{"id":31356,"date":"2026-10-27T17:43:53","date_gmt":"2026-10-27T12:13:53","guid":{"rendered":"https:\/\/vajiramandravi.com\/upsc-exam\/?p=31356"},"modified":"2026-10-27T17:43:53","modified_gmt":"2026-10-27T12:13:53","slug":"rock-cut-architecture","status":"publish","type":"post","link":"https:\/\/vajiramandravi.com\/upsc-exam\/rock-cut-architecture\/","title":{"rendered":"Rock Cut Architecture, Types, Examples, Ajanta Caves, Evolution"},"content":{"rendered":"<p><span style=\"font-weight: 400\">Rock Cut architecture in India represents one of the earliest and most significant architectural traditions, evolving from natural shelters in the Palaeolithic-Mesolithic period to elaborate Buddhist, Jain, and Hindu cave complexes. Sites like Bhimbetka, Barabar, Ajanta, Ellora, and Badami reflect religious, cultural, and artistic developments spanning over two millennia.<\/span><\/p>\r\n<p><span style=\"font-weight: 400\">These caves feature chaityas, viharas, stupas, and monolithic temples, showcasing intricate carvings, polished surfaces, and murals. Patronised by rulers such as Ashoka, Kharavela, Pallavas, Chalukyas, and Rashtrakutas, rock cut architecture also influenced stepwells like Chand Baori and Rani ki Vav. It combines functionality, aesthetics, and spiritual symbolism across India.<\/span><\/p>\r\n<h2><span style=\"font-weight: 400\">Rock Cut Architecture Evolution<\/span><\/h2>\r\n<p><span style=\"font-weight: 400\">Roots of Indian rock cut architecture trace back to the Mesolithic period (10,000\u20138,000 BCE), when early humans carved and painted rock shelters. Though not formal architectural structures, these laid the foundation for later developments.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>First Phase: <\/b><span style=\"font-weight: 400\">The earliest rock cut architecture caves emerged under the\u00a0<\/span><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/mauryan-empire\/\" target=\"_blank\"><span style=\"font-weight: 400\"><strong>Mauryan Empire<\/strong><\/span><\/a><span style=\"font-weight: 400\">, patronised through <\/span><strong><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/ashoka\/\" target=\"_blank\">Ashokan inscriptions<\/a><\/strong><span style=\"font-weight: 400\"> and his grandson, Dasaratha, marking India\u2019s formal advancement in stone excavation.\u00a0<\/span>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Between the 2nd century BCE and the 2nd century CE, Buddhist chaityas and viharas flourished at Karla, Kanheri, Nasik, Bhaja, Bedsa, and Ajanta, initially imitating wooden structures.<\/span><\/li>\r\n<\/ul>\r\n<\/li>\r\n\t<li style=\"font-weight: 400\"><b>Second Phase (5th Century CE):<\/b><span style=\"font-weight: 400\"> Rock cut architecture transitioned from timber to stone, with the Buddha image as a central element in architectural design.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Third Phase (8th\u201314th Century):<\/b><span style=\"font-weight: 400\"> Dravidian rock-cut architecture flourished, featuring mandapas and rathas, representing its peak development.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Decline (Post-12th Century): <\/b><span style=\"font-weight: 400\">Focus shifted to free-standing temples, though rock-cut caves continued. Artisans adapted techniques, carving stones into bricks for new constructions.<\/span><\/li>\r\n<\/ul>\r\n<h2><span style=\"font-weight: 400\">Rock Cut Architecture Types<\/span><\/h2>\r\n<p><span style=\"font-weight: 400\">Rock cut architecture is an engineering and artistic approach that involves carving structures, buildings, and sculptures straight from solid, living natural rock rather than combining separate components such as bricks or stone blocks.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Rock-Cut Caves:<\/b><span style=\"font-weight: 400\"> Chambers and sanctuaries dug straight into hillsides or cliffs, typically used as residences, shrines, or meditation areas. Early examples are the Mauryan-era Barabar Caves.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Chaitya Halls: <\/b><span style=\"font-weight: 400\">Apsidal prayer halls with a central nave, side aisles, and a stupa on the apsidal end. Some notable examples include the Great Chaitya Cave at Karla Caves and the Ajanta Caves.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Viharas (Monastic Residences): <\/b><span style=\"font-weight: 400\">Rectangular or square residential buildings where monks lived, studied, and slept, with a central hall and little carved-out private chambers.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Rock-Cut Temples:<\/b><span style=\"font-weight: 400\"> Hollowed-out interior shrines or cave-temples fashioned to resemble structural free-standing architectural structures and embellished with pillars, reliefs, and Hindu, Buddhist, or Jain deities. Examples include the Badami and Elephanta Caves.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Monolithic Temples:<\/b><span style=\"font-weight: 400\"> Entire free-standing structural complexes carved from the top down of a single, huge rock mass, totally disconnecting the temple from its parent cliff. The prominent examples are Ellora's Kailash Temple (Cave 16) and Mahabalipuram's Rathas.