ELEPHANTA CAVES

ELEPHANTA CAVES 

The Elephanta Caves (natively known as Gharapurichi Leni) are a network of sculpted caves located on

Elephanta Island, or Gharapuri (literally "the city of caves") in Mumbai Harbour, 10 kilometres (6.2 mi) to the east  of the city of Mumbai in the Indian state of Maharashtra. The island, located on an arm of the Arabian Sea, consists of two groups of caves—the first is a large group of five Hindu caves, the second, a smaller group of two Buddhist caves. The Hindu caves contain rock cut stone sculptures, representing the Shaiva Hindu sect, dedicated to the Lord Shiva.

The rock cut architecture of the caves has been dated to between the 5th and 8th centuries, although 

the identity of the original builders is still a subject of debate. The caves are hewn from solid basalt rock. All the caves were also originally painted in the past, but now only traces remain. The main cave (Cave 1, or the Great Cave) was a Hindu place of worship until Portuguese rule began in 1534, after which the caves suffered severe damage. This cave was renovated in the 1970s after years of neglect, and was designated a UNESCO World Heritage Site in 1987 to preserve the artwork. It is currently maintained by the Archaeological Survey of India (ASI).

The hills of the Elephanta Islands

Elephanta Island, or Gharapuri, is about 7 miles (11 km) east of the Apollo Bunder (Bunder in Marathi

means a "pier for embarkation and disembarkation of passengers and goods") on the Mumbai Harbor and 6 miles (9.7 km) south of Pir Pal in Trombay. The island covers about 4 square miles (10 km2) at high tide and about 6 square miles (16 km2) at low tide. Gharapuri is small village on the south side of the island. The Elephanta Caves can be reached by a ferry from the Gateway of India, Mumbai, which has the nearest airport and train station. The cave is closed on Monday.

The island is 1.5 miles (2.4 km) in length with two hills that rise to a height of about 500 feet (150 m). 

A deep ravine cuts through the heart of the island from north to south. On the west, the hill rises gently from the sea and stretches east across the ravine and rises gradually to the extreme east to a height of 568 feet (173 m). This hill is known as the Stupa hill. Forest growth with clusters of mango, tamarind, and karanj trees cover the hills with scattered palm trees. Rice fields are seen in the valley. The fore shore is made up of sand and mud with mangrove bushes on the fringe. Landing quays sit near three small hamlets known as Set Bunder in the north-west, Mora Bunder in the northeast, and Gharapuri or Raj Bunder in the south.

The two hills of the island, the western and the eastern, have five rock-cut caves in the western part and

a brick stupa on the eastern hill on its top composed of two caves with a few rock-cut cisterns. One of the caves on the eastern hill is unfinished. It is a protected island with a buffer zone according to a Notification issued in 1985, which also includes "a prohibited area" that stretches 1 kilometre (0.62 mi) from the shoreline.

Since no inscriptions on any of the island have been discovered, the ancient history of the island is 

conjectural, at best. Pandavas, the heroes of the Hindu epic Mahabharata, and Banasura, the demon devotee of Shiva, are both credited with building temples or cut caves to live. Local tradition holds that the caves are not man-made. The Elephanta caves are "of unknown date and attribution". Art historians have dated the caves in the range of late 5th to late 8th century AD. Archaeological excavations have unearthed a few Kshatrapa coins dated to 4th century AD. The known history is traced only to the defeat of Mauryan rulers of Konkan by the Badami Chalukyas emperor Pulakesi II (609–642) in a naval battle, in 635 AD. Elephanta was then called Puri or Purika, and served as the capital of the Konkan Mauryas belonged.

The Chalukyas, who defeated the Kalachuris as well as the Konkan Mauryas, are also believed by some to be creators of the main cave, in the mid-7th century. The Rashtrakutas are the last claimants to the creation of the main cave, approximated to the early 7th to late 8th century. The Elephanta Shiva cave resembles in some aspects the 8th-century Rashtrakuta rock-temple Kailash at Ellora. The Trimurti of Elephanta showing the three faces of Shiva is akin to the Trinity of Brahma, Vishnu and Mahesh (Shiva), which was the royal insignia of the Rashtrakutas. The Nataraja and Ardhanarishvara sculptures are also attributed to the Rashtrakutas.

The elephant sculpture from Elephanta is currently installed at the Jijamata Udyaan. Later, Elephanta was ruled by another Chalukyan dynasty, and then by Gujarat Sultanate, who surrendered it to the Portuguese in 1534. By then, Elephanta was called Gharapuri, which denotes a hill settlement. The name is still used in the local Marathi language. The Portuguese named the island "Elephanta Island" in honour of a huge rock-cut black stone statue of an elephant that was then installed on a mound, a short distance east of Gharapuri village. The elephant now sits in the Jijamata Udyaan zoo in Mumbai.

