The visit to this Sri Papanatha Temple at Pattadakal was a part of
“Hampi, Badami, Pattadakal, Mahakuta and Aihole temples Heritage visit”
organized by வரலாறு விரும்பிகள் சங்கம் Varalaru Virumbigal
Sangam – VVS and எண்திசை வரலாற்று மரபுநடைக்குழு, between 24th December to 28th December
2022. I extend my sincere thanks to
the organizers Mrs Radha and Mrs Nithya Senthil Kumar and Mr Senthil Kumar.
The Pattadakal temple complex is on the banks of river Malaprabha comprises
nine temples near to one another in a row and from the north to south as
follows…..
1. The Kadasiddhesvara Temple
2. The Jambulinga Temple
3. The Galaganatha Temple
4. The Chandrasekhara Temple
5. The Sangamesvara Temple
6. The Kasi Visvesvara Temple
7. The Mallikarjuna Temple
8. The Virupaksha Temple
9. The
Papanatha Temple ( This temple is 200
meters away from Virupaksha Temple on south side ).
பாபநாதர் கோயில்… விருபாக்ஷர் கோயிலில் இருந்து சிறிது தொலைவில் அமைந்துள்ள இந்த கோயில் 8ஆம் நூற்றாண்டின் இடைக் காலத்தில் கட்டப்பட்டதாக கருதப்படுகிறது. திராவிட, நாகர கலைப்பாணியினை இணைத்து இந்த கோயில் கட்டப்பட்டுள்ளது. விமானம் நாகர அமைப்பிலும் கோயிலின் வெளிப்புற பகுதிகள் அலங்கார அமைப்புகளில் சில திராவிட கலைப்பாணியிலும் அமைக்கப்பட்டுள்ளன. மற்ற கோயில்களை போல இந்த கோயிலும் கிழக்கு நோக்கியே கட்டப்பட்டுள்ளது. கருவறைக்கு உள்ளே லிங்கம் காணப்படுகிறது. இடப வாகனம் சபா மண்டபத்தில் கருவறையை நோக்கி அமர்ந்தவாறு உள்ளது. ராமாயண காட்சிகளும், கிராதார்ஜுன புராண காட்சியும் காணப்படுகிறது. தேவகோட்டத்தில் மகிஷனை வதம் செய்யும் தேவி மஹிசமர்த்தினியாக காணப்படுகிறாள். 16 மற்றும் 4 கால்கள் கொண்ட மண்டபத் தூண்களில் அழகிய சிற்பங்கள் நிறைந்து காணப்படுகின்றன.
About hundred metres south of the Virupaksha Temple is
located on a sloping eminence the Papanatha Temple commanding the view of the
river Malaprabha a few metres away on the east.
ARCHITECTURE
The temple in plan
and elevation differs from the other main temples in the locality. Its plan is
strikingly oblong. But the height is not proportionate to the length, rather
somewhat stunted. It comprises axially a mukha mandapa, sabha mandapa, uncommonly
spacious antarala and garbha griha with sandhara pradakshina patha.
Elevationally, from the bottom are adhishthana, bhitti (wall), kapota, hara and
prastara, all typical of the vimana model of temple architecture, like the
Sangamesvara Tmple. But, most unusually, from above the garbha griha arises sikhara of
the rekha nagara form like that of the Galaganatha. Besides, in the southern,
western and northern walls of the garbha griha is cach a false, shallow portico
(ghana dvara) with pillars in the front open on the three sides enshrining the
colossal sculpture of Natya Siva, Siva and again Natya Siva comparable to the
similar scheme in the Galaganatha.
At the adhishthana
level, are a series of elephants in assorted postures and moods, natural and
dynamic, in remarkably bold relief. On the front face of the front pillars of
the mukha mandapa are dampatis in which the man is curiously horse headed and
the woman, nude. And on the southern and northern faces of the pillars are a
human pair and a lady tall and slender holding a lotus bud in the hand. Beside
her is a dwarf female attendant at once bringing out a fine contrast between
the slim and the grubby, the lofty and the diminutive, the beautiful and the
ugly.
