Famous Temples in India

Architecture

For centuries, it had been a commercial, military and religious center and it still has traces of the early Buddhist culture. With the resurgence of the Brahmanical religion the great cave, dedicated solely to Shiva, came into existence. The plan of the cave is much similar like a Buddhist monastery with its cells for living aligned along three walls of a square court. As the worship of the figure of Buddha began to be encouraged with the development of Mahayana Buddhism, a shrine was introduced to house this image, replacing cells at the center of the back wall. All the later monasteries at Ajanta, Ellora and Aurangabad are built in this way. These more elaborate monasteries lead us directly toward Elephanta. The halls, columns, varying in number are positioned in a square which permits circumambulation between the columns and the cell walls. It seems that the same family of craftsmen and sculptors were employed in the construction of Brahmanical and Buddhist shrines. It was the architect of Elephanta who first conceived the idea of opening the temple to the outside on three sides. It permitted and encouraged subtle transitions from light to dark and vice versa. Sunlight entering from so many directions and changing from moment to moment and season to season defines the nature of the experience here and later at Dumarlena at Ellora. The profuse alterations in the shadings of light are more integrally involved with the space and mass of the cave. Keeping the idea of the Buddha shrine in the back wall and the original front veranda, the architect replaced the side cells and walls of the monastery with verandas. No doubt, the cave was the creation of an unknown genius, a master architect. The mastery over traditions of the carving of independent freestanding sculpture and rock-cut architecture. The continuation from the past can be traced in composition, iconography, puranic narratives, spatial arrangement, style and use of mathematically precise measurements for figures and architecture. The achievements of the Elephanta artists represent an abrupt departure from the past. Its ultimate synthesis of infinitely diversified and mobile forms with new modes of expressions and metaphysical conceptions of the deity is a step ahead from the previous architectural traditions.

The Caves are in two groups - The first one is a group of caves dedicated to Lord Shiva and represents some of the most exquisite examples of sculptural detailing in India, while the second one, which is slightly smaller than the first group, consists of two Buddhist Caves. The caves range between the 5th and 8th centuries A.D. There is evidence that the caves were once painted but most of the paintings have peeled off due to the damaging effects of time, climatic changes and human vandalism. The small island features two hillocks separated by a narrow valley. These hills rise to a height of about 500 feet (150 m). A deep ravine cuts through the heart of the island from north to south. On the west the hill rises gently from the sea and stretches east across the ravine and rises gradually to the extreme east to a height of 568 feet (173 m). This hill is known as Stupa Hill. The foreshore is made up of sand and mud with mangrove bushes on the fringe. Landing quays sit near three small hamlets known as Set Bunder in the north, Mora Bundar on the northeast, and Raj Bunder in the south where Gharapur is located. It is a protected island with a buffer zone according to the notification issued in 1985 which also includes a prohibited area that stretches 1 km (6.62 m) from the shoreline.

Two Primary Axes - The Great Cave’s new three-entrance layout naturally encouraged the introduction of two primary axes along which devotees were encouraged to move; this compares with the single-axis arrangements of earlier Buddhist excavations. Both axes in the Great Cave direct devotees to abstract images of the presiding deity, Shiva.

• East-to-west axis - The devotional axis On the east-to-west axis, visitors enter through the eastern entrance and proceed toward the shrine, at the center of which is a linga. The eastern entrance was likely designed to be the cave’s principle one and the east-west alignment of the ceiling moldings (between the columns) attests to its primacy. We view the east-to-west axis as the devotional axis, as it leads the devotee to a direct interaction with the Shiva linga - a direct manifestation of the deity - in his shrine. Such personal interaction is the foundation of the Hindu temple ritual. Along this axis, devotees move toward the light, as the temple’s west side is open, this serves to backlight and highlights the linga, infusing it with a divine radiance.
• North-to-south axis - The didactic axis On the north-to-south axis, devotees enter through the northern entrance (which serves as the modern entrance) and proceed southward toward the temple’s most important relief, that of Sadashiva. See more on this image in the next section on “Reliefs”. We view this as the temple’s didactic axis, as visitors would engage with the Sadashiva relief to learn of Shiva’s complex, opposing natures and contemplate their meanings. In opposition to the east-to-west axis above, it represents a moving into mysterious darkness, as the Sadashiva relief lies in the darkest spot in the cave, farthest from all entrances; darkness is symbolic of the infinite and unknowable depths of divine consciousness.

