entrance to the porch is a sitting figure
with one foot up. On the front of the inner jamb on each side a female with
umbrella and chauri overhead has been depicted. She is accompanied by a small
attendant.105
101
Fergusson, James & Burgess, James, op. cit., pp. 455-65
102
103
Ibid, p. 35.
104
105
Ibid, p. 39.

Dwarf figures have been carved blowing sankhs over the gopura. The passage
of gopura has been decorated with many sculptures. On the outer side of the
north wall is the large Mahishasurmardini. The return wall of the court is
embellished with figures. To the north of this is an unfinished cave in the
screen, with four short stout pillars having thick compressed cushion-shaped
capitals. There are several sculptures on the south side of the entrance and partly
on the west wall. Next to this is an unfinished excavation in the south end of the
screen, apparently intended for a small open room or shrine.106
Lankeshwara shrine
An important part of the Kailasha temple is the Lankesvara shrine. It has been
excavated on the northern side of it. It can be approached by a flight of steps in
the left corridor. On ascending the steps in imposing temple is seen. The mere
sight of the shrine overwhelms the visitor. A front corridor runs east and west.
Right in front of the small Nandi shrine carved in the back wall is the shrine
proper. The Nandi is seated on an elevated platform looking majestic.107
The temple is raised on a platform with is beautiful polished floor. It is

surrounded on two sides by an imposing plinth. The plinth has been carved with
a number of couples to enhance the structure extremely beautiful. The size of
123 feet deep and 60 feet wide size of raised platform gives an imposing
architectural effect. The plinth, the floor and the pillars become decorative
elements to be added.108
106
Dhavalikar, M. K., p. cit., pp. 64-65.
107
Dhavalikar, op. cit., pp. 67-68.
108
Ibid, 69.

Dhwajastambhas
On two sides of the Nandi shrine, of the

first floor in the two courtyards, are two
huge elephants and two
dhwajastambhas. This gave an air of
majesty to the entire temple. The
elephants are life size. The
dhwajastambhas are 45 feet high. They
are perfect pieces of art and lend great
dignity to the temple. The trisula which
once decorated the capitals of these
pillars is gone.109
The pillars are of the Dravidian order

the characteristics of which are cushion
member over a constricted neck. A
development of this combination
produced the Dravidian order of which
these monolithic columns are an
interpretation, the constricted neck
having been transformed into that
sloping shape below the cushion cap a
contraction of the outline which is
unmistakable.110
On either side of the main temple on the

exterior wall behind the
dhwajastambhas are two interesting
Figure 106: Dhvjasatambha, Kailasa Temple,
panels of scenes from Mahabharata and Ellora (After Burgess)
Ramayana. 111 Courtesy: Lalit Kala Akademy, New Delhi
109
110
Dhavlikar, M. K., op. cit. pp. 56.

Panels of Ramayana and Mahabharata
On the northern wall of the sabha-mandapa has been carved with the scenes
from Mahabharata. These panels are in seven rows. The lower two rows depict
the childhood exploits of Krishna and the above five rows scenes of Arjuna's
penance, the Kirata-Arjuna fight, and episodes from the Mahabharata war.
Figure 107: A panel depicting Scenes from Ramayna on the southern side of the porch
Courtesy: American Institute of Indian Studies, Gurgaon
The Ramayana panel in the southern wall of the sabha-mandapa is portrayed a

number of scenes again in seven rows. The scenes of Rama's departure from
Ayodhya, Bharata trying to persuade him to return.112 In continuation, the forest
scenes of Shurpanakha, depiction of abduction of Sita by Ravana. Rama
meeting Hanumana, Hanumana crossing the ocean to reach Lanka, the
Ashokavana, the scene in the court of Ravana, and the last row the monkey
army building a bridge of stones to reach Lanka.113
111
Ibid, 57.
112
113
Ibid, 34.

