Ladkhan Temple, Aihole

This article is about the Ladkhan Temple of Aihole. In this article we would talk about its significance, history, architecture, sculptures, inspiration behind it and many other interesting things.

History of Ladkhan Temple of Aihole

Ladkhan Temple is another old temple of significance in the fenced temple complex (apart from the Durga temple) of Aihole. This sandstone temple was constructed in 540 A.D. Its overall appearance is primitive to the Durga Temple. However, some still believe that the two temples are contemporary.

Association of Ladkhan temple of Aihole with Pulakesin-I

Ladkhan Temple was perhaps the structure where Pulakesin-I performed the Ashvamedha Yagna (the horse sacrifice).

Journey of Ladkhan temple of Aihole from Sun Temple to Vishnu Temple to Shiva Temple

It was initially a Sun temple. The reason for this belief is because one of the face of its partially damaged curvilinear shikharas carry the image of sun. Upto the time of Vikramaditya-II, son of Pulakesin-II, most of the shrines were Vaishnavas. So somewhere during this period, this shrine too might have converted to a Vaishnava temple.

This argument becomes firmer as on the south side of the second-storey shrine four-armed lord Vishnu is there holding Sudarshan-Chakra and akshmala in his two right hands. He is holding conch in his left hand and the other left hand is in katihasta mudra. He is accompanied by male attendants holding his mace.

After this period, the Chalukyas in general adopted Shaivism. This change is noticeable in shrines from Aihole to Pattadakal. It is possible that during this time, the Vaishnava shrines were converted to Shaiva temples.

Why temples of Aihole are important to understand the evolution of Hindu Temple Architecture

For a student of the evolution of the art and architecture of the ancient Indian temple architecture the temples of Aihole and Pattadakal are very important.

According to T Richard Blurton, a specialist in South Asian art and archaeology, history of the temples in North India is unclear as the region was repeatedly sacked by the iconoclastic invaders. These invasions and the victory of the invading armies reduced the quantity of surviving examples by huge numbers. And that’s where these temples of South India help us in understanding the evolution of the temple architecture as these are the earliest surviving evidence of the Hindu faith, and early religious art, architecture and sculptures.

Why this temple is known as Ladkhan temple

Ladkhan! Isn’t it an unusual name of a temple!

The name Ladkhan is a later appellation. The temple got this name from a commander of the Bijapur Sultanate who briefly occupied this temple. He used the temple as his residence and the temple compound as garrison for storing weapons and supplies. He coordinated his military campaign from here.

Architecture of the Ladkhan temple, Aihole

Ladkhan Temple has a rectangular pillared porch that precedes the spacious Sabhamandapa. The Sabhamandapa has a square floorplan and a roof supported by pillars. In the sabhamandapa from the central four pillars a row of pillars radiate in each direction making it sixteen pillars in total.

The pillars of the Ladkhan temple of Aihole

The pillars are heavy and massive as they need to support heavy ceiling. The shafts are of single heavy blocks of stone on which rest the separately cut-out heavy bracket capitals. The plain square shaft and bracket capital is characteristic of the Ladkhan temple’s style. In this temple, we notice for the first time a particular form of capital. However, later-on it became universal in the architectures of South India representing the order of Dravidian style.

Garbhgrih of the Ladkhan temple of Aihole

The shrine in the end almost appears to be added as an afterthought. There is no separate Garbhgriha. A stone booth was added to the back-wall to house the deity. This brings another necessary change from an apse sheltering a relic shrine. As it became a cell containing the idol of God and hence a door was indispensable. Also, the thickening of the wall became a necessity as it has to bear a shikhara to mark the position of garbhgriha from the outside.

Although in this temple, the second century is on the central ceiling of the hall and not on the garbhgriha.

Inspiration behind the Ladkhan Temple of Aihole – The Buddhist Monasteries

The design of Ladkhan temple got its inspiration from the fifth century rock-hewn Buddhist monasteries (viharas). This is specially reflected in its inner square.

Inspiration behind the Ladkhan Temple of Aihole – The Santhāgāra (the Village meeting Hall)

However, some experts argue that this temple derives its architecture from the concept of the village meeting hall rather than from any other earlier religious structures.

Percy Brown argues that this temple is not suitable for Brahmanical rituals. He believes that this inappropriateness is because it was an adaptation of an earlier edifice – the Santhāgāra or the village meeting Hall. Although not many examples survived of the Santhāgāra, but it appears as very early institution in the Indian village life.

From the descriptions in the ancient texts we learn that Santhāgāra was the structure for the elders of the communities to meet and settle social and economic matters. It was probably the only public building in village – a flat roofed open edifice without walls. The architecture of the Santhāgāra was like this so that the deliberations within might be visible to and shared by public outside.

The people taking part in these proceedings sat in a specific order with the leader occupying the chair in the middle.

Click here to see the hand-drawn sketch of the iconic temple by Chandini Dunna that vividly explains why this temple looks like an imitation of Santhagara

The Lattice windows of the Ladkhan Temple, Aihole

In Ladkhan temple, the pillars of the open exterior are still visible. These are though converted into pilasters (rectangular columns projecting from wall) as the spaces between these pillars is filled with masonry to provide seclusion for worship. Such an alteration shut out the light and so perforated windows become necessary.

The walls on the west, south and north have impressive lattice windows. The sunlight from these beautiful large perforated geometric designs create strikingly beautiful effect in the interior of the temple. There are three such jaalis on south and north walls.

In case of rock-cut temples there was no provision of light except for the front door. However, the architects of these monuments realized that in these free standing temples it was possible to introduce windows and thus provide a provisioning of ample light in the interior of the temple.