At the top corners
of the mukha- mandapa are figures of mythical animals, elephant headed with the
body of a lion. In the ceiling is a beautiful large square panel displaying
eight armed Siva dancing on apasmara along with Parvati. On the right side the
accompanying artist is playing on a ghata unusually with four short spouts
(panchamukhi-ghata- vadya). His right hand is in chinmudra. Another is playing
on cymbals. This panel is one of the best specimens of the Chalukyan art for
spatial distribution and balance. A label inscription near Siva's left shoulder
states: "Sri Baladevayya nirmmita rupu" which means Shri Baladeva,
the sculptor of this panel.
At the edge of the roof on the inner side are
flying dwarfs carrying garlands in their hands and at the same time as if
bearing the load of the roof. Of the two saiva dwarapalakas the one on the right
mutilated was sculpted by Shri Baladevayya. The dwara bandha is well- designed
and ornate. It is crowned with sala sikhara, an unusual feature. In the lalata bimba of the lintel, is Gajalakshmi under the makara torana. Right above this
image is the figure of seated Siva & Parvati with Rishabam.
In the sabha mandapa are four rows of four
pillars each, as usual dividing the hall into a central nave and side aisles. But
unlike the heavy square pillars of the other three large royal temples, the
pillars here are rather slender, the shaft being fluted fixed into a moulded peeda by mortise and tenon technique. At the top is the kumbha. Thus the form
and design of the pillars are nearer to those of the Galaganatha and the Kashi
Visveshvara. What is more interesting is the presence of beautiful medium sized
sculptures ( 0.75 m ) of men and women of status, on the shaft part facing the
nave as if to welcome the incoming devotees, adding dignity and grace to the
hall. This fitting decorative motif of superb workmanship is found only in this
temple. Corresponding to the pillars on the pilasters of the walls are found
sculptures of dampatis warrior women of enchanting beauty. Beginning from the
left interior some of the sculptures are; second pilaster, niche containing
eight armed Mahishasuramardini.
Third, a lady
plaiting her hair; Sixth, lady holding the hair by hand. These are appealing
instances of sculptors' keen observation of the humans in natural situations.
Most unusually in the sabha- mandapa, there is a life size sculpture of Rishabam placed. In the ceiling are big sculptural peeda. panels juxtaposed. They are
Gajalakshmi, zoo- anthropomorphic Nagaraja. Vishnu as Anandasayi surrounded by
Ashtadikpalakas and a blossomed lotus. The beams across the ceiling also carry
beautiful sculptures such as Kalyana Sundara murti with Vishnu and the
gandharvas nearby. With saiva dvara palas on the sides the dvara bandha is
exquisitely ornate with Garuda in the lalata of the lintel, holding the tails
of the two naga sakhas.
The rectangular hall has four central pillars in
the front part and garbha griha in the back with closed narrow space on the
outside serving as of pradakshina patha / circumambulatory . The front part therefore may be
treated as antarala in this temple as there is a sabha mandapa in the front.
In the ceiling of
the nave are two sculptural panels: Nataraja
and Uma sahita natya Siva of exquisite beauty. Interestingly, subdued
natural light passes through the openings of the clerestory spread on the
ceiling sculptures creating light and shadow effect, bringing the sculptures
into bold relief, and infusing the effect of movement in them. In the
lalata bimba of the lintel is Gajalakshmi. Above the Gajalakshmi are two
flywhisks in criss cross position. Nearby are the seated figures with the
standards such as gaja (elephant) dhvaja, vrishabha or Rishabam (bull) dhvaja,
probably representing the Ashtadikpalakas. Inside the garbha griha is a huge Siva Lingam on a high moulded peeda.
Sculptures on the northern wall
On the outside, in the middle zone of the exterior of the
walls is a series of sculptures all along. To view in continuation the Ramayana
series from the birth of Rama to his coronation, on the southern wall it is
necessary to commence contra clockwise from the northeast corner. On the
northern wall are, Arjuna standing on one leg performing penance- Arjuna aiming
an arrow at the pig, Siva & Parvati in disguise of hunter and huntress, Ravana
lifting Kailash, Siva & Parvati, MahaVishnu, a lady standing under a tree with dwarf
attendants nearby ( the multiple bends in the posture are noteworthy ) and Mahishasuramardini.
Agni seated on goat, his vahana, with an
inscription much damaged- Rati & Kama, Harihara, the ghana dvara with colossal
sculpture of natya Siva with Bramha and Vishnu on the sides.
