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{{Short description|Temple in Ellora, India}}
{{Use dmy dates|date=April 2017}}
{{Use Indian English|date=April 2017}}
{{Infobox Mandir
| name = Kailasa Temple
| image = Kailasha temple at ellora.JPG
| alt =
| caption = Temple from the rock behind it
|map_type = India
| coordinates = {{coord|20|01|26|N|75|10|45|E|type:landmark_region:LK|display=inline,title}}
| other_names =
| country = [[India]]
| state = [[Maharashtra]]
| district = [[Aurangabad district, Maharashtra|Aurangabad]]
| location = [[Ellora]]
| elevation_m =
| deity = Kailashanatha ([[Shiva]])
| festivals=
| architecture =
| temple_quantity =
| monument_quantity =
| inscriptions =
| year_completed = 8th century C.E
| creator = [[Krishna I]] (756-773 CE), [[Rashtrakuta dynasty|Rashtrakuta Empire]]
| website =
}}
[[File:Ground plan of Kailash Temple at Ellora Caves India.jpg|thumb|Ground plan of the temple]]
The '''Kailasha''' ([[IAST]]: '''Kailāśa''') or '''Kailashanatha''' ([[IAST]]: '''Kailāśanātha''') temple is the largest of the [[Indian rock-cut architecture|rock-cut]] [[Hindu temple]]s at the [[Ellora Caves]], [[Maharashtra, India]]. A [[megalith]] carved from a rock cliff face, it is considered one of the most remarkable cave temples in the world because of its size, architecture and sculptural treatment,<ref name="UNESCO_SecII_2003"/> and "the climax of the rock-cut phase of [[Indian architecture]]".<ref>Michell, 362</ref> The top of the superstructure over the sanctuary is 32.6 metres (107 feet) above the level of the court below,<ref>Michell, 365</ref> although the rock face slopes downwards from the rear of the temple to the front. Archaelogists believe it is made from a single rock.<ref>{{Cite web|title=Ellora’s Kailasa Temple: Built from the Top|url=https://www.livehistoryindia.com/amazing-india/2020/04/25/ellora-kailasa-temple|access-date=2021-03-23|website=www.livehistoryindia.com|language=en}}</ref>

The Kailasa temple (Cave 16) is the largest of the 34 Buddhist, Jain and Hindu cave temples and monasteries known collectively as the [[Ellora Caves]], ranging for over 2 kilometres (1.5 miles) along the sloping [[basalt]] cliff at the site.<ref>Michell, 357</ref> Most of the excavation of the temple is generally attributed to the eighth century [[Rashtrakuta dynasty|Rashtrakuta]] king [[Krishna I]] ({{reign|{{circa|756}}|773}}), with some elements completed later. The temple architecture shows traces of [[Pallava art and architecture|Pallava]] and [[Badami Chalukya architecture|Chalukya]] styles. The temple contains a number of [[relief]] and free-standing sculptures on a grand scale equal to the architecture, though only traces remain of the paintings which originally decorated it.<ref>Michell, 362-366</ref>

== History ==

Kailasa temple lacks a dedicatory inscription, but there is no doubt that it was commissioned by a Rashtrakuta ruler.{{sfn|Deepak Kannal|1996|p=101}} Its construction is generally attributed to the Rashtrakuta king Krishna I (r. 756-773 CE), based on two epigraphs that link the temple to "Krishnaraja" ([[IAST]] Kṛṣṇarāja):{{sfn|Deepak Kannal|1996|p=101}}{{sfn|Lisa Owen|2012|p=135}}

* The [[Vadodara]] copper-plate inscription (c. 812-813 CE) of Karkaraja II (a ruler of a [[branches of Rashtrakuta dynasty|Rashtrakuta branch]] of [[Gujarat]]) records the grant of a village in present-day Gujarat. It mentions Krishnaraja as the patron of Kailasanatha, and also mentions a Shiva temple at Elapura (Ellora). It states that the king constructed a temple so wondrous that even the gods and the architect were astonished.{{sfn|Lisa Owen|2012|p=135}} Most scholars believe that this is a reference to the Kailasa Shiva temple at Elora.{{sfn|Lisa Owen|2012|p=136}}
* The [[Kadaba]] grant of Govinda Prabhutavarsha similarly appears to credit Krishnaraja with the construction of the temple.{{sfn|Deepak Kannal|1996|p=101}}

However, the attribution of the temple to Krishna I is not completely certain because these epigraphs are not physically connected to the caves, and do not date Krishnaraja's reign.{{sfn|Lisa Owen|2012|p=135}} Moreover, the land grants issued by Krishna's successors do not contain any references to the Kailasa temple .{{sfn|Lisa Owen|2012|p=136}}

