TEMPLES OF ELEPHANTA.
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!