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KAILASA celebrates the Guinness World Records on the 19th of November 2021. Guinness World Records officially marks its 17th annual Guinness World Records Day that documents ultimate record-breaking achievements.
The SPH Nithyananda Paramashivam was awarded three Guinness World Records, setting the record of the largest Rope Yoga lessons on 30th September 2017 and the largest Mallakhabha lessons on 3rd October 2017.
The SPH Nithyananda Paramashivam also set the world record in the year 2017 for organizing the largest Number of People in the formation of the sacred syllable OM in Adi KAILASA Nithyananda Sarvajnapeetam.
“Yogic Body means power, energy, flexibility, and health. These 4 aspects can be completely experienced through Mallakhamba and Rope Yoga. With Mallakhamba you will have power, with Rope Yoga you will have flexibility, with Kundalini Awakening you will have energy, and all these 3 will naturally make you healthy. You will have a complete Yogic body through this Mallakhamba and Rope Yoga.”
-The SPH Nithyananda Paramashivam
Mallakhamb is an ancient traditional Hindu form of Yoga performed on a vertical stationary wooden pole. Whereas Kundalini Rajju involves the performance of postures (asanas) on a vertically suspended rope. The practice of Mallakhambha dates back to Sri Hanuman being trained in the art of Mallakhmabha by His father, Kesari as recorded in the Hanumath Purana. Mallakhambha & Kundalini Rajju is a systematic, scientific and methodical form of yoga, designed to build a perfect, well-toned, healthy and graceful body.
The SPH Nithyananda Paramashivam is reviving the most authentic form of Yoga such as Nithyananda Yoga, Mallakhambha Yoga and Kundalini Rajju.
Participants of the Guinness World Record for Kundalini Raju & Mallakhambha hailed from over 44 countries aged between 16 to 74, beyond the boundaries of practice, gender, age, culture, nationality, socio-economic backgrounds, and even physical abilities showcased an extraordinary display of the powers of a yogic body just with the power of initiation of The SPH Nithyananda Paramashivam.
KAILASA provides the practitioners of the Nithyananda Yoga, Mallakhambha Yoga and Kundalini Rajju a possibility to live an extraordinary life, with an extraordinary body. It is a perfect system unto itself. It prepares the body most suitably and organically to hold and radiate the enlightenment energy.
. . . this is not constructed - it is cut out of a single rock over hundreds of years. You have to see it to believe it! A real wonder of the world!
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Der Kailasa-Temple (Cave 16) ist keine Konstruktion "Stein-auf-Stein". Er wurde über Jahrhunderte aus einem einzigen Felsen herausgemeißelt! Das muß man gesehen haben! Ein wahres Weltwunder!
. . . für unsere Berliner Freunde:
immer wieder hat man sich gefragt, wieso sich die Fertigstellung des neuen Berliner Flughafens BER so hinauszögert. Durch eine Indiskretion kam jetzt heraus: die Baufirma hatte als Referenzbauwerk den Kailasa-Tempel angegeben . . .
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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
It has now been revealed that more than 300 deities have been destroyed and thrown away in the destruction of the Kashi Corridor.
More than 250 buildings with ancient temples that stood for more than 300 years have been demolished.
Just days ago 5 Hindu Sanyasis were attacked in the middle of the night as Kashi Sarvajnapeetam was surrounded and the Sanyasis beaten and kidnapped. Despite a Court Order protecting the ancient Mandir, the illegal destructive attack broke walls and floors and ceilings and dropped stones on the deities installed inside the temple.
Even temples described in Puranas have been destroyed while blasting the Corridor, sacred deities have been laid waste without even a trace.
The Kattuppasathy Madasamy temple in Tamil Nadu’s Tenkasi had been a place of worship for generations. It was demolished just a few days back by district administration and police.
With an apparent “secular complaint” about renovation of the temple to district administration, eye witnesses said, “within no time the police descended on the village with JCB’s and razed our temple ignoring all our pleas.” (Organiser.org)
Hindus are a vast minority in the area and attacks by radicals on Hindus in the area is said not to be uncommon. It is claimed life-negative, destructive elements are acting to artificially create communal disharmony with attacks against various communities and utilizing media and administration to falsify and skew reporting of local issues.
