Trip to Aurangabad,Ajanta and Ellora (02-04-2009 & 03-04-2009)

Trip to Aurangabad, Ajanta and Ellora (02-04-2009 & 03-04-2009)

We, post graduate students from aerospace department finally managed to go for a long distance(which involved staying at least 1 night outside campus) tour. I don't know how we chose the dates(which fell on weekdays). With a budget estimate of Rs 1000/- we decided to book tickets for ten people. Finally we were 8 in number with 2 opting out.
Our group
1.Anesh S Iyer
2.Agam Sharan
3.Nikhil I
4.Malay Ranjan Satapathy
5.Robin Jiss
6.Srinivasu Dakuri
7.Rajeev Shastri
8.Chinamy Rajhans

Each with different characterstics but with the sole aim of enjoyment and pleasant memories of stay in IITB dared to venture out.

Our group of 5(one was taking photo) (from L-R Anesh,Malay,Nikhil, Srinivasu).

Capture of a station through which our train whizzed past.

The railway tickets were booked for the to and fro journey 5 days before the actual journey. Devgiri Express(7057 – Mumbai CST to Secundrabad) which departs from Mumbai CST at 2105 hrs and reaches Aurangabad by 0400 hrs was chosen for the outward journey and Nandigram Express(1402 – Nagpur to Mumbai CST) which departs from Aurangabad at 2135 hrs and reaches Mumbai CST at 0430 hrs was chosen for the inward journey.

Proof that we went to Aurangabad

Entrance of Aurangabad Railway Station

Devgiri Exp and Nandigram Exp

Devagiri or Devgiri is the ancient name of the town of Daulatabad near Aurangabad. Devagiri was once the capital of India during Muhammad bin Tughluq's rule who shifted his capital from New Delhi to Devagiri and back to New Delhi. The train derives its name from it.

Nandigram Express runs between Mumbai Chhatrapati Shivaji Terminus (CST) Railway Station and Nanded Railway Station. Both stations are located in Maharashtra. (Nandigram is the old name of Nanded.)

First day breakfast at Hotel Tirupathy, near our hotel where we stayed.

Hired Chevrolet Tavera

Flat tire on the way to Ajantha

Awaiting speedy repair

Ajanta Caves

The 30 rock cut caves at Ajanta have been excavated in a panoramic, horse shoe shaped gorge of the Waghora river. They belong to two distinct phases of the Budhism, the earlier Hinayana phase (2nd BC to 1st BC) and the later Mahayana phase (5th AD to 6th AD)

By AD 480 the caves at Ajanta were abandoned. During the next 1300 years the jungle grew back and the caves were hidden, not visited and undisturbed until the Spring of 1819 when a British officer in the Madras army entered the steep gorge on the trail of a tiger. Somehow, deep within the tangled undergrowth, he came across the almost hidden entrance to one of the caves. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith wrote his name in pencil on one of the walls. Still faintly visible, it records his name and the date, April 1819. This was the view from a distance, from where the caves being discovered by British officer.

One has to descend down the hill and then cross the bridge to reach the caves. It is full of green and pleasant to eyes during rainy season.

Myself in front of Ajanta.

We begin descending down....

and further down ....

There was a ravine were we could see traces of water.

Crossing the bridge seen earlier..

Cave No. 1

This is one of the finest monasteries belonging to Mahayana kind. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are four cells on each of the left, rear, and the right walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. The themes are from the Jataka stories (the stories of the Buddha's former existences as Boddhisattva), the life of the Gautama Buddha, and those of his veneration.

Details of scene from Life of Buddha in Cave No. 1 - Ajanta 

This cave consists of some of the masterpieces of the world paintings namely Padmapani and vajrapani.

Padmapani – The Lotus bearer

The famous painting Bodhisattva Padmapani is on the left wall as we enter. This is a famous picture. The Bodhisattva, or potential Buddha, is here shown as an elegant prince. He wears a high crown with precious stones in it. On his neck is a pearl necklace, with a central big blue stone. In his right hand, he holds an open lotus, suggesting awakening, with his gracious bent head and his golden body, the almond eyes and the delicate eyebrows, the figure is almost feminine.

Padmapani

VAJRAPANI:

There is another well-known Bodhisattva Vajrapani with a tiara-like crown of jewels on his head. This potential Buddha may be near portrait of some donor prince of the 6th century.

Vajrapani

Traditionally, the word "tiara" refers to a high crown, often with the shape of a cylinder narrowed at its top, made of fabric or leather, and richly ornamented. It was used by the kings and emperors of some ancient peoples in Mesopotamia. The Assyrians used to include a pair of bull horns as a decoration and symbol of authority and a circle of short feathers surrounding the tiara's top. The Persian tiara was more similar to a truncated cone, without the horns and feathers but more jewels, and a conic-shaped tip at its top.

The bull in the center(roof) appears to be facing you no matter from whatever place it is viewed.

Bull in the roof - one view

Bull in the roof - another view

One of the wonders of this cave is a relief carving of four deer. This is a clever composition. All the four deer seem distinct, even though they share one head in common. The bodies seem real, as they have been carved from accurate observation of their forms.