The Main Cave or Cave 1 - Also called the Shiva Cave-I or the Great Cave is of huge dimensions, it is 38.40 meters deep and 37.80 meters wide. Rows of columns divide the hall into corridors. Twenty-four columns support the ceiling of the hall. At the back end of the temple is the famous Maheshamurti, while the shrine with the linga, the main object of worship in a Saiva temple, is on the right side. The ground plan of the temple clearly indicates that the northern entrance was the principal one. Though Maheshamurti is considered by most to be the principal object of worship, it is the linga shrine that stands facing the Nandi that is the main object of worship. The roof of the column has concealed beams supported by stone columns joined together by capitals. The cave entrance is aligned with the north-south axis, unusual for a Shiva shrine which generally has an east-west axis. The northern entrance, which has 1000 steep steps, is flanked by two panels of Shiva dated to the Gupta period. The left panel depicts Yogishvaraj (Shiva as the Lord of Yoga) and the right shows Nataraja (Shiva as the Lord of Dance). The central shrine is a free-standing square cell with four entrances, located in the right section of the main hall. There are smaller shrines located in the east and west end of the caves. The eastern sanctuary serves as the ceremonial entrance. The chief attraction of Elephanta is the sculptures in the main temple. These are carved in fairly deep recesses in almost full relief. Generally it is best to begin from the first sculptural panel left of the northern entrance, which is now the principal and only entrance, and go clockwise in the same manner as Hindus circumambulate while visiting a temple. As one stands at the northern entrance, the magnificent sculpture of Maheshmurti overwhelms everything else. Maheshamurti, which is reached through a colonnade of pillars, dominates Elephanta. The following are some details of the sculptures.​

