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.

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