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About Aurangabad
 From ancient times Aurangabad has been a place of great importance due to it’s location on the famous "Silk Route" that traversed across the breadth of Asia to reach Europe. Textiles, embroidered finery and various kinds of beads made in nearby Paithan were exported to the markets of Greece, Rome and Egypt.
Under royal dynasties such as the Satavahanas, Vakatakas, Chalukyas and Rashtrakutas, Aurangabad developed as a centre of culture and learning. It gave birth to or provided inspiration for great poet – saints and philosophers like Dyaneshwar, Eknath and Ramdas, Wali and Siraj.
Aurangabad’s strategic position in the Deccan earned it the name of "Khidki" meaning window, serving as it did, as an opening through which North India could look into the Deccan.
Mohammed-bin-Tughlaq the ‘Mad King’ was so impressed by the topography of the Deogiri mountain that he forsook Delhi and moved his capital down renaming it Daulatabad. Thus Aurangabad enjoys the rare distinction of being the only city apart from Delhi to have served as the capital of India. Finally, Aurangabad became the seat of the last of the great Moghuls Aurangzeb as he fought to block the resurgent Maratha power.
State: Maharashtra
City: Aurangabad
Airports: Aurangabad Airport
Distance from City Centre: 10 Km/ 6 Mile
Railway Junctions: Aurangabad
Local Languages: Marathi
| Transport: | REACHING AURANGABAD:Accessible by air, rail and road, Aurangabad is a convenient base for visiting Ajanta, Ellora and nearby places. By air it is directly linked to Delhi & Mumbai. By rail directly linked to Mumbai and Pune. Jalgaon, a railhead on Central Railways, is 59 Kms from Ajanta. By road, via Nasik-Manmad, Mumbai-Aurangabad distance is 388 Kms., while via Pune it it 400 Kms. The Delhi-Aurangabad distance by road via historical cities such as Mathura, Agra, Gwalior, and Indore the Ajanta Caves are 1323 Kms. By rail you can reach Jalgaon or Purna in Nanded district and from there reach Aurangabad by road.
TRANSPORT: State transport buses run from Mumbai, Pune, Ahmednagar, Jalgaon, Shirdi, Nasik, Dhule, Ahmedabad, Hyderabad, Indore and Bijapur to Aurangabad and from Jalgaon to Ajanta. Maharashtra Tourism Development Corporation operates conducted tours from Mumbai to Aurangabad. For local Transportation taxis, autorickshaws, tongas and buses can be hired.
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Other Attractions In & Around
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Ajanta Caves
Nestled in an inner fold of the Sahyadri hills, 100 kms away from Aurangabad are the 30 rock-cut caves of Ajanta, famous for its cave painting or frescoes of many colors. They contain numerous images of Buddha. Caves 1,2,16 and 17 have the best-preserved paintings. The magnificient depictions of the bodhisattvas Avalokitesvara and Padmapaniin are particularly well known.
The Ajanta Caves are a World Heritage site cut from the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills. They are set in beautiful sylvan surroundings, providing a unique combination of architecture, sculpture and paintings.. Conclusion : The Ajanta caves and the treasures they house are a landmark in the overall development of Buddhism as such. It provides a unique opportunity to study the early phases of Buddhist sculpture, painting and architecture, which later influenced artistic traditions in central Asia and Far East. Discovery : It was only in the 19th century, that the Ajanta group of caves, lying deep within the Sahyadri hills, cut into the curved mountain side, above the Waghora river, were discovered. A group of British officers on a tiger hunt, stumbled on these ancient works of art. They depict the story of Buddhism, spanning the period from 200 BC to 650 AD.
The 29 caves were built as secluded retreats of the Buddhist monks, who taught and performed rituals in the Chaityas and Viharas, the ancient seats of learning, and nerve - centres of the Buddhist cultural movement. Using simple tools like hammer and chisel, the monks carved out impressive figures adorning the walls of these structures. Exquisite wall paintings and sculptures speak volumes of the India of yore. Many of the caves house panels depicting stories from the Jatakas, a rich mine of tales of the several incarnations of the Buddha. Images of nymphs and princesses amongst others are also elaborately portrayed.