• Shiva as Mahayogi - Shiva is seated in a yogic pose, his eyes look practically closed. His crown of matted hair is decorative. His hair falls in ringlets on either shoulder. He wears a necklace of beads. Both his arms are destroyed from near the shoulder and the legs too are destroyed. He is in padmasana (lotus pose) seated on a lotus stalk held by two Nagas. A number of figures are carved on either side of Shiva, including Vishnu and Brahma. As one enters the main temple of Elephanta, this figure is situated on the left. The sculpture has been a subject of much controversy as some identify it as Yoga-Dakshinamurti, while others identify it as Lakulisa.
• Ravananugraha Murti - This panel is very badly damaged. Uma is seated with Shiva on Mount Kailash, their abode. Maheshwara had originally eight hands. He wears a decorative crown, necklaces, armlets, and a waist-belt. His hair falls in curls on either side. His left leg is folded. The figure of Uma is badly mutilated. The Ravanaguhamurti at Kailash in Ellora is far superior to this panel as the panic of Parvati and the other characters present is depicted very realistically.The carvings at the east entrance are battered and blurry. One in the southeast corner of the mandapa depicts Shiva and Parvati in Mount Kailash in the Himalayas, and the shows the Umamaheshvara story. The scene includes rocky terrain and clouds layered horizontally. On top of a rock sit the four-armed Shiva and Parvati by his side. Nandi stands below her, while celestial apsaras float on the clouds above. There are traces of a crown and a disc behind Shiva, but it is all damaged. The scene is crowded with accessory figures, which may be because the eastern entrance was meant to have a devotional focus. The panel facing the Mount Kailash panel towards the northeast corner depicts demon king Ravana trying to lift Kailash and bother Shiva, a legend called Ravananugraha. The upper scene is Mount Kailash, where Shiva and Parvati are seated. Shiva is recognizable with a crown, and other characters are badly damaged. A portion of ascetic skeletal devotee Bhringi relief survives and he is seated near Shiva's feet. Near Shiva an outline of what may have been Ganesha and Kartikeya are visible. Below the mountain surface is shown the demon-king Ravana is seen with a few arms, trying to unsuccessfully shake Shiva and Parvati in Mount Kailash. The rest of the details are blurry and speculative. According to Charles Collins, the discernible elements of this panel are generally consistent with those in medieval era Puranas, though there is a lack in literal correspondence with any single text.
• Uma-Mahesvara Murti - In this panel Shiva and Sakti are emanations of the undivided absolute. Shiva here symbolizes the passive male principle, while Uma or Parvati represents the active female principle, the principle of energy. Unfortunately this panel is in bad condition. Uma and Mahesha are seated in Kailash. Shiva’s countenance is defaced. He sits in the Ardha-paryankasana (half-seated posture), reclined to the left. The figure of Uma too is damaged. Below Uma, Nandi and a winged dwarf are seen, while above them are flying figures and male and female attendants on either side.
• Ardhanarisvara Murti - The Elephanta Ardhanarisvara looks elegant and impressive. The four-handed Ardhanarivsara stands majestically on Nandi. The left half of the sculpture, which represents Parvati, has a breast, exaggerated rounded hips and is shown holding a mirror. On the right side, Shiva’s crown has a crescent and his body is more muscular. He holds a cobra in his hand. There are a number of other interesting figures in the panel of various divinities seated on their mounts: Indra is seated on Airavata, Brahma on a lotus, Varuna on a crocodile, Kartikeya on a peacock and Vishnu on Garuda. This is one of the most unique panels in terms of its grace and perfect balance.This image, which is 5.11 m (16.8 ft) in height. It represents the ancient Hindu concept of essential interdependence of the feminine and the masculine aspects in the universe, for its creation, its sustenance, and its destruction. It is represented as half woman is shown as half of Parvati in this Elephanta panel on the right side, with breast, waist, feminine hair, and items such as a mirror in the upper hand. The second half-man side is Shiva with male characteristics and items iconographically his symbol. In Shaivism, the concept pictorially symbolizes the transcendence of all duality including gender, with the spiritual lacking any distinctions, where energy and power (Shakti, Parvati) is unified and is inseparable with the soul and awareness (Brahman, Shiva). In the panel, the relief shows a headdress (double-folded) with two pleats draped towards the female head (Parvati) and the right side (Shiva) depicting curled hair and a crescent. The female figure has all the ornamentation (broad armlets and long bracelets, a large ring in the ear, jeweled rings on the fingers) but the right male figure has drooping hair, armlets and wristlets. One of his hands rests on Nandi bull's left horn, Shiva's mount, which is fairly well preserved. The pair of hands at the back is also bejeweled; the right hand of the male side holds a serpent, while the left hand of the female side holds a mirror. The front left hand is broken, while a large part of the lower half of the panel was damaged at some point. Around the Ardhanarishwara are three layers of symbolic characters. The lowest or at the same level as the viewer are human figures oriented reverentially towards the androgyne image. Above them are gods and goddesses such as Brahma, Vishnu, Indra, and others who are seated on their vahanas. Above them are flying apsaras approaching the fused divinity with garlands, music, and celebratory offerings.
• Maheshmurti - Right in the center, as one enters the cave temples, is one of the grandest compositions of Elephanta, the Maheshmurti. Shiva here is portrayed as the creator, protector, and destroyer. The right half-face is benign, peaceful, and feminine, depicting Shiva’s aspect as a creator. The central face shows introspection and reveals the protective aspect. The left-half face is hideous, displaying great anger. It symbolizes his power to dissolve the universe. The three aspects of divinity are combined in one. This sculpture is majestic not only in its conception but also in its size: it stands tall at 18 feet. The central bust wears a decorative crown. The coils of matted hair are held within this elegantly carved crown. The chief element is its Kirtimukha decoration, a typically Chalukyan element. The whole crown is adorned with elaborate jewelry comprising of pearls and diamonds. On the right side of the crown is a half-moon. Kirtimukha is a special emblem of Shiva believed to be guaranteeing the true devotee with peace. The central face of the deity is executed in very high relief. The other two side faces appear to recede in the background compared to it. The sculpture represents Mahadeva, the Great Lord as Tatpurusha, Aghora, and Vamadeva.
• Gangadhara Murti - In the Elephanta panel, Shiva is seen standing with the right leg reclined. His left leg is bent a little at the knee. Shiva is of tall stature and slim body. His torso is inclined to the left. Over the head of Shiva are three heads representing the three sacred rivers of India, Ganga, Yamuna, and Saraswati. Shiva has four hands. On the left of Shiva, Parvati stands gracefully in the Tribhanga pose. Her diaphanous lower garment is held in place by a girdle. She wears a simple crown and a few select ornaments. This is one of the most beautiful panels at Elephanta. It is a masterpiece composition. The main attraction are the figures of Shiva and Parvati. There is a rhythm that binds these two figures together in a harmonious whole.The Gangadhara image is highly damaged, particularly the lower half of Shiva seen seated with Parvati, who is shown with four arms, two of which are broken. From the crown, a cup with a triple-headed female figure (with broken arms) to depict the three major rivers in Hindu texts. An alternative interpretation of the three-bodied goddess in Gangadharamurti panel here and elsewhere is that it represents the regenerative powers of rivers in the form of Mandakini, Suradhani, and Bhagavati. In this grotto scene, Shiva is sculpted and bedecked with ornaments, while gods gather to watch the cosmic source of earthly abundance. The gods and goddesses shown are identifiable from the vahana (vehicle) and icons, and they include Brahma (left), Indra (left), Vishnu (right), Saraswati, Indrani, Lakshmi and others. Wrapped on one of the arms of Shiva is his iconic coiling serpent whose hood is seen near his left shoulder. Another hand (partly broken) gives the semblance of Shiva hugging Parvati, with a head of matted hair. A damaged ornamented drapery covers his lower torso, below the waist. Parvati is carved to the left of Shiva with a coiffured hair dress, fully bedecked with ornaments and jewelry. Between them stands a gana (dwarf jester) expressing confused panic as to whether Shiva will be able to contain the mighty river goddess. In the lower-left of the panel is a kneeling devout figure in namaste posture representing the heroic mythical king Bhagiratha who worked hard to bring the river of prosperity to his earthly kingdom, but unaware of the potentially destructive forces that came with it.