Sacrificial Hall (Yajnashala)
A cave is below, under the scarp on the south side, and measures 37 feet by 15
feet. It is consist of two square pillars and pilasters in front. Each pillar has a tall
female warder with hair hanging in loose folds towards her left shoulder. There
are two dwarf attendants behind and the pillar is a low square pedestal.114
The mothers of creation are sculptured round the three inner sides of this
sacrificial hall. The first being Waghesvari is on the west. She has been depicted
four-armed, holding a trisula, and with the tiger under her feet. The second is a
somewhat similar figure. The third is Kala, a grinning skeleton, with Kali and
another skeleton companion behind. Kala has been adorned with a cobra girdle
and necklace. He is shown seated on two dying men, and a wolf gnaws the leg
of one.115
Second Storey
The veranda of the second storey is 61 feet by 22 feet, inclusive of the two
pillars in front, and leads into a dark hall 55 feet by 34 feet, with four heavy
plain pillars. A staircase at the west end of the veranda leads to a third storey. It
is almost identical in dimensions and arrangements, and with a similar veranda
and hall. The provision of sunlight has been provided by a door and two
windows.116
The fronts of the second and third storeys are protected by thick eaves. These
are quadrantal on the outer surface and the inner sides carved in imitation of
wooden ribs. It a bears a rafter running horizontally through them. In the third
storey, the four pillars which support the roof are connected by something like
arches. The roof of the area within the pillars is considerably raised by a deep
cornice.117
114
Ibid, p. 66.
115
Ibid, p. 67.
116
Fergusson, James & Burgess, James, op. cit., pp. 452-459.
117
Ibid, p. 460.

The roof is similarly elevated by a double architrave surrounding it. The pillars
are about three diameters in height, and this proportion is suited for rock-cut
architecture than any other that has been adopted in India. They have bold
capitals and brackets. The inner side of each of the pillars on the south face is
connected by a low screen. The western entrance is adorned with sculpture.118
The right side of the entrance to the pradakshina has Siva and Parvati, with
Ravana below, and a maid running off. The same gods are in the north entrance
playing at chausar. A tree is behind them, and the Nandi and gana are shown
below. A female is on each side of the shrine, one standing on a makara, and
the other on a tortoise. The salunkha inside the shrine has been destroyed.119
The back wall has a grotesque Trimurti, or Brahma, Vishnu, and Siva in very
low relief, each four-armed. Brahma has three faces, and the goose as
his vahana or vehicle and Sarasvati his consort are by the side of him. The
central figure is Siva holding up his trisula. A snake with Nandi and an
attendant are by his side. The third is Vishnu, with the discus and a great club,
attended by a male and a female.120
Saptamatrikas:
Saptamatrika worship probably symbolically began as early as the Harappan

period. However, Saptmatrikas takes its final form in the Puranic period121.
They have significantly been mentioned in classical Sanskrit literature such as
118
Ibid, p. 461.
119
Ibid, p. 76.
120
Huntington, Susan L., op. cit., pp. 341-48.
121
MCP Srivastava, op. cit., p. 201.

Daridra Charudatta by Bhasa, Mrichhakatka of Shudraka, Harshcharita and
Kadambari of Banabhatta.122
The chapel of Saptamtrikas is located on the south west corner of the temple
complex. The Puranas as well as the epics furnishes enough material.
Saptamatrakas are the Shaivite goddess because they are flanked the Shaiva
deities Ganesha and Virabhadra. The seven mother-goddesses are: Brahmi holds
a rosary and a water pot, 2. Maheshwari is seated on a bull, holds a trident, and
wears serpent bracelet and adorned with the crescent moon, 3. Kumari: created
from Karttikeya, rides a peacock and holds a spear, 4. Vaishnavi: is seated on
Garuda and holds a conch, wheel, mace, bow and sword, 5. Varahi: has a boar
from 6. Narsimhi is lion-woman, 7. Aindri: holds a thunderbolt and is seated on
a charging elephant123. These divinities consist of six Deva Shaktis and one
Devi Shakti124. In each of these Matrikas, the attributes of male deities can
easily be noticed. The Matrikas are armed with the same weapons as their
respective gods and also have the same mounts.125
It has been mentioned in folk narratives that after defeating the demons they
resume back into the great goddess Devi. The associated myth states that male
gods create Shaktis or female counterparts of themselves to help the Devi on the
battlefields. Saptmatrikas have significantly been mentioned in classical
Sanskrit literature such as Daridra Charudatta by Bhasa, Mrichhakatka of
Shudraka, Harshcharita and Kadambari of Banabhatta.126
122
Shivaji K. Panikkar, op. cit., pp. 22-23.
123
Margaret Stutley, The illustrated Dictionary of Hindu Iconography, p. 124.
124
Ibid, p. 170.
125
Margaret Stutley, op. cit., p. 124.
126
Shivaji K. Panikkar, op. cit., pp. 22-23.

