Imagine how strong the devotion to God at the one who decided to cut the temple in the cave bare hands. A lot of centuries ago, Indian monks have increasingly cut incredible buildings in the rocks, based on the monasteries there. After the cave was ready, the monks decorated her frescoes and various figures, filled the interior statues.
The cave temples of India demonstrate early traces of human life and culture and the importance of Buddhism in the history of the country
1. We will tell about the 10 most prominent temples of India and begin a review from the cave Ellora. 30 Ellora caves were carved in the vertical slope of Charanandri hills in the 5th century of our era. This temple consisting of a variety of caves is dedicated to Buddhism, Hinduism, and Jain, as a demonstration of religious harmony of time. Buddhist caves were primarily monasteries - a shelter for hermites. The feature of the interior is mysterious ceilings with interesting hieroglyphs
List of world heritage, cave temples Ellora are the top of the rocky architecture of the dean. They are located in 30km from Aurangabad (India).
For more than five centuries, the generation of monks (Buddhists, Industors and Jains) was cut off monasteries, chapels and temples in 2 kilometers of the rocks and richly decorated them with surprisingly detailed sculptures. Many of the caves have difficult interior spaces and galleries.
The temples of Ellora personify the Renaissance of Hinduism during the reign of the dynasties of Chalukyev and Rashtrakutov, his subsequent fading during the time of dawn Buddhism, and the next brief surge in Jainism. Sculptures characterize the increasing influence of tantric teachings in the three main religions of India, and their peaceful coexistence on one site indicates a long period of religious tolerance.
2. Most cave temples have any hieroglyphs on the walls that we can admire thanks to their historical value, but from aesthetic point of view, they are not always beautiful. This cannot be said about the caves of Ajanta, who are considered true masterpieces in Buddhist art.
Ajanta caves - 29 Buddhist temples in India, many of whom they originate from the 2nd century BC. These famous caves retain some of the best masterpieces of Buddhist art in India. Ajanta is located in the Indian state of Maharashtra and since 1983 included in the UNESCO World Heritage List
Adjant caves Were created in the 2nd century BC from the rock form along the Vagora River. They were used by Buddhist monks as prayer halls and monasteries for about nine centuries, after which they were unexpectedly abandoned. Caves went into oblivion until they were open again in 1819
The caves are numbered from the east to the west, from 1 to 29. Today, all caves are interconnected by a terrace, but in ancient times, a separate move from the embankment was led to each of the caves. The observation platform on the river provides an excellent view of the entire territory of Ajanta - the natural beauty of this area makes it possible to understand why the monks chose this area that escaped from religious persecution.
There are many masterpieces of Buddhist art. Buddha here is shown only in symbolic form, in the form of a throne or traces. In other caves there are colorful frescoes and statues depicting life (and former life) Buddha. Caves also depict scenes from everyday lifeAnd many contain inscriptions about rulers and princes.
The most beautiful adjant caves - Cave 1 and 2, about them and will be discussed below. The cave under the first number is one of the last caves built here, so it is best preserved. In this cave there are some of the most complex carved figures on the facade with additional sculptures on the mountain ranges. There are scenes from the life of the Buddha as well as many other Buddhist motives. Two portico visible in the photographs of the 19th century, have not survived since then. Each wall of the hall inside is almost 12 meters in width and 6 meters in height. Colonnade supports ceiling, creating spacious passages along the walls
The facade of the cave number 2 is radically different from the first cave. Even carved figures of the facade seems to be different. Inside, the cave is also strengthened by huge pillars and decorated with paintings, there are a lot of common with the rest of the adjanta caves
Pictures and paintings are located all over the cave except for the floor. In some places, the frescoes were destroyed due to human intervention, so in many areas only fragments were preserved. These frescoes have certain uniqueness - they are unique even within the history of South Asian art
Research the caves Ajanta continues to this day, but there are still many mysterious moments in their history. For example, it is not clear how artists could draw in the semi; The mystery of luminous paints is not revealed. Today, there is a museum of Buddhist art
Painting Ajanta is a unique encyclopedia, which presents all social sections of Indian society (from the ruler to beggar). There are stories about the numerous peoples who inhabited India important moments Her stories. People, gods, flowers, animals look from different corners of the Ajanta, tell about something, passion, sing and dance, and urge to join the holiday, and they led them to heavenly gave the sounds of nature. This is what a bright message of the ancient Buddhist masters, as if trying to say: life is priceless, and everything in the world is interdependent - people, gods and animals, sky and earth.
Ajanta was created in the 1st century BC, every inch of 34 caves is chatted with colorful frescoes
3. The cave complex of the Varachi with four temples is a stunning example of the Pallava architecture, the powerful Southern Indian dynasty in the 7th century of our era. They turned the scattered cliff with the caves into individual temples, to honor God Vishnu and the earthly goddess Bhumi
In the sanctuary (end of the VII century) there are columns, at the base of which lions and guardians are carved dvarapaly Guiding entry into the sanctuary. On one of the four panels, the embodiment of Avatar Vishnu in the form of a boar raising the land-bochevi from the primitive ocean (left wall). On the other, Gadzhalakshmi is shown - the goddess Lakshmi's goddess, which watering water from the hobs of the elephants. The next panel depicts a Vishnu-Trivikrama, who took the embodiment of Brahman-Dwarf Vamana to defeat the Demonic Tsar Bali. Becoming huge, Vaman three steps conquers all three worlds. The last panel shows the four-time goddess Durga.
