Elephanta caves: Mumbai, India

We are at the Gateway of India in Mumbai(Bombay), the arch that was built in 1911 to commemorate King George V's visit to Bombay. It's right next to the luxurious Taj Mahal Palace Hotel which was completed in 1908.

Yet another site where stones speak

Just beside the Gateway is the pier from which to take a ferry to an island merely a half hour ride away from the hubbub of Mumbai. Almost everyone on the boat gets excited when sea gulls try to steal the snacks held out overhead enticingly as we glide on the sparkling Arabian sea.

A Layered history: What's in a name.

We alight at the jetty on the island only to find out we still have a long way to walk. It is a hot day. We choose to take the toy train for a small fee which takes us to the foothill of the Elephanta Caves. When the colonial Portuguese arrived centuries ago, they discovered massive stone elephant statues on the island and named it “Elefante,” which eventually evolved into “Elephanta.”  The one colossal elephant statue that remains is now at Jijamata garden in Mumbai.

Leading up to a frozen past

Our ascent begins on the 130 steep steps that test our stamina. We are flanked by souvenir shops all along and therefore a relatively comfortable climb in the shade. We seem to be at the top in no time at all.

Dramatic entrance to cave number 1

The top most step puts us at the entrance to Cave number 1, also known as the Great Cave, hewn into the hill. Three porticos framed by 4 pillars lead us  into a vast pillared hall. Six columns in each row divide the space into smaller chambers. Surprise!  The roof is supported by concealed stone beams and capitals: a marvel of ancient engineering. Standing inside the cool stone hall, with filtered light entering through the pillars we can't help but feel the vibes of the past, of what was once an active place of worship. Every wall of the mandapa tells a story from Shaivite mythology. 

Distinctive in diversity

Massive friezes — each more than 5 meters tall — depict legends with provocative intensity. In one  Shiva is depicted as  the cosmic dancer. In another he is the supreme yogi. Even though the carvings have weathered the expressions remain captivating.

A little further in is an unassuming linga sanctum sanctorum. Grace and simplicity, not grandiosity, are the characteristics of  an intense religiosity.

Piece de Resistance 

But nothing prepares us  for the moment we stand before the Trimurti.

Carved from a single monolithic rock and standing 5.45 meters (17.9 feet) tall. The three-faced Shiva — known as Trimurti Sadashiva — dominates the south wall opposite the main entrance.

The sculpture represents creation, preservation, and destruction — the cosmic balance of existence. It is both serene and overwhelming. The calm central face radiates stillness, while the side faces embody contrasting aspects of Shiva’s nature.

According to Hindu belief, this destruction is not arbitrary, but constructive. Shiva is therefore seen as the source of both good and evil and is regarded as the one who combines many contradictory elements.

A fusion, or an acceptance of similarities and differences?

The caves were probably hewn between the 5th and 7th centuries. Even though the place of worship fell into oblivion, and the art work and carvings suffered damage, attempts by the British India officials, and then the Archaeological  Survey of India have helped prevent further deterioration.

On the hill next to the temple is a stupa, remnants of a Buddhist shrine.

Like the Ajanta and ellora caves, the Elephanta Caves, though much smaller in scale, are combination of different forms of belief or practice

Religious harmony and brilliance of ancient India: Ellora Caves

Out of this world

Hardly a two hour drive from the Ajanta caves (my previous blog)  lie the Ellora caves. There is an air of eager anticipation as we have heard of its grandeur and scale. We are rewarded with a long stretch of caves(34 in all) cut high up yet another vertical basalt cliff.The caves sit side by side.

While Ajanta’s masterpieces were completed by the 6th century, Ellora began its story in the 7th century—and continued shaping it through the 11th. Thus the irresistible inference that Ellora is a continuation of the work done in Ajanta. In just two hours we cross from one era to another.

Breathtaking repository of Ancient India 

Over a span of 4 centuries generation and after generation of artisans have climbed this cliff and left their handiwork, chipping and chiseling into the rock to create temples, monasteries and sanctuaries.

