Elephanta: Shiva as Kalyanasundara, the beautiful bridegroom

- by Deepa Krishnan

The rock art of Elephanta has a sublime beauty that speaks to people of all cultures. To me, it is even more appealing because it follows well-laid out rules for iconography, allowing me to find and exult in the little details.

Today I thought I'd write about Kalyana Sundara, Shiva as the sublimely beautiful bridegroom. This aspect of Siva - so different from his usual appearance as an ascetic - is a major motif in the rock art of Maharashtra, appearing both in Elephanta as well as Ellora. 

Wedding of Shiva-Parvati, Elephanta

Take a look at this larger-then-life panel from Elephanta. Through image size and composition, the sculptor has made it obvious that this is a story about a couple. Equally, it is clear that the male half of this couple - the hero of the sculpture, so to say - is someone very grand. Even if you don't know any legends, you can still easily guess that this is a divine or royal couple, and you feel awe and curiosity about who they are.

This beautiful sculpture has unfortunately been broken by vandals. We are told that Portuguese sailors/soldiers took potshots at the carvings, using them for target practice. If the piece had been unbroken, it would have been obvious that this is actually a wedding in progress - because this is the panigrahana moment, the moment in the wedding where the bridegroom takes the bride's hand in marriage (pani = hand, graha = to take). They stand united as a couple, his right hand holding her right hand. 

Here's a photo from the cave at Ellora, showing the panigrahana moment. You can see the depiction more clearly, because Ellora was spared the kind of vandalism seen in Elephanta.

Wedding of Shiva-Parvati, Ellora, Wikimedia Commons

But now - returning to Elephanta - take a closer look at the primary figure, Siva. At Elephanta, Siva is far more beautiful than the depiction at Ellora. See the graceful tilt of the head, the noble countenance, the elaborate head-dress, the sublime curve of the torso. The Divine Bridegroom is depicted as serene and resplendent on his wedding day. Standing next to him is his bride. See the modest downward bend of her graceful neck, the downcast eyes and the curved hips. She is the classical Indian beauty, personified and celebrated in stone. But frankly, he is more beautiful than her. It is in his figure, that all the lyrical energy of this sculpture is concentrated.

Closer look at Shiva-Parvati, Elephanta

I wanted to read more about the Kalyana Sundara, the beautiful bridegroom. So I looked up Encyclopedia of the Saivism by Swami Parmeshwaranand, for a description of the bridegroom. 

The Enclyopedia says that in the Matsya Purana, there is a section describing how all the gods assisted in adorning Siva for his wedding. The sun (Surya), the moon (Chandra) and fire (Agni) became the lights in his three eyes. Kubera the God of Wealth gave him a necklace of great gems (maharatnas), and Varuna the Sea God gave him a garland of unfading flowers. Chamunda, the fierce form of the goddess, gave him a kapalamala, a garland of skulls. Indra the King of Gods gave him an elephant skin to wear, and Vayu the Wind God decorated Siva's bull Nandi. 

When Siva was thus beautifully arrayed as Kalyana Sundara, the seven oceans formed a mirror in which he was pleased to see his own splendid form reflected. Can you imagine this? The great god, Siva Maheshwara as Kalyana Sundara, his beauty reflected in all the oceans of the world? What a powerful concept!

Apart from Siva and his bride Parvati, there are many supporting figures in a typical Kalyana Sundara panel. There are several scriptural texts (collectively called the Agamas), which lay down rules for the appearance of Siva, Parvati and these supporting figures.

In a typical Kalyana Sundara scene, there is a four-headed Brahma at the foot of the panel, usually depicted performing the homa (offering to the fire). Brahma is the priest at the wedding. There is Indra, depicted standing behind Brahma. The Brahma and Indra at Elephanta are very damaged. The one at Ellora (the right side of the panel below) gives us a better understanding.

There are usually two standing figures behind Parvati, who are giving away the bride. Likely to be Himavan, father of Parvati, and his wife. There is also a third male figure, carrying a kalasha, a pot. Check out his hair-style. It's like a judge's wig!

Now we come to the host of divine and semi-divine creatures that are witnessing the grand wedding event. They are shown flying in the sky, amidst clouds. 