4. In the 4th century of our era, the seven temples of Undavaly were cut out of sandstone to honor Trimurti - Hindu gods: Shiva, God transformation; Brahma, God of creating; And Vishnu, Higher God. As a rule, these gods are worshiped separately, but Undavaly tried to nominate harmonious relations between the gods to the fore
5. Elephant caves (Elephant) are located on the island in the Arabian Sea. Seven caves split into two groups - the first dedicated to the Hindu God, Shiva, and the second - Buddhism as a whole. Starting from its creation in the 5th century of our era, to Portuguese rule in the middle of the 16th century, the Hindu caves were a place for religion. Large sculptures of elephants surrounded the caves from all sides, as if guarding them
The ancient caves of the island conquer his guests at first glance. They are made in the rock and represent a sacred temple complex dedicated to one by the Divine - Shiva. I must say, in India to this God the attitude of special. Shiva - the founder of yoga, the personification of the devastating and creative began one of the oldest divine essences of mankind.
Shiva appears before travelers in a variety of sculptures and every time in a new image. However, the most famous image of the deity on the island is a huge five-meter bust of three-headed Shiva. He embodies the creator, guardian and destroyer. By the way, this image is considered one of the masterpieces of Indian art. Here the marriage of Shiva and Parvati, and another sculpture, where Shiva is represented as the unity of both sexes in the same body.
Filled with silence and magnitude, mystery and antiquity, the walker cave rooms of the complex are forced to lower the voice and slow down their breath.
The story states that the caves appeared here allegedly in the V-VIII centuries and were made by monks who lived on the island. Unfortunately, the caves and their statues have not been preserved to the present day in pristine form - many sculptures were seriously injured during the capture of the country by Portuguese.
Soldiers who do not recognize the Indian religion, with laughter were shot by innocent sculptures, exercised in shooting on sacred sculptures. The caves suffered and from the hands of the British - attentive tourists may even find here inscriptions like "there was John in 1860." One of the main statues is a huge elephant - the British even tried to take away with them to the UK. However, the sculpture was taken only by Mumbai, where she remained and still stored. They say so they wanted the highest strength and did so that the statue remained in the city and did not leave the country.
Fortunately, today the caves are under strict guard, and in 1987 were included in the list of worldwide cultural heritage UNESCO.
6. Unlike many temples of India, Amarnath was founded in natural formation. Inside the cave is icelackmit, protruding from the base. Stalagmites grows and compressed, simulating the phases of the moon. Amarnath was founded in the 3rd century BC, and is dedicated to the Hindu shiv God
The history of the opening of the cave. It is said that once a Muslim shepherd Bhuta Malik met Sadhu, who gave him a full bag of coal. Having reached the house, the shepherd was surprised to find that the bag was full of gold coins. He rushed back to thank Sadhu. But not finding the saint, Bhuta Malik discovered the cave at the place of their meeting. He told everyone about the opening. And soon the pilgrims began to come to this holy place.
Ancient legends narrate on another story. The Kashmir Valley was under the water of a huge lake. But Kashyap Rishi dried his water. The first to see this cave, which was attending these places in Bhrig Muni in those days, who told the gods about her. Later, people later learned about the lingam and the cave of Amarnath became the place of honor Shiva for them. Since then, hundreds of thousands of believers make pilgrimages through a harsh terrain to eternal happiness.
Fallos Shiva. Ice lingams in natural origin ...
7. The temple of Udaagiri was created in the 5th century of our era, as a prisoner for Buddhists. The complex of 14 temples is located above the natural mountain canyon. Caves are most famous due to their complex T-shaped entrances and giant sculptures with Borov's head
8. Aura, surrounding 109 cave temples of Kanhery, only increases due to their location in dense difficult forests. Green trees around all sides surround a black basalt cliff, and massive stone pillars master this Buddhist shrine. The caves were inhabited in the 1st century BC, and the location of the canals and waterways through the temples confirms this.
9. When we think about life within the period of 80 years, it is difficult to imagine a period of 100,000 years and imagine how deep it stretches into the past. In the 1950s, when anthropologists discovered that 700 caves Bhimbet were created about 100,000 years ago. They were amazed, seeing the earliest people of India illustrated their lives with scenes of agricultural exchange, hunting, and breeding animals. In the photo cave cells Bhimbet:
10. 5 Temples of Badami are extremely picturesque, as they are located in the heart of the Green Gorge. The caves were carved manually in the 6th century of our era in the slopes of sandstone South-West India. They honor the gods Vishnu and Shiva, and the principles of Jaina. The architecture of the temple is most admired for its artistic use of the stylistic elements of Northern India and South India
Incredible cave temples of India illuminate everyday life of early people, demonstrate their faith, and are wonderful arts of art - they cannot be admired
In Indian art 7-13 centuries. You can highlight two main stages. The first stage covers the time from 7 to 9 V. and is mainly associated with cave architecture, as well as with rock architecture (that is, with architecture, cut directly in the rocks. At the second stage, in 10-13 centuries, the main place belongs to land temple ensembles.
Turning to direct consideration of the history of Indian art of this period, the nature of historical development in the era of feudal fragmentation, passing not smoothly, and the abundant sharp, often jump-like changes, accompanied by sudden ingenic invasions, internecine wars, folk unrest. All this found a peculiar reflection in the nature of the development of culture and art. Within one chronological stage, the development of a separate type or school, for example, in architecture, suddenly stopped as a result of some major historical event, and after some time he was reborn elsewhere in a somewhat modified form, determined by local traditions and natural conditions, etc. The fact that until our time, in general, only a relatively small part of the artistic and architectural monuments of this time survived, explains why some wonderful temples occur sometimes in the deaf edges, once formed by major centers of medieval culture and art.
