vNi pallavapNi ngaveiNi hamsagmini suveinpustakadhriNi

`sarade `srutisranidhe vrijk`si bhrati mamakramohavin`sini

tungtIra nivsini devi `srungpuranivsini
mangaLNgi surEndra vandite bhRngakuntaLe prvati

Vtpi VaibhogamE
A droplet from the vast architectural ocean

kruNya sarasa soundarya ruCigalE sru`sTi

-Mankutimmana Kagga

Compiled by,

Arun S
Semester 1,
Department of Performing Arts,
Jain University,
J C road, Bangalore.

Acknowledgement

I, Arun S, sincerely thank the University of Jain, Bangalore, State of Karnataka,

India, for giving the opportunity to pursue my masters degree.
My gratitude towards Dr. Choodamani Nandagopal,
Dean-Jain College, for her introductory guidance, which
was of great support.
I acknowledge the guidance of Prof. Jaya, Head of the
Department-Performing Arts, Jain University; for her
guidance session which enabled me to a format of
presenting the project.
I humbly thank Dr. Karuna Vijayendra and
Dr. Shobha Shashikumar, for bringing me out of the dark
closet through their lectures and helping me find the true
identity and glory of Fine Arts, for without them, I would
have been still lost. The word thank you is merely
gestural.
I, truly salute all the legendary authors for their depth in
the knowledge which provided me all the information for
completing this project.
Last but not the least, I am simply grateful to the
Department of Archaeological Survey of India and
India- history, without their help this compilation would
not have been possible.

Introduction

Hiranyakeshi griha sutra mentions that Bhavani, taken to be the wife of Shiva, is the
Satwa of Shiva. For without her Shiva merely becomes Shava. Infact, the very word Shiva is a
derivation of Bhavani or Shakti (a divine inner power) which is present in a lifeless body,
Shava.
Uma seems to be a word of obscure origin, and the proposed derivations are either arbitrary or
esoteric. It has been held that the vowel U means Shiva and ma means to measure; the
goddess who measured Shiva, that is, the Shakti of Shiva, is called Uma.
Likewise, like the whole the concept of Shakti-Uma-Shiva, arts and architecture stand along
together. In fact, stand of arts which we see today are from the architecture and technique of
our ancestors.
Arts in general, is an abridged mode of portraying the religion, region and culture of the
people of the times immemorial.
Sculptures, though physically they are silent or rather, they are made silent, they shout-upon
and embark the truth and several incidents. They have their own eternal glory to which they
intercommunicate. Intercommunicate to the internal and external eyes of the spectator who if,
is an observer.
History is one-sided account. The facets of our history and heritage can be seen in our
Sculptures, paintings architecture literature, dance and music. These three modes act as a main
medium in many ways. Since these are motion-less, the changes over times can be pictorially
observed in a very clean manner.it is not just from the point of our history or heritage but the
evolution of cultures can be seen as well. Variegated ornaments, clothes, gears are clearly
imparted on the sculptures by the patented or free-lance sculptors during their time. The
evolution of musical instruments and also the instruments used during the respective periods
can also be seen in our sculptures.
Unfortunately, at one point of time, the ancient temples and our glorious architecture were
invaded by the foreign province (British and mainly Muslims). Later, due the influence of
western culture, our rich culture and heritage was totally forgotten and was not taken into
consideration at all. Latter, the importance and richness was realised and revived. Thus,
whatever small amount remains today forms the base of what we had. It is regretted to say, if
we had realised the importance long back, we would be able preserve a lot more than today,
for today becomes just a sample of yesterday.

Nevertheless, in India and Indonesia many of our sculptures are sculpted or have remained in
the temples. It is believed by many that our architecture and technique is based upon the
foundation given by the British. But, it is a wrong notion. Our system was very well designed
and implicated accordingly and perfectly. Though there are no written proofs, because the
education was and oral based on memory skills, many of it is lost. But fortunately there are
still architecturally spectacular places, like the Palace, and most ancient temples to say we had
our own set way. Different from the western, but it was practical and technical and
methodical.
Historians today, have worked extensively on the cultural background of India and Karnataka
and have revived innumerable facts and art-facts. Whatever today we have taken upon, we
must be grateful to them and their works. They have opened up a vast sea of possibilities and
options for further re-search. Also, the ideas and their axioms are our pathway.

Ascendancy of Badami Chalukyas

The Chalukya Dynasty was a powerful Indian royal dynasty that ruled large parts of southern
and central India between the A.D 6th century and the A.D 12th century. During this period,
they ruled as three related, but individual dynasties. The earliest dynasty, known as the
"Badami Chalukyas", ruled from their capital Vatapi (modern Badami) from the middle of the
6th century. The Badami Chalukyas began to assert their independence at the decline of
the Kadamba kingdom of Banavasi and rapidly rose to prominence during the reign
of Pulakesi II (A.D 609 A.D 642). After the death of Pulakesi II, the Eastern Chalukyas
became an independent kingdom in the eastern Deccan. They ruled from their capital Vengi
until about the 11th century.In the 6th century, the Gupta dynasty declined. They were having
immediate descendants in northern India. Many changes were undertaken in the southern area
of the Vindyas- the Deccan and Tamilaham. The age of small kingdoms had given way to
large empires in this region. In A.D 550, Pulakesi 1 established the Chalukya dynasty. He
took Vatapi (present-Badami in Bagalkot district, Karnataka) under his control and made it
his capital. In the western Deccan, the rise of the Rashtrakutas in the middle of 8th century
eclipsed the Chalukyas of Badami before being revived by their descendants, the Western
Chalukyas, in late 10th century. These Western Chalukyas ruled from Kalyani (modernBasavakalyan) till the end of the 12th century.
The rule of the Chalukyas marks an important milestone in the history of South India and a
golden age in the history of Karnataka. The political atmosphere in South India shifted from
smaller kingdoms to large empires with the ascendancy of Badami Chalukyas. For the first
time, a South Indian kingdom took control and consolidated the entire region between the
Kaveri and the Narmada rivers. The rise of this empire saw the birth of efficient
administration, overseas trade and commerce and the development of new style of
architecture called "Chalukyan architecture". Kannada literature, which had enjoyed royal
support in the 9th century Rashtrakuta court, found eager patronage from the Western
Chalukyas in the Jain and Veerashaiva traditions. The 11th century saw the birth of Telugu
literature under the patronage of the Eastern Chalukyas.
Pulakesi I and his descendants, are referred to as Chalukyas of Badami who ruled over an
empire that comprised the entire state of Karnataka and most of Andhra Pradesh in the
Deccan. Pulakesi II whose precoronation name was Ereya was perhaps the greatest emperor
of the Badami Chalukyas. Immadi Pulakesi (Immadi in old Kannada means "II") is
considered as one of the great kings in Indian history. His queen Kadamba Devi was a
princess from the dynasty of Alupas. They maintained close family and marital relationship
with the Alupas of South Canara and the Gangas of Talakad. Pulakesi II extended the
Chalukya Empire up to the northern extents of the Pallava kingdom and halted the southward
march of Harsha by defeating him on the banks of the river Narmada. He then defeated the
Vishnukundins in the south-eastern Deccan. Pallava Narasimhavarman however reversed this
victory by attacking and occupying the Chalukya capital Vatapi (Badami).
The Badami Chalukya dynasty went in to a brief decline following the death of Pulakesi II
due to internal feuds. It recovered during the reign of Vikramaditya I, who succeeded in
pushing the Pallavas out of Badami and restoring order to the empire. The empire reached a
peak during the rule of the illustrious Vikramaditya II who defeated the Pallava Nandivarman
II and captured Kanchipuram.
After the rise of the Rashtrakutas the Chalukyas of Badami went in to an eclipse to be
recovered in A.D. 10th Century by Tailapa II (A.D. 973 A.D 997). These later Chalukyans

