Virupaksha Temple, Pattadakal

(In this dramatized article on the Virupaksha Temple of Pattadakal, the sculptors of the temple explain the sculptures carved in the temple).

It takes several decades for the twin temple of Lokeśvara and Trailokyeśvara to be ready.

There was special instruction to the architect that the temple commissioned by Badee Rani (Lokamahadevi) should be grander than the other temple.

Both Maharaja and Chhoti Rani (Trailokamahadevi) wanted to make Badee Rani feel special and happy.

It is 740 A.D. One day while Maharaja Vikramaditya-II was conducting usual business in the court, dwarpal enters and says, “Maharaj ki Jai ho! Maharaj, Acharya Gundan is outside and he is seeking your permission to enter.”

Maharaj – Please bring him in with respect. I am eager to hear about his purpose of visit.

Acharya Gundan – Maharaj ki Jai ho. Har-Har Mahadev Maharaj. I am please to inform, the tasks and the responsibilities you have assigned to me are about to finish.

I am here to invite you, Acharya Jnansivacharya and Maharanijis to come and visit Pattadakal and do the pranpratishtha of the twin Shiva temples you have commissioned.

Maharaj – Ahh! What a wonderful news to start the day. I am sure Maharanis will be happy to hear the news. We all were eagerly waiting to hear this news and visit Pattadakal.

Acharya Jnansivacharya, please find an auspicious day for the pranprathistha, we want to visit the temple as soon as possible.

On the auspicious day, the royal convoy reaches Pattadakal. The place is reverberating with the sound of sculptors chiseling and carving stones. As the news of Maharaja’s arrival spread everyone stops work and gather to welcome him.

The artisans are looking at the Royals in anticipation. Will they like and appreciate their work!

The royal family takes bath in the River Malaprabha and enters the temple from the main entrance facing the river.

Architectural Style of Virupaksha Temple, Pattadakal

Gundan Acharya – Maharaj with God’s grace and your blessings, I have designed the temple of Lord Virupaksha in Dravidian architecture style. Its continuation of the architecture style that we see in Sangameshwara temple built by Maharaja’s late father.

The Entrance to the temple is through a grand Gateway (mahadvar).

Nandi Mandap, Virupaksha Temple, Pattadakal

We have planned a separate pavilion (Nandi-Peeth) for God’s parambhakt Nandi. After-all, after Mother Parvati its Nandi Maharaj who listens to our requests and pass it on to Lord Shiva at the appropriate time.

The Nandi Mandapa is on an elevated platform and faces the east porch of the temple. It has friezes of animals specially the elephants in different positions and moods.

The idol of Nandiji, standing three feet and 1.8 meters tall, is sculpted from a single block of black granite stone. It depicts Nandiji seated beneath a stone canopy held aloft by four robust columns, square at the base and cylindrical along the shaft.

Maharani Lokamahadevi– Acharya Gundan, the pavilion is exquisitely carved, featuring large circular columns adorned with detailed floral patterns, petals, and garlands. The corner walls, elevated on a tall base, are embellished with finely carved figures of female attendants and loving couples.

(Commander-in-chief of Maharaja Vikramaditya-II decides to have some lighthearted talk) – Acharya Gundanji, I have one question in my mind for long. Why Nandiji is always in sitting position? It appears to me that this ardent devotee of Lord Shiva is lazy and is always resting.

Gundan Acharya – Senapatiji, when Shiva goes on a war only then Nandi is in standing position. You are always ready for war, so this doubt was but natural to come to your mind.

(The witty answer left Senapatiji blushing, and everyone is laughing).

Shankanidhi and Padmanidhi in Virupaksha Temple, Pattadakal

Gundan Acharya – On the side walls of this entrance we have carved the two treasurers of Kubera – Padma-Nidhi and Shankha-Nidhi. Shankha Nidhi holds a Shankha (conch) while Padma Nidhi holds Padma (lotus).

As devotees enter the temple from the east, Shankha Nidhi is towards their left, and Padma Nidhi to their right. This means that Padma Nidhi faces north, and Shankha Nidhi faces south.

