Kunti Gudi complex, Aihole part-1

The last time I was at Aihole was on the last day of August 2013. I think Kunti Gudi complex was one of the spots visited on that day among other seldom visited monuments of Aihole like Yeniyar Gudi, Rachi Gudi, Charantimath, Tryambakeshwara complex, etc. For some reason I hadn't taken enough pictures to draft a blog post on Kunti Gudi complex on that day, and also forgotten the details except for the fact it was situated in a rectangular pit. A revisit to the temple was in need.

July 19, 2022

This was the last of our 3-day visit to the Vatapi Chalukyan realm ...the prominent places being Badami, Banashankari, Mahakoota, Pattadakal, Siddanakolla & Aihole. In fact we had reached Aihole on 17th evening, 18th was spent at Aihole and Siddankolla, and 19th morning we visited Charantimath complex, Kunti complex and lastly Chikki Gudi. It was around 8-30 in the morning when we entered Kunti Gudi complex, sunlight was low but already bright. The very first thing we noticed was the stone-step-ladder leaning against the side wall of the presumably main temple of Kunti temple group. The ladder is approximately 13' tall, 1.25' wide, has 8 steps and weighs a ton. The ladder connects the ground floor and the roof. The smaller substructure on the roof is large enough to be considered as a second storey, however I have no idea what's inside it. Whatever was up there, the ladder is a fascinating creation, the brilliance of ancient temple builders is awe-inspiring. 

Kunti complex has four temples, three are more or less of the same size in plan, the fourth temple is slightly smaller. Besides the four individual structures, there's a fifth structure- a four-column mantapa -which is almost as tall the other four. This mantapa seen below connects two temples. On the left of the mantapa is the temple with the step-ladder, and on the right is another temple. Since the actual names of these temples are unknown, I'll call the former as temple-1 and latter as temple-2.

This is the diagonal view of temple-2. This too has a substructure over its roof. In fact all four temples have substructures on their roofs. There are other temples in this format like Lad Khan temple and Chikki temple. We'll see the come to the details later.

This is temple-3. As you see this temple is rectangular in plan, similar architecture and made of sandstone. I feel all these temples have been built around the same time, probably within a 50 year period. My assumption is based on the wearing off of the sandstone surfaces.

This is temple-4, the smallest in this group. All four are have the same extent of decor. The difference is in individual design.

Here's a screen-shot of Kunti complex in Google Maps with numbers marking positions of five structures. 1, 3, 4 and 5 are temples, 2 is the mantapa connecting 1& 2. The temples are positioned on the corners of an imaginary square. Coming to the orientation and configuration of the temples-

• Temple-1 is a west facing Trikutachala
• Temple-2 is a east-facing Ekatachala
• Temple-3 is a east-facing Ekatachala
• Temple-4 is a north-facing Ekatachala

Now lets check out the details of each of the temples. Another view of the step-ladder leaning on the northern wall of temple-1. In this well is a small doorway. Since its a west-facing temple, the builders must've added another entrance facing north.

Since the front of temple-1 is partially concealed, we'll have to do with a diagonal view. Anyone entering the temple has to pass through the mantapa. I feel this idea of the mantapa connecting two temples is an attempt to create a single temple. May be the objective was something else.

Stepping into the temple. Four 'large than usual' pillars form a Rangamantapa between the temple entrance and Garbhagriha. This pillar design is very close pillars seen at rock-cut temples (cave temples) of Badami. If we study pillars of different centuries, we could be mapping the evolution of pillars.

Comparing these pillars to the pillars seen in Dharwad or Lakkundi or Itagi or Chalukyan temples, the reduction of size is the most noticeable thing. Of course , raw material is soapstone in the latter barring a few temples. Coming to this temple's configuration, this has two Grarbhagrihas and there's space yet another Garbhagriha. Factually this is a Dwikutachala but theoretically this could be a Trikutachala.

This is the blank space left of the middle Garbhagriha. This situation leaves scope to imagine the process or construction process. Seems like builders had already developed modular construction methods. It wouldn't be wrong to say that ancient building blocks were like the present day Lego blocks.

