I have
mentioned earlier that the “Chalukya” kings, who had firmed up
their power over Deccan plateau in sixth century CE and had continued
to rule till 8th
century CE, had established their capital at “Aihole” and later
shifted it to “Vatapi” (present day Badami) in Bagalkote district
of Karnataka state. In spite of “Vatapi” being the state
capital, the royal family of Chalukyas', considered a village
located about 22 Km away from the capital, as a place of special
significance. This village known as “Pattadakal” also happens
to be a nondescript and ordinary village today. However, Chalukya
Royal family built in this village, a number of beautiful temples
over the generations. One of the reasons that is put forward for
selection of this village for construction of Royal temples is, it's
geographical location. Most of the rivers in peninsular India flow
from west to east. “Malaprabha” river, which is a subsidiary of
the mighty Krishna river, flows next to this village and is no
exception to the rule of flowing from west to east. But it so happens
that near this village, this river suddenly changes course by 90
degrees and flows from south to north for some distance. “Pattadakal”
temples were built just next to this river bed. In all, there are
eight superb temples in the “Pattadakal” archeological complex.
For Chalukya royal family, this place was the most revered one and
the kings also had their coronation or “Rajyabhishek” ceremonies
performed here at “pattadakal” temples, instead of at state
capital “Vatapi.”
Our
bus is now negotiating the road between “Aihole” and
“Pattadakal.” This road also can not be considered as comfortable
for travel. The road, in the first place is very narrow and full of
pot holes. On both sides of the road, I can see standing crops of
sugar cane almost ripe for cutting. That explains the almost
continuous traffic of huge trailers carrying tons of sugar cane,
being pulled by tractors to some sugar factory around. To add to our
woes on road, are the number of cattle herds being driven to some
nearby grazing spot and also hot blazing sun. Many travellers like
me, bear with all this happily, for one and only one reason, the
expectant joy of visiting something that is considered as one of the
best in the world, the fabulous architecture of “Pattadakal”
temples. These temples are compared by many to solid gold, a standard
with which other temples may be judged. They say here that if
“Aihole” temples are considered as artifacts created by kids
studying in primary school, then “Badami” rock cut temples would
have to be considered as artwork done by middle school boys and
without any doubt, “Pattadakal” temples could be only considered
as art forms created by university students.
Our
bus stops next to the “Pattadakal” archeological complex. The
entire area has been well secured and protected with chain link and
barbed wire barricades. I buy entry tickets for me and my camera and
enter the complex premises. The first view is rather impressive. In
front of me are large tracts of well manicured green grass lawns,
glistening in the mid noon sun and behind the grasses are the
stunningly beautiful temple structures of Pattadakal. These temples
were built in seventh and eighth century CE and, when compared to
“Aihole,” the over all plan and workmanship appears to be far
superior.
Kadasiddheshwar Temple
I
cross the greens along the well marked walkways and enter the temple
premises from the northern gateway to come across the first two
temples of “Kadasiddheshwara” and “Jambulingam.”which in
reality, are two forms of same deity; Shiva. For both temples, the
towers above are similar to the Sun God temple at “Aihole,” and
are of curvilinear pattern ( North Indian style) and the construction
appears simple , straight forward and somewhat similar to each other.
On the eastern wall of “Kadasiddheshwara” temple there are high
reliefs of two standing doorkeepers, whereas in the other or “
Jambulingam” temple, the wall stand plain and simple. “Pattadakal”
temple architects were keen to try out new techniques and
experimented continuously with newer forms. In both these temples,
the curvilinear towers bear a bass relief sculpture on the front
side, which was something new.
Galagnath temple
Curvilinear tower of Galagnath temple
Siva in his doomsday dance
Sangameshwar Temple
I
continue walking. The next temple is known as “Galagnath” temple.
The temple tower is also curvilinear but here there is a new change
in design. On both sides of the temple, two verandas have been added,
which appear to me like two wings. The verandas have sloping stone
slab roofs. The front door lintel has a bass relief showing Shiva
doing his “Tandava” or doomsday dance along with small figures of
“Parvati” and “Nandi.” The next temple is the “Sangameshwar”
temple. In the year 2009, there were huge floods in the “Malaprabha”
river and entire “Pattadakal” village had gone underwater. Many
of the villagers had then taken refuge on the roof of this temple.