Cave 1 houses some of the best - preserved wall paintings, which include two great Boddhisattvas, Padmapani and Avalokiteshvara. Caves 2, 16 and 17 also contain amazing paintings, while Caves 1, 4, 17, 19, 24 and 26 boast of some of the most divine sculptures. The flying Apsara, of Cave 17, and the image of Buddha preaching in Cave 17, are a couple of unforgettable works of art.
They were hidden in the midst of a lonely glen with a streamlet flowing down below and were scooped out into the heart of the rock where the pious Buddhist monk could dwell and pray.
These are the caves the followers of Lord Buddha, embellished with architectural details with a skilful command of the hammer over the chisel, with sculpture of highest craftsmanship. The entire course of the evolution of Buddhist architecture can be traced in Ajanta. During this time, images of Buddha interpreting his different life stories and several types of human and animal figures were carved out of rock.
All sections of people of the contemporary society from kings to slaves, women, men and children are seen in the Ajanta murals interwoven with flowers, plants, fruits, birds and beasts. There are also the figures of Yakshas, Kinneras (half human and half bird) Gandharvas (divine musicians), Apsaras (heavenly dancers) which were of concern to the people of that time. Chaityas and Viharas : The Ajanta caves are dedicated solely to Buddhism. The caves including unfinished are thirty in number; of which five (9, 10, 19, 26 and 29) are chaitya-grihas and the rest are sangharamas or viharas (monasteries). The 30 Chaityas and Viharas have paintings illustrating the life and incarnations of Buddha. The artist has lent his creativity in each work with an overwhelming sense of vitality. These paintings have survived time and till date the numerous paintings glowing on the walls make the atmosphere vibrant and alive. The contours of these figures leave the visitor spell bound. Caves : In Cave 1, Prince Buddha is depicted delicately holding the fragile blue lotus, his head bent sideways. His half-closed eyes give an air of meditation, almost of shyness.
One gets to see the court scene in cave 1, which is believed to be of conversion of Nanda, a fellow prince like Buddha who had decided to join Buddha's monastic order. The true mastery of the artist seen in the female figures in the paintings of Ajanta. Magnificent array of colours, hairstyles, poses and costumes are seen in the paintings. Women lean against the wooden pillar of a mandap, or hall, and look on at a group of female musicians accompanying a dancer.
Cave number 2, one of the better-preserved monasteries with a shrine, shows how sculpture, paintings and architectural elements were used together to enhance the atmosphere of piety and sanctity.
The ceiling and wall paintings illustrate events associated with Buddha's birth. The scenes include Maya, Buddha's mother standing in the garden at Lumbini, a scene where Mahajanaka Jataka, the queen and her attendants can be seen. Buddhist icons were sculpted according to a set of codified rules that used symbolic hand gestures and motifs like the wheel, the deer, the throne and sacred Bodhi tree, each representing a stage of Buddha's life. The figure of the seated Buddha in the pose depicting the teaching of the principles of the Middle Path is in the inner shrine of cave number 2. One gets to see varying hand gestures to depict the scene of Miracle of the Buddhas.
A sculptured frieze of the miracle of Sravasti, when Buddha multiplied himself a thousand times can be seen in cave 7.
There are several chaitya grihas or prayer halls at Ajanta. The plan consists of a central nave with pillars, behind which is a circulatory passage.
In cave 17 one can find the paintings depicting stories from the Jatakas or tales of the previous incarnations of Buddha and also Buddha with his right hand raised, with the palm facing the viewer, which is a symbol of abhaya - reassurance and protection.
Buddha is shown seated in padmasana - the lotus pose of meditation. He is often shown with his hair tied in a topknot surrounded by a halo of light, representing nirvana or enlightenment.
At one end of the verandah is a scene identified by scholars as the scene from the Vishvantara Jataka, of a prince who gave away his belongings in alms. Interesting information of contemporary wooden architecture, costumes and a glimpse of courtly life are seen here.
The best surviving examples of a rock cut chaitya griha is at cave 19. The elegant porch is topped by the distinctive 'horseshoe' shaped window - flanked by yakshas or guardians, standing Buddha figures and elaborate decorative motifs. The interior of the cave is profusely carved with pillars, a monolithic carved symbolic stupa and images of Buddha, which heralded the introduction of Mahayana phase.
