Cave-1 of the Badami Cave Complex

This article is about the Badami cave-1 of the Badami Cave Complex.

Reaching Badami Cave -1

There are four caves in this cave complex excavated in the scarp of the hill overlooking the south-east side of the town. These caves are carved on the soft sandstone over the northern face of the cliff. These cave-temples are connected by a causeway inclined up the face of the cliff. It appears that originally all these four cave temples had an open court in front. These remarkable cave temples were excavated by a guild of craftsman who were highly skilled in rock-architecture.

The ascending walk on the stone stairs presents interesting views. On one side of it is the top view of the town – a beautiful lake between mountain cliffs, a mosque and several temples, and on the other side is the striated mountain.

The numbering of the cave is on the basis of which one an ascending person reaches first. It does not represent the chronological order of the excavation of these caves.

Walking up the stairs we reach the Cave-1. This cave is around fifty feet above the level of the town street. It was excavated in 550 CE.

Sculptures of Badami Cave-1

Shaiva Guard of the Badami Cave-1 – the Shaiva Cave Complex

This is the only cave among the four caves that has rock-cut sanctuary dedicated to Lord Shiva. I am awe-stuck at the entrance itself. The sculptures in Badami’s cave complex are much more impressive than I imagined.

At the porch entrance of this cave, towards my left, is a six feet two inch large statue of the guard to this Lord Shiva’s abode. He is holding a trident in his left hand and his right hand is on his hips in Katyavalambita or Katihasta Mudra representing his alert and confident demeanor. There is a halo behind his head. He is wearing necklace, bracelets and kundalas.

Vrishabha-kunjara at Badami Cave-1

Just below the statue of alert sentinel is the beautiful “Vrishabha-kunjara”. This is the optical illusion of ancient India. Viewing it from one side shows a bull raising its head and when one looks at it from the other side, he sees an elephant.

It represents an important phase in the ancient Indian history when the Vaishnavites and Shaivites realized that though the prime deity whom they worship is different but in reality the two gods are one and the same.

Mythologically, this statue represents the time when Lord Vishnu and Devi Lakshmi came to meet Lord Shiva and Devi Parvati to resolve issue among their devotees. Lord Vishnu and Devi Parvati were riding the elephant and Lord Shiva and Devi Parvati were on Nandi. They met and merged.

The message the two divine couples wanted to give to their devotees through this idol is that they are one. When some devotees look at this idol through one angle only, they see Nandi and when some other devotees view them through another angle, they only see the elephant. But in reality its a composite form, representing both.

The two spiritual paths may appear unique and different, and the prime deity of the two sects is different but in reality the two gods are one and the same and the ultimate goal in both the spiritual paths is to achieve Nirvana. So, the devotees should not fight over who among their ishts is spiritually supreme deity, but accept both of them as same and equal.

Shiva-Parvati at Badami Cave-1

Over the statue of the guard there is Shiva-Parvati sitting on Nandi. Our guide points towards Devi Parvati’s both legs being on the same side and the way She is holding Lord Shiva. It appears similar to the way ladies sit and hold their husbands on two-wheelers 🙂

Nataraja at Badami Cave-1

On the right side of the cave entrance is an eighteen-armed statue of Lord Shiva. In this idol He is performing Lalita-Natya-Chatur-Tandav or the cosmic dance. This five feet statue is magnificent. Nandi, Lord Ganesha and Narada are in attendance. Narada’s lyrical drumming is not only making Lord Shiva dance, but its also compelling Lord Ganesha to sway even with his bulky body.

Lord Shiva carry elaborate matted hairs with one arm thrust vigorously across the chest in Gajahasta Mudra. In his other hands he is carrying drum and tridents among other things. The graceful pose and harmonious array of hands indicates the refinement and proportion of Gupta art.

Our guide points out that the artist of this idol might have good knowledge of Bharatnatyam. The artist has created an amazing creation where all combinations of 2 among all possible 81 sets points to so many different Bharatnatyam poses.

Mahishasura Mardini at Badami Cave-1

Beside this statue is a small chamber in which there is a statue of Devi Durga as Mahishasura Mardini – Devi Durga mercilessly spearing Mahishasura. On the flanking walls, there are carvings of Lord Ganesha and Lord Kartikya on peacock.

Carving on columns

The five pillars in front give access to the front verandah of Cave 1. These columns have low relief sculptures of deities, medallions with mythical creatures, intricately carved jeweled garlands, rows of swans and fanciful foliate designs.

Harihara at Badami Cave-1

There is a large statue of Harihara towards left and Shiva as Ardhanarishvara at the end of the verendah.

We stand for a few minutes before the seven feet and nine inches high statue of Lord Harihara, appreciating this beautifully carved statue.

In the Harihara statues, the Hari part of the God constitutes the left side and the Hara (Lord Shiva) form occupies the right side. In this panel, Devi Lakshmi accompanies Lord Vishnu (Hari) and Devi Parvati is towards Lord Shiva’s side. The female deities are wearing elaborate girdles, head-gears and bracelets.

The Hari half of the idol carries conch and is wearing heavy ornamentation. Garuda, Lord Vishnu’s vehicle, is towards Hari’s side while Nandi is towards Hara’s side. Hara half of the idol carries Lord Shiva’s beloved Nagaraj as His ornament.

Again the statue of Harihara was to convey the same message to the devotees of Shaivites and Vaishnavites sect that the two gods are one and the same. So stop fighting.

Ardhanarishvara at Badami Cave-1

Now, we move towards the another large sculpture – Ardhanarishvara.

In this panel, the Lord is attended by his ardent devotee Nandi and beside Nandi stands Bhringi with clasped hands. Devi Parvati occupies the left part of the body while Lord Shiva occupies the right part of the body. Towards Devi Parvati’s side a female attendent is standing. She is richly embellished and is carrying a jewel casket in her hand.

We can notice crescent moon and skull on Shiva’s side of the headdress. Lord Shiva is adorned with snakes. One snake coiled across his arm like an armlet; Another in his ears like an earring; a third one hanging from his waist and the fourth one twisting around the battle-axe in his uplifted hand.

The left half that represents Devi Parvati is wearing necklaces, belt, armlets and bracelets of different patterns from those on the male half. She is holding a flower in one hand. In another hand she grasps a flute or Veena and the other side of this Veena is in the front hand of the male half.

Ceiling of Badami Cave-1

The roof of the cave has five compartments. The central compartment of the ceiling is adorned with deeply cut sculpture of colied snake king Nagaraja represented with a human torso.

The flying Yakshas and Apsaras are on both the side. The male yaksha figure is carrying a sword. In another panel the male figure is carrying a flower. The females in both the carvings are close to the male figures and are leaning over them. The headdress of the females is quite different in both the carvings.

There are two additional rows of columns beyond the verandah again with delicate ornaments that lead to a mandapa with a small Linga sanctuary cut into the rear wall. A small Nandi is facing the sanctuary.

With an eyeful of the first cave we move towards the second.

References

Badami, Aihole and Pattadakal by George Michelle.

The cave Temples of India by James Fergusson and James Burgess.

The Art of Ancient India Buddhist/Hindu and Jain by Susan L Huntington

Indian Architecture – Buddhist and Hindu periods by Percy Brown

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