The Agama texts suggest that there should be several different types of flying creatures depicted in a Kalyana Sundara scene:

• Vidyadharas - these are groups of supernatural beings, spirits of the air, often described as strewing flowers upon events happening below. 
• Yakshas -  nature-spirits, caretakers of things hidden under the earth
• Gandharvas - similar to a yaksha, usually male, usually accomplished musicians
• Astadikpalas - the guardians of the 8 directions
• Siddhas - men who have achieved enlightenment, or perhaps just acquired merit or powerful capabilities through sadhana (meditation, penance or prayer)
• Rishis - sages
• Matrikas - the mothers, a group of goddesses 
• Other gods and goddesses

Next time, I'll write about some of the other panels at Elephanta. Each one is very interesting. I hope you will take a closer look at the wedding of Shiva and Parvati the next time you go to Elephanta. I'm sure you'll discover small details that delight you.

A beautiful trip to Bedse Caves

- By Deepa Krishnan

Ever since the monsoon season started, I have been wanting to see the Western Ghats in all their green glory. Finally we found the time, a perfect day, half sunny, half cloudy, and we set out for the Buddhist Caves at Bedse. 

The mountains ahead of us

Most people living in Bombay don't know that the spread of Buddhism on the West Coast of India began in the Mumbai Metropolitan Region; in what we today call Nallasopara (the next train station on the Western line immediately after Vasai). The Mauryan Emperor Ashoka (273 to 276 BC) sent an emissary called Dharmarakshita to Sopara (it was at that time major trading port). Ashoka's Edict at Sopara is now in the Prince of Wales Museum, but you can see a photo and translation of the edict here. 

The Buddhist monks found the perpendicular cliffs of the Sahyadris eminently suitable for their monsoon prayer retreats. What may have started as a small rock-excavation experiment of the monks turned into a very major architectural trend, with over 1200 cave temples excavated in India. Of these, 800 are in Western India, and thankfully for Mumbaikars, several of them are very close to Mumbai.

With about 2 hours of drive (from Sion), we made it to Bedse. On the way, we saw several waterfalls, and the mountains clouded in beautiful mist. Once we cleared Kamshet and turned off into the rural areas, we were in for a visual treat. Everything was green and moist, with countless small waterfalls. It was very quiet, with no traffic noise. There were cowherds everywhere, keeping an eye on cattle. Women of the villages walked by the side of the road, fetching water and washing clothes. The road went right upto the base of the caves; although it was narrow and could take only one car at a time. 

Rural scenes and first view of Bedse Caves
(the caves are midway up this low hill,
between two waterfalls)

From the base of the hill, there are 450 steps up, to reach the caves. The climb is spectacular, green, inviting, with beautiful views. You can stop every now and then to catch your breath and admire the scenery. I got my first very beautiful photo of a little frog, who was perhaps frightened into stillness by our proximity.

Steps with lots of space to rest.
They were slippery in the rain.

Once we huffed and pufed our way to the top, we got our first proper glimpse of the cave entrance: a grand pillar half-hidden by the rock. It lay to our right, inviting us in. To our left was a small stupa, and near the stupa were the underground water cisterns, cleverly designed to store drinking water all through the year. We walked into the pillared entrance, and found some stunning carvings waiting for us. 

Because we went early, we had the entire place to ourselves (awesome!).

The earliest Buddhist caves in the Deccan belong to the Hinayana faith, and were excavated between 2 BC and 2 AD. Bedse, along with its neighbours Karle (Karla) and Bhaja, belong to this early phase. The primary enabling factor was the rise of the Satavaahanas, a dynasty that practised Brahmanism (a Vedic religion which was a predecessor of modern-day Hinduism). The Satavaahanas brought peace and prosperity to the Deccan; it was a period of flourishing trade with the Mediterranean as well as with other parts of India. The Satavaahana kings seem to have been perfectly happy to let Buddhism flourish. Maybe the lines of division between various sects were not as sharply defined as they are today; or maybe they were secular leaders. Or maybe the Brahmins did not perceive these monks as any sort of threat to their way of life. Who knows?

We entered through the pillared portico, and saw a beautiful chaitya-griha (prayer hall) of the Hinayana style. 

Chaitya-griha (left) and pillar outside

Here are the typical characteristics of a chaitya-griha in Buddhist rock-cut architecture: you can see ALL of them in the chaitya above.

• First, the typical chaitya is apsidal in plan. Apsidal means that the altar end of the chaitya is curved in a semi-circular fashion. In Buddhist chaitya-grihas, you have a long rectangular main body, with an apse at the end.
• Second, the roof is usually entirely barrel-vaulted from end to end. In fact, I have not seen any Buddhist chaitya without a vaulted roof.
• Third, the nave (the main central part of the chaitya) and the sides are clearly defined through a series of pillars. 
• Fourth, there is a stupa (containing sacred relics, usually ashes of monks) at the remote end of the nave. 
• Fifth, if a chaitya-griha belongs to the Hinayana period, you will not see carved images of the Buddha (this is why I simply LOVED the caves at Bedse, not a single Buddha figure anywhere, stark, simple, a place of meditation and prayer, a philosophy rather than a cult, and a true reflection of Buddhism as the Buddha conceived it).