The slanted seats of the Ladkhan Temple, Aihole

The seating arrangement was no longer needed in the main hall, so it was removed. However, it was retained in the portico for the public. This feature of stone seats was copied with considerable effect in the entrance hall of many medieval temples.

Nandi Mandapa of the Ladkhan Temple, Aihole

The center of the sabhamandapa has a dedicated Nandi Mandapa surrounded by four pillars reaching the roof. A big stone Nandi sits in the middle facing Shivalinga with its back towards the entrance. Later with the further evolution of the temple architecture, Nandi mandapa was constructed outside the main temple.

Stone-ladder of the Ladkhan Temple, Aihole

The concept of shikharas developed a little later and then a shikhara and a small shrine on the second-storey was constructed over the main shrine. However, the tower added was rudimentary. There is an inclined 10 feet tall stone-ladder inside the sabhamandapa that once gave access to the second-storey shrine. The access is closed now with a stone-slab.

Peculiarities of the roof of the Ladkhan Temple of Aihole

The roof of the temple has large flat stone slabs. The temple roof stones include log-shaped stone strips suggesting of an attempt to mimic ancient wooden temple construction. The ultimate model for the roof was a structural wooden building. Construction of such roofs continued as late as thirteenth century. Such roofs consist of large flat slab. Near the joint on this slabs grooves were chiseled with corresponding ridge at the edge covering the entire length of the slab. Long narrow stones were placed fitting in the groves on the principle of ordinary roofing tiles but on a larger scale.

The stone ribs on these roofs suggest a timber origin. The heavy overhanging eaves of the roofs are from thatch kind of structure. Percy Brown argues that Ladkhan temple was a product of a primitive movement is visible in the nature of its masonry. It has great archaic blocks dressed to level beds and placed one above other without cement on any similar binding composition.

Somewhat related temple structures are commonly found in Kerala.

Walls of the Ladkhan Temple of Aihole

From the front the exterior of the temple is broader and less vertical than the Durga Temple. The external walls of this temple are strikingly plain. The walls of the temple are of disproportionate strength, not uncouth, but still denoting a wasteful use of material signifying inexperienced workmanship. The monstrous shafts, the weighty brackets of the pillar and low beetling cornices are expressive of its exultant strength.

Inscriptions in Ladkhan Temple, Aihole

Outside the Ladkhan temple flanking the temple are six short pillars with Kannada inscriptions.

The river Goddesses at Ladkhan Temple, Aihole

The temple has an early representation of the river Goddesses Ganga and Yamuna at the entrance.

At the entrance on the leftmost pillar facing East we can notice Yamuna standing on tortoise. She appears stocky and gives an impression of Her heaviness. She has two dwarf female attendants on either side in the lower portion of the panel and on the upper two other sides are the flying Vidhyadhars.

In all the temples of Aihole, River Goddesses Ganga and Yamuna are on the door jambs of mukhamandpa and the Garbhgriha. The Chalukyas worshipped the two river Goddesses as number of inscriptions refer them. Let me correct myself, the two river Goddesses were revered Pan-India.

Purna-Kalasha – Ladkhan Temple, Aihole

The temple entrance has Purna-Kalasha – representing a bowl of plenty repeated on either side of the entrance. This motif is associated with good luck and the well-being. It was conceived in the Gupta period.

Amorous couples of Ladkhan Temple, Aihole

The Ladkhan portico has many fine sculptures of amorous couples in courtship scenes. The fluid postures of these figures communicates an unmistaken charm that represents the high point of Early Chalukya art.

Amorous Couple facing east at entrance of Ladkhan Temple, Aihole

On the second pillar from the left, at the entrance, facing east we see a couple deeply engrossed in love-play under a shady tree. The female is having a striking pose. She seems to be shy still enjoying the moments with her beloved. She is resting on her left foot, however, waist upwards she reclines heavily on her spouse relishing the physical proximity of her spouse.

The balance in this carving is through the position of her left hand that is on her lower garments. Her right hand crosses her lovers chest and reaches his waist. The slight inclination of the head towards the right balances the leftward bend of the body and this brings the great charm to the overall composition.

Amorous Couples facing South, Ladkhan Temple, Aihole

On another pillar (the leftmost) facing south on the portico is another couple in loving embrace. Female in the carving entwined her spouse with both her hands resting her head happily on his shoulders. Naturally this act of his lover makes the male reach the ecstasy. In this carving too a shady tree is providing them shelter. Both of them are wearing heavily embellished crown. This reflects their royal origin. The female in the pix is wearing large beautiful earrings.

On the next pillar as well we see a similar loving couple. Though here the female partner is less initiated still her love and confidence on her lover is visible in the way she has put her right hand on his shoulder. The camaraderie the couple enjoy in each others company reflects very well in the composition.

Brahmachari at Ladkhan Temple, Aihole

The last composition on the extreme right is interesting. Here we see a young brahmachari with a donkey faced young female. He is holding his kamandala in his left hand. The hand is upright as if the monk is about to hit the young woman with his kamandala. The young lady is trying to repulse the attack by holding his left hand. The couple is standing under a Banana tree.

These carvings on the exterior has an elemental savage beauty. Here too we can see similarity to wooden carvings as these gives an impression of creation using an axe.

Chalukya Royal Emblem, Ladkhan Temple, Aihole

One of the façade pillar has a medallion on its western face that carry the royal insignia – the Varaha engravement over it. The Chalukya emblem has the conch, the wheel and the lamp along with Varaha.

Medallion and other carvings of the Ladkhan Temple, Aihole

In a set of medallions inside the temple we also see young lads playing with snakes.

In total we can say that the carvings of the temple are intricate at the same time strong and enduring. It speaks a lot about the great potentialities of these sculptors.

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

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