Badami, Pattadakal, Aihole: The Cradle of Indian Architecture
- nitishb
- Jun 1, 2021
- 21 min read
Updated: Aug 21, 2021
"ARCHITECTUE IS THE WILL OF AN EPOCH TRANSLATED INTO SPACE." ― Ludwig Mies van der Rohe
In Indian Temple architectural history, evidences suggest till 4th century temples were made mostly using wood and bricks. The first proper experimentations with other materials such as stone started during 5th century during the Gupta Empire due to the political and cultural stability. Aihole was the 'flag bearer' of this experimentations and Badami was the 'refiner' (6th – 7th century). The experimentations culminated in Pattadakal in the 7th & 8th centuries, becoming a cradle of fusion of ideas from South India and North India.
Useless rants of a narcissistic mind -
I have seen a lot of Instagram/WhatsApp/Facebook profile either having a name or a moto highlighting the person’s lifestyle, ‘Work-Save-Travel-Repeat’. The truth is I have too many of the same type, raising my doubt about how much of it is true and how much is ‘they dream to be true’. So when I decided to note down some episodes of my travels, I wanted to be as truthful as possible. Noting experience clubbed with my limitations and misses so that the plan seems practical and relatable to most readers. This won’t be any different. Let me say this, ‘Work-Save-Travel-Repeat’ doesn’t work for me at least. My model is much more complicated. I work 8-9 hrs. per day, 5 days a week and spend most of the left two days finishing up my social responsibilities. Hence, for me it is more of a ‘Work-Then work some more-Save-Convince people I desperately need a Trip-Check though the calendar to mix leaves with holidays to have a larger set of days (mostly five)-Travel-Sacrifice those places which are absolutely not possible within the stipulated timeframe- Try to stretch myself as much as possible to cover as many places as Possible-Repeat’.
Options and decisions - Which plan to choose from
When Samit suggested there is a circuit architectural tour possible in northern Karnataka, I was astonished. I knew about Hampi, but the rest was totally unknown. The actual circuit is Hampi – Badami – Pattadakal – Aihole – Bijapur. I had two plans to choose from,
Kolkata – Bangalore – Hampi – Badami – Pattadakal – Aihole – Bijapur – Kolkata.
Kolkata – Bangalore – Hampi – Badami – Pattadakal – Aihole – Bangalore– Kolkata.
First one, was obviously better it covered one place more. But, the challenge was from Bijapur to return to Kolkata via flight meant travelling to Belgaum Airport via road about 160 km and also flights were much costlier than from Bangalore to Kolkata. Another option was to come to Bangalore from Bijapur via train then take the return flight, which meant additional train time of minimum 14.5hrs. It meant one more day of leave that I didn’t have. Plus, my friends used to live at Bangalore. So they requested I spent a day there. So we chose ‘plan-2’, it was also beneficial as train from Bangalore to Hosapete/Hampi are mostly overnight.
DAY - 4: [NORTHERN KARNATAKA ARCHITECTURAL CIRCUIT] – 17th August 2019 (Saturday)
I had written about my Hampi experience already in great details here. Hence, today let me share our experience in Badami, Pattadakal and Aihole on 17th August 2019. As a bonus due to the present intellect of our ‘driver hiriya sahodara’ and my affection towards sweets we got to visit Amingad too.
Badami, An Early Morning Visit
Located some 140 km northwest of Hampi, Badami is a township in Bagalkot district of northern Karnataka. This place has some mythological as well as historical background. During 6th-8th Century it was called Vataapi/ Vatapipura/ Vatapinagari/Agastya Tirtha (sage Agastya being the mythical link, Vataapi comes from the related story of Ataapi-Vataapi demon brothers), capital of the early Chalukya dynasty. Our pre-booked car picked us four friends (Koushik, Samit, Diptesh and Me) from Hotel Malligi in Hosapete at about 7AM and after almost three hours we reached Badami. At first the impression of Badami was not too good for me, it seems muddy and dusty. It changed greatly eventually.
Chalukyas were a famed kingdom of ancient India. They used to have their Empire in Aihole/Pattadakal but then moved it to Badami in ~500 AD. Badami means Almond in Kannada, named from the color of the stones.
Ideally one should stay there for one day to cover different parts of it, but our plan was not so. As usual, we missed a lot of places. Let’s discuss the ones we visited first.