Maharaj, the two treasurers of Kubera are here to bestow their blessings, ensuring the devotees of Lord Shiva at Pattadakal remain ever prosperous.

They are also the guardian deities protecting the wealth of the temple. They symbolize auspiciousness and prosperity. The two treasurers represent rich folks, so we have carved them plump, wearing opulent jewelry and headdresses, just like the Nagarseth of the empire.

Lokamahadevi – Both the deities are looking so lively, silently watching and blessing the devotees of Lord Shiva.

Gundan Acharya – Thanks Maharaniji for the appreciation.

Temple Structure, Virupaksha Temple, Pattadakal

Following the Entrance and Nandi Mandapa is the porch, succeeded by a mandapa with eighteen pillars, an antechamber, and finally, the garbhagriha. There is an ambulatory around the sanctuary. This ambulatory is illuminated by jaalis adorned with exquisite floral patterns. The Grand Entrance, Nandi Mandapa, Porch, Mandapa, and Garbhagriha are all oriented along the East-West axis.

The temple complex is surrounded by a wall, encompassing a large courtyard where devotees can unwind, admire the artistry, and reflect on the detailed sculptures adorning the temple’s exterior at their leisure. It is a place to become spiritually immersed and to seek blessings, acknowledging how our chosen deity has inspired us to think innovatively and craft such a distinctive sanctuary.

Maharaj, we have decided to make this temple a veritable granth of mythology, inscribed on the stone. These carvings will tell unforgettable stories to the generations to come.

Let us move clockwise across the temple and have a close look at the sculptures on the outer wall. These carvings are etched by Baldeva, Cengamma, Pullapan and Devaputran.

On the corner of the façade we have carved Maharanis wearing long patterned clothes with their hairs tied behind as ornate buns. This sculpture captures the fashion of today. Maharanis are here, so they can always be in attendance to their ishta, welcoming His devotees.

Amorous Couples, Virupaksha Temple, Pattadakal

There are several sculptures of amorous couples all around the temple.

The sculpture of a woman leaning on her spouse while an attendant dwarfs is removing thorn from her leg. The sculpture of a couple where the beautiful lady has thick and long hairs resembling an elephant trunk.

Several sculptures of couple standing where the lady is on his left and is holding him lovingly by putting her right hand on his right shoulder near his neck; Another sculpture where a beautiful woman is talking to a parrot about her lover.

Please note that carvings of couple in love standing under a tree, note the beautiful hairdo of the lady. The man is wearing a tiara (crown), they are bare-chest and are wearing beautiful necklaces.

They are dressed below waist, the lower part of the body is covered with elegant girdles, belts. And the lady in the carving is wearing bangles, but the hands of man are devoid of anything.

Maharaj (teasingly to Gundan Maharaj) – So you want the men of the empire to wear bangles too.

Everyone bursts into laughter. Gundan Maharaj, feeling embarrassed by his lengthy explanation, offers a sheepish smile and proceeds to the next sculpture.

Lingodbhava, Virupaksha Temple, Pattadakal

Gundan Maharaj – Maharaj, among all Gods, Lord Shiva is the only one who has both Sakala and Nisakala form.

Maharanis – Please elaborate Gundan Maharaj. I am not able to follow you.

Gundan Acharya – Indeed, Shiva is revered in both Sakala (embodied) and Nishkala (symbolic) forms. Moreover, he is uniquely worshipped as Sakala-Nishkala and Nishkala-Sakala, embodying the beauty of both forms.

Maharaj – Gundan Acharya, you are confusing me even more.

Gundan Acharya – Maharaj, on Shiva temples you might notice carvings of Shiva carrying Linga on His shoulder. It represents Sakala-Nisakala form of Lord Shiva and the other is Nisakala-Sakala form that is right in front of you. This form represents Isatava. In this carving Nisakala (Shivalinga, the symbol of Shiva) being prominent and Sakala (his human form) is emanating from it.

Baldeva – Maharaniji and Maharaj, this sculpture represents Lingodbhava. (reader please read the story behind Lingodbhava here).

