Durga Temple, Aihole

In this article we would visit the Durga Temple of Aihole and understand its significance and appreciate its unique architecture and beautiful sculptures.

Aihole – the cradle of experimentation with stone temple construction

Aihole or the Aryapura, as mentioned in the ancient inscriptions, was the national capital of the Early Chalukyas from sixth to the eighth century. This dynasty was responsible for the first flowering of the Hindu Architectural and the sculptural traditions beyond the Gupta empire.

In the sixth century when the Gupta empire provided the Indian subcontinent a period of political and cultural stability, the artists under the patronage of the Early Chalukyas, start experimenting with stone. The Golden Yellow Sandstone temples of Aihole represents the outcome of the efforts of these artists to build the structural temples.

Temples in Aihole

Most of these temples were initially Vaishnavites, which were later converted into Saivite temples.

Aihole today preserves more than hundred Hindu, Jain and the Buddhist temples. These temples belong not only to the Early Chalukyas dynasty, but also to the Rashtrakuta dynasty and to the Later Chalukyas dynasty. These temples are scattered all over the village. They are in clusters within the village and its surrounding fields and they are present even on the rocky outcrop.

An ancient fort surrounds Aihole in an approximate circle of 500 meters in the North-South direction and a little less than this in the East-West direction. There are around fifty temples within this fortification. This fort is constructed using huge sandstone blocks that are reinforced at regular intervals by sloping square bastions.

The Later Chalukya dynasty constructed this fort in the eleventh and the twelfth century. This shows the strategic and cultural importance of Aihole even in the 11th and 12th century as the capital of the Late Chalukyas dynasty was faraway in Kalyani.

Today Aihole is a village but this region was once prosperous, with substantial population and surplus wealth, and hence new temples continue to be build.

Aihole is also a site of prehistoric dolmens and the cave paintings.

Coming back to our visit, travelling from Pattadakal we reach Aihole in the afternoon. Our driver brings us to the center of the village at the ASI managed fenced enclosure. We get out of the taxi and enter the compound. This well maintained temple complex immediately impresses me.

The temple in this temple complex that caught my immediate attention is a curved apsidal temple with its semicircular end facing us. This portion resembles the hind part of an elephant – Gajaprishtha.

Reason behind the name Durga Temple, Aihole

It is Durga Temple. This temple is the most unusual, elaborate, largest and the most enigmatic of all the temples of Aihole. This temple is also the most embellished and the most well published temples of the Early Chalukyas.

Some believe that the Durga Temple’s unique architecture inspired India’s old sansad bhavan’s design.

Durga temple does not derive its name from the Goddess Durga but from the Kannada word “Durgadaguddi” that means the temple near the fort. Another local belief is that a stone rubble durg and a lookout was on its roof and thus the locals started to call it Durga Temple.

Discovery and restoration of Durga Temple, Aihole

This temple was first photographed by the architectural enthusiast Dr Pigou of the Bombay medical services in 1866. He described the temple as a unique edifice of Karnataka.

When this temple was re-discovered, it was all covered in mud and stone. ASI carefully removed the mud and the stone, and also did a lot of patch-work. Even till 1990 this site had houses and sheds build upto and in some case even extended to the historic monuments. Some of these houses shared the walls with these ancient monuments.

Who constructed Durga Temple, Aihole

Durga temple today is a Shiva Temple but it was originally a Surya Temple. It was build by Atanda Ale Komarasingha during the reign of Vikramaditya-II. This East-facing temple is a structural imitation version of the Buddhist Chaitya architecture, modified to suite the services of the Brahmanical creed. It is build on a high pedestal and the top-most tier of its flat roof is around thirty-feet from the ground.

Durga Temple, Aihole represents the beginning of free standing temples

At the time of the construction of this temple, the free-standing structural temples were beginning to evolve and chart their own architectural style. At this time, most of the temples were imitation of the rock-cut architecture. The masonry construction was new, but constructing a structure in the vertical direction by piling-up stones was an innovation.

This structure does not contain a cementing mortar. The stones are fixed onto each other by making groves and offsets. It uses interlocking system to lock one stone with another using iron. Load bearing walls and pillars were build to support the ceiling.

Architecture of Durga Temple, Aihole

This temple had a curvilinear Rekha-nagara shikhra over the gribhgriha. Unfortunately, the shikhara is fallen now.

