Traditional
80-465: The Trimurti is the trinity of supreme divinity in Hinduism , in which the cosmic functions of creation , preservation , and destruction are personified as a triad of deities. Typically, the designations are that of Brahma the creator, Vishnu the preserver, and Shiva the destroyer. The Om symbol of Hinduism is considered to have an allusion to Trimurti, where the A, U, and M phonemes of
160-431: A rishi , thus weaving the family life and the ascetic monastic life, the secular and the spiritual tied in through metaphorical symbolism of dance within the same panel. The dancer and destroyer aspects of Shiva are clustered in the northwest part of the cave, in contrast to yoga and creator aspects that are found in the northeast parts. This 6th-century Nataraja shares architectural elements with those found in temples in
240-464: A Hindu wedding. Chandra (moon god), for example, holds a traditionally decorated water vessel ( kalash ). Brahma, the priest, is squatting on the floor to the right tending the yajna fire (agni mandapa). The panel in the east side of the portico next to the north entrance (see 9 on plan) is Shiva in Yoga. This form of Shiva is called Yogishvara, Mahayogi, Lakulisa . Shiva, states Stella Kramrisch,
320-691: A collection of cave temples predominantly dedicated to the Hindu god Shiva , which have been designated a UNESCO World Heritage Site . They are on Elephanta Island , or Gharapuri (literally meaning "the city of caves"), in Mumbai Harbour , 10 kilometres (6.2 mi) east of Mumbai in the Indian state of Mahārāshtra . The island, about 2 kilometres (1.2 mi) west of the Jawaharlal Nehru Port , consists of five Hindu caves,
400-403: A crescent. The female figure has all the ornamentation (broad armlets and long bracelets, a large ring in the ear, jewelled rings on the fingers) but the right male figure has drooping hair, armlets and wristlets. One of his hands rests on Nandi bull's left horn, Shiva's mount, which is fairly well preserved. The pair of hands at the back is also bejewelled; the right hand of the male side holds
480-531: A cup with a triple-headed female figure (with broken arms) to depict the three major rivers in Hindu texts. An alternative interpretation of the three-bodied goddess in Gangadharamurti panel here and elsewhere is that it represents the regenerative powers of rivers in the form of Mandakini, Suradhani and Bhagavati. In this grotto scene, Shiva is sculpted and bedecked with ornaments, while gods gather to watch
560-427: A few Buddhist stupa mounds that date back to the 2nd century BCE, and two Buddhist caves with water tanks. The Elephanta Caves contain rock-cut stone sculptures, mostly in high relief , that show syncretism of Hindu and Buddhist ideas and iconography. The caves are hewn from solid basalt rock. Except for a few exceptions, much of the artwork is defaced and damaged. The main temple's orientation as well as
640-441: A head of matted hair. A damaged ornamented drapery covers his lower torso, below the waist. Parvati is carved to the left of Shiva with a coiffured hair dress, fully bedecked with ornaments and jewellery. Between them stands a gana (dwarf jester) expressing confused panic as to whether Shiva will be able to contain the mighty river goddess. In the lower left of the panel is a kneeling devout figure in namaste posture representing
720-421: A lotus with a stalk shown as if coming out of the earth, his legs are crossed symmetrically. Two Nagas flank the lotus and express their reverence with a namaste posture. The great yogi is being approached by various Vedic and Puranic gods and goddesses, as well as monks and sadhus, yet there is a halo around him that keeps them at bay as if they admire it but do not wish to disturb his meditation. In some ways,
800-631: A preferred principal deity and at the same time worship the other four deities as different forms of the same all-pervading Brahman . Triple deity Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.133 via cp1102 cp1102, Varnish XID 552076947 Upstream caches: cp1102 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 05:39:25 GMT Elephanta Caves#Trimurti, Gangadhara and Ardhanarishvara The Elephanta Caves are
880-578: A serpent, while the left hand of the female side holds a mirror. The front left hand is broken, while a large part of the lower half of the panel was damaged at some point. Around the Ardhanarishwara are three layers of symbolic characters. The lowest or at the same level as the viewer are human figures oriented reverentially towards the androgyne image. Above them are gods and goddesses such as Brahma, Vishnu, Indra and others who are seated on their vahanas . Above them are flying apsaras approaching