• Kalyanasundara Murti (Marriage of Shiva-Parvati) - The marriage of Shiva and Parvati is beautifully delineated at Elephanta. The figure of Parvati looks young, charming, and full of joy and contentment. She is shown as a traditional young bride with her head bowed down. Adding to her charm is the small crown she wears and the stanahara (a stringed necklace). The figure of Shiva is well-matched to that of Parvati. He looks young, tall, slim, and well-formed. He wears a simple crown and his curly hair falls on his shoulders. Brahma, as a priest, sits on the left of Shiva, close to the sacrificial fire. Vishnu is seen behind. Parvati’s father Himavan is just behind her. Close to him stands a very graceful figure, who is probably Menaka. There are several other figures attending the divine marriage including the flying figures above.The niche image carved on the southwest wall, near the Linga shrine is the wedding of Shiva and Parvati. This legend is called the Kalyanasundara in Hindu texts. Parvati is seen standing to Shiva's right, the customary place for a Hindu bride at the wedding. The carvings are substantially damaged, but the ruined remains of the sculpture have been significant to scholarly studies of Hindu literature. In many surviving versions of the Puranas, the wedding takes place in King Parvata's palace. However, in this Elephanta Cave panel, the narrative shows some earlier versions. Here King Parvata standing behind Parvati gives away the bride to Shiva while Brahma is the priest in the grotto relief. Gods, goddesses, and celestial apsaras are cheering witness to the wedding. Vishnu is witness to the marriage, standing tall behind the sitting Brahma on the right side of the panel. Just above the main images rishi (sages) and a few characters hanging from the ceiling are seen blessing the wedding.
• Andhakasuravadha Murti (The killing of the Demon Andhaka) - In the Elephanta panel Shiva is seen in an aggressive mood. His whole stance gives the impression of belligerence. Unfortunately, both the sculpture’s legs are broken. His Jatamukuta shows a skull, cobra, and a half-moon. The eyes seem to protrude out of the sockets while the third eye is open in anger. The hair falls on his shoulders. He wears a decorative necklace, armlet and a Mundamala (a garland of skulls). He has eight hands. The elephant Nila is seen on his right. Virabhadra is seen presenting the elephant skin. A sword is held in a threatening manner in the right hand. In one left hand is held a skull cup for Andhaka’s drops of blood. A number of flying figures carrying offerings are carved. An object in the center looks like a stupa with an umbrella. The flying couples on the sides are beautifully carved.The panel in the northwest side of the cave, on the wall near the west entrance and the Linga shrine, is an uncommon sculpture about the Andhakasura-vadha legend. It shows Bhairava, or Virabhadra, a ferocious form of Shiva killing the demon Andhaka (literally, "blind, darkness"). The relief is much ruined below the waist, is 3.5 m (11 ft) high, and posed in action. Though a relief, it is carved to give it a three-dimensional form, as if the ferocious Shiva is coming out of the rocks and impaling Andhaka with his trident. Bhairava's headgear has a ruff on the back, a skull, and cobra over the forehead, and the crescent high on the right. His facial expression is of anger, the conviction of something he must do, and one in the middle of the action. The legs and five of the eight arms are broken, attributed to Portuguese vandalism. The smaller broken image Andhaka is seen below Bhairava's image. Also depicted in his right hand is the symbolic weapon that Shaiva mythology states Shiva used to kill the destructive elephant demon. A hand holds a bowl to collect the blood dripping from the slain Andhaka, which Shaiva legend states was necessary because the dripping blood had the power to become new demons if they got nourished by the ground. Furthermore, the artwork shows ruined parts of a male and two female forms, figures of two ascetics, a small figure in front, a female figure, and two dwarfs. The uppermost part shows flying apsaras bringing garlands.
• Nrittamurti Shiva - Shiva is the divine master of dance. In Bharata’s Natyashastra where 108 kinds of dance poses are listed, Shiva is proclaimed as the Nataraja, or king of dance. Dance is almost like a form of magic in its ability to transform the personality of the dancer, who appears to be possessed by supra-terrestrial powers in the process. Like yoga, dance induces ecstasy, the emergence with and experience of the divine. Dance is considered to be an act of creation. The dancing figures of Shiva as Nataraja are some of the most attractive manifestations of the Indian art tradition. The dance posture depicted at Elephanta is what is described as Lalitam. The figure’s legs are broken as are some of the hands. Though the figure is mutilated, it has not lost its charm. The figure pulsates with life and movement, and has a rhythm and grace which even the broken limbs are not able to conceal. The face which is slightly tilted towards the left hand adds further charm to the figure. A number of musicians are shown seated around Nataraja, though in a damaged condition. The figure of Parvati also looks graceful. Other gods seen are Brahma, Ganesha, and Kumara. Besides these there are other smaller panels of Kartikeya, Matrikas, Ganesa, Dvarapalas, etc.The panel facing the Yogishvara, on the west side of the portico next to the north entrance is Shiva as the Nataraja, "cosmic dancer" and "the lord of dancers". It is also called the Nrittamurti. The badly damaged relief panel is 4 m (13 ft) wide and 3.4 m (11 ft) high and set low on the wall. His body and arms are shown as wildly gyrating in the Lalita mudra, a symbolism for occupying all of space, soaring energy, and full-bodied weightlessness. His face here resembles the Tatpurusha or the manifested form of Shiva that preserves and sustains all of creation, all of the creative activity. This is an eight-armed depiction of Nataraja. The parts of the panel that have survived suggest that he is holding an axe, a coiled serpent is wrapped around its top. In another he holds a folded cloth, possibly symbolic veil of Maya. There are fewer gods, goddesses and observers in this panel than others in this cave, with Brahma, Vishnu, Lakshmi, Saraswati, and Parvati are visible and have a facial expression of being spellbound. Also present are his sons leaping Ganesha and Kartikeya holding Shiva's staff, as well as an ascetic and a rishi, thus weaving the family life and the ascetic monastic life, the secular and the spiritual tied in through metaphorical symbolism of dance within the same panel. The dancer and destroyer aspects of Shiva are clustered in the northwest part of the cave, in contrast to yoga and creator aspects that are found in the northeast parts. This 6th-century Nataraja shares architectural elements with those found in temples in the western parts of South Asia such as in Gujarat, and in the upper Deccan region.