Relief carving of four deer

The paintings in a fairly good shape.

The ceiling of cave 1 painted with geometrical, floral and faunal description creates an impression of decorated shamiyana

PERSIAN EMBASSAY:

On a wall on the right hand side, as we enter, is a scene showing the Persian Embassy. This is supposed to be a picture of a real happening in the court of Pulakesin ll. As Pulakesin ll ruled towards the end of the 6th century, the painting confirms the date of cave no.1 as of the 6th century A.D.

Cave No. 2

THOUSAND BUDDHAS:

The wall showing the Thousand Buddha's is a large painting, which overwhelms one with its detailed multiplication.

Thousand Buddhas in Cave No. 2 - Ajanta

Bodhisattva in Tushita Heaven before his descent to Earth

Bodhisattva in Cave No. 2 - Ajanta

The paintings in Cave 2 contain some of the finest circle designs drawn in contrasting colours, which still retain their brightness and lusture.

Circle designs in Cave No. 2 - Ajanta

Buddha as a Boddhisatva in Vidhurpandit Jataka

Buddha in Cave No. 2 - Ajanta

Cave No. 6

Buddha in preaching pose in Cave No. 6 - Ajanta

Cave No. 9

This is the oldest chaityagraha belonging to the Hinayana sect of Buddhism datable to first century BC.

The plain globular stupa on a high cylindrical base.

Stupa in Cave No.9 - Ajanta

The pillars and ceilings are decorated with paintings of Buddha and floral decorations while the walls are decorated with figures of Lord Buddha, groups of votaries, procession of devotees towards a stupa etc.

Decorated pillars in Cave No.9 - Ajanta

Outer facade of Cave No.9 - Ajanta

Cave No.10 – The stupa here is the biggest in ajanta.

Cave No. 11 - The Buddha in shrine of cave 11 is one of the earliest images at Ajanta. The important fact about this Buddha is that it is attached to a stupa. This means a compromise between stupa worship and image worship.

This cave is interesting, because it shows the transition from the earlier Hinayana to the later Mahayana Buddhist phase of worship. The round stupa has the images of the Buddha to its bare girth.

Cave No. 19 - The stupa is carved with a standing image of Buddha. The vaulted ceiling has rock cut ribs.

Cave No. 21 - BUDDHA IN PARINIRVANA:
On the left wall, by the verandah, is the large statue of dead Buddha. The Buddhist calls this sleeping figure the Buddha in parinirvana.

Having a refreshing sip of lassi after lunch

Daulatabad Fort

Built by the Yadava king Bhillama V in the 12th century AD this fort was known as Devgiri. After the capture of this fort by Alladin Khilji in 1296 AD this remained a principle stronghold. In 1327 AD Sultan Muhammad Bin Tughluq moved his capital form Delhi to this place renaming it Daulatabad meaning `The city of fortune'. The area of the city includes the hill-fortress of Devagiri (Marathi देवगिरी) (sometimes Latinised to Deogiri). It stands on a conical hill, about 200 meters high. Much of the lower slopes of the hill has been cut away by Yadava dynasty rulers to leave 50 meter vertical sides to improve defenses. The fort is a place of extraordinary strength. The only means of access to the summit is by a narrow bridge, with passage for not more than two people abreast, and a long gallery, excavated in the rock, which has for the most part a very gradual upward slope.

About midway along this gallery, the access gallery has steep stairs, the top of which is covered by a grating destined in time of war to form the hearth of a huge fire kept burning by the garrison above. At the summit, and at intervals on the slope, are specimens of massive old cannon facing out over the surrounding countryside. The defense system of this fort was absolutely full proof with double and even triple rows of massive walls. This fortress was like a maze where the intruders were trapped. There was no way of conquering this majestic fort. The impregnable fort of Daulatabad was only conquered by treachery.

The Daulatabad fort was one of the most powerful forts during the medieval period. Built on a 200 metre high conical hill, the fort was defended by moat and glacis running around the hill at its foot besides the most complex and intricate defense system. The fortifications comprise three encircling walls with bastions. The outer walls of daulatabad fort. A langur seen sitting in the walls

A canon in Daulatabad Fort

Carvings in a canon.

Chand Minar

It was built in the Turkish style in 1435 by Ala-ud-din Bahmani also known as Hasan Gangu Bahmani to celebrate his occupation of the fort. Being an avid fan of Qutb Minar in Delhi, he built this as a replica. This minaret is an outstanding example of Islamic art and the second tallest individual minaret in India. They had used red ochre for coloring. The minar served as a watch tower and a place for prayer.

This tapering 30-metre high tower is divided into four storeys. It has 24 chambers and a small mosque at its base.

Chini Mahal

It is a double storeyed building and it is called so because it was inlaid with blue and yellow enamalled encaustic tiles. This was used as a royal prison. Abdul Hasan Tanasha the last and powerful ruler of Golconda was confined here by Aurangzeb.

The Moat is very deep and is excavated out of living rock. It is very steep that it is impossible for not only human beings but also for reptiles. The moat is also made inaccessible by wading because of aquatic animals and cross walls within it which prevent swimming. The bridge is of unusual design. It descends down initially and then ascends to the fort. The level of water is controlled accordingly to make entry accessible or inaccessible. Furthermore the gate of the bridge is very narrow making forcible entry of army impossible.

