Ellora - 12 Buddhist Caves

Ellora - 12 Buddhist Caves

The Ellora Caves:

The Ellora caves are spread over a larger surface area than the Ajanta caves. A leisurely walk can be quite enjoyable, and as the caves are on a plateau, they afford a panoramic view of the surrounding plains.

There are 34 caves here and the excavation date from the end of the Gupta period to the 10^th century, when they were completed under the patronage of the Rashtrakuta rulers. The Buddhists commissioned 12 caves, The Hindus 17, and the Jains five. Although there are striking similarities with the Chaitya of Ajanta, the differences are significant.

The Theme of the Buddhist Caves

A great variety of subjects have been dealt with at Ellora. The approach of the artists was broad-ranging. The site was considered sanctified by the Buddhists, the Hindus, and the Jains and figures from their myths and pantheon of gods are all generously represented.

Some info. abt Mahayana sect

Thereare12 Buddhist caves in Ellora. Cave 10 is the only Chaityagrha, the rest eleven being Viharas (monasteries).

The Buddha had forbidden his followers to worship him like a god, but this did not prevent them from paying homage to the places and objects associated with him. The Buddha did not leave behind any successor, and the void left by him was difficult to fill. Relics of the Buddha – nails, teeth, hair, and bones were considered sacred a s where the objects of his daily use such as his begging bowl, and his robes. Initially, the Buddha was represented only symbolically. It was only with the ascendancy of Mahayana Buddhism that the Buddha came to represented in human for,

Around 1^st century CE the Mahayana sect of Buddhism manifested. They labeled theis tenets as the “Mahayana” = the greater vessel, and labeled th original Theravada/ Sthiravada as “Hinayana” = the lesser vessel, since their pursuit was individual Nibbana. The Mahayana sect started creating images of the Buddha in human form.

Approximate period of Excavation

These excavations were carried out during the regimes of Kalachuri, Chalukya, and Rashtrakuta dynasties.

These caves were excavated entirely during the Mahayana phase (Mahayana started in the beginning of the common era), by which time the Buddha was being worshipped in his physical form. The caves mainly consists of Vihara (monasteries), sculpted with the images of the Buddha, the Bodhisattvas and the pantheons of Buddhist divinities (adapted from the Hindu Puranas???), and are embellished with medallions, ornamental scrolls and floral motifs.

The architecture of the Viharas here can be classified into three types:

i) the Vihara with a shrine and an antechamber at the rear wall

ii) the Vihara with a shrine isolated from the rear wall

iii) the Vihara with multiple tiers

The whole surroundings is adorned with natural beauty. The waterfall is rainy season renders it more beautiful. The highest waterfall on river Yelganga is near Sita ki Nahani. This river originates at nearby hills of Mhaismal and flows through several small waterfalls, and comes down near Sita ki Nahani. From there, touching Ghrshneswar temple meets river Shivna.

Almost all the caves have ponds of water. The water of streams tricking from the top of the caves is naturally stored n these ponds. This ancient system of water conservation is really amazing.  The Kailashnath Temple occupies the central position with 15 caves on the left and 19 on its right. The road leading to cave 1 ends at cave 6. For rest of the caves, entance is from cave 6.

The caves 2, 9 and 10 have attractive facades. Generally in the sanctums the images of the Buddha are in 'pralambapada-asana'. This posture facilitated disciple to touch and worship his feet with ease.

It is believed that only Siddhartha had attained enlightenment. Those who had reached near this position were called Bodhisattvas. To attain this supreme position Siddhartha had to pass through several births. There are giant standing images of some Bodhisattvas on the doorway of the sanctums:

Bodhisattva Padmapani (we have seen his painting in Ajanta Cave -1) having a lotus in his right hand. Bodhisattva Avalokitesvara has a small image of Amitabh Buddha in his crown. Bodhisattva Vajrapani (we have seen his painting in Ajanta Cave -1) has a replica of a small stupa in his crown and Vajra in his right hand.

Some of these caves were double-storeyed and inter-connected, like the fourth and 5^th caves. There are interesting innovations such as transverse vestibule spreading the sanctum from the hall, and a row of elevated platforms running through the hall providing seats and work-tables for the monks. In other caves there are additional halls or cells. Cave 11 is three-storeyed, though it was considered double-storeyed until the discovery of another floor under the rubble.

The Buddhist caves are not as architecturally ambitious as the Hindu caves, although Caves 11 and 12 show signs of attempting to compete with the complex Hindu designs. The Buddhist caves chart the period of Buddhism’s division and decline in India.

Cave 1: (a Vihara)

It is the smallest Vihara with carving having eight cells. This first of the Buddhist caves is simple, small and unpretentious, designed as a monastery (Vihara), with just the bare necessities – a hall supported by pillars, with a verandah in front.

There is a square hall, with sides measuring 12 metres, and massive pillars. The guardian gatekeepers are the Bodhisattvas – Padmapani and Maitreya. They are attended upon by gandharvas, apsaras and the figures are suitably framed by decorative patterns. There are galleries around the hall, with niches provided to hold the images of the Buddha. The principal image in this cave is that of a seated Buddha.

