This bathing ghat in the heart of Nasik’s old quarter sees hundreds of Hindu pilgrims arriving daily to bathe, pray and – because the waters provide moksha (liberation of the soul) – to immerse the ashes of departed friends and family. There's an adjacent market that adds to the alluring and fascinating scene.

The city’s holiest shrine dates back to 1794 and contains unusual black-stone representations of Rama, Sita and Lakshmana. Legend has it that it occupies the site where Lakshmana sliced off Surpanakha’s nose.

Sita is said to have hidden in this cave-like temple while being assailed by the evil Ravana. You’ll have to stoop and shuffle your way into the cave as the entrance is very narrow – claustrophobics should keep on walking.

Built by Aurangzeb’s son Azam Khan in 1679 as a mausoleum for his mother Rabia-ud-Daurani, Bibi-qa-Maqbara is widely known as the poor man’s Taj. With its four minarets flanking a central onion-domed mausoleum, the white structure certainly does bear a striking resemblance to Agra’s Taj Mahal.

Architecturally speaking, the Aurangabad Caves aren’t a patch on Ellora or Ajanta, but they do shed light on early Buddhist architecture and make for a quiet and peaceful outing. Carved out of the hillside in the 6th or 7th century AD, the 10 caves, comprising two groups 1km apart (retain your ticket for entry into both sets), are all Buddhist.

This simple museum is dedicated to the life of the Maratha hero Shivaji. Its collection includes a 500-year-old chain-mail suit and a copy of the Quran, handwritten by Aurangzeb.

One of India’s greatest monuments, this astonishing temple, carved from solid rock, was built by King Krishna I in AD 760 to represent Mt Kailasa (Kailash), Shiva’s Himalayan abode. To say that the assignment was daring would be an understatement. Three huge trenches were bored into the sheer cliff face, a process that entailed removing 200,000 tonnes of rock by hammer and chisel, before the temple could begin to take shape and its remarkable sculptural decoration could be added.

Covering twice the area of the Parthenon in Athens and being half as high again, Kailasa is an engineering marvel that was executed straight from the head with zero margin for error. Modern draughtsmen might have a lesson or two to learn here.

The temple houses several intricately carved panels, depicting scenes from the Ramayana, the Mahabharata and the adventures of Krishna. Also worth admiring are the immense monolithic pillars that stand in the courtyard, flanking the entrance on both sides, and the southeastern gallery that has 10 giant and fabulous panels depicting the different avatars (incarnations of a deity) of Lord Vishnu.

After you’re done with the main enclosure, bypass the hordes of snack-munching day trippers to explore the temple’s many dank, bat urine–soaked corners with their numerous forgotten carvings. Afterwards, hike up an overgrown foot trail (or bypass the scaffolding to walk up sturdier rock) to the south of the complex that takes you to the top perimeter of the ‘cave’, from where you can get a bird’s-eye view of the entire temple complex.

Calm and contemplation infuse the 12 Buddhist caves, which stretch to the south of Kailasa. All are Buddhist viharas (monasteries) used for study and worship, but these multistoreyed structures also included cooking, living and sleeping areas. The one exception is Cave 10, which is a chaitya (assembly hall). While the earliest caves are simple, Caves 11 and 12 are more ambitious; both comprise three storeys and are on par with the more impressive Hindu temples.

Cave 1 ( GOOGLE MAP ), the simplest vihara, may have been a granary. Cave 2 ( GOOGLE MAP ) is notable for its ornate pillars and the imposing seated Buddha that faces the setting sun. Cave 3 ( GOOGLE MAP ) and Cave 4 ( GOOGLE MAP ) are unfinished and not well preserved.

Cave 5 ( GOOGLE MAP ) is the largest vihara in this group at 18m wide and 36m long; the rows of stone benches hint that it may once have been an assembly hall.

Cave 6 ( GOOGLE MAP ) is an ornate vihara with wonderful images of Tara, consort of the Bodhisattva Avalokitesvara, and of the Buddhist goddess of learning, Mahamayuri, looking remarkably similar to Saraswati, her Hindu equivalent. Cave 7 ( GOOGLE MAP ) is an unadorned hall. Cave 8 ( GOOGLE MAP ) is the first cave in which the sanctum is detached from the rear wall. Cave 9 ( GOOGLE MAP ), located above Cave 8, is notable for its wonderfully carved fascia.

