The Blessed Pushkarini in Melukote, The Srivaishnava Pilgrimage Center in Karnataka

Pushkarini with Yoga Narasimha Temple Melukote

Melukote in Mandya district of Karnataka is a sacred Srivaishnava centre where the great saint Sri Ramanujacharya spent his early years after coming to Karnataka from the Chola country.

If a general view of Melukote is taken, two landmarks become most conspicuous by their location and they are the Narasimha hill and the Kalyani or the pushkarini. The beautiful holy water tank or the pushkarini is just at the western foot of the Narasimha hill. As a matter of fact, it is the main source of water supply to the entire town even today.

The pushkarini is considered sacred because of the belief that the great saint Sri Ramanujacharya used to take bath here when he was living at this place. Hence, a ritual dip in this pushkarini is considered sacred. Because of this sacred nature, a large number of minor shrines and mandapas were built around this tank in recent years, for the performance of various temple rituals and festivals.

Pushkarini, Melukote

The pond itself is almost square each side measuring 300 ft. On all the four sides are neatly built stone steps leading to the water of the kalyani. Of all the mandapas and shrines that are built on the border of the pushkarini, the prominent place goes to the Bhuvaneshwari mandapa. It is an elegant octagonal structure built over eight tall and slender pillars. This is an open pavilion with a broad and crisp eave running all-round. Over this is a parapet with decorations and niches and it is surmounted by a stucco tower in the centre. This was constructed at the order of Krishnaraja Wadeyar III in the early part of the 19th century. Though small, it is very elegant and has added a rare charm to the pushkarini.

Bhuvaneshwari Mandapa in Pushkarini, Melukote

Ahobila matha on the northwestern corner has an image of Lakshminarasimha installed in the 19th century. To the east are two more mandapas by the side of a sacred pipal tree. To the western side is what is called Pancha Bhagavatha mandapa. On the northern side is a small cell wherein is placed Adishesha. Then there is another mandapa with over fifty pillars. Then there are four more mandapas where the kalyanotsava of the deity Narayana takes place.

Then there is a Nagavalli mandapa and a Varaha mandapa. By its side is the Bindu Madhava temple with a five feet image of the god holding sankha, chakra, gada and padma. The image seems to be of the Hoysala period.

Melukote in Mandya district of Karnataka is a sacred Srivaishnava centre

The other structures are Parakala matha, Venkataramana temple, Kanchi matha and Rama temple. Thus, the pushkarini is not only beautiful but also has many mandapas where many rituals take place.

Outstanding Architecture and Overelaborate Carvings at the Kolaramma Temple in Kolar, Karnataka

Outstanding Architecture and Overelaborate Carvings at the Kolaramma Temple in Kolar, Karnataka

The Kolaramma temple in the town of Kolar is not only popular but also one of the big temples of that district.

Kolar is an ancient town known by various names such as Kolahalapura, Kuvalala, Kolala and finally Kolara. This name Kolahalapura is connected with puranic hero Parashurama. According to another tradition a cowherd boy by name Kola got a large amount of money by means of a treasure trove and goddess Renukadevi advised him to build a temple in the name of Kolaramma and he devotedly obeyed the goddess and built this temple. Apart from these traditions, this was the original capital of the Gangas before they moved to Talakad. Later it became a part of the Chola kingdom and after the defeat of the Cholas by the Hoysalas, it came under the Hoysala rulers. Finally, it became a part of the Vijayanagara empire.

Kolaramma Temple built in the Dravidian or South Indian style

Kolaramma temple is a Chola temple as evidenced by an inscription of 1033 CE The Kolaramma temple is a Chola temple as evidenced by an inscription of 1033 CE. According to this inscription, the Kolaramma temple was built at the order of Rajendra Chola. His general Uttama Cholabrahmamarayan built this temple in stone, which was formerly a brick structure.

The Kolaramma Temple is built in the Dravidian or South Indian style; the pyramidal superstructure terminations in a curved roof over the sanctuary and the exterior pilastered walls with niches. The doorway is richly-carved with scrollwork and volutes encompassing mythological characters.