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Mandapas: <\/b><span style=\"font-weight: 400\">Open pillared pavilion halls dug from rock faces, usually with a columned hall and small sanctuary cells on the back wall, typical of Dravidian rock-cut style.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Rock Relief Sculptures:<\/b><span style=\"font-weight: 400\"> Monumental figures, panels, and religious narratives carved directly onto exposed rock faces or cliff edges (such as the massive Gommateshwara statue).<\/span><\/li>\r\n<\/ul>\r\n<h2><span style=\"font-weight: 400\">Buddhist Rock Cut Architecture<\/span><\/h2>\r\n<p><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/buddhist-art-and-architecture-i\/\" target=\"_blank\"><span style=\"font-weight: 400\"><strong>Buddhist rock cut architecture<\/strong><\/span><\/a><span style=\"font-weight: 400\"> primarily features three iconic structures\u2014stupas for relics, chaitya-grihas for worship, and viharas as monastic dwellings for meditation and community living.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/stupas\/\" target=\"_blank\"><b>Stupas<\/b><\/a><b>:<\/b><span style=\"font-weight: 400\"> Originally earthen mounds for relics, later converted to stone with symbolic elements like chatras (umbrellas) and surrounded by circumambulatory paths called pradakshina.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Rock-cut Caves: <\/b><span style=\"font-weight: 400\">Earliest examples at Barabar and Nagarjuni, dedicated to Ajivikas, imitating wooden structures.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Chaityas:<\/b><span style=\"font-weight: 400\">\u00a0 Barrel-vaulted halls with apsidal ends housing stupas; early sites at Bhaja and Kondane reflect Hinayana traditions with symbolic emphasis.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Viharas: <\/b><span style=\"font-weight: 400\">Monastic dwellings with cells around a central hall; the Mahayana period added Buddha images and ornate sculptures (e.g., Ajanta, Ellora).<\/span><\/li>\r\n<\/ul>\r\n<h2><span style=\"font-weight: 400\">Jain Rock Cut Architecture<\/span><\/h2>\r\n<p><span style=\"font-weight: 400\">Jain rock cut architecture is prominently examples are the Khandgiri and Udayagiri caves in Odisha, built around 2,000 years ago under King Kharavela, serving as monastic shelters.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Udayagiri Caves:<\/b><span style=\"font-weight: 400\"> Feature the double-storied Rani Gumpha with excellent acoustics, decorated with royal processions, mythological and celestial imagery (e.g., Surya on a chariot).<\/span>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Ganesa Gumpha contains Jain Tirthankara sculptures and later Ganesha figures.<\/span><\/li>\r\n<\/ul>\r\n<\/li>\r\n\t<li style=\"font-weight: 400\"><b>Khandgiri Caves: <\/b><span style=\"font-weight: 400\">Khandgiri caves are mostly single-storied with rectangular plans and feature exquisite sculptural panels portraying Jain saints, Sasana Devis, and symbolic motifs.<\/span><\/li>\r\n<\/ul>\r\n<h2><span style=\"font-weight: 400\">Hindu Rock Cut Architecture<\/span><\/h2>\r\n<p><span style=\"font-weight: 400\">Hindu rock cut architecture flourished mainly from the 5th century CE onwards, particularly in South India under the patronage of Chalukyas, Pallavas, Rashtrakutas, and later dynasties. This phase marked a shift from Buddhist to Brahmanical temple building. Key sites include Badami, Ellora, Elephanta, Mamallapuram, Aurangabad, and Aihole.<\/span><\/p>\r\n<h3><span style=\"font-weight: 400\">Chalukyan Architecture<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Chalukyan architecture is classified into <\/span><b>rock-cut shrines and structural Hindu temples<\/b><span style=\"font-weight: 400\">. The cave temples of Badami and Aihole influenced the development of later structural temples in Karnataka.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Architectural Features:<\/b><span style=\"font-weight: 400\"> Temples generally feature a <\/span><i><span style=\"font-weight: 400\">mukha mandapa<\/span><\/i><span style=\"font-weight: 400\"> (front porch), <\/span><i><span style=\"font-weight: 400\">mahamandapa<\/span><\/i><span style=\"font-weight: 400\"> (main hall) and <\/span><i><span style=\"font-weight: 400\">garbhagriha<\/span><\/i><span style=\"font-weight: 400\"> (sanctum).<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Badami Caves:<\/b><span style=\"font-weight: 400\"> Badami has four caves. Cave 1 is dedicated to Shiva, featuring an eighteen-armed Shiva, Mahishasuramardini and Ardhanarisvara. Cave 2 depicts Vishnu, Shiva, Brahma and Ashtadikpalas. Cave 3, dedicated to Vishnu, dates to 578 CE under Mangalesa. Cave 4 is a Jain shrine featuring Mahavira and Tirthankaras.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Aihole Caves:<\/b><span style=\"font-weight: 400\"> The sixth-century Ravana Phadi cave, dedicated to Shiva, contains a rock-cut Shivalinga, elaborate pillars and carvings of Hindu deities, including Vishnu as Varaha and Durga as Mahishasuramardini.