Kalakot (Fort of death)

This is third in line of defense with strong fortifications having bastions, zig-zag gateways and strategic position of gun turrets. The entire walls and bastions provide a very good example of military engineering skills.

Andheri (Dark passage)

The only entrance to this citadel is through this devious tunnel which in times of siege was rendered impassable by an ingenious contrivance. The sub-terrain passage is mysterious even today. The long ascending tunnel rises rapidly and tortuously by a flight of steps which are uneven in height and width. The labyrinthine passage coupled with darkness confuse the enemy army to kill themselves along a tunnel containing numerous chambers cut out of solid rock which were used as storage chambers for ammunition. The turns and twists lead to a window, now grilled, but originally a trap set of enemy intruders who on entering tumble down a slope to meet the watery grave in the moat below. The tunnel was impassable when great obstacles come in the form of darkness, hot oil, or hot water which comes from above.

We are taking small steps in andheri. - round marks are bat shits.

Bats in the ceiling of Andheri

Grishneshwar Temple - 12th Jyotirlinga

The Dwadasa Jyotirlinga shrines or the 12 shrines enshrining Shiva in the form of a Jyotirlingam, have been held in reverence since time immemorial in the Indian system of beliefs. The southernmost of these is located at Rameswaram, while the northernmost is located in the snowy heights of the Himalayas at Kedarnath. These temples are closely linked with legends from the puranas and are rich in history and tradition. The one near Ellora is the 12th.

Built of red rocks - Grishneshwar Temple

Grishneshwar Temple drop

Legend has it that a saint advised people whose babies were dying to build a shrine and drop the ailing infants from the roof to show their trust in the almighty. When they did so, the story goes, the babies were miraculously cradled to safety in a hammock-like sheet that appeared in midair. From then on, prayers for the birth of a healthy baby in the region have included a promise to toss the baby as an offering to the god who granted the prayers. Villagers believe that the ritual brings the child long life and good luck, and maintain that it does no harm.

Though officially banned, babies after one bounce on the bed-sheet, the babies are swiftly returned to the arms of parents waiting anxiously in the cheering crowd below.

It is also mentioned in Dan Brown's (my favorite quotes from this author can be found here) novel Origin "the slideshow concluded with a deeply unsettling video of an Indian cleric dangling a tiny infant over the edge of a fifty-foot tower. Suddenly the cleric let go, and the child plummeted fifty feet, straight down into an outstretched blanket, which joyful villagers held like a fireman's net. The Grishneshwar Temple Drop, Langdon thought, recalling that it was believed by some to bring God's favor to a child."

Ellora Caves:

The Ellora caves, locally known as ‘Verul Leni’ is located on the Aurangabad-Chalisgaon road at a distance of 30 km north-northwest of Aurangabad, the district headquarters. The name Ellora itself inspires everyone as it represents one of the largest rock-hewn monastic-temple complexes in the entire world. Ellora is also world famous for the largest single monolithic excavation in the world, the great Kailasa (Cave 16).

Great Kailasa of Ellora

The caves are hewn out of the volcanic basaltic formation of Maharasthra, known as ‘Deccan Trap’, the term trap being of Scandinavian origin representing the step like formation of the volcanic deposits. The rock formation, on weathering has given rise to the appearance of terraces with flat summits. At Ellora, one can also have a glimpse of the channels (near Cave 32) through which the volcanic lava once flowed. These channels, due to overheating, have a characteristic brownish red colour. Similar rock was used in the construction of the Grishneshwar Temple nearby and also utilised for the flooring of the pathways at Bibi-ka-Maqbara.

The hills in which the caves are hewn, forms part of the Sahyadri ranges of the Deccan and dated to the Cretaceous era of the Geological time scale (about 65 million years ago). The hills rise abruptly from the surrounding plains on the south and west, the western surface being extensively utilised for hewing the cave complexes. The hill also supports several streams, the prominent among them being the Elaganga, which drains into the Shiv, a stream of the Godavari river system. The Elaganga is in its full vigour during the monsoon, when the overflowing waters of a barrage in the upstream near Mahismati allows the gushing waters to land at “Sita-ki-nahani” near Cave 29 as a crashing waterfall.

The volcanic lava flowed during different periods, gave rise to extensive horizontal flows alternating with vesicular trap beds. The vesicular traps formed the upper portion of each of the massive trap beds. The different lava flows also gave rise to vertical as well as horizontal joints in the rock formation. Depending upon the nature and mineralogical content of the lava flow, the rock formations also varied in character and texture, giving rise to various qualities like coarse grained, fine grained formations. The ancient builders at Ellora, like other places, particularly chose the fine grained formations of the Deccan trap, ideal for sculpting and rock hewing. In addition to this, the ancient builders also traced the horizontal and vertical joints in the rock formation to minimise the labour and time during excavation and rock splitting. The basaltic rock is also ideal for rock hewing, as they are soft during the initial excavation and hardens on exposure to environment.