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#1732772365428960-502: A single verse, highlighting their roles within the cosmic functions of creation, preservation, and destruction. rūpāṇi trīṇi tatraiva mūrttibheda-vibhāgataḥ | ajāmyekāmśam ātmānaṁ śiva-rūpeṇa tishthati || jagataḥ sthiti-samdhānaṁ samharanti yuge yuge | trayaṁ brahma-mahā-viṣṇu-māheśvara-iti smṛtam || Translation: "In this way, the one supreme entity divides itself into three forms—Brahma, Vishnu, and Mahesh (Shiva)—taking on different aspects. It creates, preserves, and destroys
1040-403: A small three bodied goddess up high, a symbolism for Ganges, Yamuna and Saraswati. The mother goddess Parvati stands tall next to Shiva, smiling. The carving is 4 m (13 ft) wide and 5.207 m (17.08 ft) high. The Gangadhara image is highly damaged, particularly the lower half of Shiva seen seated with Parvati, who is shown with four arms, two of which are broken. From the crown,
1120-414: A three-headed Shiva, representing Panchamukha Shiva . The three heads represent three essential aspects of Shiva: creation, protection, and destruction. As per another version, the three heads symbolise compassion and wisdom. The right half-face (west face) shows him holding a lotus bud, depicting the promise of life and creativity. This face is symbolism for Brahma , the creator or Uma or Vamadeva ,
1200-402: A total of eight around the shrine. The height of the eight dvarapalas is about 4.6 m (15 ft). All are in a damaged condition except those at the southern door to the shrine. The Shaiva guardians carry weapons and flank the doors. Six steps lead to the inside of the cella from the floor level. In the centre is the mulavigraha Linga , is set on a raised platform above the floor of
1280-657: A walkway. The eastern hill is also called the Stupa hill, while the western hill is called the Canon hill, reflecting their historic colonial-era names, the ancient Stupa and the Portuguese era firing Canons they host respectively. All the caves are rock-cut temples that together have an area of 5,600 m (60,000 sq ft). At their most elaborate, they have a main chamber, two lateral chambers, courtyards, and subsidiary shrines, but not all are so fully developed. Cave 1
1360-534: Is Mount Kailash, where Shiva and Parvati are seated. Shiva is recognisable with a crown, and other characters are badly damaged. A portion of ascetic skeletal devotee Bhringi relief survives, and he is seated near Shiva's feet. Near Shiva an outline of what may have been Ganesha and Kartikeya are visible. Below the mountain surface is shown the demon-king Ravana is seen with a few arms, trying to unsuccessfully shake Shiva and Parvati in Mount Kailash. The rest of
1440-529: Is a colossal carving, a bit over 6.27 metres (20.6 ft), depicting Tatpurusha (Mahadeva), Aghora (Bhairava), Vamadeva (Uma) and Sadyojata (Nandin). The carving is unusual because the standard ancient Hindu texts for murti design state that the Tatpursha should face east, but in Elephanta it is the north face (pointing towards the main entrance). Smaller shrines are located at the east and west ends of
1520-412: Is a sanctum with a Shiva Linga. This Yogi Shiva panel is damaged, but unlike the other Yogi depiction, here the leg position in Yoga asana has survived. The Yogishvara is seated on a lotus, and near him are two badly defaced characters, possibly one of Parvati and another ascetic. Above him are ruin remains of celestial gods or goddesses or apsaras. The Yogi Shiva is wearing a crown, and once again there
1600-640: Is a small village on the south side of the island. The Elephanta Caves is connected by ferry services from the Gateway of India , Mumbai between 9AM and 2PM daily, except Monday when the Caves are closed. Mumbai has a major domestic and international airport, as well as is connected to the Indian Railways. The island is 2.4 km (1.5 mi) in length with two hills that rise to a height of about 150 m (490 ft). A narrow, deep ravine separates
1680-428: Is a space of isolation around the meditating yogi in which no other character enters. Below him, under the lotus, are Nagas and several badly damaged figures two of whom depict the anjali mudra . The Nataraja shown in the west shrine is similar in style to one inside the main mandapa. However, states Collins, its depth of carving appears inferior, and it seems more eroded being more open to rains and water damage. To
