The Cave Temples of Ellora, 30 KMS, from Aurangabad district of Maharashtra state, India, is a heritage site for the World and a priced jewel of Indian Civilization, as at Ellora, one witnesses the harmonious co-existence of three major religions of the modern secular India, the Hinduism, the Buddhism and the Jainism. Like Ajanta Caves, Ellora was never discovered. It was always open for visit throughout the ancient and medieval ages. Even though the architectural activities here began in 5th Century A.D., it was only with the rise of the Chalukya-Rashtrakuta rulers in 7th Century to 10th Century A.D. that art and architecture blossomed at Ellora. The Hindu Rulers in ancient times were governed by certain religious injunctions and ethical codes which promoted them to donate the funds to the temple building as the same was considered essential for attainment of worldly power and spiritual salvation. The artists at Ellora were quick to respond to the urges and demands of their society. They rose to height of their creative dynamism. They acted out of passion and feelings, faith and sensibility. They drew themes from the mythology and then transformed the rock into a cavalcade of Gods and Goddesses. While doing so, they judiciously portrayed the feelings of compassion, emotions and the fury. The temple of Kailasa is an illustration of one of those rare occasions when men's mind, heart and hand, worked in unison to build this feat. The rocks cut monuments at Ellora, essentially represent the climax of the process of cutting shrine in direct rock and fashion them into the places of worship and residence embellished with beautiful and imposing sculptural and pictorial images. This practice started by Buddhism thousands of years ago, was eventually adopted by Hinduism and Jainism.The monuments [34 caves] are numbered in a continuous sequence. Buddhist monuments (Caves 1-12) occupy the southernmost part of the site, while Hindu monuments (Caves 13-29) are located in the middle and towards the north are a small number of five Jain excavations (Caves 30-34]. The infinite lithic representations at Ellora coordinate into the greatest concentration of the sculpture, wrought at a single site, in diverse styles that art history has ever witnessed. All the aspects related to daily life, Gods and goddesses, myths and rituals related to all the three dominant religions, are exhibited in Ellora through architecture and sculptures. In most of the caves, however, the focal points are centered round the figures of divinities - Buddha, Shiva and Jain Thirthankaras. Music, dancing and erotic plays of all the carved and painted creatures turn to the central figures of divinity. Gods and demi-gods, flying nymphs, musicians, kinnaras, dwarfs, makara, elephants, bulls, lion, peacocks or aquatic creatures- whether they are in the main hall, on the roofs and walls, in the side chambers, in porches, in balconies, in galleries, whether they are standing or flying, the entire attention of visitors and devotees is attracted to them and the divinities they surround by- Buddha, Shiva or Tirthankaras.

The Rashtrakootas who ruled in Deccan for two and a half centuries (752 to 985 AD) respected all faiths of their time. This is reflected in Ellora where we find rock-cut cave-temples representing the Vaishnava, Shaiva, Jaina and Buddhist faiths. This Amar Chitra Katha tells the story of the Rashtrakoota heroes who have left us a lasting legacy - the Ellora caves.

New in paperback, this stunningly photographed book was hailed by The Times Higher Education Supplement as one of the most gorgeous and stimulating books of Indian art ever produced.

Ajanta, [Longitude & Latitude Lat. 20°33'12.30"N Long. 75°42'1.70"E], located at 107 km [66 miles], from Aurangabad district of Maharashtra State, India, is a World Heritage monument, evolved during the period from 2nd Century B.C. to 6th Century A.D. Ajanta conjures before one's vision, a dream of beauty of Caves, hidden in the midst of a lonely glen with a streamlet flowing below, Caves that the ancient Buddhist monks, out on mission to spread tenets of Buddhism in ancient times, could dwell and pray, Caves that the followers of Lord Buddha, embellished with architectural details with a skillful command of the hammer over the chisel, with sculptures of highest craftsmanship and above all, with the paintings of infinite charm. At Ajanta, the paintings on the walls, Illustrate the events in the life of Prince Gautama Buddha, the founder of Buddhism and more popular Jataka stories pertaining to Buddha's previous incarnation. According to the older conceptions, the Buddha wrought many deeds of kindness and mercy in a long series of transmigration as a Bodhisattva, before achieving his final birth as the sage of Sakyas. Incidentally, they contain the scenes of semi-mythological history, the royal court and popular life of the ancient times, as told in romances and plays. Some pictures recall the Greek and Roman compositions and proportions, few late resemble to Chinese manners to some extent but majority belongs to a phase which is purely Indian as they are found nowhere else.The group of caves is designated by the UNESCO as a WORLD HERITAGE MONUMENT in 1983. Inclusion in this list confirms the exceptional universal value of a cultural or natural site which deserves protection for the benefit of all humanity.

This book about the cave paintings of Ajanta. In this book, it was the objective of the author to reveal out the pulse of those ancient paintings of Ajanta cave, in the light of his artistic knowledge and some hidden backgrounds he discovered from several resources. His artistic discussion is not only related to the grammatical aspects of art but also enlightens the soul of Buddhist spiritualism which is necessary to realize the inner-soul of those paintings. There are numerous books about Ajanta cave highlighted the several aspects of this controversial cave; however, not a single one discussed the insides of those paintings, including the ancient grammatical concepts and rules. This book is only a documentation of the ancient Asian art which followed some secret rules and grammars to compose those world-famous paintings.