Badami Caves: further into the past –
Pulakeshin I of Chalukya dynasty founded Badami in 540 AD and made it his capital. His son Kirtivarman I succeeded him and constructed most of the cave temples. Kirtivarman has three sons named Pulakeshin II, Vishnuvardhana, and Buddhavarasa. He was succeeded by his uncle Mangalesha who also constructed the cave temples.
There are into six cave temples present in Badami out of which four complex Hindu temples are really special. There is a stepped climb to reach the caves. We went on a very sunny day; the heat was quite something. While climbing towards the caves monkeys were being really vicious. In Hampi too there were monkeys. But, these seemed more violent. One of them attacked Diptesh for water he gladly surrendered Samit’s water bottle, specially presented to him by somebody. This caused some kerfuffle among friends for quite sometimes, I found it rather amusing.
These caves are much older than anything we saw at Hampi, they were discovered to be made in the 6th Century during the reign of Chalukya Empire (6th-8thcentury) out of Sandstone and currently a UNESCO world heritage site candidate. These are examples of Indian rock-cut architecture, otherwise called Badami-Chalukya architecture. On the east of these caves is a man-made waterbody called ‘Agastya Lake’.
Note: For the four major temples the core structure is - entrance verandah (mukhya mandap), supporting stone columns and bracket, a columned mandap (main hall, also maha mandap), a square shrine (sanctum sanctorum, garbha ghriha). Now let’s look at each cave one by one, from west to east in order -
Cave: 1 – Situated some 60 ft. above ground, this cave hosts various sculptures of Hindu divinities and themes. The most prominent carving here is of ‘Tandav Mudra of Nataraja’, 5 feet long with 18 arms depicting dance positions in a geometric pattern, a time division symbolizing the cosmic wheel. All hands are showing some Natya mudras with some holding drums, flame torch, serpent, trident and an axe. Other important sculptor and their relative positions are –
Entrance steps - dwarfish gans (attendants) supposedly holding the cave floor.
Beside Nataraja - Ganesh, Nandi the Bull.
Adjoining wall of Nataraja - Durga slaying Mahishasur.
Left of entrance - Shaiva dwarapal holding trident, below him a (right)bull-elephant(left) fused image sharing a head.
Inside veranda - sculpture of Harihar (7.75 ft. high, fused image half-Shiva-half-Vishnu with Parvati, Lakshmi on apt sides).
End of the wall (right) - a relief sculpture of Ardhanarishwar (on Parvati's side - an attendant carrying a tray of jewels, on Shiva side - Nandi the bull, skeletal Bhringi.)
Inside cave - Ganesh and Kartikeya (family deity of Chalukya's).
On roof - 5 carved panels, center depicting Nagaraj, flying couples on both sides.
In another compartment - a bas-relief carving of a male Yaksha and a female Apsara.
On ceilings (images) - Vidyadhara couples, couples in courtship, erotic Mithun.
Vidyadhara are a group of demi-gods who attend Shiva according Agni and Bhagavata Puran.
In mandap - a seated Nandi facing the garbha ghriha
Garbha ghriha (sacrum sanctum) - a Shiva linga.
Cave: 2 – Situated next and quite similar to Cave 1 in size. The largest sculpture here is a relief of Vishnu as Trivikrama. The fifth incarnation of Lord Vishnu ‘Vaman’ in his giant form while taking three strides of land from king Bali, covered the earth, heaven and the space in between. From then onwards, he got another name Trivikrama, the god of three strides. This Trivikrama relief here showcases a special northern Deccan temple style.
N: B: Sculpture is a visual art of three dimension. A ‘relief’ is different than a ‘carving’ in the sculptural technique, where sculpted elements remain attached to a solid background of the same material. The Latin word ‘relevo’ means ‘to raise above the background’ is cited as the source for ‘relief’. In reality ‘relief’ sculptures are cut in from a flat surface lowering the field, leaving the non-sculpted parts seemingly raised.
Other important sculptor here and there relative positions are –
Four Square pillars - decorative carvings of gans (mythical dwarfs).
Two sides of entrance - dwarapal holding flowers.
Below the raised step of Trivikrama - a wide central section (frieze) showing legend of Vaman avatar of Vishnu, before he morphs into Trivikrama.
Another major relief - legend of Vishnu in Varaha avatar rescuing earth (Bhudevi) from the depths of cosmic ocean, with a penitent multi-headed snake (Naga) below.
Inside temple - friezes showing stories from Bhagavata Puran like Samudra Manthan, Krishna's birth and flute playing etc.
