[darklord]

After the successful long-range road trip of last year (Ananthapuri to Dwarkapuri | Kerala <> Gujarat road trip), it was more or less fixed that we would be doing a similar trip this year as well. After permutations and combinations of leaves and driving and school vacations across two states, we fixed our destination as Ajanta and Ellora caves. The Gujarat trip of the previous year involved hectic driving and applying the lesson learned, the driving and destinations were kept as low as possible.

Looking at GMaps and reading through our travelogues sections, we finalized our plans and made hotel bookings accordingly. The travelers were dad, mom, me, wife, kid, sister, BIL, niece, and nephew; so six adults, one child, and two toddlers. This required a few pieces of luggage to be tied on the roof to make space available for all. Even then, adults would have to take turns sitting on the jump seat as it was uncomfortable sitting there for long distances.

The rough plan was thus: On day 1, me, mom, wife, and kid would drive to Bangalore and stay at my sister's home. Dad had already reached my sister's home a few days earlier to run a few errands. We would rest there on day 2 and start from Bangalore with the full complement and drive till Vijayapura (Bijapur) on day 3. On day 4, we would drive till Chhatrapati Sambhajinagar (Aurangabad) and stay there for two days and explore Ajanta and Bibi Ka Maqbara on day 5 and Ellora on day 6 and then drive back till Vijayapura and stay there. On day 7, we would drive till Bangalore, rest on day 8, and return home on day 9. We also hoped to squeeze in Gol Gumbaz on any one of our two stays in Vijayapura.

Hotels were booked accordingly through Makemytrip and we counted the days down impatiently.

With the planning done, I set about getting the Safari serviced as it was running at the 1,65,000+ km mark and 16th year and was at the precise interval for the periodic service. I took it to an FNG and got the filters and oil changed as well as checked and topped up the GB and diff oils:


A/C required a top up of gas and that was attended to as well. All paperwork were in order and did not require any special attention.

On the day before the trip, got the Safari a nice wash and cleanup:

[darklord]

Day 1:
Attingal to Bangalore via Thenmala-Rajapalayam-Madurai-Salem.
0 km to 682 km.
----------------------------------------------------------------------------
This part is a familiar and easiest part for us as we have done this drive to and from Bangalore dozens and dozens of times. We started at about 4 in the evening after the kid has come back from school, the Christmas vacation had officially commenced. Me, mom, wife, and kid started the drive after our prayers.

The odo read 165345 and the trip meter read 0:


We filled diesel for Rs. 1000, just enough to get us to TN borders as Kerala had (has) the highest diesel rate of all the states we drove through.

The excellent road after Madathara:


A jaywalker near Thenmala:


We took a break at Thenmala for tea and resumed driving. We had to go through Tenkasi town as the bypass from Ilanji was closed.

Stopped for diesel at Chintamani:


Dinner break was had at Sivagiri. After Rajapalayam, the widening of the NH-744 stretch till Tirumangalam was going on. There were a lot of diversions and rough surfaces. This considerably slowed us down. We finally hit the four-lane of NH-44 at around 12 p.m.


Took another break at Kodai Road toll plaza:


We resumed our journey but encountered foggy conditions:



Next fuel stop was at Namakkal, here: https://maps.app.goo.gl/6UNL7FCedsJZW8N87
This pump offered a discount:


Rs. 21 worth diesel extra on purchase of 2500 worth diesel:


The fog continued throughout the rest of our drive:


Hosur in the morning:


We reached home at around 7:

[darklord]

Day 2:
This was a rest day for us in Bangalore.
----------------------------------------------------------------------------
Day 3:
Bangalore to Vijayapura via Chitradurga-Hosapete.
682 km to 1258 km (576 km)

We were traveling with the full complement today (dad, mom, me, wife, kid, sister, BIL, niece, and nephew; 6 adults, 1 child, two toddlers). This required some time in the morning to be devoted to arranging and tying some luggage on the roof. Post this, we were able to start a little past 9:30 a.m. Today's agenda was just ferry driving and the destination was the Fern Residency in Vijayapura (Bijapur).

The first order of the day was filling up of diesel, the meter itself was calming the mind (~Rs 11 price difference with Trivandrum):


Before hitting the NICE road, we stopped for breakfast from Gottigere, which turned out to be an excellent decision:


Some time was wasted in the NICE entry toll plaza as there was an argument going on between a queue jumper and car passengers, but once we hit the NICE road, it was smooth sailing...:

...or so we thought.

Once we reached the Mysore Road exit, traffic was blocked on all lanes by vehicles exiting on to Mysore Road. SUVs driving onwards had it easy as we could use the rightmost shoulder to bypass the block.

Once we approached Tumkur Road exit, there was a further block as one lane was blocked for concrete topping of surface. We cleared this after losing some time and exited onto Tumkur Road where, surprise!!, traffic was blocked on all lanes and was moving at a snail's pace. We huffed and puffed till Nelamangala, where after the Hassan-Mangalore exit, traffic eased up a bit.

