Imageine: The allure of Ellora

Over a thousand years ago, a quiet village named Elapura in the Western Ghats in Maharashtra was chosen to be the site where powerful dynasties would bring their best artists, artisans, and architects to showcase their talents and the devotion the kings and their subjects had for the gods of their faith. Over centuries, the site evolved, changing hands and faiths, and today it is home to some of the greatest Buddhist, Hindu, and Jain rock-cut cave temples in India.

‘Ellora’, a new book by Deepanjana Klein and Arno Klein, attempts the first systematic overview of the Ellora cave temples, a UNESCO World Heritage Site, excavated between 600 CE and 1000 CE that are a stunning testament to ancient Indian art.

Seated Buddhas; Tin Thal, Cave 12, third floor.

This volume brings a comprehensive understanding of the chronology and stylistic development of the 34 main caves and lesser caves of the site. Investigating each of the three groups of rock-cut temples by religion and myths, patronage and the economics of a monastery, stylistic influence and exchange, and the process of carving and completion, the contributing authors reveal the integrity, the energy and the brilliance of Ellora.

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Interior stupa with Buddha triad; Vishvakarma, Cave 10.

The chapters offer a detailed study of the various facets. Deepanjana gives a peek into the Hindu temples. Nicholas Morrissey trains his focus on the Buddhist temples and Lisa N Owen on the Jain temples. Vidya Dehejia’s ‘Unfinished Work at Ellora’ focuses on the caves that seem incomplete or those lacking in refinement. She seeks to know why should “unfinished” work matter and suggests that pre-modern India had a remarkably flexible and pragmatic approach towards the concept of finish.

Dancing Shiva in tandava; Kailash, Cave 16, Lankeshwar shrine.

The book includes extensive photographic documentation, ground plans, and rarely seen early 19th-century etchings of the most significant caves — from Thomas Daniell’s hand-coloured aquatints (based on James Wales’ drawings) to Raja Lala Deen Dayal’s pioneering photographs; MF Pithawalla’s detailed watercolours; and James Burgess’ plans done for the Archaeological Survey of India.