The front mandapa is approached by two flight of stairs one on each side of the front. The vestibule is pillared and the entrance doorway is within it. The porch area is slightly narrower than the body of the temple itself. The roof of the mukhamandapa is supported by four square pillars with four or two sided capitals.

External Ambulatory passage in Durga Temple, Aihole

A notable feature of this temple is its peripheral exterior. A colonnaded corridor runs around the temple giving it an unmatched charm and dignity. The pillars and the ambulatory passage gives the impressions of a light and airy verandah. The colonnaded passage is created by the columns carried right around the building and joining up the similar pillars comprising the porticos.

This apsidal structure externally measures about 60×36 feet in length, with a twenty-four feet portico towards east; making the total length of the temple around eighty four feet. The pillars at the entrance have curved bracket support. There are thirty-three pillars in the temple including the pillars in the corridor. These pillars are square in shape and square in section.

The Amorous Couple carvings of Durga Temple, Aihole

What immediately captures my attention are the beautifully carved amorous couples on the outside of some of these columns. These amorous couples are embracing each other in loving and sometimes in provocative postures as well. Under the sensitive influence of the artists of Aihole, the stone becomes extremely yielding. These artists used the contours of male and female figurines with imagination and dramatic effects. In the embracing positions the body of the loving couples melt into each other graciously with striking rhythm, elegance and lyrical rendering.

The idea behind the carvings of these mithunas is to render male and especially the female body form in all its inherent charm, dignity, bearing poise and balance.

The sculptures on Indian temples makes one wonder, were there two sets of sculptors or two different phases of the same sculptors. As in the first phase or the first set of sculptors crafted the Gods and the Goddesses. This set of artists or during this phase of carvings, the sculptor was inspired and interested in the after-life.

And then there was another phase or another set of artists who were engaged and interested in the mundane world. These artists were engrossed and were highly attached to their subject. They treated every nuance of beautiful female form delicately and caressingly. These artists treated the graceful curves of naturally curvaceous female anatomy with great sensitiveness. From their carvings it appears that her natural curves held these artists spell-bound.

So these artists carved their women to have rounded breasts, a slender waist, broad hips and shapely legs.

Amorous Couple on Left-most pillar at the entrance facing east

At the entrance towards east on the extreme left is an amorous couple embracing each other in a provocative manner. The hands of the lady are encircling the neck of her lover. Her right breast rest on her lover’s chest. The left hand of the male goes around the body of the woman and is pressing her back to bring her closer. Their legs are interlocked. The legs of the lady are between the legs of her spouse. The couple is not wearing any jewelry on the upper half of the body.

Amorous Couple on second from left pillar at the entrance facing east

In the second sculpture from the left, the lady appears to be taking initiative in alluring the male. She has a voluptuous figure. She is standing on her right leg with her body bent towards right in the middle. In this pose the artist is able to show her body to the best advantage – thin waist, and the large posterior forms the beautiful curves.

The man here is kneeling on his left leg. The right foot is folded and is resting on the ground. He is holding akshmala in his hand. The sculpture appears narrating the incidence where a man is praying to the God to save himself from the lures of the girl, the inevitable. He is clearly finding it difficult to distract himself from the allure.

Amorous Couple on third from left pillar at the entrance facing east

The third pillar from left has another amorous couple. The male partner here has a contented appearance. He has his left hands on the shoulder of his spouse. The woman is holding her long hairs with her right hand.

Amorous Couple on Right-most pillar at the entrance facing east

On the fourth pillar, towards the extreme right is an amorous couple gazing at each other in loving admiration. The man has kept his left hand on the right shoulder of his companion. He is inclined on his left leg. The right leg is broken. His right hand is on his chest. His face is damaged. The lady is graciously reclining on her right leg. Her right hand is over the left shoulder of her spouse. Her left hand is hanging and resting on her lower garment.

Amorous Couple on first pillar facing North, Durga Temple, Aihole

On the north side of the temple we see several more amorous couples. The first sculpture in North at the entrance of the temple shows a loving couple under a tree. The lady has placed both her hands around the neck of her lover. She is lovingly looking at him. The young man seems contended and looking at the lady with affection. He has kept his right hand is on the head of a dwarf to balance himself.