The Kailasa temple features the use of multiple distinct architectural and sculptural styles. This, combined with its relatively large size, has led some scholars to believe that its construction spanned the reigns of multiple kings.{{sfn|H. Goetz|1952|p=86}}{{sfn|M. K. Dhavalikar|1982|p=33}} Some of the temple [[relief]]s feature the same style as the one used in the [[Ellora Caves#The Dashavatara|Dashavatara cave]] (Cave 15), which is located next to the temple. The Dashavatara cave contains an inscription of Krishna's predecessor and nephew [[Dantidurga]] (c. 735–756 CE).{{sfn|H. Goetz|1952|p=89}} Based on this, [[art historian]] [[Hermann Goetz (art historian)|Hermann Goetz]] (1952) theorized that the construction of the Kailasa temple began during the reign of Dantidurga. Krishna consecrated its first complete version, which was much smaller than the present-day temple.{{sfn|H. Goetz|1952|p=106}} According to Goetz, Dantidurga's role in the temple construction must have been deliberately suppressed, as Krishna sidelined Dantidurga's sons to claim the throne after his death.{{sfn|H. Goetz|1952|p=92}} Based on analysis of the different styles, Goetz further hypothesized that the later Rashtrakuta rulers also extended the temple. These rulers include [[Dhruva Dharavarsha]], [[Govinda III]], [[Amoghavarsha]], and [[Krishna III]]. According to Goetz, the 11th century [[Paramara]] ruler [[Bhoja]] commissioned the elephant-lion [[frieze]] on the lower [[plinth]] during his invasion of Deccan, and added a new layer of paintings. Finally, [[Ahilyabai Holkar]] commissioned the last layer of paintings in the temple.{{sfn|H. Goetz|1952|p=107}}

[[Madhukar Keshav Dhavalikar|M. K. Dhavalikar]] (1982) analyzed the architecture of the temple, and concluded that the major part of the temple was completed during the reign of Krishna I, although he agreed with Goetz that some other parts of the temple complex can be dated to the later rulers. According to Dhavalikar, the following components were completed by Krishna: the main shrine, its gateway, the [[nandi (bull)|nandi]]-[[mandapa]], the lower-storey, the elephant-lion frieze, the court elephants and the victory pillars.{{sfn|M. K. Dhavalikar|1982|p=42}} Dhavalikar admits that the most important sculpture of the temple, which depicts [[Ravana]] shaking the [[Mount Kailash|Kailasa mountain]], appears to have been built after the main edifice. This sculpture is considered as one of the finest pieces of Indian art, and it is possible that the temple came to be known as Kailasa after it. Dhavalikar theorizes that this sculpture was carved around 3-4 decades after the completion of the main shrine, on the basis of its similarity to the [[tandava]] sculpture in the Lankeshvar cave.{{sfn|M. K. Dhavalikar|1982|p=39-40}} H. Goetz dated this relief to the reign of [[Krishna III]].{{sfn|H. Goetz|1952|p=107}} Like Goetz, Dhavalikar attributes some other structures in the temple complex to the later rulers. These include the Lankeshvar cave and the shrine of the river goddesses (possibly constructed during the reign of [[Govinda III]]).{{sfn|M. K. Dhavalikar|1982|p=41}} Dhavalikar further theorizes that the excavation of the Dashavatara cave, which began during the reign of Dantidurga, was completed during the reign of Krishna I. This explains the similarities between the sculptures in the two caves.{{sfn|M. K. Dhavalikar|1982|p=44}}

=== Pallava-Chalukya influence ===

Dhavalikar pointed out that no major part of the monolithic temple appears to have been an afterthought: architectural evidence suggests that the entire temple was planned at the beginning.{{sfn|M. K. Dhavalikar|1982|p=35}} The main shrine is very similar to (although much larger than) the [[Pattadakal#Virupaksha Temple|Virupaksha Temple at Pattadakal]], which itself is a replica of the [[Kanchi Kailasanathar Temple|Kailasa temple at Kanchi]].{{sfn|M. K. Dhavalikar|1982|p=33}} The Pattadakal Virupaksha Temple was commissioned by the [[Chalukyas of Badami]] to commemorate their victory over the [[Pallava]]s, who had constructed the Kailasa temple at Kanchi. According to the Virupaksha temple inscriptions, the Chalukyas brought the Pallava artists to Pattadakal after defeating the Pallavas. Dhavalikar theorizes that after defeating the Chalukyas, Krishna must have been impressed by the Virupaksha Temple located in their territory. As a result, he brought the sculptors and architects of the Virupaksha Temple (including some Pallava artists) to his own territory, and engaged them in the construction of the Kailasa temple at Ellora.{{sfn|M. K. Dhavalikar|1982|pp=37-38}}

