Kailashnath Temple, also Kailash or Kailāsa or Kailasanath Temple, is a famous temple, one of the 34 monasteries and temples known collectively as the Ellora Caves, extending over more than 2 km, that were dug side by side in the wall of a high basalt cliff in the complex located at Ellora, Maharashtra, India. Of these, the Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion; elaborate workmanship architectural content and sculptural ornamentation of rock-cut architecture. It is designed to recall Mount Kailash, the abode of Lord Shiva. It is a megalith carved out of one single rock and is claimed to have been built in the 8th century by the Rashtrakuta king Krishna I. However, rock cannot be carbon dated so personnally, I believe this wonder to be much older than it is claimed to be.
It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure.
All the carvings are done in more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandap and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandap are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.
A rock bridge connects the Nandi Mandap to the porch of the temple. The temple itself is a tall pyramidic structure reminiscent of a South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his --full might is a landmark in Indian art.
Ajanta Caves, India
The Ajanta Caves in Aurangabad district of Maharashtra, India are about 300 rock-cut Buddhist cave monuments which claimed to date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period between 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā. They are 100 kilometres (62 miles) from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghora (or Wagura), and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; indeed other survivals from the area of modern India are very few indeed, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is a highly local one, found only at a couple of nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.