Finally, it should be remembered that the history of the art of India, especially during the Middle Ages, is essentially the history of the arts of a number of different peoples and states that are part of a single subcontinent and in continuous interaction. Each of these peoples contributed to the treasury of Indian art, such a multifaceted and long-fashioned.
Therefore, despite the stability of the caustic structure of Indian society and on the external frost forms of socio-economic life, in some areas of ideological life, as well as in architecture and art, a certain movement is seen, there is a change of trends. This is a complete internal movement and diversity of India's art life within the unified process of its artistic development.
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Politically, as noted above, India is 7 c. Disposable to numerous states, the most significant of which was the Harshi state (606-647), covering the extensive territories of Northern India. Performing, essentially, conglomerate of small feudal principalities, it was afraid of the founder after death.
At the beginning of the 8th century. The invasion of the Arab Caliphate troops in North-Caucasian India occurs, as a result of which the first Muslim possessions arose in India - in Cinda and Multanes, who existed until the seizure of North-West India Makhmud Gaznevids and later Guridas.
In Northern India for 8-11 centners. The feudal principalities of Rajputov dominated. At 11 c. They were defeated during Mahmud trips. In North and Central India, there were other small principalities, among them the state of the Rashratkutov (Western Dean) should be mentioned.
In South India, at this time the most powerful states were the state of Chalukyev, whose possessions covered the Earth to the south of the Narbada River, and the Pallavov state on the southeast coast. The most southern tip of the Industan Peninsula was occupied by the ownership of the Chola dynasty and the Pandia, in 10-13 centuries. Out of Pallavov. Despite the almost uncontrolled war between these states, especially between the states of Chalukyev and Pallavov, and then Cholov and Chalukyev, economic development These areas (in particular, in connection with the large role of maritime trade) were quite intense, which was reflected in the flourishing of architecture and sculpture.
During the entire period under consideration, the political and economic life of feudal states of India was characterized by the unevenness of their economic and social development, the variety of ethnic composition of the population and, as already noted, the large variety of religious directions and sects. Significant disunity of individual parts of India, their heterogeneity regarding economic and cultural development has been reflected in a large variety of local art schools and directions.
But in general, they are characterized by some unity of their ideological and thematic content and artistic language.
In the architecture of the early service period, the synthesis problem is solved in a new way. Thus, in cave architecture, unlike the slave-owned era, sculptural, ornamental and picturesque design at least actively affects the development of the structural foundations and in some cases even determines the nature of the latter. This becomes especially obvious at the last stage of the development of cave architecture in Elura in 7-9 centners, when the sculptural design, reaching excessive pomp and getting sometimes self-sufficient character, breaks the children's architectural schemes and Vihar (see t. I). The transition from these schemes to a more complex nature of the planning of cave temples was associated with the complication of a religious cult, enriching Buddhist iconography and other phenomena characteristic of the new stage of the historical development of India. However, in the development of art, in the specifics of the connection of architecture and sculpture, this was manifested primarily in violation of the former logic of their relationship.
Using the example of ground stone architecture, gradually beginner at 6 to 7 centuries. Develop, you can also trace the inevitable effect of decorative design for architecture. A peculiar consequence of this, for example, is the absence of arches and an arch as a fundamental constructive start in Indian architecture up to 13 V. The type of church, built of powerful seashed stones - quadrov and plates with predominant use of dry masonry and iron jacks, was the most appropriate necessary base for the magnificent and heavy ornamental and especially sculptural decor, gradually enveloping almost completely the entire surface of the temple.
In the early-conductive terrestrial stone architecture of India, two large directions, distinguished by the originality of their canons and architectural forms, are revealed. One of them, developed in the north of India, is called "Nagara" or sometimes an unsuccessful term "Indo-Aryan" school. Another direction developed in the territories located south of r. Brown, is the so-called South, or "Dravidskaya" school. These two large destinations are North Indian and South Indian - disintegrated with a number of local art schools.
7-8 centuries. In the history of Indian art are a transitional era. At this time, the tradition of cave architecture developed in the preceding centuries and reached a large heyday during the gupta, experience the final stage of its development.
Cave architecture associated with the ideology of the past era, which emerged and developed on the basis of the productive forces and the construction culture of the slave-owned period and inseparable from best achievements His plastic art could not be suitable for the needs of the new social and historical stage. The ancient ideas about the cave church as a secluded asylum of God or a sage, detached from the life of human society, were answered by the innermost ideal of Buddhism, especially in the early stages of its development. During the period of degeneration of the Buddhist religion and the development of the Brahmansky cult in India, they finally lost their meaning. Already during the Guptian dynasty, religious and ascetic trends in Buddhist art, especially in the painting of the cave temples, adjanta, as if undermined from the inside, with great importance by secular motives, reflecting the increased impact of the ideology of slave-ownership cities. Now, with the development of feudal relations, the priests of priest orthodoxy occurred related to the strengthening of the role of caste Brahmanov. The increased influence of Hinduism, the complication of his cult demanded the forms of religious art that could best embody his fantastic superhuman character. For a more powerful impact on the masses of religious ideas embodied in a complex system of Hindu Pantheon, the possibilities incorporated in the traditional principles of cave architecture were insufficient, old closer schemes. But since the tradition was still so strong and the image of the temple, as if born in the depths of nature itself, to such an extent close to the religious representations of the Hindus, and the new principles of terrestrial construction were not yet sufficiently developed, then in this transitional period, cave construction continued to still play a considerable role in development Indian art.
