Indian Architecture (Buddhist and Hindu Periods) c22.18

c22.18

As the two other temples of this class are situated elsewhere, a degression from the Ellora site becomes necessary at this stage in order to include them in their proper place. That on the island of Elephanta, near Bombay, and dating from the middle of the eighth century, resembles the Dumar Lena in the general distribution of its parts, but to a rather smaller scale, as its measurements overall are 130 feet by 129 feet. Certain changes in the plan may be traced partially due to the particular shape of the terrain in which the temple is situated, and although there are three entrances, the cruciform arrangement is not so clearly marked, while the shrine is placed in a side aisle instead of opposite the main front. In the proportions, style, and disposition of its pillars, there is a notable similarity to the Ellora example, as they are of the "cushion" order and aligned so as to produce the nave and aisles, with additional rows of pillars on either side to form the wings. The main shrine also, with its huge sculptured guardians, has been treated in the same way as that in the Dumar Lena, and the entrances appear to have been originally of the lion type. The remains of a frontage of this nature, with the sedent lions still in position guarding the flight of steps, may be seen in a supplementary prayer-hall on the east wing of the main temple, a kind of chapter-house, which, although ruined, still retains enough of the original work to show that it was a broad, simple and refined composition, thus providing an elegant and appropriate annexe. There are features in this side sanctuary such as the low level of the floor of the courtyard suggesting a kind of shallow reservoir, which may have an association with *Naga* (snake) worship and water spirits. In several types of early temple, water seems to have played an important part in the ritual, and so influenced not a little their architectural arrangements. Where however the Elephanta temple is superior to all others of its kind is in the character and quality of its sculptures, particularly those on the back or southern wall Here are three large square recesses, divided off by pilasters each of which bears a gigantic figure of a *dwarpala*. The panel to the left or east contains a spirited representation of Ardhanari, a manifestation of Siva typifying the male and female energies, while the corresponding panel on the right enshrines figures of Siva and Parvati. Both these groups are masterly examples of the plastic art, and pulsate with spiritual fervour, but the most striking of all, that in the central recess depicting the three-faced head of Siva Mahesamurthi is the creation of a genius Few works of sculpture excel the magnificent treatment of this colossal triple bust in which the whole essence of the creed is concentrated in forms of marvellous refinement and subtlety, carved, and full and alive ; in the white heat of his passion the sculptor seems to have melted the very substance of the rock and infused into it something of his own soul