I have depicted Shiva rising from the center of the Linga, surrounded by flames, with his legs below the knee obscured. He possesses three eyes, two arms, and a tranquil, soothing expression. Serpents adorn him as ornaments. On his left, a small figure of Brahma rides a Hamsa, and on the lower right, a boar symbolizes Lord Vishnu.

Lord Shiva is adorned with the Yagnopavita, and His weapons, the Parshu and Trishul, are engraved behind Him. The apex of the Devakoshta is embellished with foliated avian figures.

Baldeva(contd) – Over the top of this idol and the foliated birds, is the statue of Gajalakshmi. She is flanked by two elephants who are pouring water on Her. Again, these two elephants are the zoomorphic forms of Shankhanidhi and Padmanidhi. On either side of the frieze depicting Gajalaxmi, flying gandharva’s are there who are singing eulogies of Devi.

As we move our eyes further towards left, above a perforated window, we will see the Bakasura Vadha in stone. Here, little Krishna is slaying the stork demon.

Shiva Trampling Apasmara Purusha, Virupaksha Temple, Pattadakal

Cengamma – The next sculpture adjacent to it is of Shiva trampling Apasmara Purusha.

Apasmara Purusha personifies ignorance. Shiva-worship helps devotees to destroy ignorance, pride and arrogance.

In the carving eight armed Shiva is trampling on Apasmara Purusha, and a frightened dwarf with a grotesque personality (his face on his stomach) is standing next to him.

His top most right hand holds Trishula , and the other two holds a Kamandal and a snake, and the last of His right hand is resting on his hip; the upper left hands hold Parshu, a flag, damaru and the lowest of his left hand is simply hanging down being in a relaxed position.

Lord Shiva is wearing beautiful ornaments – udarabandha or three banded kaṭibandha (waistband), a yajñopavīta made of skulls, a necklace, ornaments in His upper arms, wristlets and a jaṭāmukuṭa(a crown made of his matted hair).

He is wearing kundals in his ears. The kundala of the shape of leaf is Patrakundala and the other one shaped as crocodile is Nakrakundala.

Curse to Lord Shiva by Saptarishis, Virupaksha Temple, Pattadakal

Maharaj – What are the strange carvings above this panel.

Cengamma – Maharaj, in the above panel we have depicted the story of a curse to Shiva by Saptarishis.

The wives of the rishis went into the forest to gather firewood and came upon the ascetic Shiva in meditation. They were captivated by the sight of the young ascetic and, overcome by fatigue, fell unconscious one after another. Upon discovering their unconscious wives near the young ascetic, the rishis suspected him of impropriety and cursed him, declaring that his linga would shatter into pieces.

In the panel, we have carved the rishis doing severe penance, meditation and yoga and above this we have shown how they wrongly imagined the yogi making sexual relations with their wives.

Nataraja pose of Shiva, Virupaksha Temple, Pattadakal

Gundan Acharya – Now we are at the southern part of the temple. The southern part of the temple is for the Aghora face of Sadashiva. We wanted to express terrific Aghora aspect of Lord Shiva in a pleasant form and so we have chosen this façade for representing Nataraja pose of Lord Shiva.

Pullapan – Maharaj, we all know that the Lord Shiva invented dance and its sixteen forms. Here, we have carved Shiva dancing in Tribhanga pose with his raised legs, and a drum and Nandi-dwaja in his two hands.

We have tried to convey vigorous dance movements with flowing drapery and the movement of hands. Shiva is dancing on Apasmara Purusha with his left leg on his back and His right leg is in air to counterbalance and to create rhythmic dance movement.

A dwarf is playing the Ghata-vadhya to the right of Lord Shiva. In the upper panel, Gandharvas are soaring towards Shiva to adorn Him with garlands.

Gundan-Acharya – In the next panel Lord Shiva is trying to appease Devi Parvati by keeping Her in His soft embrace.

Lokamahadevi – Its a beautiful panel with the two divinities carved in perfect synchronization. The flowing delicate foliate designs on the perforated windows on the either side of the panel has increased its beauty.

