Japada Bavi, the stepped well of Dambal

June 15, 2022

Japadabavi is a merger of two words- Japa + Bavi. Japa means chanting of god's name and Bavi means well. This well is unique, so is its name. This well gets its name because it has been designed in such a way that a person can take bath in the well and perform  rituals within the walls of the well.

As per Hindu traditions, a person has to be clean and pure physically before sitting for pooje or japa or dhyana. So after bathing, the person should head straight to the poojasthala (place of worship) without coming in contact with anyone or anything. This reminds of a little story one of my uncles had shared. During his childhood days, his father would wait at the bathroom door, as soon as my uncle finished his bath, stepped out with a towel around his waist, he would be herded to the pooja room where he applied Vibhuti to forehead, neck and arms, then chant a sloka or two and then free to go. The process was to ensure that pooje is performed in the freshest condition. This practice goes back to ancient times where people would take bath and then sit for pooje or japa dripping wet. Japada Bavi was one such well designed for a person to bathe and immediately commence rituals.

This is the stepped well of Dambal which was discovered relatively recently, my guess is within the past twenty years or so. Going by the well's architecture and construction, it seems very much a Chalukyan creation, sometime in X to XII Centuries CE. This well could be built around the same time as Doddabasappa Devastana. The well is situated about 280m southwest of Doddabasappa.

The well's entrance is on the eastern side. It is about 22m long and 10 meters wide. However in the lengthwise direction, the well tapers towards the entrance. In plan the well looks like a linga pedestal.

The number of shrines within this enclosure is 21, I think. Builders usually stick to odd numbers, even in measurements, for example 21 feet in length or the number of tiers in a Shikhara would be 7 or 9 or 11.

View of the well from the western side. The little shrines are scaled down temples, the proportions are more or less same.

The number of steps here, in the foreground would also be in odd numbers.

Of all the pictures in this post, this one is my favorite picture. The crown of one of the shrines gives a special feeling to this picture. The crown design & finish reminds me of an automobile part ...a die cast and precision machined component. Looking at the complete picture, the lines created by the steps and Shikharas is remarkable.

I think a spike made of an alloy fitted into the hole a the center. If my imagination is a fact then every Shikhara would be having a glittering spike at the top. The metallic spike would have a reason, something to do with cosmic energy.

The enclosing wall is five tiered and stepped. The wall design is fascinating too, the effect of flowing lines.

The bends in the wall are brilliant designs. Functionally they have proved their mettle by surviving centuries and aesthetically they are marvelous. Every tier's bends are clever designs. Makes me wonder what purpose these designs had. They are not just for aesthetics, there's some functional value to it.

Another view of the enclosure wall.

Normally in ancient sculptures ones gets to see uniform surfaces which means the stones are free from internal deformities or variations. Here a few of the blocks have a unique texture caused due to internal deformities. A highly experienced sculptor has shaped this stone as though the deformities didn't matter in the least. The final output is displays the same precision as seen in normal textured blocks here.

I heard from locals that ASI would be taking this well under its care which means it would become another protected monument. Hope that happens soon.

Done with Japada Bavi, I head towards this little temple just a stone's throw away. The temple's doorway is a sign that this is another Chalukyan creation. The walls are recent, made of stones and mud. This temple is called as Siddeshwara Gudi, if I remember it correctly.

A closer look at the five-tiered door frame. Gajalakshmi adorns the horizontal portion.

Image of Gajalakshmi.

I took a look at the inside without actually entering the temple. Seeing the interior was a pleasant surprised.. a Rangamantapa, a doorframe with meshwork screens the Antharala (vestibule) and another entrance on the southern side. Normally temple doors are placed on the northern as well but here we have just two entrances.

A diagonal view of the temple. At some point of time, the original structure was damaged, probably many of its pillars and beams were damaged badly. So while restoring the temple, masonry walls was the only option. Thank to the team for their efforts to protect this Chalukyan creation.

A closer look at the southern door-frame.

From here I head back towards my car which was parked on the dirt track going along Dambal fort's moat. I had noticed a local person who was hanging for some time there, I inquired if any other ancient temple was present in the vicinity, besides Someshwara and Doddabasappa. Yes, there's another one inside the farmlands, a short distance away. I asked him if he could take me there. The person obliged and I followed my guide...

...the short trek to the temple was rather adventurous. First we had to cross a stream which flowed over a wall of a canal. The wall was slippery, it took me two minutes to wade through 30 feet. Then the narrow path winded through gauva plantatons, open farm lands and finally hopped across a bush to reach the temple. Here it is.

Like Siddeshwara Gudi, even this temple's antiquity originates from the door-frame. This shrine is a simple four-walled structure with a Shivalinga as the only deity. Thankfully villagers have taken care of this shrine and seems to be performing pooje once a week or fortnight.