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#17327723654281760-610: Is aligned with the north–south axis, unusual for a Shiva shrine (normally east–west). However, inside is an integrated square plan Linga shrine ( garbha-griya ) that is aligned east–west, opening to the sunrise. Layout ( Explore 3D Model by CyArk ): 1. Ravananugraha 2. Shiva-Parvati, Mount Kailash 3. Ardhanarishvara 4. Sadashiva Trimurti 5. Gangadhara 6. Wedding of Shiva 7. Shiva slaying Andhaka 8. Nataraja 9. Yogishvara 16. Linga East Wing Shrine 10. Kartikeya 11. Matrikas 12. Ganesha 13. Dvarapala West Wing Shrine 14. Yogishvara 15. Nataraja To reach
1840-460: Is enclosed in the cave, it has interior walls but no exterior wall. The pillars create space and symmetric rhythm as they support the weight of the hill above. The main mandapa recesses into a pillared vestibule ( ardha-mandapa ) on the south side, while a pillared portico ( mukha-mandapa ) connects it to the main entrance. Embedded within the Great Cave are dedicated shrines, the largest of which
1920-406: Is flanked by two large friezes, one of Ardhanarishvara and the other of Gangadhara . The walls of the mandapa feature other Shaivism legends. All the friezes, states Stella Kramrisch , feature the vyaktavyakta concept of Samkhya , where the state of spiritual existence transitions between the unmanifest-manifest, the figures leap out of the cave walls towards the spectator as if trying to greet
2000-446: Is holding an axe, a coiled serpent is wrapped around its top. In another he holds a folded cloth, possibly symbolic veil of maya . There are fewer gods, goddesses and observers in this panel than others in this cave, with Brahma, Vishnu, Lakshmi, Saraswati and Parvati are visible and have a facial expression of being spellbound. Also present are his sons leaping Ganesha and Kartikeya holding Shiva's staff, as well as an ascetic and
2080-513: Is strongly emphasized in the Kūrma Purāṇa , wherein 1.6 Brahman is worshipped as Trimurti; 1.9 especially inculcates the unity of the three gods, and 1.26 relates to the same theme. Noting Western interest in the idea of trinity, historian A. L. Basham explains the background of the Trimurti as follows: There must be some doubt as to whether the Hindu tradition has ever recognized Brahma as
2160-441: Is supported by four reconstructed pillars. At the back of the portico are three chambers. The central door at the back of the portico leads to a damaged shrine, the sanctum seems to be for a Linga, but that is lost. The shrine is a plain room 6 m (20 ft) deep by 5.7 m (19 ft) wide with a low altar. The shrine door has some traces of sculpture. The dvarapalas on each side, leaning on dwarfs with flying figures over
2240-461: Is surrounded by gods and goddesses. By portraying Skanda with Matrikas, he is equated with the Krittikas legend and thereby Kartikeya, and by showing him so prominently centred the artists are likely communicating the unity of Skanda-Shiva, that all these divinities are in essence the same spiritual concept, "all emanations of the lingam at the very heart of Elephanta", according to Schastok. On
2320-425: Is the "primordial yogi " in this panel. He is the master of discipline, the teacher of Yoga arts, the master who shows how yoga and meditation lead to the realisation of ultimate reality. The relief is in a dilapidated condition with most of the arms and legs broken. He is seated in padmasana lost in his meditation. His posture is well formed and suggests that the 6th century artist knew this asana . He sits on
2400-404: Is the largest and is 39 metres (128 ft) deep from the front entrance to the back. The temple complex is primarily the abode of Shiva , depicted in widely celebrated carvings which narrate legends and theologies of Shaivism . However, the artwork reverentially displays themes from Shaktism and Vaishnavism traditions of Hinduism as well. The main cave, also called Cave 1, Grand Cave or
2480-423: Is the square plan Linga shrine (see 16 in plan). It is a square garbha-griya (womb house) with four entrances, located in the right section of the main hall. Steps lead from the four doorways into the sanctum, which has a linga in the mulavigraha style. Each doorway is guarded by a dvarapala on each side, for a total of eight dvarapalas, their heights spanning floor to the ceiling. These were badly damaged when
