The Elephanta Caves are a network of sculpted caves located on Elephanta Island, or Gharapuri (literally "the city of caves") in Mumbai Harbour, 10 kilometres (6.2 mi) to the east of the city of Mumbai in the Indian state of Maharashtra. The island, located on an arm of the Arabian Sea, consists of two groups of caves—the first is a large group of five Hindu caves, the second, a smaller group of two Buddhist caves. The Hindu caves contain rock cut stone sculptures, representing the Shaiva Hindu sect, dedicated to the god Shiva.The main cave, also called the Shiva cave, Cave 1, or the Great Cave, is 27 metres (89 ft) square in plan with a hall (mandapa). At the entrance are four doors, with three open porticoes and an aisle at the back. Pillars, six in each row, divide the hall into a series of smaller chambers. The roof of the hall has concealed beams supported by stone columns joined together by capitals. The cave entrance is aligned with the north-south axis, unusual for a Shiva shrine (normally east-west). The northern entrance to the cave, which has 1,000 steep steps, is flanked by two panels of Shiva dated to the Gupta period. The left panel depicts Yogishvara (The Lord of Yoga) and the right shows Nataraja (Shiva as the Lord of Dance). The central Shiva shrine (see 16 in plan below) is a free-standing square cell with four entrances, located in the right section of the main hall. Smaller shrines are located at the east and west ends of the caves. The eastern sanctuary serves as a ceremonial entrance.
Each wall has large carvings of Shiva, each more than 5 metres (16 ft) in height. The central Shiva relief Trimurti is located on the south wall and is flanked by Ardhanarisvara (a half-man, half-woman representation of Shiva) on its left and Gangadhara to its right, which denotes river Ganges's descent from Shiva's matted locks. Other carvings related to the legend of Shiva are also seen in the main hall at strategic locations in exclusive cubicles; these include Kalyanasundaramurti, depicting Shiva’s marriage to the goddess Parvati, Andhakasuravadamurti or Andhakasuramardana, the slaying of the demon Andhaka by Shiva, Shiva-Parvati on Mount Kailash (the abode of Shiva), and Ravananugraha, depicting the demon-king Ravana shaking Kailash.
The main cave blends Chalukyan architectural features such as massive figures of the divinities, guardians, and square pillars with custom capitals with Gupta artistic characteristics, like the depiction of mountains and clouds and female hairstyles.
The rock cut architecture of the caves has been dated to between the 5th and 8th centuries, although the identity of the original builders is still a subject of debate. The caves are hewn from solid basalt rock. All the caves were also originally painted in the past, but now only traces remain.
The island was called Gharapuri and was a Hindu place of worship until Portuguese rule began in 1534. The Portuguese called the island Elephanta on seeing its huge gigantic statue of an Elephant at the entrance. The Statue is now placed in the garden outside the Bhau Daji Lad (erstwhile Victoria & Albert) Museum at the Jijamata Udyan (erstwhile Victoria Gardens) at Byculla in Mumbai. This cave was renovated in the 1970s after years of neglect, and was designated a UNESCO World Heritage Site in 1987 to preserve the artwork. It is currently maintained by the Archaeological Survey of India (ASI)
Elephanta Island, or Gharapuri, is about 7 miles (11 km) east of the Apollo Bunder (Bunder in Marathi means a "pier for embarkation and disembarkation of passengers and goods") on the Mumbai Harbor and 6 miles (9.7 km) south of Pir Pal in Trombay. The island covers about 4 square miles (10 km2) at high tide and about 6 square miles (16 km2) at low tide. Gharapuri is small village on the south side of the island. The Elephanta Caves can be reached by a ferry from the Gateway of India, Mumbai, which has the nearest airport and train station. The cave is closed on Monday.
The island is 1.5 miles (2.4 km) in length with two hills that rise to a height of about 500 feet (150 m). A deep ravine cuts through the heart of the island from north to south. On the west, the hill rises gently from the sea and stretches east across the ravine and rises gradually to the extreme east to a height of 568 feet (173 m). This hill is known as the Stupa hill. Forest growth with clusters of mango, tamarind, and karanj trees cover the hills with scattered palm trees. Rice fields are seen in the valley. The fore shore is made up of sand and mud with mangrove bushes on the fringe. Landing quays sit near three small hamlets known as Set Bunder in the north-west, Mora Bunder in the northeast, and Gharapuri or Raj Bunder in the south.
The two hills of the island, the western and the eastern, have five rock-cut caves in the western part and a brick stupa on the eastern hill on its top composed of two caves with a few rock-cut cisterns. One of the caves on the eastern hill is unfinished. It is a protected island with a buffer zone according to a Notification issued in 1985, which also includes “a prohibited area” that stretches 1 kilometre (0.62 mi) from the shoreline.
Since no inscriptions on any of the caves on the island have been discovered, the ancient history of the island is conjectural, at best. Pandava, the hero of the Hindu epic Mahabharata, and Banasura, the demon devotee of Shiva, are both credited with building temples or cut caves to live. Local tradition holds that the caves are not man-made.
The Elephanta caves are "of unknown date and attribution". Art historians have dated the caves in the range of late 5th to late 8th century AD. Archaeological excavations have unearthed a few Kshatrapa coins dated to 4th century AD. The known history is traced only to the defeat of Mauryan rulers of Konkan by the Badami Chalukyas emperor Pulakesi II (609–642) in a naval battle, in 635 AD. Elephanta was then called Puri or Purika, and served as the capital of the Konkan Mauryas. Some historians attribute the caves to the Konkan Mauryas, dating them to the mid 6th century, though others refute this claim saying a relatively small kingdom like the Konkan Mauryas could not undertake "an almost superhuman excavation effort," which was needed to carve the rock temples from solid rock and could not have the skilled labor to produce such "high quality" sculpture.
