Elephanta Caves
| Elephanta Caves | |
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UNESCO world heritage 
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Elephanta Caves |
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| National territory: |
 India
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| Type: | Culture |
| Criteria : | (i) (iii) |
| Reference No .: | 244 |
| UNESCO region : | Asia and Pacific |
| History of enrollment | |
| Enrollment: | 1987 (session 17) |
The Elephanta Caves on Elephanta Island on the west coast of India are used to worship Shiva . The Shiva sculptures carved out of the rock inside the caves are among the most important works of Hindu sculpture at all. The caves have been recognized as a World Heritage Site by UNESCO since 1987 .
Elephanta Island
Around the 2nd century AD, Elephanta was the capital of the Traikutakas under King Madhyamasena. This passed the land on to a Brahmin, who had it conquered by King Harisena, who belonged to the Vakataka dynasty. The Vakataka dynasty was then in turn replaced by the Kalachuri dynasty. In the Elephanta Caves there is a Shiva representation that is typical of this dynasty : Shiva as Lakulisha . Their presence is one reason why it is believed that this dynasty ruled Elephanta when the temple was founded. Also some finds of silver coins that exist exclusively on Elephanta, on which the second ruler of the Kalachuris was depicted, speak for this dynasty as a possible founder of the cave construction. However, the Mauryas are also an option ; their dynasty extended over the whole of western India, including its coastal areas, the Konkan . There are some writings in which the name "puri" is recorded as the main seat of these Mauryas. It is controversial whether the island "Gharapuri" (Elephanta), which is still called in the local vernacular today, is meant. It is possible that the Kalachuris ruled under the rule of the Mauryas or vice versa.
In any case, the coastal areas were taken over by the Chalukyas in the 7th century AD . With the death of Vikramaditya II./VI., The last great ruler of the Chalukyas, around 1130 AD, the empire disintegrated into individual rule. One of these lords were the Yadavas of Devagiri. They dominated until the area came under Muslim rule around 1290, especially under the Gujarat sultans (who resided in Ahmedabad in the 15th century ). From 1534 the island came into the possession of the Portuguese. In 1682 these were again replaced by an Indian rule - the Marathas - until Elephanta was taken over by the British in 1774 .
On the rocky and still densely forested island there are - in an elevated position - a total of six caves. Two of them are on the slope of the northwest of the two hills that make up the island. Next to them are the sparse remains of an unfinished structure, presumably a Buddhist stupa . In the middle of the island, on the eastern slope of the western hill, there are four other cave temples, including the main cave. Except for the main cave, however, these are largely destroyed or unfinished facilities with less interesting sculptures. Parts of the caves are also flooded - sometimes all year round - or inaccessible due to buried entrances. Therefore, only the main cave is of cultural, historical and tourist importance. Until 1539, the caves were reportedly in very good condition. The great destruction that could be observed as early as 1550 is due to the use of Elephantas as a military location. A huge cannon shot in the middle of the main cave in 1712 caused great damage. The first restoration work by the Public Works Department began in 1890 and since 1909 the cave has been under the close care of the Archaeological Survey of India .
Main cave
architecture
The cave is divided into a main hall and four side halls. The cave has three entrances. Today's main tourist entrance is in the north of the cave. The forecourt can be reached via a long staircase that begins directly at the landing stage. On the two sides, west and east of the main hall, a sinus is attached to each. In the middle of each is a round platform on which Nandi , the Vahana animal of Shiva, probably once sat; both Nandi bulls are no longer available today.
In the south, each of the two side halls has a further side hall. In the east of these last two side halls there is another shrine with Shiva Lingam , and in the west a water cistern. Originally the east entrance was the main entrance to the cave; thus the entire cave has a clear orientation along the east-west axis. This can also be recognized by the moonstones on the swell stones of the east and west entrances. This also makes the positioning of the main shrine clear. While it appears misleadingly positioned on the side of the main hall for tourists entering from the north, those entering from the east approach it directly.
From north to south the cave has a depth of approx. 40 m. The main hall is roughly the same length and width. The ceiling is approx. 4–5 m high and is supported by several rows of columns carved out of the rock. All columns are divided into three parts: The upper, round, channeled and slightly conical column section rests on a pillar-like base zone with a square cross-section , on which a pumpkin-shaped capital ( amalaka ) rests. In the western part there is a recess in these pillars, so that there is room for the Shiva Linga shrine. The eastern sinuses are approx. 17 m wide and together approx. 30 m deep. The western, slightly smaller, are approx. 12 m wide and together approx. 24 m deep.
iconography
The walls of the main cave are provided with countless figurative representations from the sometimes popular stories about Shiva. A detailed overview, both of the overall structure and the individual iconographies, can be found on the site plan.