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2560-649: Is the wedding of Shiva and Parvati. This legend is called the Kalyanasundara in Hindu texts. Parvati is seen standing to Shiva's right, the customary place for a Hindu bride at the wedding. The carvings are substantially damaged, but the ruined remains of the sculpture have been significant to scholarly studies of Hindu literature. In many surviving versions of the Puranas , the wedding takes place in King Parvata's palace. However, in this Elephanta Cave panel,
2640-590: Is to be found in the theological conception of the Trimūrti , i.e., the manifestation of the supreme God in three forms of Brahmā , Viṣṇu , and Śiva ... But the attempt cannot be regarded as a great success, for Brahmā never gained an ascendancy comparable to that of Śiva or Viṣṇu , and the different sects often conceived the Trimūrti as really the three manifestations of their own sectarian god, whom they regarded as Brahman or Absolute. The identification of Brahma, Vishnu, and Shiva as one being
2720-578: The Dvaita school holds Vishnu alone to be the Supreme God, with Shiva subordinate, and interprets the Puranas differently. For example, Vijayindra Tîrtha, a Dvaita scholar interprets the 18 puranas differently. He interprets the Vaishnavite puranas as satvic and Shaivite puranas as tamasic and that only satvic puranas are considered to be authoritative. The tradition of Sri Vaishnavism in
2800-464: The Smārta tradition, invokes the five deities Shiva , Vishnu , Brahma , Shakti and Surya . Śankarācārya later added Kartikeya to these five, making six total. This reformed system was promoted by Śankarācārya primarily to unite the principal deities of the six major sects on an equal status. The monistic philosophy preached by Śankarācārya made it possible to choose one of these as
2880-429: The "seven mothers" along with Parvati, Kartikeya (Skanda) and Ganesha. The smaller shrine's sanctum features a linga and has a circumambulatory path around it. The sanctum door has Shaiva dvarapalas . The Shakti panel in the east shrine is unusual in that counting Parvati, it features eight mothers ( Asta matrikas ) in an era when Sapta matrikas were more common such as at Samalaji and Jogeshwari caves. Additionally,
2960-536: The 5th and 7th centuries. Many scholars consider them to have been completed by about 550 CE. They were named Elefante —which morphed to Elephanta—by the colonial Portuguese who found elephant statues on the caves. They established a base on the island. The main cave (Cave 1, or the Great Cave) was a Hindu place of worship until the Portuguese arrived, whereupon the island ceased to be an active place of worship. The earliest attempts to prevent further damage to
3040-541: The Great Cave, is 39.63 metres (130.0 ft) square in plan with a hall ( mandapa ). The basic plan of the cave can be traced back to the plan of the ancient Buddhist viharas , consisting of a square court surrounded by cells, built from about 500 to 600 years before in India. The Cave has several entrances, the main entrance is unassumingly small and hides the grand hall inside. The main entrance faces north, while two side entrances face east and west. The cave's main entrance
3120-535: The Great Cave, located about a kilometre walk up a steep graded uphill. The Elephanta island is a protected monument area as per the requirements of UNESCO. A notification was issued by the Government of India in 1985 declaring a buffer zone that outlines "a prohibited area" that stretches 1 kilometre (0.62 mi) from the shoreline. The island has two groups of rock-cut caves, hewn from solid basalt rock. The larger group of caves, which consists of five caves on
3200-500: The Portuguese ceded control of this region to the British. The linga shrine is surrounded by a mandapa and circumambulation path ( pradakshina-patha ) as in other Hindu temples . The pillars are similarly aligned east–west to this shrine and have an east entrance. Overlaid, as if fused, on the architecture of this temple is another open temple aligned to the north–south direction with three faced Sadashiva as its focal centre. One features