As we approached Tumkur, again there were significant blocks owing to road construction activity. By this time, it was lunch time and just after exiting Tumkur town area, we stopped for lunch:


After a lengthy lunch break, we hit the excellent 6-lane road onwards to Chitradurga:


We did not stop and drove on till the outskirts of Chitradurga to click this photo, as we did last year:



We did not spend too much time here and drove on:



Soon enough, the exit sign to Hosapete appeared:


It was 4:15 in the evening when we turned off NH-48 and onto NH-50 towards Hosapete:



We took a tea break at Kananakatte toll plaza:



We drove on post the break and the traffic was mild and road was good:


We took a brief pause to enjoy and click this sunset near Timmalapura toll plaza:



As we approached Hosapete, stopped at the dam and tunnel view point to click a few more photos:




We crossed the tunnel and entered Hosapete limits:


Traffic was heavy and chaotic around Hosapete and we lost time negotiating that. Drove nonstop till Kushtagi. Of note, there was a significant paucity of decent eateries along this route and we stopped at a decent-looking restaurant of the lot at Kushtagi, Nandagokula Veg. The place was just okay for food, nothing more, even the restrooms were not clean.

Dinner:


After another lengthy break, we drove on continuously towards Vijayapura, except for a small break at Nagarhalla toll plaza:


After about 12 hours, we reached The Fern Residency in Vijayapura by 10:30 p.m.:




Vijayapura was preparing to go to sleep as did we:


Final odo for the day:

[darklord]

Day 4:

Local visit to Gol Gumbaz.
Vijayapura to Aurangabad.
1258 km to 1702 km (444 km)
----------------------------------------------------------------------------
Good morning Vijayapura:


The hotel had thoughtfully kept a booklet in the room with the details of all the attractions in and around Vijayapura:


Everybody woke up fresh and enthusiastic despite yesterday's drive and at the breakfast table, it was decided to visit Gol Gumbaz before we check out of the hotel and head onwards to Aurangabad.

After enjoying the sumptuous breakfast spread, we were ready to hit the road by 9:15:


The start odo for the morning:


Gol Gumbaz was just about 10 minutes away from the hotel and we reached there without much traffic holdups. The parking area of Gol Gumbaz had lots of free spots and I chose a shaded area:


By the time I parked the car, BIL had already purchased the entry tickets, Rs. 25 per head, kids below 15 years had free entry and no additional charges for personal photography.

The first view of Gol Gumbaz and naqqar khana/museum. Though it looks like one building at first look, the naqqar khana is in the foreground and the Gol Gumbaz is directly behind it:


Some ruins along the way:


The naqqar khana (drum house) has been converted into a museum now:




Plaque in front of the museum:


A closer look at the cannons:


Since we had to return to the hotel and check out by 12 noon, we decided to skip visiting the museum. Walked around to the back of the museum, towards Gol Gumbaz:


Walked through the entrance building to reach the courtyard:


Gol Gumbaz with a masjid to its left:


Gol Gumbaz is a 17th-century mausoleum that houses the remains of Mohammad Adil Shah, seventh sultan of the Adil Shahi dynasty, and some of his relatives. The construction of the Gol Gumbaz began in the mid-17th century, during the close of Mohammed Adil Shah’s reign, which was from 1627 to 1656. The mausoleum is notable for its scale and exceptionally large dome. It is one of the most ambitious structures built by the Adil Shahi dynasty and is the most technically advanced domed structure to have been erected in the Deccan. The building was never completed as the sultan passed away before its completion.

After clicking a few photos, we moved inside. The tombs were on a raised platform under the dome:




A podium behind the tombs:


The carvings or artworks were minimal, probably because of the unfinished status:



We took a few photos and moved on to the open doorway to a minaret that had stairs to the top of Gol Gumbaz and to the gallery underneath the dome, named "Whispering Gallery." Apparently even a small whisper will get amplified by the dome. Somewhat ironically though, people up in the gallery were hollering, shouting, and whistling, everything except whispering.

The rear of Gol Gumbaz as clicked from the base of the minaret:


The stairway was narrow and the stairs steep, and my parents wisely opted out:


The entrance and naqqar khana as seen from the first floor landing:


We slowly made our way up. Another minaret (not open) and decorative work as we neared the top:


The weird stairway was creating a bottleneck and we waited patiently in the queue as some people had a hard time negotiating the stairs.

Some entertainment while we were waiting in the queue:

[darklord]

Day 4 cont.:

We had to wait for a while at the final landing too and I used this time to click a few more photos:



After the wait, the queue moved again and we reached the top of the monument to this view of Vijayapura:


The entryway to the gallery:


We went inside the dome, to the whispering gallery:



The tombs as viewed from the gallery:

https://www.youtube.com/watch?v=fFGJOvvkf4g

We got out of the gallery after a couple of minutes as the constant amplified shouting was making the kids uneasy.