Portuguese rule saw a decline in the Hindu population on the island and the abandonment of the Shiva cave (main cave) as a regular Hindu place of worship, though worship on Mahashivratri, the festival of Shiva, continued and still does. The Portuguese did considerable damage to the sanctuaries. Portuguese soldiers used the reliefs of Shiva in the main cave for target practice, sparing only the Trimurti sculpture. They also removed an inscription related to the creation of the caves. While some historians solely blame the Portuguese for the destruction of the caves, others also cite water-logging and dripping rainwater as additional damaging factors. The Portuguese left in 1661 as per the marriage treaty of Charles II of England and Catherine of Braganza, daughter of King John IV of Portugal. This marriage shifted possession of the islands to the British Empire, as part of Catherine's dowry to Charles.

Though the main cave was restored in the 1970s, other caves, including three consisting of important sculptures, are still badly damaged. The caves were designated a UNESCO World Heritage Site in 1987 as per the cultural criteria of UNESCO: the caves "represent a masterpiece of human creative genius" and  "bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living or which has disappeared". The island has two groups of caves in the rock-cut architectural style. The caves are hewn from solid basalt rock. All caves were painted in the past, but only traces remain. The larger group of caves, which consists of five caves on the western hill of the island, is well known for its Hindu sculptures. The primary cave, numbered as Cave 1, is about 1 mile (1.6 km) up a hillside, facing the ocean. It is a rock-cut temple complex that covers an area of 60,000 square feet (5,600 m2), and consists of a main chamber, two lateral chambers, courtyards, and subsidiary shrines. It is 39 metres (128 ft) deep from the front entrance to the back. The temple complex is the abode of Shiva, depicted in widely celebrated carvings which reveal his several forms and acts.  On the eastern part of the island, on the Stupa Hill, there is a small group of caves that house Buddhist monuments. This hill is named after the religious Stupa monument that they display. One of the two caves is incomplete, while the other contains a Stupa made in brick.

The main cave, also called the Shiva cave, Cave 1, or the Great Cave, is 27 metres (89') square in plan 

with a hall (mandapa). At the entrance are four doors, with three open porticoes and an aisle at the back. Pillars, six in each row, divide the hall into a series of smaller chambers. The roof of the hall has concealed beams supported by stone columns joined together by capitals. The cave entrance is aligned with the north–south axis, unusual for a Shiva shrine (normally east–west). The northern entrance to the cave, which has 1,000 steep steps, is flanked by two panels of Shiva dated to the Gupta period. The left panel depicts Yogishvara (The Lord of Yoga) and the right shows Nataraja (Shiva as the Lord of Dance). The central Shiva shrine is a free-standing square cell with four entrances, located in the right section of the main hall. Smaller shrines are located at the east and west ends of the caves. The eastern sanctuary serves as a ceremonial entrance.

Each wall has large carvings of Shiva, each more than 5 metres (16') in height. The central Shiva relief

Trimurti is located on the south wall and is flanked by Ardhanarisvara (a half-man, half-woman representation of Shiva) on its left and Gangadhara to its right, which denotes the River Ganges' descent from Shiva's matted locks. Other carvings related to the legend of Shiva are also seen in the main hall at strategic locations in exclusive cubicles; these include Kalyanasundaramurti, depicting Shiva's marriage to the goddess Parvati, Andhakasuravadamurti or Andhakasuramardana, the slaying of the demon Andhaka by Shiva, Shiva-Parvati on Mount Kailash (the abode of Shiva), and Ravananugraha, depicting the demon-king Ravana shaking Kailash.

The main cave blends Chalukyan architectural features such as massive figures of the divinities, 

guardians, and square pillars with custom capitals with Gupta artistic characteristics, like the depiction of mountains and clouds and female hairstyles.

The carving on the south wall to the east of the portico depicts Shiva and Parvati seated on their abode 

Mount Kailash.  The four-armed Shiva is seen with a crown and a disc behind it (all damaged), the sacred thread across his chest, and a dressing gown covering up to the knee. Parvati, dressed in her finery with her hair falling to the front, looks away. Behind her at the right is a woman attendant holding the child, identified with her son Kartikeya, the war-god. Many male and female attendants are seen behind the main figures. Shiva's attendant, the skeleton-like Bhringi, is seated at his feet. Other figures, not distinct, depict, among others, a royal-looking tall person, ascetics, a fat figure, a dwarf, a bull (the mount of Shiva), features of a Garuda, and two monkeys. The scenic beauty of the mountain is sculpted with the sky background amidst heavenly beings showering flowers on Shiva-Parvati. This scene is interpreted as a gambling scene, where Parvati is angry as Shiva cheats in a game of dice.