A closeup shots of floral patterns on the pillars. The straight band is a series of rhombuses enclosing petals - this is a apt design for a ladies' waist band made in gold. The upper part is a lotus surrounded by creepers. The lotus' petal shapes are realistic. The two arcs sandwiching a series of progressive circles gives a classy touch to the ensemble.

The outline of these arts are trapezoidal. Here at the head is a Keertimukha. Features of the Keertimukha are sharp, so clear even this picture which is a third or fourth of the actual size. The horizontal band features lotus petals and the circle encloses parts of a creeper. There could be some message hidden in these patterns which we are yet to figure out. There's a lot more to see in these ancient marvels but I'll move on for time being.

Coming to temple-2, we are seeing its rear end. The external walls are bare, as are the other temples. The only touch of décor is at the base of the walls. The side of this temple- front half is the semi-open hall and the rear half is a proper wall. The front half- the pieces between the pillars are backrests of seats inside. 

A glimpse at the substructure on the roof. From what I can see, the corner piece is a dwarfish column. There would be four such pillars. On the sides, there are more dwarf pillars. At the middle is a niche with a humanoid image in what seems like dancing posture. The features have faded- effect of erosion.

Coming to the front of the temple. Unlike temple-1, temple-2 has two entrances, both in the front. One entrance is through the mantapa connecting the temples. The pillars seen here seem rough cut. No they were finished well, the relief works have faded so much it seems like rough work. Also the flooring in these temples are uneven, edges and corners are rounded - again effect of erosion. In the foreground, on the left is a pillar with geometric designs. This is one of the pillars of the connecting mantapa.

This is the entrance of the Garbhagriha. I just realized I'm missing something important here. From the exterior, half the side wall seemed like Garbhagriha but that's not the case in here. Which means, the space inside the Garbhagriha is as wide as this structure.. How I wish I had noticed it. During my next visit I'll make sure to check this temple again, with a lamp bright enough to light the inside of Garbhagriha. Turning our attention to the doorframe.. despite the multi-tiers, it's simple compared to temples of post X Century. At the head of the doorframe is a winged creature- that must be Garuda. So this must be a temple dedicated to Vishnu. The four armed Dwarapalas are also interesting. The right hand side Dwarapala must be Shiva since there is a Trishula and a serpent. On the left there's a serpent but no Trishula - is that Vishnu? One little detail one might miss is the small niche next to the doorframe, I guess its a oil lamp holder.

While I was busy seeing the walls, pillars and floor, Pushpa had noticed sculptures in the ceiling. Three massive sculptures of the three supreme lords of Hindu legends- Brahma, Vishnu and Maheshwara. Before we see the collage of the Trimurthy, I would like to point out to a sculpture of peacock on the foremost pillar on left hand side. These pillars are rough but the details are clear.

The collage: four faced Brahma on lotus seat; four armed Shiva in company of Parvati; Vishnu reclining on Sheshnag, surrounded by several characters including his consorts. These sculptures have experienced effects of rainwater for centuries, the white patches seem to be calcium accumulation. Hope ASI takes steps to control further damage by water. Coming to the dark patches, I think its layers of soot when these temples were used as homes by locals. In fact most names of Aihole temples are derived from the people or families which resided in them.

Coming back to the temple entrance, a 8' tall slab leans against the Sukhanasi. The face of the slab is completely inscribed in Kannada text. I have no idea what the inscription states. Guessing it could related to grants to the temples at some point of time.

Lastly, this is a diagonal rear view of temple-2. The side and rear walls are plain, mostly functional with a basic touch of decor.

That's all I have for temple-2. We'll move on to temple-3 in the next part of this article... Kunti Gudi complex part-2.

.........