On ceilings & door head - carvings of Gajalakshmi, swastika, flying couples, Brahma, Vishnu asleep on Shesh Nag, a wheel with 16 fish spokes (Matysa Chakra), Vishnu on Garuda etc.
Gajalakshmi is one of Ashta Lakshmi (a group of eight manifestations of Lakshmi).
Cave: 3 – This is the largest cave here. Also the most intricately carved. It features a Vishnu mythology. Through an inscription present, I came to knew its exact dating. It is dedicated to King Mangalesha of Chalukya dynasty in Saka 500 (578/579 CE). Though it is written in the old Kannada language, I overheard a guide explaining this to his group (we didn’t have guide, they asked for Rs.550/- for an hour long tour). The cave temple is unique in its design to showcase multiple facades of Indian temple architecture – (i) A combination of both Nagara (north Indian) and Dravida (south Indian) styles, (ii)Some icons, reliefs in Vesara (fusion of Nagara-Dravida) style, (iii)Yantra-chakra motifs (geometric symbolism) and (iv)Some colored fresco paintings.
Some important features here and there relative positions are –
Supported by six pillars.
Entrance
On left - sculpture of Vishnu with 8 hands (standing)
On right - sculpture of Trivikrama
Verandah
On (left) East - Vishnu on Shesh Nag, next to it - Varaha rescuing earth
On (right) West - standing Narasimha, Next to it - Harihar
On roof - 7 panels painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kam, Dikpals.
Main Hall
On ceiling - Fresco paintings (mostly faded); eg. Brahma on Hansa vahan, wedding of Shiva-Parvati. Relief of Agni, Indra and Varun
On floor - Lotus medallion.
Front Aisle
On roof - panels with murals of female flying in the clouds, male yaksha holding sword & shield.
Back wall - carvings of Vidhyadharas.
Pillar brackets - Mithun scenes - courtship, embrace.
Cave: 4 – In contrast to the last three, this is not a Hindu temple, rather a Jain one. As proven by the Jain icons and themes present here. It is the smallest among the four. Expert says, though it is dedicated to Tirthankars (Jainism), it was sponsored by Hindu kings in later part of the 7th-century. Others say, it was created in the 8th century and modified till 11th-12th century. Most important features are -
Veranda - 5-bayed entrance with 4 square columns.
Main Hall - 2 standalone and two joined pillars.
Inside cave - carvings of Adinath, Bahubali, Parshvanath, Mahavir and symbolic display of other Tirthankars.
Adinath/Rishabnath - 1st Tirthankar, life-size sculpture, the first Tirthankar, flanked by 12 Tirthankars on either side, Digambar, Kayotsarga pose (given up body movements and comfort).
Bahubali standing in Kayotsarga meditating posture with vines wrapped around his leg, he was one of the 100 sons of Adinath.
Parshvanath - 23rd Tirthankar in Kayotsarga pose with the five-headed cobra hood.
Mahavir - 24th Tirthankar sitting on a lion throne - sitting under chaitya vriksha (holy tree) with Paryankasan posture (lotus like, upward facing palm on top of each other), Prabhamandal (circle of halo) around head, Mukkode (three stacked umbrellas) above Prabhamandal.
All three figures flanked by attendants with chauri (fans), sardulas and makara's heads.
Other carvings - Indrabhuti Gautama covered by four snakes, Brahmi and Sundari.
Near Entrance - relief of Jakkave - pious Jain nun, who attained Moksha through Sallekhana (reduce human passion by following certain vows) sitting besides Mahavir.
Inner pillars and walls - 24 small Jain Tirthankars images.
Idols - Yakshas, Yakshis, Padmavati.
(Additional Caves) Cave: 5, 6 – Around the lake, we saw two probable cave opening, but decided against venturing there. Later study informed me one of them is most probably a Buddhist cave and the other one has been discovered very recently (2015). This sixth supposedly has 27 Hindu icon carving. Both of these are some 500 meters (~1,600 ft.) far from the four main caves. Some information’s for the fellow travelers -
The caves are open to tourists from 9:00am to 5:30pm on all days of the week.
Entry is paid, there is ticket counter below the stepped entrance to the cave campus.
