Kashi Vishveshwara and Surya Devastana, Lakkundi part-2

 ...continued from Kashi Vishveshwara and Surya Devastana part-1.

In the previous part we had seen the exterior of this Dwikutachala and interior of Kashivishwanatha. It is called so because of two separate shrines integrated into structure. The structure has two opposing shrines, Kashivishwanatha facing east and Suryanarayana facing west. This shrine is Suryanarayana Gudi, this is a compact substructure compared to the other.

Had this been a separate structure, the semi enclosed space seen here could've been called Mukhamantapa. However, since these two shrines share a common hall, the space between the two shrines' entrances is called Gudhamantapa. I'm not sure if this space had a roof or if the roof collapsed and never rebuilt. Another temple in this configuration is Jodu Kalasha Gudi at Sudi which is in a much better condition, complete and well preserved. Sudi is another important place during Chalukyan times, one can see a number of shrines including a large stepped well.

The two pillars seen in the previous picture are very ornate. In the picture below is the close-up of the left pillar. This picture seems like a collage of two pictures. No, it isn't. Its one picture, the effect of light on the objects in the foreground and background has caused the effect. However, I have adjusted the brightness of the two portions separately to enhance the effect. The sculptors have designed the pillars to look just like the Garbhagriha multi-tier doorframe. Now if you look at the pillar and doorframe again, a series of tiers are seen, right?

This space is infact Antharala (vestibule) connecting the two wider spaces- Gudhamantapa and Garbhagriha. The doorframe is a very interesting piece of work. One of the tiers features various characters in a gracefully flowing creeper.

This is the crown of the doorframe, Gajalakshmi occupying the position of prominence, The five horizontal tiers from bottom to top- jewelry pattern, ganas in creeper, damsels in elegant postures, jewelry pattern and long neck birds which seem like swans. This amazing design is a standard in Chalukyan temples. Wondering how many hundreds of such doorframes were produced by those ancient sculptors.

On the inner pillars is this relief work featuring a Keertimukha with strings of beads in graceful arcs clasping dancers and musicians. How could anyone chisel out such fine beads... that too so many of them precisely the same size... makes me wonder if the sculptors really used chisels & hammers. They must've had some special technique to produce these designs.

A similar work with subtle differences. Encircles in the creeper branches are two artists- a female dancer and a male drummer. One other thing is the consistency in the expression of the Keertimukha. 

A collage of two images. On the left is a part of the doorframe. Various themes put together to form a grand piece or art. Going from left to right; flower vase, geometric patterns and Keertimukha; groups of humanoid figures depicting some story; entwined serpents; lastly geometric patterns. On the right is an intriguing piece of jewelry which is a twisted bunch of bead strings merging into a holder in floral pattern. This particular art can be seen in many a Chalukyan temples.

Next we'll move on to a few story-telling sculptures on the exterior walls. Most of these seem to be related to Mahabharata but most have been mutilated. The one that is recognizable is the scene of Vanaras building the bridge to Lanka. A number of Vanaras are carrying boulders. Below the bridge are waves and in the sea are creatures like fish and tortoises.

This must be the scene of battel between Indra and Ravana. The clouds could be an indication that the battle is taking place in Devaloka. Arrows have been shot at Ravana. Indra's mount Airavata has been held by Ravana. Another warrior in a chariot is armed with a bow. 

I guess this is a scene of some battle. A heap of elephants writhing in pain. Sculpting human facial/bodily expressions is one matter and in animals is another. How cleverly the sculptors have produced this artwork.

Another beautiful work mutilated. This is the scene Ravana lifting mount Kailasa. The story goes like this: Once Ravana wastravelling in Pushpak Viman near Kailasa, as he tries to pass over Kailasa, Nandi prevented Ravana. In an enraged state Ravana mocks Shiva and Nandi. In turn Nandi curses Ravana that he would be killed by monkeys. Further enraged Ravana tries to uproot Kailasa and end up lifting it. Shiva presses down the mountain trapping Ravana who cries out and sings praises on Shiva for many years. Shiva forgives Ravana and also gifts him a sword. This particular story was a favorite for ancient sculptors and can be seen in many temples.

This is another sculpture of Ravana engaged in a fight with Indra & Airavata.

