Photographer: Arthur Llewellyn Basham2019-10-152019-10-15circa 1970IM-49834http://hdl.handle.net/1885/176427It is possible to notice another feature peculiar to the Nandi shrine at Kailasnath [sic] in this detailnamely, the raised portion of the basement rock which has taken on the proportion of a complete story of elevation in itself. If this base were not present, we would see that the shrine is but an early Pattadakal form (that is, in the northern style with no base or raised portion at all), for indeed the model for the Kailasnath was brough south from Pattadakal through Kanchi, the artistic center of the early Medieval Period. Compositionally, the facade is like a large wooden casket provided with nemerous paneled recesses over its many parts especially created to hold sculpture - much as framed niches on Renaissance churches do. these paneled frames are not the only areas where sculptural decoration appears, though: notice how in the second story, just right of the small architrave, a figure of a celestial deity appears without any niche at all. Thus, although the shrine was built as if to regulate the placement of its sculpture, it does not in fact make use of the decoration in this way. -- Detail (with elephant on right).35mmmounted transparencyb&wsepiaimage/tiffen-AUDeccan-- Western Cave Temples-- Ellora-- Kailasanatha Templearchitectureslide set2019-10-15This item is provided for research purposes. Contact the Australian National University Archives at butlin.archives@anu.edu.au for permission to use.