<\/span><\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Rock-Cut Caves of the Kalachuris and Rashtrakutas<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">The Ellora Caves in Maharashtra represent the coexistence of Hinduism, <strong><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/buddhism\/\" target=\"_blank\">Buddhism<\/a><\/strong> and <strong><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/jainism\/\" target=\"_blank\">Jainism<\/a><\/strong>. Located about 30 km northwest of Aurangabad, these caves date from the 6th\u201312th centuries CE and are renowned for their craftsmanship.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Religious Classification:<\/b><span style=\"font-weight: 400\"> Caves 1\u201312 are Buddhist, 13\u201329 are Hindu (Brahmanical), and 30\u201334 are Jain.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Kalachuri Contribution:<\/b><span style=\"font-weight: 400\"> Caves 1\u201310 and Cave 21 belong to the period of the Kalachuris of Mahishmati.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Rashtrakuta Contribution:<\/b><span style=\"font-weight: 400\"> Cave 15 belongs to the period of Dantidurga (753\u2013757 CE), supported by inscriptional evidence.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Kailasa Temple (Cave 16):<\/b><span style=\"font-weight: 400\"> Commissioned under Krishna I (757\u2013783 CE), it represents the mature phase of Indian rock-cut architecture.<\/span>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">A massive, west-facing temple complex carved from rock.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Includes a gateway, Nandi Mandapa, sanctum (Garbhagriha) and a multi-storeyed vimana.<\/span><\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Pallava Rock Cut Architecture<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">The <strong><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/pallavas-of-kanchi\/\" target=\"_blank\">Pallavas of Kanchi<\/a><\/strong> ruled parts of the Telugu and northern Tamil regions from the sixth to ninth centuries CE. They pioneered Dravidian temple architecture, using hard rocks such as granite, gneiss and basalt. Mahendravarman I initiated rock-cut architecture in Tamil Nadu during the early seventh century.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>First Cave Temple:<\/b><span style=\"font-weight: 400\"> The Lakshitaayatana Tridevamurti cave at Mandagapattu was carved entirely from granite without bricks, mortar, wood or metal.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Mandapa Structure:<\/b><span style=\"font-weight: 400\"> Temples featured pillared halls called mandapas, divided into mukha mandapa and mahamandapa.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Pillars:<\/b><span style=\"font-weight: 400\"> Pillars had square upper and lower sections called <\/span><i><span style=\"font-weight: 400\">sadurams<\/span><\/i><span style=\"font-weight: 400\"> and an octagonal middle section called <\/span><i><span style=\"font-weight: 400\">kattu<\/span><\/i><span style=\"font-weight: 400\">.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Decorations:<\/b><span style=\"font-weight: 400\"> Lotus medallions, creepers, and motifs of animals and mythical beings adorned pillars. Corbels featured curved, wavy ornamentation.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Sculptures:<\/b><span style=\"font-weight: 400\"> Early caves were simple, with dvarapalas but generally lacked deity images in the sanctum.<\/span><\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Post-Mahendra Style Rock-Cut Temples<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">The Post-Mahendra style marked an important evolution in <a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/pallava-art-and-architecture\/\" target=\"_blank\"><strong>Pallava architecture<\/strong><\/a> under <\/span><b>Narasimhavarman I Mamalla (630\u2013668 CE)<\/b><span style=\"font-weight: 400\">. While the general cave-temple layout remained unchanged, ornamentation and architectural complexity increased.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Architectural Features:<\/b><span style=\"font-weight: 400\"> Sanctums became more elaborate, and pillars were taller, slenderer and more widely spaced. Somaskanda (Shiva with Skanda) appeared for the first time.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Mamalla Style and Rathas:<\/b><span style=\"font-weight: 400\"> Monolithic, free-standing shrines called <\/span><i><span style=\"font-weight: 400\">rathas<\/span><\/i><span style=\"font-weight: 400\"> emerged at Mamallapuram under Narasimhavarman I.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Three Main Components:<\/b><span style=\"font-weight: 400\"> The mandapa featured <\/span><i><span style=\"font-weight: 400\">adhishthana<\/span><\/i><span style=\"font-weight: 400\"> (base), <\/span><i><span style=\"font-weight: 400\">kudya-stambha<\/span><\/i><span style=\"font-weight: 400\"> (pilasters) and <\/span><i><span style=\"font-weight: 400\">prastara<\/span><\/i><span style=\"font-weight: 400\"> (decorative parapet).