While sentiments of the Nadar community in Tamil Nadu were notably hurt this week when their temple was swarmed upon and demolished in place of expected renovations, a few weeks back in Kanyakumari a Bharat Mata deity was defiled as per orders of Deputy Superintendent of police Baskaran. Although no apparent formal complaint was registered, police quickly showed up to the temple and wrapped Bharat Mata in ropes and covered her head with a hood. Protesters were arrested.
Apparently local “seculars” had complained that Hindu deities in public hurt their sentiments. The missionary militant cult swarming in Kanyakumari has decimated Hindu communities in the area through brutal conversion schemes despite Tamil Sangam of times past having preserved and developed the best methods of nonviolent human living and celebrating conscious civilization as a culture in the region for the past 11,000 years.
Today, very few Hindus remain in the area - many innocent Hindu villagers are tricked into desecrating and destroying their historical family deities, kula devatas, and feel too much guilt and shame to return to Hindu temples, although the Hindu doctrine is of non-violence and peaceful cohabitation amongst all communities, naive Hindu villagers get trapped into a brutal system of conversion and coercion. By the time they realize they are no longer free to contribute complete life-positivity to their traditional Hindu communities without restriction, the conversionist cult has made it nearly impossible to find any place safe to share conscious growth that does not require elimination of differing perspectives.
(15 June 2020)
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#HinduismNow #Kailasa #Nithyananda
Kailash Kher's Kailasa with Delhi 2 Dublin at Stern Grove. Part of the Stern Grove Festival free concert series.
It has now been revealed that more than 300 deities have been destroyed and thrown away in the destruction of the Kashi Corridor.
More than 250 buildings with ancient temples that stood for more than 300 years have been demolished.
Just days ago 5 Hindu Sanyasis were attacked in the middle of the night as Kashi Sarvajnapeetam was surrounded and the Sanyasis beaten and kidnapped. Despite a Court Order protecting the ancient Mandir, the illegal destructive attack broke walls and floors and ceilings and dropped stones on the deities installed inside the temple.
Even temples described in Puranas have been destroyed while blasting the Corridor, sacred deities have been laid waste without even a trace.
The Kattuppasathy Madasamy temple in Tamil Nadu’s Tenkasi had been a place of worship for generations. It was demolished just a few days back by district administration and police.
With an apparent “secular complaint” about renovation of the temple to district administration, eye witnesses said, “within no time the police descended on the village with JCB’s and razed our temple ignoring all our pleas.” (Organiser.org)
Hindus are a vast minority in the area and attacks by radicals on Hindus in the area is said not to be uncommon. It is claimed life-negative, destructive elements are acting to artificially create communal disharmony with attacks against various communities and utilizing media and administration to falsify and skew reporting of local issues.
While sentiments of the Nadar community in Tamil Nadu were notably hurt this week when their temple was swarmed upon and demolished in place of expected renovations, a few weeks back in Kanyakumari a Bharat Mata deity was defiled as per orders of Deputy Superintendent of police Baskaran. Although no apparent formal complaint was registered, police quickly showed up to the temple and wrapped Bharat Mata in ropes and covered her head with a hood. Protesters were arrested.
Apparently local “seculars” had complained that Hindu deities in public hurt their sentiments. The missionary militant cult swarming in Kanyakumari has decimated Hindu communities in the area through brutal conversion schemes despite Tamil Sangam of times past having preserved and developed the best methods of nonviolent human living and celebrating conscious civilization as a culture in the region for the past 11,000 years.
Today, very few Hindus remain in the area - many innocent Hindu villagers are tricked into desecrating and destroying their historical family deities, kula devatas, and feel too much guilt and shame to return to Hindu temples, although the Hindu doctrine is of non-violence and peaceful cohabitation amongst all communities, naive Hindu villagers get trapped into a brutal system of conversion and coercion. By the time they realize they are no longer free to contribute complete life-positivity to their traditional Hindu communities without restriction, the conversionist cult has made it nearly impossible to find any place safe to share conscious growth that does not require elimination of differing perspectives.
(15 June 2020)
---------------------------------------
Visit us around the web:
Facebook: facebook.com/HNGlobalPress
Youtube: youtube.com/HinduismNow
Twitter: twitter.com/HN_Global_Press
Instagram: instagram.com/KailasaHinduismNow/
---------------------------------------
#HinduismNow #Kailasa #Nithyananda
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 has now been revealed that more than 300 deities have been destroyed and thrown away in the destruction of the Kashi Corridor.