The story of Shiva slaying Gajasura, the asura in the form of an elephant. The sculptor has also shown Parvati and Ganesha standing next to Shiva.

A badly mutilated work. What can be recognized is a woman dancing in the presence of fifteen other women, a few sitting and rest are standing. Despite the missing bits, its recognizable that the women are clad in saree & jewelry and sporting fashionable hairstyles.

There are lot more to see in Kashivishwanatha Devastana, if one has the time and patience. Great were our ancient people, they led a very different life compared to ours. From here I head towards the historical museum and Brahma Jinalaya.

.........

Kashi Vishveshwara and Surya Devastana, Lakkundi part-1

Lakkundi is said to be a place of 101 temples and an equal number of Kalyanis in the X and XIV Centuries. Most of the temples were built during the Chalukyan rule, and later renovated & maintained by successive dynasties like Rastrakutas, Hoyasalas and Vijayanagara. Much later, British explorers & archaeologists discovered the ruins of Lakkundi, documented them systematically. Then these ruins came under the protection of Archaeological Survey of India (ASI) who restored the crumbling structures. Thanks to ASI and other for their efforts in preserving our heritage buildings.

Presently at Lakkundi one can see about 15 ancient temples including Kashi Vishwanatha. Of all the temples here, Kashi Vishwanatha is considered as the most ornate, rich in terms of the details seen in the sculptures. Also, this is the largest structure here. According to the British archaeologist James Harle, Kashi Vishwanatha temple is notable for integrating all three major styles of Hindu temple architecture– the Nagara, the Vesara and the Dravida.

This temple is a Dwikutachala, a temple with two Garbhagriha (sanctums). The temple is oriented in east-west axis, its two sanctums are placed opposite of each other. The two deities are Kashi Vishwanatha and Suryanarayana. The former faces east and the latter west. In this picture below we are looking in the westerly direction, the Shikhara seen here belongs to the Suryanarayana shrine. The two temples share the Gudhamantapa, the open space in between.

Kashi Vishwanatha - Suryanarayana temple is situated close to the southern edge of Lakkundi village. A stone's throw away is Nanneshwara Devastana. This picture below has been shot from the latter's steps. The two Shikharas' crown (Kalasha) are missing. Somehow most of the Chalukyan temples have lost their Kalasha. May be the Kalasha had some special property hence removed and taken away by invaders / archaeologists well before ASI took over.

This is the rear of Suryanarayana shrine. In the elevation, three distinct sections can be identified- the base, the mid section consisting of walls and the upper section comprising of the stepped & tapering Shikhara. The next picture is the side view of this Shikhara.

The side view of Suryanarayana temple Shikhara. It has a handsome look, the form exudes a strong feeling. Now imagine this with a Kalasaha, a complete side view.

Coming back to the Kashi Vishwanatha temple, this is the south-easterly view. Individually this temple has two entrances- east and south. Suryanarayana temple has only entrance. However, as a Dwikuta, there are three entrances- two in the south and one in the north. The Mukhamantapa of this temple seems damaged, the canopy is missing. Of all the entrances the southern entrance of Kashi Vishwanatha is the grandest.

The grand nine tiered door frame of southern entrance. The doorframe in turn is enclosed by a pair of pillars and a canopy. This would be the entrance for the royal members and high ranking officers, they would enter the temple facing north.

Five of nine tiers are hollowed out 3D sculptures. One could pass and thread or stick through these sculptures. Sadly these have been defaced, probably by the marauding armies of the bigoted rulers from Arab. Anyway, one can still be awe inspired seeing these amazing sculptures. Similar sculptures can be seen at Itagi Mahadeva Devastana which is about 42 kms towards east.

Zooming in further. The hollowed portions are clearly visible here. Each of the tiers start & end with a Shilabalika at the base of the frame. There are totally nine Shila-Balika pairs. This is the most damaged part of the entire doorframe.

This is the eastern entrance of Kashi Vishwanatha shrine. From this angle, with the Shikhara out of sight, the temple façade has a primitive look. It wouldn't be so had the Mukhamantapa was intact. With several components missing, it looks rather crude yet there is beauty. The open space between the two shrines is the common Gudhamantapa. Around the hall is a seating platform.

The grand Ranga Mantapa of Kashi Vishwanatha. The space is bound by four turned & mirror polished pillars. The base of these pillars are complex sculptures depicting miniature temples. Each face of the pillar base has legendary characters.