Rear of the monument, fort walls at a distance can be seen:


A closer look at the domes:



A closer look at the fort walls:


A queue had already formed at the entrance to the exit minaret from the top:


Used the wait time to click a few photos of the masjid:


Needless to say, the exit/downward stairs were even more dangerous and appeared more unfinished than the upwards minaret stairs:


Senior citizen had a hard time negotiating these stairs, lack of handrails and smooth walls were definitely compounding the steepness and narrowness.

Clicked this while waiting at one of the landings:


We reached the ground floor, and I noticed this on the floor of the monument, perhaps a water drain or as a light for cellar (?):


We got out of the monument. Approach to the masjid was blocked off, probably due to the work going on there:


The crowd had built up by now:


One final click before we turned our backs:


Some artifacts lying around:


Some old buildings to the side:


The parking lot, half empty when we came in, was now jam-packed with vehicles, and there was just a narrow gap between buses to take the Safari out. It was 11:15 by now and we started our drive to the hotel, we had to check out by 12.

Traffic had increased by now and it took slightly longer to reach the hotel. A few clicks along the way to the hotel:



We reached the hotel picked up our luggage and loaded it, completed the checkout formalities and hit the road by 12:30:


We had a drive of ~400 km ahead of us to Aurangabad. We filled diesel again to the brim just as we entered NH-52:


The mileage for this part was 13.6 kmpl.

We hit the highway again and settled in for the long drive.

[darklord]

Day 4 cont.:

The highway had sparse traffic:


Even the toll plazes were largely free of the usual crowd:


We cruised along at a comfortable pace on the excellent road:


We saw these sign boards for a long distance:


The usual sugarcane laden tractor-trailer:


We were fast approaching Solapur:


It was lunch time by now and we decided to look for restaurants after crossing Solapur. The Solapur traffic was a bit busy, but not too bothersome, and we stopped for lunch once we had cleared the city traffic and hit the highway towards Tuljapur:


Post lunch, we resumed our drive and signboards began to appear showing our destination for the day, and the Safari kept chewing the kilometers out effortlessly:




We took a small break at a toll plaza for tea, and refreshed, hit the highway again:


As darkness fell, the kids began to feel sleepy. Concerned that they might go to sleep without dinner if we delayed it, we began searching for a restaurant. After looking for a long time and finding only dhabas, we decided to eat in a dhaba before the kids slept off. We stopped at a random dhaba as we approached Aurangabad and got out to biting cold. Luckily, they had a fire going on in the courtyard itself. We were the only guests and we had a hearty meal in an unusual ambience:




Soon after the meal, we started the final leg of the drive for the day. The kids slept off just as we started. Just a short while later, Aurangabad welcomed us:


Aurangabad traffic was busy and chaotic and apparently, every other building had a wedding going on. We reached our hotel by 9, and even there, we had to wait for a while for a parking spot as they had two events going on in their premises:


Check-in formalities were completed quickly, and we were allotted our rooms. Our base for the next 2 days:



Final odo for the day:

[darklord]

Day 5:

Aurangabad-Ajanta Caves-Aurangabad
1702 to 1897 km (195 km)
----------------------------------------------------------------------------

Good morning Aurangabad:


Breakfast:


At the breakfast table, we finalized the plan for the day. We would visit Ajanta (~100 km one way) first and while returning, visit Bibi Ka Maqbara (~5 km from the hotel). Since the maqbara was open till 10 p.m. and it was a full moon day, even if we got back from Ajanta by 8-9, we could have a decent amount of time there and might even capture a few moonlit photographs...or so we thought.

We finished our breakfast and set out towards Ajanta by 9:30 a.m.

Since our hotel was at one end of the city, we had no trouble getting out of the city, crossed underneath the Samruddhi Mahamarg, and reached Phulambri by 10:


Once we crossed Phulambri, the road improved to a 4-lane one:


Some stretches though were still under construction:


There was some minor traffic around Sillod, but nothing that held us up. Around 11, we crossed the town of Ajanta and just as Google showed about 6 or 7 km left to Ajanta caves parking, a huge red line appeared on GMap and traffic crawled to a halt:


The traffic inched to a point where the four-lane road narrowed down to a regular 2-lane road and our left and right were soon filled with impatient drives and soon, even the oncoming traffic got stuck. Thankfully, cops appeared and shooed and whistled everyone to discipline and maintained a single lane and couldn't have been sooner as the ghat section began:


Impatients still tried their luck but had to reverse all the way on the face of oncoming traffic in a ghat section road. Time was ticking away and GMaps showed +30 to +50 to +1 hour and then +2 hours. Once traffic began to move, we noticed 3 different incidents, all in the ghat section, that caused the traffic holdup, a car that had run off the road, a laden truck that had its tyres run into a ditch, and another broken down truck. We cursed our bad luck, but there was nothing we could do about it. Finally, by 1:30 we pulled into the parking of Ajanta Caves.

