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The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Cave 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.
Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" – actually structures excavated out of the vertical face of the Charanandri hills – being Buddhist, Hindu and Jain cave temples and monasteries, were built between the 5th century and 10th century. The 12 Buddhist (caves 1-12), 17 Hindu (caves 13-29) and 5 Jain caves (caves 30-34), built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. Ellora is a World Heritage Site.
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
. . . it took ten generations to cut this temple out of a single rock! To understand my pictures please read the explanation below:
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The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Pacchai Pattini Vratham
Dates: 12th March 2023 - 9th April 2023
Registration link:
THE PACCHAI PATTINI VRATHAM (DIET REGIMEN) IS SPECIALLY DESIGNED TO:
1) SPIRITUALLY HEAL YOUR PHYSICAL AND PSYCHOLOGICAL AILMENTS
2) help CLEAR OUT ALL TOXINS AND BLOCKAGES from YOUR SYSTEM
3) HELP strengthen YOUR IMMUNE SYSTEM to help EFFECTIVELY FIGHT OFF DISEASES
4) help RELIEVE ALL YOUR STRESS, ANXIETY, AND MENTAL TENSION
5) RECEIVE THE BLESSINGS OF THE GODDESS TO STAY PROTECTED OF ALL DISEASES
WHAT IS PACCHAI PATTINI VRATHAM?
Every year, the Maasi festival is celebrated on the last Sunday of the Tamil month Maasi and ends on the last Sunday of Tamil month Panguni. Devi Mariamman, manifestation of Parashakti (Cosmic feminine consciousness) observes a 28-day fast (a special dietary regimen) during this time called the Pacchai Pattini Vratham for the welfare of Her devotees
Benefits of Observing Pacchai Pattini Vratham:
- You start purifying your body
- You create a space for Paramashiva and Parashakti to manifest.
- When they manifest, they spiritually heal the whole world.
- You are ultimately prepared for receiving this science of immortality
ABOUT SAMAYAPURAM MAHAMARIAMMAN
Mahamari Amman is the self-purification method of whole Prakriti.
Water element from the ocean gets purified by the fire element from the sun, becomes cloud, and showers as rain; the rain purifies the earth when it showers, and it purifies the air space too. All the five purifying itself is rain.
Mahamari, Parashakti is the self-purification of this whole Prakriti – nature. Fasting is purifying process for every individual.
Now (during this time of the Vratham every year), Mahamari, Parashakti, Prakriti – She Herself is observing this Pacchai Pattini Vratham. (By this) She is purifying not only the whole Prakriti; She is opening up the opportunity for all of us to purify ourselves completely along with Her.
Items for Naivedyam
1. Tullu Mavu (ground rice flour with jaggery powder)
2. Soaked Moong Dal (pasi paruppu with tender cucumber)
3. Panakam (Lemon Juice with Jaggery Water)
4. Neer Moru (Liquid Buttermilk)
5. Sugarcane pieces
6. Coconut water (any coconut water)
7. Fruits in meagre quantity (once daily)
Devotees who are on any fast can drink water
Daily lifestyle practices
– Have a bath (including hair wash) twice a day, morning and evening.
– Avoid shaving any part of your body or cut nails during this time.
– Continuous Ajapa Japa, Mahavakya Chanting: Om Nithyananda Paramashivoham
– Sleep on the floor. Use your pure woolen blanket (non-violent) as mattress and to cover yourself
– Observe brahmacharya
Naivedyam Timings
6 am : Tullu Mavu made with Kalkandu Powder
8am : Sugarcane pieces and Coconut water
12pm :
– Tullu Mavu made with jaggery powder
– Panakam (lemon juice with jaggery and cardamom only, no dry ginger)
– Liquid Buttermilk / Neer Moru (Churned curd mixed with water, no salt)
– Soaked Moong Dal (Pasiparuppu / split green gram with no husk
– with lemon juice and tender cucumber, no added mustard tempering or salt)
5pm : Tullu Mavu with jaggery powder & fruits**
8pm : Tullu Mavu made with Jaggery powder
9pm : Tullu Mavu made with Kalkandu powder.
** Note on Fruits
For naivedyam, preferably banana is to be offered. Kamika Agama says banana is the best among fruits. This offering is done to Devi at 5pm daily.