Sudden Discovery: Domed Tomb
While going through the photos we clicked I found a picture among the Badami caves which was strange. It was taken as a top view from the temple entrances by Samit. What seems like a Muslim tomb, has no reference anywhere when I search about Badami. At last I searched using the picture in google image and found out from solobackpacker.com that it is a funerary monument which normally stays closed. It is a 17th century artifact made up with red sandstone, erected by some local governor of Adil Shahi Rulers in the memory of his wife. It is a proportioned architecture with typical features of Adil Shahi Architecture.
Other skipped monuments/activities in Badami –
On the other side of Agastya lake – Bhutanath Group of temples (I have taken a top-view picture though).
Mahakuta Group of Temples.
Badami Fort.
Rock Climbing in Badami.
Banashankari Amma Temple - in Cholachagudd near Badami.
Our Badami visit was done for the day. This time we skipped places intentionally to cover other major spots. Out next stop was Pattadakal some 23 km far.
Pattadakal, at Noon
If I compare between Badami, Pattadakal and Aihole – I am probably a bit biased towards the middle one due to the variety in has in its temple architecture.
Pattadakal means a 'place of coronation'. It is considered a holy place as, here Malprabha river turns north towards Himalayas. The name comes after the fact that, during the Chalukya dynasty it was where coronation ceremonies used to happen, Other names include Kisuvolal meaning "valley of red soil", Raktapura meaning "city of red" etc.
To give a little context to its temple diversity - Pattadakal, Aihole and Badami are sits for major cultural center and innovations in architecture and experimentation of ideas. During Gupta Empire (5th century) Aihole became a locus of scholarship. The experimentations in architecture extended into Badami over the course of the next two centuries. This culture of learning encompassed Pattadakal in the 7th century which became a nexus where ideas from northern and southern India fused. It was during this latter period that the Chalukya empire constructed many of the temples in Aihole-Badami-Pattadakal region.
Pattadakal temple complex is estimated to be created around 7-8th century. There are ten temples in Pattadakal, both Hindu and Jain. Out of these, 6 are in Dravidian-Vimana Style and 4 in Rekha-Nagara-Prasada (north Indian). All of these are situated at the west bank of Malprabha River, 14 miles from Badami and 6 miles from Aihole. 8 of the temples are clustered together, a 9th about half a kilometer south of this cluster, and the 10th (Jain temple), located about a kilometer to the west of the main cluster. The Hindu temples are all connected by a walkway, while the Jain temple has road access. There are 9 Hindu temples dedicated to Shiva, 1 Jain Temple.
Now let’s visit each temple one by one –
[01] Kadasiddheshwar temple - Comparatively a smaller one, said to be built around mid-7th to 8th century. Some important features of this temple are -
A square garbha ghriha, a mandap around this sacrum center.
A linga hosted on a platform, a Nandi bull statue facing it.
Another mandap acts as a circumambulation path.
A Rekha-Nagara styled Shikhar (spire) with a sukanasa projection.
Sukanasa - An external ornamented feature over the entrance to the garbha ghriha, sits on the face of the sikhar tower. The name strictly means "parrot's beak", and is often referred to as the "nose" of the temple superstructure, as part of the understanding of the temple as representing in its various parts the anatomy of the deity.
Outer walls of sanctum - images of Ardhanarishwar on north, Harihar on west, Lakulish on south.
Lakulish - Means 'lord with a staff/mace' was a prominent Shaivite revivalist, reformist and preceptor of the doctrine of the Pashupatas, one of the oldest sects of Shaivism. According Linga Purana, he is the 28th and last avatar of Shiva. Mythologically, he was a contemporary of Vyasa and Krishna.
On a lintel (horizontal support across top) at sanctum entrance - Shiva, Parvati, Brahma, Vishnu.
Steps at sanctum entrance - Ganga & Yamuna with attendants.
[02] Jambulingeshwara temple - Estimated to be created in between mid-7th-8th century. Some important features of this temple are -
The Nataraja sukanasa on temple spire.
A square garbha griha/sacrum sanctum.
Outer walls of sacrum sanctum - intricate Devkoshth (a structural horizontal blocks/niches with decorated frames).
within Devkoshth frames - images of Vishnu (north), Surya (west), Lakulish (south).
Projected sukanasa from shikhar over the mandap - dancing Shiva Nataraja with Parvati, Nandi on the frontal arch.
An elevated platform hosting Nandi, mostly eroded.
Overall temple style Rekha-Nagara with a curvilinear profile of squares diminishing as they rise towards the sky.