The system here was that we had to park our cars here and get on an MSRTC bus for the remaining 4 km to the cave entrance. By now, it was lunch time, but there were limited facilities at the parking lot and the facilitation center, so we thought we will have lunch from an MTDC restaurant that we knew was operating near the cave entrance.

We got into a bus from the boarding point (IIRC Rs. 25 per head):


After a short ride, we reached the cave entrance/ticket counter. Some informational boards there:




After the security check and ticket purchase (Rs. 40), we headed to the restaurant, only to find it jam packed with people. We decided to make do with some snacks and sat under this tree while we ate:


Post box of Ajanta Caves PO:


After snacking, we began our visit to the caves. Right at the beginning is a steep climb, with either steps or a ramp to choose from:



The return pathway as seen from the top:


The caves were spread over in a horse-shoe pattern with Waghur river flowing in between:


Zoomed in:


After getting our tickets checked, we were at the courtyard of Cave #1.

Cave #1: This is a vihara or monastry (the other type being chaitya or prayer halls). This is most renowned for its paintings.

Cave 1:



General rules applicable to all caves:


There was a small queue to enter the cave:


I used the time to click the artwork on the doorway:


Once inside, it was dimly lit with optical fiber lights. There was a chemical odor in the air, preservatives for the paintings, perhaps:


Finely carved pillars:


Paintings on the walls, this one depicts Sibi Jataka: The king undergoes the traditional rituals for renunciants. He receives a ceremonial bath:


This one depicts: The king announces his abdication to become an ascetic:


The relief on the pillars:



A shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra:


After spending some time here, I got out. All I did was a quick look-see, one could spend an hour and still would not be enough to take in all that were on offer in just this cave.

Source: Wikipedia

[darklord]

Day 5 cont.:

I walked over to cave #2.

Cave #2 is a vihara or monastry, similar to cave #1.

Cave #2, the flight of steps to the left leads to cave #3. The shade is probably to prevent sun exposure to the paintings:



The relief on the pillars and can also see damaged paintings:



Wall paintings. +They depict the Hamsa, Vidhurapandita, Ruru, Kshanti Jataka tales and the Purna Avadhana. Other frescos show the miracle of Sravasti, Ashtabhaya Avalokitesvara and the dream of Maya. Just as the stories illustrated in cave 1 emphasise kingship, those in cave 2 show many noble and powerful women in prominent roles, leading to suggestions that the patron was an unknown woman:


A closer look:


*A seated Buddha in dharmachakrapravartana mudra is enshrined in the sanctum:


*Right sub-shrine, Hariti & her consort Panchika:


Relief on the pillars:


After clicking a few more photos, I got out of cave #2.

I chose to skip cave #3 as it is an incomplete cave.

Cave #3: +Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. This is an incomplete monastery and only the preliminary excavations of pillared veranda exist.

I walked over to cave #4.

Cave #4: +Cave 4, a Vihara, was sponsored by Mathura, likely not a noble or courtly official, rather a wealthy devotee. The Archaeological Survey of India dates it to the 6th century CE. Spink, in contrast, dates this cave's inauguration a century earlier, to about 463 CE, based on construction style and other inscriptions.

Entrance to cave #4:


Relief on the doorway and outer walls:



+Cave 4 shows evidence of a dramatic collapse of its ceiling in the central hall, likely in the 6th century, something caused by the vastness of the cave and geological flaws in the rock. Later, the artists attempted to overcome this geological flaw by raising the height of the ceiling through deeper excavation of the embedded basalt lava:


An example of a cell inside cave #4, doorway and interior respectively:



+A colossal image of Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above, two different angles:



I finished viewing cave #4. The rest of the caves as seen from the courtyard of cave #4:


Waghur river, seemingly calm, only if she could impart the knowledge and wisdom she had witnessed over the many millennia:


I went over to cave #5.

Cave #5: +Cave 5, an unfinished excavation, was planned as a monastery (10.32 × 16.8 m). Cave 5 is devoid of sculpture and architectural elements except the door frame:


Moved on to Cave #6.

Cave #6: +Cave 6 is two-storey monastery (16.85 × 18.07 m). It consists of a sanctum, a hall on both levels. The lower level is pillared and has attached cells. The upper hall also has subsidiary cells. The sanctums on both level feature a Buddha in the teaching posture.

The facade of cave #6:


The lower level, note the cell doorways on both sides:


The sanctum has a Buddha in a teaching posture:


The stairway to the upper floor:


Though not too difficult for younger adults, it might be a tad tricky for elders as there is nothing to hold on to during the ascent:


The relief right at the stair landing on the upper floor:



The balcony of the upper floor offering a divine view:


The shrine of the upper floor:



Next up was cave #7 and before moving on, took a break at the courtyard of cave #6 itself.

Sources:
+Wikipedia
*trawell.in

[darklord]

Day 5 cont.:

As I was taking a break, observed this Oriental White-eye busy in a tree behind me:



After observing and photographing this for a few minutes, moved towards cave #7.