Those fasting can partake locally available fresh fruits in meagre quantity at that time.
Recipes
1. Tullu Mavu
Ingredients:
Jaggery powder — ½ measure (or Kalkandu powder)
Wet Rice Flour- 1 measure (see how to make below)
Cardamom — pinch, Cow ghee — very little
Method (Wet rice flour method):
Soak raw rice in water for 30–45 minutes.
Strain the water completely. Use a dry cotton cloth to completely drain the excess water. Grind it fine.
Please do not sieve after grinding.
Take one measure of wet rice flour, ½ measure of jaggery powder, add cardamom, add very little cow ghee. Tullu mavu is ready.
This is a one-time process that will take less than 5 minutes.
2. Pasi Paruppu (Soaked Moong Dal)
Ingredients:
Yellow moong dal — 50 gms
Water — just enough to cover the moong dal while soaking (2 inch above rice level)
Grated / fine chopped tender cucumber
Method:
Soak yellow split green gram dal (moong dal) in water for at least 0.5 hour. The way to test is when you take the moong dal it should be soft to consume. Strain the water.
Add tender cucumber and lemon juice to the softened moong daal
3. Panakam (Lemon juice with jaggery)
Ingredients:
Jaggery — 150 gms
Water — 600 ml (three glasses)
Juice of three lemons (medium size)
Add little cardamom (optional)
Method:
Soak jaggery in the water (use drinking water please) till it melts completely. Filter the water to remove any particles. Add the lemon juice.
Although it is refreshing at room temperature, it tastes even better when chilled.
4. Neer Moru (Liquid Buttermilk)
Ingredients:
Cow milk curd — 1 cup
Water — 5 cups
Method:
Beat curd with water, making it a thin liquid. Neer moru is ready.Note: Milk means a product from mammal. Only milk accepted for this vratham is non-violent cow milk which is used in the naivedyam to make buttermilk. If anybody is vegan and cannot have cow milk, and/or if cow milk in your place is obtained in a violent way, please avoid buttermilk. You can have other items from the list instead.
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Nandi (Sanskrit: नन्दि, Tamil: நந்தி, Kannada: ನಂದಿ, Telugu: న౦ది, Odia: ନନ୍ଦି) is the gate- guardian deity of Kailasa, the abode of Lord Shiva. He is usually depicted as a bull which also serves as the mount to the god Shiva.
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Time to leave Ellora caves now- I am in cave # 16- the Kailasa temple, carved out of a single rock and considered to be the largest stone monolith structure in the world. I was still in disbelief that all this elaborate stonework was created out of a single rock. I would have loved to linger on and explore more, but it was far too hot, and crowded, with large groups of local tourists and students, and my legs were still protesting with a super intensive trip to Ajanta just the prevoius day, so I had to pass. Detailed notes about the Ellora caves appear earlier in this album. (see previous pictures in this album). (Ellora Caves, near Aurangabad, Maharashtra, Dec. 2022)
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
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MAHESHWARA PUJA ON 6 September 8am IST 🌸🌸
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Sacred Maheshwara Puja is happening twice a month (each Amavasya and Purnima)
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* THIS IS FOR ALL DEVOTEES & DISCIPLES, PLEASE STOP SENDING MONEY TO TAKE CARE OF MY HEALTH RELATED.
* FROM THE DAY THIS RUMOURS ABOUT MY HEALTH STARTED SPREADING, MONEY IS POURING INTO ALL OUR TRUSTS FROM ALL OVER THE WORLD.
* PLEASE STOP THIS SENDING MONEY.
* NOW ALL MY DEVOTEES & DISCIPLES LISTEN, LISTEN INTENSELY
* THIS SEPARATION FROM ME, THE ANXIETY - WHETHER YOU WILL BE ABLE TO SEE ME AGAIN OR NOT & INSECURITY WHETHER YOU WILL BE ABLE TO GET THE DARSHAN & INITIATIONS AGAIN OR NOT - ALL THIS IS A SWEET PAIN WHICH CAN BE TRANSFORMED INTO A DEEP DEVOTIONAL FEELING CONNECTION THROUGH SPIRITUAL PRACTICE BY AJAPA JAPA OF 'MAHAVAKYA' (OM NITHYANANDA PARAMASHIVOHAM), READING AUTO BIOGRAPHY OF THE AVATAAR, ENJOYING NITHYANANDAPEDIA.
