Siddarameshwara Gudi, Niralagi

This temple was a relatively recent discovery for me. Somehow I'd missed it even though its just a couple kilometers away from Shiggaon-Haveri highway, a stretch I've traveled frequently. This temple is not listed in ASI Dharwad website, quite surprising. A half-day trip was planned, wanted to touch Savanur and Gangi Bavi as well. As a part of the plan sajji rotti, katak rotti and madki kaal sprouts were made. We would be carrying rotti & sprouts for breakfast and lunch.

April 15, 2023. We left home by 6-00 am, weather was cool, not much of traffic on the highway, the drive was relaxed. A couple of kilometers before Niralagi, Pushpa wanted a pet, she asked if we could get a puppy. I refused saying that dogs won't be comfortable in apartment, they need open space and lot of care. She told me I had lot of time to take it for walks... the back & forth talk went on until I told that we are arguing so much without a pet. Imagine if we had a pet already. Forget it! It was a relief to be entering the village, asking for the temple location was a good diversion. Niralagi is a small village, the main street is less than half kilometer. Siddarameshwara Gudi is on the eastern end of Niralagi.

People were running around trying to get things done early. We could call Niralagi an active little village. I parked my car in one of the lanes opposite the temple. The temple sits in the center of a rectangular enclosure with one entrance on the western side. We decided to see the temple from the eastern side. Here we have Siddarameshwara Gudi in early morning light.

As per online sources this temple was built in the XII Century during the Kalyana Chalukya rule. The temple's length is aligned to east-west axis, it has one north-facing sanctum and has opposing entrances on its eastern & western sides. Going by its looks, this temple construction was completed, then it suffered damages over time. The structure has been dismantled and restored in the recent past, one can still see identification numbers on individual blocks of the external walls.

As you see, there's a platform in front of the door. It looks a Mukhamantapa (portico) existed on this side. In fact the western entrance has a Mukhamantapa with Sukanasi (seating platform). The portion over the door looks like cement, which means parts of the Mukhamantapa might have gone missing. The three tiered Shikhara is Vesara type with some sophisticated sculptures in it.

In this view, the Shikhara looks massive, a very handsome structure. Its three tiers are clearly identifiable. At the Shikhara's top is the Kalasa, the crown. Usually Kalasa is a monolith i.e. sculpted from a single stone block. The Shikhara rests solidly on the pillared walls which has two sections- the lower and upper. The lower section is ribbed, it looks like a bellow placed vertically. The upper section of the walls is made of pillars packed together. The wall décor includes miniature temples and Shinkharas. We'll take a closer look at details later in this post.

Here we switch over to the western side. Unlike the well lit eastern side, the western side is in shadow. The temple is symmetrical except for the Mukhamantapa part. This is where I feel the eastern side also had a portico. 

The southwestern view. This picture is dull, had to put it here to show the Mukhamantapa design.

This is the western doorway under the portico. It's a five tiered doorframe with Gajalakshmi at the top middle. The five pyramidal objects over the doorframe look like five Kalasa. At the bottom of each tier are humanoid figures.

A closer look at the humanoid figures. Apparently these figures depict Manmatha, Rati & their attendants. However, character with bull's head seems like Nandi.

Another look at the Mukhamantapa and its balustraded steps.

This is the northeastern view. With this we complete a Pradhakshina around this temple. It seems this temple originally built during Kalyana Chalukya rule has undergone changes during Hoysala rule.

This is the view from of the Rangamantapa. The nine-lotus grid in the ceiling marks the center of the Rangamantapa which in turn is the center of the Sabhamantapa. Straight ahead are the Anthrala (vestibule connecting the Sabhamantapa and Garbhagudi) and Garbhagudi door. At the Antharala entrance is Nandi facing Shivalinga in the Garbhagudi. The two pillars flanking Nandi support the Makara Torana which is concealed by the lighting board. Chalukyan Torana are highly ornate and detailed.

The nine-lotus grid.

The northeastern pillar of the Rangamantapa has this inscription. This record, inscribed a few centuries later, probably during Hoysala rule, states particulars of repair works carried out on this temple.

I avoided photographing some parts of the interior due to clutter, it was rather untidy. Let's check the exterior again, this time closely. Keertimukha can be seemed allover the temple. I hadn't noticed the proportions of the design. If the Keerthimuka is fit into a quadrangle, that would be a golden rectangle. 

Besides Kirtimukha, the next most seen sculptures are model Shikhara. Here we have two type of Shikhara. On the left is Nagara type and on the right is Vesara type. Most Chalukyan temples feature Vesara Shikhara which is a stepped pyramidal structure, then there are a few examples of experimental temple structures at Pattadakal.

One of the eye-catching sculptures in the riot of designs is this V-grooved pieces. The crests & troughs appear precisely same, and if measured the readings would fit into a tight range. The continuity of the grooves across the surface of the multi-section object is truly amazing. The other catchy thing is the 'cross' just below the grooved piece. One other temple I can recall seeing a 'cross' is at Chandramouleshwara Gudi, Unkal. The proportions of the 'crosses' at Chandramouoleshwara and the 'crosses' are different. The 'crosses' here are closer to the ones seen at churches. This particular 'cross' is plain. Let's take a look at a few more 'crosses' seen here.

Three crosses have floral pattern at the intersection. Wondering if this cross design has any connection to the Christian cross. The last cross is slightly distorted and damaged. I must mention that these crosses are integral parts of complex components. 

This sculpture of an imaginary creature was found on the Garbhagudi Thirtha i.e. the component meant to facilitate outflow of Abhisheka water from Garbhagudi floor. This creature, to my understanding, is called Yali.

The builders have provided four ventilators in the walls. Every opening has a perforated covering. Three of them floral, I've shot only two of them.

The fourth window has a checkered mesh flanking a model Shikhara. Only a highly skilled & experienced sculptor could have produced this tricky piece. Thin lines of stone hold the squares in the middle rows. Lastly, a picture of the only hero-stone found at this site. This seem like a memorial for a warrior martyred in a battle.

This temple is a beautiful example of Chalukyan architecture. As I understand people seldom come to see this monument even though it is just a little over a kilometer from the highway. I think tourism department must plant a few boards listing historical places along the highway. Creating awareness of our historical monuments is necessary to keep the interest alive.

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