(The royal team is now in South porch)

Ravananugraha Murti, Virupaksha Temple, Pattadakal

Devaputran – The next carving in the south porch is the Ravananugraha Murti (click here to read the story). In this carving, I have depicted Lord Shiva seated on Mount Kailash alongside Devi Parvati, with Nandi present behind the mandapa. According to Shiva-Agama, devotees should mentally invoke Devi Parvati when offering something to Lord Shiva. Here, Devi Parvati is accepting the offerings of the devotees and presenting them to Lord Shiva.

In the below register I have carved Ravana who is trying to uproot Kailasha. In his endeavor he is successful too and has lifted the mount partially.

The trembling of the mountain has frightened the wild animals, and even Devi Parvati is alarmed. At this moment, Lord Shiva has resolved to stabilize the mountain by pressing down His toe. Ravana, unable to withstand the pressure, is writhing in agony.

Maharaj, you can notice several rasa in this sculpture.

Veerrasa (Courage) – in the way Ravana is lifting the mountain.

Bhayarasa (Fear) – In the manner wild animals are running around due to the shaking of mountain.

Hasya-Rasa (Comedy) – As Lord Shiva is enjoying the ego of Ravana.

Shringar Rasa (Romance) – As Devi Parvati is lovingly presenting offerings of devotees to Lord Shiva.

Adhbut-Rasa (Miraculous) – As by just pressing his toe, Lord Shiva is showing the demon his place.

Maharani Lokamahadevi – Wow Devaputran! You have expressed it so well. Its such a refined imagination and carving, capturing so many emotions. I really like the way you have carved the twists in Ravana’s body as he is lifting the mountain. Look at his legs getting buried as Lord Shiva decides to fix the mountain. Notice some of Shiva Ganas have picked stones to throw at Ravana.

Yudha Narasimha, Virupaksha Temple, Pattadakal

Gundan Acharya – The next sculpture is of Yuddha-Narasimha. In this idol, you can see how Lord Narasimha has caught hold of the demon Hiraṇyakaśipu. Hiraṇyakaśipu has a sword and a shield in his hand. However, Lord Narasimha has overpowered him and held him in such a manner that he is immobile and helpless.

We have tried to show that this incidence is on the threshold of the demon’s palace by including the rangoli design, that woman of the nation draw there at the time of dusk.

Commander-in-chief of Maharaja Vikramaditya-II – This depiction is both powerful and unusual. Typically, Lord Narasimha is shown holding Hiraṇyakaśipu on His lap, disemboweling him. However, in this uncommon representation, the furious Lord Narasimha grasps Hiraṇyakaśipu from behind, dominating the demon completely, rendering him utterly helpless.

Dwarpal, Virupaksha Temple, Pattadakal

Maharaj – Oh. The dwarpal statue is truly remarkable. (Maharaj gestures towards the dwarpal on the right side of the Yuddha-Narasimha statue). The portrayal is captivating; he appears formidable yet has a smile that seems welcoming, enhanced by the manner in which he holds his mace. With his head slightly bowed, he conveys respect to the devotees entering the temple. The lifelike quality of the statue suggests it is the creation of a highly observant artist.

Gundan-Acharya – We all feel the same for this beautiful statue. This carving is by Baldeva.

(Maharaja move forward and pat Baldeva’s back).

Bali-Vadha, Virupaksha Temple, Pattadakal

Gundan-Acharya – In the next panel we have carved Lord Rama embracing Angad. In the below frieze, Vali is sitting in a kingly posture even though he is hit in chest by Lord Rama’s arrow. The arrow has pierced his body.

He is surrounded by his two wives, Tara and Ruma (Ruma was Sugriva’s wife, whom Bali married and was one of the reason Lord Rama pointed to Bali as his misdeed).

Jatayu-Ravana Yudha, Virupaksha Temple, Pattadakal

Chengamma– Maharaniji, the panel I am pointing now is showing the fight between Jatayu and Ravana. I have carved this episode of Ramayana in two portions. The upper panel shows a diminutive Pushapaka Vimana where Ravana is abducting Devi Sita and she is under great distress.

In the second panel is the combat between Jatayu and Ravana. Jatayu knows that he is no match for Ravana, still he can’t witness injustice silently and challenges Ravana.

I have carved Ravana in this panel as a demon with protruding teeth. He has a sword and a shield in his hand.

