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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.[6] 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 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.[6] 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.
Cave 16, the Kailasa 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.
N APRIL 14, 2023 THE KAILASA® OM AWARDS CEREMONY WAS HELD ON THE MOST AUSPICIOUS CELEBRATION OF VEDIC NEW YEAR
APRIL 14 MARKS THE AUSPICIOUS DAY OF VEDIC NEW YEAR ACCORDING TO THE HINDU SOLAR CALENDAR “SHUBAKRUTA NAMA SAMVATSARE”, A DAY OBSERVED BY MILLIONS OF HINDUS TO MARK THE NEW CYCLE OF GOOD FORTUNE AND PROSPERITY IN THEIR LIVES.
VEDIC NEW YEAR HAS BEEN OBSERVED FROM TIME IMMEMORIAL BY THE ANCIENT HINDU CIVILIZATION – THE HIGHLY EVOLVED CIVILIZATION LIVING ON THE BANKS OF THE HOLY GANGES-SARASWATI RIVERS, IN THE FORESTS OF NAIMISHARANYA, INHABITED BY MILLIONS OF AWAKENED BEINGS AND THOSE ON THE PATH OF AWAKENING, WHERE THE WORLD'S GREATEST SCRIPTURES WERE COMPOSED AND THE GRAND RITUALS PERFORMED FOR WORLD PEACE AND CONSCIOUS HUMAN EVOLUTION.
ON THIS VERY DAY TWENTY-TWO YEARS AGO IN 2001, THE SUPREME PONTIFF OF HINDUISM (SPH) BHAGAVAN NITHYANANDA PARAMASHIVAM FORMALLY INAUGURATED THE FIRST KAILASA TEMPLE-MONASTERY ECOSYSTEM LOCATED ON THE BANKS OF THE SACRED KAVERI RIVER NEAR THE CITY OF ERODE IN A VILLAGE CALLED AVATHIPALAYAM, SOUTH INDIA.
FROM THESE HUMBLE BEGINNINGS IN 2001 THE SPH BHAGAVAN NITHYANANDA PARAMASHIVAM BEGAN HIS PUBLIC LIFE AND REALIZED HIS AVATARIC MISSION OF REVIVING THE UNITED STATES OF KAILASA, THE ENLIGHTENED HINDU CIVILIZATIONAL NATION ESTABLISHED TO SERVE THE RELIGIOUS AND SPIRITUAL NEEDS OF TWO BILLION HINDUS AND ALL BEINGS ON PLANET EARTH.
TODAY AS WE CELEBRATE VEDIC NEW YEAR, KAILASA RECOGNIZED AND HONORED DISTINGUISHED STATESMEN AND CHANGE MAKERS FOR THEIR HARD WORK AND DEDICATION TOWARDS A PEACEFUL AND UNITED WORLD BY CONFERRING UPON THEM THE KAILASA OM AWARDS.
THE KAILASA OM AWARD RECIPIENTS ARE:
1.HONORABLE MARK A.G. BRANTLEY, PREMIER OF ST. KITTS AND NEVIS
2.MR. NANDU RAJWANI, PHILANTHROPIST AND CEO OF EMK STORES, THE GAMBIA
3.SRI DINESH BATTAR, PRIEST, MADURAI TEMPLE, TAMIL NADU, INDIA
4.SRI GANESH BATTAR, PRIEST, MADURAI TEMPLE, TAMIL NADU, INDIA
5.SRI MAHARISHI BRAMASHREE RAMJI, RENOWNED ASTROLOGER AND FOUNDER OF SHREE MADAM, INDIA
6.SRI RAMA RAVIKUMAR, STATE GENERAL SECRETARY OF THE HINDU MAKKAL KATCHI POLITICAL PARTY, TAMIL NADU, INDIA
7.SRI IG KANNAN, FOUNDER AND CHAIRMAN OF THE AGILA INDIYA DEVAR PATHUKAPPU PERAVAI, INDIA
8.MS. KALPANA, YOGA TEACHER & WORLD RECORD HOLDER, INDIA
9.SRI GODSON VARDHA, MUSIC COMPOSER, TRAVELER AND PHOTOGRAPHER, INDIA
10.SRI G. NANDHABALAMURUGAN, TRADITIONAL FOLK SINGER, INDIA
11.SRI NAGASUBRAMANIAN, FOUNDER RANJANAS AUDIOS, MADURAI, TAMIL NADU, INDIASE
12.SRI SHAKTI KARTHIK, FOLK SINGER, INDIA
13.SRI ANNAL KANDAR, POET, PUBLISHER, AND HISTORICAL RESEARCHER, INDIA
14.JOSEPH KNIGHT, PASTOR, AUTHOR AND PRESIDENT OF 4ETHNE, OHIO, UNITED STATES
15.SRI SARAVANAN, AUTHOR AND RESEARCHER OF THE THIRUMANTRA, INDIA
THE KAILASA OM AWARDS CEREMONY WAS FOLLOWED BY A PRESIDENTIAL ADDRESS BY THE SPH BHAGAVAN NITHYANANDA PARAMASHIVAM WHO WELCOMED AND ACKNOWLEDGED THE WORK OF THE KAILASA OM AWARD RECIPIENTS, AS WELL AS KAILASA’S GUESTS OF HONORS.