The ground plan of the temple is slightly unusual. It is a Dravidian temple. Its mahadvara has an imposing appearance and has well carved doorways. This is of the Vijayanagara period. In the centre of the prakara is the main garbhagriha. It has the images of Saptamatrikas (seven mothers) and an image of Kolaramma which actually is the image of Mahishamardini. She has eight hands holding different weapons and a demon under her feet. The fierce attitude of the sitting goddess is worth mentioning.

Kapalabhairava or Mukanancharamma at the Kolaramma Temple in Kolar, Karnataka

In another room, there are replicas of these images in mortar. It is believed that these mortar images were in worship originally before the stone ones came into use.

Inscription of King Rajendra Chola at the Kolaramma Temple in Kolar, Karnataka The goddess in the sanctuary was Mahishasuramardini, known as Kolaramma. This had replaced the original image of Kolarammma. The image has been replaced again by Saptamatrika figures.

There is another stone image of six feet in height called Kapalabhairava, locally referred to as Mukanancharamma. Some people believe that this was the original image of Kolaramma. However, this image is of great interest, as devotees believe that she will relieve them from the bite of the scorpion. Even today, people visit this temple for this purpose.

Shakti or Mother Goddess Veneration at the Kolaramma Temple in Kolar, Karnataka The temple is a center of Shakti veneration, a sect of ancient origins of the divine creative force of the Mother Goddess. Once a year people go to this temple and offer silver scorpion to this deity to ward off scorpion bite in future. The erstwhile maharajas of Mysore frequently visited this temple to get the blessings of Kolaramma. Thus, this ancient temple is interesting and important in the town of Kolar.

Belur’s Chennakeshava Temple, The Exemplar Hoysala Architecture and Sculpture in Karnataka

Chennakeshava temple at Belur, the best specimen of Hoysala architecture and sculpture

The Chennakeshava temple at Belur is perhaps the best specimen of Hoysala architecture and sculpture. The place was known as Velapura or Velapuri.

Hoysala King Vishnuvardhana defeated the Cholas at Talakad and to commemorate this great event built many temples in 1117 CE, of which Chennakeshava temple at Belur is the most important and beautiful. The entire temple is built of soapstone and stands on a platform also of star shape of 32 angles.

The outer wall of the temple from bottom onwards has tiers of minute sculptures consisting of rows of elephants, lion faces, creepers, ornamental frieze, dancers in small niches, female sculptures in between pillars, and the stories of Ramayana and Mahabharata. Above the friezes are wall sculptures of gods and goddesses in various poses under finely carved canopies. These sculptures are so varied and finely ornamented, it looks like an open air museum.

Hoysala Architecture and Sculpture

Sculptures of Beautiful Damsels at Chennakeshava Temple, Belur The ornamented windows called jalandhras which were added at a later date allow sufficient light and air to enter the interior of the temple. Over the sculptures and on the level of the roof are bracket figures known as silabalikas or madanikai sculptures. They represent beautiful damsels in various moods representing feminine charm and grace and perhaps these are the best creations of the Hoysala sculptors of the Belur temple. Vishnuvardhana’s queen Shantaladevi is associated with these sculptures.

The interior of the temple consisting of a garbhagriha, sukhanasi, navaranga and a mandapa takes us to a new world of sculptures with lathe turned pillars of various designs. One of the pillars known as Narasimha pillar could be turned on its axis. There are many delicately carved ceilings and they represent the best specimens of that type. The doorway of the garbhagriha is another specimen of delicate carvings unsurpassed for intricate designs.

Tiers of Minute Sculptures at Chennakeshava Temple, Belur

Sculptures of Shilabalika celestial maidens at Chennakeshava Temple, Belur Inside the garbhagriha is the sculpture of Chennakeshava or Vijayanarayana of about nine feet in height holding sankha, chakra, gada and padma in his hands, with a karanda makuta (crown) at the head. Bhudevi and Sridevi are standing at the bottom. Famous sculptors like Dasoja, his son Chavana, Nagoja, and others made this beautiful temple, the pride of Karnataka.

Besides this temple, the prakara has many more temples like Kappe Chennigaraya temple, Devi temple, and others with a mahadvara and a gopura.

Temples on the Panaromic Hemakuta Hill, Hampi, Capital of the Vijayanagara Empire

Panaromic Hemakuta Hill, Hampi

Hemakuta, literally meaning gold hillock, is one of the most charming hillocks in Hampi. It is dotted by over fifty structures of different types—including temples, mandapas, galleries, and gateways of various dimensions.