The challenge put by the bird has surprised and irritated him. He is struggling against Jatayu. His head is tilted backwards. His one leg is on ground and the other raised till his waist. .

Ravana has won the fight and cut the wings of Jatayu. Still Jatayu is making a last ditch effort. He is trying to pick Ravana’s right foot while falling down.

In the uppermost panel, a sage peers through a partially opened door. This illustrates that although many witnessed the battle between Ravana and Jatayu, fear for their own lives prevented them from fully opening the door.

Shurpankha Episode, Virupaksha Temple, Pattadakal

Devaputran – The next panel shows the incidence that sow the seeds of the conflict between Ram and Ravana. In this panel Shurpankha (Ravana’s sister) is approaching Ram and Lakshman with a marriage proposal.

Initially the two brothers had light hearted exchange with her. However, as soon as she revealed her identity and tries to kill Devi Sita, Lakshman intervenes and cut her nose.

In the panel below, Mareech (maternal uncle of Ravana) is carved as golden deer. He is trying to get attention of Devi Sita and finally able to take Lord Rama away from Lakshmana and Sita.

(the royal team move ahead appreciating the statue of dancing Ganesha, Dancing Shiva, Chaturbhuja Shiva, Chandrashekhara, Cengamma’s Shiva, Andhakasura Vadha, Shiva with two or more hands and the idol of Lakulisha).

On the western wall the team look at the statues of Parshudhari Shiva, Parmeshvara with Devi Lakshmi carved over a panel above it, the standing Shiva and the Sthanak Vishnu.

Shiva as Gajasurantaka, Virupaksha Temple, Pattadakal

Baldeva – On the inner side of the west compound wall, Shiva is present as Gajasurantaka. This panel shows Shiva with four arms, dancing on the lifeless head of the demon Gajasura, triumphantly holding up his skin.

Further the team comes towards the North wall and sees the carving of Shiva, Bhikshatana Shiva, Chaturbhuj Shiva, and Ashtabhuja Vishnu.

Varaha Avtar, Virupaksha Temple, Pattadakal

And then they reach at the idol of Varaha Avtar of Lord Vishnu.

Pullappan– The interesting thing to note in this idol is that Bhudevi (personification of Earth) is sitting on the bent elbow of the right hand of the Varaha Avtar of Lord Vishnu. Lord Vishnu (as Varaha Avtar) is resting his right leg on the hood of Nagraj and looking intently at Bhu-Devi.

Shiva as Bhairava and Pashupati, Virupaksha Temple, Pattadakal

Cengamma – Adjacent to this statue stands Shiva in the form of Bhairava. It’s a magnificent depiction of Lord Shiva, who is wearing exquisite ornaments. His left leg is on a Shiva-Gana, and he possesses two hands, with one hand resting upon his thigh. His hairs are in the Jata-style and a skull is also intricately carved in His hairs.

Maharani Trailokamahadevi – Shiva is looking so full of youth and vigor in these carvings. He is an ascetic still its difficult even for us to take eyes away from Him.

Pullappan – Next to Him is is the standing image of Lord Shiva as Pashupati. He is having a Parshu and a trident in his hands.

Harihara, Virupaksha Temple, Pattadakal

Gundan Acharya – Next, we can see Shiva represented as Harihara – Half portion depicting Lord Vishnu (Hari) and half portion of that of Lord Shiva (Hara).

Maharani LokamahaDevi – The sculpture is beautifully carved once again. On one side, the Trident represents Hara (Lord Shiva), and on the other, the Conch signifies Hari (Lord Vishnu). Adjacent to Lord Shiva is the figure of Nandi Maharaj, and next to Lord Vishnu stands Garuda.

Ardhanarishvara, Virupaksha Temple, Pattadakal

Gundan Acharya – On the right side of Harihara is the representation of Lord Shiva as Ardhanarishvara – composite form of Lord Shiva and Devi Parvati. Its a four handed representation of Ardhanarishvara. The right hands that represents Lord Shiva are holding a trident and a rosary beads, while the left hands that represents Devi Parvati are holding a mirror and the other hand is on the hip.