Sadashiva - Sadashiva depicting the five aspects of Shiva is the most important in the Great Cave and the most visually striking. It is also known as Trimurti, meaning three-faced. From a stylistic standpoint, this represents the most advanced stage of Elephanta reliefs. Sadashiva carved so deep in relief and projecting so far from the back of the niche takes on the appearance of an in-the-round sculpture. As a result, the massive three-headed figure appears to be rising from the basalt stone of the mountain itself. Sadashiva represents Shiva in his most enigmatic form, the embodiment of all the opposing forces in the universe. Shiva’s five aspects are Aghora, Vamadeva, Tatpurusha, Sadyojata, and Ishana. Of these, only three are visible here:

• Aghora - Represented by the male deity, Bhairava faces east (the left side). It is symbolic of the terrifying aspect of Shiva, in which he serves as the destructive, renovating force of the universe. Aghora holds a serpent and is shown with serpent locks in his hair and a snarling face.
• Vamadeva - Represented by the female deity, Uma, the earth goddess faces west (the right side). It is symbolic of Shiva’s opposite aspect, that of the healing and preserving force. Vamadeva is depicted with gentle features and holds a lotus flower.
• Tatpurusha - Faces north, directly at the visitor. It represents duality (manifest in Aghora and Vamadeva, male and female) resolved into the unity of absolute knowledge, the controlling and sustaining force of the universe. Tatpurusha naturally combines both male and female facial characteristics, it holds a lemon in its left hand, symbolic of fecundity.