Though Hampi itself is characterized as a garden of boulders, the Hemakuta hill takes a major share in this compliment. Every boulder here tells a story of mythological and folk nature and takes the visitor to an era of religion and romance. Shiva and Parvati become closer to the visitor at this hill and it gives a rare experience of unalloyed joy.

Actually, it is a fortified area, which has three entrances in east, north, and south. Originally, some of the temples of this hill were taken to be Jain basadis but now it has been proved beyond doubt that they are Shaiva temples. In fact all the temples of this area are Shaivite ones. Another point of interest is some of these temples were built in the fourteenth century (early Vijayanagara period).

Mythological and Folk History of Hemakuta Hill, Hampi

Located to the south of the famous Virupaksha temple, which has one of the tallest gopuras (170 ft), the other temples at Hemakuta are smaller ones and one can easily see a contrast. Thus, there is might and elegance side by side on this hillock.

Another interesting feature of this area is the presence of one celled (ekakuta), double celled (dvikuta) and three celled (trikuta) temples near to each other. These temples though small in dimensions arrest our attention by the northern type (nagara) sikharas almost in a cluster.

Ekakuta, Dvikuta, Trikuta - Celled Temples in Hemakuta Hill, Hampi

  • A ekakuta temple has a garbhagriha, antarala and a navaranga. The navaranga has kakshasana (stone bench) on the three sides. It is a granite temple with Kadamba Nagara sikhara.
  • The twin temple has two garbhagrihas, two antaralas and two navarangas with two entrances. The sikharas belong to a type called Kalinga Nagara. It was built by Kampilaraya of Kummatadurga.
  • The third temple is a trikuta (three celled) and it was built by Kampilaraya, son of Mummadi Singeya Nayaka. It has three garbhagrihas in three directions, with a common navaranga and a mandapa. Nearby is another trikuta temple also built by Kampilaraya.

Shaiva Architecture of Panaromic Hemakuta Hill, Hampi

All the garbhagrihas originally had Shivalingas. Thus, the Hemakuta hill presents a panoramic view of Shaiva architecture of a unique type.

History and Architecture of the Virupaksha (Pampapathi) Temple, Hampi, Capital of the Vijayanagara Empire

History and Architecture of the Virupaksha Pampapathi Temple, Hampi

Sri Virupaksha or Pampapathi was the family deity of the early Vijayanagara kings and this was incorporated even in their sign manual as found in copper plate inscriptions.

Maharangamandapa of Virupaksha Pampapathi Temple, Hampi

Situated on the southern bank of Tungabhadra river, the original temple with Virupaksha Sivalinga was perhaps first consecrated in the twelfth century A.D. With the establishment of the Vijayanagara kingdom additions were made twice. The first addition of a sabhamandapa took place during the period of King Mallikarjuna in the middle of the fifteenth century A.D. The second addition of a maharangamandapa took place during the period of Krishnadevaraya in 1510 A.D., to commemorate his coronation in 1509 A.D.

Dravidian Temple Architecture of Virupaksha Pampapathi Temple, Hampi

The temple consists of a garbhagriha, antarala, sabhamandapa, and a maharangamandapa. The square garbhagriha has a Shiva Linga. It has a Dravidian type of sikhara with a kalasha on the top. The square sabhamandapa has four central pillars and sculptures of gods and goddesses of which Bedara Kannapp, Kiratarjuniya, Bhairava are important. It has two entrances at the north and south.

Balustraded Elephants of Virupaksha Pampapathi Temple, Hampi The maharangamandapa added by Krishnadevaraya contains 38 pillars with entrances on three sides with flights of steps decorated with balustraded elephants.

The pillars contain relief sculptures of Ramayana and Mahabharata. The ceilings have paintings of Tripurantaka, Parvati Kalyana, procession of Vidyaranya, etc. There are also stucco figures of Parvati Kalyana, Kalarimurti, Mahishamardini, etc.

Krishnadevaraya renovated the main eastern gopura, which is 170 feet in height, and it dominates the entire area. This main mahadvara or the gateway with its Dravidian gopura rises in ten diminishing tiers and is famous as ‘hiriya gopura’, meaning a huge gopura.