To this period, the creation of the latest monuments of Indian cave architecture: late cave temples Ajans, cave and rock churches of Elura (Ellora) and Mamallapuram, the temple on the island of Elephant and others. In them, and especially in Elur and on O. Elephant) Changes, primarily in the nature of their design and plan. Changes are also manifested in the very spirit of new images, full drama and space symbols and shown in the most impressive decorative-spectacular aspect. Hence the violation of the old principles in planning schemes, hence the crisis phenomena in cave architecture. If, in the late cave temples, adjanta (the general analysis of the art of the Ajanta associated with the previous period is in the first volume.) And in their design began 7 in. The old traditions are still strong enough, then in Elura, sharp changes are observed in the late chokes of the Buddhist cult of the beginning of the 8th century.
In addition to Buddhist temples in Elura, brahmansky and jine temples were built. The most interesting is Brahmansky. They developed the tendencies of Buddhist temples in the direction of the complication of the plan, enrichment of sculptural decorative design. The complication of the plan was due to an increase in the indoor premises, which was reflected in the cave churches of all three cults. For example, in each group you can find samples of two- or three-storey cave temples. But the development of temples was the various stages, partly the religions that replaced each other.
In the Buddhist group, the design is quite discreet, as shows, for example, the appearance of the facade of the largest Tin-Thal's three-story cave church in Elur. But such severe simplicity could be explained by the well-known disproportion between a huge indoor room, reaching an average of 30 m deep and 40 m wide, and relatively poor sculptural design, which did not fulfill all architectural surfaces. In the Brahmansky cave temples, less large size, sculptural and decorative design gets exceptional importance. A special place is occupied by the corneal compositions on religious and mythological plots.
Reliefs are the main ideological and artistic element of the design of the cave temples of the 8th century. In Elura (as well as the temple on about. Zhlefanta) to no less degree than a wall painting in Ajant in the preceding centuries. But, in contrast to the painting, in the reliefs of Elura does not feel the same genre jet. But much stronger than the abstract-symbolic meaning, expressed in the heroic acts of superhuman creatures and gods. Mythical heroes and basic acting persons depicted space clashes are usually taken from the Brahmansky epic and legends and are often different incarnations of Shiva and Vishnu. The images of their full of drama and are performed by the overwhelming titanic force. The features of increased expression and dynamics are dramatically distinguished by the reliefs of this period from the sculpture of the Gupta period with its calm equilibrium and statuality. In the interpretation of plastic images, trends are increasing the trends of greater generality, but also the conventions of the form, sometimes approaching some schematism. Plastic reliefs are full of intense and restless movement, the impression of which is enhanced by a sharp opposition of extremely high relief more flat, as well as underlined lighting contrasts. Huge burners filling the wide planes of walls and dominant in the overall architectural and spatial solution of the indoor premises, become a kind of plastic base of the cave temple. Replacing Buddhist paintings, previously decorated the cave temples, the burning compositions combine the overall monumentality of images with a kind of "picture" and the painting of a general composite solution. But, not possessing the purely narrative freedom of picturesque paintings, they concentrate in one image all the extraordination and maximum dramaticness of the acts and feats of gods and heroes. It is in a sculpture, in the corner of the composition, more than in the picturesque, could be given a specific sensual-visual image of superhuman beings, full power and visibly embodying brahmanic space symbolism. The titanism of these sculptural sculptures during fantastic cave lighting gets a special impressibility and has a very large force of influence. It seems that the rocks themselves were filled with a pulsating life, which was embodied in the tense sculptural plastic of the extensive figures, an overlooking person from all sides. Such dominance of sculpture in decorative design is deeply reflected on the nature of the architecture of the late cave temple.
A typical example is the facade of the Temple of Rameshwara in Elura (Ill. 107). It is clearly visible here as a carving, decorative sculpture and reliefs to the limit are saturated with the architecture of the facade. Massive cyclope columns organize the face of the facade, one-third is hidden behind the fence, completely covered with ornamental carvings and robes. The visible part of each column is divided into several belts: the bottom - with the cornersflowers, the top with the ornament. The column is crowned with a magnificent capital in the form of a large vessel with a geometrized vegetable plant hanging on four sides. Finally, on both sides of the visible part of the column at the additional backups are large sculptures of naked sem trucks - traditional Yakshini, surrounded by dwarf satellites. On the left and on the right side, on lateral women, adjacent to the facade, are huge, the magnitude of almost with a column, relief figures of the goddes of the sacred rivers Jamna and Ganges, according to the tradition of the crocodile depicted on the turtle and crocodile. Thus, the sculptures of Yakshini, twice repeating on each of the columns and one time on the extreme half-colonents, as they would develop the plastic motive of naked goddesses. The plastic of the main structural supports of the facade is thus purely decoratively combines with embossed symbolic and thematic images. In strengthening such a tendency to develop a sculpture, which has reached its limit in the decoration of the cave church of the Rameshwara, there was a risk of gap between the logic of architectural principle and decorative design.
The gap can be seen already in the latest group of the Jine Cave Churches of Eduura; attributed to 8-9 centuries. There is excessive detailing and one-dimensional design, often developed outside of organic communication with the structure of decorated parts. Thin and monotonous processing of architectural surfaces of shallow, almost jewelry thread wears decorative and flat character and as a result hides, and does not reveal their volume-structural base. The Jine Cave Church of Elura is generally characterized by the well-known heterogeneity of overloaded decorative design. The fragmentation and fragmentation also inherent in the overall architectural composition and plan of the Jine Cave Temple. All these phenomena indicate the final and natural decline in the temple cave architecture, which has already played their historical role.
