Kailash Temple, Ellora (Maharashtra)

Kailash, the shaivite temple in Ellora, is the most exquisite rock-cut temple in the whole country. The temple was not built on the ground. Huge trenches were dugged the north and south and therefore has a sunk-in feeling, due to large rock around. Big lock of rock was separated and the temple chiseled out and conceived beautifully.
The temple has lots of sculptures of Siva and very few Vaishnovite sculptures are found here. Certain lightness is there, that attempts the whole temple to lift upward.
At the entrance i.e. the west wall has Gajalakshmi flanked by pratiharas.

The temple is Tri-anga in plan i.e. Karna, Pratibhadra and Bhadra. It faces west.
The complex consists of the main Vimana, with its Gudhamandapa and Mukhacatuski surrounded by Prakara, with a Gopura in the centre, to the west. Nandi mandapa is separate, which stands on a high upapitha linked to Mukhacatuski, through a bridge. A flight of steps are provided to Mukhacatuski. The Gopura also has an upper storey connected by a bridge to the Nandi Mandapa.
Pratoli i.e. the entrance gateway has stairways leading up over the bridge (which leads to Nandi Mandapa).
Nandi Mandapa, the eighth shrine which is separate, is facing west. It is double storied, placed on high upapitha, open on all four sides i.e. Sarvato Bhadra (balconied windows).
Mukhacatuski is attached to Gudhamandapa. Access is provided by opposite flight of steps. Underneath the Mukhacatuski, are narrative sculptures. The ceiling of Mukhacatuski is known as Padmacchatra (lotus roof), guarded by

Gudhamandapa has balconied window on North and South. Salilantara recess is inserted between Pratibhadra and Karna. Here Vidyadharas are on a higher level, as compared to Vimana walls.
Garbhagriha is dedicated to Siva, having an open impact of light and ventilation. Inside there is panchshakha doorframe having the figures of Ganga and Yamuna.

Ramayana and Mahabharata scenes are beautifully depicted on the outer walls depicting life of Krisna, Kauravas and Pandavas, Abhimanyu in Chakravyuha, Siva and Parvati and many.
Ramayana scenes are more crowded as compared to Mahabharata scenes like Ram taking leave from his father Dasaratha, Abduction of Sita etc.
(Ramayana and Mahabharata scenes were started from Gupta period and this temple displays them in a large scale).
One of the most famous is Ravana shaking Kailash on the south wall in the niches.
The entire exterior surface of the walls of the temple are profusely adorned with sculptures which are of high artistic merit. They are placed in deep niches with pilasters on both sides and an elaborately carved torana.
On the northern wall of Vimana on Karna, is the most remarkable Ardhanarishwara Siva, standing on Apasamarapurusa, which means evil personified. In this, half body is of a male (Siva) and half body of female (Parvati). Siva assumed this form to please Parvati.

Sage Bhringi used to worship Siva and not Parvati which made Parvati annoyed and to pacify her Siva urged Parvati to merge into him so that the sage had to worship both.
The female part is very delicately and beautifully carved. The jewellery on this side is also that of a female, the breast, hairstyle, curve of the body, all are carved beautifully and distinguished with Siva.
Four arms are shown but the attributes are not clear.

One of the most exquisite sculpture on the vimana south wall is Siva dancing. He has four arms and the legs are broken. The movement of the body along with his hair are realistically rendered. The god is standing on apasamarapurusa, shown in a very interesting posture giving a comic charm.

Vimana walls are very tall. Pilasters are also very tall, even the interior pillars are very tall as well as broad. Pillars also have vertical lines to give up verticality.
Without Upapitha, the height of Vimana is 75 feet and including it, is 100 feet. We get a sort of double storey feeling. It has huge Upapitha and Adisthana. Vimana is surrounded by subsidiary shrines, where Nandi Mandapa is a separate shrine.
Salilantara recess i.e. the intermediate joining of offsets, is absent here (as compared to Gudhamandapa). Salilantara recess is present in Gudhamandapa, which is inserted between Pratibhadra and Karna.
Kapili extensions connect Vimana and Gudhamandapa.

Amazing varieties of Toranas are found here which include Mayur (peacock) Torana, Kinnara Torana, as well as Makara (crocodile) Torana.
Vidyadharas (flying celestials) are placed on top shown beautifully, to give up verticality. They are placed on the upper blank face of the wall above Bhadra and Karna niches.
Elephants mixed with simhas and vyalas are shown on Kandhara portion.

Superstructure (sikhara) of the temple has sukanasi (the nose part, an additional feature which is not seen in North Indian Temple Architecture). Sukanasi has a very evolved nasi which has an image of Siva Mhayogi

Sukanasi is placed above the antarala portion attached to garbhgraha. Stupi is now missing. Sikhara has eight facets or divisions known as Vishnucchanda Shikhara.
Starting from below, the whole structure of the temple has three talas (fourth is placed on griva i.e. neck portion). Kirtimukha is on top.

Tritala Vimana of the Temple

(basically there are 4 talas, 4th is placed on griva i.e. the neck portion):

Stupi (now lost)
↑
Octagonal shikhara
(with 8 mahanasis show miniature
temple models framed by gadha cavities)
↑
Short griva (without figures)
↑
vedi
↑
Vrsa figures
↑
prati
↑
Pada of third tala (Small images of pramathas)
↑
Pada of second tala
Large images of divinities (seated nidhis, vidyadharas)
set between karnas and bhadras – with apsaras in intervening koshthas
↑
first tala
↑
hara (with karnakuta and central bhadrasala)
Figures in hara koshthas appear insignificant
↑
prastara (ground level)

Some sculptures in niches, in the temple

Ravana shaking Kailash (which is on the south wall of Gudhamandapa), Atri Muni, Narsimha Avatara, Varaha Avatara, Mahisasura Mardini, Siva-Parvati at a game of dice, Kalyana Sundara Murti, TriVikrama, Matrikas, GajasuraVadha Murti, Dancing Siva (pradakshina patha), Ganga, Natesa, Siva slays Andhaka,

The difference between Vimana and Gudhamandapa walls is that Vidyadharas (flying deities) are placed on a higher level on gudhamandapa walls as compared to Vimana walls.
The Vidyadharas placed in flying motion on the upper blank face of the wall above Bhadra and Karna niches and Brahmakanta pillars with vertical bands connecting horizontal bands, adds an additional height to the temple.
Elaborate prajarakoshthas at karmas and upabhadras has nasi and shikhara with pilasters on both sides.
And also the Salilantara recess (intermediate joining of offsets) inserted between Karna and Pratibhadra is absent in Vimana walls as compared to Gudhamandapa walls.

The Upapitha and Adisthana are very high. Large elephants are placed on Kandhara portion which are mixed with simhas and vyalas very beautifully that adds an additional height to the monument. The Adishthana above has alpanasis (small nasis).

The temple is Ashtaparivalaya. Nandi mandapa which is a seperate shrine, is double storied, placed on high upapitha. It has balconied windows on all the for sides called Sarvato Bhadra (Gudhamandapa has it one to the north and other to the south). On both sides we have suladhvajas (rock-cut columns) flanking the Nandi mandapa to the north and south. One is to the north-west and other to the south-west.

One of the two flanking the nandi mandapa has shaft supported by a kapotabandha, adishthana, tall jangha with plain base, torana topped niches with divinities and topped by trishula.
In the lower solid storey of nandi mandapa, the upapitha has narrative scenes in the kandhara portion of the north and south walls. The upper part of the north and south walls are treated as a part of the temple walls. On the uttara pattika are pramathas carrying pearl strings and flowers.