Kadasiddeshwara and Jambulingeshwara Temples, Pattadakal

In this travel-log let us visit Kadasiddeshwara and Jambulingeshwara Temples, Pattadakal with the fictionalized character of Gundan Maharaj, Vikramaditya-II and his queens.

Recap …

We read in the last article about the victory of Vikramaditya-II over the Pallavas and the desire of his Queens to construct a grand Shiva temple, something similar to the temple of Kancheepuram.

The royals were then convinced by the revered saint Jnansivacharya to visit Pattadakal to assess the possibility of constructing the desired temple there.

We also read that the two queens like the spiritual atmosphere of the place so much that they decided to lay the foundation of their dream temple in Pattadakal only. Let us read further …

Sadashiva – The first manifestation of Lord Shiva

Gundan Maharaj – Maharaj and Maharaniji, before your arrival to the place, me and my team has done a detailed study of the temples in vicinity of the place that should be an ideal location to lay the foundation of the proposed temple/s. Please allow me to take you on a small tour of these existing temples.

The Royal Ensemble (Excitedly) – Why not? We are also keen to visit these ancient monuments of faith.

Gundan Maharaj – The temples we would be visiting are constructed and consecrated on the principles of Art, Architecture and Philosophy of the Saiva Siddhanta.

These temples are conceptualization and visualization of the worship of Sadashiva – the first and the highest manifestation of the Supreme Shiva – who blesses His devotees with Anugraha.

Gundan Maharaj (continues …) – Sadashiva is believed to have five faces oriented towards five different directions. The face looking upward is Ishana, the one facing east is Tatpurusha, and the one towards North is Vamadeva, South facing is Aghora and the one facing West is Satyojata; these are also known as Panchabrahmas (The five creators).

Baldeva (the sculptor) – The idols that are carved over the exteriors of the temple wall are carved in accordance to these different aspects of Shiva.

Lokamahadevi – Gundan Maharaj, you said that the Sadashiva is five-headed, but I have not heard or seen five headed representation of Shiva, something similar to that of Brahmaji.

Jnansivacharya – Let me answer this Maharani. Actually, most of the time Shivalingas are not carved five-headed. It is expected that the devotee would invoke Sadashiva in his mind and would chant Sadashiva mantra while doing puja and circumambulation.

Architecture style of Pattadakal Temples

Gundan Acharya – I would be taking you across the Kadasiddeshwara, Galaganatha, Sangameshwara, and the Jambulingeswara temples.

All these temples are east facing. Kadasiddeshwara and Galaganatha temples are built in Nagara style of architecture – a style famous in North of India, Jambulingeswara temple carries over the Vesara style, mix of northern and southern architectural style, and the Sangameshwara temple is built in Dravida style, the southern temple architecture style. Let us start the tour with a visit to the Kadasiddeshwara temple.

Kadasiddeshwara Temple, Pattadakal

(Note: The name of this temple in eighth century is not known now. The name Kadasiddeshwara is a later name. It is based on the name of an ascetic who resided here at some point of time).

Gundan Maharaj – This is the smallest and humblest of all Nagara style temples present on this site. It comprises of a square sanctuary with linga and a hall without pillars. The ornate doorway of the temple is approached by a flight of stairs and is flanked by Shaiva Dwarpals. Let’s move inside the temple.

Gundan Maharaj (inside the shrine) – Please note the dwar-bandh of the garbhgrih. The dwar-bandha comprises of five frames (sakhas) – one of which is a naga-sakha, this is the one with the rimmed body of Nagaraj protecting its ishta.

The other frames carry over the geometrical and floral carvings. On the lalata of the dwar-bandh is the carving of Shiva-Parvati.

Baldeva Maharaj At the extremities of the same lintel is the peculiar carving of four-armed Brahma towards right and Vishnu in a small capital towards his left. This format is peculiar to this temple.

At the bottom of these sakhas are gracious carvings of Devi Ganga on makar and Devi Yamuna on kurma (tortoise). The two river-goddesses cleanse the devotees with their holy water.

Gundan Maharaj – Notice how the architect of the temple has ensured the proper lighting in the vestibule area of the temple through the side-windows, one of them having the swastika motif.

(Everyone comes out of the temple after worshiping the Shivalinga).

The carvings on the exterior of Kadasiddeshwara Temple, Pattadakal

Gundan Maharaj – Take few moments to look and appreciate the graceful arches of the Nagara style tower and then let us circumambulate the temple in clockwise direction.

If the interior of the temple is for the devotion, the exterior of the temple is for the sculptor to carve for the visual delight.

Baldeva – You all would agree with me, that our temples are granth of mythology. These spiritual monuments conceal in them unforgettable stories to reveal them to the generations to come.  

These monuments exult devotees. The devotees become bhav-vibhor looking at the various rasa sculpted on stone.

These sculptures make the devotees realize how the isht of karta blessed the architect and the sculptors to think creatively and to conceptualize something so beautiful and so unique.

We can enjoy these beauties to the content of our hearts by spending time in front of them, as only then we can contemplate the mood, the bhava and the intricacies of craftsmanship.

Baldeva – In the deva-kostha of the Southern wall of the temple is carved Lakulisa, who can be recognized by his hairs.

On the west-side of the temple is the carving of four-armed Harihara, a composite deity of Lord Shiva and Lord Vishnu. In the upper hands the idol is holding parshu(battle-axe) and conch. The right lower hand is on the waist and the left lower hand holds a piece of cloth.

Baldeva (continues) – On the North side wall of the temple is carved Lord Shiva as Ardhanareeshwara. The feminine form of the deity is wearing a dress having motifs of Karnataka embroidery, that covers her left leg and is carved holding a flower.

