The island of Elephanta, distant about two leagues from Bombay, has a
circumference of about three miles, and consists of two rocky mountains,
covered with trees and brushwood. Near the landing-place is the figure
of an elephant, as large as life, shaped out of a rock, and supposed to
have given its name to the island. Having ascended the mountain by a
narrow path, the visitor reaches the excavation which has so long
excited the attention of the curious, and afforded such ample scope for
the discussion of antiquarians. With the strongest emotions of surprise
and admiration, he beholds four rows of massive columns cut out of the
solid rock, uniform in their order, and placed at regular distances, so
as to form three magnificent avenues from the principal entrance to the
grand idol which terminates the middle vista; the general effect being
hightened by the blueness of the light, or rather gloom, peculiar to the
situation. The central image is composed of three colossal heads,
reaching nearly from the floor to the roof, a hight of fifteen feet. It
represents the triad deity in the Hindoo mythology, Brama, Vishnu, and
Siva, in the characters of the creator, preserver, and destroyer. The
middle face displays regular features, and a mild and serene character;
the towering head-dress is much ornamented, as are those on each side,
which appear in profile, lofty, and richly adorned with jewels. The
countenance of Vishnu has the same mild aspect as that of Brama; but the
visage of Siva is very different: severity and revenge, characteristic
of his destroying attribute, are strongly depicted; one of the hands
embraces a large _cobra de capello_; while the others contain fruit,
flowers, and blessings for mankind, among which the lotus and
pomegranate are readily distinguishable. The former of these, the lotus,
so often introduced into the Hindoo mythology, forms a principal object
in the sculpture and paintings of their temples, is the ornament of
their sacred lakes, and the most conspicuous beauty in their flowery
sacrifices.
On either side of the Elephanta triad, is a gigantic figure leaning on a
dwarf, an object frequently introduced in these excavations. The giants
guard the triple deity, and separate it from a large recess filled with
a variety of figures, male and female, in different attitudes: they are
in tolerable proportion, but do not express any particular character of
countenance: one conspicuous female, like the Amazons, is
single-breasted; the rest, whether intended for goddesses or mortals,
are generally adorned, like the modern Hindoo women, with bracelets and
rings for the ankles; the men have bracelets only. The intervening space
between these figures is occupied by small aerial beings, hovering about
them in infinite variety. The larger images in these groups are in
alto-relievo, and most of the smaller in basso-relievo, brought
sufficiently forward from the rock to produce a good effect. The sides
of the temple are adorned with similar compositions, placed at regular
distances, and terminating the avenues formed by the colonnades, so that
only one group is seen at a time, except on a near approach; and the
regularity and proportion of the whole are remarkably striking. The
figures are in general in graceful attitudes; but those of herculean
stature do not indicate any extraordinary muscular strength. Among many
thousands of them, few of the countenances express any particular
passion, or mark a decided character: they have generally a sleepy
aspect, and bear a greater resemblance to the tame sculpture of Egypt
than to the animated works of the Grecian chisel. From the right and
left avenues of the principal temple are passages to smaller excavations
on each side: that on the right is much decayed, and very little of the
sculpture remains entire. A pool of water penetrates from it into a dark
cavern far under the rock; but whether natural or artificial, has not
been decided. A small corresponding temple on the left side, contains
two baths, one of them elegantly finished: the front is open, and the
roof supported by pillars of a different order from those in the large
temple; the sides are adorned with sculpture, and the roof and cornice
painted in mosaic patterns; some of the colors are still bright. The
opposite bath, of the same proportions, is less ornamented; and between
them is a room detached from the rock, containing a colossal
representation of the _lingam_, or symbol of Siva. Several small caves
branch out from the grand excavations.
An anecdote is related by Mr. Forbes, in his “Oriental Memoirs,”
relative to these sculptured monuments. He accompanied an eminent
English artist on his first visit to the Elephanta. “After the glare of
a tropical sun, during the walk from the landing-place, it was some time
before the eye had accommodated itself to the gloom of these
subterraneous chambers, sufficiently to discriminate objects in that
somber light. We remained for several minutes without speaking, or
looking particularly at each other: at length, when more familiarized to
the cavern, my companion still remaining silent, I expressed some fear
of having been too warm in my description, and that like most other
objects, the reality fell short of the anticipated pleasure. He soon
relieved my anxiety by declaring, that however highly I had raised his
imagination, he was so absorbed in astonishment and delight, on entering
this stupendous scene, as to forget where he was. He had seen the most
striking objects of art in Italy and Greece; but never anything which
filled his mind with such extraordinary sensations.” So enraptured was
this artist with the spot, that after staying until a late hour, he
quitted it most reluctantly. The caves of the isle of Elephanta can not
be sufficiently admired, when the immensity of such an undertaking, the
number of artificers employed, and the extraordinary genius of its
projector, are considered, in a country until lately accounted rude and
barbarous by the now enlightened nations of Europe. Had this work been
raised from a foundation, like other structures, it would have excited
the admiration of the curious; but when the reflection is made, that it
is hewn inch by inch in the hard and solid rock, how great must the
astonishment be at the conception and completion of the enterprise!