<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Hara Decoration:<\/b><span style=\"font-weight: 400\"> The <\/span><i><span style=\"font-weight: 400\">kapota<\/span><\/i><span style=\"font-weight: 400\"> (cornice) featured <\/span><i><span style=\"font-weight: 400\">kudu<\/span><\/i><span style=\"font-weight: 400\"> motifs, while miniature <\/span><i><span style=\"font-weight: 400\">salas<\/span><\/i><span style=\"font-weight: 400\"> (oblong shrines) and <\/span><i><span style=\"font-weight: 400\">kutas<\/span><\/i><span style=\"font-weight: 400\"> (square shrines) formed a decorative garland called <\/span><i><span style=\"font-weight: 400\">hara<\/span><\/i><span style=\"font-weight: 400\">.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Pillar Ornamentation:<\/b><span style=\"font-weight: 400\"> Crouching <\/span><i><span style=\"font-weight: 400\">vyalis<\/span><\/i><span style=\"font-weight: 400\"> (mythical lions) adorned pillar bases. Other features included <\/span><i><span style=\"font-weight: 400\">kalasa<\/span><\/i><span style=\"font-weight: 400\">, <\/span><i><span style=\"font-weight: 400\">kumbha<\/span><\/i><span style=\"font-weight: 400\"> and wavy <\/span><i><span style=\"font-weight: 400\">potika<\/span><\/i><span style=\"font-weight: 400\"> brackets.<\/span><\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Pallava Monolithic Rathas<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">The Pallava <\/span><b>monolithic rathas<\/b><span style=\"font-weight: 400\"> are free-standing rock-cut temples carved from granite and gneiss outcrops at Mamallapuram. The famous Pandava Rathas and Draupadi Ratha were constructed during the reign of Narasimhavarman I (Mamalla).<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Plan:<\/b><span style=\"font-weight: 400\"> Simple design with a small mukha-mandapa (front hall) before the sanctum.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Types:<\/b><span style=\"font-weight: 400\"> Rathas feature single-storeyed or multi-storeyed vimanas.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Ektala Vimana:<\/b><span style=\"font-weight: 400\"> Six parts\u2014adhishthana (base), bhitti (wall), prastara (entablature), griva (neck), shikhara (spire) and stupi (finial).<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Dvitala Vimana:<\/b><span style=\"font-weight: 400\"> Both storeys feature hara elements\u2014sala, kuta and panjara.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Roof Types:<\/b><span style=\"font-weight: 400\"> Kuta has a domical roof (kutina-shikhara), while sala has a barrel-vaulted roof (sala-shikhara).<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Storeys:<\/b><span style=\"font-weight: 400\"> Tritala and chatushtala denote three- and four-storeyed vimanas; five or more storeys are called mukhya vimanas.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Architecture:<\/b><span style=\"font-weight: 400\"> Successively smaller storeys create a tapering structure, enhancing height, stability and durability.<\/span><\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Pandya Architecture<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Towards the end of the 7th century, the Pandyas developed rock-cut architecture, inspired by the Pallavas and Chalukyas. Their cave temples featured distinctive architectural elements and religious sculptures.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Important Temples:<\/b><span style=\"font-weight: 400\"> The Sri Karpaga Vinayakar Temple at Pillaiyarpatti, dating to the early 7th century, is among the earliest Pandya rock-cut shrines. Other examples include Tiruttangal, Piranmalai, Sittannavasal and Malaiyadikurichi.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Notable Shrines:<\/b><span style=\"font-weight: 400\"> The Narasimha cave at Anamalai and Subrahmanya cave at Tirupparankunram are significant examples.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Vettuvankoil:<\/b><span style=\"font-weight: 400\"> Located at Kalugumalai, this unfinished 8th-century temple illustrates Pandya rock-cutting techniques, including a six-faced, dome-shaped <\/span><i><span style=\"font-weight: 400\">shikhara<\/span><\/i><span style=\"font-weight: 400\"> decorated with <\/span><i><span style=\"font-weight: 400\">kudu<\/span><\/i><span style=\"font-weight: 400\"> arches.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Architectural Features:<\/b><span style=\"font-weight: 400\"> Temples featured a <\/span><i><span style=\"font-weight: 400\">garbhagriha<\/span><\/i><span style=\"font-weight: 400\">, pillared <\/span><i><span style=\"font-weight: 400\">mandapas<\/span><\/i><span style=\"font-weight: 400\">, cushion-shaped capitals and relatively plain <\/span><i><span style=\"font-weight: 400\">potikas<\/span><\/i><span style=\"font-weight: 400\">. Sivalingas and Nandi figures were carved from living rock.<\/span><\/li>\r\n<\/ul>\r\n<h2><span style=\"font-weight: 400\">Rock Cut Architecture Famous Caves<\/span><\/h2>\r\n<p><span style=\"font-weight: 400\">Rock-cut caves represent India\u2019s earliest architectural forms; natural caves served as shelters and religious sites from the <\/span><strong><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/palaeolithic-age\/\" target=\"_blank\">Palaeolithic<\/a><\/strong><span style=\"font-weight: 400\">\u2013Mesolithic period (c. 6000 BCE). Bhimbetka Rock Shelters (UNESCO) feature tools and paintings from 8,000 BCE. By the 5th\u20136th century BCE, caves like Saptaparni and Indrasala in Bihar were used for <\/span><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/buddhist-council\/\" target=\"_blank\"><span style=\"font-weight: 400\"><strong>Buddhist councils<\/strong>.