3280-575: The Supreme Deity in the way that Visnu and Siva have been conceived of and worshiped. The concept of Trimurti is also present in the Maitri Upanishad , where the three gods are explained as three of his supreme forms. Temples dedicated to various permutations of the Trimurti can be seen as early as the 6th century CE, and there are still some temples today in which the Trimurti are actively worshipped. In general it can be said that
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3360-468: The Trimurti is called Tridevi ("three goddesses") . The masculine gods ( Brahma , Vishnu , Shiva ) are then relegated as auxiliary agents of the supreme feminine Tridevi. Smartism is a denomination of Hinduism that places emphasis on a group of five deities rather than just a single deity. The "worship of the five forms" ( pañcāyatana pūjā ) system, which was popularized by the ninth-century philosopher Śankarācārya among orthodox Brahmins of
3440-686: The Trimurti is the Trimurti Sadashiva sculpture in the Elephanta Caves on Gharapuri Island . Despite the fact that the Vishnu Purana describes that Vishnu manifests as Brahma in order to create and as Rudra ( Shiva ) in order to destroy, Vaishnavism generally does not acknowledge the Trimurti concept; instead, they believe in the avataras of Vishnu like Narasimha , Rama , Krishna , etc. They also believe that Shiva and Brahma are both forms of Vishnu. For example,
3520-511: The abstract, unmanifest, aniconic symbol of Shiva, the other anthropomorphic, manifest, iconic symbol of Shiva. The mandapa pillars of the two align up. The northern entrance to the cave is flanked by two panels of Shiva dated to the Gupta period , both damaged. The left panel depicts Yogishvara (Shiva as the Lord of Yoga ) and the right shows Nataraja (Shiva as the Lord of Dance). The Sadashiva
3600-647: The caves were started by British India officials in 1909. The monuments were restored in the 1970s. It is currently maintained by the Archaeological Survey of India (ASI). Elephanta Island , or Gharapuri, is about 11 km (6.8 mi) east of the Gateway of India in the Mumbai Harbour and less than 2 km (1.2 mi) west of Jawaharlal Nehru Port . The island covers about 10 km (3.9 sq mi) at high tide and about 16 km (6.2 sq mi) at low tide. Gharapuri
3680-427: The caves. The eastern sanctuary serves as a ceremonial entrance, and its shrine shows iconography of Shaktism tradition. The Trimurti is considered a masterpiece and the most important sculpture in the caves. It is carved in relief on the south wall of the cave facing the north entrance, along the north–south axis. It is also known as Sadashiva and Maheshmurti . The image, 7 m (23 ft) in height, depicts
3760-460: The ceiling are seen blessing the wedding. The groom Shiva is shown calm and young, while Parvati is depicted as shy and emotional. Her head is tilted towards him and her eyelids joyfully lowered, while his hand (now broken) is holding hers. Their dress reflect the Hindu customs. He wears the sacred thread across his chest, she the customary jewellery. The other characters shown in the wedding carry items or are shown holding items that typically grace
3840-429: The clouds above. There are traces of a crown and a disc behind Shiva, but it is all damaged. The scene is crowded with accessory figures, which may be because the eastern entrance was meant to have a devotional focus. The panel facing the Mount Kailash panel towards the northeast corner (see 1 on plan) depicts demon king Ravana trying to lift Kailash and bother Shiva, a legend called Ravananugraha . The upper scene
3920-421: The concept pictorially symbolises the transcendence of all duality including gender, with the spiritual lacking any distinctions, where energy and power (Shakti, Parvati) is unified and is inseparable with the soul and awareness (Brahman, Shiva). In the panel, the relief shows a headdress (double-folded) with two pleats draped towards the female head (Parvati) and the right side (Shiva) depicting curled hair and
4000-432: The cosmic source of earthly abundance. The gods and goddesses shown are identifiable from the vahana (vehicle) and icons, and they include Brahma (left), Indra (left), Vishnu (right), Saraswati , Indrani , Lakshmi , and others. Wrapped on one of the arms of Shiva is his iconic coiling serpent whose hood is seen near his left shoulder. Another hand (partly broken) gives the semblance of Shiva hugging Parvati, with
4080-762: The depiction of Shiva as Yogi in Elephanta Cave 1 is harmonious with those found in the Puranas dated to early and mid 1st millennium CE. The panel facing the Yogishvara, on the west side of the portico next to the north entrance (see 8 on plan) is Shiva as the Nataraja , "cosmic dancer" and "the lord of dancers". It is also called the Nrittamurti . The badly damaged relief panel is 4 m (13 ft) wide and 3.4 m (11 ft) high and set low on