If one assumes that the architects of the Virupaksha temple helped construct the Kailasa temple at Ellora, the construction of a massive temple during the reign of a single monarch does not seem impossible. The architects already had a blueprint and a prototype, which must have significantly reduced the effort involved in constructing a new temple. Moreover, quarrying a monolithic temple would have actually involved less effort than transporting large stones to build a new temple of similar size. Assuming that one person can cut around 4 cubic feet of rock every day, Dhavalikar estimated that 250 labourers would have managed to construct the Kailasa temple at Ellora within 5.5 years.{{sfn|M. K. Dhavalikar|1982|p=35}} The presence of non-Rashtrakuta styles in the temple can be attributed to the involvement of Chalukya and Pallava artists.{{sfn|M. K. Dhavalikar|1982|pp=38-39}}

=== Construction method ===
[[File:Kailasa temple overview, Ellora.jpg|thumb|One side of the courtyard, from the top of the [[gopuram]]]]
The Kailasa Temple is notable for its ''vertical'' excavation—carvers started at the top of the original rock and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front.<ref name="rock-cut">{{cite book | first= K.V. Soundara | last= Rajan | year= 1998 | title= Rock-cut Temple Styles | publisher=Somaily Publications | location=Mumbai | pages= 142–143 | isbn= 81-7039-218-7}}</ref>

A medieval [[Marathi language|Marathi]] legend appears to refer to the construction of the Kailasa temple. The earliest extant text to mention this legend is ''Katha-Kalapataru'' by Krishna Yajnavalki (c. 1470-1535 CE).<ref>{{cite book |author1=Himanshu Prabha Ray |author2=Carla M. Sinopoli |title=Archaeology As History In Early South Asia |url=https://books.google.com/books?id=ogluAAAAMAAJ |year=2004 |publisher=Indian Council of Historical Research |isbn=978-81-7305-270-5 |page=109 }}</ref> According to this legend, the local king suffered from a severe disease. His queen prayed to the god [[Grishneshwar|Ghrishneshwar]] (Shiva) at Elapura to cure her husband. She vowed to construct a temple if her wish was granted, and promised to observe a [[fasting|fast]] until she could see the [[shikhara]] (top) of this temple. After the king was cured, she requested him to build a temple immediately, but multiple architects declared that it would take months to build a temple complete with a shikhara. One architect named Kokasa assured the king that the queen would be able to see the shikhara of a temple within a week's time. He started building the temple from the top, by carving a rock. He was able to finish the shikhara within a week's time, enabling the queen to give up her fast. The temple was named Manikeshwar after the queen. M. K. Dhavalikar theorises that Kokasa was indeed the chief architect of the Kailasa temple, which may have been originally known as Manikeshwar. Multiple 11th-13th century inscriptions from central India mention architects born in the illustrious family of Kokasa.{{sfn|M. K. Dhavalikar|1982|p=42-43}}

==Architecture==

The Kailasa temple architecture is different from the earlier style prevalent in the [[Deccan Plateau|Deccan]] region. As stated above, it appears to be based on the [[Pattadakal#Virupaksha Temple|Virupaksha Temple at Pattadakal]] and the [[Kanchi Kailasanathar Temple|Kailasa temple at Kanchi]], but it is not an exact imitation of these two temples.{{sfn|Deepak Kannal|1996|p=102}} The southern influence on the temple architecture can be attributed to the involvement of Chalukya and Pallava artists in its construction.{{sfn|M. K. Dhavalikar|1982|pp=38-40}} The indigenous Deccan artisans appear to have played a subordinate role in the temple's construction.{{sfn|Deepak Kannal|1996|p=108}}

The entrance to the temple courtyard features a low [[gopuram]].<ref name="UNESCO_SecII_2003"/> Most of the deities at the left of the entrance are [[Shaiva]]ite (affiliated with [[Shiva]]) while on the right hand side the deities are [[Vaishnava]]ites (affiliated with [[Vishnu]]). A two-storeyed gateway opens to reveal a U-shaped courtyard. The dimensions of the courtyard are 82 m x 46 m at the base.<ref name="UNESCO_SecII_2003"/> The courtyard is edged by a columned arcade three stories high. The arcades 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. Some of the most famous sculptures are Shiva the ascetic, Shiva the dancer, Shiva being warned by [[Parvati]] about the demon [[Ravana]], and river goddess.<ref>{{cite book|title=Medieval India the study of a civilization|first=Irfan|last=Habib|page=49|publisher=National Book Trust, India|isbn=978-81-237-5255-6|year=2007}}</ref>