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* PARAMASHIVA HIMSELF IS SETTLING AS A LARGER BEING WITH MORE INTENSITY & POWER MANIFESTATION IN ME THROUGH THIS INTENSE SAMADHI.
* THIS IS NOT THE TIME FOR YOU TO SEND SOME MONEY, OR CHARITY AS I HEARD MANY DEVOTEES ARE SELLING THEIR PROPERTIES AND POURING MONEY TO TAKE CARE OF MY HEALTH INTO OUR ORGANISATIONS FROM ALL OVER THE WORLD. PLEASE STOP THIS.
* IF YOU WANT ME TO BE ALIVE & ACTIVE FOR LONGER TIME FOR YOUR BENEFIT OR THE BENEFIT OF THE WORLD, DO LIGHT A LAMP IN FRONT OF MY GURU ARUNAGIRI YOGEESHWARA'S PICTURE IN YOUR OWN HOME AND PRAY TO HIM TO SETTLE INTO MY BODY AND BE MORE ACTIVE & ENERGETIC & LIVE LONGER.
* SO USE THIS BEAUTIFUL OPPORTUNITY OF SWEET PAIN OF SEPARATION TO INTENSIFY YOUR DEEP DEVOTION & FEELING CONNECTION MORE & MANIFEST POWERS, ENLIGHTENMENT OF PARAMASHIVA.
* ITS ALL YOUR LOVE, DEVOTION, FEELING CONNECTION, SETTLES ME FROM SAMADHI & MAKES ME ACTIVE & GIVE SATSANGHS AGAIN, NOT THE MONEY YOU POUR.
* IF YOU WANT TO SHOW YOUR LOVE, DEVOTION, JUST PUT THE PICTURE OF MY GURU ARUNAGIRI YOGEESHWARA, LIGHT A LAMP, TAKE A SELFIE AND POST IT. WHENEVER I OPEN MY EYES I WILL TRY TO SEE ALL YOUR POSTS AND SEND MY LOVE & BLESSINGS TO ALL OF YOU.
* THIS IS THE STOTRA THAT DESCRIBES ARUNAGIRI YOGEESHWARA
ARUNĀCALA PURĀṆAM (Verse
Aruṇagiri Yogīśvara Vandanam
lalāṭe tripuṇḍrī niṭilakṛta kasturī tilakaḥ sphuran mālādhāraḥ sphurita kaṭi kaupīna vasanaḥ |
dadhāno dustāraṃ śirasi phaṇirājam śaśikalām pradīpaḥ sarveṣām aruṇagiri yogī vijayate ||
“THE ONE WHO HAS THE TRIPUNDRI – THE THREE LINES OF SACRED ASH – ON HIS FOREHEAD, THE MARK OF SACRED MUSK APPLIED ON HIS FOREHEAD, WHO IS THE WEARER OF A GLITTERING GARLAND, WHO WEARS A LOINCLOTH ON HIS RADIANTLY GLOWING WAIST, WHO HOLDS THE UNCONQUERABLE KING COBRA AND CRESCENT MOON ON HIS CROWN: VICTORY UNTO ARUṆAGIRI YOGĪŚVARA, THE ILLUMINATOR OF ALL BEINGS.”
-ARUNĀCALA PURĀṆAM (VERSE 1) ARUṆAGIRI YOGĪŚVARA VANDANAM
IN THIS SALUTATION, WE OFFER OUR RESPECTS AND GRATITUDE TO ARUṆAGIRI YOGĪŚVARA, THE EMBODIMENT OF PARAMAŚIVA WHO INCARNATED A FEW THOUSAND YEARS AGO, AND IS EVEN TODAY AVAILABLE TO HIS ARDENT DEVOTEES IN THE GRACIOUS FORM OF ARUNĀCALEŚVARA, THE PRESIDING DEITY OF THE ARUNĀCALEŚVARA TEMPLE OF TIRUVANNAMALAI. WITH THIS SALUTATION, WE REMEMBER AND THUS INVOKE ARUṆAGIRI YOGĪŚVARA’S PRESENCE AS WE RECALL THE GREAT LĪLĀ OF HIS HAPPENING IN THE AVATĀRA LĪLĀ (LIFE OF THE AVATĀR).
ENRICH & ENJOY, SHARE & CELEBRATE !