This gopura has many stucco figures and decorative elements. The Bhuvaneshwari shrine contains beautifully executed Chalukyan doorway and Chalukyan pillars of the twelfth century A.D.

Doorway and Chalukyan Pillars of Virupaksha Pampapathi Temple, Hampi

As this is a living temple, devotees throng the portals of this temple to worship at the shrine of the sacred Virupaksha linga and to see the remnants of the Vijayanagara architecture and sculpture.

Worship at the Shrine of the Sacred Virupaksha Linga in Virupaksha Pampapathi Temple, Hampi

The Architectural Masterpiece of Hampi’s Vijaya Vittala Temple and its Spectacular Stone Chariot

Vijaya Vittala Temple, Hampi

Vijaya Vittala Temple is one of the important temples in Hampi. Its construction began during the time of Krishnadevaraya in 1513 CE, and it continued even during the reign of his successor Achyutaraya (1529–42 CE) and perhaps it was not completed as per the grandiose plan of its builder Krishnadevaraya.

Facing east, this temple is in the centre of a quadrangle measuring 500 ft by 310 ft, and it has three gopura entrances in north, south, and east. This vast temple complex can be divided into three parts namely the outer mukhamandapa, the central rangamandapa and the interior sukhanasi and garbhagriha.

Pillars, pilasters, and the niches that exhibit Dravidian Temple Architecture at Hampi's Vijaya Vittala Temple

The outer mukhamandapa stands on a five feet basement and has three entrances. The entire mandapa has 56 pillars of composite nature and each one appears to be an independent monument. The ceilings have lotus designs.

Through the above mandapa one enters into rangamandapa, which is the most beautiful part of this temple. The pillars, the pilasters, and the niches exhibit Dravidian characters. The composite pillars of this mandapa are especially noteworthy for their decorative nature and delicate carvings of gods and goddesses and scroll work. In the centre is a grand enclosure of sixteen extremely beautiful tall pillars.

Kalyana Mandapa Wedding Hall at Vijaya Vittala Temple, Hampi

At the western part of it is the doorway leading to the sukhanasi and garbhagriha. There is a pradakshinapatha, which has pierced windows (Jalandhras) to allow sufficient light and air. Inscriptions mention that Krishnadevaraya added phalapuja mandapa and kalyanamandapa to this structure. Perhaps the garbhagriha had a Vishnu image in the form of Vitthala to which deity regular worship was offered and various festivals were celebrated on a grand scale.

Harmonious blending of sculpture and architecture in Vijayanagara Vijaya Vittala Temple, Hampi

Spectacular Stone Chariot of Vijaya Vittala Temple, Hampi Another important attraction of this temple is the stone chariot in front of the rangamandapa. The ratha or the stone chariot looks like a miniature Dravidian temple, which originally perhaps had a brick tower. It has four wheels, two on either side and it is said that it could be turned on its axis. This chariot has an image of Garuda, as it is a Vishnu temple.

Quadrangle and Architectural Masterpiece of Hampi's Vijaya Vittala Temple

This temple is so characteristic of the Vijayanagara art, it is taken as a symbol of Vijayanagara architecture, and sculpture, as it is a harmonious blending of sculpture and architecture for which the Vijayanagara architects and sculptors were famous all over the country.

Evolution of Early Chalukyan Art – the Historic Meguti Temple, Aihole

Ravikirti Inscription - Meguti Temple, Aihole

Aihole, ancient Ayyavole, now in Bijapur district was a great centre of early Chalukyan architecture. In fact this was the cradle of Chalukyan temples. Literally more than one hundred early-Chalukyan temples were built here in the sixth and seventh centuries CE.

Meguti temple is one such temple at Aihole. This temple is built on a hillock and looks prominently even from a distance.

The Meguti Temple is also famous in Indian history and literature for the inscription written by the celebrated poet Ravikirti. This inscription mentions Kalidasa and Bharavi by name and for this reason highly useful for fixing the date of both these poets as the inscription is dated 634–35 CE. From this evidence, it becomes comprehensible that this temple was built in 634–35 CE. It also gives a graphic description of the eminent conquests of Chalukya Pulakesi II.