Cave #7: Cave 7 is also a monastery (15.55 × 31.25 m) but a single storey. It consists of a sanctum, a hall with octagonal pillars, and eight small rooms for monks. The sanctum Buddha is shown in preaching posture. There are many art panels narrating Buddhist themes, including those of the Buddha with Nagamuchalinda and Miracle of Sravasti.

The facade of cave #7:


The sanctum:



A closer look at the relief depicting Miracle of Sravasti:


Paintings in the roof have fallen away:


Walked over to cave #8.

Cave #8: Cave 8 is another unfinished monastery (15.24 × 24.64 m). It is presently used as an office room or storage room. It is at a slightly lower level and is right at the exit way from the caves. One has to walk all the way till cave #26, come back and exit from in front of cave #8.

Cave #8:


Moved to cave #9.

Cave #9: Caves 9 and 10 are the two chaitya or worship halls from the 2nd to 1st century BCE – the first period of construction, though both were reworked upon the end of the second period of construction in the 5th century CE.

The facade of cave #9:



The cave has a distinct apsidal shape, nave, aisle and an apse with an icon, architecture, and plan that reminds one of the cathedrals built in Europe many centuries later. The aisle has a row of 23 pillars. The ceiling is vaulted. The stupa is at the center of the apse, with a circumambulation path around it. The stupa sits on a high cylindrical base:



Painting depicting procession of devotees. Fresco with Buddhas in orange robes and protected by chatra umbrellas:


As I walked towards cave #10, looked back and clicked this photo from the courtyard of #10. Cave #8 and the exit gate are at the bottom. On the left is the facade of cave #9:


Cave #10: Cave 10, a vast prayer hall or Chaitya, is dated to about the 1st century BCE, together with the nearby vihara cave No 12. These two caves are thus among the earliest of the Ajanta complex.

The facade of cave #10:



It has a large central apsidal hall with a row of 39 octagonal pillars, a nave separating its aisle and stupa at the end for worship. The stupa has a pradakshina patha (circumambulatory path):


Paintings of Buddhas and Bodhisattvas on the arches:


Later painting with devotional figures, on pillars and ceiling:


Another painting of Buddhas:


Cave #11: Cave 11 is a monastery (19.87 × 17.35 m) built during c. 462 to 478.

The ceiling of the veranda shows evidence of floral designs and eroded reliefs:


Only the center panel is discernible wherein the Buddha is seen with votaries lining up to pray before him:


Relief on the veranda:


Sanctum with seated Buddha against an incomplete stupa, and has four cells:



A closer look at the base of the seated Buddha:


Once outside of cave #11, noticed the sun had begun its way down:


A view point up on the ridge:


Source: Wikipedia.

[darklord]

Day 5 cont.:

As evening approached, it became obvious to me that at the pace I was covering the caves, I might end up missing some important caves. So I decided to just have a dekko of the less prominent caves and devote more time to the important caves. The family was also at various points in the cave, doing things at their own pace.

Reached cave #12.

Cave #12: According to Archaeological Survey of India (ASI), Cave 12 is an early stage Hinayana (Theravada) monastery (14.9 × 17.82 m) from the 2nd to 1st century BCE. Spink however only dates it to the 1st century BCE.

It is an open cave with prominent pillars:


The cave is damaged with its front wall completely collapsed. Its three sides inside have twelve cells, each with two stone beds:


Cave #13 appeared to be closed, and the guide book mentioned it as a storage area, so I did not devote further time on this.

Cave #14: Cave 14 is another unfinished monastery (13.43 × 19.28 m) but carved above Cave 13.

The facade of cave #14:


Interior:


View from the porch:


Went over to cave #15.

Cave #15: Cave 15 is a more complete monastery (19.62 × 15.98 m) with evidence that it had paintings. The cave consists of an eight-celled hall ending in a sanctum, an antechamber and a verandah with pillars.

Facade of cave #15:


Interior hall:


A closer look at the sanctum:


Next up was cave #16. Right at the stairs leading to cave #16:


Cave #16: Cave 16 occupies a prime position near the middle of site, and was sponsored by Varahadeva, minister of Vakataka king Harishena (r. c. 475 – c. 500 CE). The 7th-century Chinese traveler Xuan Zang described the cave as the entrance to the site.

Cave 16 (19.5 m × 22.25 m × 4.6 m) influenced the architecture of the entire site. Spink and other scholars call it the "crucial cave" that helps trace the chronology of the second and closing stages of the entire cave's complex construction. Cave 16 is a Mahayana monastery and has the standard arrangement of a main doorway, two windows, and two aisle doorways.

Interior:


Sanctum:


Cave #17: Cave 17 (34.5 m × 25.63 m) along with Cave 16 with two great stone elephants at the entrance and Cave 26 with sleeping Buddha, were some of the many caves sponsored by the Hindu Vakataka prime minister Varahadeva.