Figure 108: Saptamtrikas chamber © Archaeological Survey of India
Hypothetical method of carving of Kailash Temple
Several scholars had given various suggestions including Dhavalikar who had
specifically dealt with his view of the modus operandi, which opts for a facial
attack in stepped phases, to put it briefly. It is inevitable that the excavation of
the magnitude of the 'Kailash' should evoke not merely wonder and confusion
but also attempts at the possible reconstruction of the technique and
methodology. However, Soundara Rajan127 has pointed the fact that “temple
building had certainly revealed certain first principles of architecture, of its
own which could not but have been brought into play in such enlarged
endeavour, through the knowledge of the sthapati and his knowledgeable
associates.” The manifested familiarity with the measureable geometric and
symmetric principles of massing, besides the necessary principles of down-
cutting are evident the process of carving.128
127
Rajan, Soundara K. V., op. cit., pp. 192-93.
128
Brown, Percy, op. cit., p. 74.

It is can be surmised from the part of the sculpted architecture and the uniform
common level that firstly the rock should have been cut down in three parts.
These parts contain the primary part of the Vimana up to the porch of the
sabhamandapa and the nandimandapa, and the secondary part of the entrance
with its dvara-sala tower.129
Courtesy: Rajan, K.V. Soundra. (1988). The Ellora Monoliths
129

It is also inherent from the part of the sculpted architecture and the uniform
common level to which the primary part, of the Vimana upto the porch of the
sabhamamndapa and the isolated nandimandapa, and the secondary part of the
entrance with its dvara-sala tower, that they should have been separated into
three successive blocks before setting about shaping them into the required
individual organic and traditional temple parts, with a solid surbase in the case
of the main first phase and with hollow under-passages for the remaining axial
parts.130
In the first step, either a possible eroded rain gully cutting or on deliberately
provided from the front. The excavation was conducted 300 feet by 175 feet to
create an isolated piece of 200 feet by 100 feet. On either flank for access to the
transportation of men and materials. It should have been worked out to the level
at which the architects and artisans had to work for a reasonably long first
phase. At the upper most surface of the hill also would have been cut out. The
corresponding deep shaft which would broadly have been as wide as the outer
circumambulatory open court between the cloister and the main complex should
also have been cut at the same time.131
Further, towards the west, a ramp cum steps would have been cut down to the
outer front entrance. On that area, the scarp would have been vertically cut and
the base part of the front hill eliminated to form an open ground level-front
court to the complex. Thus, a marginal shaft all around the intended monolithic
design area would have been provided. It might have been done precisely and
effectively reduced to the ultimate layout.132
The actual work of the cutting down might not have been undertaken at the
same time. Indeed the 'fixed points' of each solid mass required for the proposed
130
131
Mahajan, Malti. (2004). A gate to Ancient Indian Architecture. Delhi: Sharada Publishing House. pp. 92-93.
132
Fergusson, James & Burgess James, op. cit., pp. 452-456.

design of the temple. It would have done by taking a series of datum lines on
the hill top. After it had been cleared of its defects and slopes in the area which
would verily be the architectural zone. This process would be based on the same
principles as of a structural temple, horizontally and vertically for the required
basal plinth area, which would have marked out on the cleared hill slope.133
This downward cutting thereafter would also have been tala by tala and to start
with for executing the sikhara, griva and the entablature of the uppermost tala
proposed. Axially, this work would go for the main vimana separately and the
sabhamandapa with its triple projecting porches. Similarly separately for the
nandi mandapa block and the Dvara gopura roof level parts. However, all the
datum lines fixed in a series and work simultaneously overseen for proper level
and component correlations.134
Figure 109: View from South West, Kailash Temple Ellora