Amorous Couple on second pillar facing North, Durga Temple, Aihole

The second pillar facing north has a couple in more sober mood. The male in this carving is standing in right and is holding his lover closer to him. His left hand is on her left shoulder. She is reclining a little towards him and her right hand is the lower garments. The left hand of the man is on his lap and is holding a kamandala. She stands graciously with her right leg bent at knees and taken behind her left leg.

Amorous Couple on third pillar facing North (Sculpture facing east and North), Durga Temple, Aihole

Third pillar from outside (the sculpture facing east) carries a badly damaged figure of a couple. The raised right hand of the male is holding a sword. The left hand emerging from the back of his spouse holds a shield. The lady has held the man with her right hand. Her bent right leg is behind her left leg. She is reclining mainly on her left leg.

Sculpture facing north – In this a couple is standing under a banana tree. This sculpture has a tall male standing amiably. This sculpture retains its inherent elegance even though its damaged.

Amorous Couple on first pillar as we start moving in clockwise direction towards circumambulatory path

As we now move in the clockwise direction from the portico we notice another amorous couple carving. In this carving the woman’s left hand is on the man’s shoulder. They are gazing at each other in an animate, affectionate posture. The right leg of the man is straight while the left leg is damaged. The torso of the man is tall and imposing. He is wearing an ornate mukuta, pearl yagnopavita and mani-mekhala.

The woman is wearing a garment clinging to her legs upto the knees. She is wearing a thick anklet. Her face is disgigured and so its not easy to make-out her exact expressions. Her right hand is on the lower garments of the man.

Next to this carving is an idol of four-armed Lord Shiva. This figure is also damaged probably due to the long years of wear and tear. Lord Shiva in this carving is standing on Apsmarapurusha, with dignity, grace and pride.

Carvings in the circumambulatory passage, Durga Temple, Aihole

Now the corridor around the main hall and the cella begins. In the niches on the solid inner wall of this ambulatory passage there are life-size sculptures of the Gods and Goddesses.

As we walk in the ambulatory passage in clockwise direction we notice the following sculptures in sequential order:

Shiva with Nandi or Vrishabhavahana Shiva

Vijaya Narasimha leaning over His mace

Lord Vishnu ready to mount Garuda

Varaha-avatar of Lord Vishnu nuzzling diminutive Bhudevi

Devi Durga energetically slaying Mahishasura

Stiff and symmetrical figure of Lord Harihara

These sculptures are the noblest example of the Chalukyan artists’ sculptural acumen. Some of these sculptures have extremely sensitive faces showing contemplation and introspection. All these carvings enhances the viewing pleasure of the devotees. Some of the niches have no sculptures. Probably, the existing sculptures have been removed.

Dancing Couples on the pillars of Durga Temple, Aihole

After circumambulating the passage we are again at the front mandapa. The pillars of the front mandapa has some fine carvings of the dancing couples.

In one of the dancing-couple carving the man is standing with his parted-legs that are bent at the knees. He is holding the out-stretched right hand of his partner. His left hand goes around her neck and rest on her left shoulder. As his legs are apart his dhoti flows down between his thighs. His smile is expressing his immense pleasure.

The dance position shows the lady dancer in a delicate posture. Her right leg is bent at knees. The left leg moves forward to support the movement of other leg. Her pose is creating an interesting angle. The linear movement of the body is fascinating. Her forward movement is supported by her hand that travels down and rest on her left leg. She has a curvaceous body.

Ganas and drunken ladies on the pillars of Durga Temple, Aihole

There are a number of other interesting friezes on the different faces of the pillar as well. One of these carries a band of ganas forming a musical party with several of them singing, dancing and playing musical instruments. Each one of them is holding different musical instrument – cymbal, mridunga, flute and drum.

In the medallion below there is an amorous couple in the company of a monkey-faced man. The couple is in flying position. The position of man’s leg creates this flying impression. The lady is facing the man with her right hand over man’s left shoulder and the man has put his right hand over the lady’s left shoulder.

Above this medallion is a band showing beaded festoons emerging from simha-mukhas.

Further above is a man in the company of a drunk voluptuous-lover. She has put her right hand on the man and left hand on her attendant. She is taking their help to stand. Position of her legs makes it clear that its very difficult for her to stand on her own. The attendant on the left of the lady and the right of the man hold wine jars. Two cornucopias (curved hollow goat’s horn which is symbol of plenty) emphasizes that the couple has abundance of wealth.

