Preface / C. Hioco and L. Poggi -- Preface / G. Beguin -- Foreword -- INTRODUCTION. History -- Main rulers -- Map of India -- Map of north-west Deccan -- Ellora and Indian art -- map of the site of Ellora -- Relief map of cliff -- CAVES LAYOUT. Buddhist caves: Cave 1 ; Cave 2 ; Cave 3, Ghatotkaca ; Cave 4 ; Cave 5, MaharwadĐa ; Cave 6 ; Cave 7 ; Cave 8 ; Cave 9 ; Cave 10, Visvakarma ; Cave 11, Do TĐhal ; Cave 12, Tin TĐhal -- Hindu caves: Cave 13 ; Cave 14, RavanĐaka Khai ; Cave 15, Das Avatara ; Complexe 16, Kailasanatha ; Cave 17 ; Caves 18 and 19 ; Caves 20 and 20 bis ; Cave 21, Ramesvara ; Cave 22, NilakanĐtĐha ; Caves 23, 24, and 25, Khumbharvada ; Cave 26, Janvasa ; Cave 27, "Milkmaid Cave" ; cave 28, Ganesa lena and Jogesvari caves ; Cave 29, Dumar LenĐa -- Jain caves: Cave 30, ChotĐa Kailasa ; Cave 30 bis ; Cave 31 ; Cave 32, Indra Sabha (formerly Cave 33) ; Cave 33, Jagannatha (formerly Cave 33 bis) ; Cave 34 (formerly Cave 33 ter) -- CONCLUSION. Chronological outline -- APPENDIX. Approximate size of caves in meters -- Dating hypotheses -- Probably dating by cave number -- Selected bibliography -- Index.
Summary:
Thirty-four places of worship (temples, monasteries, and shrines) were carved out of the rock between the fifth and tenth centuries over an area of around two square kilometres. All the sculpture at the site is testimony to the superb skill and sheer determination of the workforce involved, as well as being evidence of the religious harmony of the time. The monuments include all sorts of architectural and decorative features that display the utmost splendour and inventiveness: columns, staircases, reliefs, stuccos, and even surviving patches of painted decoration. In the past, the extraordinary work at the site has unfortunately been eclipsed by the exceptional nature of its surroundings. The architecture and sculpture are often immersed in darkness and this has made it impossible to create the kind of photographic record that would give their stunning quality the visibility it deserves. But now Iago Corazza, with his ultra-sensitive photographic equipment, is able at last to give lovers of Indian art and enthusiasts the chance to fully appreciate this wonderful, indeed unique, group of rock-cut temples. The task of explaining the meaning and significance of these works as they emerge from the dark is entrusted to the expertise of Gilles Beguin. Following the success of Khajuraho, readers have the chance to explore another treasure of Indian art accompanied by a distinguished guide, with the benefit of photos that at last do their marvellous subjects full justice.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.