133
Mahajan, Malti, op. cit., pp. 92-94.
134

It means that the level of the upper axial series from the main shrine to the
gopura roof level was kept at a firm horizontal datum. Almost until this entire
work was completed. For this the horizontal level would place the projecting
porches or the sambhamandapa would have been at the same plan as the
Lankesvara cave temple on the northern flank (upper level) of Kailaśa complex.
Similarly the cornice and vedi of the ground floor of the triple storeyed cave on
the southern flank, however been conceived of towards the later stage of
completion of the monolith.135
The earlier of these two would have involved only the main circumambulation
sanctum, its linga and Mahesa panel on the sanctum rear wall. The vestibule
ends one bay more into a south-facing veranda façade. It faces possibly into an
access that had been taken out from the western part of the hill. At one time of
the main temple down-cutting, it would have been linked with the Lankesvara
shrine. Most possibly, in the same way as we find a link bridge vestiges on the
south side of the projecting porch.136 At that stage, the façade of the main
Kailash complex, fixing out the boundary wall and entrance point would have
been organized so that the clear axial orientation of the temple complex could
be constantly before the eye
of the artisans.137
It is relevant at this juncture

to note that:138 (a) in the
entire range of Rashtrakuta
cave temples or others at
Ellora, Lankesvara alone
shows a cella with
Courtesy: Rajan, K.V. Soundra. (1988). The Ellora Monoliths
135
136
Ibid, p. 37.
137
138
Ibid, p. 76.

circumambulation, all the others being nirandhara; (b) similarly, in no
Rashtrakuta creations at Ellora, a square linga pitha has been seen, all the
others being of circular type; (c) the innermost wall flank leading from the
antarala of Lankesvara towards the edge of the outer prakara court pit of
Kailaśa, contains a large Tandava Siva panel. It is distinctively different in style
from all the rest of the inner northern wall panels flanking the sabhamandapa of
the present Lankesvara layout. It can be said coeval in style in the latter with the
inner pillars vedi carvings. The nandi also at the western end in a scooped
chamber.139
The shrine would have then been nirandhara, the lingapitha circular if the main
Lankesvara cave had been carved
in one continuous effort much
later to the completion of the
Kailaśa monolithic. All the above
features, (a) to (c) would not have
obtained or been even stylistically
relevant. It would not have had
the Mahesa panel. Also, the
carvings would have all been of
the same type as the tale carvings
around Kailash complex.140
The Siva tandava mentioned is

indeed equivalent in style to the
Narasimha panel on the outer
prakara wall of Kailaśa entrance
Figure 110: Upper view from south west
exterior. It shows that this single Courtesy: Archaeological Survey of India, New Delhi
139
140
Fergusson, James & Burgess, James op. cit., pp. 452-58.

Siva Tandava panel on the edge of the floor had been executed when the main
temple cutting had been operating in that level, in the porch of the
sabhamandapa. Hence, it was part of the central stage of Kailaśa execution and
the garbhagriha and antarala of Lankesvara had then been pre-existing.141
All these factors are sufficient to draw the inference that the main Lankesvara
cella and antarala were early Rashtrakuta or perhaps even pre-Rashtrakuta. The
rest of Lankesvara might have been contingent upon the completed Kailaśa
complex. It can be deduced that the stairway, the nandi mandapa and the
sabhamandapa were all of a piece in a much later addition. On the other hand,
the fact that the cloister showing some remarkable range of ritual iconography.
It has been commenced from the very point of the ground floor periphery where
the Lankesvara cave sanctum above is located, showing that the latter was pre-
existing.142
Once the work of the main temple had been completed at the upper level
horizontal plan held at the axial line. The rest of the part would have
commenced of down-cutting further to the level of the present courtyard pit.
While cutting the massive sub-base or upapitha up to the point of the main
upper level porch, the ground floor level below the nandi mandapa and the
Dvara gopura have been carved below the lower than the prakara court.143
The under passages for the above two axial units were designed. It could also
provide solid north-south screen walls for display of the magnificent
Gajalakshmi panel. The provision of the covered flights of steps one on the
north and south leading to the porch of upper entrance. Its side walls were
ultimately to be embellished with the narrative story-telling rows of miniature
panels from Ramayana and Mahabharata.144
141
142
143
144