On the outer faces of the front pillars are
Gajendra moksha and Trivikrama, further on the wall, Vishnu, Varuna one of the
cardinal deities, on his vahana, the crocodile, dwarfish and bulky Natya
Ganesha indeed remarkable for the sculptor's fine sense of humour.
Sculptures on the western wall
Much worn out on account of weathering, Narasimha and
Hiranyakashipu fighting, Bhu Varaha, within the ghanadvara is the life size
Gajasurari / Gajasamhara murti Siva, on one of the front pillars is Govardhanagiridhari Krishna and Indra seated on the elephant.
Sculptures
on the southern wall
Interestingly enough, the sculptures on this
wall are thematic displaying the principal episodes from the Ramayana story
from the birth of Rama to his coronation with label inscriptions below to
identify the persons of the scene. Starting from the southwest corner the
sculptures are, Siva seated Bramha with attributes kalasha and an object
looking like the Indian numeral eight (noose) in the rear hands, the front
hands being in yogamudra, Ashtabhuja / eight armed natya Siva in the portico with inscription, Yama seated on the bison, natya Siva, Vasishta and Visvamitra, the sages, a
group of sages, Dasaratha and Vasishta & Visvamitra taking with him Rama and
Lakshmana to his hermitage to teach and train them, Dasaratha performing
"Putra kameshti" yagna under the guidance of Vasishta, Dasaratha
giving a receptacle containing the sweet dish presented by Agni to Kausalya,
his first queen, birth of Rama, Vishvamitra taking Rama and Lakshmana to the
court of Janaka, the king for the 'Sita svayamvara", Rama, Sita and
Lakshmana ("Lakkana") departing to the forest, Shurpanakha
("Suppanaki"), Lakshmana mutilating Suppanaki's nose ( Baladeva
sculpted this panel)- Khara-Dushana ( "kara- dusanan" ) with an army
marching towards Rama's hermitage- Suppanaki approaching Ravana ( "Rabana" ), her brother, ten headed
Ravana holding a meeting to devise a strategy in the matter, Sita, Lakshmana,
Rama, and golden deer ("Lakkana, Rama, ponmari"), Ravana abducting
Sita-Ravana ("Rabana") hitting fatally Jatayu-above, Rama
("Raman"), Lakshmana ("Lakkana") looking at the Vanara / monkey army below, Vali and Sugriva combating each other and Rama looking the other
side not being able to distinguish Vali from Sugriva. Sugriva again Vali
"Baali". Sugriva ("Sugrivan"), Rama shooting an arrow at
Vali, dying Vali, Lakshmana ("Lakkana"), Rama- Hanuman
("Anama"), Jambavanta ("Jambavan"), Nala
("Nalan"), Sugriva, Angada ("Amgada"). carrying stones to
construct a across the sea- construction of the bridge.
HISTORY
AND INSCRIPTIONS
The original Papanatha temple comprising the dates of the other temples are
garbha griha, the approximately arrived at on sabha mandapa with four the
comparative basis of their central pillars in the front appear to be of
mid late seventh century and the remaining parts apparently seem to have been
added to it later around mid eighth century.
Virupaksha temple. The first briefly states that Vikramaditya II, the Chalukyan
king, honoured thrice with Perjjeripu probably the highest ceremonious
decoration "Sarva Siddhi Aachari,
the architect of the southern part of the "Lokesvara" built by Loka
Mahadevi, the senior chief queen of the king, in memory of his conquest of
Kanchi, (the capital of their arch enemy, the Pallavas ) thrice. The architect
was well known as the Father of Architecture ("Vastu pitamahan"),
exceedingly subtle and refined in talk, "Mani-makuta chudaamani' and was
involved as in the art of construction of palaces, yogasana', couches etc.
“Sri Damodaran, Devaputra”, the
disciple of Shri Sakaresvaravadi, the sculptor of the ceiling Surya panel of
the eastern mukha mandapa of the Virupaksha temple- “Baladeva”, the son of “Shri
Duggi achaari”, who sculpted the saiva-dvara-pala statue on the right side
in the southern mukha-mandapa.. also the saiva dvarapalakas on the right side in
the eastern mukha mandapa of the Papanatha temple. A few titles such as
"Vidyadhara" bestowed on him are also mentioned that are not all
clear, Sri Chegamma, the sculptor of
the Siva image located near the southwestern corner of the Virupaksha temple
and Sri Pullappan, the sculptor of Siva image near the southeastern corner of
the temple, Revadi Ovajjar, the
disciple of “Sri Silemuddara Marmman,
Sarva Siddhi Achari”, who constructed the southern part of the Papanatha
temple and Sri Badi.