ruled from Kalyani. They were in constant conflict with the Imperial Cholas over the control
of the Eastern Chalukya kingdom of Vengi. The Western Chalukyan power finally succumbed
to the Hoysalas and Yadavas after almost three hundred years of glory. Somesvara IV (A.D.
1184 A.D.1200) was the last known Chalukyan ruler.
Kirtivarman I was overthrown by the Rashtrakuta Dantidurga. He was the last Badami
Chalukya king. At their peak they ruled a vast empire stretching from the Kaveri to the
Narmada.

Blood-line of Badami Chalukyas

 Pulakesi I (A.D. 543- A.D 566)

Kirtivarman I (A.D. 566-A.D. 597)

Mangalesa (A.D. 597- A.D 609) - Kirtivarmans brother.

Pulakesi II (A.D. 609- A.D. 642) - Kirtivarmans son.

Vikramaditya I (A.D. 655- A.D 680)

Vinayaditya (A.D. 680- A.D. 696)

Vijayaditya (A.D. 696 A.D. 733)

Vikramaditya II (A.D. 733 A.D. 746)

Kirtivarman II (A.D. 746 A.D. 753)

Art and Architecture of Badami Chalukyas

Architectural and sculptural achievements of the Chalukya dynasty based in Badami

and Kalyani are delineated in the entries on the individual dynasties. Entries on important
places like Ihole, Badami and Pattadakallu have provided a wealth of detail and
supplemented them with appropriate reference works. Consequently this note confines itself
to the salient and unique features of the school.
a. Badami Chalukya Period:
The Chalukyas of Badami, who ruled for two centuries during the period A.D.500A.D.750, developed their own style of architecture known as the Vesara Style. This style is
a synthesis of the Dravida and Naagara styles. Actually some of temples constructed in this
period are built in the Dravidian styles and a few others exhibit the characters of the Naagara
style. Occasionally they are combined in a single structure. The architectural structures of
this school are broadly categorised in to two groups namely the rock cut cave temples and
properly structured buildings.
Most of the temples built by the Chalukyas are concentrated in Badami, Ihole, Pattadakallu
and Nagaralu. However, some classic examples are found also in Alampurapalli, Satyavolu
and Mahanandi in Andhrapradesh. There about 150 temples belonging to this period. About
one hundred of them are found in Ihole alone. All of them are religious structures with the
exception of the fort at Ihole. These temples are usually built with light red and light yellow
sand stones found abundantly in Bijapur district. Stone masonry which replaced brick made
or wooden structures is the hall mark of this period. Naturally there was a huge scope for
experimentation, of the trial and error variety. A majority of these temples are dedicated to
Hindu Gods and Goddesses. There some Jain and Bauddha caves and temples scattered
around the kingdom.
The cave temples of this period are not celebrated because of their architectural grandeur.
They are admired for their bas reliefs, intricate carvings and attention to details, thematic
variety and murals. It is essentially because of their sculptural beauty that they have attracted
connoisseurs. The temple architecture of Badami Chalukyas has shown evolutionary
tendencies. Stone masonry was gradually superseding the rock-cut methods of cave temples
during their regime. It seems that the sculptors indulged in lots of experimentation in Ihole.
Many temples found there are not finished products. The style finds its climax in Badami and
more particularly in Pattadakallu.
To look at some of these evolutionary features, it may be noted that the temples had flat or
slightly sloping roofs and they were surmounted by small shikharas. A pillared hall
(mantapa) was a later addition. Features such as sukanaasi, garbhagriha, mukha
mantapa and pradakshina patha (Circumambulatory path) which became default features
at a later date are conspicuous by their absence in some of these early Chalukyan temples.
Durga temple at Ihole is an exception.
On the contrary, the temples at Pattadakallu are fully evolved and they show many advanced
features. It is possible to notice this evolution in sculptures also. The early period in the
history of Badami Chalukyas has icons and sculptures that are simple and evocative of
emotions. They are not given to excessive decoration. However, the traditional texts of
iconography seem to have gained the upper hand in later days. The statues are technically
perfect and aesthetically pleasing. But scholars have opined that they are bound by religious
restrictions.