The basaltic formation of the Deccan is ideal for rock hewing, the technique widely understood during ancient times. This induced the religious followers of various creeds to establish their settlements in them. By a rough estimate, there are nearly 1200 caves of varying sizes in the entire Maharashtra, out of which nearly 900 alone belong to Buddhism.

The region is also famous for its antiquity. It has been inhabited since time immemorial, the stone tools belonging to the Upper Palaeolithic (around 10,000 to 20,000 years ago), Mesolithic (less than 10,000 years ago) bearing testimony to this fact. The Chalcolithic remains (2500-1000 BC) in the vicinity also indicates the continuity of human occupation in this region.

The importance of Ellora during the early centuries of the Christian era is also understood by the findings of coins of Satavahanas, the ruling dynasty during the period. The Satavahanas had their capital at Pratishtana (modern Paithan) and ruled the entire area between the Arabian Sea and Bay of Bengal and bordered by the Narmada River on the north. Ellora being located on the ancient trade route connecting the western ports on the Arabian sea like Sopara (Surparaka, the Supara of Greek; Subara of Arab writers; the ancient capital of northern Konkan), Kalyan a thriving port; Chemula, the Samylla of Greek geographers, Chemula of Silaharas, on the island of Trombay and the inland cities like Paithan (Pratishtana), Ter (Tagara), Bhokardan (Bhogavardhana) etc. The fact that Satavahanas traversed this region is attested by their inscriptions at Nasik caves and donor inscriptions of their times at Pital Khora caves, located at a distance of 40 km west of Ellora. Ellora is located directly on the ancient trade route which traversed from Pratishtana via Aurangabad, Ellora, Pital Khora, Patne, Nasika (modern Nasik). Nasik is at the crossroads of an ancient trade route connecting centres on the west to east and those on the north to south.

The location on the ancient trade route did not induce any activities at Ellora during the Satavahana rule. Brisk activities were already on at nearby Pital Khora, Nasik, Ajanta, etc., and this could have been a diversion of the ancient builders to support any activity here. However, as the multiplication of the religious establishments took place in every nook and corner of Maharashtra, the ideal location of Ellora was unavoidable.

Thus grew one of the largest cave excavations at Ellora, that too of three different religious creeds, viz., Buddhism, Brahmanism and Jainism. The caves are datable from circa 6th - 7th century A.D. to 11th - 12th century A.D. In total, there are nearly 100 caves in the hill range out of which 34 caves are famous and visited by many tourists, out of which Caves 1 to 12 are Buddhist; Caves 13 to 29 are Brahmanical and Caves 30 to 34 are Jaina. Two more groups of caves are noticed on the Elaganga and on an upper terrace, namely, the Ganesh Leni and Jogeshwari Leni.

These religious establishments could have received royal patronage from various dynasties, even though inscriptional evidences are lacking for most of them. The only definite inscriptional evidence is that of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15. The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant from Baroda of the period of Karka II (c. 812-13 A.D.) speaks about the greatness of this edifice. The inscription tells us that this great edifice was built on a hill by Krishnaraja at Elapura (Ellora) and even the celestial beings moving in the sky were struck by its magnificence, as though it was self-existent, not created by mortals, and, even the architect who caused it was wonder struck that he could build it. Apart from the above two inscriptions, the entire cave complexes lack inscriptions of the nature found at other cave sites like that of Ajanta, Nasik, Karle, Kanheri, etc.

In the absence of concrete inscriptional evidence, we can deduce the royal dynasties that could have extended their patronage to the religious establishments. The initiation of religious establishments at Ellora coincides with the departure of the tradition at Ajanta. It is well known that the excavations started here before the Rashtrakutas arrived on the scene and the Caves 1 to 10 and Cave 21 (Ramesvara) were definitely constructed before them. These excavations are generally attributed to the Kalachuris of Mahismati, appeared to have gained control of the region around Nasik and parts of ancient Asmaka (region around Aurangabad) including Bhogavardana (modern Bhokardan) and the Chalukyas of Badami who held their sway in this region for a brief period before their feudatories, the Rashtrakutas took over.

The majority of the Brahmanical establishments and the remaining Buddhist ones can be attributed to the Rashtrakuta times which indicate the religious tolerance of the contemporary period. The Jaina caves definitely post-date the Rashtrakutas as indicated by the style of execution and fragmentary inscriptions. This region was under the control of Kalyani Chalukyas and Yadavas of Deogiri (Daulatabad) during this period. The patronage towards Jainism under the Yadavas is also known by the findings of several sculptures of Jaina faith from Daulatabad. Thus, we have the greatest religious conglomeration at a single place, signifying the religious tolerance and solidarity of different faiths.

The Ellora caves, unlike Ajanta, have a distinction that they were never lost to oblivion, due to their close proximity to the trade route. There have been numerous written records to indicate that these caves were visited regularly by enthused travellers and royal personages as well. The earliest is that of an Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. the approach roads to the caves were repaired on the ensuing visit of Sultan Hasan Gangu Bahmani, who also camped at the site and visited the caves. The other important accounts of these caves are by Firishta, Thevenot (1633-67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), Seely (1824). During the 19th century A.D. these caves were owned by the Holkars of Indore who auctioned for the right of worship and leasing them for religious as well as a form of entrance fee. After the Holkars, these caves passed into the control of Nizams of Hyderabad, who through their Archaeology Department carried out extensive repairs and maintenance of the caves under the guidance of Archaeological Survey of India. The caves are under the maintenance of the Archaeological Survey of India after the reorganisation of states and the dominions of erstwhile Nizams merged into the state of Maharashtra.