More than 250 buildings with ancient temples that stood for more than 300 years have been demolished.
Just days ago 5 Hindu Sanyasis were attacked in the middle of the night as Kashi Sarvajnapeetam was surrounded and the Sanyasis beaten and kidnapped. Despite a Court Order protecting the ancient Mandir, the illegal destructive attack broke walls and floors and ceilings and dropped stones on the deities installed inside the temple.
Even temples described in Puranas have been destroyed while blasting the Corridor, sacred deities have been laid waste without even a trace.
The Kattuppasathy Madasamy temple in Tamil Nadu’s Tenkasi had been a place of worship for generations. It was demolished just a few days back by district administration and police.
With an apparent “secular complaint” about renovation of the temple to district administration, eye witnesses said, “within no time the police descended on the village with JCB’s and razed our temple ignoring all our pleas.” (Organiser.org)
Hindus are a vast minority in the area and attacks by radicals on Hindus in the area is said not to be uncommon. It is claimed life-negative, destructive elements are acting to artificially create communal disharmony with attacks against various communities and utilizing media and administration to falsify and skew reporting of local issues.
While sentiments of the Nadar community in Tamil Nadu were notably hurt this week when their temple was swarmed upon and demolished in place of expected renovations, a few weeks back in Kanyakumari a Bharat Mata deity was defiled as per orders of Deputy Superintendent of police Baskaran. Although no apparent formal complaint was registered, police quickly showed up to the temple and wrapped Bharat Mata in ropes and covered her head with a hood. Protesters were arrested.
Apparently local “seculars” had complained that Hindu deities in public hurt their sentiments. The missionary militant cult swarming in Kanyakumari has decimated Hindu communities in the area through brutal conversion schemes despite Tamil Sangam of times past having preserved and developed the best methods of nonviolent human living and celebrating conscious civilization as a culture in the region for the past 11,000 years.
Today, very few Hindus remain in the area - many innocent Hindu villagers are tricked into desecrating and destroying their historical family deities, kula devatas, and feel too much guilt and shame to return to Hindu temples, although the Hindu doctrine is of non-violence and peaceful cohabitation amongst all communities, naive Hindu villagers get trapped into a brutal system of conversion and coercion. By the time they realize they are no longer free to contribute complete life-positivity to their traditional Hindu communities without restriction, the conversionist cult has made it nearly impossible to find any place safe to share conscious growth that does not require elimination of differing perspectives.
(15 June 2020)
---------------------------------------
Visit us around the web:
Facebook: facebook.com/HNGlobalPress
Youtube: youtube.com/HinduismNow
Twitter: twitter.com/HN_Global_Press
Instagram: instagram.com/KailasaHinduismNow/
---------------------------------------
#HinduismNow #Kailasa #Nithyananda
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 Kailaśa temple: Cave 16, Ellora Caves
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. Some of the temple reliefs feature the same style as the one used in the Dashavatara cave, which is located next to the temple. The Dashavatara cave contains an inscription of Krishna's predecessor and nephew Dantidurga (c. 735–756 CE). Based on this, 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. According to Gotez, 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. 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 I, 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.
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-mandapa, the lower-storey, the elephant-lion frieze, the court elephants and the victory pillars. Dhavalikar admits that the most important sculpture of the temple, which depicts Ravana shaking the 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. H. Goetz dated this relief to the reign of Krishna III. 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). 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.
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. The main shrine is very similar to (although much larger than) the Virupaksha Temple at Pattadakal, which itself is a replica of the Kailasa temple at Kanchi. The Pattadakal Virupaksha Temple was commissioned by the Chalukyas of Badami to commemorate their victory over the Pallavas, 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. 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. The presence of non-Rashtrakuta styles in the temple can be attributed to the involvement of Chalukya and Pallava artists
View from Kailasa hill, Vizag. The city has a beautiful beach road for a stretch of 30Km (Vizag - Bheemili)
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
Tune in for the special Darshan and join the grand celebrations of KAILASA's #Navaratri2021 and witness the powerful ritual of chandi homa purnahuti and many more special rituals happening.
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It has now been revealed that more than 300 deities have been destroyed and thrown away in the destruction of the Kashi Corridor.
More than 250 buildings with ancient temples that stood for more than 300 years have been demolished.