In cave 26, Buddha is seen seated under a Bodhi tree at Bodhgaya, meditating, when Mara and her voluptuous daughters attempted to tempt him. Buddha touched the earth with his left hand to witness his enlightenment. The Parinivana (ultimate enlightenment or liberation) came when Buddha left the world- as depicted in the 7m image of the reclining Buddha. TOP
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Aurangabad Caves
Just outside the city, are located the 6th century caves displaying the influence of Tantric cult in the iconography and architectural designs of the caves. A major chunk of the caves are viharas, of which Caves 3 and 7 are most fascinating.
These were excavated between the 2nd and 6th century AD. Tantric influences can be discerned in their architecture and iconography. There are twelve caves in all, a major chunk of which are viharas, of which Caves 3 and 7, are the most fascinating. Cave 3 stands supported by 12 finely carved columns, and sports sculptures portraying scenes from the Jataka tales. Cave 7 houses an imposing sculpture of a Boddhisattva, praying for deliverance.
Some of the chaitya halls here are constructed on a mandala plan for the circumambulation of the Buddha who is depicted here seated on an intricately carved throne.
A short walk from Bibi-Ka-Maqbara is a set of caves slighted by their more glamorous neighbours, Ajanta and Ellora. The western group consists mainly of viharas (monasteries) and depictions from the Jataka tales. At the eastern group, there are sculptures of scantily clad buxom women in freaky hairdos, child-eating goddesses, musicians and dancers alongside images of the Buddha. This is indicative of the rise of Tantric Buddhism during the 6th and 7th century A. D.
Nestled amidst the hills are 12 Buddhist caves probably dating back to the 1 A.D. One is also treated to a panoramic view of the city as well as the imposing Maqbara from this point.
These caves are carved out of the hillside and are a fine piece of architecture, housing the most stunningly intricate carvings.. Eastern Group : In Cave 6 one gets to see the sculptures of women, which are notable for their exotic hairstyles and ornamentation. It is interesting to note that these sculptures are still intact after so many decades. There is a large Buddha figure and an idol of Ganesh located in this cave. Cave 7 is the most interesting of the Aurangabad caves, particularly for its sculptures - the figures of women scantily clad and ornately bejewelled are indicative of the rise of Tantric Buddhism. To the left of Cave 7 is a huge Bodhisattva praying for deliverance from the 8 dangers, fire, the sword of the enemy, chains, shipwreck, lions, snakes, mad elephant and demon (representing death). Reaching : Tourists can get down at Aurangabad and take a taxi or auto-rickshaw to reach these caves. Western Group : All the caves are viharas, except for cave 4, the oldest cave, a Hinayana Chaitya with a ridged roof like the Karla Cave near Lonavala. In front of it is a partially collapsed stupa. 12 finely carved columns support cave 3, and sports sculptures portraying scenes from the Jataka tales. TOP
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Bibi Ka Maqbara
Situated about 5 kms from the city is Bibi Ka Maqbara, the burial place of Aurangzeb's 1st wife, Rabia-ud-Durrani. It is an imitation of the Taj at Agra, termed as the poor man's Taj Mahal. Located behind the mausoleum is a small archeological museum.
This mausoleum is also termed as 'poor man's Taj Mahal' owing to it being a poor replica of the Taj. Behind the mausoleum is located a small archeological museum.
Emperor Aurangzeb son built this monument in 1679 AD in memory of his mother Rabia (Aurangzeb wife).. Location : 5 kms from the Aurangabad. The construction : The Bibi-Ka-Maqbara is made mostly of sandstone and has plastered walls (a cost cutting measure), and a marble dome. The expert - Ustad Ata-ullah came from Persia. Bibi Ka Maqbara is known as the South Indian Taj. However, if the delicacy of work is compared, it falls far short of the glory of the Taj at Agra.
Below the tomb, lattice works are in marble. However, the lattice work and inlay decorations of flowers and creepers are beautiful. The Masjid is to the west. A high wall with bastions runs around edifice and the recesses have little minarets. The entrance leads to an arch and from this point, a fine view of the structure ahead may be obtained. The pavement that leads to mausoleum is flanked by oblong reservoirs. Added attraction : There is a new newest attraction - every October, MTDC celebrates the Bibi Ka Maqbara annual festival. General view : The interior decoration has nothing comparable with the great architectural wonder at Agra. Yet a comparison apart, Bibi-ka-Maqbara has its own splendour and grace.