The Ardhanarishvara panel is supported by Lions while Harihara column is carved on a bird’s back. Maharaj – the credit for carving these two beautiful sculptures goes to Cengamma.

The team now reaches North Porch and are captivated by a beautiful sculpture of an amorous couple standing under a tree bearing lots of fruits on the eastern face of its westside pillar.

Shiva-Parvati Honeymoon, Virupaksha Temple, Pattadakal

Pullappan – This next statue is of Lord Shiva and Devi Parvati and they are attended by Shiva’s favorite gana, Nandisvara. Lord Shiva and Devi Parvati are on honeymoon and Nandisvara is guarding the place. Lord Shiva and Devi Parvati are wearing alluringly beautiful ornaments. Devi Parvati’s face reflects Her eternal love for Lord Shiva. It is apparent that She is not ready to take off Her eyes away from Him even for a moment.

Chandesha, Virupaksha Temple, Pattadakal

The north door of the temple is guarded by Chandesha. The three-eyed and four-armed Chandesha is sculpted standing cross-legged, with his right foot placed behind his straight left leg. He is holding a mace in his right hand and in his upper right hand he is holding a snake. His lower Left hand is on his hips.

Maharani Trailokamahadevi– Wow, this again is carved marvelously. Chandesha is wearing such a beautifully carved crown and a Ghantamala is touching down his feet.

Shivatandava, Virupaksha Temple, Pattadakal

Cengamma – Now, I will show you another master piece – the carving of Shivatandava. This statue is carved at the northern entrance, on the eastern half wall, and is facing west. Here Lord Shiva is carved dancing on one of his Gana. All of us can see that Gana is not complaining, he seems to be enjoying it.

Maharaj – Indeed I am spellbound looking at it. All of Shiva’s eight hands are carved and placed beautifully. Look at the right hand on Shiva’s chest and the top-most left hand behind His head. His right hand is carved as if He is holding a bow and the left hand is carved as if He is taking out arrow from the quiver.

The position of legs is also creating a beautiful pattern. He is holding a snake in His lowest right hand and the snake’s head is carved like an ornament on his wrist. Snake’s tail is merging with Shiva’s waist band in the form of knot and pleats. Wonderful. Amazing.

Gundan Acharya – I invite you to enter inside the temple.

(As soon as the visitors enters in from the North porch, Maharaja’s eye falls on the ceiling and he notices Shiva being carved there).

Gundan Acharya – Maharaj, we have carvings on all three ceilings of North, South and East porch.

Shiva carving on North Porch Ceiling, Virupaksha Temple, Pattadakal

This carving is of Lord Shiva as Dakshinamurthi. He is seated in a yogic posture explaining the secrets of the universe to His disciples.

The two sages on either side are His devotees. One of them is sitting listening intently to Lord Shiva while the other one is thinking intently, looking at the ball in his hand that represents Earth, about his learnings from Lord Shiva. The two ladies behind the sages are Rishipatnis.

Suryadeva carving on the ceiling of East Porch, Virupaksha Temple, Pattadakal

Devaputra – Maharaj, before entering inside the temple, I invite you to see the carvings on ceilings of other two porches as well. Let us see the carving in Eastern Porch. I have carved something special and I am sure you would like it.

(Everyone moves towards the Eastern Porch and see the carving on the ceiling of Eastern Porch).

Maharaja – What a beautiful and detailed painting of Sun God. I can myself notice so many things. However, I would like to hear it from the artists themselves.

Devaputra– Maharaj! Suryadeva always occupy an important place in temples. In this carving, Lord Surya is riding a seven horse chariot. Three horses each are in left and right, and one horse is in center. The seven horses depicts the seven days of the week. These seven horses have unique names – Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha and Pankti.

This chariot is driven by Arun, brother of Garuda. He is holding the reins of all seven horses. Above Arun, you can see Usha (the first light) and Pratyusha (the last light) – the two wives of Suryadeva chasing away the darkness and the demons. Both of them are worshipped along with the Sun. Sun God is worshiped in both the forms the ‘rising sun’ and the ‘setting sun’.

The arrows of Usha can be seen piercing one of the demons. There are still a couple of more demons in the tableau not ready to give up so easily. One of them is shown fighting with a sword and a shield.