Thus, the high artistic importance of the art of this period is primarily associated with the highest achievements in the sculpture. It is interesting to note that the genuine flourishing of the sculpture of the Middle Ages India, which occurs during this period, is associated with the cave architecture, that is, with the type of architecture, which threw its dominant value at this time. It is this kind that directly to the ancient traditions of Indian art, in nature organically combined the sculpture and architecture in synthetic unity. The construction process itself is the creation of the temple carved in the rocky array, similar to the work of the brew, was supposed to promote a note cropped, since its maximum size was exceeded.
Temple of Kailasanatha in Elura. Plan.
The construction of 8th century In Elura, among the Brahmansky cave temples, the largest ground rocky temple of Kailasanatha (Ill. 111 and 112 a) indicated new trends in the further development of Indian architecture. The Kailasanatha Temple in Elura, as well as the Ratha Temple Complex in Mamallapuram in the south of India, is essentially a refusal of the basic principles of cave architecture. These buildings are terrestrial structures made by the same techniques as cave temples. Despite the fact that they can find a number of signs characteristic of cave architecture, the very fact of their appearance is already talking about the new stage in the development of the medieval architecture of India. This is the stage of the final transition to the construction of stone and brick. In the future, the monumental rock and cave architecture loses its former importance, which is confirmed by the features of decline in the Jains of Elura.
A wonderful feature of the Kailasanath temple is the combination of the fantasticity of the most artistic plan with the clarity of its plastic embodiment, the fabulous scope of architecture, its bizarre spatial composition with the clarity and clarity of its constructive forms. It seems that here, as anywhere, still, in specific, visible forms, has found its expression that the combination of the wealth of images and forms with the inexhaustibility of imagination and sensual concreteness has been inflicted in the Ancient Epos. This fancy and bright world of legendary figurative representations are embodied both in countless sculptural reliefs and sculptures, generously adorning the architecture of the building and in the most common idea of \u200b\u200bthe temple dedicated to God Shiva and depicting the sacred mountain of Kailas. The contours of the building remotely resemble the outlines of the Himalayan mountain Kailas, at the top of which, according to legend, lives Shiva.
At the same time, in the grandios of the artistic plan associated with the cosmic religious and mythological idea, for the first time, the peculiar pathos of huge labor invested in the real implementation of the entire rock complex is so brightly felt. Colossality and at the same time the amazing accuracy of work spent by the whole army of obsolete artists-artisans, architects, sculptors and kamenotees, undoubtedly remains one of the outstanding evidence of collective folk art in the era of feudalism.
The Kailasanatha temple is revealed with full maturity and evidence of the principle of synthetic unity of architecture and sculpture. It is noteworthy that centuries-old cave architecture hidden underground, as it were, it turns out in the updated and perfect form. II Although the character of synthesis in land construction was to demand several other solutions, the builders managed to brilliantly apply their rich experience in creating cave temples and here.
Instead of the traditional drew in the rock, the underground hall was carved from the monolithic rock with all his architectural details of the ground temple, whose type in the main features has already developed by that time. Separating the three-testers from the mountain the necessary array, the builders of the temple began to cut it off, the upper floors, gradually deepening to the lower floors and the base. All rich sculptural decoration was performed simultaneously with the release of the parts of the building from the rock massif. This method eliminated the need to build forests, but demanded a detailed preliminary development of the project of the building in all its parts and their relations.
The temple complex consists of several separately located parts: entrance gates, the sanctuary of the bull find, the main building of the temple and the surrounding yard of the cells and cave rooms. The main building of the complex is located along the axis from the west to the East. Due to the irresistible difficulties associated with the location of the mountain, the builders had to retreat from the demands of the canon, placing an entrance from Western, and not from the east.
The main building of the temple is in terms of a rectangle size of about 30 x 50 m, on the sides of which, through certain intervals, side wings are issued, carrying protruding parts of the upper floors. The massiveness and monumentality of the volume of the main building of the temple is emphasized by a powerful base of about 9 g, replacing the lower floor. The upper and lower parts of this base are decorated in the form of cornices. In the center there is a sculptural frieze from the images of elephants and lions, which, as it were, carry the building of the temple (Ill. 1126). Over this monumental base, an array of the temple is tested, crowned with a majestic tapering upward three-tier tower. There is a wide platform around the base of the tower, also carved from the cliff, on the sides and the corners of which are six small towers, approximately repeating the forms of the main temple building.
The inner room of the main temple consists of a small shrine and an extensive column climb of a column of about 18 x 22 m. Four groups of square pylons located in each corner of the hall form a cruciform in the plan of the hall. A small lobby connects a column room with an internal sanctuary.
There is a traditional for temples dedicated to Shiva, a pavilion with the image of a sacred bull, the Pavilion with the image of the sacred bull. It is connected to them with bridges and is also towering on a monolithic ornate sculpture of the base. According to its both parties, there are two square in the cross section of a monolithic pillar with a height of about 16 LH, richly decorated with sculptural images of a trident and other Siva characters.
Decorative decoration of buildings of the Kailasanath temple complex, like the cave temples of the 8th century. In Elura, characterized by the dominant role of sculpture, which in the form of ornamental friezes, plot reliefs or individual figures fills out the outer surfaces of the buildings, emphasizing the rhythmic alternation of vertical and horizontal memberships.