GLIMPSES OF KALABHAIRAVA BHAVA SAMADHI DARSHAN ON THE 20TH FEBRUARY 2021
WHAT IS BHAVA SAMADHI DARSHAN
परिकलित पुर्वौ कस् चमत्कर करि स्फुरति मम गरियन् एस मधुर्य पुरौ अयम् अहम् अपि हन्त प्रेक्स्य यम् लुब्ध चेतौ सरभसम् उपभोक्तुम् कमये रधिकेव ~ दर्पनद्ये देखि यदि अपन मधुरि; अस्वदिते लोभ होय् अस्वदिते नरि विचर कोरिये यदि अस्वद उपय; रधिक स्वरुप होइते तबे मोने धय
WHEN KRISHNA ONCE SAW HIS OWN EXTRAORDINARY SWEETNESS REFLECTED IN A JEWELLED WALL, HE WAS AMAZED AND SAID: “HOW UNPRECEDENTED AND ASTONISHING IS THIS DEEP AND INDESCRIBABLE SWEETNESS OF MINE! ALAS! WHEN I SEE IT, EVEN I BECOME GREEDY TO ENJOY ITS SWEETNESS, JUST LIKE RADHIKA! “WHEN I SEE MY OWN SWEETNESS IN THE MIRROR, I BECOME EAGER TO TASTE IT, BUT I CAN’T. AFTER DUE CONSIDERATION, I FIND THAT THE ONLY WAY TO RELISH THIS SWEETNESS IS THROUGH THE CONSTITUTION OF SRI RADHIKA.”
~ CHAITANYA CARITAMRTA ADI CH. 4
BHAVA SAMADHI DARSHAN IS A WINDOW TO THE INFINITE EXPANSE OF CONSCIOUSNESS, ALLOWING US TO GLIMPSE THE FORMLESS IN A WAY THAT WE CAN UNDERSTAND.
OUR VERY BIO-MEMORY AWAKENS TO THE SPACE OF PARAMASHIVA ULTIMATE CONSCIOUSNESS DURING BHAVA SAMADHI DARSHAN.
HAVING DARSHAN OR EVEN A GLIMPSE OF AN AVATAR CLEANSES THE KARMAS OF LIFETIMES, AND CREATES A DEEP AND LASTING TRANSFORMATION IN US.
DURING BHAVA SAMADHI DARSHAN, OUR NEURONS MIRROR THAT OF THE AVATAR.
MIRROR NEURONS ARE SPECIAL NEURONS THAT OBSERVE AND MIMIC THE ACTIONS OF THE AVATAR’S NEURON ACTIVITY INSIDE US JUST THROUGH SEEING. DURING BHAVA SAMADHI DARSHAN, OUR BEING COMES ALIVE AND CELEBRATES WITH THE ENERGY WAVE OF EXISTENCE. OUR VERY MUSCLES LEARN TO IMBIBE AND RADIATE PARAMASHIVA.
THE SCIENCE OF BHAVA SAMADHI DARSHAN KNOWS NO DISTANCE - A PHENOMENON MODERN SCIENCE IS JUST DISCOVERING AND TERMS AS QUANTUM TUNNELLING.
WHO IS KALABHAIRAVA?
MAHA KALABHAIRAVA IS THE LORD OF TIME AND SPACE. AS THE LORD OF TIME AND INTEGRITY, HE HOLDS THE KEY TO COSMIC ARCHIVES - THE AKASHIC RECORDS WHICH CONTAIN THE PAST, PRESENT AND FUTURE. KALABHAIRAVA IS THE SOURCE OF THE CAUSAL BODY, THE SOURCE FROM WHICH REJUVENATION FOR MANIFESTATION HAPPENS.
WHAT IS KAALA ?
KALA IS THE DIMENSION OF THE UNIVERSE IN WHICH THE VIBRATION COMPONENT, THE PARASHAKTI COMPONENT OF PARAMASHIVA IS MANIFESTING.
JUST ZOOM OUT, SEE THE SPACE WHERE BIG BANGS AND BLACK HOLES ARE HAPPENING SIMULTANEOUSLY, BILLIONS OF PLANETS, SUNS, MOONS, STARS MOVING, TAKING BIRTH, LIVING FOR MILLIONS OF YEARS AND DISAPPEARING SIMULTANEOUSLY. THAT SPACE IS KAALA.