Vidyadhara Panels of Durga Temple, Aihole

In another medallion, another male is in company of two females (Vidyadhara). He is in a flying posture. A lady is sitting on his right leg. Her left hand is around his shoulder. In her right hand she is holding some object. The man is an amorous mood. He has placed his right hand on her right shoulder while his left hand is on her breast. The other female also does not want to be ignored. She has seated herself on his left lap and placed her left hand on his chest in an effort to draw him towards her.

These themes of flying celestials (Vidyadhars) was a great favorite in the early centuries, but the most beautiful of these carvings happened in Gupta, Vakataka and Pallava dynasties. The effect of flying is through the movement of the limbs of the loving pair. The Vidyadhars are flying amid clouds and their fluttering garments suggests the speed of the movement. The ceiling of Durga temple originally had a number of lovely Vidyadhar panels a few of which I also saw in the National museum of Delhi.

In another medallion we see an amorous couple with two attendant. The lady here also appears fully drunk. The attendant on male’s side is holding a box. The man is picking out something from it. Man’s left hand is over woman’s head as he is trying to hold her to keep stable.

Wheel with fish spoke – Durga Temple, Aihole

The entrance hall has distinctive brackets to support intricately carved stone ceiling panels. There are two decorative slabs on the ceiling that are worth appreciating.

In one of them there are two circles. In the inner circle there are fishes that appear like spoke of the central wheel while the area between inner and outer circle has decorative floral patterns in it. Fishes are symbol of re-birth. This medallion may indicate that human being takes multiple births to reach the state of salvation, the final goal of every soul – the Nirvana.

Nagaraja Panel, Durga Temple, Aihole

On another decorative rectangular slab is the seven-hooded Nagaraja, Adishesha, with upper portion of a human and the lower portion of a coiled serpent body. He is holding a bouquet in his left hand and a garland in his right hand. There are four Nagins around him. However the two on his left are destroyed. The Nagins have oval face and striking features. They appear very charming.

Ornate Door of Durga Temple, Aihole

The door to sabhamandapa is most ornate with river Goddesses, male Guardians, amorous couples, female attendants and slender fluted pilasters above. On this door frame is carved a man Garuda with its wings spread on the either side of the door jamb. He is holding the tails of Nagas in his two hands. These Nagas have human faces at the end and they are joining there hands in Namaskara mudra.

It is a pancha-shakha frame. In the first frame we can see climber of flowers, in the third is the pillar art, followed by the human figure frame and then is the design frame.

There is support of beams in the form of elephant tusk.

Sabhamandapa of Durga Temple Aihole

The interior hall or the Sabhamandapa of the temple is forty-four feet long and is divided by two rows of four pillars into a nave and two aisles with an apsidal cell at its far end. The aisles continued round this cell or Garbhgriha forming the inner circumambulatory.

The stone pillars inside the sabhamandapa are devoid of any carvings.

The roof of the nave is higher than that of the side aisle. It is clear from its architecture that its literal copying of the Buddhist Chaitya hall.

Inner Circumambulatory passage of Durga Temple, Aihole

The Garbhgriha is oval in shape with a narrow circumambulatory passage around it. There are two kinds of temples:

one with circumambulatory passage – Sandhara,

and the one without circumambulatory passage – Nirandhara.

This is a Sandhara temple and the light enters the central hall and the narrow circumambulatory passage through stone grills. The stone grills providing the light to the central hall are square in shape while the one providing the light to the ambulatory passage around the garbhagriha are circular in shape. These stone grills are elegantly carved with perforated patterns.

Floor plan of the Durga Temple, Aihole, pix credit: Ms Sarah Welch (wikipedia)

References

The Art and the Architecture of Aihole by R. S Gupte

Elements of Hindu Iconography, By T. A. Gopinatha Rao

Architecture in Context by Christoper Tadgell

5000 years of the art of India by Mario Bussagli

Indian Architecture – Buddhist and Hindu periods by Percy Brown

Aihole by George Michelle

History of Indian Architecture by James Fergusson

Series Navigation

<< “Harihara” Panel in Durga Temple of AiholeLadkhan Temple, Aihole >>