Charanti Matha, Aihole

Tourists coming from Badami/Pattadakal side enter Aihole from its southern end. The narrow road winding through the village passes between Charantimath complex and Trimbakeshwara complex but tourists rarely stop to see these monuments. As I understand the reasons are: 1. one cannot park four-wheelers on this road, 2. the monuments are too close to dwellings, 3. people sleeping ot holding meetings in them, 4. time constraint, etc. Only determined tourists make an effort to see these monuments. Their effort doesn't go waste for sure because one gets to see another unique temple design. Aihole was known as the laboratory of temple design, hence the varieties. This particular Aihole visit of mine is probably the fifth time between 2010 and now, yet there are a few temples I'm yet to see.

July 19, 2022
This was the last of our 3-day visit to Badami - Shivayogi Mandir - Mahakoota - Pattadakal - Aihole - Siddanakolla trip. For the morning we had planned to see Kunti Gudi, Charantimath, Trymbakeshwara, and Chikki complexes, plus a few standalone temples on the slopes of Aihole hillock of which one is a monolithic creation. After a light breakfast, we walked from Durga temple complex to Charantimath complex, through the narrow lanes flanked by homes. Charantimath is a group of three or four individual structures. In layout seems chaotic, can't decide where to start. So we made this twin-temples as our starting point. This temples are built on a platform, the two flights of steps enter the Mukhamantapa with two entrances to a common Sabha Mantapa.

Before proceeding, lets take an ariel look at the complex so that the layout is clear. The key spots have been marked, see the index below:

A - Dwikutachala (twin temples)

B - Trikutachala (triplet temples)

C - Trikutachala's main entrance

D - Thorana (arch)

E - Small temple in the corner

F - Standalone temple with a Shikhara

Google Maps snapshot

A information board has been planted at a corner of this complex which describes these temples as follows:

The Charanthi Matha
Originally, a Jaina Basadi, now is a Matha. This 12th Century (Kalyana Chalukya) Trikutachala monument has a common Mantapa to connect the three Garbhagrihas. The pillars are square, but circular at the top. The frontal entrance has an image of a Teerthankara flanked by the Gandharvas. There are twin Basadis in this complex with a common entrance Mantapa and the two Basadis have images of Tirthankaras, 12 in each, and only one Garbhagrihas has a Jaina image.

So the item with which we started is a Jaina Basadi, a south-facing temple. Usually temples are east or north facing, this being a south facing temple is a rare monument. The temple's Mukhamantapa is a six pillar wide hall. The pillars feature complex designs hence they are a product of an experienced sculptor. The twin flights of steps are balustraded, plain but solid looking pieces.

The pillared hall- Mukhamantapa -through its width. The floor slabs seem to be disturbed at some point of time, probably by treasure seekers. The two entrances of this temple are decorated with grand doorframes featuring images of Theerthankaras.

This is the right side entrance. The doorframe is a five tiered job. At the head is the image of Theerthankara sitting in a Mantapa. The inner hall- Sabhamantapa -is dim hence it appears dark. This door and the other, are the only source of ventilation for this temple.

This is the left side entrance, also decorated with a five-tiered doorframe. At the head is a vacant Mantapa, unlike the other door there's no image of Theerthankara. Over the horizontal part of the doorframe are two tiers. The middle one features five Shikharas and the topmost tier has a line of humanoid figures depicting the Jain Theerthankaras.

Being a twin temple, the two Garbhagrihas are connected to a single Sabhamantapa. However, in the Sabhamantapa are two separate Natya Mantapa, dance stage bound by four pillars. These turned pillars are simple and neat.

Neither of the Garbhagrihas have deities, probably the idols are lost or kept at some museum. Nothing more to see at the twin temple, lets move on to the Trikutachala.

This Trikutachala is not a regular one where its Garbhagriha are part of one original structure. From my understanding on the way the structures are, it seems two temples have been connected to make it seem like one structure. The pillared shelter seen here connects a one-sanctum temple to a two-sanctum temple. 

Another view of the one-sanctum temple and the connecting mantapa. This one-sanctum temple, has a partially  damaged Shikhara. In the background, a Shikhara is seen, that's another temple, may not be a part of Charantimath.