A closer look at one of the pillar bases. To see each of the 16 faces of the four pillars one would need spend at least a quarter of an hour. Similar pillars can be seen at other Chalukyan temples, for example Amargol Banashankari Devastana between Dharwad and Hubli.

Shivaya Namah. The deity of Kashi Vishwanatha. This deity, if its the original, definitely has a connection with Kashi, Probably it was taken to Kashi for to be consecrated after a dip in the holy Ganga. I wonder what the connection is.

The circular dance stage bound by the elegant pillars. Together they form the Ranga Mantapa. The effect of light and shadows is mesmerizing, the overall effect is monochrome sight in the real world.

This picture was shot by standing in the eastern entrance of Kashi Vishwanatha. The two ribbed pillars are too complex. The present human minds are incapable of even imagining such a form, leave alone producing it. Seriously these pillars are a visual feast.

A Keertimukha greets visitors entering taking the northern entrance. The expression of the face is so realistic.. as if a pair of real eyes gazing steadily. Day or night, these eyes are capable of holding the gaze.

Looking down the southern passage. On the right hand side is a pillar with vertical grooves. Every single pillar design has its own characteristic. Its difficult to rate one as better than the next, every pillar can be rated 10. Some designs may seem simple but there would some aspect which would've been a challenge to the sculptor. Considering this grooved pillar, there are two sets of aligned grooves. Also the horizontal band across the grooves is an elegant touch. What kind of minds could conceive such designs ...ancient builders had to be divine, super-natural beings.

This model Shikhara sheltered by a hood is found on the rear wall, and also on the side walls. Every Garbhagudi will have miniature shrines on the outside. Every such external shrine has a particular deity depending on the direction. The focus of this picture is the details. The canopy has purlins and rafters just like wooden constructions. I think the idea behind such detailing is to reduce weight and increase strength, among other properties.

A diagonal view of the same model shrine. Here, notice the set of sharp corners atop the pillar. They precision is amazing. Also notice the miniature pillar next to the canopy. These are scale models of real pillars used somewhere in the structure.

A quick look at the base of the structure. The sloping base is to increase the foot print so that the weight of the structure is transferred into the ground uniformly. Also it is designed to provide run-off for rainwater. Aesthetically, the design is pleasing since the curving surface with grooves are lotus petals. The idea is to create a feeling that the shrine rests on a lotus. The more one spends time looking at these marvelous structures, one gets to understand the purpose of the designs.

This article will continue in Kashi Vishveshwara and Surya Devastana, Lakkundi part-2. In the following part we'll see Suryanarayana shrine and close ups of sculptures depicting stories from Ramayana and other legends.

.........

Kings' rendezvous, Badami

July 17, 2022

The tour of Badami north fort started with Lower Shivalaya followed by Upper Shivalaya. The two manatpa enclosure was the last item on the agenda here. These mantapa pair is one of the prominent monuments of Badami, easily seen from south hill. This picture below was shot from Lower Shivalaya. The way to reach these mantapas is below, close to the second gateway.

The wall across the two rocks is the second gateway. On the right hand side a multilevel wall can be see. The path leading up to the mantapas passes between the wall and rock, then you climb a few steps leading to a cleft. The passage through the cleft is narrow, angled & steep, approximately 25' to 30' long. The rough cut stone steps seemed like the original ones laid when those mantapas were constructed. Its so narrow that I had to go in sideways, balancing myself with legs and arms. Often people give up this daunting adventure, especially the ones suffering claustrophobia. The effort was so much that I did not bother taking pictures of the passage!

Coming out of the passage was a big relief. So here are the two mantapas. Not much is known of these marvelous structures. They seem to be built during the same period as upper & lower Shivalayas which is mid VI Centurt CE. These solid looking structures have withstood forces of nature for 1400 years!

The surrounding space is rough and uneven on the eastern side i.e. the foreground here. On the other side its little friendly. The building blocks of these mantapas seem to be sourced from this very rock, there are signs of rock cutting here.

Take a close look around the foundation of this mantapa, stone has been removed to make a level floor. On the left side, a single step is visible which can be used to climb up to a rectangular platform. It looks like the builders had planned a staircase for this single-storeyed mantapa, for some reason it never happened. On the floor a rectangular pit is seen. Its is a shallow pit filled with rainwater, may be 2" or 3" deep. I feel this was made for washing feet.