<\/span><\/a><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Barabar Caves:<\/b><span style=\"font-weight: 400\"> Jehanabad, Bihar, are the oldest surviving rock-cut caves in India, dating to the 3rd century BCE during the <\/span><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/mauryan-art-and-architecture\/\" target=\"_blank\"><span style=\"font-weight: 400\"><strong>Mauryan Empire<\/strong><\/span><\/a><span style=\"font-weight: 400\">. Dedicated to the Ajivika sect, the caves feature Ashokan inscriptions in the name of \"King Piyadasi\" (c. 258\u2013251 BCE) as part of his Minor Rock Edicts, contemporaneous with Gautama Buddha and <\/span><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/vardhaman-mahavira\/\" target=\"_blank\"><span style=\"font-weight: 400\"><strong>Mahavira<\/strong>.<\/span><\/a>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lomas Rishi bears a later inscription by Anantavarman. Carved from granite with Mauryan polish, each cave has a rectangular hall leading to a circular, domed chamber.\u00a0<\/span><\/li>\r\n<\/ul>\r\n<\/li>\r\n\t<li style=\"font-weight: 400\"><b>Sudama Caves<\/b><span style=\"font-weight: 400\">: Dedicated by Emperor Ashoka in 261 BCE, as indicated by an inscription in Brahmi at its arched entrance. It features a circular vaulted chamber accompanied by a rectangular mandapa.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Lomas Rishi Cave<\/b><span style=\"font-weight: 400\">: The facade of the Lomas Rishi Cave imitates timber construction and features an ogee-shaped \"<\/span><b>chaitya arch\"<\/b><span style=\"font-weight: 400\"> or chandrashala. Notable carved elephants on the entrance arch symbolise processions toward stupas.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Karan Chaupar Cave<\/b><span style=\"font-weight: 400\">: Karan Chaupar, also known as Karna Chaupar, consists of a simple rectangular room with polished surfaces and contains an inscription dating back to 245 BCE, emphasising functionality over ornamentation.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Visvakarma Cave: <\/b><span style=\"font-weight: 400\">Visvakarma Cave is accessible via the \u201c<\/span><b>steps of Ashoka\u201d,<\/b><span style=\"font-weight: 400\"> carved into the cliff and consists of two rectangular rooms. It is also noted for its well-polished surfaces, akin to those found in the other Barabar caves.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Nagarjuni Caves: <\/b><span style=\"font-weight: 400\">East of Barabar, they were built by Dasharatha Maurya for the Ajivikas, featuring three caves, Gopika, Vadathika, and Vapiyaka, with polished interiors and inscriptions in the name of Devanampiya Dasaratha.<\/span><\/li>\r\n<\/ul>\r\n\r\n<figure id=\"attachment_31359\" aria-describedby=\"caption-attachment-31359\" style=\"width: 382px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"wp-image-31359\" src=\"https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153231\/The_Lomas_Rishi_cave_built_into_a_gigantic_boulder_at_Barabar.webp\" alt=\"Barabar Caves\" width=\"392\" height=\"294\" srcset=\"https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153231\/The_Lomas_Rishi_cave_built_into_a_gigantic_boulder_at_Barabar.webp 1200w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153231\/The_Lomas_Rishi_cave_built_into_a_gigantic_boulder_at_Barabar-768x576.webp 768w\" sizes=\"(max-width: 392px) 100vw, 392px\" \/><figcaption id=\"caption-attachment-31359\" class=\"wp-caption-text\">Barabar Caves<\/figcaption><\/figure>\r\n\r\n<h3><span style=\"font-weight: 400\">Udayagiri Caves and Khandagiri Caves<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Located near Bhubaneswar, Odisha, on two adjacent hills, constructed in the 2nd century BCE. Udayagiri (\u201cSunrise Hill\u201d) has 18 caves; Khandagiri has 15 caves. They served as residential blocks for Jain monks during King Kharavela\u2019s reign. The Hathigumpha inscription refers to the hills as Kumari Parvat. Notable caves include\u00a0<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Rani Gumpha (Udayagiri):<\/b><span style=\"font-weight: 400\"> Largest cave; double-storied with three wings per level; central wing is largest; upper floor supported by nine columns; reliefs depict the king\u2019s victorious march; cells contain carved <\/span><b>dwarpalas<\/b><span style=\"font-weight: 400\">.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Hati Gumpha (Udayagiri):<\/b><span style=\"font-weight: 400\"> Natural cavern with intricate elephant carvings; contains the <\/span><b>Hathigumpha inscription<\/b><span style=\"font-weight: 400\"> in <\/span><b>Brahmi script<\/b><span style=\"font-weight: 400\"> detailing Kharavela\u2019s reign.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Important Khandagiri caves:<\/b><span style=\"font-weight: 400\"> Tatowa Gumpha, Navamuni Gumpha, Barabhuji Gumpha, Dhyana Gumpha, Ambika Gumpha, Ekadasi Gumpha.