Kailasanath temple
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This Presentation is prepared for BA students to have the basic ideas about the Magnificent Kailash of Ellore
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Kailasanath temple
- 1. Dr. Virag Sontakke Kailasnatha Temple ElloraCase no 16 Dr.Virag Sontakke Assistant Professor A.I.H.C. & Archaeology Banaras Hindu University,Varanasi B.A. III Semester IV
- 2. Dr. Virag Sontakke Kailasnatha Temple Ellora
- 3. Dr. Virag Sontakke Introduction • Kailasa temple of Ellora is the largest single monolithic structure and one of the greatest man made wonders of the world. • It is locally known as “Verul Leni”. • It is located on the Aurangabad-Chalisgaon road at a distance of 30 km north-northwest of Aurangabad, in Maharashtra. • The ancient name of Ellora was Elapura as mentioned in the Chalukyan and Raştrakuta copper plate inscriptions. • Caves are excavated from the Basalt cliffs in the Charanandri Hills. • The 34 excavations on the vertical face of the Charanandri hills – being Buddhist, Hindu and Jain cave temples and monasteries are supposed to have been built between the 7th century and 10th century. 1. The 12 Buddhist (caves 1-12), 2. 17 Hindu (caves 13-29) and 3. 5 Jain caves (caves 30-34), 4. built in vicinity of 16, demonstrate the religious harmony prevalent during this period of Indian history.
- 8. Dr. Virag Sontakke Kailasa Temple • The most ambitious and impressive of these is Cave 16, the Kailasa temple. • The proud patronage which created the magnificent Kailaśa has been ascribed to Raśtrakutas of Ellora. • A chariot shaped monument dedicated to Shiva. • It includes a Garbhgrha, Antrala, Mandap, Nandi shrine, Gateway, surrounding cloisters, and subsidiary shrines. • In its plan and general arrangements the Kailaśa bears a certain resemblance to the Virupaksha temple at Pattadakal,
- 9. Dr. Virag Sontakke Who Made it? • James Burgess dated the construction period of Kailash temple to the reign of Dantidurga. • Some of the temple reliefs feature the same style as the one used in the (Cave 15) Dashavatara Cave. • Cave 15 has an inscription of Krishna's predecessor and nephew Dantidurg (c. 735–756 CE). • Based on this, Hermann Goetz the construction of the Kailasa temple began during the reign of Dantidurga. • Based on the Baroda copper plate, M.K. Dhavalikar argues that the second Rashtrakuta monarch Krishna I (757–772 CE) was the patron of Kailash temple. • According to K.V. Soundararajan, upper parivara shrine scheme, together with the main temple (up to the mukhamandapa) had been built in the period of Krishna I and the other parts were added later. • Numerous scholars also assume that after Krishna I, many Rashtrakuta kings including Amogha Varsha and Govinda III may have added some parts.
- 10. Dr. Virag Sontakke Theme of temple • Architectural details seem to be inspired from the narratives of Hindu mythology. • The Kailashanath temple, inspired by Mount Kailasha, is dedicated to Shiva. • The temple has a Shivalinga in its sanctum sanctorum. • The Vaishnava images were given prominent position and complementary to that of Śaiva images. • On the other hand Ramayan, Mahabharat and other Brahmanical deities are also noticed.
- 11. Dr. Virag Sontakke Plan • The scheme of the Kailasa resolves into six main parts 1. Entrance gateway 2. Nandi shrine 3. Mandap 4. Antarala 5. Garbhgruha 6. Cloisters surrounding the courtyard • On each side of the courtyard supplementary chambers have been excavated. • There are two free- standing pillars, or dhwaja-sthambhas, 51 feet high, one on each side of the nandi shrine. • Its 106 feet deep at its innermost side, 160 ft wide and 280 ft in length. • The temple stands in the middle of this pit. Its highest point is the shikhar at 96 ft.
- 17. Dr. Virag Sontakke Gateway • One entrance gate (two storied) • Entry From West • The entrance to the temple courtyard features a low gopuram showing Southern influence • Wall with Niches and Pilasters • Decorated with sculptures • Number of deities with southern influence • Left : Saivite deities • Right: Vaisnavite deities
- 18. Dr. Virag Sontakke Lower story • Rectangular on plan • The dimensions of the courtyard are 82 m x 46 m • Huge plinth 25 feet • Look like ground floor • Influence of south Indian temples • Gallery form three sides • Life size elephants, lions carved • Huge sculptural panel • The base of the temple hall features scenes from Mahabharata and Ramayana.
- 21. Dr. Virag Sontakke Nandi Mandap • Nandi sits on a porch in front of the main temple. • The Nandi mandapa and main Shiva temple are each about 7 metres high. • It’s a two storied structure. • The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. • A rock bridge connects the Nandi Mandapa to the porch of the temple.
- 23. Dr. Virag Sontakke Mandap • Squarish on plan • This mandap is a well-proportioned compartment measuring 70 feet by 62 feet . • 16 square piers in groups of 4 in each quarter. • Has Ardhmandapa (mukha chatushkis) on front and either side • The placement of the mahamandapa and the mukha chatushkis is close to the architectural lay out of the Virupaksha temple at Pattadakal. • Flat roofed • All the three parts were joined by flying bridge • Durga, Mahishasuramardini, Gajalakshmi, Ardhanarishwar and Virbhadra, Ravana shaking the Kailash parvat, and the Mahabharata and Ramayana panels. • The base of the temple has been carved to suggest that elephants are holding the structure aloft.