On the right is the walls of two-sanctum temple, its entrance is further to the right, out of view in this frame. These temples are built with semifinished blocks, meaning the outer surfaces are rough.

To the left is the partially visible front wall with the main entrance which faces north. The shelter seems like later addition. To the right is a four-pillared Mantapa with a Sukanasi, a seating platform. The temple and the mantapa have been connected using a few slabs, which makes it looks like an extended portico.

Going by the looks of the work here, these slab at the top are later addition. Chalukyan builders experimented a lot, this is one of the examples. In fact, majority of the temples at Aihole are prototypes or experimental models. The most optimized would be replicated elsewhere.

The two-sanctum temple's main entrance, as seen from the extended portico. The temple's doorframe is simple but elegant. The interior is dim and dusty, I don't I took any pictures there.

Taking a few steps backwards from the extended portico, we see this Thorana, an arch for the temple's main door. The Thorana has three little steps with balustrades. The shade gave us a break from the bright sunlight.

Now lets around the Trikutachala in clockwose direction. This is the eastern wall of the temple, a simple wall but not completely plain. Miniature pillars and stepped Shikharas adorn the wall. The other two walls are similar. The Shikhara seems incomplete, only the first tier is seen, probably two more tiers were never made. The platform in the foreground is part of the separate temple seen in an earlier picture above.

The corner space is occupied by a small temple, again no deity there. The wall next to the small temple belongs to a private house. This is the state of Aihole monuments, people have been living for generations around these temples. A few decades ago, many of the temples were occupied by people who had made it their homes. At some point ASI had the temples vacated and labelled them protected monuments. In fact, there's a plan to relocate all people living around these temples and make this a pure heritage center like Pattadakal. I heard of the plan a decade ago, who knows how many more years before the plan is executed.

Returning to the temple front, an east-facing Torana stands alone. I'm not sure if the builder had plans to build another temple here.

Lastly, the standalone temple with a Shikhara and Mukha Mantapa with a Sukanasi. This little temple seems to be complete and well preserved. Again this too has no deity. This platform is hangout for people residing in the vicinity. Its either occupies by people or clothes spread out to dry.

Our tour of Charantimath ends here, we make our way to Kunti Gudi complex which is a few minutes walk away.

.........

Amruteshwara Devastana, Annigeri

Annigeri is a place of historical importance because of its connection to the poet Pampa and Amruteshwara Devastana built in the 11th Century CE by the Western Chalukyan kings. Pampa, addressed with the honorary title Adikavi, was born into a Brahman family at Annigeri. Pampa is known for his works namely Vikramaditya Vijaya and Adi Purana, written in champu style which is a mix of prose and poetry. While Pampa's name lives on, the beauty of Western Chalukyan edifice Amruteshwara Devastana continues to amaze people.

June 15, 2022
The day started with a tour of monuments of Dambal followed by the temples of Lakkundi. Both Dambal and Lakkundi were places of importance during Chalukyan times hence the number of monuments there. My tour of Lakkundi was aborted since I was running out of time. On the way back to Dharwad, I decided to make a quick stop at Annigeri to see Amruteshwara Gudi. The temple is situated in the older parts of the town, asking for directions and reaching can be slow since I had to negotiate the narrow lanes. One good thing is there's ample vehicle parking space on a normal day. On festive days its a different story.

The temple is situated in a well built enclosure. I start the tour from here- the temple's southwestern corner. This east facing temple is in a completed state with a Shikhara over the sanctum. The smaller Shikhara crowns the portico of the southern  entrance which is one of the four entrances.

A closer view of the Shikhara which is a Kadmaba Nagara type. The exterior of the temple's rear part features miniature pillars and shikharas, hardly any of the walls are plain. The temple's middle and front walls are less ornate but elegant.

The rear view of Shikhara. It is a 3-tiered tower. Each of the tier is similar but shrunk proportionately. Along the center line are Kirtimukhas. There are very interesting details in the Shikhara which could be shot only with a telephoto lens. Unfortunately ASI has imposed a ban on DSLR photography. Tourists can shoot only the exterior, that too with mobile cameras only. To shoot with DSLRs one has to obtain written permission from ASI. Tourist unfriendly policy!