The Vesara style

It is the name given to a particular architectural style which was prevalent in Karnataka for a
number of centuries during the medieval era. It is essentially a combination of the Naagara
and Dravida styles which are typical of North India and the far South respectively. The
geographical position of Karnataka, the wide spread activities of the important royal
dynasties and an attitude which is not unduly stubborn might have prompted this
amalgamation of styles. This phenomenon is observed right from the days of the architectural
endeavours of Badami Chalukyas till the days of the Vijayanagara Empire. Some scholars
have argued that the Vesara, which came to prevail mostly in western Deccan and south
Karnataka, was a derivation from the apsidal chapels of the early Buddhist period which the
Brahmanical faith adopted and vastly improved. In its origin, the Vesara is as much north
Indian as it is west Deccanese.
The word has been given two or three etymological explanations. Firstly, it is deemed
to be a corrupt form of the Sanskrit word Mishra meaning mixed denoting a mixture of
two styles. Secondly, Vesara in Sanskrit means a mule which again is a hybrid of two
animals.
According to Cousens, the famous scholar, the Vesara style reduces the height of the
temple towers even though the numbers of tiers are retained. This is accomplished by
reducing the height of individual tiers. The semi-circular structures of the Buddhist chaityas
are also borrowed as in the Durga temple at Ihole.
Many temples in Central India and the Deccan have used the Vesara style with
regional modifications. The Papanatha temple (A.D.680) in particular and some other
temples to a lesser extent located at Pattadakallu demonstrate panache for this stylistic
overlap. The Svargabrahma temple at Alampur in the state of Andhrapradesh has similar
characteristics.
This trend of merging two styles was started by the Chalukyas of Badami, who built
temples in a style that was essentially a mixture of the nagara and the dravida styles, further
refined by the Rashtrakutas of Manyakheta (A.D. 750-A.D.983) in Ellora, Chalukyas of
Kalyani (A.D.983-A.D.1195) in Lakkundi, Dambal, Gadag etc. and epitomized by the
Hoysalas (1000-1330 AD). Most of the temples built in Halebidu, Belur and Somanathapura
are classified under this style.
The surfaces in these temples are carved in high-relief with detailed repeating patterns of
miniature shrine models, distinguishing them also from contemporary temples in other parts
of India that have an elaborate use of human and animal figures on their decorative exterior.
The temples built in the Vesara style are found in other parts of India also. They
include temples at Sirpur, Baijnath, Baroli and Amarkantak. The temple complex at Khajuraho is a typical example of the Vesara style

Pattadakallu

The place is a village and an important tourist centre in the state and is located on the left
bank of the Malaprabha River and is 22 km from Badami and 514 km from Bangalore.
It is a great centre of Chalukyan art, noted for its temples and inscriptions. According to
inscriptions, the place was known by the names Kisuvolal (Red Town) or Pattada Kisuvolal.
The literary work Hammira Kavya of A.D.1540, quotes the place as Pattashilapura and
Hammirapura. It has been mentioned in the 11th and 12th century inscriptions, as well as in
the literary work Singirajapurana of A.D.1500 and Hammira Kavya as the place where the
Chalukya kings were crowned.
The place continued to be an important centre under the Rashtrakutas and the Kalyana
Chalukyas. It became a chief city for a small region called Kisukadu. The Sindhas of
Yaramabarige (Yelburgi) also ruled it for some time.
There are in all 10 major temples here, nine Shiva and one Jaina, situated along the northern
course of the River, which is considered as very auspicious according to Holy Scriptures.
The fullness of the art and architecture of bdmi Chalukyas can be seen at the temples in
Pattadakallu. Earlier times, Pattadakallu must have been a religious centre. And also the flow
of the river Malaprabha makes this place aesthetic. It is said that when Parashurama, son of
sage Jamadagni cut his mothers throat on orders of his father washed his axe (Parashu) in
the river Malapahaari or Malaprabha. And this was reason for the construction of the temples
and considering it a sacred place.
Since the ancient times, this place has been the centre for mans activities. Around A.D. 1500,
Ptolemys visit to India, a geographician, has even called it Pertagal. Then Pertagal has now
become Pattadakallu during the course.
Some even say that, because the princes were declared king here due to its sanctity, it called
Pattadakallu. The Chalukyan architecture can be distinctly seen in two major forms. First
being Ihole and second is Pattadakallu. Probably, when the Chalukyas the transferred the
religious sanctity from Ihole to this place, the second distinguishable feature must have been
originated. UNESCO has recognised Pattadakallu in its list of world Heritage centre.
Pattadakallu is well-known for the group of the 8th century monuments.
There are ten temples including a Jain sanctuary surrounded by many small shrines and
plinths. Four temples are constructed in the Dravidian style, four in the Nagara style of
Northern India and the Papanatha temple in mixed style.

Intricacies of Pattadakallu through Badami Chalukyas

Mallikarjuna Temple
Built during A.D. 740 under king Vikramaditya 2, it is located not very far from the Kasi
Viseswara temple. It is believed that this particular shrine was built as a symbolic of the
victory of the King against Kanchi Pallavas by his wives Loka Mahadevi and Trilokya
Mahadevi. Lokeshwara Temple was built under Loka Mahadevi, todays Virupaksha Temple.
And Trilokeshwara Temple was built under Trilokya Mahadevi; this is todays Mallikarjuna
Temple. Both the wives of King Vikramaditya 2 were sisters by blood. Even though there is a
slight difference in the architectural patterns of the two temples, both the temples can be
called sisters. The depiction of the scene and the sculptures seen in the Virupaksha Temple
can be seen in Mallikarjuna Temple as well. Localities and even historians believe that first it
was the Lokeshwara Temple which was built and later came the Trilokeshwara temple. From
the point of scales and measurements, Virupaksha Temple is bigger than the Mallikarjuna
Temple.
Architectural description of the TempleThis is basically in the Dravidian form of architecture.
On the east, there is Mukha Mantapa and the Maha Mantapa.
North is occupied by the Sanctum and Mukha Mantapa.
And South is occupied by the Mukha Mantapa.
Towards the north, the main Sanctum is occupied on either side by small sanctums
surrounding which is the Pradakshina Patha (Sanctorium)
All the Mantapas are beautifully adorned with variegated sculptures and each sculpture is
different in their own way from the other. This is a very distinguishable feature of the temple
here. For example, at the easts Mukha Mantapa, there is a sculpture of Lord Narasimha
killing the wicked demon Hiranyakashupu, and at the adjacent sides is a pair of Deepa Malli
sculptures holding the oil lamp (Deepa) to the lord standing in Sthree Sthaanaka. And
opposite to this sequence of the sculptures is a pair of vast pillars where several women
playing different instruments.

Maha Mantapa
This is present at the east, in front of the temple. There are 18 huge square pillars. All the 18
are beautifully incarnated with the episodes from Ramayana and Mahabharata. The sculpting
of the sculptures is marvellous. If the mantapa is seen from the main Sanctum at the Nandi
Mantapa, the picture will beFrom left to right, the first set has sculptures depictingMahishasura Mardhini-Nava Durga-Samudra Mathana Scene-Garuda bringing (carrying)
the Amritha kalasha-Shiva-Parvati wedding ceremony-Ravana-Jatayu heroic battle scene
etc.