This is a Jain temple and stands on a basement of 4 ft and faces north. The temple consists of a garbhagriha, pradakshinapatha, antarala and a mandapa. The outer wall of the temple consists of two thick decorated moldings. The mandapa portion is open with square pillars above the moldings. Below the base moldings are carved chaitya type niches, amorous couples, musicians playing on musical instruments and wrestlers.

Evolution of Early Chalukyan Art - Meguti Temple, Aihole

The square garbhagriha has a sitting tirthankara under a tree. Some scholars recognize him as Mahaveera. He is flanked by two chauri bearers on each side. Above the garbhagriha is another garbhagriha, which can be entered from the sukhanasi. In general, Jain temples (basadi) contain two garbhagrihas one over the other. On the western sidewall of this, is a very beautiful female sculpture which may be either Ambika or Siddhayika or Sujata. On her sides are chamara bearers and below are the sculptures of monkey and a swan. The upper garbhagriha has no sikhara over it. Its walls are also unadorned except niches, which are now empty.

Though this temple is not highly attractive from the point of view of the embellishments and decorations, it is notable in understanding the evolution of early Chalukyan art under the background that this is a dated temple assignable to 634–35 CE. This is the earliest dated temple of the Chalukyas of Badami.

This is one of the early temples where the Chalukyan architects were making experiments in the construction of a perfect temple. From the famous Ravikirti’s inscription this temple is better known than others.

Architectural Charm of the Chalukyan Durga Temple in Aihole, Karnataka

Architectural Charm of the Chalukyan Durga Temple in Aihole, Karnataka

Durga temple is the biggest and arguably the most attractive temple at Aihole. Though it is called Durga Temple, it has nothing to do with goddess Durga or Durgi. The name of the temple may have derived from the word ‘durga’ meaning fort. As one enters Aihole from the north, this temple is found near the fort and people should have named it Durga (fort) temple.

Durga Fort Temple in Aihole - Chalukyan Architecture The most important charm of this temple for which it is celebrated is the apsidal character of the posterior part of this architecture. Generally apsidal or gajapristha form is found in Buddhist monuments. Nevertheless, this temple being non-Buddhist and yet having an apsidal posterior part is an mystery, which has not been explained satisfactorily by art historians. Conceivably one of the architects experimented with this type of plan in the Hindu temple and it did not become popular and for this reason given up. There is a comparable apsidal temple at Mahakuta, very close to Aihole which was also an primitive Chalukyan art center.

The temple consists of an apsidal garbhagriha, sabhamandapa, a mandapa and a mukhamandapa in east-west axis and the temple opens to the east. The temple has a base of six different moldings. The temple is entered through two flights of steps to the south and north of the mandapa. On the basement are square pillars all the way through the construction including the apsidal garbhagriha.

Hindu Temples Architecture during Chalukyas - Durga Temple, Aihole

The rows of pillars contains two pradakshinapathas, which is an exceptional architectural feature. The longish sabhamandapa has been divided into three portions by its pillars. The large number of pillars in this temple have been utilized by the artists to carve a large number puranic stories and self-supporting sculptures. These sculptures are of high order and add refinement and charisma to this temple.

Shiva Dancing Statue Durga Temple in Aihole, Karnataka On the pillars of the mukhamandapa are found passionate couples in various suggestive poses. On another pillar is found Shiva dancing on apasmara. The inner wall of the mukhamandapa has Ramayana panel, Ardhanarisvara and Ugranarasimha killing Hiranyakashipu. The front entrance of the mandapa is well carved with dvarapalas, Yamuna and Ganga, and further sculptures.

Unfortunately, there are no inscriptions to date this temple. Derived from stylistic evidence, various dates have been assigned to this temple. While many scholars consider 600 C.E. as the date of this temple, some others assign it to seventh century C.E.

The Unique Temple Architecture of Gaudara Gudi, Aihole

Temple Architecture of Gaudara Gudi, Aihole

Gaudara Gudi near to the Ladkhan temple at Aihole is another interesting monument of Karnataka architecture. It is not known as to why it is called by that name (Gauda = Village headman).