This temple is quite specious and appears to have rock solid
construction. I am not able to see much of decorations here on the
roof but the walls have nice lattice work windows cut in stone and
some relief sculptures but of smaller size.
Temples of Pattadakal; Mallikarjun on left, Virupaksha on right and Kashi Vishveshwar in middle
View of Malaprabha river from Virupaksha temple
The bull, Nandi
Virupaksha temple prayer hall
Sun God riding a chariot with 7 horses
Vishnu on outer wall of Virupaksha temple
The
next temple ahead is “Pattadakal's” biggest and most famous
temple of “Virupaksha.” This was constructed by queen
“Lokamahadevi” pf Chalukya king “Vikramaditya II.” This
temple was constructed as a mark of the famous victory won by this
king over his arch-rival, “Pallava” king at “Kanchipuram.”
The outer walls of the temple have some superb high relief
sculptures, which not only include Gods and Goddesses like
Shiva-Parvati, but also portray other subjects like all time
favourites; couples in love and also an ascetic doing yoga. The
'couples in love' sculptures here appear to me somewhat of different
style. Along with couples embracing each other, I can also see a
couple here, where the lady is questioning or ordering her man.
Facing
the main entry door to the temple a huge black coloured “nandi”
or the bull, sits waiting for the command of his master, the God “
Virupaksha.” Behind this bull is the river bed of “Malaprabha.”
This temple is quite impressive and shall always remain etched in my
memory. I enter in the main prayer hall of the temple. Up above on
the roof is a fabulous bass relief of the Sun God riding in his
chariot of 7 horses representing 7 days of the week. All the pillars
in this hall have small panels of miniature bass reliefs depicting
stories from Ramayana, mahabharata and Bhagavata; important Hindu
scriptures. To observe and study all sculptures here, one would need
to spend at least few weeks here. Since I do not have that kind of
time available, I continue to move.
Shiva killing a demon
Shiva, Parvati, Nandi
Angry lady as her man says no
Vishnu
The lady questions her man
Mahabharata bass relief panel
Bramha, Vishnu, Mahesh Parvati bass relief
Mallikarjun temple bass relief 
churning of the sea
A panchatantra story
The bull and elephant with same head
Just
on the side of “Virupaksha” temple, there is a similar temple,
which was constructed by “Trailokyamahadevi,” the second wife of
king “Vikramaditya II,” who incidentally was the younger sister
of “Lokamahadevi.” This temple is known as “Mallikarjun”
temple. The overall layout of this temple is very similar to
“Virupaksha” temple. The difference is in the subjects chosen for
the bass reliefs in side the temple hall, which are mostly from
stories narrated in books like “Panchatantra,” and “puranas.”
“Panchatantra” carries animal stories just like Aesop's fables.
Both “Virupaksha” and “Mallikarjun” temples have towers of
typical south Indian style and look quite different from other
temples having north Indian curvilinear towers.
the couple have same hair style
couple in love
An argument
Latest fashions, a miniskirt and a kurti
The
temple adjacent to “Mallikarjun” temple is known as “Kashi
Vishveshwar” temple. In all the temples that I saw so far, the
presiding deity was Shiva. This temple is also no different. The
presiding deity here is also none other but Shiva. This temple has
north Indian curvilinear style tower, yet the intricate design on the
tower appears quite different and is making this temple to stand out.
Kashi Vishveshwar temple
In the
history of temple Architecture of India, “Pattadakal” temple
architecture is considered as a major milestone. Experts say that in
“Pattadakal” one can find a eye pleasing combination of north and
south Indian styles of architecture. Frankly I am no expert in this
line and can not really add anything worthwhile.
As a
layman, I am comparing the temples and sculptures of “Aihole” and
those that are here. The temple architecture here is far superior,
no doubt on that. I somehow prefer the high reliefs of “Aihole”
which appear more lively and lifelike. The relief sculptures here are
many more, have much varied subjects, yet do not appear that live, at
least to me.
I have
to hurry as our bus leaves now for “Badami”, the formal capital
of Chalukyas. I am quite tired and also hungry. I must have my lunch,
then relax for little and then proceed to the final stop for the day;
the famous rock cut temples of “Badami.”
15
December 2012
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