[03] Galaganatha temple - Situated at the east of the Jambulingeshwara. Estimated to be created between late 7th to mid-8th century. Some important features of this temple are -
Overall style Rekha-Nagara style with a linga, a vestibule (antaral) within temple garbha griha.
Outside temple - a seated Nandi facing sanctum.
Sanctum covering circumambulatory path (pradakshina path).
Various mandaps - community hall (Sabha mandap), mukhya mandap (only the foundation remains).
Temple mostly in ruins, except southern part - contains a carved slab showing an eight-armed Shiva wearing a garland of skulls as a yajno-pavit killing the demon Andhak.
yajno-pavit/poite - sacred thread across the chest.
Andhak - According Shiva Puran, Shiva creation, Hiranyaksa's adopted son, who wanted to marry Parvati.
Basement of the eastern molding - broad horizontal bands (friezes) of Panchatantra fables (mischievous monkey, fable of two-headed bird).
[04] Chandrashekhara temple - A small temple without a tower, situated on the south of Galaganatha, dated to the mid-8th or late 9th or early 10th century. Some important features of this temple are -
Garbha griha with a Shiva linga and a closed hall.
Nandi on a platform to the east facing the linga.
Pilasters lacking in ornamentation on the exterior walls.
A Devkoshth in walls on either side of temple sanctum.
A dwarapal on each side of entrance.
[05] Sangameshwara temple - It is also called the Vijayeshwara temple. It is the oldest among the 10. This large, Dravida style temple is located on south of Chandrashekhara. It was built during the reign of Vijayaditya Satyashraya, between 697-733 CE (or, 720-733 CE). It is left unfinished (work continued intermittently later). Some important features of this temple are -
Sanctum surrounded by a covered pradakshina path (circumambulatory path) with 3 carved windows, inside a Shiva Linga.
In front of the sanctum - eroded empty shrines.
East of the hall - a seated Nandi.
A mandap with 16 pillars set in groups of 4.
A vimana superstructure above the temple and the outer walls. It is 2-tiered, crowned with Sikhar and Kalash.
Temple walls - many Devkosth with images of Vishnu, Shiva (various stages of completion).
Shaiva iconography - dancing Nataraja, Ardhanarishwar, Shiva with Bhringi, Shiva spearing Andhak, Lakulish.
Vaishnava iconography - Varaha lifting goddess earth etc. (Incomplete).
Excavations suggests (1969-71) - a brick temple structure beneath the hall. Hence, may be Sangameshwara had been built over an older temple, possibly dating to the 3rd century CE.
[06] Kashi Vishwanatha temple - Another name is Kashivishweswara, dated to the late 7th, early 8th or the mid-8th century. Some say it was constructed during Rastakuta dynasty's reign. Some important features of this temple are -
Square garbha ghriha housing a linga.
East of garbha ghriha - molded platform of Nandi-mandap, image of seated Nandi.
Pranali - stone structure to drain out water.
Ganga, Yamuna visible at the entrance to mandap.
Temple sits on a raised platform, decorated with carvings of horses, elephants, lions, peacocks etc.
Entrance door features a Shaiva dwarapal on each side.
Sculptures - Ardhanarishwar, Lakulish (northern wall, damaged and defaced).
Superstructure - Rekha-Nagara style, 5-stage projection, sukanasa - mounted on spire in front of temple, dancing Uma-Maheswara inside an arch.
Pillars and pilasters - carved friezes of Bhagavat Puran, Shiva Puran, Ramayan. e.g. Ravan lifting Kailash, playful pranks of Krishna, Kalyansundarmurti (marriage of Shiva-Parvati).
Ceiling - carvings of Shiva, Nandi, Parvati holding Kartikeya, ashta-dikpals.
[07] Mallikarjuna temple - Also called the Trailokeswara Maha Saila Prasada is a mid-8th-century Shiva temple sponsored by queen Trailokyamahadevi, located south of Kashi Vishwanatha temple. It was built about the same time as the Virupaksha temple, with a similar design and layout. Some important features of this temple are -
A fully developed Dravida-Vimana style architecture.
Garbha griha with a Shiva linga, circumambulatory path, an antechamber with small shrines for Durga, two empty shrines.
A Nandi-mandap, a pillared Sabha-mandap.
Experimental architectural ideas - dancing Shiva set in the shallow arch of the sukanasa, hemispherical roof.
Stone carving storytelling - ras lila of Krishna, kam-mithun scenes of couples, worker walking with an elephant.
