International Jain Conference 1985 3rd Conference

Author(s): Satish Jain, Kamalchand Sogani
Publisher: Ahimsa International

Page 160

The Art and Iconography of Jaina Caves at Ellora
1. Introduction
The exuberance of life that sprouts up from and spells on all sides is reflected in crowded bas-reliefs, pillars and in the paintings on ceilings of rock-cut caves. The cave temples formed a constant, continuous and common mass media in ancient India. In one way or the other, from social or religious point of view, they are the mirrors of every day life of the masses or a popular culture.
Prof. V. L. Dharurkar
The contents of these cave-temples as mass-media serve the simple purpose of providing people with a common ground for pleasurable interaction and indicate that there used to be a simultaneous process of integration and reintegration. Here the role of media in everyday life cannot be regarded as externally, but is to infuse the spirit of cordial, social relations and sound social organisation. Ellora Jaina Caves provide a remarkable nexus of this process.
Ellora caves (Lat. 20.08 N., Long. 75.05 E) represent unique cultural harmony in threee ancient religious orders, viz, Brahmanical, Buddhists and Jainas, The religious catholicity is reflected through the various artistic and inconographic exchanges through 5th century to 13th century A.D.
Period
Divergent views have been expressed regarding the chronology of Jaina group of caves at Ellora. However, it is evident that the excavation of Jaina group of caves is the latest excavation in the entire group. Burgess and Fergusson date the caves between 9th to 13th century A.D. Gupta expressed the same opinion. Whereas Pathy extended the lower limit of execution from 9th to 10th century leaving the upper limit unchanged. On the other hand Srinivasan dated these to 800 A.D. Pereira has compared the date of Chhota Kailasa with that of Kailasa (Cave No. 16). His view that Jaina Caves were executed soon after the completion of Kailasa, may not be accepted. On the basis of architectural decay in the style and monolithic presentation of Chhota Kailasa both may not be assumed as