Ajanta seems tame compared to Ellora which is much larger in scale and bolder in the fine artistic details. 

Imagine the tons of rock scooped out to make room for all the carvings inside.

A socio-cultural phenomenon

Three great religions, creative expression, social norms,innovation, craftmanship, structure and technological mastery all converge within a short walk.  The religions thrived not just symbolically but also physically.

The 12 Buddhist caves reveal stages in an evolving philosophy of  Mahayana Buddhism, not only echoing earlier serene artistic traditions seen in Ajanta but also surpassing them in colour and imagination. More elaborates deities and celestial, beings either sculpted or painted in vibrant colours, adorn the walls and ceilings.

The piece de resistance is the three storied monastery replete with staircases and balconies.

It couldn't have got more spectacular

The 17 Brahminical caves are show stoppers. The one that took my breath away is, without a doubt, Kailasha temple. 

The entrance, a tiered gateway, flanked by monumental elephants seemingly standing guard, is already awe inspiring and promises more.

Sure enough, looking up when we enter the front mandapa (pillared hall) we are enthralled by what remains of ancient paintings still clinging precariously to the ceilings — a testament to how the temple was even more vibrant in the days of yore.

That in turn takes us into the open courtyard that suddenly reveals the full scale of the temple — rising from the earth as though it grew there naturally.  Incredibly  this entire free standing complex was built top down from a single massive rock – Not constructed but carved out to include every architectural detail of a Dravidian temple.

The walls are alive with mythological scenes that seem to come alive in their action oriented captured mid gesture or mid emotion, each palpable

One particularly dynamic sculpture shows Ravana, from the epic Ramayana, attempting to lift Mount Kailasa itself in a display of arrogance and power. This temple represents Mount Kailasa, the spiritual Himalayan abode of Lord Shiva

And yes — some of the depictions are strikingly bold. The expressive forms and mythological intensity might be scandalous to modest eyes, but they also reveal a culture unafraid to explore power, passion, divinity, and humanity in all its forms.

The non-theistic

The last set of 5 caves also display exquisite carving in fine detail and delicate sculptures, and includes fine paintings dedicated to Jainism's Digambara sect focused on spiritual liberation through non-violence, non-attachment , and asceticism. It is non-theistic.

The Ellora caves are a testament to that faith which can shape mountains and philosophy which can find form in stone through human ingenuity guided by devotion.

Returning to the sunlight, the rock face appears unchanged. But we know better now. Inside the caves is a world where belief, artistry, and innovation converge in spell binding harmony.

Culture, society and Buddhism : Ajanta Caves, india

The enormity of it all

From a distance it appears as though innumerous  dark windows have been cut into the sweeping curve of a sheer cliff. We are high above the Waghora River. We see the horseshoe-shaped gorge far below us.

We are following the undulating path following the shape of the cliff, negotiating rock-cut staircases of various heights that connect the different levels. We enter dim caves, acclimatise ourselves to the dark and exuberantly pick out details.

As we start to explore we are even more stupefied by the magnitude of it all that reflects the ingenuity and skill of the followers of Buddhism in creating magnificent caves for the monks.

Windows into the past

As I enter each man-made cave ( 30 in all), sometimes squinting to see, sometimes rubbing my eyes in wonder,  I become even more overwhelmed by the carvings, pillared halls, vaulted ceilings, murals, and sculptures. 

Austerity

Some of the caves seemed to have been abandoned mid-carving. Several are austere. These quiet stone halls in a remote gorge speak of the early followers of Hinayana Buddhism. Here the Buddha does not take on a human form. He is symbolized through sacred motifs and stupas. The vaulted ceilings,the further end that is apsidal and the central stupa are all carved straight from the rock itself. A horseshoe shaped window lets in rays of light to naturally and softly light the whole. Obviously these were prayer halls.The evidence suggests that these caves are dated 1st and 2nd centuries BC.

Then there are caves with a central prayer hall with cells, again carved out of rock,  lining three sides of the hall. The cells housed monks and therefore the inference is that these caves were monasteries.