[08] Virupaksha temple - Located to the south of the Mallikarjuna temple, the largest and most sophisticated monument at Pattadakal. It is also known as 'Shri Lokeshwara Mahasila Prasada', as it was sponsored by Queen Lokmahadevi. Built around ~740 CE. Some important features of this temple are -
Square garbha ghriha with Shiva Linga, circumambulatory path, two small shrines of Ganesh and Parvati.
External Nandi pavilion.
Entrance leads to a mandap with 18 columns.
Tower above sanctum - 3-storey pyramidal structure, 3rd storey is the simplest, sukanasa.
Dravidian architecture - sanctum walls decorated with intricately detailed carvings of Shaivism, Vaishnavism, Shaktism deities.
Vaishaivism - Narasimha, Varaha, Vishnu rescuing Gajendra elephant trapped by a crocodile in a lotus pond, Ramayan - golden deer, Hanuman, Sugriva, Vali, Ravan and Jatayu etc.
Shaivism - Bhairava, Nataraja, Harihar, Lakulish.
Others - Brahma, Durga, Saraswati, Lakshmi, people as couples, in courtship, mithun, individuals wearing Jewellery, Panchatantra fables, Surya riding the chariot with Aruna, Indra on elephant etc.
[09] Papanath temple - This is the ninth temple which is not within the earlier discussed 8 temples' cluster. It is about half kilometer to the south of Virupaksha, dated towards the end of the Early Chalukya rule period, approx. mid-8th-century. It has a mix of Dravida and Nagara temple styles. Some important features of this temple are -
The temple is longer, incorporating two interconnected mandaps, one with 16 pillars and another with 4.
The decorations and some parts of the layout are Dravida in style.
Tower and plastered niches are of the Nagara style.
A Shiva linga in its garbha ghriha, no Nandi-mandap, an image of Nandi housed in the Sabha mandap facing the sanctum.
In temple walls - carved deities Shaivism, Vaishnavism, Durga, Ramayana and excerpts of the Kiratarjuniya.
Kiratarjuniya - epic 6th century sanskrit poem by Bharavi, describing the combat between Arjuna and Lord Shiva (kirata - mountain dwelling hunter).
On ceiling - Nataraja, Vishnu (reclining Anantasayana pose).
Outside mandaps - images of single women and couples, in courtship and different stages of mithun, musicians with instruments.
[10] Jain Narayana temple - The last one, likely built during the 9th century, possibly sponsored by Rashtrakuta (dynasty) King Krishna II or the Kalyani Chalukyas. It is dedicated to Parsvanatha. Some important features of this temple are -
A statue of a Jina carved into the north side kapota eave.
Jina - Jain Tirthankars were called 'Jina' or ‘Victor', who has succeeded in crossing over life’s stream of rebirths.
Kapota – Pigeon.
Eaves - The part of a roof that meets or overhangs the walls of a building.
A square sanctum, a circumambulatory path, an antechamber, a mandap and a porch.
Mandap is divided into 7 bays at the north and south walls, with narrow niches containing seated Jinas.
The bays are in the North Indian style and the tower storey has a carved square shikhar.
Some of the artwork is only partially finished.
On entrance - carvings of a life-sized elephant torso with riders.
A.S.I. excavations at the site suggests an older temple and Jain structure was present here before, probably belonging to before or beginning of the early Chalukyan rule.
An information for the fellow travelers -
Entry is paid, I forgot the ticket price.
Sudden Discovery: Monolithic Pillar
While going through the photos we clicked I found a picture among the Pattadakal one, taken by Diptesh. It is a monolithic structure. It stands in front of Mallikarjuna temple. It contains inscription in Siddhamatrika (Tamit characters of 8th century) and Kannada. Google search also yeiled information about its content - invocations of Shiva and Hara Gauri, reference to King Vijayaditya, Vikramaditya II.
Other skipped monuments in Pattadakal –
Naganatha temple,
Mahakuteshwara temple.
Our Pattadakal visit was complete. Our next stop was Aihole.
Aihole, one last stop
Our third stop was Aihole. Also known as Aivalli, Ahivolal or Aryapura. It is a village of farmlands and sandstone hills some 9.7 km from Pattadakal. We reached there after having lunch mid-way from Pattadakal. While driving towards the temple complex, we saw a lot of social service cars carrying some yogurts and what seemed a brand of yellow rice.
