Let us visit the Sangameshwara Temple of Pattadakal in this dramatized log with the real life characters of Gundan Maharaj (the architect of the temple), Baldeva Maharaj, King Vikramaditya-II and his queens – Lokamahadevi and Trailoka-mahadevi.
Recap …
In the previous articles, we read that the queens of Vikramaditya-II wanted to construct a grand temple of Lord Shiva . They chose Pattadakal for the purpose.
Gundan Maharaj- the architect, took them on a tour of the existing temples. In the earlier articles, the team visited the Kadasiddeshwara and the Jambulingeshwara Temples followed by the Galaganatha Temple. In this article we would continue our tour of other temples in the temple complex of Pattadakal …
Who Built the Sangameshwara temple in Pattadakal
Gundan Maharaj – Maharaj, look south from the Galaganatha Temple. Do you see this temple with stately and imposing appearance?
Vikramaditya-II – Yeah, I can see that. What is special about it?
Gundan Maharaj – Your father – Maharaja Vijayaditya commissioned this temple. Hence it was known as the Vijayeshvara temple. People of the empire at that time were so inspired by his noble endeavor that when he ran into financial troubles, the citizens of the empire joined hands and contributed generously to the construction of the temple.
(Note: Now this temple is famous as the Sangameshwara Temple)
The Architectural style of Sangameshwara temple in Pattadakal
Gundan Maharaj (continued) – Before moving further, let us look carefully at this temple from here itself. Do you notice anything unique apart from its grandeur.
Lokamahadevi – Gundan Maharaj, the tower of this temple appears different than the temples we have visited till now.
Gundan Maharaj – You are absolutely right Maharaniji. In Pattadakal, this was the first time a temple was built in Dravidian Temple Architecture .
Let us move closer to the temple.
Gundan Maharaj – This temple is built on a platform (jagati) – unique among the other temples of the complex. This temple has a hall in front of the sanctorum-sanctum (Sabhamandap) and an ambulatory around the sanctuary.
The sabhamandap of the temple is supported on sixteen massive pillars arranged in four rows of four pillars each. These heavy monolithic pillars are squarish in shape and are plain without any base. The overall appearance of this hall hints at the influence of cave architecture. On these pillars, you can see two carved semi-circular medallions in upper and lower zone with a short vertical band in between.
This is also the first time, a separate pavilion was built for Nandi – Shiva’s parambhakt and his vehicle.
Baldeva Maharaj – On one pillar you can see the name of Devi Chalabbeya – the famous temple dancer of the time. As I told you earlier, your father commissioned this temple but he fell short of finances. Then many other citizens also joined hands and donated amply. Some of those donor’s names we can see on these pillars.
Baldeva Maharaj (continues) … River Goddesses – Ganga and Yamuna, along with their attendants stand on either side of the Grabhgriha. Grand and impressive sculptures of Shaiva Dwarpals are also in full attention.
The two sub-shrines flanking the ambulatory, enshrines the idols of Lord Ganesha and Devi Durga. Dwitala Vimana (double-storey tower) rises over Garbhagrih. It has a square Shikhara at the top carrying the Kalasha.
(the ensemble prays in the temple)
Gundan Maharaj – Let us circumambulate the Garbhgrih. Though the ambulatory is closed, still there is good lighting inside, seeping in through perforated windows.
Exteriors of Sangameshwara temple, Pattadakal
Baldeva Maharaj – Let us now move outside and have a look on the exteriors of the temple. On the exterior wall of the temple, dwarfs are carved as if they are carrying the structure. On each of the three exterior walls of the temple, there are three devakoshtas.
Let us look at the southern side of the temple wall. On the eastern niche of the Southern wall is Lakulisha in standing position. He is naked and is carved with a Laguda (stick) in his right hand. The upper part of his body is wearing usual jewelry and the headgear matches that of a Pashupata Saint.
In the bhadra-niche, sculptors carved the unfinished Gajasamhar-murthi of Lord Shiva and on the western niche, they carved Harihara.
Baldeva Maharaj (continues …) – You all will agree with me that these carvings carry imposing proportions, and are gracious. They carry a rhythm and a radiating elegance. These also depict vivid expressions of ferocity, anger, love, pity and similar other human sentiments.
The male sculptures have broad chests, long and stout hands and legs, and broad faces. As a matter of fact, if you look carefully, these carvings are better than the contemporary carvings of Kanchi and Mahabalipuram in bringing out these expressions. These sculptures reveal the clarity in visualization of the artists.
(The royal family nod their head in agreement).
Baldeva Maharaj (continues …) – The reason for these carvings better than Kanchi and Mahabalipuram also lies in the choice of material. The carvings in the other two temples is done on granite, which is a hard stone to carve. The carvings on this temple is done on soap-stone, which yields impressively under the deft handling of the sculptor.
Gundan Maharaj – Please note that the perforated windows were giving light inside the ambulatory. These also gives a pleasing appearance to the exteriors of the temple.
Sangameshwara temple remain unfinished!
Lokamahadevi – Gundan Maharaj, what bothers me looking at these carvings is that they appear unfinished. What happened? Why did sculptors left these unfinished?
Gundan Maharaj– Sadly, the financial contributions of both the late Maharaja and the citizens was not enough. The artists had to stop working because of financial burdens. Maharaj consecrated the temple as such, because there were no more funds to finish it. This is the reason you would notice that most of the carvings are incomplete. Even devakoshtas are empty and some of them only have outline sketches.
The conditions of Gundan Maharaj about the construction of the twin temples
Lokamahadevi – Gundan Maharaj, thanks a lot for the tour of all these existing temples. It has increased my curiosity. What are your plans about the temples we have requested you to work upon? I want those temples to be more beautiful and grander than these temples
Gundan Maharaj – Your desire is my order. The temples you have asked me to build would be grander and more artistic and stylish. I am planning to build twin temples, one for the senior maharani and other for the junior maharani.
Trailoka-mahadevi – I am happy to hear so. It would remind the generations to come about us, and the Maharaja’s victory over Pallavas. I have one humble request though. I want the temple in my name to me smaller than that of Didi. The world should know that I always followed and respected Didi. I preferred to be in her shadows.
(Immediately the citizens accompanying the royal troupe burst in loud jaikara – Choti Rani ki Jai ho! Long live the Maharaja, Badi Rani and Chotti Rani).
(as the jaikara stopped)
Gundan Maharaj – Maharaniji, as you wish. The temples would be twin, but they would share the compound wall. They would be two temples but will appear as one, just like you and Badi Rani.
(He then turns towards Maharaj and makes his requests.)
Gundan Maharaj– Maharaj, before commencing the work on the twin temples, I request two grants for me and my team. First, we would never be devoid of any financial assistance and secondly, you and Maharaniji would visit the temples only when they would be ready. It should be a total surprise and complete trust on me and my team.
Vikramaditya-II – I promise you Gundan Maharaj, I will not allow any financial issue to creep in. You will get all the money you need and whenever you need. Second request is though more difficult to agree upon.
But …! As you wish. We will eagerly wait for your message that the project is over, and we can visit the temple. My trust on you is very high and we would keep our curiosity in check.
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