The two others are not shown:

• Sadyojata - Represented by Mahadeva faces south, away from the viewer; its presence is implied, as a fourth face could not be depicted in this arrangement. It represents the creative power of the universe.
• Ishana - Sadashiva itself faces upwards and is Shiva’s supreme aspect, responsible for granting moksha (liberation) from the cycle of rebirths that accompanies enlightenment. This aspect is never depicted, as it lies beyond human comprehension.

Cave 2 - It is located to the southeast of the Great Cave. It faces east and has a shrine at its northern end. The cave has four pillars and is badly damaged. Traces of sculptures still remain. The damage was caused by the heavy monsoons in the region, especially due to the resultant accumulation of water.

Cave 3 - It is towards the south of Cave 2 with six columns and two pilasters visible at the entrance. These pillars are in fairly good condition as they have been reconstructed. The veranda is 80 meters in width and 35 meters in length. At the north end of the veranda is a large raised chamber supported by four octagonal pillars and two pilasters. The capitals of these pillars are similar to those in the main cave though with one difference. The amalaka or cushion member here looks compressed. The dimensions of the chamber are impressive. It is 11.9 meters in width and 6.7 meters in depth. The walls of the chamber are bare. At the back of the portico are three chambers. The central door at the back of the portico leads to a damaged shrine, the sanctum seems to be for a Linga, but that is lost. The shrine is a plain room 6 m (20 ft) deep by 5.7 m (19 ft) wide with a low altar. The shrine door has some traces of sculpture. The dvarapalas on each side, leaning on dwarfs with flying figures over the head, are now in fragments. There are two other chambers, one on each side of the shrine.

Cave 4 - Has a plan that is similar to Cave 3. The veranda is 15.2 meters in breadth. Carved into the back wall are three cells and a linga shrine. The shrine is 5.7 meters in width and 6 meters in depth. The dwarapalas (gatekeepers) that once existed here have now disappeared. On either side of the veranda are chambers which are 4.6 meters square in area. Each of them is supported by two pillars and two pilasters. The doors of the side chamber shrines have chaitya ornamentation. In front of these caves is a ravine that one needs to cross and ascend to a height of about 30 meters to reach caves 5 and 6 which are located in the eastern hill. Cave 5 has a veranda and a shrine with a yoni and linga. Cave 6, further north-east, appears to be unfinished. the large verandah lacking all its columns. The relief remains suggest the cave was once a Shaiva temple as well. The shrine in the back contains a lingam. There are also three cells for monks and a chapel at each end of the verandah.

Cave 5 - It is unfinished and in a very damaged state, with no artistic remains.