Within the courtyard, there is a central shrine dedicated to [[Shiva]], and an image of his mount [[Nandi bull|Nandi]] (the sacred bull). The central shrine housing the [[lingam]] features a flat-roofed [[mandapa]] supported by 16 pillars, and a [[Dravidian architecture|Dravidian]] [[shikhara]].<ref name="UNESCO_SecII_2003"/> The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, ''mithuna''s (erotic male and female figures) and other figures. As is traditional in Shiva temples, Nandi sits on a porch in front of the central temple. The Nandi mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa 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. A rock bridge connects the Nandi Mandapa to the porch of the temple. The base of the temple hall features scenes from ''[[Mahabharata]]'' and ''[[Ramayana]]''.{{sfn|M. K. Dhavalikar|2003|p=56}}

<gallery mode="packed">
File:Ellora Caves - panoramio (4).jpg | Front view
File:Aurangabad,ellora kailash temple.jpg | ''Shikhara''
File:Ellora cave16 001.jpg | [[Mandapa]] roof
File:The Kailaśa temple, Cave 16.jpg | Arcades
File:Ellora Cave 16 si0300.jpg | ''Ramayana'' panel
File:Mahabharata relief panel at Kailasha temple.jpg | ''Mahabharata'' panel
</gallery>

There are five detached shrines in the temple premises; three of these are dedicated to the river goddesses: [[Ganges in Hinduism|Ganga]], [[Yamuna in Hinduism|Yamuna]] and [[Sarasvati River#As a goddess|Saraswati]].<ref name="UNESCO_SecII_2003">{{cite web |url=https://whc.unesco.org/archive/periodicreporting/apa/cycle01/section2/243.pdf |title=Section II: Periodic Report on the State of Conservation of Ellora Caves, India, 2003 |publisher=UNESCO |access-date=6 March 2016 }}</ref>

There are two [[Dwajasthambam]]s (pillars with flagstaff) in the courtyard. A notable sculpture is that of the [[Ravana]] attempting to lift Mount Kailasa.<ref name="UNESCO_SecII_2003"/>

==See also==
* [[List of colossal sculpture in situ]]

==References==
{{Reflist}}

===Bibliography===
{{ref begin}}
* {{cite book |author=Deepak Kannal |author-link=Deepak Kannal|title=Ellora, an Enigma in Sculptural Styles |url=https://books.google.com/books?id=5l3qAAAAMAAJ |year=1996 |publisher=Books & Books |isbn=9788185016474 }}
* {{cite journal |author=H. Goetz |author-link=Hermann Goetz (art historian) |title=The Kailāsa of Ellora and the Chronology of Rāshtrakūta Art |jstor=3248615 |journal=Artibus Asiae |volume=15 |issue=1-2 |year=1952 }}
*Michell, George, ''The Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu'', 1990, Penguin Books, {{ISBN|0140081445}}
* {{cite book |author=Lisa Owen |title=Carving Devotion in the Jain Caves at Ellora |url=https://books.google.com/books?id=vHK2WE8xAzYC&pg=PA135 |year=2012 |publisher=BRILL |isbn=90-04-20629-9 }}
* {{cite journal |author=M. K. Dhavalikar |author-link=Madhukar Keshav Dhavalikar |title=Kailasa — The Stylistic Development and Chronology |jstor=42931407 |journal=Bulletin of the Deccan College Research Institute |volume=41 |year=1982 }}
* {{cite book |author=M. K. Dhavalikar |author-link=Madhukar Keshav Dhavalikar |title=Ellora |url=https://archive.org/details/ellora0000dhav |url-access=registration |year=2003 |publisher=Oxford University Press |isbn=978-0-19-565458-5 }}
{{ref end}}

{{Commons category|Kailash temple (Ellora)}}

{{Shaivism}}
{{Shiva temples}}
{{Hindu temples in Maharashtra}}
{{Historical places of Rashtrakuta}}
{{Authority control}}

[[Category:Lost ancient cities and towns]]
[[Category:8th-century establishments in Asia]]
[[Category:8th-century Hindu temples]]
[[Category:World Heritage Sites in India]]
[[Category:Hindu temples in Maharashtra]]
[[Category:Rashtrakuta dynasty]]
[[Category:Indian rock-cut architecture]]
[[Category:Tourist attractions in Aurangabad district, Maharashtra]]
[[Category:Pallava architecture]]

Kailasa Temple, Ellora - Revision history

2405:205:128E:5E88:C0D4:56BE:321B:BC91: robot: Creating/updating articles

>AnjaneyaRudra at 13:22, 5 June 2021