Cave No 1 : - This Buddhist monastery is datable to 6th Century A.D. It is devoid of any sculptural representation.

Empty cells in Cave1, Ellora

These holes were made to tie ropes around them by passing the rope through two such holes - Cave 1, Ellora

Cave No. 2
The door of the hall and sanctum are guarded by large figures of Bodhisattvas.

Entrance of Cave 2

The hall has 12 decorative pillars, which endow it with a majestic appearance.

Pillars in Cave 2

Cave No. 3

Outside Cave No 3 Ellora

Cave No. 4

Avalokitesvara (The lord who gazes down at the world)

This is the finest panel in the cave which is at the left of the vestibule, showing Avalokitesvara seated in the bhadrasana pose with a long-stemmed lotus, antelope skin, and the Buddha Amitabha in his jata headdress. He is attended by two female bodhisattvas - Tara, with her water jar, rosary, and ascetic's headdress, and Bhrikuti with a beautiful bunch of lotuses and her more elegant coiffure. Above the first is a standing Buddha or Bodhisattva; and over the latter Buddha, seated cross legged on a lotus (abhaya mudra) with his right hand raised and the left down in the attitude of blessing. This scene is extremely rare where Padmapani is larger than Buddha.

Avalokitesvara

Cave No. 5

It is the largest vihara in Maharashtra. The roof is being supported by 24 pillars with square shafts, and capitals having a thick compressed cushion.

Pillars with square shafts in Cave No. 5 - Ellora

As the cave had at least 20 cells for monks these were either the low tables for dining; or it may possibly have been a sort of monastic school, and these benches, the reading desks of the scholars or they may have served for both purposes. The columns are delicately carved.

The main figure in the central shrine of Cave 5 - Ellora

View outside Cave No. 5 - Ellora

Cave No. 6

The figure here holds what resembles a small book in his left hand, and some round object in his right, while his head-dress is unlike any other. He has rich armlets, heavy earrings, a necklace and janvi.

Cave No. 6 - Ellora

The pillars and pilasters in this central shrine show fine purnaghata capitals, with dwarfs sitting on the tops of the bases and animal riders on the extensions of the capitals above.

Pillars in Cave No. 6 - Ellora

Bhadrasana Buddha on his conventional but elaborate lion-throne, and the expected attendant bodhisattvas

Buddha on a lion throne - Cave No.6 - Ellora

3 figures in Cave No. 6 - Ellora

Cave No. 8

The shrine has the usual dwarapalas and their attendants at the door; and inside is the seated Buddha with his attendants, but in this case Padmapani has four arms, holding the lotus and deer skin over his shoulders. At his feet are small figures of devotees and behind them is a tall female figure with a flower in her left hand and dwarfs over her head. The other tall male attendant has a similar companion on his left.

Seated Buddha in Cave No. 8 - Ellora

Mahamayuri

An image of the goddess Mahamayuri with her peacock and a sage reading a book (along with flying dwarfs and a female attendant) appears on the right antechamber wall.

Mahamayuri Cave No. 8 - Ellora

Cave No. 9
Cave 9's elaborate upper facade levels contain a series of six seated Buddhas in ornate arches, in a sequence of three, two, and one, reading from bottom to top. Playful dwarfs and supporting yakshas appear between the arches.

Upper facade - Cave No. 9 - Ellora

Front view of carved facade - Cave No. 9 - Ellora

Cave No. 10

Facade of the grand Chaitya Cave 10, also called the Visvakarma Chaitya Hall

The deep frieze above the pillars is divided into two belts, the lower and narrower carved with crowds of fat little ganas in all sitting positions. The upper is much deeper, and is divided over each pillar so as to form compartments, each containing usually Buddha with two attendants, Padmapani and Vajrapani.

Freize above pillars - Cave No. 10 - Ellora

The arched roof is carved in imitation of wooden ribs, each rising from behind a little Naga bust, alternatively male and female, and joining a ridge piece above. It can be assumed that this style of imitation is a development stage in rock cut architecture, i.e. instead of the typical wooden ceiling the original construction itself was cut in rock.

Arched roof in Cave No. 10 - Ellora

The back of the nave stands a huge stupa nearly 27 feet in height and 16 feet in diameter. It has simple circular base, hemispherical dome and a square capital as we find in the typical stupa. Typical to a Mahayana construction, it has a large frontispiece nearly 17 feet in height attached to it, on which is a 11 feet colossal Buddha seated with his feet down, and his usual attendants, while on the arch over his head is carved the Bodhi Tree, with dwarfs on either side.

Stupa in Cave No.10 - Ellora

In the inner chamber, is a figure of Avalokitesvara, seated in the position of ease, making the gesture of offering in his proper right hand, and holding an expanded lotus in the other.