A variety of shapes and sculpure of sculpted reliefs and sculptures are truly surprising. Here and far-speaking forward, essentially round sculptures of lions or elephants-karyatid, and rows of small reliefs - friezes telling in many separate scenes on the episodes of "Ramayana", and large burning compositions, usually located in the niches of Pa Walls or between pilasters, Depicting dramatic episodes from Indian mythology and epic, and finally having a symbolic meaning or a purely decorative purpose of individual figures of deities, fantastic creatures, animals, as well as ornamental threads sometimes with images of ritual scenes. Everywhere, the sculpture of a fusion with architectural forms is organically combined with them, is their necessary continuation, infinitely multiplying and enriching their spatial and architectonic relations. Interestingly, in the sculpture of the temple, in its inexhaustible decorative diversity, completely peculiar forms of the figurative and plastic solution are born, in particular in the field of relief.
Kailasanatha is a rock Hindu temple, it is the central structure of the complex of cave temples in Ellore.
The temple is dedicated to God Shiva, he represents Mount Kailas - the Abodeh of Shiva in the Himalayas. The rectangular courtyard of the temple, gone from the inside rows of niche with the statues of the deities, includes the main sanctuary and a multicolor hall for praying selected by chicharla (pyramid conclusion)
The Kailasanatha temple is located in the center of the yard cut down in the rock of the yard with a length of 58 m and a width of 51 m, leaving the depth of 33 meters. The length of the temple itself is 55 m, and the width is 36 meters, the area of \u200b\u200bthe 1980 surface
The lower part of the temple is a base of 8 meters high, in the center of which there are monumental sculptures of elephants and lions with a height of about 3 meters serving as a base for the top of the temple.
From above, doniz The temple is covered with stone thread made with great art. It is argued that the originally the temple was entirely covered by plaster white colorThat peculiarly highlighted it against the background of dark rocks, and he was called rank Mahal.
Instead of the traditional drew the underground hall, as, for example, we saw it in the Lalibel church, the Kailasanatha temple embodied two directions in Indian architect. It simultaneously merged cave and ground temples.
Indian tourists inspect the temple ..
The builders of Kailasanatha initially separated the necessary array of the rock three trenches and began to cut down the temple from the upper floors, gradually deepening to the base (lower, several protruding part of the building).
Simultaneously with the cutting out of the outdoor forms, the sculptural decoration of the temple was created. Kailasanatha consists of several separate parts: entrance doors, the Sanctuary of the Bull Nandi (the symbol of the god Shiva), the hall for the praying and sanctuary of the Shiva god, surrounded by five small cashers.
Fresco in the temple.
The main building is oriented along the axis exactly from the west to the East. Due to the irresistible difficulties associated with the position of the mountain, the ancient builders had to retreat from the demands of the canon, making entrance from the west side, and not with the Eastern.
On the walls of the south side of the Kailasanath temple complex are embossed compositions with episodes from Ramayana, on the walls of the North side - with scenes from Mahabharata.
Is there a modern man today, what is the architecture in her essence? Do the architects mean the symbolic aspect that is holovically reproduced by the masters of the ancient millennium? These questions remain and will remain the eternal driving element in any architectonics scheme.
To prevent the fundamental essence of modern constructions, you need to throw a bridge to the distant time when the skill of architects was secret knowledge, and the creation is a prototype of the universe. One example of this form of interaction is the rocks of India, built in the second century BC. and in the III century AD
Temple of Ajanta
Temples were evicted along the trajectory from top to bottom and had no foundation. The work of the masters was carried out with complicated materials - basalt and stone. Sculptures were evicted in rocks. But the most amazing is that architects have already worked with the knowledge of the law of refraction of light, which was formulated only in the XVII century. The technology of carving temples and sculptures has not reached us. It is understandable - at that time there was a certain closed class of architect artists, let's call them co-creators, whose skill moved from mouth to mouth, and then was lost. But we touched something more significant than technology, - to the symbolism, which has become a pramateria of almost all modern structures.
Scalnă
temple of KAĬ
lasanatha
If in the archaic of co-creators the purpose of architecture was to create a spiritual and material environment for habitat, then in modern architecture - only the process of systemic relations of nature-man is just encouraged. Any architecture is art, the act of which is printed in an ancient unconscious. This is an act of human interaction with the world both material and mental. In the consciousness of the architect of our time, this connection is saved. We can see it in modern projects and houses built in the rocks and mountains.
The person, being in a remote state from his radical today, is increasingly creating a space for himself, where he could miss God. Rock is an intermediate world between the heavenly arch and land. The space that is concluded between the two worlds is space, there is a space for the "stand on the legs" and "to discover".
The architect, as much as possible to the system of continuity of nature and architecture, - Frank Lloyd Wright - said: "The charter from the repetitions of faceless banalities, in which the light reflects from bare planes or is sadly falling into holes cut into them, the organic architecture again leads a person face to face again To the appropriate nature of the game of lighting, which gives the freedom to the creative thought of man and his characteristic feeling of artistic imagination. " His draft chapel in the rock is one of the examples of how the spatial essence, which is in the unconscious archaic culture of ancient India, has been revived in the modern consciousness of architecture. A person who is in this space acquires a certain form of primitiveness, awareness of himself the conclusion of Mysteria. All ancient architecture was built precisely in this principle, and the differences between the house and the temple did not exist. Houses and temples were combined with one view - a touch of sacrament.
Chapel in a rock, Arizona
The most famous project - "House over a waterfall" - was the temple in the sense that it was built on the principle of human unity and the universe. One of the principles of Wright was to build straight lines and rectangular forms. If we consider a fragment of the outer parts of Ellora temples, we will see an identical principle.
