Elephanta Caves-

Elephanta caves locally known as Gharapuri are located on island near Mumbai, fairies from Gateway of India take visitors to island. In 1987 UNESCO declared it  as world heritage site. It was the Portuguese who discovered this site, they found two huge statues of Elephants at the entrance and thus they named this site as Elephanta.

History of Elephanta caves is still ambiguous. Scholars like Walter Spink said that they were built by Kalachuri rulers, dynasty that succeeded Vakatakas but other scholars said it belong to Chalukya. We find the same ambiguity in dating some scholars says it was built in 5th century but others contends that it belongs to 8th century.

Archeologically caves can be divided in two parts. One dedicated to Buddhism and other dedicated to Pashupata cult of Shaivism. Cave no. 1 is dedicated to Shaivism, as one could see larger than life sized sculptures of various forms of Shiva surrounding the Garbhagriha and in Garbhagriha the symbolic representation of Shiva i.e. Shivalinga is placed. As one enters into cave from North side, one sees Lord Yogeshwara, Shiva as yogi, on the right side and Lord Nataraja on right side. Sculptures are purposefully located facing each other to convey the idea of duality. On the east side one sees Ravananugraha Murti, where Ravana is shown lifting the Kailasa and exactly opposite to its is Sculpture of Shiva and Paravti sitting in their abode playing joyfully. On the west side one can see sculpture of Kalayanasundara Murti and exactly opposite to is standing the sculpture of Andhakaasuravadha murti. South side wall is packed with 3 huge sculptures of Ardhanarishwara and Gangadhara with majestic sculpture of Sadashiva at the centre. Sculpture of Sadashiva is the main attraction of cave no. 1. Three faced sculpture of Sadashiva, its eastern side face is of Aghora, Shiva with ferocious expressions, on western side face of Vamadeva, Shiva with calm expressions is carved, and at the centre is the face of Tatpurusha these dynamic expressions are nothing but an attempt to highlight three different aspects of one Supreme Being, a thought which is core of Indian philosophy which says there is one ultimate reality beyond the diversity of material world.

Elephanta caves is one of the main site in rock-cut architecture circuit of Western Ghats. History of cave is still shrouded in mystery, we don’t know who built it yet, when it was built but the the underlying thought, the philosophy, the ultimate purpose, we know it with absolute certainty. 

 Ajanta Cave paintings-

को नु हासो किमानन्दो निच्चं पज्जलिते सति

अंधकारेन ओनद्धा पदीपं न गवेस्सथ

What laughter, why joy,

When constantly burning?

Enveloped in darkness,

don't you look for a lamp?

Are the lines from Jaravagga Gātha, it is an ardent call for the ones who are immersed in empirical pleasure to show them reality of worldly life i.e. suffering which is described in words like burning & darkness. It incites to go on search of light to erase the darkness. And Ajanta caves was the place of seclusion away from pleasure & pain of social life, wherein those soaring souls who desired nothing but Nibbāna i.e. Salvation made an unparalleled attempt to achieve that highest stage. In dark caves of Ajanta they searched for lamp through art to dispel the darkness. What the artists of Ajanta have painted on walls of cave is not mere a representation, they expressed their inner spiritual vision that they attained in their vigorous training of meditation. Through a sculpture of Buddha, as S. Dasgupta wrote, ‘the artist wanted to suggest was not the Buddha of flesh and blood, but his spirit which was in a sense identical with his message’

For viewers as well these paintings and sculptures are more that just beautiful pictures. As renowned Art Historian Benoy Behl while explaining painting of Vajrapani said, “Now this Bodhisattva with his glorious crown brings before you the majesty of spirit within us. It is always about the Spirit within us which is the focus of philosophy and therefore focus of the art.” It connotes that art aims at communicating with viewer. Symbols which were carved and painted, they suggest the Buddhist ideals, for example Lotus in the hand of Padmapani is a symbol of enlightened mind, the way lotus bloom out of mud, a mind must rise out of samsara, is the direct message to viewer.

In short, carvings and paintings of Ajanta reflect the great vision of life set by the Buddha, in which beauty of life is celebrated. Faith, love, compassion & knowledge that was preached by Buddha precisely reflect on facial expressions & postures of sculptures that are carved & painted in Ajanta caves.

Centuries have passed, art of Ajanta have suffered ravages of time, most of the paintings are damaged, nevertheless whatever have remained is enough to connote the great vision of life that those artists had, and as one walks in those dimly lighted caves of Ajanta one could here walls whispering -

को नु हासो किमानन्दो निच्चं पज्जलिते सति

अंधकारेन ओनद्धा पदीपं न गवेस्सथ

What laughter, why joy,

When constantly burning?