The carved panel facing this one is a two-level depiction of Ravana lifting Kailash. The upper scene is 

Mount Kailash, where Shiva and Parvati are seated. The eight-armed, three-eyed Shiva wears headgear with a crescent and disc behind it. Most of his arms are broken, two of them resting on attendants' heads. The Parvati figure, seated facing Shiva, remains only as a trunk. The panel is flanked by door keepers. Attendants of Shiva are also seen in the relief but mostly in a damaged state. Bhringi is seated near Shiva's feet and to his left is the elephant-headed son of Shiva, Ganesha. In this ensemble, the ten-headed demon-king Ravana is seen, with only one head left unscathed, and out of his twenty arms, only a few are discernible. Around Ravana are several demons. Numerous figures are seen above Shiva: the god Vishnu, riding his mount Garuda, to his left; a skeleton-figure; and in a recess, Parvati's mount, a tiger is depicted.

A legend relates to both these panels. Once, Parvati was annoyed with Shiva. At this moment, Ravana,

who was passing by Mount Kailash, found it as an obstruction to his movement. Upset, Ravana shook it vigorously and as a result, Parvati got scared and hugged Shiva. Enraged by Ravana's arrogance, Shiva stamped down on Ravana, who sang praises of Shiva to free him of his misery and turned into an ardent devotee of Shiva. Another version states that Shiva was pleased with Ravana for restoring Parvati's composure and blessed him.

Described as a "masterpiece of Gupta-Chalukyan art", the most important sculpture in the caves is the 

Trimurti, carved in relief at the back of the cave facing the entrance, on the north-south axis. It is also known as Trimurti Sadashiva and Maheshmurti. The image, 20 feet (6.1 m) in height, depicts a three-headed Shiva, representing Panchamukha Shiva. The three heads are said to represent three essential aspects of Shiva: creation, protection, and destruction. The right half-face (west face) shows him as a young person with sensuous lips, embodying life and its vitality. In his hand he holds an object resembling a rosebud, depicting the promise of life and creativity. This face is closest to that of Brahma, the creator or Uma or Vamadeva, the feminine side of Shiva and creator of joy and beauty. The left half-face (east face) is that of a moustached young man, displaying anger. This is Shiva as the terrifying Aghora or Bhairava, the one whose anger can engulf the entire world in flames, leaving only ashes behind. This is also known as Rudra-Shiva, the Destroyer. The central face, benign and meditative, resembles the preserver Vishnu. This is Tatpurusha, "master of positive and negative principles of existence and preserver of their harmony" or Shiva as the yogi Yogeshwar in deep meditation praying for the preservation of humanity. The aspects Sadyojata and Ishana (not carved) faces are considered to be at the back and top of the sculpture. The Trimurti sculpture, with the Gateway of India in the background, has been adopted as the logo of the Maharashtra Tourism Department (MTDC).

The Gangadhara image to the right of the Trimurti is an ensemble of divinities assembled around the 

central figures of Shiva and Parvati, the former bearing the River Ganges as she descends from heaven. The carving is 13 feet (4.0 m) wide and 17.083 feet (5.207 m) high. The image is highly damaged, particularly the lower half of Shiva seen seated with Parvati, who is shown with four arms, two of which are broken. From the crown, a cup with a triple-headed female figure (with broken arms), representing the three sacred rivers Ganges, Yamuna, and Sarasvati, is depicted. Shiva is sculpted and bedecked with ornaments. The arms hold a coiling serpent whose hood is seen above his left shoulder. Another hand (partly broken) gives the semblance of Shiva hugging Parvati, with a head of matted hair. There is a small snake on the right hand and a tortoise close to the neck, with a bundle tied to the back. An ornamented drapery covers his lower torso, below the waist. Parvati is carved to the left of Shiva with a coiffured hair dress, fully bedecked with ornaments and jewellery, also fully draped, with her right hand touching the head of a female attendant who carries Parvati's dress case. The gods Brahma and Indra, with their mystic regalia and mounts, are shown to the right of Shiva; Vishnu, riding his mount Garuda, is shown to the left of Parvati. Many other details are defaced but a kneeling figure in the front is inferred to be the king who ordered the image to be carved. There are many divinities and attendant females at the back. The whole setting is under the sky and cloud scenes, with men and women, all dressed, shown showering flowers on the deities.

