Badami rock-cut temples Cave-3

In the previous posts we saw Cave-1, Cave-2, and the natural cave.  There are two more to be seen and this post is dedicated to Cave-3, the largest of the four rock-cut temples of Badami. Climbing up from Cave-2, we emerge from the steps on to this level piece of ground in front of Cave-3. This rock-cut shrine is said to be one of the earliest temples in the Deccan region.

The entrance steps are flanked by series of panels showcasing Gana pairs in different postures & expressions. If one has time, these Gana postures are an interesting thing to study.

One thing that caught my eyes was incomplete sculpting just above the mouth of the cave. It is about half the width of the mouth. Were the builders adding another level or was it just additional decoration? Something was planned but then the work was abandoned in the early stages itself.

Caves 1, 2 and 4 have four columns in their façade but Cave-3 has 6 columns. We are seeing the left half of the cave's mouth. At the far end of the verandah is an idol of eight-armed standing Vishnu wielding Shankha, Chakra, mace, etc. Apart from this image of Vishnu there is a sitting Vishnu, a Varaha Vishnu, Trivikrama Vishnu and Harihara. Historians say that this shrine is dedicated to Vishnu.

On the right end is Vaman-Trivikrama. 

A information board describes this temple as below:

Cave – 3

Cave-3 was created in 578 CE by Chalukya Mangalesha, in the reign of his step-brother Kirtivarma i for the god Maha-Vishnu. Like the two earlier caves its plan comprises of an open Verandah and a pillared-hall with a sanctuary cut into its rear wall. But it is executed on an ambitious scale, being the largest and most ornate of all the Chalukya caves. The cave has a stone structural enclosure. A Sanskrit inscription carved beside the great Varaha relief in the verandah details its dedication, date and gift of village Lanjisvara (=modern Nandikesvara) by Nangalesha. The temple's verandah accommodates major super-human size figural compositions: eight-armed Vishnu, Vishnu seated on Ananta and Bhu-Varaha on the left side and Harihara, majestically standing Narasimha and Vamana-Trivikrama on the right. Side faces of beams carry narrative friezes of episodes from Mahabharata and Puranas: Samudra-Manthana (churning of the ocean), Krishna's exploits and Parijata-harana. The verandah ceiling bears medallion-reliefs of Vishnu (centre), Shiva, Indra, Varuna, Bramha and Yama. The front row of verandah pillars have bracket-figures of loving divine couples, like Siva-Parvati, Kama-Rati, Naga-Nagini, etc and Nayikas in moods under trees. The hall's ceiling bears reliefs of brahma at the centre surrounded by Indra (east), Varuna (west), Kubera (north) and Kartikeya (south). On the verandah's eave is depicted an image of Vishnu's vehicle Garuda, carved by artist Nelavalke. The whole cave was beautifully painted and a fragment surviving beside the Garuda relief depicts a royal couple witnessing dance, testifying to the quality of painting. The image of Maha-Vishnu is missing from the sanctuary. Craftsmen Kolimanchi, Singimanchi, Aju-Acharasiddhi, etc., have signed on the sides of the facade.

This is the space between row-1 and row-2. On the side wall is an image of Vishnu seated on Ananta. On the left of this image is standing image, concealed by the columns on the left. In this view, the columns on the right have a dramatic effect which is a combined effect of sculpted grooves & natural grains of sandstone.

Below is a collage of two images: a closer look at standing Vishnu, Vishnu seated on Ananta and Varaha.

On the opposite end is Narasimha, however the wall is a dark patch due to lighting conditions.

This cave measures 65' wide and 48' deep. The Garbhagriha extend 12' deeper into the rock. The Garbhagriha wall has a pair of Dwarapala flanking the balustrade, and then two couples flanking the sanctum entrance. The wall around the entrance is decorated with a multi-tiered doorframe. The tiers have geometric patterns. Also there are two amorous couples enclosed in square/rectangle frame. Above the doorway are sketches of Shikharas - probably this signifies the crown of this temple. It looks as though the sanctum wall was painted, traces of paint is still visible.

Here's a diagonal view of the hall. At the center, on the floor is an embossed lotus. This unrestricted space is convenient for a dance performance as well.

View of the hall from the left side wall. I think this space would be used by the attendants while the center space was reserved for the king's family and high ranking officers. The halls ceiling has intersecting bands creating a 3x3 matrix. The center 'house' is occupied by Brahma, and the surrounding houses have Indra (east), Varuna (west), Kubera (north) and Kartikeya (south). See the beauty of the design- Brahma on the ceiling and directly below on the floor is a lotus. Just like "Nature never ceases to surprise" ancient builders creations are always amazing, something new is noticed or discovered all the time.

Pushpa studying a couple in a bubble. The inner columns are decorated with strings of beads and encircled couples. Take a closer look at the bead-strings. At the ends are smaller beads and larger ones towards the middle. Though it looks simple, sculpting them isn't an easy task. The consistency, the overlap and maintaining the accuracy and fit them into the given width - so much coordination within a single task.

Next we'll take a few things above. This is the eave of the verandah above the entrance. That's Garuda in flight accompanied aby Vidyadhara couples. This image is another indication that this cave temple is dedicated to Vishnu. In the foreground are bracket figures on column tops. Every column in this row have two bracket figures of divine couples like Siva-Parvati, Kama-Rati, Naga-Nagini, etc.

A closer look at Garuda.. a chubby Garuda with a hooked nose. His wings are marvelous creations. The engraved bands worn by Garuda are quite stylish. Even Garuda's headgear is a lovely piece. As per inscriptions found here this Garuda's sculptor's name is Nelavalke.

The ceiling is a very busy place with so many sculptures and paintings too, of course paint having faded its difficult to make out the scenes for people like us but experts will be able to tell. Among the many sculptures below are three interesting ones. Vishnu & his consorts surrounded by Ashtadikpalaka- rulers of the eight directions namely-

North > Kubera

Northeast > Ishanya

East > Indra

Southeast > Agni

South > Yama

Southwest > Nirrti

West > Varuna

Northwest > Vayu

This seems like Ashtadikpalaka surrounding Shiva. Please correct me if I'm wrong. Also there is one more similar image of Vishnu surrounded by eight gods, somehow I missed taking its picture.

This image according to an online source is Yama. The characters inside the four circles around Yama seem like Gana but I could be wrong.

In the earlier picture of Garuda on the eave, two divine couples are seen in the foreground. There are twelve such couples of which six are shown here. The female characters' ornaments is something one could study- the bangles, bracelets, ear pendants, and other ornaments I can't even name, The massive ear pendants are very interesting. Was such heavy jewelry really worn during some period in history?

In this collage, the right most seems like Shiva-Parvati. The serpent on Shiva is one clue I could catch.

Here's another couple accompanied by a dwarf. My guess- this is Surya & Chhaya. Look at the male character's right hand shows Surya Mudra. However I have no idea who the dwarf is but his headgear is interesting- it looks like a helmet worn by astronauts.

That's it about the temple interior. Having drafted this post I realize that I'd seen just a fraction of artworks of this temple. I must visit Badami cave temples one more time and restudy them. Anyway for now, lets take a look at the signatures of artists left on the rock face opposite to the cave. Along with their signatures in Kannada, the sculptors have recorded the number of days/weeks/months worked with series of lines or circular holes. Such markings can be seen at other cave temples too.

Lastly, an incomplete piece of work seen next to the cave's mouth. The artist had etched outlines and started the work. Somehow the work remained incomplete.

In the following post, we'll see the smallest temple here i.e. Cave-4 which is a Jaina Basadi.

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