Opulence of sorts

Other caves contain images of the Buddha appearing in human form with the majestic, serene and compassionate  face that exudes inner peace.. There are colourful paintings on the walls and ceilings depicting stories from the Jataka ( recounting the previous births of the Buddha). There are also intricate carvings on pillars and walls and facades.. These have been dated to the 5th and 4th centuries. That is when Mahayana Buddhism thrived.

Revelations

The unfinished caves tell a story. They  reveal the process of rock excavation. The incomplete carvings on the walls and the pillars also  tell a story of evolution that is further developed in the completed or modified caves in terms of beliefs,architecture,  artistic expression and social developments over eight centuries.

Ajanta Caves are an indelible record of changing Buddhist beliefs. After the immersive experience I virtually hear the chants and smell the incense of the days of you emanating from the rocks.

 

Indubitable Noumea, New Caledonia

Tricked by names and vibes

We  step ashore at the breezy Gare Maritime Terminal. Undeniably very French. Within minutes we are at the markets and cafes of the old town replete with craft stalls , live performances and local flavours, particularly that of Kanak and the Pacific enticing with hand-carved wood objects, pandanus baskets, pottery, and seed/shell jewelry. A short walk away are neat rows of coconut trees along the esplanade.  Even before we leave the pier we get a taste of its culture. We are in Nouméa, the capital of New Caledonia, a French territory in the South Pacific 

The past defines the present

The island was first discovered in the 18th century by James Cook, the renowned British navigator. The terrain resembles that of the mountainous region in his native Scotland, and thus he named it New Caledonia. Soon after the British abandoned the archipelago in the 19th century  the French took over. After that came WW II and the Allied fleets were stationed at this strategic base. Now the harbour has been taken over by cruise liners, like ours: from supply vessels to warships and then cruise passengers.  The Polynesian culture thrives, giving rise to a cultural crossroads.

History through landmarks. 

Noumea is an easy city to navigate. All the landmarks have huge information boards depicting the history and the uniqueness of the structure. Within minutes we find ourselves in St Joseph's Cathedral.

The architectural plan came from an ex-convict! Most of the work on the church was carried out by? Yes, talented, skilled ex-convicts. A beautiful church replete with more that 20 stained glass windows, an organ, a chandelier fashioned in the same way as one found in France, pulpits fashioned the local way, etc. It's a  testament to how remarkable the workforce of the penal colony was. 

Next we approach The Old Temple in Nouméa which was also built with convict labour. The broad staircase belies the modest looking building. But, not so fast. The interior is simple but filled with beautiful carpentry and localised icons.

Transported

The Bernheim Library  has an interesting background. The metal frame on which the building is structured  is actually a pavilion designed by Gustave Eiffel for New Caledonia for an Exposition  in Paris in 1900. The structure was dismantled, shipped to and then reassembled in Noumea. Perhaps that's why the capital is called the Paris of the Pacific.

Transformed

What was the City Hall, which began as New Caledonia's first bank, with its unmistakable colonial architecture - arched windows, wooden shutters, and colonial architecture -  is now a Museum.

Having walked along several streets observing the architectural  variety and  the everyday life of Nouméa with visitors and locals mingling, we take a walk along the 4 km Promenade, along the lagoon,which has different sections each unique in its landscaping, boardwalk and seating. 

Stitched together

This takes us back towards the city centre  and hence Cocotiers Square/Coconut Square. The name is misleading for it is not one huge square but made up of several, each unique in its statuary, fountains, and visitors. One has a colonial era band stand. Another specialises in public events  and markets. Yet another, popular with the locals, has groves. One stands out  for its historical Celestial fountain of 1893 marking the 40th anniversary of France’s annexation. This fountain marks kilometer zero for road distances in New Caledonia.  The square's history is also intriguing. An engineer reclaimed part of  the shoreline and shaped it into a landscaped esplanade along which sprang the squares, stitching together all the quirks of history.

We arrive at the blue tented local markets abuzz with activity and call it a day at the ‘Paris of the Pacific’.