This temple is situated in a rectangular enclosure with two entrances. The main entrance has a pillared Mantapa similar to that of fort gateways. The smaller entrance is close to the main entrance but a much simpler arrangement. In this picture below, both entrances are seen.

As you see I'm going around the temple clockwise. The structure is symmetric. The portion of the temple seen here is the Garbhagudi, Anthrala and Rangamantapa. Since photography of the interior is banned, I'll share what I can recall. The doorframe on the Antharala entrance is five tiered, This particular piece grabs all eyes, its massive and highly ornate.

Within the enclosure is this small, simple structure which is said to be dedicated to Vishnu.

Despite the simple exterior, this little temple boasts of turned pillars adorning its façade.

Side view of the Kadamba Nagara Shikhara. When seen from south, west and north, the Shikhara looks similar. The eastern side has more detailed features.

Coming to the front portion of the temple.. the contrast is obvious. These walls are plain, only the doorframes are ornate. The space enclosed within these plain looking walls is a Sabhamantapa which was added much later, probably during Hoysala or Vijayanagara time. At the eastern end of the hall is the idol of Nandi. The original structure had two entrances, eastern and southern sides. The extension bit has three entrances- north, east and south.

For a minute lets turn our attention towards the northern wall of this enclosure. This wall seems to be made during Vijayanagara time. That's my guess based on my memory of seeing similar walls around the temples of Hampi.

This is the doorway in the northern wall. I'm not sure if this finish is original or after restoration. The finish is rather poor, especially the alignment of the top pieces.

The eastern entrance of the extended portion. The finish is rather crude yet it has beauty. The entrance is crowned by an idol if sitting Ganesha. The idol is mutilated, try to imagine its beauty in original form. The dark colored plump Ganapa would be a feast to admiring eyes.

This is the portico of the eastern entrance. This being the main entrance of the temple, this is where the caretaker and priest spend most of their time. A comfortable platform to sit on, sheltered from sun and rain, its nice to sit here peacefully. Also, from here the main entrance of the enclosure is also visible.

The temple's entrance and the enclosure's entrance are opposite each other.

The pillared gateway of Amruteahswara Gudi. This is most likely built during Vijayanagara times. If one has been to Hazara Rama Devastana in Hampi, a similar gateway can be seen there, of course it's finish is better. On the left hand side are two inscription slabs. Probably the slabs are records of this temple's grants, donations and construction.

The inner space of the gateway. This should be a twenty pillared structure. One must be wondering about the beam placed across the passage. Its a solid granite block, unshakable. Anyone entering or exiting the enclosure has to bend at the waist and knees to pass it. I asked a local about its purpose. The answer was that people must bow down before entering. Well, I'm not sure that's the reason.

View of the portico from the gateway.

There are three more inscription slabs between the enclosure entrances. Probably there were many more, some could be kept in archaeological museums.

The smaller entrance, in the passage sits an idol which looks like Ganapati. Anyone entering the passage has to slow down... calm down and enter.

A rather dissatisfied tour of the temple due to the restriction on photography. ASI guys can be a pain when it comes to DSLRs, the staff act as though they own these temples. Their rule is unacceptable because its only verbal, there's nothing written, no public notice. Anyway...

Within eyesight from the temple's entrance is this two storey structure. The lower portion has ancient turned columns. There are six or eight such columns. The upper storey is a relatively new construction, probably 40s or 50s. One of the local folks said that this was the temple's entrance. Probably there was another enclosure, the walls might have been removed to ease traffic movement.

There are few other temples here namely Ramalinga Gudi, Banashankari Gudi, Gajina Basappa Gudi, Hire Hanuman Gudi, Puradhireshwar Gudi and Kambada Hanuman Gudi. The one I really wish to check out is Gajina Basappa Gudi- the word Gajina means 'made of glass' -this makes it interesting. I'll stop here during my next journey towards Gadag/Lakkundi.

.........