It is considered as a fine piece of Moghul architecture in the Deccan region. TOP
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Daulatabad
Rising dramatically over 600 ft above the Deccan plain, standing on a pyramid - shaped hill, is this impressive fortress, once known as 'Devgiri' meaning "Hills of Gods". This fort served as the head quarters of the powerful Yadava rulers. It is supposed to have been originally a Buddhist monastery. Over its remains, the first fort was built in the 9th century and later between the 11th to 14th centuries, the present fort was constructed.
The Delhi sultan of the Khilji dynasty captured this fort in 1296. The Sultan of Delhi, Muhammad Bin Tuglaq, renamed this place Daulatabad, "City Of Fortune" and even shifted his capital.. Significance : It is famous for series of trick defences and secret escape routes
It is one of the few impregnable forts in Maharashtra with fine architecture. The massive fort : The citadel, excavated in the body of an isolated hill had steep sides at the base of the fortress, dropping further deep into a moat running all around making it difficult for the enemies to scale the heights, inside the fort, bastions are built at strategic positions mounted over with cannons. It signifies a unique Deccan Military Engineering skill and architecture. Great walls with battlements guard the approach to the fort. The outer wall is nearly 6 kms. with several inner walls, having heavy iron gates fitted with big spikes preventing the use of Elephants in ramping the gates open.
The fort itself lies in the body of an isolated hill; the steep hillsides at the base falling so sharply to the moat that no hostile troops could scale the height. The moat, 40 ft. deep with mechanical drawbridges teemed with crocodiles.
The sultan of Delhi Mohammed Bin Tughlaq was so impressed by this fort that he decided to shift his capital from Delhi to Daulatabad.
One of the world's best-preserved forts of medieval times, surviving virtually unaltered, Daulatabad still displays many of the internal contrivances that made it invincible. A series of secret, quizzical subterranean passages lie amidst the fort. Its defence systems comprised fortifications of double and even triple rows of massive walls. Its truly a fortress conquered by treachery! History and the shifting of the capital : Initially a Yadav stronghold, the fort passed through the hands of several dynasties in the Deccan. Ancient Devagiri or Daulatabad was a flourishing city founded by Bhillamraja of the Yadava dynasty in 1187 A.D. Less than 150 years later, the citadel enjoyed a brief glory of becoming the capital of India under Sultan Muhammad-bin-Tuglaq who changed its name from Devagiri to Daulatabad. Soon the ancient city lost its importance. How to get there : Daulatabad features on the MTDC guided tour of Ellora from Aurangabad. The hourly shuttle buses between Aurangabad can also reach the place and the Ellora caves. Location : 13 kms. from Aurangabad. Attractions around : The Chand Minar, Jami Masjid and royal palaces are the most notable structures at Daulatabad. The palaces consist of spacious halls, pavilions and courtyards.
The Persian blue and turquoise tiles that once plastered it in complex geometric patterns have disappeared.
The 30 metre high Chand Minar, built by the Bahmani rulers is another famous landmark of the area.
The Jami Masjid was a mosque built by the Khilji ruler of Delhi, Qutubuddin Mubarak in 1318, to chastise Devgiri or Deogiri's Hindu occupants for their refusal to pay annual tribute.
The well-preserved mosque comprises 106 pillars plundered from the Hindu and Jain temples, which previously stood on the site. Recently, the Masjid was converted into a Bharatmata temple - much to the chagrin of local Muslims. TOP
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Ghrishneshwar Temple
Grishneshwar temple, built by Rani Ahillyabai Holkar is an important Hindu pilgrim place located in the village of Verul, near Ellora caves. It is one of the twelve Jyotirlingas of India, where Lord Shiva is worshipped.
Half a kilometre from Ellora lies this beautiful temple, built by Rani Ahillyabai Holkar, a Maratha princess. It is the most superb example of medieval temple architecture.
This Jyotirlinga is said to be self - oriented. It is the last Jyotirlinga without which the journey to the Jyotirlingas is considered incomplete.
The temple walls are richly sculptured. Queen Ahilyabai Holkar, who ruled Indore from 1765 to 1795, built both the temple and its masonry tank.. Location : 30 kms away from Aurangabad. A tradition : It is a must for the men to take off their upper garments before entering the temple. Gigantic Construction : This Shiva temple is rich, with beautiful carvings and is a fine example of medieval architecture. The temple is made of spotted red sandstone. Decorative friezes and sculpture depict a pantheon of Indian Gods including Brahma, Vishnu, Ganesh, the marriage of Shiva and Parvati, celestial beings, and even Maratha heroes.
