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165:("Universal form", "Omni-form") imagery. The surrounding Shivas "emerge effortlessly" from the standing central figure, and the group should be thought of as a single figure showing typical Hindu multiplicity of form in an unusual fashion, and "the god in cosmic form, expanding through multiple figures that extend upwards and outwards".
184:, Shiva and Vishnu, but here all as Shiva, as they are "ultimately only different aspects of the same primordial energy-being". Zimmer wrote that "The giant granite slab seems to be expanding, both vertically and sideways, with the life-force of the athletic organisms that throb and heave across its surface".
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or dwarf musicians (or three musicians and two guardians) in the lower area of the piece. The slab is about 3.06 metres high (10.0 ft), or about 3.5 metres (11 ft), with the Shiva figures about three-quarter life-size. It appears to be unfinished, for example in the ganas at lower right.
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120:. Despite sharing "both the style and the type of metaphysical concept of the great image at Elephanta", they appear to be by different workshops. There are also similarities to two reliefs from the
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Apart from being an imposing sculpture of great quality, and in generally good condition, the relief is of special interest because it comes from a similar period to the iconic reliefs at the
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image at
Elephanta, and one has twenty-three secondary images, rather than the six here. The less crowded composition in the Parel relief is perhaps more successful. A relief of Shiva and
65:, when a road was being constructed in 1931. It was moved to the nearby Baradevi Temple, where it remains in worship, in its own room. There is a plaster cast on display in the
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in another Mumbai suburb is also comparable. It has been suggested the Parel image was carved at
Shamlaji (or by that workshop).
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80:("seven images") composition. All are two-armed except for the top figure which has ten arms. The images exhibit different
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More precise estimates of the date (all are based on the style) are "around 600", or around 525–530.
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or hand gestures and some carry attributes, not all now identifiable. There are also five
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The relief was made a "nationally protected monument" (No. 2/3/75-M or N-MH-M5) by the
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The
Iconography and Ritual of Siva at Elephanta: On Life, Illumination, and Being
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in 1985. Visitors report that the room is only open during the nine days of the
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festival, but it appears it can be seen through metal screens at other times.
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The
Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu
571:
The Indian Way: An
Introduction to the Philosophies & Religions of India
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ASI; also many other sources. Although Mumbai was never part of the actual
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Though it does not now appear very white; Koller, 234; Chakravarti, 162
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The relief appears to be a version, with Shiva rather than the usual
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541:, 2nd edn. 1994, Yale University Press Pelican History of Art,
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The Śāmalājī Sculptures and 6th
Century Art in Western India
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172:(1890–1943) saw the group as a "transcendent Shiva
321:, art from the area is usually treated as part of
69:(formerly the Prince of Wales Museum) in Mumbai.
274:Chhatrapati Shivaji Maharaj Vastu Sangrahalaya
67:Chhatrapati Shivaji Maharaj Vastu Sangrahalaya
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503:The Concept of Rudra-Śiva Through the Ages
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553:The Imagery of the Cosmological Buddha
459:Koller, 234; see also Chakravarti, 162
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42:in seven forms that is dated by the
22:The Parel Relief, 5th or 6th century
505:, 1986, Motilal Banarsidass Publ.,
299:Open for viewing, 29 September 2019
360:ASI; Koller, 234; Chakravarti, 162
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423:Collins, 119–120; Schastok, 50–52
50:, in the 5th or 6th century AD.
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128:(very near the Buddhist site of
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492:Archaeological Survey of India
194:Archaeological Survey of India
44:Archaeological Survey of India
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72:The relief, carved in "white
61:, and now a neighbourhood of
212:Another view of the original
34:is an important monolithic
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519:Collins, Charles Dillard,
432:Collins, 120; Schastok, 50
587:Michell, George (1990),
378:Howard, 63; Michell, 355
591:, 1990, Penguin Books,
555:, 1986, Brill Archive,
59:Seven Islands of Bombay
551:Howard, Angela Falco,
501:Chakravarti, Mahadev,
168:The German Indologist
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468:Quoted by Koller, 234
287:The image house, 2019
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523:, 1988, SUNY Press,
630:Sculptures in India
601:Schastok, Sara L.,
573:, 2016, Routledge,
236:From the other side
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46:(ASI) to the late
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613:, 9789004069411,
581:, 9781315507408,
563:, 9789004076129,
531:, 9780887067730,
513:, 9788120800533,
496:board at the site
333:ASI; Michell, 355
38:of the Hindu god
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96:Detail with
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48:Gupta period
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28:Parel Relief
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396:Howard, 63.
161:, of Hindu
32:Parel Shiva
624:Categories
611:9004069410
597:0140081445
579:1315507404
561:9004076123
547:0300062176
529:0887067735
511:8120800532
485:References
441:Howard, 63
414:Harle, 124
224:Upper part
163:Vishvarupa
130:Devni Mori
78:saptamurti
640:Gupta art
323:Gupta art
248:Garlanded
198:Navaratri
124:Caves in
178:trimurti
144:Harihara
135:trimurti
122:Shamlaji
100:musician
490:"ASI",
159:Krishna
126:Gujarat
108:Context
74:granite
609:
595:
577:
559:
545:
527:
509:
498:, 2012
188:Status
182:Brahma
155:Vishnu
140:Vishnu
82:mudras
63:Mumbai
36:relief
305:Notes
174:linga
55:Parel
40:Shiva
607:ISBN
593:ISBN
575:ISBN
557:ISBN
543:ISBN
525:ISBN
507:ISBN
98:Gana
86:gana
26:The
477:ASI
369:ASI
342:ASI
180:of
157:or
30:or
626::
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