Baldeva (continues) – Shiva ganas are carved on the right side and Nandi is behind. Please appreciate the control of artist on finer details. He wants the gaze of the onlookers on the deity but has not forgotten Shiva’s parambhakta – Nandi, whose muzzle sneaks out from his right side and announces the presence.

All around the temple is a running frieze of carved kubja-ganas in various postures and attitudes, expressing and spreading joy and happiness.

Gundan Maharaj – As Baldeva mentioned earlier, the ancient literature of architecture, Pancanna Sadashiva – also defines that on which face of the temple which kind of carving must be done. The southern face of Shiva is of Aghora; Aghora represents intellect, the Jnansakti and hence Lakulisa is carved here.

The western face represents Satyojata. It represents the will-power and is also associated with Vishnu and hence Hari-hara is carved over on the western wall.

The north wall is the face of Vamadeva and he represents the handsome, graceful, poetic and serene Shiva and so on this wall Shiva as Ardhnareeshwar is carved.

Gundan Maharaj – Notice the graceful image of Shiva-Parvati on the lintel of the tower. These idols are etched on the same block of stone as the niche. Shiva is carved holding a serpent and a trident in his hands. He has third eye on his forehead and matted hairs adorn his head.

Let us move a few meters south to the Jambulingeshwara temple.

Jambulingeshwara Temple, Pattadakal

Gundan Maharaj – This temple was constructed in seventh century and is of similar in size, date and style to that of Kadasiddeshwara Temple.

It has a square sanctuary, following a square mandapa and the Nandi-mandapa, with Nandi facing the lord.

The specialty of the temple is its tower that is a mix of both Dravida and Nagara style – also known as the Vesara style – having diminishing horizontal storeys.

Look at the chaitya-arch over there. It is giving grace to the temple and below it is carved Shiva in Anand Nataraja form.

Baldeva – In the sculpture six-armed Shiva is carved. In his upper pair of hands, Lord Shiva is holding battle-axe in his left hand and damaru in his right hand. The next pair of hands are carved in Karihasta and Katamukha gesture.

Shiva is carved here in the most popular dance gesture. Along with Lord Shiva, Uma and Nandi are also carved.

Maharani – Maharaj, look at Uma’s beautiful headgear of dandle of flowers. From the carving it seems she is talking to Lord Shiva and notice the tilt of Shiva’s head towards Devi Uma, so he can listen and can also look at her lovely consort even while He is dancing. There is a message for you in the carving.

Maharaj – A message for me!

Maharani – Yes, Maharaj. You must learn to pay attention when we, your spouse, are talking to you. When we talk to you, you keep on looking ahead and don’t even pay attention towards us.

(Everyone smiles at Maharani’s complain …)

Story of Asvatara and Kambala carved on the exteriors of Jambulingeshwara Temple, Pattadakal

Baldeva – Please also note Asvatara and Kambala carved in the panel. These two yakshas were the champion of music; Lord Shiva enjoyed their music so much that he changed them into serpents and wore them in His ears as pendants so he can listen to their music wherever He goes.

In the panel the two yakshas are shown with their hands in Anjali Mudra as if they are waiting for Lord Shiva’s permission to start the music. Over the medallion two gandharva’s are also carved flying over to garland Lord Shiva.

The Story of Kirtimukha, carving on Indian Temples

Maharani – Baldeva Maharaj, I don’t understand why you carve those monstrous faces on temple walls and sometimes they are carved even above the lord?

Baldeva Maharaj – Maharaniji, the demonic faces you are talking about are known as Kirtimukha.

These faces represent our monstrous existence prior to enlightenment. It is believed that kirtimukha was created by Lord Shiva to teach Rahu a lesson when he attacked Lord Shiva.

As the Rahu, looked at kirtimukha, the swallowing ferocious lion with huge fangs and gaping mouth, he immediately realized his mistake and sought forgiveness from Shiva. Shiva only wanted Rahu to realize his mistake and so He immediately forgave him.

The birth of this ferocious monster though created a problem for Lord Shiva himself. It was a hungry monster; after taking birth and doing pranam to the Lord, it requested the lord to give it something to eat.

Lord Shiva knew that nothing can quench its hunger and so he suggested it to eat itself starting with its tail. On Shiva’s order it ate its complete body, and finally only the face was left.

Shiva who was pleased at its obedience and the way it simply destroyed itself, asked it to stop before it could eat the face as well. Shiva told it that from then onward you would be known as the “Face of Glory” – the Kirtimukha.

In temples it’s carving would be done even above that of God’s. The spiritual essence of Kirtimukha is that it represents a person who has eaten his pride completely and who has become selfless. Such a person has even his place even higher than the God.

Carvings on the exteriors of Jambulingeshwara Temple, Pattadakal

Gundan Maharaj – Please notice five small niches on the door lintel. Each of these niches are mini-shrines and contain a shiva-linga carved over there. These five shrines represents the five-faces of Sada-Shiva.

Maharaniji, now you will agree with me that the five faces of Sadashiva are symbolized in carvings too.

Lokamahadevi – Hmmm. Very interesting.

Baldeva Maharaj – Let us quickly walk around and look at the standing Lakulisa carved on the niche in the south. He is urdhavrata with the tiger skin hanging around his waist. He is jatamukatin; his hair tied in the form of hara. He is holding a parshu in his right hand. On His right thigh, the tiger’s head and also its left-paws are visible.

Surya is carved on the western wall and on the north niche of the temple Lord Vishnu is carved.

(With this I am ending this article, we would continue our tour with a visit to other temples in the complex)

Click here to read about the history of the Chalukyas of Badami

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