Victims of circumstances –
Once we reached the main temple complex there were many people (locals) gathered there. They seemed in a desolated condition. By the time our tour here was over, we saw those cars reaching here to distribute foods to these people, some of whom seemed to be living on the temple campus itself temporarily. The yellow rice or, Chitranna along with yogurt is the common lunch here. 2019 was a tough year for northern Karnataka. A flood on the early part of August caused massive havoc and life loss here. These people were uprooted from their homes. While leaving Aihole through road bypassing villages we saw a lot of destruction of properties and water logged farmlands. It was curious to know that as victim shelters Aihole administration choose to use the ancient temple campus, endangering our heritage. I do support that past cannot exist on the cost of present life. But, managing these heritage sites generate both domestic and foreign revenues. If they are not being used to provide the bare minimum infrastructure to the local villagers, then that is also not acceptable. It was a total administrative failure.
A brief context to Aihole –
Aihole too is situated on the banks of Malprabha River. Mythological speaking, it is the river where Parashuram washed his axe after killing abusive Kshatriyas. Hence, the riverbank soil here (Aihole) turned red. Historically, this cradle of Hindu rock architecture till 9th century was under Chalukyas reign. Then it became a part of the Rashtrakuta kingdom (9-10th century). Again during 11-12th century, the Late Chalukya/Western Chalukya/Kalyani-Chalukyas reigned here. During all dynasties one thing was common, new temples and monasteries of Hinduism, Jainism & Buddhism kept getting built. Aihole served as a hub of Hindu temple arts in this period. During 13th century and thereafter, the Malprabha valley was plundered by the Delhi Sultanate. Again came the Vijayanagar Empire which protected the monuments. However, it suffered during the wars between Vijayanagar kings and Bahmani Muslim sultans. After Vijayanagar's collapse (1565), Aihole became a part of the Adil Shahi rule from Bijapur. Temples started being used as residence of garrison and storage for weapons/supplies. In late 17th-century, the Mughal Empire under Aurangzeb gained control of the region, after this Marathas, then Haider Ali and Tipu Sultan (late 18th century), followed by the British that defeated Tipu Sultan and annexation.
The Architectural Marvels –
Aihole has about 125 temples which belong to the followers of Hinduism and Jainism. In addition, there are cave temples and Buddhist monuments too. Only visited a handful of them. The village has not yet been listed in the UNESCO World Heritage sites. During much of the 20th-century, Aihole remained neglected. Still now the site consists of houses and sheds built up to and in some cases extending into the historical monuments. The walls of the ancient and medieval temples were shared by some of these homes even in 1990s. It was and still in some regard a shame. Though now the scenario is gradually changing. We saw a few dedicated archaeological parks. Still many temples & monasteries continues their presence amidst narrow streets and congested settlements.
I only saw a fraction of all that Aihole has to offer. Below are the set of places we visited -
***Durga temple complex - In total 8 stopping points. Tickets should be brought to enter this complex.
Durga Temple - The temple is not named after goddess Durga, rather some feel 'durga' means fort. As, it stands near the ruins of a fort-like enclosure (from late medieval era Hindu-Muslim conflict). Others notion is, a stone rubble durg and lookout was assembled on its flat roof hence the name. The temple is dated to 5th/late 6th/early 8th century. Some interesting features here -
Apsidal layout - a large semicircular or polygonal recess arched or with a domed roof (from apse structure of church).
Shape similar to 2nd-1st century BC Buddhist chaitya halls of Ajanta Caves.
Stands on high molded adisthan - Nagara feature.
A damaged tower with a curvilinear shikhar.
Mukhya mandap (main hall), Sabha mandap (community hall) have intricate carvings.
Deities -
Shaivism - statues of Shiva, Harihar
Vaishnavism - statues of Vishnu, Varaha, Narasimha; friezes of Ramayan, Mahabharat.
Shaktism - statues of Durga (Mahishasur-mardini form).
Others - Ganga, Yamuna, Brahma, Surya; artwork - daily life and couples (courtship, mithun).
Suryanarayana Temple - Situated next to the Durga temple. It has a pyramidal shikar on top. It has a Surya statue with each hand holding a lotus flower in its garbha griha (sanctum), a chariot and seven small horses carved at the bottom. Mostly damaged.
The Lad Khan Temple - Confusing dating ~450 CE/6-8th centuries. The temple is named after the Muslim commander under Adil Shahi Sultan who briefly stayed here about a thousand years after it was built. Some interesting features here -
Three concentric squares.