Lingam Shrine (16)
The most important part of the temple for devout Hindus is the shrine with the Shiva lingam in the western part of the main hall. As a room within a room, it consists of a cella open in all four directions. Its entrances are each guarded by two gatekeepers ( dvarapalas ). In the interior there is a large, smooth platform on a three-step elevation on which the approx. 1 m high lingam , the phallic symbol of Shiva, is enthroned. This forms the central point of worship of the cave, because Shiva - unlike all other Hindu deities in India - is never worshiped in his pictorial form, but exclusively in his abstract form, the lingam. This fact points back to ancient, still aniconical traditions of Indian god worship.
Trimurti (4)
Directly opposite the north entrance is - as the second main motif of the cave temple - Shiva as Mahadeva / Maheshvara; both means “great God” or “great Lord”. He has three faces ( trimukha or trimurti ), which is mostly interpreted as the "universal form" of Shiva. The interpretations diverge here, however: There is also the approach as four-faced, i.e. H. to interpret universal God ruling all points of the compass; the fourth face would be directed backwards and thus not visible. In any case, several aspects or characters of Shiva are united in this representation: His face looking to the right with the head of the skull in the crown of hair represents his angry aspect. The middle face shows Shiva youthful and the left female. The eyes of all three figures are closed - Shiva is not active (as in most of the other portraits of the cave), but in - almost supernatural - calm or meditation.
The face of the god, turned towards the viewer and deeply at ease, is undoubtedly one of the most impressive achievements of Indian sculpture and is linked to the best depictions of Buddha (e.g. in Ajanta and Ellora ). But the headdress, carved out of the rock, but nevertheless differentiated and detailed, deserves attention.
On the walls of the main hall there are other important reliefs, all of which depict scenes from the Shiva legends. Since the cave - according to CD Collins - contrary to the usual direction of transformation ( pradakshina ), i.e. H. counterclockwise, it is also described below in this order:
Yogeshvara (9)
If you go further counter-clockwise you will get to the west side of the north entrance. There Shiva shows himself as yogeshvara , which means something like "Lord of the Yogis". Because of the club in his hand he is also called lakulisha . Yogeshvara denotes the 28th incarnation of Shiva and stands for Shiva's ascetic but also instructive aspect. With his four students he is revered by followers of the Pashupata sect as their sect founder.
Nataraja (8)
On the eastern side of the north entrance is Shiva as lord of the nataraja dance . Mostly this scene is interpreted as a "cosmic dance", as a dance by which Shiva destroys the universe in order to then recreate it. Here in Elephanta, however, it is also possible to interpret it in connection with the Andhaka sculpture. According to the Vamana Puranas, this scene then represents the highly concentrated ritual dance before the fight with the demon. In this context, the subsequent meditation would then be visualized in the scene opposite. The room on both sides of the God - shown here with 8 arms and sunk in a trance - is filled with other Hindu deities and ascetics.
Shiva and Andhaka (7)
If one goes further, one finds Shiva in his form as Bhairava killing the demon Andhaka ( andhakasuravadhamurti ). Andhaka means something like darkness and ignorance; According to legend, not a drop of his blood should fall on the earth, as otherwise new demons - and with them new darkness and ignorance - would arise. At the same time, this makes him almost unassailable and so Shiva kills him with his trident and catches the dripping blood with a skull bowl. The cruel aspect of Shiva as Bhairava shows in his protruding canine teeth, a skull in his crown of hair and his weapons. The scenery, playing in a rocky landscape or a cave, is elevated by heavenly apsaras and gandharvas .
Wedding of Shivas and Parvatis (6)
Opposite is the Kalyanasundaramurti, Shiva's wedding with Parvati - an extremely tenderly designed scene. Contrary to the usual Indian wedding tradition, the - compared to Shiva - significantly smaller Parvati stands on the right of her husband; her head is devoted to one side. Behind Parvati - her name means "daughter of the mountains" - stands her father Himalaya . Of course, other gods and apsaras are also present as groomsmen and wedding guests; Brahma acts as a priest ("Brahmin") during the ceremony. Both arms of Parvati have been destroyed, but her left hand was probably on Shiva's right hand - a sign of trust and togetherness that is also common in Indian culture. Also noteworthy is the large aureole behind Shiva's head.