I was kind of uncomfortable here because of lack of flowing air. I prompted my friend to start the return trek. Back at the stream, we go towards the flight of steps going up the tank bund ...to check out Dambal fort ruins and Victoria Lake.

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Dodda Basappa Devastana, Dambal

April 30, 2011

The main items on the agenda of the day were two forts- Srimantgad fort and Savanur fort, I stopped at Dambal since we were passing through the village. It was early morning when we reached Dambal, probably around 7 AM. Dambal is known for its two Chalukyan temples namely Someshwara Devastana and Dodda Basappa Devastana, they are situated almost opposite to each other, across the road. Besides these two temples, there are few other monuments-  1. a stepped well of Chalukyan times, local people call Japada Bavi, 2. ruins of a fort, 3. Ganesha Gudi, 4. Tontadarya Siddalingeshwar Math and several nameless monuments. Going by the number of monuments here, it looks like Dambal was a very important center during its heydays.

During my stop at Dambal I happened to see most of the places but I did not take proper pictures of any of these beautiful monuments. For some reason, I shot just a handful pictures. Here are few pictures shot at Dodda Basappa Devastana. The temple is an amazing structure, in fact this one of the few complete temples in good condition. When I say complete I mean its construction is complete including its Shikhara. The Shikhara is a handsome structure towering over the walls of the Garbhagudi. However, I could not get a proper picture of the temple itself because I was shooting directly into sunrays. Anyway, let's talk about the pictures.

Besides the temple Shikhara, Nandi is also a star attraction here. The lifesize Nandi is almost life like. Look at the stone's texture, the uneven shading makes the skin look so realistic. Nandi is placed directly opposite the temple's main entrance... facing the Shivalingu inside the Garbhagudi. 

Usually Nandi idols depict calves or young bulls. This one seems like a young bull, a very muscular one. The features are very realistic. Makes me wonder how one could sculpt a statue so realistic. I think the sculptor's hands worked involuntarily to the commands of the brain. The sculptor's mind is in complete control of his physical aspect.

This was shot against sunlight hence the haziness. In northern Karnataka, its a practice to keep Nandi idols covered in cloth since they are open to sky. I guess its a way to prevent unwanted stuff from falling on the idol.

This humanoid idol must be of a warrior queen who ruled over this area. I have no idea who it depicts but the idol is well made. Its a young lady, probably in her youth, a brave one who was adept with a sword.

This is the only picture of Dodda Basappa Devastana. As I mentioned earlier, the Shikhara is an amazing creation, in fact its much taller than the temple walls. I think the crown of the Shikhara is missing. There should've been a round ridged sculpture sitting atop the Shikhara. Probably that's the only missing bit.

The sight of these pictures is tempting me to visit Dambal very soon.

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Someshwara Devastana, Dambal

The decade old trip to Dambal happened on the morning of April 30, 2011. These pictures were shot in a Nikon Coolpix. These poorly composed pictures do not justify the beauty of this Chalukyan monument. However, since the pictures are so old, I thought they deserved a place in the blog.

Someshwara Devastana is situated on the outskirts of Dambal village, right besides Gadag-Dambal road. It is a protected site under the care of ASI. This temple is a classic Western Chalukyan design, it has a spacious pillared hall (Sabha Mantapa) with a dance stage (Nritya Mantapa) in the center, a vestibule (Antharala) connects the Sabhamantapa and the sanctum (Garbhagudi). This east-facing temple has three balustraded entrances. As you see the temple looks simple on the outside, its granduer lies in its interior. The temple has survived the forces of Nature & Time, also ASI has put in efforts to maintain its condition.

The exterior looks of the temple exudes strength, a feel of well built solid walls. The subtleness of the pillared walls has its own beauty.

The temple plan is symmetric in east-west axis. The eaves around the Sabha Mantapa and the projecting channels from the roof drain away rainwater efficiently, preventing seepage into the structure.

This is one of the balustraded entrances, probably the southern entrance. Here we get a glimpse of the pillars in the Sabha Mantapa. The outer pillars fixed into the seating platform (Sukhanasi) are half-pillars.

The Sabhamantapa has about 30 pillars including the 4 pillars of Nritya Mantapa. The deity of this temple is Someshwara, a form of Shiva.

I'm not sure why I shot just six pictures of this magnificent temple. That too only with Nikon. I cannot locate any pictures shot in Canon DSLR which I was carrying during this trip. May be I had limited memory cards and I wanted to save memory for two forts on the day's agenda.

I've been planning to revisit Dambal, hoping to see Someshwara Devastana again soon, very soon.
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Mukteshwara Gudi, Vakkund - chapter 5

...continued from Mukteshwara Gudi, Vakkund - chapter 4.

This is the finale of the 5-chapter article on the temples of Vakkund. The first part of this article covers the overall site, an island during the first visit and a hillock during the second visit. The second part covers the exterior of temples 1 & 2, third and fourth parts cover the interiors of temples 1 and 2 respectively. The fifth part will cover both exterior & interior of temple-3. Going by the looks of this temple, this too is incomplete apart from temple-2.