Caves of Elephanta, c. 1905. Note the broken pillars, which were restored in the 1970s.
Some other historians attribute the construction to the Kalacuris (late 5th to 6th century), who may have had a feudal relationship with the Konkan Mauryas. In an era where polytheism was prevalent, the Elephanta main cave dedicates the monotheism of the Pashupata Shaivism sect, a sect to which Kalacuris as well as Konkan Mauryas belonged.
The Chalukyas, who defeated the Kalacuris as well as the Konkan Mauryas, are also believed by some to be creators of the main cave, in the mid 7th century. The Rashtrakutas are the last claimants to the creation of the main cave, approximated to the early 7th to late 8th century. The Elephanta Shiva cave resembles in some aspects the 8th century Rashtrakuta rock-temple Kailash at Ellora. The Trimurti of Elephanta showing the three faces of Shiva is akin to the Trinity of Brahma, Vishnu and Mahesh (Shiva), which was the royal insignia of the Rashtrakutas. The Nataraja and Ardhanarishvara sculptures are also attributed to the Rashtrakutas.
The elephant sculpture from Elephanta is currently installed at the Jijamata Udyaan
Later, Elephanta was ruled by another Chalukyan dynasty, and then by Gujarat Sultanate, who surrendered it to the Portuguese in 1534. By then, Elephanta was called Gharapuri, which denotes a hill settlement. The name is still used in the local Marathi language. The Portuguese named the island "Elephanta Island" in honour of a huge rock-cut black stone statue of an elephant that was then installed on a mound, a short distance east of Gharapuri village. The elephant now sits in the Jijamata Udyaan zoo in Mumbai.
Portuguese rule saw a decline in the Hindu population on the island and the abandonment of the Shiva cave (main cave) as a regular Hindu place of worship, though worship on Mahashivratri, the festival of Shiva, continued and still does. The Portuguese did considerable damage to the sanctuaries. Portuguese soldiers used the reliefs of Shiva in the main cave for target practice, sparing only the Trimurti sculpture. They also removed an inscription related to the creation of the caves. While some historians solely blame the Portuguese for the destruction of the caves, others also cite water-logging and dripping rainwater as additional damaging factors. The Portuguese left in 1661 as per the marriage treaty of Charles II of England and Catherine of Braganza, daughter of King John IV of Portugal. This marriage shifted possession of the islands to the British Empire, as part of Catherine's dowry to Charles.
Though the main cave was restored in the 1970s, other caves, including three consisting of important sculptures, are still badly damaged. The caves were designated a UNESCO World Heritage Site in 1987 as per the cultural criteria of UNESCO: the caves "represent a masterpiece of human creative genius" and "bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living or which has disappeared".
The island has two groups of caves in the rock cut architectural style. The caves are hewn from solid basalt rock. All caves were painted in the past, but only traces remain. The larger group of caves, which consists of five caves on the western hill of the island, is well known for its Hindu sculptures. The primary cave numbered as Cave 1, is situated about 1 mile (1.6 km) up a hillside, facing the ocean. It is a rock cut temple complex that covers an area of 60,000 square feet (5,600 m2), and consists of a main chamber, two lateral chambers, courtyards, and subsidiary shrines. It is 39 metres (128 ft) deep from the front entrance to the back. The temple complex is the abode of Shiva, depicted in widely celebrated carvings which reveal his several forms and acts.
On the eastern part of the island, on the Stupa Hill, there is a small group of caves that house Buddhist monuments. This hill is named after the religious Stupa monument that they display. One of the two caves is incomplete, while the other contains a Stupa made in brick. The main cave, also called the Shiva cave, Cave 1, or the Great Cave, is 27 metres (89 ft) square in plan with a hall (mandapa). At the entrance are four doors, with three open porticoes and an aisle at the back. Pillars, six in each row, divide the hall into a series of smaller chambers. The roof of the hall has concealed beams supported by stone columns joined together by capitals. The cave entrance is aligned with the north-south axis, unusual for a Shiva shrine (normally east-west). The northern entrance to the cave, which has 1,000 steep steps, is flanked by two panels of Shiva dated to the Gupta period. The left panel depicts Yogishvara (The Lord of Yoga) and the right shows Nataraja (Shiva as the Lord of Dance). The central Shiva shrine (see 16 in plan below) is a free-standing square cell with four entrances, located in the right section of the main hall. Smaller shrines are located at the east and west ends of the caves. The eastern sanctuary serves as a ceremonial entrance.
Each wall has large carvings of Shiva, each more than 5 metres (16 ft) in height. The central Shiva relief Trimurti is located on the south wall and is flanked by Ardhanarisvara (a half-man, half-woman representation of Shiva) on its left and Gangadhara to its right, which denotes river Ganges's descent from Shiva's matted locks. Other carvings related to the legend of Shiva are also seen in the main hall at strategic locations in exclusive cubicles; these include Kalyanasundaramurti, depicting Shiva’s marriage to the goddess Parvati, Andhakasuravadamurti or Andhakasuramardana, the slaying of the demon Andhaka by Shiva, Shiva-Parvati on Mount Kailash (the abode of Shiva), and Ravananugraha, depicting the demon-king Ravana shaking Kailash.
The main cave blends Chalukyan architectural features such as massive figures of the divinities, guardians, and square pillars with custom capitals with Gupta artistic characteristics, like the depiction of mountains and clouds and female hairstyles.
