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Synopsis This book seeks to lift into focus the monolithic legacy of the Rashtrakutas at Ellora, from out of the totality of cave-art there, for the reason that these monoliths perhaps are best suited to understand and reconstruct the artistic, architectural, traditional, religious and cuit interactions and growth-spectra that had taken place in the period from the 8th to the 10th century A.D., very much more eloquently than the study of the cave temple types. Without the stabilizing role of these monoliths. In the overview of the status of temple art, in that period which the Rashtrakutas adorned by their vigorous patronage, eclecticism and multi-pronged political thrusts all over India in their heyday, the cave-art syndrome would circumstances, as something repetitive, patternised and commandeered-which surely it was not. The book deals with the five monoliths at Ellora, in their own historical architectural, iconographic-religious perspectives, and elucidates how they were greatly diversified and pregnant with rich potential for the reconstruction of the art situation; and it compares them also with their compeer monoliths elsewhere in South India, in the same ilk, as in the Pallava and Pandya zones of the past. The chief aim of the book is to give a satisfactory formal picture of these with the credit of being land-marks in the arche-tyupes they sought to represent. Profusely illustrated and with a helpful set of charts and glossary, it is designed to cover a felt need in art studies at Ellora.