There are more reasons why Bedse is the perfect specimen of a Hinayana settlement. In determining the chronology of rock-cut caves, architects usually look at how closely the features tend to copy wooden prototypes. The older a chaitya-griha is, the more likely it is to have wood-like carvings and features, including grilled lattice-work windows. I was delighted to find all of these at Bedse.

Typical Hinayana architecture

Apart from the chaitya, there is yet another cave in Bedse, this one is a "sanghaaraama". This word means "resting place of the Sangha". Often the word vihaara is used instead of sanghaarama, but really a vihaara is more like a monastic settlement, than a single resting place. The typical sanghaarama or vihaara has two architectural features, both of which are perfectly illustrated in Bedse. There is usually a central hall; with flanking residential cells. The hall may be square or curved. At Bedse, our guide Dahibhate showed us a series of 12 cells. One of them had a rock window to peer out into the world; perhaps the ancient equivalent of the "corner office" with the view :)  

Sanghaarama/vihaara with rock window and residential cells.
We had to walk through a mini-waterfall to enter.

You don't have to be a fan of Buddhist caves to enjoy Bedse. If you go in the monsoon season, the views and the greenery are reward enough; and the exercise is good for all us city-bred folks. It is super-romantic as well :)

The Sahyadris are truly a treasure, they are my escape when I want to get drunk on the beauty of nature. So close to Mumbai, and so accessible! Especially in the monsoons, there are so many waterfalls everywhere and so many things to see. Bedse Village at the base of the mountains has a lot of rice farming going on and it's fun to walk through the narrow road that goes through the village (I like to make-believe that I am a farmer, OK, I know that is stupid!).

But seriously, don't wait for the "right" day, don't let the weather or work or the daily grind get to you this monsoon season. Take a day - you need just half a day, really - and go out to the mountains. They are there, waiting for you...go today if you can!

Elephanta, Elephanta

It takes an hour by boat to get to Elephanta. Once on the island, you climb a set of 120 steps up the hill, to the cave that houses a fourteen hundred year old temple to Shiva.

There is something quite poetic about the idea of "crossing a sea, climbing a mountain, entering a cave" to see God. It is a journey across, upwards, and inwards, and the sculptures that await at the end are a magnificent reward.

First sighting of Elephanta island from boat

Shiva is such a paradoxical, puzzling God! In the first place, he is both male and female. He is angry and happy, forgiving and vengeful, creator and destroyer, an ascetic and a skilled lover. It doesn't make sense! Or perhaps it makes enormous sense, because we're all a bit like that?

In any case, Elephanta mirrors all of his contradictions with art that simply blows me away.

Trimurti Sadasiva - Five aspects of Shiva in one sculpture

Whew.

Mumbai is hot these days. For those of you who are planning to visit - my advice is, stay indoors in the afternoons. That means cold beer, long lunches, and of course, airconditioned shopping. By 4:30 p.m. the heat isn't quite so bad, and you can try walking through the heritage district, or the bazaars, or really, anything that takes your fancy.

If you're planning to go see Elephanta, there are two ways to do it - one is by taking the 2:00 p.m. boat. You'll get to the island at 3:00, when it starts to cool down a bit. There's a twenty minute uphill climb. Fortunately, it is a shady climb with lots of space to sit down and rest, and there are little shops all along the climb where you can browse and shop. Don't forget to take bottled water. You'll have until 4:30 to see the caves, before you need to come downhill. You can take the 5:00 p.m. boat back.

The other way is to take the first boat out at 9:00 a.m. before the crowds come in. That's what I did yesterday.

If you take the 9:00 a.m. boat, you'll be up the hill by ten thirty, and after an hour at the caves, you can come down and take the 12:00 noon boat. The boat ride is actually pretty nice, its cool and breezy in the lower deck.

This is me on the upper deck of the boat. It was sunny but not hot. I paid ten rupees extra for the upper deck (weird, you'd have thought the cool lower decks would be more expensive).

You can see the Gateway of India in the background. The tall building is the new wing of the Taj Mahal Hotel, it completely dwarfs the Gateway from some angles. To the left is the old heritage wing of the Taj Mahal Hotel. They are renovating/repairing the dome.

P.S. Check out my 'sensible' shoes.