The beautiful and huge temple measuring 240 x 185 ft. is still as fresh as it was when built. 24 beautifully carved stone columns take the load of the main hall of the temple.
Worshippers of Lord Shiva flock to the temple. This particular aspect of God luminous energy is manifested in only 12 temples. Ghrishneshwar was built in the 18th century of spotted red sandstone. Decorative friezes and sculpture depict a pantheon of Indian gods including Bhrama, Vishnu, Ganesh, the marriage of Shiva and Parvati, celestial beings, and even Maratha heroes. Legend : The emergence of linga is explained in the Shivapurana. On a mountain named Devagiri, lived a Brahmin - Brahmavetta Sudharm along with his wife Sudeha, teaching Vedas. The couple did not have children because of which Sudeha was sad and would often pray for a child. After trying all the possible remedies she got her sister Ghushma married to her husband by force. She would serve Sudharm along with Ghushma her sister. On advice by her sister Ghushma used to make 101 lingas and worship them. In the lake, near by, the Lingas were discharged.
With Lord Shiva blessings she was blessed with a beautiful fortunate baby boy. Because of this, Ghushma became proud and Sudeha started feeling jealous towards her sister. Out of jealously, one night she killed Ghushma son and threw him in the lake where Ghushma used to discharge the lingas.
The next day Ghushma daughter-in-law saw stains of blood of her husband on the bed. She also noticed parts of the body drenched in blood and was horrified and came to her mother-in-law, crying and told her everything. Ghushma was absorbed in worshipping Shiva and did not deter. Even her husband Sudharma did not move an inch. When Ghushma saw the bed drenched in blood she did not break down, instead said, “he who has given me this child shall protect him, and started chanting the name of Lord reciting Shiva continuously. When she went to discharge the Shivalingas after prayers she saw her son coming. Seeing her son she was neither happy nor sad. Pleased with her devotion, Lord Shiva appeared before her and said I am pleased with your devotion. Your sister had killed your son.
Ghushma prostrated before Shiva and asked Him to forgive Sudeha and emancipate her. Lord Shiva asked her another boon. Ghushma said that if he was really happy with her devotion then he should reside there eternally for the benefit of the multitudes in form of a Jyotirlinga and may He be known by her name. On her sincere request He manifested in the form of a Jyotirlinga and assumed the name Ghushmeshwar.
There are various versions of the name itself, such as Kusumeswara Jyotirlinga, Grushmeswara Jyotirlinga and Grishneswara Jyotirlinga. TOP
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Jayak Wadi Dam
This is an interesting site where one can see a number of resident and migratory birds. About 4 kms. North of Paithan town, an earthen dam on the river Godavari has been constructed and a large reservoir formed. The lake formed is called `Nath Sagar', which is the main source for water in this region.
One can enjoy the sight of a number of local and migratory birds. Best season for which is between October and March.
Over the years the place has been a heaven for nature lovers. The area around Jaikwadi and Paithan is being fast developed.. Location : About 4 kms. North of Paithan town. TOP
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Khuldabad
Khuldabad, or heavenly abode, is a holy shrine for the Muslims housing the tomb of the last Moghul emperor Aurangzeb. It is just a few kms away from Daulatabad.
Khuldabad is a just a few kms away from Daulatabad, a walled city that is the Karbala town or holy shrine of the Deccan Muslims. Before his demise, the emperor himself had the crenellated wall built around the town, which was at that time, an important centre.
22 kms along the Aurangabad-Ellora route, one reaches Khuldabad - the heavenly place where Aurangzeb's tomb is located. 630 m high Khuldabad is also renowned as Rouja. In the premises of the Alamgir Darga, there is a simple tomb. Later, the Nizam of Hyderabad built the latticework, which surrounds the tomb.. Location : 22 kms along the Aurangabad-Ellora route. TOP
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Paithan
Situated 56 kms south of Aurangabad, is the ancient capital city of the Satvahanas, Paithan famous for its traditional Paithani silk saris. The Jayakwadi dam here is a haven for avid nature lovers. The huge Gyaneshwar Udyan, Maharashtra's largest garden is another attraction of this area.
Paithani silk saris are renowned with exquisite zari borders. A visit to the weavers workshop is fascinating and one can order a customised saree as well.
