Manikyeshwara Gudi n Musukina Bavi, Lakkundi

Lakkundi was once known as Lokkugundi. By the mid of X Century, Lokkugundi was Chaluyan empire's major commercial center with a mint operations here. By XII Century, this city had a cluster of temples, wells and reservoirs. So besides being an economic center, Lokkugundi was a religious center. In the ravages of time, empires came and went, cities grew and collapsed but the memories of ancient rulers lived on. Chalukyans left indelible marks in the form of temples, tanks & inscriptions. Folk lore says that Lakkundi once had a hundred temples & wells. Now, in the present day, Lakkundi has retained only a fraction of hundred temples... less than twenty can be seen. These remaining monuments are awe inspiring and thought provoking. The architecture and artworks of these temples makes one wonder how intense was the concentration of power & effort behind creating them. Hard to imagine that.

Of the twenty temples, Manikyeshwara Devastana is the most unique item. Its uniqueness is the combination of a simple Trikutachala and its Kalyani... a temple with three sanctums accompanied by a veiled stepped well. Its veiled because part of the well is concealed by a platform hence the name Musukina Bavi. So, here's the temple and the flat space in the front is the veil.

This is basically an east-facing temple. Since it has three sanctums it qualifies to be a Trikutachala. The primary sanctum faces east while the secondary sanctums face south and north. In plan, this temple has a Sabhamantapa (meeting hall) around which the three sanctums are placed. In this picture below, the east facing sanctum is seen. The vestibule (passage connecting the meeting hall and sanctum) has a perforated screen. While the deity, a Shivalinga, is in the sanctum, Nandi is placed in the vestibule. The two polished pillars are part of the four-pillared Ranga Mantapa (dance stage).

A closer look at the sanctum. Its doorframe is a grand looking five tiered piece. Also in front of the sanctum entrance is a low platform in floral pattern.

A diagonal view of the east-facing vestibule.

On the right wall of north-facing sanctum is a mural of a Mantapa with its crown resembling a pillared mantapa. The floral pattern on the sloping roof of the Mantapa is exquisite.... a horizontal band of creeper and hanging strings of beads. In between the curls of the creeper are a swan, a bull and elephants.

This is the north-facing sanctum. Its vestibule also has a perforated screen, so does the south-facing sanctum. The circular pit in front of the door seems to be a later creation by the people who might have occupied this place before the ASI took over.

Lastly the perforated screen of south-facing Antharala.

Now lets see the exterior which is is simple but elegant. The floor plan of the temple is T-shaped. This is the rear part. The walls enclosing the three Garbhagudi and Antharala are seen here.

This is the south-eastern corner. Except for a few miniature pillars and Shikaras, the walls are more or less plain looking.

This is the opposite side, looks wise the walls are identical. As you see, the roof are flat, no Shikaras over the Garbhagudi. I think this temple is incomplete, may be the builders has plans for Shikhara and and an extended Sabhamantapa. Had it been completed, Manikeshwara Devastana would've looked like Bhavani Shankar Devastana situated at Old Hubli.

Looks like this temple was restored and being actively maintained.

Amazing floral patterns on the roof level. The eight petal floral creation enclosed in circles is a clever piece of work. The flanking floral murals are also brilliant, the finishing of the stones gives it a realistic look.

On the north-eastern side of the Trikutachala is the stepped well. Compared to other stepped wells this one is relatively complex with four sets of steps descending into the water. The main steps are on the well's southern side. These steps pass under a bridge like platform supported by beams and columns.

With sufficient rainfall over this region, the well is almost filled to its brim. Except for the top 7 or 8 steps, the rest are submerged. The bridge is seen on far end of the water surface.

View of the well from the bridge.

This is the southern end of the well. The steps descend and pass under the bridge. Green moss has accumulated over the water surface. I hope the caretakers clean it up before the entire surface is taken over by moss.

I'll close this post with pictures of the well sans water shot a decade earlier. This gives a clear view of the subterranean structure of the well. Going by the looks of this well, this cycle of low and high water levels was an ancient phenomena. One feature of the temple are the mini shrines meant for performing rituals immediately after a bath. The practice of bathing and then sitting down for worship while dripping wet existed in the past. Hence those shrines within the well.

View of the well from inside.

During the recent visit I learned that Aikyasthala of Shivasharana Ajaganna is near Manikeshwara Devastana, just off the path going to the main road. Apparently Sharana Ajaganna kept the Ishtalinga in his mouth unlike the regular practice of holding the Ishtalinga in the palm. Ajaganna composed Vachanas with this pen name Mahaghana Someshwara.