A few years ago, the Archaeological Survey of India conducted excavations here and this has shown that Gaudara Gudi is former than the Ladkhan temple. As the precise date of the Ladkhan temple is also not known, the exact date of Gaudara Gudi cannot be fixed. On stylistic grounds, it has been surmised that this temple should have been built in the early part of the seventh century CE.

Gaudara Gudi is a fascinating and irreplaceable structure. It has a basement of four and half feet in height with thick moldings. This temple consists of a garbhagriha, a pradakshinapatha and a mandapa. Sixteen square shaped pillars with abacus hold the roof. The roof is in two tiers one above the other and is made of sloping stones. The lower eave-like molding has some decorations. At the western side of the roof are found low sikhara-like part, which is made of two tiers, the outer edges of which have decorative moldings.

Description of Temple Architecture of Gaudara Gudi, Aihole

The temple has a flight of steps in the middle of the mandapa. The columned mandapa has on its base a series of pumakumbhas. Behind them are kakshasanas. The pillars are heavy and thick. The beams inside are well carved and have bass-relief sculptures of floral patterns, animals, and human beings. Some of them have chaitya windows.

The garbhagriha is small and it has very beautiful carvings on its doorway. Its outer walls have three koshthas that once perhaps contained three sculptures which are now missing. The side and upper jambs of this doorway were intricately carved with floral design. The lintel has in the middle a flying Garuda in human form. He is flanked on either side by pilasters. What is more important is the sculpture of Lakshmi above the garuda. The ornamented and seated Lakshmi holds lotus flowers in her two hands. On both sides are elephants performing abhisheka to her.

Mandapa of Temple Architecture of Gaudara Gudi, Aihole

Below in the pond are two more elephants. Such Lakshmi motifs are found in Badami also. Founded on this sculpture of Lakshmi, it is supposed that this temple was dedicated to Bhagavati or Lakshmi. So therefore, this may be considered as one of the earliest temples of Lakshmi in Karnataka. From all these characters, this temple occupies an important place at Aihole.

The Distinctive Chalukyan Architecture Featured in the Ladkhan Temple of Aihole

Chalukyan Architecture Featured in the Ladkhan Temple of Aihole

Ladkhan temple is a significant temple at Aihole because of the method of its construction which marks an important stage in the evolution of the Chalukyan style of architecture.

The temple is called Ladkhan Temple because a gentleman named Ladkhan lived in the temple and consequently the local populace began to call it so. If truth be told, early India scholars like Percy Brown and others considered this temple to be the earliest in Aihole and assigned a date 450 CE. On the contrary, modern researches have revealed that it is not that early and scholars designate it to seventh century CE.

Numerous sculptures of amorous couples in Ladkhan Temple of Aihole It has a distinctive plan and does not give the mark of a temple at all in the first instance. In reality, it looks like a mandapa with rows of pillars. The temple consists of a small garbhagriha attached to the rear wall of a square sabhamandapa and a rectangular mukhamandapa/em>. Hence, there is no pradakshinapatha. The interior of the sabhamandapa is divided into two parallel enclosures with the help of a row of pillars.

The garbhagriha has a Sivalinga and therefore it might have been a Siva temple initially. The rectangular mandapa in the front is smaller in size and provides an entrance. As there is a good image of Surya, some scholars consider it as a temple devoted to Sun. The garbhagriha entryway has Garuda in human form on the doorjamb.

The temple stands on a cellar with moldings and the uppermost molding is very thick, over which rises the wall of the temple. A similar molding is found at the roof level. But what is more interesting is the roof itself. The posterior portion has a square in two tiers with a slight slope in all the four directions. On them are placed stone rafters in reproduction of wooden roof of the earlier buildings. Similar is the roof of the front mandapa, which is rectangular. On the roof of the sabhamandapa is an upper garbhagriha opening to the east with pillars and pilasters without any sikhara. These architectural features have made this temple unique.

Ladkhan Temple - Earliest Temple in Aihole

There are a large number of sculptures on the pillars and the koshthas. Numerous sculptures of amorous couples and the jalandhras are very eye-catching. The roof of the mandapa has a naga holding a lotus. The upper garbhagriha wall has niches in which are found sculptures of Vishnu, Surya, and Siva. Bearing in mind all the architectural features the Ladkhan temple is considered to represent an important stage in the development of early Chalukyan art.