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#17327723654284160-429: The details are blurry and speculative. According to Charles Collins, the discernible elements of this panel are generally consistent with those in medieval era Puranas, though there is a lack in literal correspondence with any single text. The central shrine of the Great Cave temple is a free-standing square stone cella, with entrances on each of its sides. Each door is flanked by two dvarapalas (gate guardians), for
4240-539: The east side of the main hall is a separate shrine. It is a 17 m (56 ft)-wide courtyard with a circular pedestal. It once had a seated Nandi facing the Linga shrine, but its ruins have not been restored. To the south side of this eastern courtyard is the Shaktism shrine, with a lion, each seated with a raised forepaw as guardian. Inside the west face of this small shrine (see 10–12 of plan) are Sapta Matrikas , or
4320-405: The feminine and the masculine aspects in the universe, for its creation, its sustenance and its destruction. It is represented as half woman shown as half of Parvati in this Elephanta panel on the right side, with breast, waist, feminine hair and items such as a mirror in the upper hand. The second half-man side is Shiva with male characteristics and items iconographically his symbol. In Shaivism ,
4400-788: The feminine side of Shiva and creator. The left half-face (east face) is that of a moustached young man. This is Shiva as the terrifying Aghora or Bhairava, the chaos creator and destroyer. This is also known as Rudra-Shiva, the Destroyer. The central face, benign and meditative Tatpurusha, resembles the preserver Vishnu . This is the Shiva form as the "master of positive and negative principles of existence and preserver of their harmony". The three-headed Shiva are his creator, preserver and destroyer aspects in Shaivism. They are equivalently symbolism for Shiva, Vishnu, and Brahma, they being equivalent of
4480-473: The fused divinity with garlands, music, and celebratory offerings. The panel in the northwest side of the cave, on the wall near west entrance and the Linga shrine (see 7 in plan), is an uncommon sculpture about the Andhakasura-vadha legend. It shows Bhairava , or Virabhadra , a ferocious form of Shiva killing the demon Andhaka (literally, "blind, darkness"). The relief is much ruined below
4560-462: The heroic legendary king Bhagiratha who worked hard to bring the river of prosperity to his earthly kingdom, but unaware of the potentially destructive forces that came with it. On the wall to the east of the Trimurti is a damaged four-armed Ardhanarishvara carving. This image, which is 5.11 m (16.8 ft) in height. It represents the ancient Hindu concept of essential interdependence of
4640-464: The idea that Shiva is the "God of destruction". Shiva is the supreme God and performs all actions, of which destruction is only but one. Ergo, the Trimurti is a form of Shiva Himself for Shaivas. Shaivites believe that Shiva is the Supreme, who assumes various critical roles and assumes appropriate names and forms, and also stands transcending all these. A prominent visual example of a Shaivism version of
4720-473: The main cave, a visitor or pilgrim has to walk up 120 steep steps from the ticket counter, which can be reached from the pier/beach by walking on a footpath or by taking the tourist toy train. At the main entrance are four pillars, with three open porticoes and an aisle at the back. Pillars, six in each row, divide the hall into a series of smaller chambers. The roof of the hall has concealed beams supported by stone columns joined together by capitals. The temple
4800-470: The middle of the action. The legs and five of the eight arms are broken, attributed to Portuguese vandalism. The smaller broken image Andhaka is seen below Bhairava's image. Also depicted in his right hand is the symbolic weapon that Shaiva scriptures states Shiva used to kill the destructive elephant demon. A hand holds a bowl to collect the blood dripping from the slain Andhaka, which Shaiva legend states
