Kudure gombe (Toy horse) Mandapa & Pushkarani, Hampi Ruins, Hampi, Karnataka

The visit to this Kudure gombe (Toy horse) Mandapa and Pushkarani on the way to Vittala Temple at Hampi, was a part of “The Hampi, Badami, Pattadakal, Mahakuta and Aihole temples Heritage Visit” organized by வரலாறு விரும்பிகள் சங்கம் Varalaru Virumbigal Sangam – VVS and எண்திசை வரலாற்று மரபு நடைக்குழு, between 24^th December to 28^th December 2022. I sincerely thank the organizers Mrs. Radha, Mrs. Nithya Senthil Kumar, and Mr. Senthil Kumar.

மொத்த ஹம்பியிலும் யாழி மற்றும் சிம்ம தூண்களைக் கொண்டு கட்டப்பட்ட மண்டபங்களில் இருந்து மாறுபட்டு குதிரை ஓட்டும் வீரர்கள் தூண்களைக் கொண்டு 16 ஆம் நூற்றாண்டில் கட்டப்பட்ட குதிரை கோம்பே (குதிரை பொம்மை) மண்டபம் அல்லது விஷ்ணுவிற்காக கட்டப்பட்ட கோயிலும், அதன் எதிரே அமைந்துள்ள நீராழி மண்டபத்துடன் அமைந்த கோயில் குளமும் மிகவும் சிறப்பு வாய்ந்தவைகள் ஆகும்.   

குதிரை கோம்பே மண்டபம் எனப்படும் விஷ்ணு கோயில் கருவறை, இடைநாழி, அர்த்தமண்டபம் மற்றும் முக மண்டபத்துடன் கட்டப்பட்டு உள்ளது. கருவறை உபானம், பத்மம், கண்டம். கபோதம், கம்பம் போன்ற உருப்புக்களை அடக்கிய உயர்ந்த அதிட்டானத்தின் மீது கட்டப்பட்டு உள்ளது. கபோதத்தில் கீர்த்திமுகம் அழகாகக் காட்டப்பட்டுள்ளது. மண்டப தூண்களில் வைஷ்ணவ சமயம் சார்ந்த புடைப்புச் சிற்பங்கள் காணப்படுகின்றன. குதிரை ஓட்டும் வீரர் தூண்கள் காணப்படுவதால், இம்மண்டபம் அவர்களுக்காக வணிகர்களால் கட்டப்பட்டு இருக்கலாம் என்ற கருத்து நிலவுகின்றது.   

The specialty of these Kudure Gombe Mantapa and Pushkarani is with Horse rider pillars found only at the mandapa entrances, in the whole of Hampi temples/mandapas. The other places Lion riders and Yazhi riders can only be seen.  

On the pathway of the Vitthala temple is a small shrine with a garbhagriha, antarala, and an open ardha mandapa with pillars of horse riders at the front. Owing to the presence of such pillars of horse riders it is called Kudure gombe mandapa. This mandapa is situated in the Vitthala bazaar. During the utsavas, particularly during the processions the deity was brought along the street.

ARCHITECTURE

This is the 16^th Century  North facing Vaishnava Shrine which is 13.50 meters long and 7.50 meters wide. The Sanctum Sanctorum rests on an adhistana composed of five plain mouldings say, upana, padma, kanda, kapota, and kampa. The details on the pillars of the mukha mandapa are more pronounced. Kapota moldings above outline kirtimukha carvings. Base reliefs depict Vaishnava sculptures and emblems. The presence of Horses in place of Yazhis indicates that this temple was built for or by traders. Sculpted horse riders on the pillars of the porch / mukha mandapa are flanked by sculpted lion riders on either side.

கோயில் குளம்.. இக்கோயில் குளம் குதிரை வீரர்களுடன் கூடிய முக மண்டபத்துடனும் நடுவே நீராழி மண்டபத்துடனும் 16 ஆம் நூற்றாண்டில் கட்டப்பட்டது. தென்னிந்திய கட்டிடக்கலையான திராவிட பாணியில் செங்கல்லால் கட்டப்பட்ட நீராழி மண்டபம் இருதள விமானத்துடன் காணப்படுகின்றது. பண்டிகை நாட்களில் உற்சவரின் தெப்ப உற்சவத்திற்காக இக்குளம், நீராழி மண்டபம் மற்றும் அதனைச் சுற்றியுள்ள மண்டபங்களும் கட்டப்பட்டது.

Pushkarani... The pushkarani is just opposite this mandapa with a neerazhi mandapam at the centre. The entrance pillars are with horse riders. The largest 16th-century tank has an ornate main entrance from the south and measures around seven meters in length. The tank was used during Teppotsava festivals associated with the Vitthala temple.

It was enclosed by a pillared cloister, evident from its remnants on all four sides. A processional deity / utsavar pavilion with raised platform is at its western end. On the northern side, the landing is built in three stages. Almost halfway, there are fixed anchor stones to tie a boat or teppa ( coracle ) At the center of the tank is a four-pillared pavilion  / neerazhi mantapa. Carrying dvitala Dravida Shikhara is built of brick and lime and delineates shala, kuta, and panjara motifs on the exterior. This pavilion was used for display and worship of the utsava murti during certain festival days.

Ref:

1. A Handbook on விஜயநகர் – சாளுக்கிய மரபு நடை கையேடு, issued by வரலாறு விரும்பிகள் சங்கம் VVS.

2. A Book on Vijayanagara Through the eyes of Alexander J Greenlaw 1856, John Gollings 1983 and Dr. R Gopal & M N Muralidhar 2008, Published by Directorate of Archaeology and Museums, Mysore 2008

LOCATION OF THE MONUMENT: CLICK HERE

--- OM SHIVAYA NAMA ---

King's Balance, Hampi Ruins, Hampi, Karnataka

The visit to this King's Balance on the back side of Vittala Temple at Hampi was a part of “The Hampi, Badami, Pattadakal, Mahakuta and Aihole temples Heritage visit” organized by வரலாறு விரும்பிகள் சங்கம் Varalaru Virumbigal Sangam – VVS and எண்திசை வரலாற்று மரபு நடைக்குழு,  between 24^th December to 28^th December 2022. I sincerely thank the organizers Mrs. Radha, Mrs. Nithya Senthil Kumar, and Mr. Senthil Kumar.

The King’s balance is supposed to have been used on the occasion of Tulapurusha Dana, when a King or a person would weigh himself against precious materials like gems and metals, during important occasions like birthdays and auspicious days like, festive days, Solar and Lunar eclipses and is either gifted to the temple or to the people which is known as Tulapurusha dana. This is practiced in many temples and that continues even today.

“ராஜா தராசு” அமைப்பு துலாபுருஷ தானத்தின் போது தனது எடைக்கு எடை, பொன், விலை உயர்ந்த கற்கள் போன்றவற்றை, பிறந்த நாள் கொண்டாட்டம்,  விழாக்காலங்கள், சூரிய, சந்திர கிரகனத்தின் போது நிறுத்து அவற்றை கோயிலுக்கோ, அல்லது மக்களுக்கோ வழங்கப்படுவதற்காக அமைக்கப்பட்டது இன்றைய நாட்களிலும் வேண்டுதலுக்காக கோயில்களில் இவ்வித துலாபார தானம் வழங்குவதைக் காணலாம்.  

ARCHITECTURE
This two-pillared structure with a cross beam on the top is popularly called King’s balance, owing to the relief on the base or North face that depicts Krishnadevaraya and his consorts. The Tall pillar with kudu arches at the corners rests on a base consisting of three moldings – pada, Kanda, and kapota. Two pairs of tall, slender pilasters rest on brackets with addorsed lions adorning the four sides of the pillars. The Horizontal beam bears a miniature sala at the center and two kutas at the corners.  The three loops beneath the beam were probably used to hang the weighing balance.

இத்தராசு அமைப்பு இரண்டு பெரிய தூண்களின் உச்சியில், இரண்டையும் இணைத்து உத்திரம் பொருத்தப்பட்டு உள்ளது. கோயில் விமானங்களின் அமைப்பைப் போல உத்திரத்தின் இருபுறமும் கூடுஅமைப்பும், நடுவே சாலை அமைப்பும் காணப்படுகின்றது. தூண்கள் பாதம், கண்டம் கபோத அமைப்புடன் உள்ளது. தூண்களின் வடக்குப்புறம், கிருஷ்ணதேவராயர் மற்றும் அவரின் இரு மனைவிமார்களும் புடைசிற்பமாக காணப்படுகின்றது. உத்தரத்தின் கீழே எடை நிறுக்கும் தராசை கட்டுவதற்கான அமைப்பும் உள்ளது.

The top of the balance originally had a chakra and a shankha between the three architectural features on the top. It appears that even when Greenlaw photographed this monument that shankha had disappeared. Since 1856 even the chakra has been missing. Some of the brick-and-mortar features in the rear temple have disappeared. Otherwise, not much change is perceptible except for the intrusive protection notice board.

The Shankha/conch is missing after 1856 on the top beam

Greenlaw's photo which shows shankha on the top beam- 1856

Ref:
1. A Handbook on விஜயநகர் – சாளுக்கிய மரபு நடை கையேடு, issued by வரலாறு விரும்பிகள் சங்கம் VVS.
2. A Book on Vijayanagara Through the eyes of Alexander J Greenlaw 1856, John Gollings 1983 and Dr R Gopal & M N Muralidhar 2008, Published by Directorate of Archaeology and Museums, Mysore 2008

LOCATION OF THE MONUMENT: CLICK HERE

The Temple & structures after the King's balance

--- OM SHIVAYA NAMA ---

Kodandarama Temple / கோதண்டராமர் கோயில், Hampi Ruins, Hampi, Karnataka

The visit to this Kodanda Rama temple at Hampi was a part of “The Hampi, Badami, Pattadakal, Mahakuta and Aihole temples Heritage visit” organized by வரலாறு விரும்பிகள் சங்கம் Varalaru Virumbigal Sangam – VVS and எண்திசை வரலாற்று மரபு நடைக்குழு, between 24^th December to 28^th December 2022. I sincerely thank the organizers Mrs. Radha, Mrs. Nithya Senthil Kumar, and Mr. Senthil Kumar.

This temple is dedicated to Kodanda Rama and is located on the right bank of the Tungabhadra River. According to local legend, it marks the spot where Lakshmana arrowed Sugriva after Vali was killed.

The western flank of the temple is lined with pillared mandapas and a flight of steps descend towards the river. It is enclosed in a garbhagriha and fronted by a sukhanasa which forms its first terrace while a thirty-pillared open mantapa or Kalyana mantapa  forms its second terrace. The temple is built around a large boulder with life-size images of Rama, Sita, Lakshmana, and Hanuman. Hanuman is shown standing next to Lakshmana. Rama is depicted at the center holding a bow ( kodanda ) and arrow in his hands and standing under the hooded Adhisesha. His wife Sita stands to his left. Hanuman and Garudan are in the form of bas-relief panels in the open mandapa, on both sides of the sanctum sanctorum. A recent period Vimana is on the so-called sanctum sanctorum.

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துங்கபத்ரா நதிக்கரையில், சக்ரதீர்த்ததின் அருகே இக்கோயில் அமைந்து உள்ளது. இயற்கையான பாறையின் மீது ராமர், சீதா, லக்ஷ்மணன் மற்றும் சுக்ரீவன் புடைப்பு சிற்பங்கள் செதுக்கப்பட்டு உள்ளது. சாதாரணமாக ராமருடன் அனுமனே காணப்படுவார், ஆனால் இங்கு சுக்ரீவனாக கருதப்படுகின்றார். அனுமன் மற்றும் கருடன் சிற்பங்கள் பலகைக் கல்லில் வடிக்கப்பட்டு முன்மண்டபத்தில் கருவறையின் இரு பக்கமும் நிர்மாணிக்கப்பட்டு இருக்கின்றது. இயற்கையான பாறையை கருவறையாக பாவித்து அர்த்தமண்டபம் மற்றும் கல்யாண மண்டபங்கள் கட்டப்பட்டு உள்ளது. கருவறை மீது சமீப காலத்தில் கட்டப்பட விமானம் காணப்படுகின்றது.  

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Garudan & Hanuman 

Ref:

1. A Handbook on விஜயநகர் – சாளுக்கிய மரபு நடை கையேடு, issued by வரலாறு விரும்பிகள் சங்கம் VVS.

2. A Book on Vijayanagara Through the eyes of Alexander J Greenlaw 1856, John Gollings 1983 and Dr R Gopal & M N Muralidhar 2008, Published by Directorate of Archaeology and Museums, Mysore 2008

LOCATION OF THE MONUMENT: CLICK HERE

--- OM SHIVAYA NAMA ---

Hero Stones / Veerakallu, வீரகற்கள்/ நடுகற்கள், of Aihole, Bagalkot District, Karnataka.

The visit to these Hero stones at the Archaeological Museum, Aihole was a part of “The Hampi, Badami, Pattadakal, Mahakuta, and Aihole temples Heritage visit” organized by வரலாறு விரும்பிகள் சங்கம் Varalaru Virumbigal Sangam – VVS and எண்திசை வரலாற்று மரபு நடைக்குழு, between 24^th December to 28^th December 2022. I sincerely thank the organizers Mrs. Radha, Mrs. Nithya Senthil Kumar, and Mr. Senthil Kumar.

The Hero with inscription in Hale Kannada

The Archaeological Museum

The Archaeological Museum is located in front of Durga Temple, in the Durga temple complex. It was originally planned as a sculpture shed in 1970 to collect and exhibit the sculptures, inscriptions, and architectural members found by way of exploration, and excavation in and around Aihole. Later it was converted into a full-fledged museum in the year 1987, and extended in the year 2000.

The collection in the Museum

The museum has a rich collection of sculptures belonging to the period of the Badami Chalukyas (543-757 CE), the succeeding Rashtrakuta-s of Malkhed (757-950 CE), and the Chalukya-s of Kalyana ( 950-1250 CE ), which includes Hero Stone, Veerakallu. Most of the hero and Sati stones are of 3 tiers. In the lower level, the hero is shown fighting with enemies, the hero along with his wife after sati is taken to heaven by Devakannis, and in the top tier, the hero is shown worshiping Shiva/Maha Vishnu. In two Hero Stones, the hero’s wife is taken through a palanquin for sati. Almost all the hero stones are made out of sandstone and in eroded condition due to age.

These hero stones are erected for the Heroes who are killed in the war. The hero stones might have been brought from elsewhere to this common place considering safety. 

Ref:

An Archaeological Survey of India Book let on Aihole Museum.

LOCATION OF THE MUSEUM: CLICK HERE

--- OM SHIVAYA NAMA ---

Loose Sculptures of Hindu (Saptamatrikas, Vinayagar, Lajja Gauri ), Jainism and Buddhist religions - Archaeological Museum, Aihole, Bagalkot District, Karnataka.

The visit to this Archaeological Museum at Aihole was a part of “The Hampi, Badami, Pattadakal, Mahakuta and Aihole temples Heritage visit” organized by வரலாறு விரும்பிகள் சங்கம் Varalaru Virumbigal Sangam – VVS and எண்திசை வரலாற்று மரபு நடைக்குழு, between 24^th December to 28^th December 2022. I sincerely thank the organizers Mrs. Radh, Mrs. Nithya Senthil Kumar, and Mr. Senthil Kumar.

The legend of Aihole

The name Ayyavolal is derived from Aryavolal or Aryapura ( the valley of the elders ). In the local language, it is known as Aivalli /Aiholli.

As per the legend, Parashurama, after killing the Kshatriya-s, is said to have washed his axe in the Malaprabha river. The waters of the river turned red due to blood, causing the people to exclaim, "Ai Holi" ( Ai, the river... !!! ). Hence the name Aiholi, which has been corrupted to the present name of Aihole.

The Archaeological Museum

The Archaeological Museum is located behind the Durga Temple, in the Durga temple complex. It was originally planned as a sculpture shed in 1970 to collect and exhibit the sculptures, inscriptions, and architectural members found by way of exploration, and excavation in and around Aihole. It was converted into a full-fledged museum in the year 1987, and extended in the year 2000.

The collection in the Museum

The museum has a rich collection of sculptures belonging to the period of the Badami Chalukyas (543-757 CE), the succeeding Rashtrakuta-s of Malkhed (757-950 CE) and the Chalukya-s of Kalyana (950-1250 CE). Jainism is represented by sculptures of Tirthankara, Yaksha, and Yakshi. Yaksha and Yakshi are male and female deities attendant upon each Tirthankara.

Immediately in front of the entrance, is displayed the most beautiful sculpture of Kushmandi Yakshi, dated to late 7^th century CE. Kushmandi or Ambika, is a female attendant of Neminatha, the 22^nd Tirthankara. She is also known as Amra-Sakshi. Here she is supposed to be sitting under a ( Amra ) mango tree. The leaves are similar to mango leaves but the shape of the fruit is unusual. She is worshipped as a mother goddess.

In the course of developments in Jainism, Yaksha-s and Yakshi-s, assumed far greater importance, next only to that of the Tirthankaras. By the time of the Badami Chalukya-s the religious practices had become complex enough to include worship of Yaksha-s and Yakshi-s also. In the western half of the Deccan, Jainism had grown deep roots. Evidence suggests that by the middle of the 4th century CE, Jainism was well established in Karnataka. The Ganga-s and the Kadamba-s had patronized Jainism.

There are two important Jaina edifices at Aihole. Jain temple on the Meguti hill, visible from far away. The sculpture of Kushmandi kept in the museum, was brought from this temple. On the northern wall of this temple is an important inscription in Sanskrit (dated 634 CE) of minister and a Poet Ravikirti, in the reign of Pulakeshi-II. The minister, who must have been a poet of repute, compares himself with Kalidasa and Bharavi. Contemporary inscriptions prove that Sanskrit had achieved prominence, but the Kannada Language had remained popular among the people.

Dharanendra Yaksha, seated with a yoga patti, holding Mazhu and Pasa in the upper hands and a lotus in the lower hand, once belonged to this temple and is now kept at the Aihole Archaeological Museum.

 

This splendid panel of Ambika showing a goddess seated on a lion beneath a luxuriant mango tree in the company of attendants, one of whom holds a child, was originally installed in the temple vestibule / antarala. It is now displayed in the Aihole Archaeological Museum

The Buddha image in gallery No. I, seated on a throne, in Padmasana, is from the two storyed, Buddhist temple at Aihole, which is situated near the steps, leading to the Meguti temple.

The numerous sculptures of the Hindu religion represent various sects like Shaiva, Vaishnava, Saurya, Ganapatya, Skanda Kärti- keya, Hariti and Saptamartrikas.

The Shaiva images displayed in the museum are Bhikshatana Shiva, Nataraja, Ardhanarishvara, Gajasuravadha/Gajasamharamurti, Veerabhadra and Parvati, Shiva's consort is represented as Mahishasuramardini.

Veerabhadra

Numerous individual images of seated Ganapati, found at Aihole, testify to a strong cult of the Gana-patya, who considered Ganapati as the supreme god.

The cult associated with Skanda-Kartikeya as Mahasena, the commander of the army of the gods, goes back to an early period. At Aihole, Kartikeya images have been mostly depicted on architectural members.

Skanda - Karthikeya 

Many images of Saptamatṛikäs (seven divine mothers) have been found at Aihole. The seven mothers are Brahmani, Mäheshwari, Kaumari, Vaishnavi, Varahi, Indrani, and Chamunda. They are accompanied by Shiva or Ganapathi on both sides. The worship of Saptamatrikas is associated with Shakti worship, the female principle in the Tantrik form of Hinduism.

Mahishamardini 

 Mahishamardini 

Lajja Gauri Panel 

 Lajja Gauri

A separate cult of the Surya ( Sun worshipers ) must have been popular at Aihole. Images of Surya, holding a lotus ( symbolic of the Sun in Hindu mythology ) in both hands have been found. A shrine dedicated to Suryanarayana is situated very near the Ladkhan temple, with a life-size image of Surya.

Surya, holding a lotus

Sculptures with the upper body of a human and the lower portion of a serpent, indicate a Näga cult of snake worshipers. Nagas are believed to reside in the underworld (Pātāla). Nägas are worshiped for fertility and childbearing.

Royal Patronage boosted the popularity of the ancient Vedic religion and Vedic ceremonies like the Ashvamedha, Agnişthoma, and Vajapeya sacrifices (Yajna).

Ref:

An Archaeological Survey of India Book let on Aihole Museum...

LOCATION OF THE MUSEUM: CLICK HERE

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