Today, it is also an important excavation site. Centuries ago, the famous Marathi poet - saint, Eknath lived here.
Legend links Paithan with Shalivahana who made it the capital of the Satavahana kingdom in AD 78. The most picturesque aspect of Paithan are the bathing Ghats - the oldest structures in the city. Since early times Paithan has been a religious centre of considerable importance, being the birth place of a number of Hindu Saints, like Bhanudas, Mukteshwar and Eknath, known for their piety and learning. Many shrines within the town and along the riverbank are connected with the lives of these holy men.. Location : 56 kms south of Aurangabad Places around : A variety of resident and migratory birds can be sighted here. The best season for bird - watching is between October and March.
The most interesting attraction of this area is the huge Gyaneshwar Udyan, built on the lines of the famous Vrindavan Gardens in Mysore, Pinjore in Haryana and the Shalimar in Kashmir. Paithan was famous as a seat of learning.
A trip to the garden at the Jayakwadi dam with its dancing fountains and special observation points for bird watching is also an option.
The modern village of Paithan was built on top of a large settlement of mound that extends back to early history. It was previously known, as Pratisthan and was the ancient capital city of the Satvahanas from 2nd Century BC. Located deep in the Daroq Mountains, Paithan caves are not often visited by nightmare adventurers because of its tradition of death. TOP
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Pan Chakki
Panchakki (water wheel) takes its name from the mill, which used to grind grain for the pilgrims. It was designed to generate energy via water, brought down from a spring on a mountain. Malik Ambar himself built it, in 1695. It also has the tomb of Baba Shah Muzaffar, a Sufi Saint.
Dating back to the 17th century, this ingenious watermill was designed to generate energy via water, brought down from a spring on a mountain, located nearby. The energy generated was, further, used to turn the large grinding stones of the flourmill. In 1624, a Sufi saint who was much revered by Aurangzeb was buried here; the gardens and fish tanks serve as his memorial.. Its function : This water mill used to grind grain for the pilgrims and disciples of saints as well as for troops of the garrison. A mountain spring about eight kilometres away is the water source for running the mill; a maze of underground earthen pipes cleverly channeled the water to feed elevated masonary tanks; when full, these would siphon out in the form of a perennial waterfall moving the blades of the grinding wheel.
Underneath the reservoir of Panchakki there are spacious, cool chambers, which are used during summer by pilgrims. The water distribution system is a marble of hydrology and was the engineering feat of Malik Ambar, architect of Aurangabad city. TOP
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Pithalkora
Pithalkora caves are about 78 kms. from Aurangabad. The intricate work on the sculptured facades in these caves is definitely worth a visit.
Nestling within the Satmala range of the Sahyadris, is a group of 13 cave sanctuaries, both chaityas and viharas on a remote land cluster that date back to the 2nd century BC.
The elaborate and beautiful sculptured facade of the great vihara is an impressive sight. There are 13 cave sanctuaries embedded in this region. Rich carvings with elaborate details can be seen in these monuments.
They form the largest group of Hinayana Monuments in the Northern Deccan. The cave temples, which are cut into the site of a secluded ravine, are mostly monasteries with cells opening of a central hall or verandah; many cave fronts have collapsed. Cave 3 and Cave 4 are of particular interest.
The story of Pitalkhora is shrouded, but the site has yielded many unusual sculptures, including wonderful yaksa figures.. Viharas : One arrives at several large vihara remains on entering Pitalkhora through the gate. One can notice the walls of the viharas made too thin, and mostly broken away.
The elaborate carving above doors, in cells, and around common rooms may be a mark of the wealth of the community. To the right are smaller viharas, mostly in ruinous condition; to the left are the larger, carved viharas. Stupas : Across the gorge one can see the three little caves, with stupas inside. One is a small chaitya hall. The stupas in these caves are very interesting and are about twice human height. They are not apparently monolithic with the cave, but moved into the niches provided for them. Chaityas : The main gate to the site from the gorge consists of a wide terrace, with the Naga and guardians flanking the door, and a row of elephants supporting the complex. A stair leads directly to the chaitya. Location : About 78 kms. from Aurangabad Remains : The sculptural remains at Pitalkhora include animal motifs, miniature chaitya windows, the elephants and guardians. The chaitya of Pitalkhora is also crumbling. The pillars are replaced with cement to prevent collapse. The surviving pillars have remains of 5th century paintings. TOP
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