THE KAMIKAGAMA, PURVA PADA, MANTRODDHARA PATALAM, VERSE - 24 SAYS
SWASTHAM THIKSHNA SHOBITHAKARAM SHRUTHAJANOTH DHAARAM KRUPASAGARAM
AAMNAYASKAROTHI KARPAKARAM DANDAM DARATNAM SADA
SHRI KAASIPURANAYAKAM SAKALA MANTRASYA ISHWARAM MOKSHADAM
DHYAYETTAM HRIDHI KALABHAIRAVA GURUM KAANTHA SAMETAM PARAM.
FURTHER, THE SKANDA PURANA SAYS
AT ONE POINT, BRAHMA THE CREATOR, FALLS INTO DELUSION AND FORGETS HIS REAL IDENTITY. HE ORIGINALLY HAD 5 HEADS, JUST LIKE MAHADEVA. SUDDENLY HE FELL INTO DELUSION, CATCHING ON TO HIS FALSE IDENTIFY DUE TO HIS EGO AND ARROGANCE. SO, MAHADEVA JUST WAKES UP FROM HIS SAMADHI, MANIFESTS AS KALABHAIRAVA, THE LORD OF TIME, REMOVES THE FALSE IDENTITY OF BRAHMA AND BLESSES HIM WITH THE SHIVOHAM EXPERIENCE.
LORD KALABHAIRAVA BESTOWS ABUNDANCE AND WEALTH
भुक्तिमुक्तिदायकं प्रशस्तचारुविग्रहं
भक्तवत्सलं स्थितं समस्तलोकविग्रहम्
BHUKTI-MUKTI-DAAYAKAM PRASHASTA-CAARU-VIGRAHAM
BHAKTA-VATSALAM STHITAM SAMASTA-LOKA-VIGRAHAM
KALABHAIRAVA ASHTAKAM - VERSE 4
(SALUTATIONS TO SRI KALABHAIRAVA) WHO IS THE GIVER OF WORLDLY PROSPERITY AND LIBERATION AND WHO HAS AN AUSPICIOUS PLEASING FORM. WHO IS KIND AND LOVING TO HIS DEVOTEES AND WHO STANDS FIRM AS THE DEITY OF ALL THE LOKAS.
WHAT IS KALABHAIRAVOHAM
THE SUPREME PONTIFF OF HINDUISM, JAGATGURU MAHASANNIDHANAM, HIS DIVINE HOLINESS BHAGAVAN NITHYANANDA PARAMASHIVAM BLESSED HUMANITY WITH MAKING THE INITIATION INTO THE 5 TRUTHS (SUTRAS) TO MANIFEST MAHAKALABHAIRAVA REVEALED ON THE 17TH OF JANUARY 2021, AS AN EXPERIENCE WITH THE KALABHAIRAVOHAM PROGRAM.
THE 5 TRUTHS (SUTRAS) ARE:
FIRST SUTRA
SUTRA 1 - THE PERSON, BEING, WHO IS BOLD ENOUGH TO DENY THE EXISTENCE OF SUFFERING AND PAIN IN YOUR LIFE EVEN IF YOUR MIND BRAINWASHES YOU AND FORCES YOU TO BELIEVE THAT SUFFERING EXISTS, IN FRONT OF THAT MIND, IF YOU BOLDLY STAND AND TERRORISE THAT MIND BY YOUR POWERFUL WAY OF DENYING THE EXISTENCE OF SUFFERING, YOU BECOME THE SPACE OF MAHA KALABHAIRAVA AND NO KARMA TOUCHES YOU AND YOU ESTABLISH YOURSELF IN THE NEUTRAsL ZONE CALLED NIRVIKALPA SAMADHI.
JUST DENY TO ACCEPT THE EXISTENCE OF PAIN AND SUFFERING. DO NOT LOOK FOR SOLUTION, FOR COMPROMISED UNDERSTANDING, QUICK RELIEF OR ALTERNATIVE METHODS.
FOR ALL MY DISCIPLES FOR WHOM I AM TRUTH, TRUTH, TRUTH, NOTHING BUT TRUTH, SATYA, I AM GIVING YOU THIS INITIATION. YOU WILL ALL BE SUCCESSFUL IN THIS INITIATION AND TRUTH.