- 26. Dr. Virag Sontakke Garbhgruha • At the east • Southern style vimana (Pyramidical superstructure) • Situated on high plinth carved with life size Elephants and Lions • Steps provided on either side to go up • Small antarala is also attached to the Garbhgruha • Huge Shivalinga at the Garbhgruha. • Five subsidiary shrines around the main temple in the circumambulatory path that runs along the side of the hill. • The open circumambulatory path around the shrine with five sub shrines is a new feature introduced at Ellora taking inspiration from Pattadakkal and Kanchipuram. • These shrines dedicated to river goddesses Ganga, Yamuna etc.
- 28. Dr. Virag Sontakke Kailas Temple, Ellora Kailasnath Temple, KanchiVirupaksh Temple, Pattadakal
- 29. Dr. Virag Sontakke Courtyard • The dimensions of the courtyard are 82 m x 46 m. • Courtyard is slightly on higher level • The courtyard is edged by a columned arcade(Galley) three stories high. • Displaying large number of sculptures of a variety of Brahmanical deities. • Hanging bridges of stone connected these galleries to Main temple, but these have fallen by course of time. • Some of the most famous sculptures are Natraja, Ravnanugrah, Ganga- Yamuna etc. • Highly rich in decoration • Carved with pilasters, niches, windows, and cornices • Both Shaivite and Vaishnavite sculptures • There are two Dwajasthambams (Victory Pillars) in the courtyard measuring.
- 32. Dr. Virag Sontakke Pillars The victory pillars are placed symmetrically flanking the Nandi mandapa visually enhancing the verticality of the monument.
- 33. Dr. Virag Sontakke Pillars • Influence of Dravid Style is clearly visible on Pillars and Pilasters • Pillars of the temple are huge and square on plan • Highly Decorated • Dr. B.S. Upadhyaya: this temple is development of Pallava Style, and its sculptures and decoration are above than all south Indian temples.
- 34. Dr. Virag Sontakke Galleries • Gallery is surrounded on three sides by colonnaded Walkways, • Its three stories high with extensive overhang. • There are huge carved with enormous sculptures of Brahmanical deities.
- 35. Dr. Virag Sontakke Lankeshwar cave • The Lankeshwar cave, carved in the northern escarpment of Kailasa, is a unique edifice in many respects. • Stylistically it marks a further stage of development the Rashtrakuta art. • Mandapa supported by four sets of four pillars each. • Garbha-griha is rectangular. • Pillars are massive and decorated than Kailasa
- 37. Dr. Virag Sontakke Regional Influence • The architecture and sculpture of Ellora Kailasa clearly show the presence of craftsmen from Chalukyan region working along with those of Pallava and Western Indian regions. • Carving technique employed is definitely from Pallava region. • Western Indian carvers who worked on the other caves at Ellora too might have been employed to work on the interior spaces at Kailasa. • The temple, even if they are not structurally required, has all the architectural details of a real, block-built temple with bases, beams, columns, capitals, brackets, and pilasters.
- 38. Dr. Virag Sontakke Art • Architectural elements such as cornices, pilasters, niches, and porticos have been assembled systematically. • Created the three-dimensionally formative statues assuming quite dynamic postures. • The walls of the temple tell the story of the epic Ramayana through intricate, illustrative carvings. • There are numerous sculptures depicting diverse gods, demons, and imaginary animals, • For example, Durga, on a lion’s back, is depicted on the south side of the entrance to the temple, bravely confronting Mahisha, the demon king with a buffalo head. • Besides that, there are depictions of Lakshmi,, Ganesha, Kama, with a bow and arrows, and Ganga and Yamuna. • Carvings depicting combat scenes and animals. • Shiva: his aggressive forms like Tripurantakamurti and Gajantaka, benign forms like Kalarimurti and Ravananugrahamurti, and Shiva as Mahayogi (the great yogi), Lakulisha (the guru), Natesha and Ardhanrishvara.
- 40. Dr. Virag Sontakke Ramayana panel
- 41. Dr. Virag Sontakke Ramayana –Mahabharta panel
- 42. Dr. Virag Sontakke Samharamurti Tripurantaka Andhakasuravadha Bhairava Kalarimurti Anugrahamurti Gangavataram Ravananugraha Kiratarjuna Ravana offering his head Teacher aspect Mahayogi Lakulisha Natesha Other Ardhanarishvara Harihara Lingodbhava Umamahesha Somskanda Shiva and Parvati playing chausar Vrisabhantika Shiva Shiva as Lingin Kalyansundaramurti Shiva with Rama and Lakshmana Brahma uprooting Shivalinga Shiva testing the love of Parvati Form of Shiva images At Kailas
- 45. Dr. Virag Sontakke Remains of Painting
- 46. Dr. Virag Sontakke Conclusion • This monument represents the climax of the rock-cut phase of Deccan architecture. • 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.” • Shaivaite and Vaishnavite images, along Hindu, Jain and Bhuddhist Caves were built close to one another and illustrate the religious harmony that existed in ancient India. • The site's location on an ancient South Asian trade route also made it an important commercial centre in the Deccan region.
- 47. Dr. Virag Sontakke Thank You