Avalokitesvara in Cave No. 10 - Ellora

Cave No. 11

A three-storeyed excavation dating back to the 8th century. Do Tal, or two storeys, was the name erroneously given to this cave when its ground floor was buried under debris. It is also called Teen tal.

3-storeyed Cave No. 11 - Ellora

The lowest level has two cells and a central sanctuary with figures of the Buddha in the teaching position. The intermediate level consists of five excavations, the first being incomplete and the last being a cell with a rock -cut bed. The remaining three have images of the Buddha attended by Bodhisattvas the uppermost level has a long columned hall with a shrine in the centre. On the rear wall are images of the goddess Durga and Lord Ganesha , indicating that this cave was later converted for worship by Hindus.

Cave No. 12
There are numerous small Buddha or bodhisattva panels elsewhere in the hall on the first floor. The most significant of all being the various mandala configurations. Typically showing eight seated bodhisattvas surround a central seated Buddha, they appear both on the wall at the left of the entrance to the pillared shrine vestibule and at two points in the chamber that leads to the staircase at front right.
The main shrine on the first floor has a huge teaching Buddha seated in the dhyanasana. His throne motifs are equally huge, but simplified, with large hooded nagas directly behind the throne, with single flying celestials with garlands above on either side. He is surrounded with seated rather than standing bodhisattvas. Eight in number, and differentiated by their varied attributes, they may well represent an astabodhisattva (8-bodhisattva) mandala.

Teaching Buddha in first floor of Cave No. 12 - Ellora

At the left and right of the antechamber Buddhas sit in the meditative pose flanked by cauri-bearing bodhisattvas with flying couples above. Identification of these attendants is difficult, for some of the detailing was done in heavy plaster now partly fallen away. The Buddhas are seated on lion thrones encrusted with a heavy layer of plaster.

Seated Buddha in first floor of Cave No. 12 - Ellora

There are numerous small Buddha or bodhisattva panels elsewhere in the hall on the first floor.

Bodhisattva panels in first floor of Cave No. 12 - Ellora

Near the top of the staircase leading to the second floor, one can enter a large pillared chamber fronted by two pillars with a beautifully carved lotus on the ceiling. Two mandalas, along with various seated Buddhas and bodhisattvas, have been carved. The mandalas flank the central image of a bhumisparsa Buddha, with Avalokitesvara and Vajrapani. On the right wall a large triad represents seated Avalokitesvara flanked by Jambhala on the left and Tara on the right, and with two smaller female devotees at the farther left. Various other small panels appear on the three walls, including a triad of goddesses above this right wall’s mandala.

Lotus on ceiling, triad on the second floor of Cave No. 12 - Ellora

Seven meditating Buddhas, seated upon a high shared platform, and each attended by garland-bearing celestials and with different trees above are carved along each of the main hall's long rear walls at the left, while a similar row of teaching Buddhas is carved along the right rear wall. It is quite possible that they represent the seven historical Buddhas, the last being Sakyamuni himself.

Seven Meditating Buddhas - Cave No. 12 Third Floor- Ellora

Buddha in Padmasana - (first on the left wall) Third floor
On the shorter side walls, dramatically revealed at either end of the long horizontal aisles are nine Buddha images. There are four at the left and five on the right. Padmasana Buddhas (with legs crossed) at either end of the fifth (most rearward) and second aisles flank bhadrasana images (with feet down) at either ends of aisles four and three, while an "extra" padmasana image at the end of the front aisle faces the entrance to this upper floor at the left. These deeply carved images, with their attendant bodhisattvas, elaborate thrones and converging celestial couples fill the hall with a dramatically silent energy. The first two at the right are distinguished by trees carved above them and extra attendant musicians. Often the bodhisattvas are hard to distinguish, lacking very specific attributes, but there are a number of representations of Avalokitesvara with his expected lotus and Buddha in headdress and Vajrapani with the vajra lifted up on a long floral stem.

Buddha in Bhadrasana - (second on the left wall) - Third floor
On the shorter side walls, dramatically revealed at either end of the long horizontal aisles are nine Buddha images. There are four at the left and five on the right. Padmasana Buddhas (with legs crossed) at either end of the fifth (most rearward) and second aisles flank bhadrasana images (with feet down) at either ends of aisles four and three, while an "extra" padmasana image at the end of the front aisle faces the entrance to this upper floor at the left. These deeply carved images, with their attendant bodhisattvas, elaborate thrones and converging celestial couples fill the hall with a dramatically silent energy. The first two at the right are distinguished by trees carved above them and extra attendant musicians. Often the bodhisattvas are hard to distinguish, lacking very specific attributes, but there are a number of representations of Avalokitesvara with his expected lotus and Buddha in headdress and Vajrapani with the vajra lifted up on a long floral stem.

Buddha in Padmasana and Bhadrasana - Cave No. 12 Third Floor - Ellora

Seated female bodhisattvas - Cave No. 12 Third Floor - Ellora

Inscription in Cave No. 12 - Ellora

Cave No. 14

Garbhagriha
General view of the garbhagriha. The rear central capitals, before the shrine, are the most fully decorated; even their kirttimukhas are multiplied. They are ringed by sixteen exuberantly varied zoomorphic panels and have 48 diagonal striations.