WHEN YOU DENY OUTRIGHT THE EXISTENCE OF PAIN AND SUFFERING, THE WHOLE CHANGE HAPPENS IN YOUR SYSTEM, CREATES SPACE FOR PARAMASHIVA. SUDDENLY YOU WILL SEE, THE UNIVERSE IS MOVING AROUND YOU AND YOU ARE THE CENTER. LOOK FOR PEACE, YOU WILL ENJOY BLISS. DON'T LOOK FOR BLISS, YOU WILL ALWAYS LAND IN HOPELESSNESS.
SECOND SUTRA
YOUR MIND REFLECTS ON YOUR BRAIN AND YOUR BRAIN IS GIVEN A SPECIAL POWER TO REJUVENATE ITSELF IN ONE YEAR. NOT ONLY THE AYURVEDA AND HINDU BIOLOGY TELLS THIS, BUT EVEN MODERN DAY SCIENCE AGREES THAT YOUR BRAIN COMPLETELY REPLACES ITSELF IN ONE YEAR. WHEN YOUR BRAIN REPLACES, REPLENISHES AND RECREATES ITSELF, IT CAN EITHER EXPAND ITS POSSIBILITY TO RADIATE PARAMASHIVA OR IT CAN SHRINK ITS POSSIBILITY TO RADIATE PARAMASHIVA. BOTH POSSIBILITIES EXIST BUT THERE IS NO NEUTRAL GEAR. THERE IS NO SUCH THING AS: ‘I AM STABLE’; EITHER YOU GO UP OR DOWN. HAVE PRIDE THAT YOU HAVE PARAMASHIVA AS YOUR GURU. YOU HAVE PARAMASHIVA DIRECTLY TEACHING YOU AND INITIATING YOU. YOU DON'T EVEN NEED TO PRACTICE WHAT I AM TEACHING.
IF YOU BELIEVE ANY OF THESE THREE STATEMENTS, OR ALL THESE THREE, THEN JUST STAND UP AND DO ATMA PRADAKSHINA, CIRCUMAMBULATION OF YOURSELF. CELEBRATE YOURSELF FOR BEING YOURSELF. YOU ARE WORTHY OF PRADAKSHINA NAMASKARA. IT IS A POWERFUL BLESSING:
I THINK SWAMIJI LOVES ME.
I KNOW FOR SURE SWAMIJI KNOWS THE ULTIMATE TRUTH.
I THINK SWAMIJI TELLS THE ULTIMATE TRUTH TO ME.
THIRD SUTRA
I AM HAVING 25 HEADS, ONE CONSCIOUSNESS. ALL MY 25 HEADS ARE INTEGRATED INTO ONE CONSCIOUSNESS. THAT IS WHY I CAN THINK / MANIFEST 25 THINGS IN A COOL STRESS FREE WAY AT THE SAME TIME. IN YOU, YOU HAVE BROKEN YOURSELF INTO 25 CONSCIOUSNESS EVEN THOUGH YOU HAVE ONE HEAD. YOU GET PULLED AND PUSHED IN 25 DIRECTIONS.THAT IS WHY I AM SAYING: DENY THE EXISTENCE OF ALL SO-CALLED IDEAS OF SUFFERING, DELUSION OUTRIGHT. DON'T EVEN PUT THE LEG ON THE SLIPPERY ROCK.
FOURTH SUTRA
YOUR DECISION TO DENY THE EXISTENCE OF ANY FORM OF SUFFERING, ITS DELUSIONS, ITS ASPECTS, DIMENSIONS AND WHAT IS NOT MENTIONED HERE ALSO, MAKES SUCH A BEAUTIFUL SPACE IN YOU. YOU WILL SIMPLY START MANIFESTING AND PLAYING WITH THE POWERS. IT WILL GIVE YOU TREMENDOUS CONFIDENCE AND STRENGTHEN POWERFULNESS AND DENY THE EXISTENCE OF PAIN AND SUFFERING AND LOWER WAY OF EXISTING.
FIFTH SUTRA:
WHEN YOU START ACTIVELY PRACTISING THIS TRUTH, EXPRESSING IT IN YOUR INNER IMAGE WITH YOURSELF THROUGH YOUR OUTER IMAGE WITH OTHERS, ALL THE CONFLICTS WILL BECOME IRRELEVANT.