Cave 2: (a Vihara)

Cave 2 has an attractive facade. Although small in size, it is lavishly decorated with beautiful sculptures. It contains Hariti and Panchik (remember their stone images in Cave 1 of Ajanta), five images of the Buddha in Padmasana, Miracle of Sravasti, and a huge standing Bodhisattva on the doorways.

Cave 3: (a Vihara)

Incomplete. It was excavated earlier and appears simple and less well-preserved.

Cave 4: (a Vihara)

This has a rare view showing the image of Padmapani Avalokiteswara larger than the Buddha. Besides this panel, there are sculptures of Tara, Bhrukuti Tara, and Bodhisattva Maitreya in this cave.

Cave 5 (a Vihara)

This is the biggest Vihara cave in Maharashtra. Its spacious hall has no columns supporting the ceiling (like the Isha Foundation’s in Coimbatore???). Long benches carved out of the floor, which were used for studying and dining. The columns are delicately carved.

Cave 6: (a Vihara)

This cave served as a junction. The road coming from Kailshanath Temple (Cave -16) ends near this cave. The entrance to Cave 5 to 1 is through this cave. Two panels of this cave showing Mahamayuri and Tara are very beautiful. Mahamayuri is a goddess of learning in Buddhism (adapted from our Puranas). She is holding a globe in one hand. On her left side is a peacock with its feathers in splendidly spread up. The peacock is the mount of Mahamayuri (Saraswati’s vahana is also Mayura; taken from our Puranas?) At the extreme left below is a boy reading a book kept on a desk. The image of Mahamayuri resembles Saraswati, goddess of learning.

Cave 7: (a Vihara)

This monastery has a “pradakshina marga” (they started???) and a giant standing image of Maitreya and Manushi are on the doorways. The cave also contains the panel of Mahamayuri and Tara.

Cave 8: (a Vihara)

There is a huge sculpture of Hariti and Panchka (again?) at the outer wall of the cave. Hariti was an evil-minded female who used to eat children. On hearing this, the Buddha concealed her own child. Then she realizes the love of one’s own child. She finally became a disciple of the Buddha.

Cave 9: (a Vihāra)

Caves 9 has an attractive facades.

Cave 10 ( a Mahāyāna Chaityagrha)

Cave 10 also has an attractive facade. It is also known as Visvakarma Cave is the only Chaityagraha amongst the 12 Buddhist caves of Ellora. It is named after Visvakarma, the architect of the universe (also a Puranic concept, not Buddhist). The peculiarity of this hall is its semi-circular inner shape. Many scholars are of the opinion that the apsidal Chaitya-form first seen at Ajanta, evolves completely here (We will see the repeatition of this apsidal shape/design later in Aihole Durga Temple, and still later as the shape of our Parliament House). The horse-shoe-shaped window on the facade in Ajanta becomes circular in Ellora. The friezes depicting hunting scenes and the decorative work on the pillar capitals is exceptionally attractive.

The ‘stupa’ is the main part of the Chaitya. It is composed of Vedika, Und, Harmika and the uppermost Chhatra. The relic of the Buddha are kept in the Harmika. The image of the Buddha in the ‘stupa’ is in ‘pralambapada-asana’. He is flanked by Bodhisattvas. The image of the Buddha looks bright due to the sun-rays coming through the outer Chaitya windows. The sounds of prayer is echoed in this hall.

Cave 11: (a Vihara)

This is popularly known as “Do-Taal” (2-storeyed). In truth, Cave 11 has three storeys like the “Teen Taal” Cave 12. However, the local people popularized the name “Do Taal” before the discovery of another floor under the rubble. The name has stuck until now.

Cave 12: (a Vihara)

The 12^th cave also is a three-storeyed one, but differs from the other caves. It is a “Teen Taal”. The structure of “Do Taal” and “Teen Taal” is quite different from all other Buddhist caves in India. Its architecture resembles the modern multi-storeyed apartments.

Cave 12 has two large sculpture-panels, a row of seven Manushi Buddhas - the Buddha in human form in various mudras of meditating, preaching - Vipasyi, Sikhi, Visvabhu, Krakuchchanda, Kanakamuni, Kasyapa and Sakyamuni. This theme was dealt with symbolically at Barhut.

The seven Dhyani Buddhas are also represented here – Vairochana, Akshobhya, Ratnasambhava. Amitabh, Amoghasiddhi, Vajrasattva and Vajraraj.

The Buddha, turning the “Wheel of Law” is flanked by two Naga figures.

Various manifestations of the Bodhisattvas – Maitreya and Manjushri, as well as different forms of the Buddhist goddess – Tara are also seen in this cave. It has rightly been described as a veritable Buddhist pantheon.

***

Swāmini Ātmaprajnānanda Saraswati is a Dasanāmi Sannyāsini of Śankara Bhagavatpāda Order. She has visited (by flight, train, car, on mules, on foot) more than 100 temples/holy sites in India, has extensively photographed them, has studied their legends, and architectural history. They include 4 temples of Elements, 5 Jyotirlingas, almost all Buddhist and Jain Pilgrim sites, and all famous Indo-Islamic architecture. Out of these, 12 places are listed as World Heritage by UNESCO.

***