Garbagriha in Cave No.14 - Ellora

Varaha
Varaha rescuing the Earth Goddess is pressing his foot down on the roiling underwater forces. As nagas offer praise, she rests with ease against his snout, using one of his hands as a pedestal.

Varaha in Cave No.14 - Ellora

Dancing Siva - Nataraj details
Siva, wreathed with serpents, is dancing to the beat of the great drum and the sounds of the wooden flute at the left, while Parvati and the emaciated Bhringi (seen dramatically poised behind his lord) attend his raptures. In the clouds above are Agni on his ram, Indra on his elephant, Brahma on his goose (hamsa) and Vishnu on his sun-bird Garuda.

Dancing Shiva in Cave No.14 - Ellora

Andhakasuravadha
With the skin of the elephant demon held behind him, Siva as Bhairava has pierced the demon Andhaka straight through, catching his dangerous blood in a skull cup. At the upper left, the impaled demon is already praising Siva for his painful but saving release, while Parvati and her (damaged) lion are seated below. Ganesa, visible between Siva's legs, is apparently dancing to the beat of the drumming dwarf at the left.

Andhakasuravadha in Cave No. 14 - Ellora

Cave No. 15

Sometimes called a Dancing Hall, this monolithic structure may have been a shrine for the devoted bull Nandi. This hall has had a porch to the left supported by two square pillars in front of a perforated window, over which is a long Sanskrit inscription too much  obliterated for translation.  This goes fourteen long lines and twenty nine and a half verses. It contains the genealogy of the Rashtrakuta dynasty, which ruled over the Deccan from 600 A.D till the end of the tenth Century. Dantidurga is mentioned at the end, which clearly points that either the temples was completely finished or at least in an advanced stage of construction when Dantidurga visited Ellora. The inscription breaks off at the thirtieth verse and has never been finished.

Dancing Hall - Cave No. 15 Ellora

To the left of the court's lowest level, there is a damaged shrine with a polished lingam in a late-type circular pitha, the shrine doorway being guarded by Saiva dvarapalas with characteristic clubs and assertive poses.

Lingam in Cave No. 15 - Ellora

Jali Window in Cave No. 15 - Ellora

Despite its necessarily low placement, this shrine was associated with the lingam in the upper floor. However, it had to be cut at its present low level because the earlier Buddhist excavators had already removed some or most of the matrix from the area above its roof. It is likely that the handsome loose image of Siva's bull that sits on the floor of the upper pillared hall on axis with the lingam, was once placed upon the roof of this courtyard edifice, in order to allow it better to attend the lingam within the cave. This would explain the anomalously flat treatment of the roof, with its low central platform, probably originally for the Nandi iself.

Top view of Nandi mantapa - Cave No. 15 - Ellora

Decorated pillars in first floor of Cave No. 15 - Ellora

Carvings in Cave No. 15 - Ellora

Vishnu as half-man half-lion (Narasimha) destroys Hiranyakasipu
The demon Hiranyakasipu had, through his austerities, obtained a boon from the gods, pledging that he could not be destroyed either indoors or outdoors, by night or by day, or by man or beast. But Vishnu, in a half-lion half-human form (neither man nor beast), kills him at dusk (neither day nor night) on a verandah (neither inside nor outside. At the left Garuda battles the demon king Bali. 

Narasimha in Cave No. 15 - Ellora

Cave No. 16, named The Kailasa or Kailasanatha Temple, is the unrivaled centerpiece of Ellora. This gargantuan structure – designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.

Kailasanatha Temple in Cave No. 16 - Ellora

All the carvings are done in more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

Sthamba in Cave No. 16 - Ellora

Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandap and main Shiva temple are each about 7 meters high, and built on two stories.

View from ground level Cave No. 16 - Ellora

The lower stories of the Nandi Mandap are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.

Top of Nandi Mandap in Cave No. 16 - Ellora

A living rock bridge connects the Nandi Mandap to the porch of the temple. The temple itself is tall pyramidic structure reminiscent of a South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu).

Dravidian sikhara in Cave No. 16 - Ellora

Shiva-Parvati seated on mount Kailash, while Ravana tries to lift it

There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art.

The construction of this cave was a feat of human genius – it entailed removal of 200,000 tonnes of rock, and took 100 years to complete.

Sculptural panel on the main temple of Cave No. 16 - Ellora

Depiction of entire Ramayana

Depiction of Ramayana in Cave No. 16 - Ellora

Cave No. 17

Ganesa
Broken-tusked son of Siva, Ganesa, at sits on the left of the main mandapa with a cobra around his waist and holding his axe, a rosary, and a flower, while consuming laddus. Below Ganesa are music-making dwarfs, that at the right with a stringed instrument, while the other, painfully constricted, playing cymbals.

Ganesa - Cave No. 17 at Ellora

Cave No. 21
Ravana shaking Mount Kailash
Shiva and Parvati are depicted seated on Mount Kailash in the upper portion of the portrayal, while Ravana, lifting the mount is portrayed in the lower register. Mount Kailash is pictured as a simple platform. Ravana is depicted as a strongly built man lifting the mountain with all his might.