In the chamber to the east of the Trimurti is the four-armed Ardhanarishvara carving. This image, which

is 16.75 feet (5.11m) in height, has a headdress (double-folded) with two pleats draped towards the female head (Parvati) and the right side (Shiva) depicting curled hair and a crescent. The female figure has all the ornamentation (broad armlets and long bracelets, a large ring in the ear, jewelled rings on the fingers) but the right male figure has drooping hair, armlets and wristlets. One of his hands rests on Nandi’s left horn, Shiva's mount, which is fairly well preserved. The pair of hands at the back is also bejewelled; the right hand of the male holds a serpent, while the left hand of the female holds a mirror. The front left hand is broken but conjectured as holding the robe of the goddess. The central figure is surrounded by divinities

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The engraved panel in the north end of the aisle is considered to be a unique sculpture, and shows Bhairava, or Virabhadra, a frightful form of Shiva. In the carved panel Shiva's consort is seen sitting next to him, looking terrified. A female attendant is next to her. The central figure, which is much ruined below the waist, is 11.5 feet (3.5 m) high and posed as if running. His headgear has a ruff on the back, a skull and cobra over the forehead, and the crescent high on the right. His facial expression is of intense anger discerned from his furrowed brow, swollen eyes, and tusks. The legs and five of the eight arms are broken, attributed to Portuguese vandalism. The smaller broken image Andhaka is seen below Bhairava's image. It is interpreted that Shiva is spearing him with the front right hand, as conjectured by the spear seen hanging without any hold. Also seen is the back hand lifted up and holding an elephant's skin as a cover; the elephant's head, carved tusk, and trunk are seen hanging from the left hand. The second left hand depicts a snake coiled round it. The hand holds a bowl to collect the blood dripping from the slain Andhaka. Furthermore, pieces of a male and two female forms, figures of two ascetics, a small figure in front, a female figure, and two dwarfs are also seen in the carved panel. An unusual sculpture seen above the head of the main figure of Shiva is of a "very wide bottle with a curved groove in the middle of it", which can interpret variously as: the aum or the linga or a Shiva shrine. Panel depicting Kalyanasundara: the divine marriage of Shiva and Parvati with Brahma, Vishnu, Indra, and other divinities in attendance. The niche image carved on the south wall is an ensemble of divinities assembled around the central figures of Shiva and Parvati shown getting married (Kalyanasundara icon). Parvati is seen standing SHREE MANHESHI TEMPLE This temple is located at Mangeshi Village in Priol, Ponda taluk, Goa. ÏIt is at a distance of 1 km from Mardol close to Nagueshi, 21 km from Panaji the capital of Goa, and 26 km from Margao.This temple is one of the largest and most frequently visited temples in Goa. In 2011, the temple along with others in the area instituted a dress code on visitors of the temple. This temple had its origins in Kushasthali Cortalim, a village in Saxty (Salcette) which fell to the invading Portuguese in 1543. In the year 1560, when the Portuguese started Christian conversions in Salcete taluka, the Saraswats of Vatsa Gotra moved the Mangesh Linga from the original site at the Kushasthali or Cortalim on the banks of river Aghanashini (Zuari) to its present location at Mangeshi in Priol village of Atrunja Taluka, which was then ruled by the Hindu kings of Sonde of Antruz Mahal (Pon Shiva's right, the ordained place for a Hindu bride at the wedding. The carvings are substantially damaged; only one of Shiva's four hands is fully seen and the right leg is missing. Shiva has a headdress with a shining disc attached to it. His garments are well-draped, and well-tied at the waist. The sacred thread is seen across his chest. Parvati is carved as a perfect figure with coiffured hair dress, well adorned with jewellery and is draped tightly to display depressions below the waist only. She is seen with a coy expression and is led by her father who has his right hand on her shoulder. Even though both her hands are damaged, it is inferred that her left hand clasped Shiva's right hand as a mark of holy alliance. Brahma is sitting as the officiating priest for the marriage. Vishnu is witness to the marriage. Mena, the mother of Parvati, is seen standing next to Vishnu. The moon-god Chandra, seen with a wig and a crescent, is standing behind Parvati holding a circular pot with nectar for the marriage ceremony. Just above the main images, a galaxy of divinities, bearded sages, apsaras, Vidyadharas, Yakshis, Gandharvas, Bhringi, and other male and female attendants are seen as witness to the marriage ceremony showering flowers on the divine couple.