<\/span><\/li>\r\n<\/ul>\r\n\r\n<figure id=\"attachment_31358\" aria-describedby=\"caption-attachment-31358\" style=\"width: 487px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"wp-image-31358\" src=\"https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27152941\/Udayagiri_Caves_-_Rani_Gumpha_01-scaled.jpg\" alt=\"Udayagiri Caves and Khandagiri Caves\" width=\"497\" height=\"331\" srcset=\"https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27152941\/Udayagiri_Caves_-_Rani_Gumpha_01-scaled.jpg 2048w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27152941\/Udayagiri_Caves_-_Rani_Gumpha_01-768x512.jpg 768w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27152941\/Udayagiri_Caves_-_Rani_Gumpha_01-1536x1024.jpg 1536w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27152941\/Udayagiri_Caves_-_Rani_Gumpha_01-840x560.jpg 840w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27152941\/Udayagiri_Caves_-_Rani_Gumpha_01-410x273.jpg 410w\" sizes=\"(max-width: 497px) 100vw, 497px\" \/><figcaption id=\"caption-attachment-31358\" class=\"wp-caption-text\">Udayagiri Caves and Khandagiri Caves<\/figcaption><\/figure>\r\n\r\n<h3><span style=\"font-weight: 400\">Ajanta Caves<\/span><\/h3>\r\n<p><b>Ajanta Caves<\/b><span style=\"font-weight: 400\">, located in the Aurangabad district of Maharashtra, are rock-cut Buddhist monuments dating from the 2nd century BCE to around 480 CE. In total, there are <\/span><b>29 caves<\/b><span style=\"font-weight: 400\">, with<\/span><b> 25 serving as Viharas<\/b><span style=\"font-weight: 400\"> (residential caves) and <\/span><b>4 functioning as Chaityas<\/b><span style=\"font-weight: 400\"> (prayer halls).<\/span><\/p>\r\n<ul>\r\n\t<li><span style=\"font-weight: 400\">The caves were built in two phases.<\/span>\r\n<ul>\r\n\t<li><a href=\"https:\/\/vajiramandravi.com\/quest-upsc-notes\/satavahana-era\/\" target=\"_blank\"><b>Satavahana Period<\/b><\/a><b>:<\/b><span style=\"font-weight: 400\"> Caves 9, 10, 12, 13, 15A; murals depicting Jataka tales.<\/span><\/li>\r\n\t<li><b>Vakataka Period (5th century CE):<\/b><span style=\"font-weight: 400\"> Caves 1\u20138, 11, 14\u201329; reflects Mahayana Buddhist tradition.<\/span><\/li>\r\n<\/ul>\r\n<\/li>\r\n\t<li><b>Notable Features:<\/b>\r\n<ul>\r\n\t<li><b>Chaityas<\/b><span style=\"font-weight: 400\">: Caves 19, 26, 29; Viharas: remaining caves.<\/span><\/li>\r\n\t<li><b>Famous sculptures:<\/b><span style=\"font-weight: 400\"> Mahaparinirvana of Buddha (Cave 26), Naga King with consort (Cave 19).<\/span><\/li>\r\n\t<li><b>Frescoes:<\/b><span style=\"font-weight: 400\"> Painted with local plants and minerals; outlined in red; absence of blue; highly naturalistic.<\/span><\/li>\r\n\t<li><b>Patronage:<\/b><span style=\"font-weight: 400\"> Vakataka rulers, including Harishena.<\/span><\/li>\r\n\t<li><b>Tradition: <\/b><span style=\"font-weight: 400\">Reflects <\/span><strong><a href=\"https:\/\/vajiramandravi.com\/quest-upsc-notes\/mahayana-vs-hinayana-buddhism\/\" target=\"_blank\">Hinayana and Mahayana traditions <\/a><\/strong><span style=\"font-weight: 400\">(5 Hinayana, 24 Mahayana caves).<\/span><\/li>\r\n\t<li><b>Travellers' Account:<\/b><span style=\"font-weight: 400\"> Mentioned by Chinese pilgrims <\/span><strong><a href=\"https:\/\/vajiramandravi.com\/quest-upsc-notes\/foreign-travellers-who-visited-india\/\" target=\"_blank\">Fa Hien<\/a><\/strong><span style=\"font-weight: 400\"> and <\/span><a href=\"https:\/\/vajiramandravi.com\/quest-upsc-notes\/foreign-travellers-who-visited-india\/\" target=\"_blank\"><span style=\"font-weight: 400\"><strong>Hieun Tsang<\/strong>.<\/span><\/a><\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n\r\n<figure id=\"attachment_31360\" aria-describedby=\"caption-attachment-31360\" style=\"width: 589px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\" wp-image-31360\" src=\"https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153604\/ajanta-banner1.jpeg\" alt=\"Ajanta Caves\" width=\"599\" height=\"337\" srcset=\"https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153604\/ajanta-banner1.jpeg 1280w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153604\/ajanta-banner1-768x432.jpeg 768w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153604\/ajanta-banner1-270x152.jpeg 270w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153604\/ajanta-banner1-840x473.jpeg 840w, https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153604\/ajanta-banner1-410x230.jpeg 410w\" sizes=\"(max-width: 599px) 100vw, 599px\" \/><figcaption id=\"caption-attachment-31360\" class=\"wp-caption-text\">Ajanta Caves<\/figcaption><\/figure>\r\n\r\n<h3><span style=\"font-weight: 400\">Karla Caves<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Karla Caves, near Mumbai, showcase Hinayana Buddhist architecture, featuring one of India\u2019s largest chaityas. Built with Satavahana patronage, Cave 8 (Great Chaitya) contains a grand, intricately designed prayer hall dating to 120 CE, reflecting early Buddhist religious practices and advanced rock-cut architectural skill.