Descent of the Ganga (5)
Himalaya is also the father of the river goddess Ganga . The depiction of the descent of the Ganga ( gangadharamurti ) follows immediately afterwards: Shiva tames the enormous power of the river flowing down from the mountains of the Himalayas with his long ascetic hair - no longer tied into a crown. In the Ramayana there are some stories that make it possible to relate this scene to the previous wedding scene. If you go a step further, you are directly opposite the main entrance. Here one looks at Shiva as Mahadeva with the three faces, already described as the central main motif of the cave.
Ardhanarishvara (3)
The following figure also shows Shiva as unifying universal opposites - and thus embodying the cosmic harmony - God: Ardhanarishvara means something like "the Lord whose half is a woman". In an exceptionally elegant stance, the male half leans on a bull, presumably Nandi ; the female half has ample breasts and wide hips and holds a mirror in one of her hands. The headdress is also divided into two parts. The representation is framed by the two other main gods of the Hindu pantheon: Brahma (seated, three or four-headed) and Vishnu (in Garuda ) as well as a multitude of heavenly beings ( apsaras and ghandarvas ), one of which is with a garland of flowers in his hands approaching God.
Shiva and Parvati (2)
Back in the main hall, the next thing you come across is Shiva with Parvati on Mount Kailash . This scene is called the Umamaheshamurti ("game scene") of Shiva with Parvati. However, the interpretations are extremely diverse. Parvati clearly turns away from Shiva. The two are surrounded by a few companions, one of whom is holding a child.
Shiva and Ravana (1)
The first relief on the northern side of the main western entrance shows the ten-headed and twenty-armed demon Ravana fighting Shiva. It is said that Ravana tries to lift up Mount Kailasa , knowing full well that he is thereby disturbing the peace of Shiva, his wife and - in a broader sense - the peace of the whole world. Shiva's - drawing from the rest - strength is greater, he presses the mountain down again with his upright left foot and thereby locks the demon in, but does not kill him, although he would have the power to do so - perhaps an allusion to the inextinguishability of evil. To Shiva's right is his wife Parvati, who is depicted much smaller and, frightened by the earthquake, hugs Shiva's right arm; the surrounding pictorial space is - as usual - filled with gods and apsaras.
This brings you back to the starting point. Presumably after this tour the pashupata took a seat in the hall in front of the Shiva-Linga to meditate there.
Adjoining halls
To the west of the first western sinus is another shrine. In the mandapa in front of it a figure constellation is depicted, similar to the one on the eastern side of the main entrance. Shiva, presumably Lakulisha , sits in the middle on a lotus held by two nagas . He is surrounded by two ascetics and two Brahma-like figures in flight. The actual shrine is accessed through a passage, which is protected by two Dvarapalas , i.e. gatekeepers. In the middle there is a Shiva linga on an altar. On the sides there are several sculptures: a dancing Shiva, Brahma on his Vahana the swan, a decorated woman, probably Parvati, Indra on his Vahana, the elephant Airavata and the four-armed Vishnu on his Vahana Garuda . Presumably all these figures were installed in the cave afterwards.
There is also a shrine with Shiva lingam in the rear eastern sinus, albeit almost three times the size of the western shrine. The shrine has a pradakshina corridor around it, and you have to go up two steps to get to the lingam in the center of the altar. The entrance to this shrine is also protected by Dvarapalas. Also present in the chapel are Ganesha on his rat and in turn Brahma and Vishnu on their Vahanas. A male figure with a trident stands at the northern end, presumably Shiva. The Sapta- or Asta- Matrikas (seven or eight mother goddesses, who can also be understood as female aspects of Indian gods) are lined up along the western wall in the following order: Brahmi from Brahma, Maheshvari from Maheshvara Shiva, Vaishnavi from Vishnu, Kaumari from Kumara, Aindri from Indra, Varahi from Varaha , Narasimhi from Narasimha and, finally, Chamunda , a destructive form of Durga - mostly depicted as an old or ugly woman. Above all, there is a Ganesha - and a Virabhadra representation - of the physical and spiritual son of Shiva.
Interpretation of the conception of the cave
The entire cave is designed for worshiping Shiva. The main object of worship is the large shrine in the main hall. The Brahmin priests and the pilgrims probably entered the main hall via the western side hall and thus approached the cult object on the usual route from west to east. The subsequent ritual circling ( pradakshina ) of the shrine took place, according to CD Collins, counterclockwise, as was customary in the Pashupata sect. The meditation that followed probably took place to the east of the shrine, as this area remained free when bypassing it. The annex caves will have had a very separate function. With their similar figures, they seem to form a kind of copy of the main hall. There is a separate shrine in both the eastern and the western rear caves, the western one even has its own central Lakulisha representation.