A Google Maps screen-shot of the site will help you understand the positioning of the three temples. Temples 1 & 2 are at the same. Temple-3 is situated at a slightly lower elevation. Temple-1 is a north-facing shrine, it called as Mukteshwara Gudi, is considered as the main item of this site. Temples 2 and 3 are east-facing and no names have been assigned to them.

Temple-3 has been built on a slope, a very tricky foundation laying work here. This temple was designed to create a sense to anyone looking at it. Compared to temples 1 & 2, here the Garbhagudi doorway is 1.5X, obviously the Garbhagudi volume would be more in comparison. We'll see the interior later, lets go around the exterior first. The Garbhagudi doorway connects to a space enclosed by two high walls, may be it could be called a roofless Sabha Mantapa. Had the construction of this hall been completed, it would've been a big space. The unusual feature of this temple is the circumbulatory path is outside i.e. it has been cut off from the Sabha Mantapa. The tunnel like entrances on either sides are the entry/exit of the circumbulatory (Pradakshinapatha).

Moving on the northwestern corner. The slopy ground on which the temple sits is clear from this spot. In the background, at a higher elevation sits temple-1. The slope in front of temple-3 is covered with several temple parts, finished and semifinished sculptures of various sizes. One of them is a 2½' x 2½' slab with a 3D star (see inset). I think this sculpture is a roof piece, it would've adorned the Sabha Mantapa ceiling or the Garbhagudi ceiling.

Moving on to the southwestern corner. The structure looks simple, solid, unshakable and handsome. Had it been complete, it would've been crowned by a grand looking Shikahara. it might have been the best looking temple of this site.

Coming to the front again but as seen from the southeasterly direction. Take a closer look at the threshold, it is higher than the usual thresholds.

The sanctum threshold too is high, as much as larger temples like Aghoreshwara Devastana. Considering the span of this hall, even if it had had a roof, there wouldn't be any columnar support to the roof beams - that's my guess. Also, there are no independent columns in this structure i.e. all the columns present here are part of walls, there aren't any pillar whose four sides are exposed.

This is a collage of Garbhagudi doorway and Pradakshinapahta exit. The circumbulatory is dark, the interior is a dark screen, more so because of the bright sunlight.

This is the Garhagudi floor, a very dusty surface. At the center is a pedestal for the deity. However, this sanctum's original design was to house three larger than life humanoid idols of Jaina Thirthankara. for three standing idols. 

The two overhangs seen here were meant to be shades for idols of Thirthankara. There are three such canopies in this Garbhagudi. I remember seeing such canopies over Thirthankara idols at Jaina temples on Chandragiri hill at Shravanabelagola. 

This is the Garbhagudi ceiling, a standard temple roof design. Imagine this roof with the lotus/star sculpture seen outside this temple. I think the square dimensions of the pocket here and the sculpture lying outside match.

View of the Garbhagudi-Dwara and Antharala. Reservoir water and left bank are seen in the doorway.

Silohoutte of the doorway and its Thorana. Notice the symmetry in this outline.

Almost done with temple-3 with this view of the reservoir through the Sabhamantpa. Seems like even the floor is unfinished, another layer is yet to be placed so that it has an even surface.

Now coming to the off-white block next to temple-3. Its a stone & mortar structure with the only opening at the top. A circular opening is there but the inner space is filled with rubble. I asked a villager about it. The answer I got was- they say it was a well. Probably a well or a water tank. When it was built is not known. My guess- it could be a century old. 

This spot here was concealed by temple-3 in the previous picture. The small notch like spot is a Sangama i.e. a stream merges with Malaprabha there. During this time, the stream is dry, one could see the confluence in the rainy season.

The pile of temple parts lying, waiting for attention from ASI team. Probably some of them will become part of these three historic temples. In the background a mound is seen, That's where Vakkud village is. People of this village are mainly into agriculture. The lands that get submerged are cultivated seasonally, probably cereals or vegetables are grown in the few months the land is exposed. The land that is away from the reservoir, sugarcane is the main crop.

The morning was very warm, in fact moving around in the sun was a tiring task. I was hungry as well. I walked back to the car, opened all five doors and let the heat escape. Meantime I washed my arms and face with water, felt refreshed. Bye bye Vakkund.

A kilometer away from Vakkund towards Anigol village, I noticed a pair of hero-stones, They are neglected relics but at least they are here.

A closer look at the hero-stones. Hope the villagers clear the boulders around them and place them in a neat rectangle as a boundary. That much care would be helpful... to those looking at them, the arrangement might portray a feeling of protected artifact.

I drove back towards Belavadi and then took the road towards Sangolli, in search of Sri Siddeshwara Vibhuti Gavi, a cave shrine in the hills near Kittur.

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