The cave features a large and most sophisticated vihara design, along with some of the best-preserved and well-known paintings of all the caves. While Cave 16 is known for depicting the life stories of the Buddha, the Cave 17 paintings has attracted much attention for extolling human virtues by narrating the Jataka tales.

Sanctum of cave #17:


Shaddanta Jataka: Six-tusked elephant giving away his tusks:


Some other paintings:


In retrospect, I should have spent some more time in cave #16 and #17.

Walked to cave 18. Cave 18 is a small rectangular space (3.38 × 11.66 m) with two octagonal pillars and it joins into another cell. Its role is unclear. No photographs of this.

Cave #19: Some restoration work was going on in the facade of cave #19, and it was covered in scaffolding.

Cave 19 is a worship hall (chaitya griha, 16.05 × 7.09 m) datable to the fifth century CE. The hall shows painted Buddha, depicted in different postures. This worship hall is now visited through what was previously a carved room. The presence of this room before the hall suggests that the original plan included a mandala style courtyard for devotees to gather and wait, an entrance and facade to this courtyard, all of whose ruins are now lost to history.

Relief on the facade of cave #19:


Interior of cave #19:

One look at the interior, and it immediately felt similar to the photos I had seen of Karla Caves.

Buddha carved into the stupa:


Relief on the pillars:


Cave #20: Cave 20 is a monastery hall (16.2 × 17.91 m) from the 5th century. Its construction, states Spink, was started in the 460s by king Upendragupta, with his expressed desire "to make the great tree of religious merit grow".

The sanctum of cave #20:


The relief adorning the sanctum entrance:


Had covered the majority of the caves by now:


Source: Wikipedia

[darklord]

Day 5 cont.:

Cave #21: Cave 21 is a hall (28.56 × 28.03 m) with twelve rock-cut rooms for monks, a sanctum, twelve pillared and pilastered verandah. The carvings on the pilaster include those of animals and flowers. The pillars feature reliefs of apsaras, Nagaraja and Nagarani, as well as devotees bowing with the Anjali mudra.

Doorway of cave #21:


Interior hall:


Buddha is in a preaching position in the sanctum:


Relief on what I assume as a sub-shrine:


Cave #22: Cave 22 is a small vihara (12.72 × 11.58 m) with a narrow veranda and four unfinished cells. It is excavated at a higher level and has to be reached by a flight of steps. Inside, the Buddha is seated in pralamba-padasana.

I do not have any photographs from this cave.

Cave #23: Cave 23 is also unfinished, consisting of a hall (28.32 × 22.52 m) but a design similar to Cave 21. The cave differs in its pillar decorations and the naga doorkeepers.

The only photo I have of cave #23 is of its facade:


Cave #24: Cave 24 is like Cave 21, unfinished but much larger. It features the second largest monastery hall (29.3 × 29.3 m) after Cave 4.

The interior of cave #24:


Sunlight was slowly leaving the gorge:


Cave #25: Cave 25 is a monastery. Its hall (11.37 × 12.24 m) is similar to other monasteries, but has no sanctum, includes an enclosed courtyard and is excavated at an upper level.

I do not have any photos of this cave either.

This brought us to the last accessible cave, cave #26.

Cave #26: Cave 26 is a worship hall (chaityagriha, 25.34 × 11.52 m) similar in plan to Cave 19. It is much larger and with elements of a vihara design. An inscription states that a monk Buddhabhadra and his friend minister serving king of Asmaka gifted this vast cave. The inscription includes a vision statement and the aim to make "a memorial on the mountain that will endure for as long as the moon and the sun continue", translates Walter Spink.

The doorway to cave #26:


The main hall:


Mahaparinirvana of Buddha (reclining Buddha) on one side wall, panoramic photo:


The other side wall, panoramic photo:


A closer look at the stupa:


The facade of cave #26:


The rest of the caves, #27, #28, #29, and #30 are inaccessible to the normal visitor, a brief description from Wikipedia is copied below.

Cave #27: Cave 27 is a monastery and may have been planned as an attachment to Cave 26. Its two storeys are damaged, with the upper level partially collapsed. Its plan is similar to other monasteries.

Access to cave #27 is closed off with a wooden barrier:


Cave #28: Cave 28 is an unfinished monastery, partially excavated, at the westernmost end of the Ajanta complex and barely accessible.

Cave #29: Cave 29 an unfinished monastery at the highest level of the Ajanta complex, apparently unnoticed when the initial numbering system was established, and physically located between Caves 20 and 21.

Cave #30: In 1956, a landslide covered the footpath leading to Cave 16. In the attempts to clear and restore the walkway, a small aperture and votive stupa were noticed in the debris by the workers, in a location near the stream bed.

The light was fading and I walked back to the exit in front of cave #8 and regrouped with the rest of the family and walked back to the bus pickup point.

Clicked these photos from the return pathway.

From a footbridge over River Waghur:


Final clicks of the cave from the return pathway:



A queue had already formed at the pickup point, but it was moving and we got into a bus, return ticket has to be purchased yet again from the conductor. In no time, we were back at the parking lot/amenity center. Had tea and snacks from here. The ladies and the kids still managed to do souvenir shopping despite the exhausting day.