Cave 6 - Across the ravine from Cave 1 on the hill on the other side are two Buddhist caves, together with the remains of a stupa and water tanks. It seems the Buddhists were the first occupants of the island. One is a large hall known as Cave 6 or Sitabai's temple cave. The portico has four pillars and two pilasters. The hall has 3 chambers at the back, the central one a shrine, and the rest for monks or priests. The hall is devoid of any decoration, except for the door of the central shrine, which has pilasters and a frieze, with the threshold decorated with lion figures.[87] The sanctum has no remaining image. Cave 6 is historically significant because it was converted and used as a Christian church by the Portuguese in the later years when the island was a part of their colony (at some point between 1534 and 1682).

Cave 7 - Next, along the face of the eastern hill to the north of Sitabai's cave is Cave 7, another small excavation with a veranda, which was probably to be three cells, but was abandoned following the discovery of a flaw in the rock. Past Cave 7, to the east, is a dry pond, with large artificial boulders and several Buddhist cisterns along its banks. Near the cistern, now at the end of the north spur of the hill, is a mound that was identified as the remains of a Buddhist stupa. This stupa, state Michell and Dhavalikar was originally much taller and dates to about the 2nd century B.C.E.

Shrine in the East wing - In the east wing of the main cave is another shrine similar in plan to Ramesvara (Cave No.21) at Ellora. There are also sculptures of Ganesha and Saptamatrikas. On the east side of the main hall is a separate shrine. It is a 17 m (56 ft) wide courtyard with a circular pedestal. It once had a seated Nandi facing the Linga shrine, but its ruins have not been restored. To the south side of this eastern courtyard is the Shaktism shrine, with a lion, each seated with a raised forepaw as guardian. Inside the west face of this small shrine are Sapta Matrikas, or the "seven mothers" along with Parvati, Kartikeya (Skanda) and Ganesha. The smaller shrine's sanctum features a linga and has a circumambulatory path around it. The sanctum door has Shaiva dvarapalas. The Shakti panel in the east shrine is unusual in that counting Parvati, it features eight mothers (Asta Matrika) in an era when Sapta Matrika were more common such as at Samalaji and Jogeshwari caves. Additionally, the mothers are flanked on one side with Ganesha and the other with Skanda (Kartikeya) when typical artwork from the mid 1st millennium shows the Shakta mothers with Ganesha and Shiva. According to Sara L.Schastok, the Skanda in the east shrine of Elephanta Cave 1 is significant, just like the one found in the Deogarh Hindu temple site, because he is depicted with regalia, weapons and icons similar to Shiva and because he is surrounded by gods and goddesses. By portraying Skanda with Matrikas, he is equated with the Krittikas legend and thereby Kartikeya and by showing him so prominently centered the artists are likely communicating the unity of Skanda-Shiva, that all these divinities are in essence the same spiritual concept, "all emanations of the lingam at the very heart of Elephanta", according to Schastok.

Shrine in the West Wing - There is a chapel in the west wing. In the veranda is a sculpture of Shiva as a yogi. To the south of the linga shrine is a six-handed dancing figure of Shiva accompanied by Vishnu riding Garuda, Yama on his buffalo and Brahma. They are now in a damaged condition. On the west side of the main hall is another attached shrine, though in a much more ruined state. The larger cave on the south side of the west shrine is closed, contains ruins, and is bigger than the eastern side shrine. Some of the artworks from here were moved to museums and private collections by mid 19th century, including those related to Brahma, Vishnu and others. The western face has two panels, one showing another version of Shiva in Yoga and another Nataraja. Between these is a sanctum with a Shiva Linga. This Yogi Shiva panel is damaged, but unlike the other Yogi depiction, here the leg position in Yoga asana has survived. The Yogishvara is seated on a lotus, and near him are two badly defaced characters, possibly one of Parvati and another ascetic. Above him are ruin remains of celestial gods or goddesses or apsaras. The Yogi Shiva is wearing a crown, and once again there is a space of isolation around the meditating yogi in which no other character enters. Below him, under the lotus, are Nagas and several badly damaged figures two of whom are in namaste reverence posture. The Nataraja shown in the west shrine is similar in style to one inside the main mandapa. However, states Collins, its depth of carving appears inferior and it seems more eroded being more open to rains and water damage.