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Rock-cut structures are one of the most primitive forms of
architecture found in many parts of India. The Karla Caves in
Maharasthra, built by Buddhist monks, are one of the finest example
of this architectural style.
One convenient feature of
touring Maharashtra is that most places are within easy reach of a
large town or city. Just an hour’s drive from Poona are the
Karla Caves. A decade ago, the area, though close to a city was still
considered ‘way out in the wilds’. Now it is almost a
suburb of Poona. Weekend bungalows, resorts and government
accommodation abound.
The Caves are high in the
surrounding hills. A narrow winding path, leads up. Built centuries
ago by Buddhist monks, the caves are in keeping with the Buddhist
ideas of simplicity. One wonders why this isolated spot was chosen as
the site for the caves. After all a rockcut structure high in remote
hills is not something immediately associated with a place of
worship. Satish Grover, architect and author, gives a vivid insight
into the minds of those ancient monk builders… “Until the
arrival of the Buddhists there had been little building activity of
any consequence in this difficult region. During their very first
season in the hills in thatched huts, the monks must have had to face
the fury of the rains. Rains which lashed down the hill-side,
virtually non-stop for half the year. Rains that could wash away an
entire village without leaving a sign and rains that could make
worship around a stupa in the open an unpleasant task indeed. Under
the circumstances they could have built prayer halls of timber. Wood
was at hand from the forest. Bricks baked in the plains could be
hoisted up. However, even such a hall would be difficult to maintain
and preserve under the unrelenting fury of the monsoon. Only the
hills seemed to withstand the ravages. With their great desire to
make the Good Law of the Buddha outlast time itself the Buddhist
monks decided to carve their sanctuaries out of the living rock of
the immovable mountains!
Rock cut structures are
one of the earliest and most primitive forms of architecture. They
were particularly well adapted to Indian conditions, both material
and spiritual. Cool in summer, cosy in winter, cave temples are well
adapted to the Indian climate. Low cliffs often mean waterfalls, a
stream or simply water percolating down from the tableland above.
Unfortunately this pretty picture of dense forests and welcome
waterfalls is a thing of the past. Now, the hills around Karla are
bald and water is a scarce commodity.
Apart from the climatic
suitability the concept of the cave with its elemental, uncreated
nature strikes one of the fundamental chords of Indian spiritually.
At the same time it must not be forgotten that for every rock cut
monastery thee must have been scores of structural buildings of
which no trace has survived. So, the Buddhist monks not only built
shelters but everlasting tributes to their beliefs.
From the late second
century B.C. until the mid-second century A.D. thousands of caves
like Karla were excavated in the Sahyadri Hills. They were
apparently all for Buddhist communities. These cave sites were not
randomly chosen. They were selected in accordance with the Buddhist
prescription that the holy man should live not too far from the
cities of men- not too near to be distracted, nor too far to make
begging rounds impractical or to put the monks out of reach of the
people. Naturally the existence of a natural cave was another
determining factor.
From this point of view,
Karla is excellently situated. It is a natural cave and it also used
to be along one of the major caravan trading routes.
The manner in which these
cave shrines were dug out is known in its broad outline since a
number were abandoned at various stages of construction. Work
proceeded from the top downwards, eliminating the need for
scaffolding. Caves were created in groups to provide accommodation
for outside workers since such undertakings were beyong the resources
of aver small community. They consist of two types; chaitya halls
and viharas. Chaitya halls were for congregational worship (an
activity which fundamentally distinguishes Buddhism from Hinduism).
The viharas were the dwelling places of the monks and usually
consisted of cells cut into the walls around three sides of a hall.
All very austere and demanding great hardships from the body. One
enduring feature of these caves is the arched entrances and vaulted
interiors. This basic structure was very dear to the Buddhist monks.
The actual process of
construction is fascinating. The chosen hill-side was cleared of
shrubs and other growth. The entrance-to-be was roughly sketched on
the face of the rock wall. Two parallel tunnels were then run to the
desired depth and timber wedges driven vertically into the exposed
rock at convenient centres. When moistened, these wedges expanded
and dislodged large chunks of stone that were removed through the
mouth of the cave. Thus the rock was exposed. At this point all the
exposed rock would be chiselled and polished and only then would be
workmen continue the excavation. Gradually with mere one-fourth inch
chisels and hammers as the only tools, the excavation carried on from
the ceiling downwards. A tedious process but one that has survived,
as Karla textifies. Once excavated, timber trellis work and balconies
were added as trimmings.
All through this process
the workmen were basically recreating in stone what they would
normally have built of timber. But gradually the stone carver’s
art became unique. He began to exploit the potential of this new
medium. The monumental culmination of this extraordinary art form is
the famous mammoth hall at Karla. The gigantic hall, built in the
first century A.D. is adorned with architectural motifs, lions and
elephants (whose tusks were probably of genuine ivory but no longer
exit). The architect of this hall was fully aware of the potential
of the visual drama and awe that could be infused into a visitor
entering such a vast sacred hall. At the entrance are two enormous
fifty foot high columns crowned by glorious lion sculptures. One
passes into an ante-room lit by a recessed sun window set in a hue
horseshoe archway. The light is wonderfully diffused. The walls are
richly sculpted and at one time there were frescoes too. Moving
further, in one discerns the most sacred object of veneration looming
out of the dark – the stupa. Magic is created by a soft
luminosity that filters in through the rows of flanking columns. The
stupa seems situated in a fathomless cavern. An aura of deep peace
and meditation issues from the place – it is impossible not to
be moved.
Though many rock cut techniques evolved
over the centuries none have ever rivaled the chaitya hall at Karla.
It embodies the powerful relationship between light, space and
sculpture that has endowed the caves of the Buddhists with magical
qualities beyond the comprehension of day to day architecture.
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