When we hit the road to return to Aurangabad, it was already 7:30 p.m.:


I still had hopes of managing at least 10-15 minutes at Bibi Ka Maqbara, which only lasted till we reached Sillod, where an hour-long traffic holdup awaited us.

All hopes of maqbara visit dashed, we stopped for dinner at a dhaba by 9:30:


The cold was biting, but having skipped lunch, everyone was hungry and the hot food elevated the mood. It was 11:00 p.m. when we reached back at the hotel and crashed into the beds after a quick freshup.

The final odo for the day:


Source: Wikipedia

[darklord]

Day 6:

Aurangabad-Ellora Caves-Vijayapura
1897 km to 2391 km (494 km)
----------------------------------------------------------------------------
Today, we will be checking out from our hotel in Aurangabad. The staff kindly agreed to keep our luggage in storage till we returned from Ellora. So the plan will be to visit Ellora first, try and visit Bibi Ka Maqbara on return, pick up our luggage from the hotel, and drive to Vijayapura where we will be staying for the night.

Had a filling breakfast:


Ready as ever:


Start odo for the day:


We started by 10:30 a.m. after completing the checkout formalities and keeping the luggage in storage.

GMaps initially routed us through some busy streets of the city:


Then we hit some rural roads:


Farm lands:


At one point, we crossed the Samruddhi Mahamarg:


Crossed a hilly path:


Joined Khuldabad Road at a junction:


Soon drove on the ghat road approaching Ellora:



Dropped the family at the entrance gate of Ellora. I drove inside the gates of MTDC Resort, Ellora, which also had a really spacious paid parking lot in 2-3 phases. It is a bit of a walk towards the cave if you don't get space immediately adjoining the entrance gate, but the parking ground was really spacious, despite what it looked like from the road.

Beasts in black and white:


Just one corner of the huge parking lot:


By the time I parked the Safari and came back, the family had already purchased the tickets and was waiting for me to enter. Here, they have a plastic token as ticket, not paper ones, and these had to be submitted while exiting.

At the entry gate, the scanning of the tokens was a bit of a time consuming process and hence a queue had formed:


Unlike Ajanta, here, the cave entry is just a brief walk from the entry gate:


One walks first up to Cave #16, also known as Kailasa Temple:


To the right of this are caves #15 to #1 and to the left are caves #17 to #34. Of these, #1 to #12 are Buddhist group of caves, #13 to #29 are Hindu group of caves, and #30 to #34 are Jain group of caves.

Map of Ellora Caves:


Since we had visited Ajanta yesterday, we decided to start off from #16 to #34 first, i.e., go left from Kailasa Temple (Cave #16).

A plaque with description for Cave #16:


It is very important to understand that what we are going to visit is a marvel, a wonder of the world on its own. That such a massive complex was conceived and carved from top-to-bottom is mind boggling. To quote a guidebook that I purchased:

This is a feat that will be near-impossible even now; in the era of AI, computer-aided 3D modelling, and power tools. Still this is not considered a wonder of the world is what baffles me. Of note though, the reverse of our new Rs 20 note has a design of the Kailasa Temple.

After a security check, entered Kailasa Temple. Facing right towards the doorway is this Gajalaxmi relief:


Various other reliefs adorning the walls:


One of the two dhwajasthambams:


A close look at the artwork:


A huge elephant that has lost its trunk:


A relief that has worn off:


There are various arcades all around the courtyard. One of them to the side of the main entry:



Another arcade to the side:



One of the dwarpalaks of the arcades:

[darklord]

Day 6 cont.:

The main temple complex (to the front) and the Nandi mandap (to the right) are on the second floor of a solid first floor. They are interconnected with the small stone bridge seen in between:


The reliefs on the walls of the first floor:



Some had paint over them at one point in time:


Mahishasuramardini relief:


+Mahayogi Shiva is illustrated on the western face of the lower storey of the gudhamandapa and on the sukanasa (antefix) above the antarala. The episode is carved on a colossal panel in the hall. It shows an eight-armed Shiva seated in padmasana at the centre on a double-petalled lotus pedestal supported by lions:


+On the east wall of the nandimandapa, under the canopy of the bridge, is a gigantic panel depicting a 10-armed Shiva standing with his right leg on the Apasmarapurusha (a figure that represents ignorance):

In this panel, Shiva holds a trishula in his hand and is accompanied by Parvati and saptamatrikas, which suggests that the panel depicts the story of ‘Andhakasura vadha’ and ‘Gajasura vadha’. The panel is gigantic in proportion, with Shiva’s outstretched arms covering most of the space. Individual characters have their own space but they all visually come together to narrate the story.

