Iconographic Notes on some Buddhist Sculptures at Ellora
By R. Sengupta
Summary
This article explores the Buddhist sculptures at Ellora and argues that they cannot be understood in isolation from the Hindu world around them. The author notes that Buddhists and Hindus began excavating the caves at the same time and that many sculptural motifs were exchanged between the two traditionsimage/. Narrative panels, postures, weapons and ornaments in Buddhist images often echo features of Hindu art, while Hindu sculptures at Ellora sometimes borrow Buddhist motifs. The paper examines images of Kubera, a yaksha associated with wealth, and shows how he comes to function as a guardian of learning and wealth; this suggests that wealth and wisdom were seen as complementary and could coexist. By analysing the posture, attendant figures and attributes of Avalokiteśvara, Tārā and Jambhala, the author demonstrates how artists fused Puranic myths with Buddhist philosophical themes. The study situates these works within the broader history of Indian art and traces the influence of dynastic patrons such as the Chalukyas and Rāṣṭrakūṭas. It argues that the caves at Ellora illustrate a living tradition of religious synthesis, showing how visual language allowed sculptors to express theological ideas across sectarian boundaries.
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Conclusion
The Ellora sculptures reveal a dynamic interaction between Buddhist and Hindu artistic traditions. Through the appropriation of forms and motifs, the caves testify that sectarian boundaries were porous and that artists were comfortable blending Puranic and Buddhist ideas. The paper highlights how concepts such as wealth and wisdom, embodied in Kubera, were integrated into Buddhist iconographyimage/. Ellora thus stands as an important monument to the creative syncretism of early medieval India.