Sanctum with a Shiva Linga.
Inside the inner third square - a seated Nandi.
The two square mandaps.
Iconography from the Shaivism, Vaishnavism and Shaktism, Garuda image, Ganga, Yamuna, Surya, daily life, amorous couple.
Gaudargudi Temple - It is built on the lines of Lad Khan temple but more open from all sides, older than it. Some interesting features are -
Empty sanctum with a Gajalakshmi on its lintel (horizontal support).
Inscription states the temple is dedicated to Gauri (Parvati).
Among the earliest temples which includs pradakshina path.
Stepwell - Next to the Gaudargudi/Gaudergudi temple. It is water storage with walls having carved sculptures. This stepwell is between the Gaudargudi and Chakragudi temple. It was likely added in the 10th or 11th century.
Chakragudi Temple - It has 7-8th century Nagara-style tower superstructure.
Badigargudi/Badigergudi Temple - Situated on the southwest of the Durga temple complex. It has a pyramidal tower with a large cubical sukanasa containing a Surya icon. Mostly damaged.
Aihole Museum and Art Gallery - Managed by the ASI. It was closed when we visited.
***Ambigera gudi complex - This is situated immediately west of the Durga temple complex, near its entrance ticket office. 'Ambiga' in kannada means 'boat man'. Not sure why this name. It consists of three monuments,
The easternmost monument - Square monument walled on its east, north, and south, lacks a tower, dated 6-8th century.
Middle monument - largest of the three, open verandah, sloping roof cover, sanctum hosting a damaged Surya image, dated 6-8th century.
The third monument - A Late Chalukya design from about the 11th century. Damaged - image inside the sanctum is missing and the face, nose and limbs, wall carvings are defaced.
***Jyotirlinga temple complex - It is located east of the Durga temple complex compound across the road and contains 16 Hindu monuments of small sizes (includes large stepwell water tank). The temples are dedicated to Shiva and are largely in ruins (except Nandi mandap or, Basavanna mandap and pillars). Some intricately carved but damaged images of Ganesh, Karitikeya, Parvati and Ardhanarishwar are still visible. I could see only one fully enclosed temple which has only side entrances.
There was a lot more to explore on Aihole. But our time was limited, I have a plan to visit again to cover all important places in Aihole, not sure if I will be able to now. Still I am listing all my missed places for future reference -
Ravana Phadi cave temple, Hucchappayya matha, Hucchappayya gudi, The Mallikarjuna temple complex, Ramalinga temples group, Veniyar shrines complex, Galaganatha temples group, Maddin temples group, Triyambakeshvara temples group (5 Hindu temples), Kunti/Konti-gudi group of monuments (4 Hindu temples), Gauri temple mandap, Tarabasappa temple, Hucchimalli temple, Aralibasappa temple, Sangameshwara temple and Siddanakolla, Two storeyed Buddhist temple on Meguti hill, The Meguti Hill Jain temple, Jain cave temple, Yoginarayana group of Jain monuments (4 temples), The Chanranthi math Jain temple group (3 Jain temples).
Amingad, a sweet sayonara
We were returning towards Hosapete by 3PM. Along the way, I remembered about Mysore Pak, the famous sweet of Karnataka. When enquired our driver-bhai said, we should try Karadantu instead. Good Karadantu is rare than Mysore Pak. It is also a specialty of Amingad via which we were returning.
Karadantu is like an edible gum mixture of dried fruits, Bengal gram flour, jaggery, marking-nut seeds etc. It has a chewy texture. Amingad town in Bagalkot district Karnataka is famous for it. We stopped at the most famous shop - Vijaya Karadant. I brought a lot for home and office too. Others to joined in. It was a great surprise we end the trip on such a high.
My return consisted on a train journey to Bangalore via train overnight, a half day stay at Samit's and later Koshik's flat and then a flight back to Kolkata via Delhi !!!! Indian domestic airways have a weird relationship with most of us. My flight was suddenly cancelled without prior notice. I had two options - stay another day or, take a connecting flight with layover in New Delhi, increasing my flight time by 5 hrs. I had to comply, next day being Monday. Despite being jet-lagged on return, I was really pleased with the experience, it left a never ending sweet taste in my mouth.
<<== PART -4(HAMPI)
References:
Wikipedia
Google Maps, Images,
solobackpacker,
Karnatakatravels
Hindu Temples of India
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