TO WATCH THE FULL SATSANGH ON THE 5 TRUTHS (SUTRAS) AND RECEIVE THE INITIATION : WWW.YOUTUBE.COM/WATCH?V=8OY0MQHW6MK&FEATURE=EMB_TITLE
TO CHANT THE 5 TRUTHS (SUTRAS) - PLEASE VISIT SOUNDCLOUD.COM/NITHYANANDA-RADIO/FIVE-SUTRAS-BY-KAALABHAI...
TO REGISTER FOR THE NEXT BHAVA SAMADHI DARSHAN ON THE 23RD FEBRUARY (TUESDAY) - VENKATESHWARA BHAVA SAMADHI DARSHAN PLEASE VISIT, events.kailaasa.org/
. . . it took ten generations to cut this temple out of a single rock! To understand my pictures please read the explanation below:
______
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
This pediment carving at Banteay Srei depicts a scene from the Indian epic the Ramayama in which Ravana, the king of the demons, displays his anger after being denied access to Mount Kailasa. Angkor Archaeological Park, Siem Reap, Cambodia.
700s - Central India, Madhya Pradesh, Chandela Dynasty, 8th century
According to followers of the branch of Hinduism that considers Shiva to be the ultimate, original creator of the universe, he takes on a mythological form and resides in his created world. His home is in the Himalaya Mountains, on Mount Kailasa, where he lives with his wife Parvati.
In one episode of Shiva's mythology, he presses down his big toe to quell the ten-armed demon Ravana, who tried to steal Mount Kailasa and take it away to his island. As Ravana was trying to shake the mountain loose, Parvati turned and clung to Shiva in fear-the moment depicted in this magnificent sculpture, which once formed part of a temple exterior.
It is thought that Shiva created the world for the sake of his own enjoyment, his lila or divine play, and emanated himself into all the beings of creation: gods and demons, humans and animals. He shrouded their awareness of the reality that they were in essence the god Shiva himself, so that they would perform the actions of his cosmic drama.
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Sculpture of what I think is of Hindu god Shiva and his consort Parvati in another of the larger caves at Ellora. Note the multi- headed and multi- handed creature below them- this is the ten headed demon Ravana shaking Shiva's residence Kailasa with a view to destroying it. There is a long story attached to this- you can read all about it on the internet if you believe in this kind of thing - I personally don't. The fascinating set of 34 caves at Ellora in the Charanandri hills near Aurangabad in western India showcases a spirit of co-existence and religious tolerance through the outstanding architectural activities carried out by the followers of three prominent religions: Buddhism, Hinduism, and Jainism. The rock-cut caves were created in three phases from the 6th century to the 12th century BCE. Detailed notes about the Ellora caves appear elsewhere in this album. (see previous and subsequent pictures later in this album). (Ellora Caves, near Aurangabad, Maharashtra, Dec. 2022)
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Tt's a traditonal custom celebrated by married bengali women on the last day of Durga puja.The DURGA (it is said that she came from Kailasa(house of lord shiva)to her fathers',for three days.)goes back to the Kialasa on the last day of the four day festival,called DASHAMI.Bengali married women share vermilion,among them selves as well as with DURGA,before she goes back to her in-law.
taken @ Baghbazar
DASHAMI
The Kailasa temple (also written Kailāsa, Kailash and Kailasanatha temple) is a famous rock cut monument, one of the 34 monasteries and temples known collectively as the Ellora Caves, extending over more than 2 km, that were dug side by side in the wall of a high basalt cliff in the complex located at Ellora, Maharashtra, India. Of these, the Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock. It was built in the 8th century by the Rashtrakuta king Krishna I.
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.
It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 temple itself is a tall pyramidic structure reminiscent of a South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa temple (also written Kailāsa, Kailash and Kailasanatha temple) is a famous rock cut monument, one of the 34 monasteries and temples known collectively as the Ellora Caves, extending over more than 2 km, that were dug side by side in the wall of a high basalt cliff in the complex located at Ellora, Maharashtra, India. Of these, the Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock. It was built in the 8th century by the Rashtrakuta king Krishna I.
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.
It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 temple itself is a tall pyramidic structure reminiscent of a South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
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. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. 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.
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 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 structure itself is a tall pyramidic South Indian temple. 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, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA