The visit to this Sri Virupaksha 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 )
விருபாக்ஷர் கோயில்.. மல்லிகார்ஜுனர் கோயிலுக்கு தென்புறம் இந்த கோயில் கட்டப்பட்டுள்ளது. பட்டடக்கல்லில் உள்ள கோயில்களுள் இதுவே மிக பெரிய கோயிலாகும். வாதாபி சாளுக்கிய அரசர் இரண்டாம் விக்கிரமாதித்தர் காலத்தில் கட்டப்பட்டதாகும். இவரது தேவியருள் ஒருவரான லோகமாதேவி இந்த கோயிலுக்கு நிவந்தங்கள் கொடுத்துள்ளார். “ஸ்ரீலோகீஸ்வர மகாசீல பிரசாத” என்று கல்வெட்டு வரிகள் கூறுகிறது. விக்கிரமாதித்தரின் காஞ்சி படையெடுப்புக்கு பின்னர் காஞ்சியை வெற்றி கொண்டதின் நினைவாக இந்த கோயில் கட்டப்பட்டுள்ளது என்று கல்வெட்டு
கூறுவதாக ஆய்வாளர்கள் கூறுகின்றனர். காஞ்சியில் உள்ள கைலாசநாதர் கோயிலின் சாயலை இங்கு காணமுடிகிறது. திரிதள(மூன்று நிலைகள்) விமானத்தின் மேலே சதுர்கூட சிகரம் உள்ளது. அதற்கு மேலே கலசம் காணப்படுகிறது. இந்த கோயிலை கட்டிய பெருந்தச்சனாக “குண்ட அணிவரிதாசார்யர்” என்பவர் அறியப்படுகிறார். விக்கிரமாதித்தர் இவருக்கு “பெரிஜெரெப்பு பட்ட(PERIJEREPPU PATTA)” என்ற பட்டப்பெயர் கொடுத்து இவரை சிறப்பித்துள்ளார். மற்ற கோயில்களை போல அல்லாமல் இந்த கோயில் முழுவதும் சிற்பங்களால் நிரம்பி உள்ளதால், அவற்றை பற்றிய விபரங்கள் விரிவாக ஆங்கிலத்தில் கீழே கொடுக்கப்பட்டு உள்ளது.
மல்லிகார்ஜுனர் மற்றும் விருபாக்ஷர் கோயில்கள் அருகருகே அமைந்திருப்பதால் இவற்றை “இரட்டை கோயில்கள்” என்று கூறுகின்றனர். மேலும், இவை இரண்டும் ஒரே காலகட்டத்தில் கட்டப்பட்ட கோயில்கள் ஆகும்.
The two celebrated royal temples, the Mallikarjuna Temple and
the Virupaksha Temple ( one beside
the other ) on the south side of Kasi Visvesvara Temple. Virupaksha temple is
also called as Lokeshvara Temple. Virupaksha Temple is little forward and
larger than the Mallikarjuna Temple.
ARCHITECTURE
Both Mallikarjuna Temple
and the Virupaksha Temple are within
a prakara with two maha dvaras one on the east and the other on the west. The
prakara is partially extant. The two temples are of tritala- vimana model, almost
similar to each other in the layout, elevation, the pillar forms, the dvara-
bandha, the ceiling pattern, the external wall projections, recesses of the
walls, the scheme of the wall sculptural patterns and forms; the narrative
panels on the pillars and pilasters with mithuna and other sculptures. The
sikhara of the Mallikarjuna Temple is circular while that of the Virupaksha
Temple is of square / Nagara.
The temple is with an independent pillared
mandapas enshrining Rishabam in the front, the temple comprises of a spacious
squarish heavily pillared sabha mandapa having mukha mandapas on the north,
east and south, a small shrine each at the front corners of the antarala,
distinctly bifurcated from the sabha mandapa by two pillars in the façade in
alignment with the inner most rows of the pillars of the sabha- mandapa and a
garbha griha encircled by the sandhara pradakshina-patha accessible from the
antarala. What distinguishes these two temples is the profusely exuberant
decoration of the pillars, pilasters, dvara bandha, beams, ceilings, exterior
of the kakshasana and the exterior of the walls, with miniature and colossal
sculptures of various kinds, like human and divine, narrative panels displaying
episodes from the two maha kavyas / epics and of other classical Sanskrit works, floral
designs, animals, mythical forms and
scenes from everyday life. Especially, in the superstructure on the garbha-
griha there is a prominent projection on the front of the talas resting on the
antarala beneath- a feature to be noticed for the first time in these two
temples. This architectural component is known as sukanasi.
This temple, almost intact gives a complete idea
of the fully evolved vimana architectural form of the period. Stylistically too
it represents the zenith of the Chalukyan art. This is the largest of all the
temples in the locality. In the centre of the eastern and western walls of the
prakara measures 67.20 metres x 31.50
metres, enclosing the temple, are maha-dvaras. The eastern maha-dvara is
practically a pillared mandapa having four square pillars with reliefs of
mithunas on them.
On entering the
maha-dvara one would see in the front court a Rishaba -mandapa (7.50 metres
square) raised on a high adhishthana of mancha- bandha type with series of
elephants in diverse postures and attitude. The mandapa, open on all the sides,
has four heavy and ornate corner pillars ( 2.10 to 2.40 metres in height )
having circular upper part. Within the mandapa is a colossal Rishabam sculpture
with glittering polish made on black granite. On the western side near the
corners are sculptures, most elegant and varied, of a tall, slender lady in a
posture lovely and sinuous under an umbrella of distinct type on one side, on
the other side is a lady of similar type and style with a flower in her hand.
Similarly there are sculptures mostly of romantic couples on the other sides as
well. Of them two on the southern side are noteworthy: Indrani, the goddess,
carrying an elephant standard (gaja-dhvaja) and a lady talking to a parrot
perched on her right hand. Even on the inside are amorous couples. One of them
is playing on a stringed musical instrument held by a dwarf servant.
East side entrance Goupra base
Rishaba mandapa
Rishaba mandapa
On the right and left sides of the dvara-palas
are in the side walls, respectively, auspicious Padmanidhi and Sankhanidhi the
semi divine beings symbolising prosperity and wealth. The pancha sakha-dvara-bandha
including the naga-sakha is ornate. And in the lalata- bimba of the lintel is a
miniature figure of Garuda holding the tails of the nagas of the naga-sakha.
Next is a spacious hall measuring 5.20 metres x
13.25 metres, with four rows of square pillars without base, of four each
dividing the hall into a central nave and side aisles. On the top of each
pillar is the capital of taranga type supporting the beams. As in the
Mallikarjuna temple, the upper and the lower zones of the pillars are decorated
with semi circular medallions with vertical band in between carved with floral
and animal or mythical designs of exquisite beauty. Narrative panels depicting
episodes from the Sanskrit literary works besides scenes from the mundane life
are depicted. Only those panels that need identification are enumerated below.
From the
west end pillar near the garbha-griha, in the north side of the hall and from
the south face:
1. i. Above flying gandharvas, Ahalya, a
rishi-patni and Tilottama, one of the apsaras (celestial nymphs) of the
svarga-loka (heaven), Indra and Vajra.
ii. Besides the usual mundane scene, Indra,
Tilottama, Tilottama, Indra, Ahalya, Indra cajoling Ahalya. In particular, an
elephant trampling a horse and piercing it with its tusks, a forceful depiction
of superb workmanship.
2. i. Fight between Hanuman and demons, construction of the bridge by the Vanaras; Hanuman appearing before Sita in the
Asokavana, Hanuman devastating the garden.
ii. Hanuman crossing the sea.
iii. Fight between Hanuman and Lamkini: her
death at the hands of Hanuman; Hanuman's entry into Lanka city etc.
iv. Hanuman crossing
the sea.
3. i. Bhishma lying on the bed of arrows.
ii. Duryodhana hiding in the Vaishampaayana
lake. Duryodhana and Bhima fighting with maces.
iii. The Kauravas capturing the cows
(gograhana), the war, Arjuna, Uttara (the son of Virataraya), Duryodhana
Bhishma offering obeisance to Krishna before the commencement of the war, Kama
and Salya fighting with Arjuna.
iv. Gograhana; the Mahabharata war.
4. Pandavas discussing in camera.
5. An episode from Saiva purana, Royal couple
with the rishis. Daksha, Sati's father, performing sacrifice, Siva and Sati on Rishaba, Sati immolating herself in the sacrificial fire.
Jadayu fights with Ravavana
The inner
row of the pillars on the southern side
From the northern face of the pillar near the
garbha- griha i.e. from the west end
1. Churning the sea by the Devas and Asuras, emergence from the sea of the Kamadhenu, Airavata (white elephant),
Uchchhaisravas (horse), Lakshmi etc.
2. Dual fight between Arjuna and Siva in
disguise of a kirata (a hunter), Arjuna obtaining Pasupatastra from Siva. Arjuna and Siva chasing the pig in opposite
directions.
3. Natya Siva
(note the balancing of his posture with the serpent in the hand), Kharadushanan,
Surppanagi (Shoorpanakhaa) Lakshmana mutilating her nose, Surppanagi in
disguise of a beautiful lady approaching Lakshmana; Rama and Sita.
Ravana and Maricha, Lakkana (Lakshmana), Rama, ponmari'
(golden deer i.e. Maricha in disguise), Ravana in disguise of a rishi
approaching Rama's hut, Ravana abducting Sita and carrying her in his chariot. Ravana
confronting Jatayu fight between the two.
4.i. Indra and
Indraani on the elephant; Vishnu on Garuda and Brahma on swan.
ii. Natya Siva and Parvati.
iii. Eight armed
natya Siva and Parvati.
Pillars
on the south side from the west end and from the south face.
1. Four armed Siva seated in yogasana on
lotus etc.
2. Siva appearing before Markandeya, a young
devotee of Siva destined to die at sixteen worshiping Siva linga. Yama, the god
of Death, throwing his noose at the boy. This is a Puranic episode.
3 i. Indra on Airavata, the divine elephant. An
episode displaying the sons of a Puranic king, Sagara by name, entering with
their sacrificial horse the hermitage of Kapila, a great rishi who was engaged
in penance.
ii. Surya in the chariot in the sky indicated by
clouds along with Usha and Pratyusha. Below, Garuda offering obeisance to his
mother. To release his mother from the bondage under Aditi, co-wife to
Kashyapa, a great rishi, Garuda successfully fighting Indra and getting
amrita kalasa (to Aditi as per the terms for emancipating his mother from the
bondage).
iii. The descent of the Ganga from the heavens
to the earth at the instance of Bhagiratha's penance, Siva in order to contain
Ganga's terrific and torrential pour receiving it into his matted hair locks
and thus subdued allowing it to flow to the earth. Siva and Parvati (being
pleased with his persistent efforts for a noble cause) appearing before
Bhagiratha.
iv. Sacrificial horse, Jahnu, another great
rishi, swallows the Ganga and allows her to flow through his ears (on account
of which Ganga came to be known as Jaanhavi). Bhagiratha standing on one leg
and performing penance.
Pillars on the north side from the west
end and north face
1. i. A couple seated on a couch, listening to music.
Noteworthy are a water pot and 'pan-supari (beetle leaves and areca-nut) box
under the couch, a natural scene of life. Above are the gandharvas with their
wives on the back approaching a mandapa
ii. Goats' fight. Below: the Vanaras fighting
the demons.
2. Three
passionate couples engaged in friendly activities such as in one of them the
husband is plaiting his wife's hair.
3. i. Gods and gandharvas approaching Siva and
Parvati. Ganesa.
ii. Under a tree women in graceful postures with
their dwarf attendants. Below seated Siva and Parvati.
Fascinating
mithunas on the pilasters
Couples of nobility or young females of
captivating beauty, are on each of the sixteen pilasters in varied postures,
often voluptuous with lively expressions and moderately attired, they display
cheerful and intimate moments of life.
Unfortunately most of them are mutilated. From
the innermost on the north the fourth is Manmatha with Rati, his consort, the
god of love holding his distinctive attribute sugar cane in the left hand.
Beside him is his standard with an emblem of crocodile i.e. makara dhvaja.
Above this divine pair, is the scene from the story of the tittibha birds to
the one in the Mallikarjuna temple. The one near the front door of the hall
attracts the attention of the on-looker. The husband is holding the left hand
of his wife, frightened at the monkey nearby. The depiction is simply natural.
On another pilaster nearby is portrayed a lady whose long dangling. plaited
hair is by itself beautiful. There is an array young couples bewitching and
modest as if they are vying with each other in displaying their beautiful forms
at their best.
In the southern mukha- mandapa is an attention grabbing sculpture, Narasimha, one of the incarnations of Vishnu getting
Hiranyakasipu, the demon, into his inescapable grip from behind in the dual
fight, a powerful presentation rare and
unusual, at once natural and striking. The saiva-dvara-pala on the right, in
side profile almost in round relief is another masterpiece of sculptural art.
Slightly bent forward and resting his hands on the tip of the upright mace as
if offering obeisance to the dignitaries passing through the mandapa. The
statue is testimony to the sculptor's intimate and keen observation of such
moments in society and his dexterity in portraying such unusual forms. The
posture so naturally portrayed is superb.
There is yet another
sculpture here on the pillar that readily attracts the attention of a visitor
i.e. Ravana lifting the Kailasa mountain with his hands. What is noteworthy is
owing to the swinging of the mountain the alarm created among the inmates of
Kailasa so naturally brought out and the fear stricken animals such as monkey,
squirrel, snake, pig, lion, deer, running helter & skelter for life, a
salva-gana throwing stone at Ravana, another aiming an arrow from the bow
towards him, whereas Parvati also struck with fear unabashedly holding Siva by
her side though being with the Supreme Protector close by. On account of the unbearable
weight of the mountain on him, Ravana's leg is stuck in the earth displaying
the gravity of the situation. In spite of all these, Siva remains totally
composed and unmoved.
In the northern mukha- mandapa in a niche on the
right is Siva dancing on apasmara, the death. Here are as usual charming
mithunas. On the outer side of a pillar of this mandapa is again a beautiful
depiction of Gajendra- moksha. The composition is exceedingly well balanced,
rhythmic and superb in execution.
Outside the temple are wall sculptures all
around. The sculptures in pillared deva- koshthas under intricately carved
makara torana or without deva-koshthas in the recesses and projections in the
wall are from the southern side of the earlier mukha mandapa a couple under a
tree, Siva as Lingodbhava- murti under the makara- torana representing a
Puranic episode in which Siva appears in the form of an effulgent pillar of
fire (spiritual brilliance) unfathomable from the top or the bottom and Vishnu
on Garuda and Bramha on swan trying to find out respectively the bottom and the
top of the pillar but in vain eight armed / ashta bhuja Siva carrying parasu and trishula
in his hands.
Southern
wall
Four armed Natya Siva carrying Rishabam-dhvaja
in the right rear hand and damaru in the left, the other two hands being held
in natya mudras. Below is the accompanying artist playing on the ghata and
above are the flying gandharvas with garlands in the hands approaching the
dancing god. The whole picture is so well composed maintaining perfect rhythm
and balance.
Siva and Parvati- Siva and Parvati seated in Kailasa-terrific
(ugra) Narasimha- Rama and Angadi(da) with their names written below-Ravana
while abducting Sita. confronting Jatayu who ultimately was smitten fatally-
above Lakshmana and Shurpanakha, below, Rama, Lakshmana, Sita as also Maricha
in disguise of a golden deer to entice Sita, seated Ganesa with padma below Siva, four armed in a mandapa above, Siva-linga in a small shrine- Siva four
armed with meticulously fashioned matted hair in a dancing posture with the
name of the sculptor engraved below stating that this sculpture was carved by
Chengamma, one of the finest wall sculptures, Siva two armed Lakulisa, with
Siva and Parvati above.
Western
wall
Lakulisa with hair locks dangling on the
shoulders, mutilated two sculptures- four armed Siva- four armed Siva with the
right leg placed on a gana- Vishnu.
Northern
wall
Siva, eight armed Vishnu / ashta bhuja, Bhu Varaha, Jatadhaai Siva, a beautiful sculpture, four armed / Chatur bhuja Siva-Siva leaning
against Rishaba behind, an excellent specimen of the art, Hari-Hara-Ardhanarisvara.
Ravana worshiping Siva-linga located on the
western side of the northern mukha- mandapa-Hari-Hara on the eastern side of
the mukha mandapa-Natya Siva.
Further on northern wall; Siva with Parvati by
the side- Trivikrama one of the incarnations of Vishnu, above, Vamana, also
another incarnation of Vishnu, receiving the gift from Bali, the demon king,
below, Ardhanari natesvara.
Below and above the wall sculptures are small
sculptural panels running continuously.
From above the garbha- griha is the tri-tala
superstructure crowned with a square / nagara sikhara. On the frontal side of
the superstructure is the sukanasa with Natya Siva in the mukha-patti /
extended sukha nasi.
