Ellora
The sculptures of Ellora opened a new chapter in the history of world art especially in early Buddhist Caves (1-12), Jaina Caves (30-34) and Hindu art (Caves 13-29) which covers the period BC 600 to AD 1000. Ellora goes down in annals of religious history for harmonious coexistence of three religious sects Buddhism, Hinduism and Jainism
Around 7th c. AD there emerged bi-unity in Tantricism from the doctrine of metaphysics. This dominated religious art and rituals from the period of Brahmanism. The classical theme of Siva and Parvati or Saktipurush and prakriti and Vishnu and Lakshmi Avalokiteshvara and Tara appeared again and again variously inflicted in the monuments of art.
Cave temples are a repository of a variety of symbols and motifs. Symbols and anthropomorphic representation of divinities on paintings and sculpture give a glimpse of the trends and direction in the development of thought in early period. These symbols voice the same truth as Indian philosophy and myths. They serve not only as instruments for revealing human feelings in the form of art but also act as vehicle for commuting religious and social ideologies to humanity at large. A good example of such evolution is seen in ancient art motifs.
In Hindu caves at Ellora themes are drawn from Hindu mythology, puranas, and epics and Siva, one of the god of Hindu Trinity. Sivas manifestations suggests his personification of death and time (mahakala) as mahayogi and as Lord of Dance. The various aspects of female energy also portrayed. Origin of this art at Ellora is scattered over the Indian continent.