Houseoverwaterfall
Ellora, fragment of one of the temples
Wright clearly realized the mission of each of his project. All of them performed the intention of the continuity of the architectural space, i.e. Fucked out natural conditions medium. Architects of Indian rocky temples founded their construction ideas, solely on the basis of natural data. It's amazing how the consciousness of one world responded in the mind of a perfect other, modern world.
"Architectural life, or at least life itself takes the form and, therefore, is a true story about life: it was vividly yesterday, as it is alive today or ever be."
The consciousness of the architectural world of ancient India affected the whole cities scattered throughout our planet: the tiny village of Rocamadour in the south-west of France, Cape Verde in the south-west of Colorado, the city of Peter in the north-west of the Arabian desert, Derinka in Turkish Cappadocia, Vardzia In Georgia, on the rocky temple complexes near the Bamian River in Central Afghanistan (who, alas, were almost completely destroyed by the explosions in 2000, which destroyed the huge statues of Buddhas, choke in the VI century AD).
VillageRocamadour, France
MesaVerde, Colorado
CityPeter, Jordan
CityDerinku, Cappadocia
CityVardzia, Georgia
Afghanistan, scalny̆ City near the Bamian River
If we trace the story of each city listed above, we will see one unifying start - holiness. All these cities were built either by monks or holy and hermites who wanted to find a place for prayers and meditations. This suggests that the art of antiquity gave us something without anywhere civilization would never be able to preserve their vitality - the soul of architecture. Will we ever approach that secret knowledge, whether the task of the preservation of the ancient traditions of architecture is deciding - an open question for modern architectural, and not only, the world.
It was noted by the Renaissance of the Arts throughout India. Architecture was in his zenith at that time.
In Hinduism there are two sects, namely, Shivaism and Vaisnavis. The architect elephants were focused mainly on shivaism, here you can see popular stories from the life of Shiva and his spouse of parvati, delightfully cut on the walls of these caves. In order to fully understand their importance and cultural value, it is necessary to own the knowledge of the Hindu mythology and metaphysics, which are indispensable aspects of Indian culture and art.
Shiva Nataraj (Dancing Shiva). Rock Temples, Elephant Island
Gangadhara-Shiva (descent of ganggie)
The main figures personify Shiva and Parvati. On the head of Shiva, the main rivers of India: Ganges, Yamuna and Sarasvati.
Wedding Shiva and Parvati. Rock temples, Elephant Island.
Ravana, shaking kailas. Rock temples, Elephant Island.
Rock Temples, Elephant Island © Kartzon Dream - Author's travels to India, author tours, Travel Photos
The main sanctuary is guarded by five meter guards. Rock Temples, Elephant Island
Main shivaling in Shiva sanctuary
© Kartzon Dream - Author's travels to India, author tours, Travel Photos
Shiva. Rock Temples, Elephant Island © Kartzon Dream - Author's travels to India
Shiva is resting. Rock temples, Elephant Island.
Rock Temples © Kartzon Dream - Author's Travels to India, Author's Tours, Travel Photos
Rock temples. Elephant Island © Kartzon Dream - Author's travel to India
Ganesh. Rock Temples © Kartzon Dream - Author's Travels to India, Author's Tours, Travel Photos
Trimurti (Makhsh Murthi) Shiva © Kartzon Dream - Author's travels to India, author tours, Travel Photos
5.43 meters in height. The face on the left represents Rudra, the destroyer. The face of the right is the God of Merdeo, the pacifist. The middle face is Tatpurush, aesthetic harmony. Rock temples. Elephant Island.
Rock temples. Elefanta Island
Rock Temples © Kartzon Dream - Author's Travels to India, Author's Tours, Travel Photos
Elephant Island © Kartzon Dream - Author's travel to India, author tours
India Temples © Kartzon Dream - Author's Travels to India, Copyright Tours, Travel Photos
. Rock temples of India
Buddhist caves are 105 kilometers north-east of Aurangabad. The dates of their buildings vary from about 200 BC. up to 650 AD, they are older than caves in. Since the construction continued to be permanently, and the value of Buddhism in India gradually decreased, excellent caves were forgotten and abandoned until 1819, when a British hunting squad came across them. Due to such long-term isolation, the cave is perfectly preserved.
Tourist infrastructure Ajanta has undergone significant reconstruction. If before right to the caves went buses and authoriks, now we can only get there on a special electric bus, and all merchants sent from here in Fardapore, 4 km from the caves. All this is done to preserve unique frescoes on the walls of the temples.
Buddhist caves Ajanthi
Buddhist caves Ajanthi
Cave temples of India
Cave temples of India. Ajanta, Maharashtra, India, Copyright Kartazon Dream
Buddhist caves Ajanthi
Buddhist caves Ajanthi
Buddhist caves Ajanthi
Rock temples of India. Ajanta, Maharashtra, India
Rock temples. Ajanta, Maharashtra, India
Rock temples. Ajanta, Maharashtra, India
Rock temples. Ajanta, Maharashtra, India
Buddhist caves Ajanthi
Rock temples. Ajanta, Maharashtra, India
Buddhist caves Ajanthi
Rock temples. Ajanta, Maharashtra, India
Rock temples. Ajanta, Maharashtra, India
Cave temples of India
Cave temples of India
Rock temples. Ajanta, Maharashtra, India
Rock temples. Ajanta, Maharashtra, India
Buddhist caves Ajanthi
Buddhist caves Ajanthi
Rock temples. Ajanta, Maharashtra, India
Buddhist caves Ajanthi
Rocky temples
Rocky temples
Buddhist caves Ajanthi
Rocky temples
Rock temples. Ajanta, Maharashtra, India
Rocky temples
Rocky temples
Rocky temples
Rock temples. Ajanta, Maharashtra, India
Rocky temples
Buddhist caves Ajanthi
Rocky temples
Rock temples. Ajanta, Maharashtra, India, Copyright Kartazon Dream
Buddhist caves Ajanthi
Buddhist caves Ajanthi
Cave temples of India. Ajanta, Maharashtra, India
. Cave temples of India
List of world heritage, cave temples are the top of the rocky architecture of the dean. They are located in 30km from Aurangabad.