4880-588: The mothers are flanked on one side with Ganesha and the other with Skanda (Kartikeya) when typical artwork from mid 1st millennium show the Shakta mothers with Ganesha and Shiva. According to Sara L. Schastok, the Skanda in the east shrine of Elephanta Cave 1 is significant, just like the one found in Deogarh Hindu temple site, because he is depicted with regalia, weapons and icons similar to Shiva and because he
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#17327723654284960-425: The narrative shows some earlier version. Here King Parvata standing behind Parvati gives away the bride to Shiva while Brahma is the priest in the grotto relief. Gods, goddesses and celestial apsaras are cheering witness to the wedding. Vishnu is witness to the marriage, standing tall behind the sitting Brahma on the right side of the panel. Just above the main images rishi (sages) and a few characters hanging from
5040-495: The narrative. Even the manifested Sadashiva is shown to be rising out of the rocks. Each wall has large carvings of Shiva-related legends, each more than 5 metres (16 ft) in height. The central Shiva relief Trimurti is located on the south wall opposite the main entrance. Also called the Sadashiva, it is the iconic form of a pancamukha linga is set in a mandala pattern with the abstract linga form of Shiva. The Sadashiva
5120-411: The north-west, Mora Bunder in the northeast, and Gharapuri or Raj Bunder in the south. There are five rock-cut caves in the western hill and a brick stupa on the eastern hill. The eastern hill has two Buddhist mounds and is called the Stupa hill. Close to the five western hill caves, are Cave 6 and 7 on the eastern hill. The most visited and significant cave is on the western hill and is called Cave 1 or
5200-436: The relative location of other temples are placed in a mandala pattern. The carvings narrate Hindu legends, with the large monolithic 5.45 metres (17.9 ft) Trimurti Sadashiva (three-faced Shiva), Nataraja (Lord of dance) and Yogishvara (Lord of Yogis) being the most celebrated. These date to between the 5th and 9th centuries, and scholars attribute them to various Hindu dynasties. They are most commonly placed between
5280-459: The shrine by 1.8 m (5 ft 11 in). It is the abstract unmanifest symbol of Shiva in union with the Yoni , and the symbol of Parvati together symbolising the creative source and the regenerative nature of existence. The temple and all the pillars are laid out to lead the pilgrim's view towards it, the cella is visible from any point inside the cave and its most significant progression. On
5360-447: The south holds that all major deities that are hailed in the Puranas are in fact forms of Vishnu, and that the scriptures are dedicated to him alone. The female-centric Shaktidharma denomination assigns the eminent roles of the three forms ( Trimurti ) of Supreme Divinity not to masculine gods but instead to feminine goddesses: Mahasarasvati (Creatrix) , Mahalaxmi (Preservatrix) , and Mahakali (Destructrix) . This feminine version of
5440-427: The south-east of the Great Cave is Cave 2 . The cave is unfinished. The front of this cave was completely destroyed and restored in the 1970s with four square pillars. It has two small cells in the back. Cave 3 is next to Cave 2, as one continues to go away from the main shrine. It is a portico with six pillars, and a mandapa with pillars. The portico is 26 m (85 ft) long and 11 m (36 ft) deep and
5520-497: The three aspects found in Shaivism. The Trimurti Shiva is flanked on its left by Ardhanarisvara (a half-Shiva, half-Parvati composite) and Gangadhara legend to its right. The Gangadhara image to the right of the Trimurti shows Shiva and Parvati standing. Shiva brings the Ganges River down from the heavens and her immense power is contained effortlessly in Shiva's hair as she descends from heaven. The artists carved
5600-684: The trimurti has less of a role in the Hinduism of recent centuries than in ancient India. Shaivites hold that, according to Shaiva Agama , Shiva performs five actions – creation, preservation, dissolution, grace, and illusion. Respectively, these first three actions are associated with Shiva as Sadyojata (akin to Brahma ), Vamadeva (akin to Vishnu ) and Aghora (akin to Rudra ). Thus, Brahma, Vishnu and Rudra are not deities different from Shiva, but rather are forms of Shiva. As Brahma/Sadyojata, Shiva creates. As Vishnu/Vamadeva, Shiva preserves. As Rudra/Aghora, he dissolves. This stands in contrast to