The two storeyed mantapa has projecting beams in the upper level. Its possible the builders had plans to expand this mantapa horizontally.

Now I'm on the western side, the ground is friendlier than the opposite side but, you see the gradient.

It is said that these mantapas were used by Chalukyan kings to hold secret meetings. Since the place is at an elevation, sheer drops on all sides, no one could possible eavesdrop here. Also the place is well ventilated and scenic, very favorable conditions to think clearly.

This single-storeyed mantapa bears a majestic look. The height of the base is approximately 10' or 11' difficult to climb up without a ladder. The mantapa itself is big, probably its inner height is 10' or 11'. Had there been a staircase, the mantapa would be filled with people ...local and tourists. In the background is the southern side of Badami hill, somewhere in that stretch is Arali Thirtha, a rockcut shrine rarely visited by tourists. For that matter, most tourists aren't even aware of its existence.

Sandstone surfaces are very interesting, I always get captivated by the textures, formations and embedded stones. Close to the single storeyed mantapa is this 2" circle. I don't know if the dark colored circle is made of stone or iron. On the left side is a white pebble embedded into the parent stone.

Vein like formations on the boulders. I imagine them to be miniature fort walls. The sight of these veins reminds me of rocks at Sidlapadi, the naturally formed arch, about 4 km from here. If one starts studying the artworks of Nature, there's no end to it, it tends to get addictive.

Before we leave this place, lets take a look at Lower Shivalaya...

...end Upper Shivalaya.

Truly an amazing spot!

The return journey through the passage was slower and scarier. I had to go sideways, can't see where I'm stepping. And if you are in a line, the very thought of someone losing balancing itself is frightening. So the safe way is to keep have at least 8' distance from the next person. Getting of the passage was a huge relief. One should never be in this cleft during rains, can be very slippery. By the way, Pushpa had taken one picture of the passage...

From here we head back to the parking lot below the cave temples.

.........

Upper Shivalaya, Badami

Badami can be split into four parts in a tourist's perspective. The four parts are as follows:

1. Southern hill which consists of four rock-cut temples. one natural cave, Arali Honda & fortifications atop the hill,
2. Agastya Thirta, Yellamma Gudi, Bhootanath complex, Tattukoyi complex, Vishnu Gudi, Kostaraya temple
3. Northern hill which includes Mantapas, Lower Shivalaya, Upper Shivalaya, fortifications, inscriptions on rocks & the archaeological museum,
4. Yellamma Gudi, Jambulinga Gudi, Virupaksha Gudi and Malegitti Shivalaya.

July 17, 2022
Like most tourists we started our tours from part-1 i.e. the caves where we spent an hour or so. The elevation of the caves gives a panoramic view of north hill. With a telephoto lens, one could get closeup shots of the monuments there. So, here's a picture of Upper Shivalaya as seen from Cave IV.

A panoramic view of north hill with its monuments marked, and a partial view of Agastya Thirtha.

Then we came down to Agastya Thirta, what a glorious sight it was! We climbed up the embankment to see Yellamma Devastana and walked on the steps for a short distance and went to the lane running parallel to the embankment which leads to the north fort. The path linking south hill to north hill was renovated a few years so that tourists could walk instead of taking a round about route in their vehicles. However, the path is always wet and untidy, the last bit is outright filthy. I wish Badami town municipality takes appropriate steps to keep the path clean, its not only helps the tourists but also the residents living along the path. One thing- cleanliness can be maintained by everybody's effort- residents, tourists & municipality. Anyway, we reached the north fort entrance and took the path leading into the hill fort. The well laid path passes through the clefts, ascending gradually, and passing through two gateways. One can see monkeys clambering over the sheer rock faces several tens of feet above the ground.

The path ascends and turns left and then branches out- one goes to Lower Shivalaya and right path ascend further towards the hill top where Upper Shivalaya is situated. On the left side a mural of Hanuman has been sculpted in the rock. Where there is a fort, the lord of valor & strength Hanuman must be present.

After the last gateway, we enter a narrow passage through the rocks. Opposite the gateway is a massive turret which gives a commanding view of the plains below. The passage flattens out as it reaches the summit.