Cave 10 ( GOOGLE MAP ) is the only chaitya in the Buddhist group and one of the finest in India. Its ceiling features ribs carved into the stonework; the grooves were once fitted with wooden panels. The balcony and upper gallery offer a closer view of the ceiling and a frieze depicting amorous couples. A decorative window gently illuminates an enormous figure of the teaching Buddha.

Cave 11 ( GOOGLE MAP ), the Do Thal (Two Storey) Cave, is entered through its third basement level, not discovered until 1876. Like Cave 12, it possibly owes its size to competition with Hindu caves of the same period.

Cave 12 ( GOOGLE MAP ), the huge Tin Thal (Three Storey) Cave, is entered through a courtyard. The locked shrine on the top floor contains a large Buddha figure flanked by his seven previous incarnations. The walls are carved with relief pictures.

Drama and excitement characterise the Hindu group (Caves 13 to 29). In terms of scale, creative vision and skill of execution, these caves are in a league of their own.

All these temples were cut from the top down, so it was never necessary to use scaffolding – the builders began with the roof and moved down to the floor. Highlights include caves 14, 15, 16, 21 and 29.

Cave 13 ( GOOGLE MAP ) is a simple cave, most likely a granary. Cave 14 ( GOOGLE MAP ), the Ravana-ki-Khai, is a Buddhist vihara converted to a temple dedicated to Shiva sometime in the 7th century.

Cave 15 ( GOOGLE MAP ), the Das Avatara (Ten Incarnations of Vishnu) Cave, is one of the finest at Ellora. The two-storey temple contains a mesmerising Shiva Nataraja and a Shiva emerging from a lingam (phallic image) while Vishnu and Brahma pay homage.

Caves 17 to 20 ( GOOGLE MAP ) and Caves 22 to 28 ( GOOGLE MAP ) are simple monasteries.

Cave 21 ( GOOGLE MAP ), known as the Ramesvara Cave, features interesting interpretations of familiar Shaivite scenes depicted in the earlier temples. The figure of the goddess Ganga standing on her Makara (mythical sea creature) is particularly notable.

The large Cave 29 ( GOOGLE MAP ), the Dumar Lena, is thought to be a transitional model between the simpler hollowed-out caves and the fully developed temples exemplified by the Kailasa. It has views over a nearby waterfall, though the path was inaccessible at time of writing. It's best reached via the MSRTC bus.

The five Jain caves, the last created at Ellora, may lack the ambitious size of the best Hindu temples, but they are exceptionally detailed, with some remarkable paintings and carvings.

The caves are 1km north of the last Hindu temple (Cave 29) at the end of the bitumen road; there is a MSRTC bus departing from in front of Kailasa Temple that runs back and forth (₹21 return).

Cave 30 ( GOOGLE MAP ), the Chhota Kailasa (Little Kailasa), is a poor imitation of the great Kailasa Temple and stands by itself some distance from the other Jain temples. It's reached via the unmarked stairway between Caves 31 and 32.

In contrast, Cave 32 ( GOOGLE MAP ), the Indra Sabha (Assembly Hall of Indra), is the finest of the Jain temples. Its ground-floor plan is similar to that of the Kailasa, but the upstairs area is as ornate and richly decorated as the downstairs is plain. There are images of the Jain tirthankars (great teachers) Parasnath and Gomateshvara, the latter surrounded by wildlife. Inside the shrine is a seated figure of Mahavira, the last tirthankar and founder of the Jain religion.

Cave 31 ( GOOGLE MAP ) is really an extension of Cave 32. Cave 33 ( GOOGLE MAP ), the Jagannath Sabha, is similar in plan to Cave 32 and has some well-preserved sculptures. The final temple, the small Cave 34 ( GOOGLE MAP ), also has interesting sculptures. On the hilltop over the Jain temples, a 5m-high image of Parasnath looks down on Ellora.