5680-462: The two hills and runs from north to south. On the west, the hill rises gently from the sea and stretches east across the ravine and rises gradually to the extreme east to a height of 173 m (568 ft). Forest growth with clusters of mango, tamarind, and karanj trees cover the hills with scattered palm trees. The foreshore is made up of sand and mud with mangrove bushes on the fringe. Landing quays sit near three small hamlets known as Set Bunder in
5760-522: The universe in various ages." This period had no homogeneity, and included orthodox Brahmanism in the form of remnants of older Vedic faith traditions, along with different sectarian religions, notably Shaivism , Vaishnavism , and Shaktism that were within the orthodox fold yet still formed distinct entities. One of the important traits of this period is a spirit of harmony between orthodox and sectarian forms. Regarding this spirit of reconciliation, R. C. Majumdar says that: Its most notable expression
5840-432: The waist, is 3.5 m (11 ft) high and posed in action. Though a relief, it is carved to give it a three-dimensional form, as if the ferocious Shiva is coming out of the rocks and impaling Andhaka with his trident. Bhairava's headgear has a ruff on the back, a skull, and a cobra over the forehead, and the crescent high on the right. His facial expression is of anger, the conviction of something he must do, and one in
5920-474: The wall. His body and arms are shown as wildly gyrating in the lalita mudra, a symbolism for occupying all of space, soaring energy and full-bodied weightlessness. His face here resembles the Tatpurusha, or the manifested form of Shiva that preserves and sustains all of creation, all of creative activity. This is an eight-armed depiction of Nataraja. The parts of the panel that have survived suggest that he
6000-517: The west side of the main hall is another attached shrine, though in a much more ruined state. The larger cave on the south side of the west shrine is closed, contains ruins and is bigger than the eastern side shrine. Some of the artworks from here were moved to museums and private collections by mid 19th century, including those related to Brahma, Vishnu and others. The western face has two panels, one showing another version of Shiva in Yoga (see 14 on plan) and another Nataraja (see 15 on plan). Between these
6080-474: The western hill of the island, is well known for its Hindu sculptures. The primary cave, numbered as Cave 1, is about 1.0 km (0.62 mi) up a hillside, facing the Mumbai harbour. Caves 2 through 5 are next to Cave 1 further southeast, arranged in a row. Cave 6 and 7 are about 200 m (660 ft) northeast of Cave 1 and 2, but geologically on the edge of the eastern hill. The two hills are connected by
6160-733: The western parts of South Asia such as in Gujarat, and in upper Deccan region. The carvings at the east entrance are battered and blurry. One in the southeast corner of the mandapa (see 2 on plan) depicts Shiva and Parvati in Mount Kailash in the Himalayas, and the shows the Umamaheshvara story. The scene includes rocky terrain and clouds layered horizontally. On top of the rock sit the four-armed Shiva and Parvati by his side. Nandi stands below her, while celestial apsaras float on
6240-525: The word are considered to indicate creation, preservation and destruction, adding up to represent Brahman . The Tridevi is the trinity of goddess consorts for the Trimurti. The Puranic period from the 4th to the 12th century CE saw the rise of post- Vedic religion and the evolution of what R. C. Majumdar calls "synthetic Hinduism". Following is a well-known verse from the Vishnu Purana (1.2.66) that mentions Brahma, Vishnu, and Shiva together in
6320-500: The yogi artwork shown in this Hindu cave are similar to those found in Buddhist caves, but there are differences. Yogi Shiva, or Lakulisa, wears a crown here, his chest is shown vaulting forward as if in breathing exercises found in Hindu yoga texts, the face and body expresses different energy. This Shiva yogi comes across as the "lord of the caves" or Guhesvara in medieval Indian poetry, states Kramrisch. According to Charles Collins,
6400-420: Was necessary because the dripping blood had the power to become new demons if they got nourished by the ground. Furthermore, the artwork shows ruined parts of a male and two female forms, figures of two ascetics, a small figure in front, a female figure, and two dwarfs. The uppermost part shows flying apsaras bringing garlands. The niche image carved on the southwest wall, near the Linga shrine (see 6 on plan)
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