Another architect of no less eminence is "Shri Gundan Anivaaritaachaari", also architect of the
Lokesvara temple, honoured with the same Perijeripu and title Tribhuvanaachaari.
The inscription
below the Mahishasuramardini sculpture
records the name of the sculptor as “Changamma”.
The inscription in
Kannada script, below the 8 armed Shiva, mentioning the name of the sculptor as
"deva-arya nirmmita rupu"
in the Nagari script and "....narya[ga]
deva arya nirmmita rupa(m)" .
The inscription in
In Mukha mandapam, on the panel near Siva's left shoulder records the name of
the sculptor of this panel, as "Sri Baladevayya
nirmmita rupu" which means Shri Baladeva.
POLITICAL
HISTORY OF CHALUKYA DYNASTY
Jayasimha, a Chalukya King probably the
founder, carved out a region and ruled. He was immediately followed by Ranaraga
who expanded and consolidated the kingdom. However, not much is known about
these two Chalukyan kings. It was Pulakesi I, the third king in the
genealogical line, who made Badami, the capital of the kingdom in 543 CE and
built a fort on the top of what is now known as the North hill. His son,
Kirtivarma (1) with the assistance of Mangalesa his younger brother, conquered
the neighbouring kingdoms of the Kadambas in the south- west, the Mauryas of
the Konkana, the Kalachuris etc,. It was
his celebrated grandson Pulakesi-II who extended the political boundaries of
the kingdom far and wide from Narmada to Kaveri. He installed his younger
brothers Jayasimhavarma in the north comprising Gujarath region and Kubja
Vishnuvardhana in the eastern division while he ruled the central part from
Badami. However, he met with a crushing defeat at the hands of Pallava Narasimhvarman
of Kanchi in 642 CE. Badami was 'terra incognito' for the next twelve years. In
654 CE, Vikramaditya - I, Pulakesi's
son, succeeded in re-conquering the kingdom from the Pallavas. The kingdom grew
further and was prosperous, strong and generally peaceful under the next three
rulers in succession namely, Vinayaditya, Vijayaditya and Vikramaditya II in
spite of their frequent, successful wars particularly with their arch enemy, the
Pallavas others in the north. Kirtivarman- II, the son of Vikramaditya- II
though capable and experienced in wars and administration, succumbed to the 756 CE onslaught by Dantidurga, the
Rashtrakuta chief ruling the Ellora region. This ended the Badami Chalukyan
rule. The Badami region thus became a part of the Rashtrakuta kingdom.
By 973 CE the Chalukyas till then keeping a low
profile at the appropriate occasion seized and rose to power supplanting the
Rashtrakutas. Later Kalyana in Bidar district, Karnataka had the fortune of
becoming the capital of the kingdom and continued to be so till the ruling
dynasty fell in about 1189 CE. However, Pattadakal gained some importance by
becoming the headquarters of an administrative division known as Kisukadu 70
ruled by Nolamba Pallava Permanadi Singhanadeva as mandalika (feudatory) under
Someshvara II, Bhuvanaikamalla, the Chalukyan king, around 1070 CE and hundred
years later by Chavumda II of the Sindha family, a mandalika to Noormadi Taila-
III the Chalukiyan king. Chavumda’s senior queen Demaladevi and their son
Achideva by virtue of his position as prince were then enjoying Pattadakal.
Ref
1. A Hand book on World Heritage Series Badami, published by Archaeological Survey of India.
2. A Hand book on Hampi, Badami, Pattadakal & Aihole issued by VVS in Tamil.
3. Temple architecture and Art of Early Chalukyas Badami, Pattadakal, Mahakuta, Aihole by George Michell.
HOW TO REACH
Pattadakal Group of
temples are 13 KM from Aihole, 17 KM from Badami and 459 KM from Bengaluru.
Nearest Railway
Station is Badami.
LOCATION OF THE
TEMPLE : CLICK HERE
--- OM SHIVAYA NAMA ---
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