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Sri Brahma Jinalaya, Lakkundi

June 15, 2022
The agenda of the day was to see monuments at Dambal, Lakkundi, Gadag and Annigeri. I reached Dambal around 7-15 am. Dambal tour Doddabasappa Devastana & Someshwara Devastana, the stepped well called Japada Bavi ruins of Dambal fort & Victoria lake, and two small historic temples. The drive from Dambal to Lakkundi was about 40 minutes. I approached Lakkundi from its southern border close to which are Halugonda Basaveshwara Gudi, Kashivishveshwara Devastana and Nanneshwara Devastana. Basaveshwara Gudi was a venue for some event, it was crowded, so I skipped it, spent about an hour at Kashivishveshwara and Nanneshwara - amazing details in sculptures of both temples. The next place I stopped at was the archaeological museum, adjacent to the museum is Brahma Jinalaya. Built in the XI Century CE, Brahma Jinalaya is said to be the oldest Jaina temple in this region. Also, it is the biggest Jaina temple here. As you see the temple is a grand looking structure.

This is the rear-side view. The structure's base is sloped, giving it a kind of pyramidal look. Also it appears like a two-storey structure because of the multi-tiered Shikhara. Adjacent to the main temple is the smaller structure which is the secondary Jaina shrine.

These temples were built in 1007 CE by Danachintamani Attimabbe, wife of the local general named Dandanayaka Nagadeva. Several inscriptions were found at this temple stating the details of the gift received before the XIV Century CE. In the inscriptions, this temple has been called as "Brahma Jinalaya of Lokkigundi."

The raw material used in earlier Chalukyan temples was sandstone. During the Kalyani Chalukyan time, builders had moved to soapstone. All historic temples of Lakkundi are built of soapstone which is more workable and long lasting.

The primary and secondary structures have a small gap between them, just wide enough for a man to pass through. The primary (main) temple exterior is more ornate compared to the secondary.

This is the rear-side view of the secondary structure. 

The front-side view. 

It is said that during or after the war of XIII Century CE these temples were damaged. British explorer Henry Cousens & his team of archaeologist found them in dilapidated condition. ASI has restored them to the present condition. This headless idol of Neminataha is said to be the deity of Brahma Jinalaya.

Lets check out the interior of the main temple. This is the Navaranga Mantapa. The two polished pillars seen here is part of the four-pillared Natya Mantapa. Beyond the Natya Mantapa is the Antharala (vestibule), the Garbhagudi doorframe and Garbhagudi. Inside the sanctum is an idol of Neminatha.

In the Ranga Mantapa are two ancient idols. On the left is an idol of Saraswati and on the right is Chaturmukha Brahma.

At the entrance of Ranga Mantapa on the floor is this mural of lotus flanked by a pair of flower bunches.

This is the Mukhamantapa with Sukhanasi. This open pillared hall can also be called as Sabhamantapa (meeting hall). The 32 pillars of this hall can be grouped into 5 or 6 types based on the form & design.

In this diagonal view we can see four types of pillar designs. three have cubical bases and one is ribbed/grooved from top to bottom.

This pillar design is simple amazing. Pillars are paired and positioned symmetrically.

Of all the pillar types, this design is probably the most complex.

This is the border of the open hall and the enclosed hall. One of the corner pillars is half done, may be the sculptors left this incomplete intentionally. Going by the looks of the workmanship, it looks like the pillared hall was an addition.

This image of a miniature assembly of Shikhara supported by beams and pillars has a special quality in it. See closely the sculptures between the Shikhara base and pillar tops, the vertical and horizontal steps  are so precise... its a congregation of parallel lines. The more you look at it, it gets more attractive.

Brahma Jinalaya is one of the must see items in Lakundi. Indeed it is!

Lastly, this standalone structure sits at the north-eastern corner of the site. It looks like a temple's Mukhamantapa in the enclosing wall, of course the walls are missing.

A diagonal view of the gateway.

One last look at the marvelous Brahma Jinalaya before I leave this place. It would be a good idea for tourists to start their tour of Lakkundi from here. The museum has a list of surviving temples that could be visited.

It is said that Lakkundi was a place of 101 temples & 101 wells. However, the surviving number is less than 20. Of all the temples I've seen only three have stepped wells. This well below is opposite the museum building. The other two wells are at Manikyeshwara Devastana and Veerabhadreshwara Gudi.

Next on my list was Manikyeshwara temple & Musukina Bavi the grandest well of Lakkundi. As to the itinerary, I saw 7 temples at Lakkundi and then headed back to Dharwad skipping Gadag completely. On the way, I stopped at Annigeri to see Amruteshwara Devastana.

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