Ellora Cave No. 16. — Attraction in Maharashtra

Cave 16:celebrated as the Kailash. Shiva's mountain abode, is by far best of all Ellora excavations and it is one of India's most famous monuments. Here is rock cut architecture at the apex of technical skill of eighth and early ninth centuries. Regarded as the greatest monolithic structure in the world Kailash combines immensity with grace, energy and superb genius. Its conception and planning are matched by the jewel-like execution. Hundred of architects and sculptures created this grandeur out of living rock in an inspired period of the country's art history As one of the earliest European visitors remarks, "It is a wonder to see so great a mass in the which seems so slenderly under-dropped that one could hardly forbes shudder on first entering it". There is no nobler achievement of Indian architects and sculptors, and no greater marvel of Indian sculpture. This and the superb sculptures of Elephanta Caves (in Bombay) which regista the consummation of the same style, The work began at the chiff top. A rectangular trench was cut downward into the rock depths. Some three million cubic feet of rock seem to have been chiselled out so that a great pit was formed.The enormous block left at the centre was then chiselled through decades of time in the familiar shape of a Shiva temple, as complete in detail as the brick and mortar structures.at its base, with several ancillary features added later While the temple grew out of the shaping of the great mass of monolith detached from the ridge by the scoop area around, the sculptors were busy simultaneously, adding profuse ornamentation, achieving a wonderful composition, The entire architecture is, infact, a gigantic sculptural piece. The spacious court has three buildings connected by an overhead bridge. The main temple has high plinth, the sides of which are done into bold friezes of life-size elephants. The huge beasts seem astrain with the great burden of the temple on their backs The roof is pyramidal having a three-tier tower and a projecting gable front. There is a cupola on top. From the outer courts extreme right-hand corner, a panoramic view of the edifice brings out the main outlines. The northern court is featured by a huge elephant which has trunk, and also a Victory Pillar. Further up, a gallery of twelve panels plastic renderings of Shiva legends. Most of them depict the god with Parvati. The panels that continues in the eastern gallery reveal the god in other attitudes. The adjoining wall makes the southern gallery. Here, Vishnu provides a variation. He is, for instance, seen in the Man-lion incarnation (Narsingh Avtar) tearing with his claws the body of a demon king. The demon king was blessed with a boon from the Creator which made him invulnerable to any one in human or animal form. Drunk with power, with none to challenge his might for the gods also were human in their image, he became an intolerable tyrant. Vishnu solved the problem of his destruction by attacking him in the form of a man lion, neither human or animal. Close to this gallery is a sculpture masterpiece known as "Ravana shaking Kailasa”. Ravana, a central figure in the great epic Ramayana, stepped under Kailasha and tried to lift the mountain abode on his head as an exhibition of his great strength. By way of an answer, Shiva simply put his foot down on the floor and under the enormous pressure exerted, Ravana became helplessly trapped. The depiction shows Parvati clinging to her husband, an alarmed maid in flight, and attendants seated unperturbed with full faith in the Lord of Kailasha. Several other halls contains work of considerable valuecontributing to the total effect. The main hall on the first floor has well-decom balconies. A central door leads to the shrine containing the great lingam. The temple is faced by a pavilion,high and level with the main structure to which it is connected.is the abode of Nandi. On each side of the Nandi shrine is a pillar, a stone and a "flagstaff high with finely wrought carvings of Shiva cult. These two pillars are among the best work of art...

The Kailash Temple (Cave 16) at the Ellora Caves in Maharashtra is one of the most remarkable rock-cut monuments in the world. It is dedicated to Lord Shiva and represents Mount Kailash, his mythical abode. Here’s a detailed overview:

Architectural Significance • The Kailash Temple is an entire monolithic structure carved out of a single basalt rock. • Built in the 8th century by the Rashtrakuta king Krishna I, it showcases the pinnacle of ancient Indian engineering and artistry. • The temple complex spans approximately 195 feet in length, 108 feet in width, and 100 feet in height.

Features Main Shrine: • Houses a grand Shiva Lingam. • The sanctum sanctorum is surrounded by finely carved pillars and sculptures. Intricate Carvings: • Depicts scenes from Hindu epics like the Ramayana, Mahabharata, and the life of Lord Shiva. • Magnificent carvings of elephants, lions, and other mythological figures. Nandi Mandapa: • A freestanding Nandi (bull) pavilion facing the main temple. • Symbolizes Lord Shiva’s vehicle. Vertical Excavation: • Unlike most rock-cut structures carved horizontally, the Kailash Temple was excavated top-down, starting from the roof. Sculptures and Art: • Massive statues of Goddess Durga slaying Mahishasura. • Detailed panels of Ravana lifting Mount Kailash, showcasing extraordinary artistic skill.

Historical Context • The temple is part of the Ellora Caves, a UNESCO World Heritage Site comprising 34 rock-cut caves (17 Hindu, 12 Buddhist, and 5 Jain). • Kailash Temple reflects the religious harmony and architectural innovation of the era.

Tourist Experience Entry Fee: • ₹40 for Indian nationals. • $10 for foreign tourists. • Children below 15 years enter free. Timings: • Open from 6:00 AM to 6:00 PM. • Closed on Tuesdays. Accessibility: • Located 30 km from Aurangabad city. • Easily accessible by road or rail. Nearby Attractions: • Ajanta Caves (100 km). • Bibi Ka Maqbara in Aurangabad.

Why Visit?

The Kailash Temple is not just a marvel of ancient engineering but a testimony to India’s cultural and artistic heritage. Its grandeur leaves visitors in awe, making it a must-visit destination for history buffs, art lovers, and spiritual...

The rock-cut technique of architecture at Ellora reaches its zenith in Cave 16 with the wonderful monolithic Kailasa temple, named after the mountain abode of Siva. The main temple is said to have been excavated by the Rashtrakuta king, Krishna I. The temple was hewn from a mass of rock obtained by cutting three big trenches in the three sides of the hill. The outer screen wall is recessed and has several vertical compartments containing magnificent sculptures, including dikpalas, dancing Siva, Vishnu on Garuda, Lingodbhava Siva, Trivikrama, Narasimha and Bhuvaraha. Atop the main gateway is a two-storeyed wagon shaped gopura carved into the wall. Beautiful sculptures like that of the Tripurantaka, line both wings of the inner side of the wall.

A large sculpture of Gaja-Lakshmi stands facing the gateway with huge monolithic elephants standing at either end of the passage. To the east of this passage, at a higher level, is a well-finished cubical column, the dhvajastambha, which marks the beginning of the courtyard of the temple.

The temple consists of a main shrine, a sixteen pillared mandapa, a Nandimandapa and a gopura, of which the last three are connected by rock-bridges.The main shrine and mandapa have a high solid basement, embellished with a continuous frieze of huge elephants, griffins and other mythological animals, executed with considerable spirit and realism.

The renowned Ravananugrahamurti, or Ravana shaking the Kailasa mountain, is on the southern side of the basement. Another famous sculpture, that of Andhakari, is on the eastern face of the Nandimandapa, below the bridge that connects it to the mandapa of the main shrine. A remarkable sculpture of Dakshinamurti surrounded by the four sages graces the facing wall. There is a flight of steps on either side of this bridge. The northern staircase is embellished with friezes in bas-relief, illustrating scenes from the Mahabharata and the Bhagavata, while on the corresponding staircase are bas-reliefs representing scenes from...