Walked up the flight of stairs to the second floor. The main hall:


Intricate carvings on pillars:


A close look:


A prominent relief of Nataraj on the ceiling:


Ganga at the doorway of the sanctum:


Shivling inside the sanctum:


I walked out of the main shrine, photographing reliefs along the walls:




Sub-shrines beside the main shrine:


Clicked a few photographs of the ground level structures:



Also a few closer shots of the dhwajasthambam:


Note the people at the ridgeline.

Walked through the Nandi mandap to the mandap above the main cave entrance where there was a balcony and passages leading to the roof of arcades on both sides. The balcony and the courtyard below:


The courtyard below from the roof of an arcade:


Nandi:


Decided to move on to the other caves and took the steps to the ground level.

Elephants seemingly bearing the weight of the temple:


Panel depicting Ramayana:


A short video:

https://www.youtube.com/watch?v=Jo-78KSvNcU

The reliefs as we exit the complex:


At the exit, turned back one more time:



Source: +Sharepedia

[darklord]

Day 6 cont.:

I briefly contemplated climbing up to the ridgeline to get the top view of the Kailasa Temple, but since the sun was right on top and the fact that the pathway up appeared blocked, decided against it.

Went in the direction of cave #17:


The pathway had a bridge across what I assume to be a seasonal brook/waterfall:



A short walk brought me to an open area with a lawn to the left and the courtyard of cave #17 to the right:


Cave #17: Cave 17 is the next large cave to the north of Kailasa Temple and is dedicated to Lord Shiva. The cave is noteworthy for its decorated doorway and pillars. It has three rows of four pillars from side to side; the front and the back aisles. It is entered through a projecting porch. This leads to columned hall and a linga sanctuary with a surrounding passageway.

The entry to cave #17:



The reliefs on the doorway and pillars:




The dwarpalaks of the sanctum:


The sanctum:


Right beside was cave #18.

Cave #18: Cave 18 is an extremely plain cave, it has sufficient features to identify it is an 8th century Rashtrakuta conception.

The entry to cave #18:


What I assume to be the platform for Nandi:


The plain interiors and the sanctum:


Perhaps that it was a devoid of artwork made it an almost desolate cave. I felt an immense sense of peace while I was inside. I sat down in front of the sanctum and just let that sensation take me over:


After a few minutes of enjoying the peace and quiet, moved on to the next cave.

Next up was Cave #19A:


The interior:

Note the modern support structures.

The sanctum:



Due to my carelessness, I can't pin the photos of the next couple of caves that I have taken to the specific caves, and I think there has been a change in cave numbering too, so I can't correlate with information on the web, so I will leave those behind for fear of adding erroneous information.

Next up is an important cave, Cave #21/Rameshwara Cave.

Cave #21: The Rameshwara Cave was excavated in the late 6th century AD and is supposed to be the earliest among the Hindu Caves at Ellora and also one of the noteworthy caves in Ellora. This cave is famous for the sculptural representations and its unique beauty.

The entry:


Nandi in the front, on a raised platform:


The work on the short wall and pillars:


The interior:


Shiva and Parvati playing chausar:


This panel, I think, represents Parvati observing tapas and Shiva approaching her as a mendicant:


Shiva in dancing form:


Sanctum guarded by massive dwarpalaks:


Pillar reliefs, note Goddess Ganga at the far end:


Found on the outer wall:


The courtyard from an elevation:


Source: trawell.in

[darklord]

Day 6 cont.:

Went to cave #22 next.

Cave 22, also known as Nilkantha. This is notable for the free standing damaged Nandi shrine, and separate shrines for the Matrikas. It has four pillars in front and two on each of the other three sides of the hall. On the walls of this hall have sculptures of Ganesha, the three Devis and a four armed Vishnu. There is a pedestal and a highly polished linga in the sanctum.

Cave #22:


A small cave in the courtyard:


Steps leading into the cave:


The Nandi in the mandap:


The interior:


Found on the floor:


The sanctum:


Devi and Ganesha:


On the other wall:


This was outside the cave, in a protected place:


I continued my walk. The left side of the pathway:


I reached cave #23:


Cave #23: Cave 23 consisting of a partly double verandah with five doors entering into small cells, one of them containing a round pedestal and linga, with a Trimurthi on the back wall:



Cave #24: Cave 24 is a series of five low cells called Teli-Ka-Gana, the Oilman's Mill. It contains some small sculptures of no special interest:



With a bit of a walk up were two sub-caves of cave #24. These were numbered 24A and 24B:



The pathway to the other caves lead down and I followed it:


The valley on the other side:


Right beside the path was this small cave:


The path finally reached cave #25:


Cave #25: Cave 25, also known as Kunbharwada, depicts Surya, the sun god, with his chariot drawn by seven magnificent horses and a female at each side shooting with a bow. This could have been a temple dedicated to the Sun God.

Entry to the cave:


Massive pillars:


On the ceiling:


I failed to click the Sun relief on another part of the ceiling properly.

The sanctum and the ceiling above the people has the Sun relief:


A sub-shrine on the side of the porch:


I walked on towards cave #26.

Source: trawell.in