... continue from Exploring the Ancient Wonders of Elephanta Caves, Mumbai, the magnificent Trimurti sculpture to the intricate carvings of Ardhanariswara and Nataraja, the Elephanta Caves showcase the pinnacle of Indian architecture and artistry. The caves offer a glimpse into India's rich history, with sculptures depicting Hindu mythology and ancient traditions. Despite facing challenges over the centuries, including defacement by Portuguese invaders, the Elephanta Caves continue to captivate visitors with their timeless beauty and historical significance.
Trimurti - The Eternal Shiva at Elephanta is a masterpiece representing the supreme artistic achievement. It has the transcendental form of the Panchamukha linga (the phallic symbol of Shiva with five faces). It is enshrined in the deep recess of the southern wall of the main cave as the central image of the shrine. The devotee encounters three faces of the Siva on the front, the fourth face behind is implied and the fifth immanent face transcends the sight of mortals and is therefore never carved. The four faces are those of Tatpurusha (Mahadeva), Aghora (Bhairava), Vamadeva (Uma) and Sadyojata. On the right, shows face of Aghora, the fierce and terrifying aspect of Shiva. His matted hair locks are bedecked with serpent hood and skull. The fearful god has fangs, knitted eyebrows representing angry aspect of Siva. In contrast, the left face is Vamadeva (the Great Goddess), the beautiful, pleasing and feminine aspect of Shiva bejewelled with feminine ornaments. The central face represents Tatpursha rising into linga shape with an elaborate head-dress, is symbolic of absolute knowledge, the Supreme Principal that combines in itself the dualities of phenomenal existence, these being personified by the fusion of the male with the female principle. He is relaxed in meditation, the eyelids are lowered and the lips are closed. In his left hand he holds a citron, a symbol of fecundity.
Ardhanarishvara : Various interpretations of Ardhanarishvara myth in which Shiva manifests himself in an androgynous form. According to the Sivapurana, Brahma commanded various male beings to procreate. However, they were unable to do so. Brahma, perplexed, sought Lord Shiva's help. To demonstrate the need for the female principle of creation, Shiva appeared before Brahma in the composite male and female form. Another interpretation of Ardhanrishvara form of Shiva is the story of Bhringi, one of Shiva's devout followers, Bhringi's devotion to Shiva excluded all other deities including Paravti. To convince Bhringi of their oneness, Shiva manifested himself in an androgynous form, the female half representing his beloved Parvati. The partly damaged panel depicts right half as Shiva and left half as Parvati, standing reclining against his mount Nandi in the centre. The face and hairstyle is convincingly half-male and half-female and yet is perfectly resolved. Shiva and Parvati's respective male and female attendants make this contrast complete. The goddess shown in graceful disposition, fullness of breast and the curve of the hip stand in contrast with the robust male half. She holds a mirror in the upper hand while Shiva holds snake in right upper hand. A multitude of figures including the gods Brahma, Indra, Vishnu, Varuna, Ganesa and Karttikeya as well as Shaiva's ganas, Pravati's attendants, ascetics, devotees and other celestial beings witness this extraordinary manifestation of Siva.
Andhakasura-Vadha : This mutilated panel depicts the story of destruction of demon Andhaka by Shiva. Andhakasura, a demon king enamoured by the beauty of Parvati, attempts to abduct the goddess. Shiva impaled the demon, but a boon from Brahma has made Andhaka invincible. Each drop of blood shed by the demon produce a mighty new demon, making it difficult for Shiva to destroy Andhaka. Then Shiva created the goddess Chamunda to hold Andhaka's blood in skull cup. Shiva was about to kill Andhaka, when the demon praised him and after many penances obtained his pardon. Andhaka was appointed chief commander of Shiva's ganas (dwarf attendants). In this panel, Shiva dancing with destructive fury consumes the entire scene. Behind him is the hide of the elephant-demon Nila, friend of Andhaka, whom Shiva has overcome by dancing him to death. The god is depicted furious face, has fangs, his eyebrows are knotted and his third eye is bulging in his forehead. His dramatic appearance with the elephant hide held in upper two hands, a fearsome three-quarter profile and an array of weapons in his several hands and skull cup in left lower hand, is a truly formidable work of art.
Kalyanasundara-Murti: The panel depicting the marriage of Shiva and Parvati is perhaps the finest of its class here. King Himavan, the bride's father ushers his daughter towards Shiva, her husband to be. Shiva, a young and serene groom is standing with Parvati to his right, his front right hand is stretched out to receive her. After the marriage Parvati is always depicted on his left. The figure of Parvati is exquisitely carved in flexed posture (tribhanga), wears jewelled girdle (mekhala), elaborate tiara (ardha mukuta), with her eyelids lowered and her head gracefully inclined. Brahma the priest of the I gods is performing the marriage ritual and behind him is Vishnu. Parvatis friends and relatives stand close behind her. Her brother, the legendary Mainaka, holds a vessel, an auspicious symbol of fertility. A number of gods and goddesses and other heavenly beings are depicted flying in the air to shower blessing on the married couple. In the panel, Shiva is shown standing in a flexed posture (tribhanga) wearing a tall jatamukuta with crests, and other ornaments. His lower garment is secured by a waist band (udarabandha). In this relief the sculptor portrays the divine bride-groom as lithe and calm, with an expression of superhuman tenderness rendering Shiva's extraordinary perfection into stone.
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