For more than five centuries, the generation of monks (Buddhists, Industors and Jains) was cut off monasteries, chapels and temples in 2 kilometers of the rocks and richly decorated them with surprisingly detailed sculptures. Many of the caves have complex internal spaces and galleries.
Rock Temples, Allora, Maharashtra, India
The 34 rocky temple are located: 12 Buddhist (600-800 AD), 17 Hindu (600-900 AD) and five jine (800-1000 AD). The temples of Ellora personify the Renaissance of Hinduism during the reign of the dynasties of Chalukyev and Rashtrakutov, his subsequent fading during the time of dawn Buddhism, and the next brief surge in Jainism. Sculptures characterize the increasing influence of tantric teachings in the three main religions of India, and their peaceful coexistence on one site indicates a long period of religious tolerance.
Masterpiece Ellora is an amazing Kailash Temple dedicated to Shiva. It is the largest monolithic sculpture in the world carved from the cliff with 7,000 blue-workers for the period of 150 years.
Temple Kaylash, Ehlor
« By the beginning of the VII century AD. Free-standing buildings have already received proper recognition, but carved in the rocks of the Jain, Buddhist and Hindu temples continued to be popular for three and more centuries after that. Not far from the Ajanta, on a two-minute length from the north to the south of the hill in Ellore, began carving from the stone covered colonnades, revered by modern Hindus and Buddhists.
Rock temples, Elora, Maharashtra, India
Rastrakuta, who won one of the branches of the Chalukyev dynasty, was the patrons of these cave temples and built such significant of them as Dashavatar, Rameshwara and Ravana-Ki-Khai, each of whom should be visited and see and see with their own eyes. 17 of the 34 cave temples Ellora are hindu.
Cave Temples of India, Allora, Maharashtra, India
Rock temples, Elora, Maharashtra, India
The monumental structure on the hills of Ellora is the monolithic temple of the Kailashnath god, which is a mountainous dwelling of the destroyer and built from a stone cliff that is not supported by any additional fortifications.
Temple Kaylashanath (Kailasanath). Rock Temples, Allora, Maharashtra, India
According to the overall delusion, Kailashnath dedicated to Shiva and carved between 700 and 800 years old, is considered a cave. In fact, the construction was completely cut out of the mountain and is a free-standing temple, all three sides of which are separated from the native rock. In accordance with the well-known documentary sources on Indian architecture, this temple exceeds Parthenon's area in Athens and one and a half times higher than it. If there were an eighth miracle of the world, then they could be this temple.
Temple Kaylashanath (Kailasanath). Rock Temples, Allora, Maharashtra, India
To create this miracle of engineering and artistic art, with its complex plan, which includes a variety of galleries and floors, with its unforgettable extensive carvings, in the ground, a pit formed a yard 300 feet and a width of 175 feet, inside which basalt boulder was carved, size 250 150 feet and 100 feet height. She is covered with skilled carvings from top to bottom, and the forests were not used for this. Unlike adjacent caves, open sky and standing on the site with a height of 25 feet of Kailashnath, illuminated from the inside. Additional lighting provide specially located terraces, balconies and inner courtyards.
Temple Kaylashanath (Kailasanath). Rock Temples, Allora, Maharashtra, India
Although modern visitors are admired by a dark stone stone, a 95 feet height, the temple of Rashratkuta, is very likely that immediately after the construction he was painted in different colors: so at that time many temples were decorated, which now look smooth and made of simple stone. A confusing, resembling a labyrinth, a temple complex can be divided into four main segments - the main temple of Shiva; his entrance to the west; Temple for the right wagon of Shiva - Bull Nanda and an inland courtyard decorated with indoor arcades.
Temple Kaylashanath (Kailasanath). Rock Temples, Allora, Maharashtra, India
The main places of worship are the usual square altar (Sanctum) with a huge phallus (Linga) Shiva, the lobby (Antarala) and the sixteencolone main hall (Mahamandapa). The temple dedicated to Nandi, the sides are surrounded by free standing columns (DHVQJA STHAMBHA-S), each 51 foot height (these columns fill the entire space of the complex), slightly facilitating the massiveness of a huge stone temple.
Lingam. Cave temples, Allara, Maharashtra, India
We will need hours to explore the whole complex. A person can be easily lost here. Every detail of Kailashnath wants to consider - His huge carved statues of the Guardians (Dwarapala-S), for example, which remind the huge statues of the kings in the philas in Egypt; His huge columns forcing the visitor to feel like a dwarf, the creation of which was spent extremely much time and skill; Its a huge wall sculptural panel depicting not only the legendary episodes from the life of Shankara, but also the scenes of his daily life, as it seemed to be local artists. He sits, surrounded by his family, as if on the ancient "group photographic picture", or spends his free time for the game in ancient chess)