Just days ago 5 Hindu Sanyasis were attacked in the middle of the night as Kashi Sarvajnapeetam was surrounded and the Sanyasis beaten and kidnapped. Despite a Court Order protecting the ancient Mandir, the illegal destructive attack broke walls and floors and ceilings and dropped stones on the deities installed inside the temple.
Even temples described in Puranas have been destroyed while blasting the Corridor, sacred deities have been laid waste without even a trace.
The Kattuppasathy Madasamy temple in Tamil Nadu’s Tenkasi had been a place of worship for generations. It was demolished just a few days back by district administration and police.
With an apparent “secular complaint” about renovation of the temple to district administration, eye witnesses said, “within no time the police descended on the village with JCB’s and razed our temple ignoring all our pleas.” (Organiser.org)
Hindus are a vast minority in the area and attacks by radicals on Hindus in the area is said not to be uncommon. It is claimed life-negative, destructive elements are acting to artificially create communal disharmony with attacks against various communities and utilizing media and administration to falsify and skew reporting of local issues.
While sentiments of the Nadar community in Tamil Nadu were notably hurt this week when their temple was swarmed upon and demolished in place of expected renovations, a few weeks back in Kanyakumari a Bharat Mata deity was defiled as per orders of Deputy Superintendent of police Baskaran. Although no apparent formal complaint was registered, police quickly showed up to the temple and wrapped Bharat Mata in ropes and covered her head with a hood. Protesters were arrested.
Apparently local “seculars” had complained that Hindu deities in public hurt their sentiments. The missionary militant cult swarming in Kanyakumari has decimated Hindu communities in the area through brutal conversion schemes despite Tamil Sangam of times past having preserved and developed the best methods of nonviolent human living and celebrating conscious civilization as a culture in the region for the past 11,000 years.
Today, very few Hindus remain in the area - many innocent Hindu villagers are tricked into desecrating and destroying their historical family deities, kula devatas, and feel too much guilt and shame to return to Hindu temples, although the Hindu doctrine is of non-violence and peaceful cohabitation amongst all communities, naive Hindu villagers get trapped into a brutal system of conversion and coercion. By the time they realize they are no longer free to contribute complete life-positivity to their traditional Hindu communities without restriction, the conversionist cult has made it nearly impossible to find any place safe to share conscious growth that does not require elimination of differing perspectives.
(15 June 2020)
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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 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. The temple was commissioned and completed between dated 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. It was built in the 8th century by the Rashtrakuta king Krishna I.
Ground plan of the temple
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.
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
Picture taken from Dieng Kailasa museum, viewing Dieng Plateau flatlands surrounding the Arjuna temple complex. Freezing cold in the morning, hot during midday, cold breeze and misty early in the afternoon. Australian cold winds sometimes bring frost to the whole region.
Benefits of taking karisalankanni(False daisy)
1) Stable about yourself and future decisions
2) Able to manage aggressive emotions
3) Make your body samthuva shareera
4) Strong breathing, building strong internal organs
5) Strong body, buiding strong muscles
6) Strong visualisation
Accession Number: 1990:1157
Display Title: A saint adores Shiva and Parvati on Mount Kailasa with Nandi
Suite Name:
Media & Support: Opaque watercolor on paper
Creation Date: ca. 1730
Creation Place/Subject: India
State-Province: Himachal Pradesh
Court: Bilaspur
School: Pahari
Display Dimensions: 8 3/8 in. x 8 5/32 in. (21.3 cm x 20.7 cm)
Credit Line: Edwin Binney 3rd Collection
Label Copy:
Marks: on the back
Bibliography:
Repository: The San Diego Museum of Art
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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
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#BHAVASAMADHIDARSHAN #KRISHNA #NITHYANANDA #KAILASA #BHAVASAMADHI #NotSelfStyledGodmanButSupremePontiffOfHinduism #NITHYANANDA #Kailasa #paramashivoham #superconscious #conscious #yoga #yogi #padmasana #meditation #bhakti #higherdimensions #awaken #expansion #enlighten #transform #innerhealing #manifestation #hinduism #dharma #chakra #guru #avatar #thirdeye #kundalini
View from the clifftop above Kailasa Shiva temple, Ellora. The scale of this work is astounding - the rosette in center is the size of a house, with four pacing giant lions in each direction. The lions are about life-sized.
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. The temple was commissioned and completed between dated 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. It was built in the 8th century by the Rashtrakuta king Krishna I.
Ground plan of the temple
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.