The second set hasScenes from Panchatantra- Pandavas in meditation (written under the sculpture) - King
Pandu on a cot- Alongside wives Kunti and Maduri and animals like monkey, and a herd of
elephants.
The third wing, row 1
The roof pillar which is broad to support the stone roof of the Mantapa has sculptures of
Gandharvas- a village scene and Kalinga Mardhana Krishna- Govardhana Giridhari
Krishna- a damsel playing the instrument similar to modern Veena in terms of physical
appearance.
The third wing, row 2A herd of elephants- the Dandakaranya, of Ramayana (written clearly under the set of
sculptures)-the walls are also beautifully decorated with sculptures mainly concerned with the
materialistic way of leading life.
The outside of the wall (from right to left) has Shiva with his matted hair- Hari-Hara, and
Shiva holding the fire-Damaru-Deer and Trishula.
The west wing hasShiva with eight shoulders towards the right far most corner and Vishnu sculpted beautifully.
There is a huge monolithic pillar in the centre of this temple along with Virupaksha Temple
and Sangameshwara Temple (Garuda Gambha). This was stood by Gnana Shivacharya for
the remembrance of the victory of Vikramaditya 2 in the battle against Kanchi Pallavas.

 Virupaksha Temple
This was built by under Queen Loka Mahadevi in A.D. 740, as a symbolic of the victory of
the king Vikramaditya 2 in the battle against, Kanchi Pallavas. The main engineer of this
temple is Anivaarita Gunda. And the head sculptures are Baladeva, Aditya, Chengamma,
Pullappa and others.
Comparatively it is the bigger than other temples in Pattadakallu. It is of Dravidian
architecture mainly. It is said that, that at the time of his victory over the Pallavas, queen
Loka Mahadevi copied the architecture of Raja Rajeshwara Temple of Kanchi and built this
Virupaksha temple in Pattadakallu.
Architectural description of the templeQuadrilateral walls. The Nandi Mantapa. The Mukha Mantapa at the east, North and South
directions. At the centre a vast ramp (Ranga Mantapa). At the East and the west, a huge
Mahadwara (entrance building) and towards the inner side of the Mahadwara, pillars on
either side. And at the ventral side of the roof of the Mantapa, a huge lotus sculpture. And
inside the sanctorum, many small temples are seen. Towards the Malaprabha river is the east
Mahadwara. This Mahadwara is supported by 4 huge pillars. And in one of the four pillars,
the scripture which is sculpted can be seen this sculpted scripture has details of the engineer
Anivaarita Gunda- his achievements and accolades and description about the queens (Loka
Mahadevi and Trilokya Mahadevi) can be clearly seen.
Upon entering the east Mahadwara, the vast Nandi Mantapa can be seen. This is said to be
about 25 ft. square planar monument. And on the platform is a 9 ft. height 7 ft. width, Nandi
Sculpture which is made of a black stone. Surrounding this is many different sculptures. At
the side is the Elephant and Kubja Ganas which gives an illusion of carrying the whole
Mantapa on their shoulders. Outside the Mantapa are the sculptures of the King along with
his queens (about 4 ft.).
Moving further, a Mukha Mantapa which also gives an illusion of carried by the Elephants
and Lions. Even here, the sculptures of the king and queens can be seen. Moving forward is
the main sanctorum which encloses the sanctum. Alongside the sanctorum towards the
entrance is the sculpture of Guards (Dwarakapalakas). At the roof of the sanctorum, towards
the ventral side is the sculpture of the Surya Deva or the Sun God holding a lotus and riding
his Chariot. The charioteer of Sun God is Aruna. The whole scenic sculpture gives an illusion
of Him riding.

Ranga Mantapa
The Ranga mantapa is very vast measuring about 50 ft. towards east-west and about 45 ft.
height. Like every other, it also has huge pillars. There are 4 rows of pillars consisting of 4
pillars in each row. Naturally, these are inscribed with many beautiful and mythological
sculptures.

The first row hasPillar 1: Ahalya, Tilotthame, Devendra

Pillar 2: a women listening to the music
Pillar 3: a hunter poking an elephant and a horse simultaneously
Pillar 4: Hanumantha destroying the Ashoka Vana in LankaPura and meeting of Hanumantha
and Sita Devi
The second row hasPillar 1: Lankini and Hanumantha
Pillar 2: Samudrollanghana
Pillar 3: Bhishma sleeping on Sharanpanjara; Bhima- Duryodhana Battle.
Pillar 4: Go Grahana and Bharata Yuddha; Daksha Yagna.
The third row has
Pillar 1: fight of two goats; and Gandharvas coming to Shiva and Parvati
The details of the rest of the sculptures were not available to Me.
At the base of the pillars at the Ranga Mantapa, many mini-sculptures can be observed.
Manmatha- Rati Devi; husband carrying his wife; a woman with thick hair which resembles
the trunk of an elephant; a woman decorating herself holding a mirror; a woman and a man
close together etc.
What can be observed from this is that every minute detail was looked upon and importance
was given to it. And also the life style of those times can also be studied and noticed.
The main sanctum has a beautiful Shivalinga. And at the sides- the left side has Mahishasura
Mardhini with 8 shoulders; the right side chamber is empty. The base of the sanctum has
sculptures concerning from the Shiva and Vishnu purana. The outside walls of the sanctum
has sculptures as wellEast wingCouple standing beneath Banana tree; Shiva Linga; Shiva-8 shoulders.
South wingShiva dancing on the demon; shiva and Parvati; the death of Hiranyakashupu; Angada and
Rama; Ravana kidnapping Sita Devi; Jatayu; Rama-Lakshmana-Sita and Maricha (golden
deer); Lakshmana-Shurpanaka; Ganesha; the death of Andhakasura.
West wingShiva; Vishnu with 8 shoulders; Bhumi Devi- Varaha; Shiva with matted hair; Shiva with a
crown; Shiva on Nandi; Ravana praying to Shiva Linga; Nataraja; Hari-Hara in yoga
mudra; Shiva-Parvati with Nandi; Trivikrama; Ardhanarishwari.
West wing (inside)Dwaraka palakas and killing of Gajasura demon.
Thus, the heart of the Vesara style of architecture and Badami Chalukyas can be seen in
Virupaksha temple.