Thus, the main upper complex of temple parts was cut down and finished in
three stages:
Firstly, for the main vimana proper which was designed as an astha-parivara
scheme. After that the sabhamandapa with its three porch projections and
subsequently for the nandi mandapa and the dvara gopura. It must have been
commenced and mostly carried out during the time of Krishna I, uncle of
Dantidurga. Most probably was completed by the time of Govinda in the 9 th
century AD.145 Hence, it can be surmised that, the Kailash monolithic complex
was most plausibly cut downwards. It was certainly not a stepped progression
but the execution was a fully pre-mediated strategy of action by architects.

145
Ibid, p. 195.

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CHAPTER–6

KAILASH TEMPLE: CULMINATION OF

Kailash Temple: Culmination of

Kailasha is indeed a memorable experience one would never forget. The

200 Kailash Temple: Culmination of Monolithic Architecture at Ellora

South Elevation of Kailash Temple (After Burgess)

Kailash Temple: Culmination of Monolithic Architecture at Ellora 201

Its boldness suggest centuries of traditions in which carving techniques and an

202 Kailash Temple: Culmination of Monolithic Architecture at Ellora

From an analytical point of view it may be surmised that monolithic Pallava

Kailash Temple: Culmination of Monolithic Architecture at Ellora 203

Etat savayambhu siva-dhāma na kṛ trime

Bhūyas-lathāvidha-kṛ tau vyavasāya-hānir-

Karttāpi yasya khalum, ver vismayam-āpa śilpi

Meaning13: (That King) by whom verily was caused to be constructed a temple

204 Kailash Temple: Culmination of Monolithic Architecture at Ellora

Kailash Temple: Culmination of Monolithic Architecture at Ellora 205

Deva deūla parivāru kīje korunī dongaru

- Amṛ tānubhava (9.43)25

206 Kailash Temple: Culmination of Monolithic Architecture at Ellora

Kailash Temple: Culmination of Monolithic Architecture at Ellora 207

208 Kailash Temple: Culmination of Monolithic Architecture at Ellora

Kailash Temple: Culmination of Monolithic Architecture at Ellora 209

210 Kailash Temple: Culmination of Monolithic Architecture at Ellora

Description of the Kailash Temple

Kailash Temple: Culmination of Monolithic Architecture at Ellora 211

Figure 93: Lion trampling elephant on the sukanasa

Each part of the carved

212 Kailash Temple: Culmination of Monolithic Architecture at Ellora

Figure 95: Adhisthana of the temple is supported by the elephants

Kailash Temple: Culmination of Monolithic Architecture at Ellora 213

214 Kailash Temple: Culmination of Monolithic Architecture at Ellora

Eta ena vyakaran khile ga vishthitaaiv I

As mentioned earlier, the Kailasha is a combination of the southern and

(i) Gopuram or entrance gate-way

(ii) Nandi mandapa

(iii) The main vimana

(iv) The surrounding cloisters and

(v) An adjoining mandapa.

Kailash Temple: Culmination of Monolithic Architecture at Ellora 215

The lower mouldings, however, are not

216 Kailash Temple: Culmination of Monolithic Architecture at Ellora

River Goddesses Shrine

Figure 98: River Goddesses shrine

Kailash Temple: Culmination of Monolithic Architecture at Ellora 217

218 Kailash Temple: Culmination of Monolithic Architecture at Ellora

On the back wall is-1, Ganapati; 2, a

On the east wall are three female

Kailash Temple: Culmination of Monolithic Architecture at Ellora 219

220 Kailash Temple: Culmination of Monolithic Architecture at Ellora

2. Siva and two worshippers, one of them a huntsman with a bow.

7. Siva and Parvati seated, facing one another.

9. Siva and Parvati seated, and Nandi below.

1. Siva as Kala Bhairava, four-armed, with the trisila, and accompanied by

Kailash Temple: Culmination of Monolithic Architecture at Ellora 221

3. Siva, four-armed, with the trisula, beside Parvati.

4. Siva, four-armed, with the trisula in one of the left hands,

5. Siva with a long-shafted trisula dancing on a dwarf.

8. Siva and Nandi.