<\/span><\/p>\r\n\r\n<figure id=\"attachment_31361\" aria-describedby=\"caption-attachment-31361\" style=\"width: 421px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\" wp-image-31361\" src=\"https:\/\/vajiramias.sgp1.cdn.digitaloceanspaces.com\/wp\/upsc-exam\/2026\/10\/27153758\/karla-cave.jpg\" alt=\"Karla Cave\" width=\"431\" height=\"285\" \/><figcaption id=\"caption-attachment-31361\" class=\"wp-caption-text\">Karla Cave<\/figcaption><\/figure>\r\n\r\n<h3><span style=\"font-weight: 400\">Nasik Caves<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Pandavleni (Nasik) Caves are 24 Hinayana Buddhist rock-cut caves carved under the Kshatrapas, Satavahanas, and Abhirs. Featuring viharas, chaityas, and shrines, Cave 3 and 18 are notable for carvings and inscriptions. Some caves, like Cave 1, served as water reservoirs, with donor records including Gautami Balasri.<\/span><\/p>\r\n<h3><span style=\"font-weight: 400\">Ellora Caves<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Ellora Caves in Maharashtra, a UNESCO World Heritage Site, are one of the largest rock-cut complexes, featuring over 100 Hindu, Buddhist, and Jain monuments (600\u20131000 CE). Key caves include\u00a0<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Cave 16 (Kailash Temple, monolithic Shiva temple), Cave 15 (Dashavatara, two-storey Shiva-Vishnu temple), Cave 10 (Vishvakarma Cave or \"Carpenter\u2019s Cave), and Cave 32 (Indra Sabha, Jain, 9th century).\u00a0<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Constructed mainly under the Rashtrakutas, with Jain caves by the Yadavas, the site exemplifies diverse religious rock-cut architecture and intricate carvings.<\/span><\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Bagh Caves<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Bagh Caves in Madhya Pradesh, dating to the 5th\u20136th centuries CE, are rock-cut Buddhist caves renowned for their frescoes, comparable to Ajanta. Comprising nine caves, Cave 3 notably depicts Bodhisattvas. These caves likely served as monastic quarters, reflecting Buddhism\u2019s significant influence in ancient India.<\/span><\/p>\r\n<h3><span style=\"font-weight: 400\">Other Important Rock Cut Caves<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Other Important Rock Cut Caves include the Elephanta Caves and the Bedsa Caves, known for their chaitya halls and remarkable rock-cut architecture.<\/span><\/p>\r\n<ul>\r\n\t<li><b>Elephanta Caves (8th century, Mumbai): <\/b><span style=\"font-weight: 400\">Feature early Brahmanical architecture, including the Ganesh Gumpha with a columned verandah and elephant-flanked steps. Key sculptures include the three-faced Shiva, Ravana shaking Mount Kailasa, Shiva-Parvati marriage, Tandava dance, and Ardhanariswara.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Bedsa Caves (near Pune): <\/b><span style=\"font-weight: 400\">It features a smaller chaitya hall similar to Karla Caves, with four pillars carved with horses, bulls, and elephants, each shown with male and female riders.<\/span><\/li>\r\n<\/ul>\r\n<h2><span style=\"font-weight: 400\">Rock Cut Architecture Temples<\/span><\/h2>\r\n<p><span style=\"font-weight: 400\">Rock-cut temple architecture involves carving massive rocks into temple forms with detailed decorations. The Pancha Rathas at Mamallapuram, crafted by Pallava architects in the late 7th century, and Ellora\u2019s Kailash Temple, carved top-down over a century for Lord Shiva, exemplify this style, which coexisted with free-standing temples until the 12th century.<\/span><\/p>\r\n<h3><span style=\"font-weight: 400\">Rock Cut Temples Under the Pallavas<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Rock cut temple architecture under the <\/span><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/pallavas-of-kanchi\/\" target=\"_blank\"><span style=\"font-weight: 400\"><strong>Pallava Dynasty<\/strong><\/span><\/a><span style=\"font-weight: 400\"> initiated monolithic temple-like structures. Beginning with Mahendravarman, temples reflected rulers\u2019 stylistic preferences and evolved through four stages:<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Mahendra Group:<\/b><span style=\"font-weight: 400\"> Early rock-cut mandapas under Mahendravarman, differing from Nagara-style assembly halls.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Narasimha Group:<\/b><span style=\"font-weight: 400\"> Temples featured intricate sculptures, segmented mandapas, e.g., Dharmaraja ratha (largest) and Draupadi ratha (smallest).<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Rajsimha and Nandivarman Groups:<\/b><span style=\"font-weight: 400\"> The Emergence of structural temples gradually replaced earlier rock-cut designs.<\/span><\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Kailash Temple<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Kailash Temple (Cave 16, Ellora) is a monumental rock-cut temple dedicated to Lord Shiva, carved from a single monolith under Rashtrakuta king Krishna I in the 8th century AD. It features:<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">A spacious courtyard, reliefs of Ravana shaking Mount Kailash, and panels depicting the Ramayana, Mahabharata, and Hindu deities, reflecting Pallava and Chalukya influences.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Recognised as one of the largest rock-cut temple complexes, it is a UNESCO World Heritage Site.