Kasi Vishwanatha Temple

This temple was built during A.D. 8th Century. No records of the specific time of the rise this
temple has not yet been discovered. Based on the available arti-facts and approximate guesses
the time of this temple has been told by the historians. This temple is east-facing. In front of
the temple, there is a big sculpture of Nandi.
Architectural description of the templeThis temple is basically is of Outtariya style architecture. This temple does not have the
kalasa. The four extremes of the temple has sculpts of the gooseberries and Chaityas
format.
To the east of the temple, on adjacent-dorsal of the Gopura, shiva is seen dancing with
Parvati. At some places of the temple, the influence of Dravidian style of architecture can be
seen as well.
Garuda, the king of eagles, is seen on top of the sanctum. He is portrayed (sculpted) as
holding the tails of sever serpents in his left hand. And the serpents are shown as surrendering
with folded hands, in the form or Namaste towards the ventral portion of the sanctum. At the
adjacent of the serpents are the sculptures of Ganga and Yamuna. The whole of the sanctum
is illumined in such a way that Swans are carrying the whole of it and flying towards the sky.
The right pillars of the sanctum have sculptures of Ganas of Kailasa. The Ganas have 3 eyes
totally and are adorned with horns. The left ones have a Gana who has a matted hair tiedover, holding Parashu (axe).
This temple has 3 major divisions, Mantapa, Sukanaasi and the Sanctum. 2 huge pillars
separate the sukanaasi from the sanctum. Inside the quadrilateral of the sanctum is the
Ganesha holing the Parashu, Varaha etc.
The main deity inside the sanctum is a Linga made out of black-stone. The ventral part of the
roof has a fully-bloomed lotus.
The inside of the Mantapa has sculptures of Shiva-Parvati-Nandi-Ganas etc.
One interesting feature is that Parvati is holding a child in her hands; historians say this is
probably the Kartikeya, son of Siva and Parvati. Surrounding this is the Ashtadikpalakas.
The Mantapa is lifted by 4 lions. Sculptures of Kubja Ganas and swans holding garlands
have decorated the roof of the Mantapa.
The sculptures seen at the wings of this temple areBrahma; Vishnu; Dikpalakas; sages praying to the Gods; Ardhanarishwara with 4
shoulders; Ganapati; Nandi; Shiva-Parvati wedding Sequence; The killing of demon
Tripurasura; Shiva along with Ganapati and Parvati on Chariot; Brahma as Charioteer;
various Apasaras; Shiva Ganas; Swans etc.

 Sangameshwara Temple
The temple is about 50yards from the Kasi Viseswara temple. The temple is east facing
basically. This temple was first called Vijayeshwara Temple. It was built by the King
Vijayaditya in A.D. 720 and a Shiva Linga was established inside the sanctum under his
name.
Architectural description of the templeThe temple is quite big. The sanctum is surrounded by the sanctorum. Alongside the main
sanctum is two small sanctums. However, Sukanaasi is absent. Since, the south and the front
portion of the temple is fallen down, the sculptures are incomplete at these two regions
mainly. For the light to the sanctorum 9 main stone windows-like structures. Historians
believe that this temple is incomplete i.e. this temple was never completed by the sculptors
probably due to political or financial issues of the kingdom and the king. The basic temple
plan is square. Another distinctive feature of the temple is that it has stairs to climb up-down
of the temple. The pillars of the temple are at least 8 ft. high. They erect straight from the
floor. There is no base to the pillar. It appears as though the pillars have been erected straight
from the floor of the temple.
The main sanctum has a half ruined Linga. And there is no sculpture surrounding it. Although
on either side there is Dwarakapalaka. Right next to the right Dwarakapalaka, there is a pillar
containing the inscription of the grant given by the King Vijayaditya towards building the
temple. The main engineer and the architect of this temple are not known.
The sanctorum around the sanctum is at least 40 yards wide. There are no sculptures on the
outer side of the walls of the sanctum, it is plain. Although, there are several lotuses at the
ventral side of the roof (hanging down the roof). Around the walls, there are inscriptions of
Shasanas due to time, the Shasanas have become very dull and they are very hard to read.
At the pillar towards the south, one inscription clearly says that:
Swasti Sri Mahaadevigeriya peggade poleyacchi Beejeshwarakke maadisalu kotta ponnu
51 gadyaana.
From this it can be understood that, for the building of the pillar to Beejeshwara Temple
(todays Someshwara Temple) 51 golden Gadyaana has been granted by the king. The 3rd
pillar has the mentioning (inscription) of mistress Chalabbe of Sri Beejeshwara- Swasti Sri
beejeshwarada Sule Chalabbeya Kamba Mooru. The 4th pillar has the clear mentioning
(inscription) saying the two pillars were sculpted by the person named Paaka. Nowhere else
is the mentioning of this sculptor in the entire temple except here.
At the temple Mantapa, on the stone plank there is an inscription which says it is from the
times of Sindh times- King Chavundaraya 2s period, Erabarage (Elaburgi). The inscription
mainly saysat the time of ruling of the King Chavundaraya 2 along with his wife Demaladevi and son
Kumara Aachideva, upon seeing the morals and principles which were left out (forgotten) by
the previous rulers of Kisuvola (todays Pattadakallu), the Dakshina Varanasi (Kasi), i.e.
Kisuvola (Pattadakallu) in the form of Viseswara (the overlord of the entire universe), Sri
Vijayeswara (todays Sangameswara) and his Angabhoga-Rangabhoga (the architecture of

the presiding deity and the architecture of the entire temple), the requirements(food and
clothing) of the priest will be looked upon by Suryabhana Pandita. He measured 300 yards
(mattara) from Maanikeswara Danda. The rest is given to the lord as Datti.
The temple walls are quite heavy and hefty. The outer side of the walls in the temple has very
minimal sculptures. On the north, there are sculptures of- Maha Vishnu, Sri Varaha.
On the west- Shiva holding the deer (Bhrnga), Shiva seated on Nandi.
Here as well the roof appears to be on the support on many Kubja Murthis. In general the
Sangameswara temple resembles the Virupaksha temple, but has a totally different format and
style.