Enveloped in darkness,

don't you look for a lamp?

Navgunjara- 

"एकं सत् विप्रा बहुधा वदन्ति" a Rigvedic verse, meaning - The truth is one, the wise perceive it differently, to understand this verse full of wisdom, the above picture of Navgunjara is a perfect allegory.

The story of Navgunjara goes as once Arjuna wandering in forest sees a weird animal who has multiple parts of different animals. It had the head of a rooster, a peacock's neck, a lion's waist, the hump of a bull, the tail of a serpent, the leg of an elephant, another leg of a tiger, yet another leg of an antelope, and a human hand holding a lotus. Then Lord Krishna reveals himself and tells Arjuna that this is just another aspect of his viratrupa. Lord explains that he is one but perceived by many in different forms and names.

As the above Rigvedic verse declares, the Truth is singular but, we perceive it in plurality, so the Navgunjara is one but carrying many parts of other animals, indicating the unity of ultimate Truth, in a plurality of forms. The world that we see in multiplicity is the result of Maya, an illusion, and beyond the veil of Maya lies unity, the one eternal truth, i.e. Brahaman - the main philosophical basis of Indian philosophy propounded in Upanishads.

Art and Architecture of India not mere a representation, as Coomarswamy wrote, it is a statement. Its aim is not mere to give the sense of beauty but rather uplift the viewer spiritually.

Shiva as Yamāntaka, Destroyer of Yama-

Yamantaka is one of the several forms of Shiva. According to popular legend, Sage Mrikunda & wife Manasvini for long time couldn't conceive child thus they performs penance to please Shiva. After several days Shiva appears in front of them & grants them a boon. Shiva says, "You will either get 100 fool children who will live longer or 1 Brilliant child who will live only for 16 years". Couple chooses a brilliant one & thus Shiva blesses them with One brilliant child. Couple names child as Markandeya. After child finishes his 16 years, Yama- Lord of Death appears in front of him, frightened child Markandeya starts pleading Shiva and Shiva emerges & attacks Yama. Yama says, "I am just doing my duty" then Shiva grants boon to Child Markandeya that he won't grow older than 16 & thus saves the day.

This sculpture is carved on Ambarnath shiva temple. In ancient times. Temple was the centre of Education & lessons were taught through various stories by carving protagonist deity on temple walls. This story subtly promotes the message that, 'having one brilliant child is better than having 100 fool children.'

Image has faced wrath of time but whatever has survived is vivid enough to depict the picture of how values were being taught through stories in ancient times. 

Uma-Maheshwara Sculpture- 

One of the most popular legends associated with Uma-Parvati & Shiva is their love affair in Uma's previous birth when she was Sati, daughter of Daksha, a divine King. This story is mentioned in Devi Bhagavat Puranas & Epics like Ramayana & also in great poet Kalidasa's Kumarsambhavam. 

Sati since childhood was attracted to forest-dweller Shiva, she was growing up with his valorous stories & decided to marry Shiva. Princess daughter marrying to a forest-dweller ascetic Shiva was demeaning for King's majesty & thus King Daksha opposed her. But adamant Sati gave up her luxury of palace to be with ascetic Shiva & went to forest against all odds. 

One day Daksha arranged grand Yajna & invited all the deities except Shiva but yet Sati decided to attend Father's Yajna. When she arrived at ceremony, Daksha humiliated her & insulted her husband Shiva. Humiliated Sati couldn't bear her beloved husband's insult & committed suicide in sacrificial fire. When Shiva came to know about this he wrecked havoc in Daksha's kingdom with his Tandava & the world suffered separation of Sati & Shiva. 

Rabindranath Tagore exemplified this event as-

"The evil spirit is exultant and paradise is lost when Sati, the spirit of (Reality), is disunited from Siva, the Spirit of Goodness. The Real and the Good must meet in wedlock to save all that is true and beautiful."

Separated from beloved wife, Shiva was distressed for many days. Later in story it is said that Sati who couldn't bear her husband's suffering decided to reborn as Uma-Parvati to unite with Shiva. 

This benevolent & erotic sculpture of Uma-Maheshwara is dated back to 10th century from central India, 2 sons Ganesha & Kumara can be seen on top most right & left corner of sculpture. This sculpture is placed in National Museum Delhi.