The iconography of the cave represents the different aspects of Shiva. Shiva's contradictions are staged in a strikingly clear manner: In contrast to Yogishvara , who meditates ascetically and calmly , Shiva is shown as Nataraja in a creative dance; across from the happy unifying wedding ceremony is Shiva as a destructive demon slayer. The multi-conceptuality of Shiva - as the central motif of the cave - becomes particularly clear in the representation of Mahadeva, where his most diverse aspects merge in one person.
Artistic importance
With their uniform and comprehensible iconographic conception (representation of the universal aspects of Shiva) as well as their extraordinary technical perfection and artistic expressiveness, which - despite multiple destruction - are still clearly recognizable, the sculptures in the main cave of Elephanta are among the most impressive of the classical Indian Sculpture has left behind.
In addition, the common view of Shiva as the exclusive “God of Destruction” - represented both in India and in Europe - is clearly relativized by the differentiated iconography of Elephanta.
tourism
The island is a popular destination for tourists. Tourists are driven from the Mumbai peninsula to the island of Elephanta in small boats. Besides the religious visitors, tourism is a main source of income.
See also
- Shaivism
- Kailasa Temple , Ellora
- Jogeshwari Caves (Mumbai) , Jogeshwari
- Mandapeshwar Caves (Mumbai) , Borivali
literature
- Anneliese and Peter Keilhauer: The Imagery of Hinduism. The Indian world of gods and their symbolism. DuMont, Cologne 1983, ISBN 3-7701-1347-0 .
- Hiranand Shastri: A guide to Elephanta. Kanak Publication, New Delhi 1978, OCLC 313753846 .
- Stella Kramrisch: Manifestations of Shiva. Philadelphia Museum of Art 1980, ISBN 0-87633-039-1 .
- Stella Kramrisch: The Presence of Siva. Princeton University Press, Princeton 1981, ISBN 0-691-01930-4 .
- George Michell: The Architecture of Elephanta. In terms of interpretation. In: Carmel Berkson: Elephanta. The cave of Shiva. Princeton University Press, Princeton NJ 1983, ISBN 0-691-04009-5 .
- Alistair Shearer: The Travelers Key to Northern India. A Guide to the Sacred Places of Northern India. Harrap Columbus, London 1983, ISBN 0-7471-0010-1 .
- Charles Dillard Collins: The Iconography & Ritual of Śiva at Elephanta. State University of New York Press, Albany NY 1988, ISBN 0-88706-774-3 .
Web links
- Entry on the UNESCO World Heritage Center website ( English and French ).
- Elephanta Caves - Photos + Text ( ASI , Engl.)
Cultural heritage: Ajanta Rock Temple (1983) | Ellora Cave Temple (1983) | Red Fort in Agra (1983) | Taj Mahal (1983) | Konarak Sun Temple (1984) | Mahabalipuram Temple District (1984) | Churches and Monasteries of Goa (1986) | Khajuraho Temple District (1986) | Temple District of Hampi (1986) | Mughal city of Fatehpur Sikri (1986) | Pattadakal Temple Complex (1987) | Elephanta Caves (1987) | Great Temples of the Chola Dynasty (1987) | Buddhist shrine near Sanchi (1989) | Humayun's Mausoleum (1993) | Qutb Complex (1993) | Mountain Railways in India (1999) | Mahabodhi Temple of Bodhgaya (2002) | Bhimbetka Caves (2003) | Chhatrapati Shivaji Terminus (2004) | Champaner-Pavagadh Archaeological Park (2004) | Red Fort in Delhi (2007) | The Jantar Mantar in Jaipur (2010) | Mountain Fortresses of Rajasthan (2013) | Rani Ki Vav (2014) | The architectural work of Le Corbusier : Capitol Complex in Chandigarh (2016) | Nalanda Mahavihara Archaeological Site (2016) | Old City of Ahmedabad (2017) | Victorian Gothic and Art Deco ensembles in Mumbai (2018) | Old City of Jaipur (2019)
Natural heritage: Kaziranga National Park (1985) | Manas Wildlife Sanctuary (1985) | Keoladeo National Park (1985) | Sundarbans National Park (1987) | Nanda Devi National Park and Valley of Flowers National Park (1988) | Western Ghats (2012) | Great Himalaya National Park (2014)
Cultural / natural heritage: Kangchenjunga National Park (2016)