Chandrashekara Temple-

Towards the left of Sri Sangameswara, is the temple of Chandrashekara. There is no Gopura,
it is completely absent. It is perhaps the smallest temple in Pattadakallu, in terms if
dimensions. There are only two parts in this temple, the main Sanctum and second, the
sanctorum surrounding it. The presiding deity here is the Shiva Linga.
On either side the sanctum there are two Dwarakapalakas. Of the two, one still remains still
but the other one is completely ruined, on the feet portion can be seen. At the backside of the
Dwarakapalaka, side to the shoulder is the Trishula. There are no sculptures in this temple
except for the Linga and the Dwarakapalaka. The temple is Square. There is stairs at one side
of the temple, inside. Probably there must have been sculptures before.
Historians say this must have been built at the time of A.D. 750; however there are no correct
proofs to give the exact time.

 Galaganatha TempleAt the left of Chandrashekara temple, is the vibrant Galaganatha Temple. The Gopura has
Outtariya architectural format. The main highlight of this temple is its Gopura. At the small
architectural windows in the Gopura, there are miniature human faces sculpted. On
comparison with other temples like, Virupaksha, Mallikarjuna, Sangameswara and Jain
Narayana temples, the architectural format of the Gopura of Galaganatha is entirely different.
For other temples, has Dravidian format and this has Outtariya format.
The Gopura of Sri Galaganatha, has a window followed by a step which is again succeeded by
a window followed by the step, this is repeated many times. This is done on all the four sides
of the Gopura. At the base point of the Gopura, it is broader but it narrows down as we go up
and ends with a dome. The dome is called Naarikesha Kalasa. The dome has the shape of a
gooseberry, and it is joined by two separate stones sculpted separately and later joint together.
This is very similar to the Iholes Hucchimalligudi. Unfortunately that temple is completely
destroyed now.
Below the Gopura is the sanctum and Sukanaasi. The sukanaasi is completely fallen out now.
In front of the sukanaasi, it can be observed that there was a mantapa before, now it has
completely disappeared and only depression remains at the place of the mantapa.
Inside the sanctum is the Linga made of a black stone. The sanctum is very well beautified
with various sculptures. On the upper side, there is Shiva what appears to be doing his
Tandava; at his sides are various nymphs playing different instruments. However, the lower
part is destroyed. Also there is woman who appears to be holding an umbrella. The outer part
of the temple has no sculptures. It is plain. One interesting feature is that there was no cement
or any other binding medium to hold two or more compartments or portions in any temple at
those times, it was just an assemble of hefty stones side by side or on top of the other.
Towards the south of the temple is the sculpture of Ashtabhuja Sundareswara (Shiva).
The first right hand has Khadga-the second and third has hastha mudras depicting Fire and
Damaru- the fourth hand is holding the demon Andhakasura and killing him with his
Trishula.
The first left hand has an unclear hastha mudra. The second hand has Trishula. The third has
deer and the fourth hand is rested upon his thighs. This particular shiva has matted long hair
and has worn Runda Maala. Very near to this sculpture have pillars on which lions are carved
upon.
The sculpture is magnificent. It opens up the Bdmi Chalukyan architecture vividly to the
spectator.

 Jambulinga Temple-

The temple is east-facing. This shrine stands exactly behind the Galaganatha Temple.
Although the temple seems to be destroyed, a small Mantapa and the sanctum can be still
seen. In front of the sanctum i.e. the entire sanctorum is completely destroyed. The Gopura of
this temple resembles the Galaganatha temple in some features. But there are no windows as
in Galaganatha and also the hanging sculptures on the ventral side of the temple as in
Galaganatha, are absent.
The small Mantapa in this temple has two Amritha Kalashas. one interesting feature is that,
on the pillars of this Mantapa has a sculpture in which it is shown that birds have opened the
roof and trying to fly away into the sky. The others have sculptures of temples with Linga as
the presiding deity.
Towards the east of the main sanctorum has the sculpture of a Nataraja. On his sides are
Parvati and Nandi. The main sanctorum seems to be from the Dravidian style of architecture.
At the door of the sanctorum are two Dwarakapalakas.
Towards the south of this temple is a sculpture of Shiva. The west side of this temple has
sculptures which are destroyed, so the interpretation of what might have those sculptures is
difficult. The North side of this temple has a sculpture of Vishnu. Since the temple is
partially destroyed, the architectural details cannot be seen as seen in other temples
comparatively.

 Kada Siddeswara Temple-

This temple is east facing. This temple can be distinctly parted as Mantapa-SanctumSanctorum. This is very distinct in this temple. The temple architecture seems to be of
Outtariya format.
There are aerial windows on the doors of this temple. At the centre of this, is the sculpture of
Shiva and Parvati. The Shiva is Chaturbahu-on his right hand is the serpent, the left has
Trishula. The third eye can be clearly seen and the matted hair seems to be swaying in the air.
At the foot, is the Nandi sitting. Parvati is sitting on the left lap of Shiva, with Abhaya and
Varada Hasta. Towards the left of this sculpture are Vishnu and right Brahma sitting quite
away from this. Both these sculptures are Chaturbahu.
At the sanctorum towards the base are the sculptures of Ganga and Yamuna holding the holy
Fan (Chmara). At the south wall on the outer side of this is the partially ruined sculpture of
Shiva. On the north outer wall is the sculpture of Harihara which is a Chaturbahu. The top
two hands have Parashu and counch and the bottom right hand is on the waist while the other
is holding the Angavastram. And on the west outer wall is the sculpture of Ardhanarishwara.
The left hand this sculpture has a lotus and right hand is rested on Nandi.
On the east, there is a pair of Dwarakapalakas which is partially destroyed.