Ajanta’s caves line a steep face of a horseshoe-shaped gorge bordering the Waghore River. Five of the caves are chaityas while others are viharas. Caves 8, 9, 10, 12, 13 and part of 15 are early Buddhist caves, while the others date from around the 5th century AD (Mahayana period). In the austere early Buddhist school, the Buddha was never represented directly but always alluded to by a symbol such as the footprint or wheel of law.

During busy periods, viewers are allotted 15 minutes within the caves, which have to be entered barefoot (socks/shoe covers allowed; flip-flops will make your life a lot easier). Caves 3, 5, 8, 22, 28, 29 and 30 remain either closed or inaccessible.

Cave 1, a Mahayana vihara, was one of the last to be excavated and is the most beautifully decorated. This is where you’ll find a rendition of the Bodhisattva Padmapani, the most famous and iconic of the Ajanta artworks. A verandah in front leads to a large congregation hall housing sculptures and narrative murals known for their splendid perspective and elaborate detailing of dress, daily life and facial expressions.

The colours in the paintings were created from local minerals, with the exception of the vibrant blue made from Central Asian lapis lazuli. Look up to the ceiling to see the carving of four deer sharing a common head.

Cave 2 is a late Mahayana vihara with deliriously ornamented columns and capitals and some fine paintings. The ceiling is decorated with geometric and floral patterns. The murals depict scenes from the Jataka tales, including Buddha’s mother’s dream of a six-tusked elephant, which heralded his conception.

Cave 4 is the largest vihara at Ajanta and is supported by 28 pillars. Although never completed, the cave has some impressive sculptures, such as the four statues surrounding a huge central Buddha. There are also scenes of people fleeing from the ‘eight great dangers’ to the protection of Avalokitesvara.

Cave 6 is the only two-storey vihara at Ajanta, but parts of the lower storey have collapsed. Inside is a seated Buddha figure and an intricately carved door to the shrine. Upstairs the hall is surrounded by cells with fine paintings on the doorways.

Cave 7 has an atypical design, with porches before the verandah leading directly to the four cells and the elaborately sculptured shrine.

Cave 9 is one of the earliest chaityas at Ajanta. Although it dates from the early Buddhist period, the two figures flanking the entrance door were probably later Mahayana additions. Columns run down both sides of the cave and around the 3m-high dagoba (pagoda) at the far end.

Cave 10 is thought to be the oldest cave (200 BC) and was the first one to be spotted by the British hunting party. Similar in design to Cave 9, it is the largest chaitya. The facade has collapsed and the paintings inside have been damaged, in some cases by graffiti dating from soon after their rediscovery. One of the pillars to the right bears the engraved name of Smith, who left his mark here for posterity.

Cave 16, a vihara, contains some of Ajanta’s finest paintings and is thought to have been the original entrance to the entire complex. The best known of these paintings is of the ‘dying princess’, Sundari, wife of the Buddha’s half-brother Nanda, who is said to have fainted at the news her husband was renouncing the material life (and her) in order to become a monk.

Carved figures appear to support the ceiling and there’s a statue of the Buddha seated on a lion throne teaching the Noble Eightfold Path.

With carved dwarfs supporting the pillars, cave 17 has Ajanta’s best-preserved and most varied paintings. Famous images include a princess applying make-up, a seductive prince using the old trick of plying his lover with wine and the Buddha returning home from his enlightenment to beg from his wife and astonished son.

A detailed panel tells of Prince Simhala’s expedition to Sri Lanka: with 500 companions he is shipwrecked on an island where ogresses appear as enchanting women, only to seize and devour their victims. Simhala escapes on a flying horse and returns to conquer the island.

Cave 19, a magnificent chaitya, has a remarkably detailed facade; its dominant feature is an impressive horseshoe-shaped window. Two fine, standing Buddha figures flank the entrance. Inside is a three-tiered dagoba with a figure of the Buddha on the front. Outside the cave, to the west, sits a striking image of the Naga king with seven cobra hoods around his head. His wife, hooded by a single cobra, sits by his side.

A largely ruined chaitya, cave 26 is now dramatically lit and contains some fine sculptures that shouldn’t be missed. On the left wall is a huge figure of the reclining Buddha, lying back in preparation for nirvana. Other scenes include a lengthy depiction of the Buddha’s temptation by Maya.