<\/span><\/li>\r\n<\/ul>\r\n<h3><span style=\"font-weight: 400\">Badami Cave Temple<\/span><\/h3>\r\n<p><span style=\"font-weight: 400\">Badami Cave Temples are located in Karnataka. It served as the Chalukya capital and included four caves\u2014three Hindu and one Jain\u2014dating to the 6th century AD.<\/span><\/p>\r\n<ul>\r\n\t<li style=\"font-weight: 400\"><b>Cave 1:<\/b><span style=\"font-weight: 400\"> Features Lord Shiva as Nataraja and Harihara (fusion of Vishnu and Shiva).<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Cave 2:<\/b><span style=\"font-weight: 400\"> Dedicated to Vishnu, with the largest Trivikrama relief and avatars Vamana and Varaha.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Cave 3:<\/b><span style=\"font-weight: 400\"> The largest cave with detailed carvings of Trivikrama, Anantasayana, Vasudeva, Varaha, Harihara, and Narasimha.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><b>Cave 4:<\/b><span style=\"font-weight: 400\"> Jain cave showcasing Bahubali, Parshvanatha, Mahavira, and other Tirthankaras.<\/span><\/li>\r\n<\/ul>\r\n<h2><span style=\"font-weight: 400\">Rock Cut Architecture UPSC PYQs<\/span><\/h2>\r\n<p><b>Q1:<\/b><span style=\"font-weight: 400\"> The rock cut architecture represents one of the most important sources of our knowledge of early Indian art and history. Discuss. <\/span><b>(UPSC Mains 2020)<\/b><\/p>\r\n<p><b>Q2:<\/b><span style=\"font-weight: 400\"> With reference to the art and archaeological history of India, which one among the following was made earliest? <\/span><b>(UPSC Prelims 2015)<\/b><\/p>\r\n<ol style=\"list-style-type: lower-alpha\">\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lingaraja Temple at Bhubaneswar<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Rock-cut Elephant at Dhauli<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Rock-cut Monuments at Mahabalipuram<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Varaha Image at Udayagiri<\/span><\/li>\r\n<\/ol>\r\n<p><b>Ans: (b)<\/b><\/p>\r\n<p><b>Q3:<\/b><span style=\"font-weight: 400\"> Some Buddhist rock-cut caves are called Chaityas, while the others are called Viharas. What is the difference between the two? <\/span><b>(UPSC Prelims 2013)<\/b><\/p>\r\n<ol style=\"list-style-type: lower-alpha\">\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Vihara is a place of worship, while Chaitya is the dwelling place of the monks.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Chaitya is a place of worship, while Vihara is the dwelling place of the monks.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Chaitya is the stupa at the far end of the cave, while Vihara is the hall axial to it.<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">There is no material difference between the two.<\/span><\/li>\r\n<\/ol>\r\n<p><b>Ans: (b)<\/b><\/p>\r\n<p><b>Q4:<\/b><span style=\"font-weight: 400\"> With reference to the history of Indian rock-cut architecture, consider the following statements: <\/span><b>(UPSC Prelims 2013)<\/b><\/p>\r\n<ol>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">The caves at Badami are the oldest surviving rock-cut caves in India<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">The Barabar rock-cut caves were originally made for Ajivikas by Emperor Chandragupta Maurya<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">At Ellora, caves were made for different faiths.<\/span><\/li>\r\n<\/ol>\r\n<p><span style=\"font-weight: 400\">Which of the statements given above is\/are correct?<\/span><\/p>\r\n<ol style=\"list-style-type: lower-alpha\">\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">1 only<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">2 and 3 only<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">3 only<\/span><\/li>\r\n\t<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">1, 2 and 3<\/span><\/li>\r\n<\/ol>\r\n<p><b>Ans: (c)<\/b><\/p>","protected":false},"excerpt":{"rendered":"<p>Indian rock-cut architecture is a diverse art form consisting of structures carved from solid rock. Check out Rock Cut Architecture, Evolution, Buddhist, Jain, Caves, Temples.<\/p>\n","protected":false},"author":22,"featured_media":31377,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[38,23],"tags":[40,2155,619],"class_list":["post-31356","post","type-post","status-publish","format-standard","has-post-thumbnail","category-upsc-notes","category-upsc-art-culture-notes","tag-quest","tag-rock-cut-architecture","tag-upsc-art-and-culture-notes"],"acf":[],"_links":{"self":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts\/31356","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/comments?post=31356"}],"version-history":[{"count":4,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts\/31356\/revisions"}],"predecessor-version":[{"id":31390,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts\/31356\/revisions\/31390"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/media\/31377"}],"wp:attachment":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/media?parent=31356"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/categories?post=31356"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/tags?post=31356"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}