Ravana shaking Mount Kailash in Cave No. 21 - Ellora

Cave No. 23
Maheshamurti and Lingam in shrine 7

Maheshmurti and Lingam in Cave No. 23 - Ellora

Cave No. 26

Front facade of Cave No. 26 - Ellora

Cave No. 27

Varaha in Cave No. 27 - Ellora

Cave No. 29

Shiva and Parvati in Cave No. 29 - Ellora

Nataraja in Cave No. 29 - Ellora

Seated Lakulisa in Cave No. 29 - Ellora

Cave No. 32

Elephant in courtyard of Cave No. 32 - Ellora

Penance of Bahubali - Cave No. 32 - Ellora

Pavilion in inner courtyard - Cave No. 32 - Ellora

Bibi ka Maqbara

Bibi Ka Maqbara is a maqbara built by Prince Azam Shah, son of Emperor Aurangzeb, in the late 17th century as a loving tribute to his mother, Dilras Bano Begam (posthumously known as Rabia-ud-Daurani). The monument's name translates literally to 'Tomb of the Lady', but has earned the nickname 'poor man’s Taj' because it was made to rival the Taj Mahal. It is situated in Aurangabad, Maharashtra. The tomb in itself represents the transition from the ostentatious architecture of Akbar and Shah Jahan to the simple architecture of the later Mughals. The comparison to the Taj Mahal has resulted in a general ignorance of the monument. This Monument is also called as Dakkhani Taj or Taj of Deccan.

The mausoleum is entered through a main entrance gate on its south, which has excellent foliage designs on brass plate on wood covering from the exterior.

Interestingly, while the Begum nestles in the magnificent structure, the austere Mughal emperor chose to be laid in and commemorated with touching simplicity. Aurangzeb’s tomb is also in Aurangabad at Khuldabad en route Daulatabad Fort.

The main onion dome of the Maqbara is smaller than the dome of the Taj. Square in shape, the Maqbara has four octagonal minarets. These are shorter than the main structure. There is only one mosque on the main plinth of the Maqbara while there are two mosques on either side of the Taj, giving it symmetry. The mosque, it is said, is a later addition. It was not in the main plan.

Mosque on one side of Bibi ki maqbara

Thanks to Anesh Iyer for capturing perfectly

Square minarets with half moon in the background

Jali
Jali is one of the traditional architectural elements that has been effective in addressing the environmental comfort. It cuts the glare and lets illumination through without affecting the intensity of light much. As air passes through the holes, its velocity increases due to venturi effect thereby cooling it.

White marble jali screens

Interior ceiling of the tomb

The mortal remains of Rabia Daurani are placed below the ground level surrounded by an octogonal jali pierced marble screens with exquisite designs.

Mortal remains of Rabia Daurani surrounded by ocagonal jali

Flower designs - typical of Islamic art where depiction of animals and people being discouraged.

Flower designs in Bibi ki Maqbara

Panchakki

The Panchakki or the Water mill, located at Aurangabad, was built in the early years of the 17th century, by the Muslim Sufi Saint Baba Shah Musafir. The complex of Panchakki had been a place of external abode of the great Sufi Saints who flocked to India in 12th Cent A.D. The sufi's were the Muslim saints, influenced by the spiritual philosophy of the Vedanta, the Sufi movement in India is reminiscence of secularism. The Panchakki, is a calm and peaceful place that visualizes the life that existed in the medieval period. Visitors having sensitive imagination, may hear the beats of drum and the humming noise of the people moving around the complex.

The water flows down through clay pipes based on the Siphon system from the distance of 11 km. This marvelous water mill was designated to generate energy to turn the large grinding stone, serving as a flour mill. This a is fine example of early Indian architecture which works based on scientific principles.

Panchakki - Cistern

The Panchakki with all its glories and enchantments has a unique place in the history. In fact it was the residence of popular saint " Baba Shah Musafir ". The panchakki has its own underground water channel, having the source some where towards the North of the city about 8 Kms. away in the mountains. The construction of this water channel from the main source to the Panchakki was started during the life time of saint " Baba Shah Musafir " some time in the year 1624 A.D...

The complete water channel is made up of earthen pipes finely lined up and at appropriate distances, masonry pillars are erected which serve as natural suction pumps to make the water flow through the pipes with force through the distance of 8 Kms. Finely, the water rises " syphonically " to a huge elevated masonry pillar from where it falls down into the main cistern to make an attractive " Water Fall " .

Banyan tree in the southern end of Panchakki

Siddharth Garden

Situated in the heart of the city, this was our final place to visit in Aurangabad before our departure.

Our group preparing to depart.


Our Plan
Day 1
11:00 - Ajanta Caves

Day 2
08:30 - Daultabad Fort
11:10 - Grishneshwar Temple
11:30 - Ellora
16:00 - Bibi Ka Maqbara
17:30 - Panchakki
18:00 - Sidharth Garden

This trip really evoked a true sense of wonder and inspired to explore Mumbai on similar lines.