 Papanatha Temple-

The temple is east facing. Opposite to this temple is the Malaprabha River flowing only few
yards away from this temple. This temple is an elevated manner when compared to other
temples. This must be done due to the protection from the flowing river. This temple must
have been built around A.D. 680. When compared to the architecture of Kasi Viseswara and
Virupaksha temples, this temple is dull in terms of architecture. The plan of the temple is very
haphazard; it is not equal and uniform. The temple has a very benign architecture. Probably
the architecture of the Badami Chalukyas was not set during the time of building this temple.
The pillars of the Sukanaasi are at different dimension and at different angular measures.
They are not uniform as in other temples. The architectural format of this temple based on
observed factors-is Outtariya.
Like majority of the Pattadakallu temples, this is not a Shaivite; it must be of either Vishnu
or Surya (as said by Henry Khajens and Percy Brown). The reason given by the two
archaeologists are:
On the backside of the sanctum, towards west outer wall has a sculpture of Surya Deva and in
the middle of the Mantapa has a sculpture of Anantashayana Vishnu. Khajens also says that-at
the front of the sanctum on the left is the Dwarakapalaka who has a Trishula in his left hand
which appears to be made of plaster. But nowhere else is any sculpture made of plaster, this
appears to be made up which is not right and it is not very clear. Some scholars say that since
on the Gopura has a sculpture of Garuda, this must be a Vishnu temple. But there are no solid
proofs which say that this temple was built to this particular deity. Since, Badami Chalukyas
unanimously patronised all the cultures in their rule; even their temples had all types of
sculptures of deities irrespective of the main deity in the sanctorum
On the west outer wall of the temple is the sculpture of Nataraja; this evokes a thought that it
could have been a Shaivite temple as well.
The temple has Ardha Mantapas, Maha Mantapa and a Mantapa which is outside the
sanctum but inside the sanctorum of the temple. At the front of the temple towards the east is
the Ardha Mantapa. This has two magnificent pillars. The pillars have the sculptures of a
couple. The woman in the couple is naked. Of the two, the face is of one is of horse. The
second one is broken. It is believed that they must the sculptures of damsels. This resembles
the Ardha Mantapa pillars of Hucchappayyana Temple of Ihole. On the left side of the pillars
are the sculptures of a lady holding a lotus and standing gracefully, immediately next to this
is a lady standing beside a Kubja. On the pillar opposite to this is a sculpture of a young
couple where the husband is holding the lotus. Around this sculpture are several minisculptures of common man along with lotuses and maps.
The upper-side of the Ardha Mantapa has the sculptures of Lion headed elephant in pair. On
the ventral side of the roof is the sculpture of Ashtabhuja Nataraja. Nataraja along is dancing
on Apasmaara demon. Beside him is the sculpture on Parvati dancing on a lotus. This is quite
a rare sculpture. Nowhere in Pattadakallu can this sculpture be seen. On the left shoulder of
Shiva is an inscription which says Sri Baladeva Ammayya Nirmita.

The inside of the Ardha Mantapa appears to be on support (held) by several Kubja sculptures.
The left side of the Ardha Mantapa which has a Dwarakapalaka is completely destroyed, but
the right side has is still. This Dwarakapalaka is holding a Parashu in his right hand and a
serpent in his left hand.
On the door of the Nandi Mantapa is a sculpture of Gaja Lakshmi. She is in the centre of the
Makara Thorana. Also it has a sculpture of Shiva and Parvati along with Nandi.

Dance related Sculptures

The Royal kingdom of the Badami Chalukyas is a set mark in the history of the Karnataka, in
terms of arts, architecture, politics and economics. Though the time of this kingdom was
based on experimentation (trial-error) method in terms of architecture, there was uniqueness
in them. During their rule, the fine arts like dance-music-sculpture had royal patronage.
Along with others, the contribution of Badami Chalukyas glorifies our history in several
terms. If keenly observed, the Mahanata i.e. Shiva, in the form of Nataraja is present in
almost all the temples of the Pattadakallu. He is shown as Ashtabhuja, Chaturbhuja, and
Dwibhuja-dancing on Apasmara, next to Nandi-sitting on him or resting beside him or
simply standing beside him. He is shown holding the Damaru, the Fire, the Trishula and the
deer or sometimes in Chinmaya Mudra with Varada and Abhaya Hasta.
If keenly observed, in Pattadakallu distinctive karanas can be seen in different temples1.
2.
3.
4.
5.
6.
7.
8.
9.

Apaviddha.
Nikuttakam.
Mattalli.
Ardhamattalli.
Rechita Nikuttita.
Valita.
Bhujangatrastarechita.
kshipta.
Sarpita.

It is not only Shiva but several others sculptures like dancing Damsels, goddesses, Ganas
etc., suggest dancing as well in Pattadakallu.
1. Virupaksha Temple
The finest of the sculptures can be seen in this temple. At one pillar there is set of sculptures
which depict the story of Shurpanaka. Beside this story is the sculpture of a dancing Shiva.
The legs are in Swastikam, and the hands are raised holding the Serpent on his head. He is a
Chaturbhuja Shiva. On one hand is the Katwanga, and the other is rested on his consort. And
the curious Nandi is watching his masters dance. The Ganas are playing the Mridanga and
cymbals.
In another pillar, the Shiva is in Ardhamattalli karana. The legs are spread are appears
swastika while walking (in motion). The left hand is on his waist and the right hand in in
Rechita. The other right hand has Rtwanga and other weapons along with fire in his left hand.
In another sculpture, Ashtabhuja Shiva is dancing on a huge Apasmara demon in Lalita
Bhangi. One pair of hands has Damaru and a hooded serpent. Another hand has fire in
Alapadma hasta mudra. The left hand has Sandamsha hasta mudra and a vessel of fire. In this
sculpture Shiva is wearing Bells.
Another sculpture of Chaturbhuja Shiva is in Urdhwajanu. The first pair of hands is in
Abhaya and Varada hasta. The second pair has Damaru and Nandidwaja (?). The Ganas are
playing the flute, Ghata and the Gandharvas are watching.

In another, there is a sculpture of Narasimhaavatara. Here, the Chaturbhuja Shiva is in Alida

Sthaanaka. This sculpture seems to portray Veera and Roudra rasa. Shiva is the presiding
deity of this Sthaanaka.
2. Jambulingeswara Temple.
In front of the temple is the sculpture of the Nataraja. On the left are Parvati and Nandi on his
right. This Nataraja is in Chatura Bhangi. He has 6 hands altogether. He is holding Damaru,
Serpent and Axe. One had is around Parvati. The remaining two hands are in Abhaya and
Varada hasta.
3. Galaganatha Temple.
In front of the sanctum is the sculpture of Nataraja. He is Chaturbahu here he holds, the
Abhaya, Kari, Katwanga and Trishula. Here shiva appears to be in joyous mood. He holds the
serpent and showing to Parvati. Parvati seems to be decorating herself holding a mirror. The
whole scenery seems like shiva is asking her to wear the serpent. Gana along with Ganapati
seems are enjoying this scene. A mouse looks going towards Parvati.
4. Mallikarjuna Temple.
Here in a sculpture Nataraja seems dancing on the Apasmara. Nandi is looking at the scenery
from backside. The Ashtabhuja Nataraja is holding Katwanga, Trishula, Serpent, Abhaya,
Varada and fire. Devi is in Avahitta Sthaanaka. The right foot of hers is at the back of the left.
Her left hand is in Katakamukha Hasta and the right hand is on the waist. A pair of Ganas is
on the either side playing the flute and Ghata. Beside this sculpture is a Nartana Ganapati.
And opposite to this on a pillar is a damsel in Alida Sthaanaka.
5. Veerabhadra Temple.
There is sculpture of Ashtabhuja Nataraja in Lalita Bhangi. On his side is Parvati and at his
foot is a Gana playing the Ghata.
Likewise many sculptures can be seen of Nataraja in the vibrant Pattadakallu in all the
temples in general.

