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.

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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.

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