8 Apr || Attract wealth, prosperity, and abundance through KAILASA’s Ananda Venkateshwara #BhavaSamadhi #Darshan
Register/ link: events.kailaasa.org
#Nithyananda #KAILASA #prosperity #attractwealth #manifest #abundance #venkateshwara #vishnu #krishna #hinduism #hindu #energy #oneness #consciousness #cosmic #yogicscience #healing #chakra #meditation #yogi #yoga
Ongoing Program - 15th May 2023 - 4th June 2023
Upcoming Program - 13th June 2023 - 3rd July 2023
The topic of today’s sessions for the MahaParamashivoham Program is Ardhanareeshwara Murthy - Tantra: The Most Anti-Sex Practice! Liberates you from all Urges!
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.[6] 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 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
8 Apr || Attract wealth, prosperity, and abundance through KAILASA’s Ananda Venkateshwara #BhavaSamadhi #Darshan
Register/ link: events.kailaasa.org
#Nithyananda #KAILASA #prosperity #attractwealth #manifest #abundance #venkateshwara #vishnu #krishna #hinduism #hindu #energy #oneness #consciousness #cosmic #yogicscience #healing #chakra #meditation #yogi #yoga
#Nithyananda #NithyanandaSatsang #KAILASA #Kailaasa #Hinduism"
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*IF YOU DO YOGA EVERYDAY, AND ONE DAY YOU DO 10 SURYA NAMASKARS, THE NEXT DAY YOU DO 25, THEN YOU MAKE IT INTO 50 SURYA NAMASKARS, THEN YOU ADD PRANAYAMA... THEN YOU ADD MEDITATION, THIS WAY YOU WILL MANIFEST YOUR POSSIBILITIES. BUT IF YOU BREAK THE PATTERNS JUST IN ONE STROKE FEROCIOUSLY, YOU MANIFEST POWERS.
*BODY FLEXIBILITY, MUSCLE BUILDING, ABILITY TO DO ROPE YOGA, POLE YOGA, ALL THESE ARE POSSIBILITIES.
*BUT STRAIGHT LEVITATION IS A POWER, NOT JUST POSSIBILITY.
*THERE IS A DIFFERENCE BETWEEN POSSIBILITY AND POWER
*WHENEVER YOU BREAK YOUR OBSESSIVE COMPULSIVE REACTIONARY PATTERNS FEROCIOUSLY, YOU MANIFEST POWERS.
8 Apr || Attract wealth, prosperity, and abundance through KAILASA’s Ananda Venkateshwara #BhavaSamadhi #Darshan
Register/ link: events.kailaasa.org
#Nithyananda #KAILASA #prosperity #attractwealth #manifest #abundance #venkateshwara #vishnu #krishna #hinduism #hindu #energy #oneness #consciousness #cosmic #yogicscience #healing #chakra #meditation #yogi #yoga
8 Apr || Attract wealth, prosperity, and abundance through KAILASA’s Ananda Venkateshwara #BhavaSamadhi #Darshan
Register/ link: events.kailaasa.org
#Nithyananda #KAILASA #prosperity #attractwealth #manifest #abundance #venkateshwara #vishnu #krishna #hinduism #hindu #energy #oneness #consciousness #cosmic #yogicscience #healing #chakra #meditation #yogi #yoga
Nama Kailasa berasal dari nama salah satu gunung tempat tinggal Dewa Syiwa. Nama ini disandangkan pada bangunan museum ini karena kepurbakalaan Dieng sangat identik dengan pemujaan terhadap Dewa Syiwa yang dapat diketahui dari peninggalan percandian maupun prasasti. Bangunan museum yang dilengkapi dengan berbagai fasilitas seperti toilet, mushola, café, gazebo, dan tempat parkir. Museum Kailasa diresmikan pada tanggal 28 Juli 2008 oleh Menteri Kebudayaan dan Pariwisata Republik Indonesia Ir Jero Wacik.
Lokasi bangunan museum Kailasa terletak dibawah bukit pangonan yang menurut penuturan warga sering ditemukan berbagai peninggalan sejarah atau tepatnya di seberang Candi Gatutkaca, secara administratif masuk wilayah desa Dieng kulon, Kecamatan Batur Kab. Banjarnegara.
About Banteay Srei
Banteay Srei or Banteay Srey ("Citadel of Women / Beauty") is a 10th century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km (16 mi) north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
8 Apr || Attract wealth, prosperity, and abundance through KAILASA’s Ananda Venkateshwara #BhavaSamadhi #Darshan
Register/ link: events.kailaasa.org
#Nithyananda #KAILASA #prosperity #attractwealth #manifest #abundance #venkateshwara #vishnu #krishna #hinduism #hindu #energy #oneness #consciousness #cosmic #yogicscience #healing #chakra #meditation #yogi #yoga