Conclusion
India is known for her rich history vibrant culture and aesthetics of her own. Every aspect of
life, right from the pre-birth to the post-death is clearly mentioned and thought through. It is
so that each energy is designated with a name and given a status. These statuses given to the
energy, whether positive or negative, are called Gods and Demons, depending. Thus it
justifies that our culture is highly scientific. One set back was that the explanation given to
the aspects were only aural, in the system of Gurukula, nothing was recorded on paper. Thus,
many of the concepts are completely lost and forgotten. Many of the questions still remain
un-answered, these become mysteries. Mysteries which can be discovered, which can be reconstructed and which can be unveiled.
One way of unveiling them is through our vast panorama of temples. Because, for Hindus,
the temple are the heart and soul of life. A place, where tranquillity can be achieved. Now, in
temples the eternal silence can be heard through the sculptures. The silent sculptures which,
shout the history. This acts, a mirror of the culture and civilisation and mode at the time of
their birth. They have seen ages together, different types of cultures which bought a
revolution through ages and different set of people.
The sculptures exist today because of the keen interest and patronage of different kings
during their glorious days.
One among them is the Badami Chalukyas of Karnataka, ruling between A.D. 6th Century to
A.D. 12th Century, right from Pulikesi I to Vikramaditya II. Amongst everything, these
Chalukyans made it a point for fine arts. The evidence is what we see today in temples like
Pattadakallu, Ihole Badami etc. irrespective of their custom, they equally encouraged all
religions. This can be seen distinctly in Pattadakallu. Though bdmi Chalukyans were
Vaishnavites, all they temples have a sculpture or two of Shiva or episodes related to him. It
was not only dance that were interested in, but music-literature-poetry as well.
Thus, Badami Chalukyans add to the culture of Karnataka in a very broad manner. The
Pattadakallu temple shrines and Jain caves built by them are recognised by UNESCO. This is
one of the major tourists centre recognised by the Central Government of India.
In a broad spectrum, the temple shrines which were built a dynasty during their rule centuries
before influence of the westernisation and urbanisation now gaining international recognition
is something wonderful. Also just not the recognition but people taking interest in reviving
the stories behind these sculptures and coming forward to actually preserve them and protect
them from calamities is really great. The progress towards positive direction can be seen here.
Let us preserve these sculptures. Let us revive and discover the hidden mysteries behind
them. Let us construct an India with its original Background (from the point cultural
background of course)

A thought

The richness of architecture in Karnataka or in any other state can be seen in its temple. Thus
a temple becomes the core for any arts in India. If gone through the road of Natya Shastra or
any other ancient Indian text on Dramaturgy, every sculpture will have an element of grace or
pose or poise in it which will be mentioned in the texts. The Fine Arts is basically derived
from the Sculptures. Thus the sculptures become the mother to all the remaining art forms. It
is always a question and remains so that
Were Indian texts on dramaturgy written upon observing the sculptures or the sculptors
sculpted only after keenly studying the texts?
because the first known text on dramaturgy is Natya Shastra (statement made based on the
fact that Natya Shastra is the oldest among the known and discovered texts) which is believed
to be written between B.C. 2nd Century to A.D. 2nd Century; were there no temples before B.C.
2nd century? Or if present what was the architecture of the temple? Was it just plain or it had
different sculptures as well? If it did have sculptures what was the format of the temple?
What was the Bhangi or Chari or the Karana in which the sculptures stood? If it did have
any of the mentioned Bhangi-Chari-Karana mentioned in Natya Shastra then was Natya
Shastra written based on these sculptures? If so then what was the source of the sculptor to
sculpt the magnificent sculptures? Was it purely imagination or there was a format and
pattern which only sculptors knew which was passed on from the teacher to the student?
If assuming, the architecture of the temple was plain with no sculptures at all, then what was
the structure of the presiding deity for he cannot be plain he had to have a distinctive
structure?
All these questions can take into a totally different world and direction but I would like to end
that Bharata Muni was a true all-rounder. He had to have the knowledge of the sculptures to
give a distinctive scientific name to every imaginable and practically pose or structure. He
had to be a dancer himself to have applied to them to conceptualize-choreograph and
incorporate them to form a Natya. He had to be a Nata to incorporate each and every element
be it music- theatre- dance-sculptures in his Natya.
He was a true Sakala kla Vallabha.
Perhaps that was why he was a Muni. That was the true Tapas he did to have achieved
something really extraordinary- beyond all possible imaginations. That was the true
meditation- the meditation of knowledge of truth and of heroism.
I know some say, that Natya Shastra was not written by just one person. But for one second,
cant be written it by one person? Why cant it be written by one person? It is possible.
Nothing is impossible.
I truly salute Bharata Muni.

Bibliography

Shile-Kale, Dr. Choodamani Nandagopal- Ultra Publications.

Badami Chalukyaru, A Collective Work- Dr. A Murigeppa (publisher).

Pattadakallu Gudigalu, A M Annegeri- Kannada Samshodhana Samsthe Publications.

Chalukya Darshana, Suresha Patila- Vijayalakshmi Patila and Smt. Anita Koujalagi
(publishers)

Internet Sources

Archaeological Survey of India

Wikipedia

Google

India-History.

avikraya `suddhya nityya paramtmane

sadeika rUpa rUpya vi`snave
He has no structure or image. He is pure. He is the ultimatum. He is what one imagines
being. He is Paramtman, a supreme form of tman; beyond all. He is all. He is everything.