At the top are several ruins such as two dome-shaped structures which could be ancient granaries and simple walled structures which seem like military barracks. The path goes around these ruins and turns right towards the majestic looking Upper Shivalaya.

This is a partially damaged but well restored structure. The temple's south wall (left side) and west wall (rear) are intact, the front and north walls are missing. If the walls were remaining, probably the beams, columns and roof of the Sabhamantapa would've remained. The temple's Mukhamantapa (porch) too is missing. This is a one Garbhagudi (sanctum) temple with an enclosed Pradakshinapatha (circumbulatory around the sanctum). Had this been a completed temple, we would be seeing a grand structure here.

The ground- rock bed -on which the temple sits slopes to the left. The builders have created a leveled platform atop which the temple has been built. Also, the temple is built close to the edge of the hill, there are sheer cliffs on the southern side. Workers might have faced lot of challenges while moving stones at this site.

As per the Heritage Series booklet on Badami, Upper Shivalaya may be built in the middle of VI Century CE when Chalukyans were devout worshippers of Vishnu. It also mentions that the original deity of this temple was Vishnu however the sanctum now has only a pedestal but no deity.

The temple's front portion has idols of two elephants and a frog like creature. In the Hindu tradition, frog is considered as Mallikarjuna. Similar but smaller sculptures can be seen at the cave temples on the south hill.

On the left is the circumbulatory entrance and on the right is Garbhagudi door. In the dim interior of the circumbulatory is a spoked wheel which happens to be one of the four ventilators. Every ventilator is unique.

The wall on the right is the Garbhagudi wall. Had the temple been intact & complete this space would be a lot dimmer, lit up by light coming in from the ventilators.

The geometric window... squares, diagonals, intersecting lines and angles. This is an interesting design.

Exterior views of  the four remaining windows of this temple... two square matrices, a spoked wheel, and a geometric one. Chalukyan temple builders have created many more varieties which can be seen at other sites. One of the interesting ones is the fish spoke wheel at one of the temples in Aihole.

The side walls and base of the temple are decorated with panels of story telling sculptures. Here's a collage of four interesting artworks. Starting with the top-left and going in clockwise direction:

• The first sculpture shows a man with horse's head. Next to it is an almond shaped thing with four legs... this seems like a spider. The other man's body is fine but head is missing. I'm unable to decipher the story behind this sculpture.
• A group of eight singing and dancing Ganas (dwarves). 
• Scene of Ravana's men rousing Kumbhakarna with the help of two elephants.
• Lastly, two imaginary creatures... a man and a lion featuring feathers instead of legs. Above the panel are a pair of curled up peacocks. 

The first item is on the front top-left corner of the temple's platform. The other three panels are on the southern wall.

On the left is the temple's rear wall (west wall) and the footpath for tourists. On three sides of the platform base are a series of panels depicting scenes from Sri Krishna Charitha and Ganas. On the southern wall is a sculpture of Govardhana Giridhari i.e. Krishna lifting mount Govardhana in one finger. On the west wall is Kaliyamardini Krishna.

This is the north wall, a sculpture of Ugranarasimha on the upper portion. The lower part features panels of Ganas in various postures and expressions.

A collage of sculptures around the temple. Lets start with the bottom-left image and go clockwise:

• Kaliyamardini Krishna on the west wall
• Ugranarasimha on the north wall
• Govardhana Giridhari on the south wall
• Ganas on the north wall

Like the Lower Shivalaya, Upper Shivalaya too is a two storeyed structure.  The upper storey is much smaller in dimensions and has one entrance on the north side. There are no steps linking the lower and upper storey, probably a stone step ladder existed once upon a time. Over and above the upper storey is the Nagara type Shikhara, a stepped tower. Every Shikhara is crowned by a Kalasha however that piece is missing.

Upper Shivalaya as seen from Lower Shivalaya. In this view the temple seems complete.

Lastly, Upper Shivalaya as seen from the king's meeting venue i.e. the two Mantapas. The small turret like formation at the corner is a natural one. Such formations which look like inverted bowls are a common sight on top of these sandstone hills.

Having seen the two Shivalayas of north hill, we retrace our steps. We had skipped the Mantapas on the way up, we'll go there on the way down.

.........