India (Frommer's, 4th Edition) (89 page)

Cave 1
is one of the finest and most popular of the
viharas
at Ajanta, especially renowned for the fantastic murals of two bodhisattvas
(saintly beings destined to become the Buddha) that flank the doorway of the antechamber. To the right, holding a thunderbolt, is Avalokitesvara (or Vajrapani), the most significant bodhisattva in Mahayana Buddhism.
To the left is bejeweled Padmapani, his eyes cast humbly downward, a water lily in his hand. Within the antechamber is a huge seated Buddha with the Wheel of Dharma (or life) beneath his throne—his hands are in the
Dharmachakra pravartana mudra,
the gesture that initiates the motion of the wheel. On the wall to the right of the Buddha is an image of the dark princess being offered lotuses by another damsel.

Last but not least, for a magnificent view of the entire Ajanta site and an idea of just why this particular spot was chosen, visit the viewing platforms on the opposite side of the river; the natural beauty of this horseshoe-shaped cliff is the perfect setting for a project so singularly inspired by spiritual fervor. It may even be the ideal starting point for your exploration.

Note:
You will be required to remove your shoes before entering many of the caves, so take comfortable (and cheap) footwear that slips on and off easily.

Rs 250. Tues–Sun 8am–6pm. No flash photography.

Ajanta Travel Advisory

The drive from Aurangabad to Ajanta takes between 2 and 3 hours, so you’re advised to set off early in the day to avoid as much of the midday heat as possible. There are two ways of getting to the caves. Generally, visitors are dropped off in the public parking lot, several miles from the caves themselves; here you’ll find stalls selling awful souvenirs, snacks, and tourist paraphernalia, and “guides” flogging their services. You’ll also find green, eco-friendly buses that are the only vehicles allowed in the vicinity of the caves. Purchase a ticket (Rs 30) and hop aboard for the short drive from the Fardapur T-junction to the Ajanta ticket office.

A far more rigorous but rewarding alternative is to have your driver drop you at the “Viewpoint,” reached via a turnoff some distance before the official parking facility. From here you can take in a panoramic view of the site across the river, then make your way down the rather difficult pathway (don’t attempt this route if you’re unsteady on your feet) and eventually to a footbridge that spans the Waghora River. Make for the ticket booth and proceed to the caves. Be sure to arrange to have your driver collect you from the parking lot when you’re done.

THE BUDDHIST, HINDU & JAIN CAVES OF ELLORA

30km (19 miles) NW of Aurangabad

Ellora’s 34 rock-sculpted temples, created sometime between the 4th and 9th centuries, were chiseled out of the hillside by Buddhists, Hindus, and Jains. A visit here allows for an excellent comparison of the stylistic features and narrative concerns of three distinct but compatible spiritual streams.

Of the 12 Buddhist cave-temples, carved between the 6th and 8th centuries, the largest is
Cave 5.
The “cave of the celestial carpenter, Vishwakarma”
(Cave 10),
is acknowledged to be most beautiful of the Buddhist group. A large ribbed, vaulted chamber, it houses a big figure of the Teaching Buddha, while smaller figures look down from panels above. The atmosphere here is chilling, a place for the suspension of worldly realities and for complete focus on things divine. In the three-story
vihara
(monks’ domicile) of
Cave 12,
note the monks’ beds and pillows carved out of rock.
Cave 13
marks the first of those carved by the Hindus which, when viewed in combination, offer a wealth of dynamic, exuberant representations of the colorful Hindu pantheon: Shiva as Natraj performs the dance of creation in
Cave 14
(where he is also seen playing dice with his wife Parvati and piercing the blind demon Andhaka with a spear); and in
Cave 15,
the manifold avatars of Vishnu tell numerous tales while Shiva rides the divine chariot and prepares to destroy the palaces of the demons.

Created over 150 years by 800 artisans,
Kailashnath Temple (Cave 16)
is the zenith of rock-cut Deccan architecture, and Ellora’s star attraction—widely considered India’s finest work of art—also known simply as
Kailasa
. A dazzling visualization of Mount Kailash, the mythical sacred abode of Shiva in the Tibetan Himalayas, it is unlike the other caves at Ellora, which were excavated into the hillside—it is effectively a mountain that has been whittled down to a free-standing temple, measuring 1,700 sq. m (18,299 sq. ft.). The intricacy of detail is remarkable; the temple basement, for example, consists of a row of mythical elephants carrying lotuses in their trunks as they appear to support the entire structure on their backs. Sculpted detail abounds in the temple and its excavated courtyard, with hardly an inch of wall space left unadorned—demons, dwarfs, deities, humans, celestial
asparas,
and animals occur in abundance. In the Nandi Pavilion facing the entrance is a beautiful carving of Lakshmi surrounded by adoring figures; seated in a pond, she is being bathed by attendant elephants carrying pots in their trunks. Also be on the lookout for
mithunas
—male and female figures in erotic situations.

The five Jain caves form a distinct cluster some distance north of the Hindu caves. Of these,
Cave 30 (Chhota Kailasa)
is the largest and the first to be excavated—it’s a smaller, incomplete replica of the Hindu Kailasa cave, decorated with Jain saints and goddesses; within the sanctuary is an image of the founder of Jainism, Mahavira, who sits on a lion throne. Finest of the Jain caves is
Indra Sabha (Cave 32)
. Here, an open court is adorned on each of its sides with carvings of elephants, lions and
Tirthankaras
(teachers worshipped by the Jains), and features a monolithic shrine in the center. Of special interest is the sculpture of the mother goddess, Ambika, recognizable from the child resting in her lap; beneath her is a lion, while a tree towers above. There are also ceiling paintings here depicting heavenly maidens and couples flying among the clouds.

The final cave,
no. 34
is a small Jain sanctuary with a seated Mahavira at its center.

Ellora Caves free. Entry to Kailashnath Temple Rs 250, free for children under 15. No flash photography. Wed–Mon 9am–5:30pm.

Ellora Travel Advisory

These caves are only 30km (19 miles) from Aurangabad, but you should rent a car and driver for the day for transfers between certain caves. Starting at
Cave 1,
visit as many of the principal caves (don’t miss
Cave 10
) as you have time for, until you reach
Cave 16,
where you should arrange for your driver to pick you up and then drive you to
Cave 21,
which is worth investigating. Having seen this cave, again have your driver take you to
Cave 29,
located alongside a waterfall, reachable via a rather dangerous pathway. Another short drive will take you to the
Jain Group
of temples, of which
Cave 32
is the best example.

Be warned that Ellora is enormously popular—especially during weekends and school vacations. Time your visit accordingly, or get here as soon as it opens, preferably not on a weekend. Ellora can be explored independently or with a guide—best to hire someone legit through your hotel, or through Anil Kumar at Classic Travel (see “Getting Around,” earlier).

WHERE TO STAY

The palatial
Taj Residency
(reviewed below) is in many respects light-years ahead of the competition—thanks to a new wing and a full-blown decision to upgrade the entire hotel, it’s made most other hotels in town look positively old-fashioned. One exception is the
Lemon Tree
(reviewed below)—part of a midrange chain that is steadily closing the gap between luxury and budget digs in key locations around the country—that was carefully crafted from the old bones of the former President Park. A further option you may wish to consider—and one which has long tried to match the Taj—is the
Rama International
(
www.welcomhotelrama.com
). Attractive interiors and perky modern rooms (starting at Rs 4,900 double) are the stand out feature here, but service and facilities don’t quite match those at its main rival. Particularly disappointing is the pool: It’s too darn small.