Around the temple is an open space which in turn
is encircled by a series of smaller shrines raised against the inner side of
the wall of the prakara that originally housed images of gods and goddesses in
accordance with the prescription given in the relevant silpa text.
HISTORY AND INSCRIPTIONS
In the group of temples
Sri Sangamesvara Temple, Sri Mallikarjuna Temple
and Sri Virupaksha temples can be dated in the light of the inscriptions
referring to their patrons. The trisula- stambha inscription refers to all the
three temples; the Vijayesvara, the Lokesvara ( Virupaksha Temple ) and the
Trailokesvara Temple ( Mallikesvara Temple ) were constructed by Vijayaditya
Lokamahadevi and Trailokyamahadevi respectively. This Virupaksha Temple was
built by Lokamahadevi, hence called as Lokesvara Temple. These are known from
the epigraphical records on the pillars of the maha-dvara of the Virupaksha
temple. Also the inscription on the right side of the mandapa records that Lokamahadevi,
the chief queen constructed this 'Lokesvara' temple.
The Mallikarjuna Temple and the Virupaksha Temple were constructed in
memory of their husband's victories three times over Kanchi, the Pallava
capital. by Vikramaditya's (circa.733-744) two chief queens, Lokamahadevi and
Trailokyamahadevi. The latter two temples therefore were constructed at the
same period around 740 and the Vijesvara was probably around 710 CE. The dates
of the other temples are approximately arrived
at on the comparative basis of their architectural characteristic features
and styles.
The other
inscription on the pillar on the left side speaks about Gunda Anivaritacharya,
a distinguished architect.
About 4.50 metres
westwards from the Rishaba - mandapa is the temple proper. There are inscriptions on the front pillars of the eastern mukha mandapa. The one on the left pillar states the renewal of the grants, made
earlier by Vijayaditya Satyashraya to the artists (gandharvas of the temple),
by Lokamahadevi and Shri Guppa Duggadi Duggamara, probably the chief of the
team, received the confirmation.
On the back of the
same pillar is a Sanskrit inscription in praise of Achalan, the celebrated
exponent of Bharatamuni's Natyasastra and supreme in the field. On the front
side of another pillar is an inscription mentioning the grant of a village,
Nareyamgalla (the present Naregal, Ron taluk, Gadag district, Karnataka) to the
temple. Beside this are beautiful sculptures of attractive human pairs. On either
side of the dvara- bandha is a saiva dvara-pala richly adorned with ornaments.
Below the dvara-pala
on the right side is an inscription stating that Devaputra, the disciple of Sakaresvaravaadi and the son of
Sripaadadeva carved the large ceiling ( melgandu
an old Kannada word for a decorative ceiling panel ) panel of Surya, the sun
god. He is accompanied with Usha and Pratyusha aiming an arrow on the bow in
the chariot yoked with seven horses and driven by legless Aruna. All together
imply that the sunrise dispells darkness.
A little above the Dwarapalaka sculpture
is an inscription mentioning that the sculpture was made by Duggilacharya, the
son of Baladeva.
The inscriptions at Virupaksha temple, 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, yogaasana', 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 dvarapalas statue on the right side in the southern
mukha-mandapa.,. also the saiva-dvara-pala 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.
Also The inscription in the Rishaba mandapa lady sculpture records that Sarvasiddhi acharya is the architect
of the southern part of the temple.
Another architect of no less eminence is "Shri Gundan Anivaaritaachaari", also architect of the
Lokesvara temple, honoured with the same Perijeripu and title Tribhuvanaachaari.
Below Padmanidhi is
an interesting inscription announcing the merits of "Natasevya" i.e. Achalan, the son of Devayya.
Below Padmanidhi is an interesting
inscription announcing the merits of "Natasevya" i.e. Achalan, the
son of Devayya.
An inscription below the
Hari-Hara- Ardhanariswara sculpture records the sculptor’s name as 'Pullappan' ( Siva-eight armed Vishnu, Bhu-Varaha and jatadhaai Siva ).
The inscription of circa 782, in the northern mukha mandapa pillar pillar belonging to the period of
Kaliballaha ( Dhruva, the Rashtrakuta king ). It states that Baadipotte, the
daughter of Goyinda potte in regular service of the temple had donated gosasa (
gifting of cows ).
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 ---
No comments:
Post a Comment