In the upper portion of the painting are two makras; the two human figures on the snouts of these reptiles are Shankhanidhi and Padmanidhi. Below these makras are two devotees – Dandin and Pingala. Dandin is writing something in his palm-leaf book.

On the right hand side, Nandeha, a demon, is shown attacking Surya Deva, but other demons accompanying him have decided to retreat as they see sages (carved on RHS of Surya on top) giving ardhya to Suryadeva.

In this panel, celestial beings can also be seen paying tribute to Him. There are dancers, musicians and instrument players in the lower portion of the tableau with mridung, udharva and ankhaya.

Suryadeva’s majesty is enhanced by a halo around his head. He is carrying two lotus in his hands and is adorned with Vaijantimala.

Maharani – Gundanacharya this is an adbhut creation. All characters carved in this panel are slender and elegant. It has made this creation stand out. Its Amazing !!!

Devaputra– Maharaniji, we wanted it to be like this. Suryadeva plays a special role in our life. As soon as his chariot wheel starts to move, the demons of darkness, negativity, pessimism starts leaving the place.

The darkness or night is the time for bad characters to occupy the streets. Darkness is synonymous with demons, dark characters, and ignorance. However, as soon as the sun-light pierces the darkness, its time for them to retreat.

Its time for positive characters and energy to occupy the streets. Hence you can see the musicians welcoming the sun-rise and this is the reason sun and its light is so significant for us.

Gundanacharya – Doorways of North and South porches are also similarly designed. They are also guarded by guardian figures terrifying with their furled brows, protruding teeth and expressions showing firmness in dealing with any evil personality.

Lord Brahma Carving on the ceiling of South porch, Virupaksha Temple, Pattadakal

Maharaj, similarly on the ceiling of South Porch we have carved Lord Brahma sitting on lotus and in this panel too, Lord Brahma is carved giving sermon to his devotee Rishis.

Carvings on pillars, Virupaksha Temple, Pattadakal

Let us enter inside and look at the main mandapa of the temple.

At the main mandapa, everyone is awe-stuck with what they see inside. There are eighteen highly ornate sculpted columns with images carved on all the four facades.

The cubical blocks of the pillars are topped with semicircles, linked by bands to the bottom circles. These pillars are adorned with bands of narrative friezes depicting Puranic Episodes, legendary stories, decorative floral designs with lyrical scrollwork, elegant courtly cpuples, divinities and literary stories.

Pullappan – We are now in front of the pillar on top of which are carved two elephants with riders on their backs fighting violently with each other. The next panel shows Lord Shiva and Devi Parvati sitting in the sabhamandapa. Lord Ganesha and Skanada are carved on their right hand side.

This episode carries the aftermath of killing of Tarakasura by Skanda and so the shiva ganas and the sages in front of Shiva-Parvati are very happy and in festive mode.

Baldeva – I would like to draw your attention to this pillar. On top of it are carved Lord Shiva, Devi Parvati and Nandi. Lord Shiva is standing in svastika pada. The below panel carry the story of Ramayana. In these panels below the top, Shurpankha is trying to seduce Lord Rama and Lakshman. When she failed in doing so she attacked Devi Sita. At that time, Lakshman catch hold of her and cut her nose.

She approached her cousins Khar and Dushan. When they saw her plight, they attacked Ram and Lakshman, but were killed. Shurpankha is then shown approaching her brother Ravana.

Ravana chose deception over direct confrontation. He persuaded his uncle Mareech to transform into a golden deer and lure Rama away from Sita. The third panel depicts the golden deer leading Lord Rama away. At the end of this panel, Lord Rama is shown killing the deer with an arrow.

In the final panel, Lakshman is seen leaving Sita with reluctance to aid Lord Rama. He draws a protective line, the Lakshmanrekha, and implores Sita not to cross it. However, once Lakshman departs, Ravana, disguised as a sage, entices Sita to cross the line to offer him alms, and upon crossing, he kidnaps her.

Devaputra – This another panel on this pillar is of Samudramanthan. In the middle are demons and Gods holding the two ends of the serpent Vāsuki tied around the mount Mandara, set out to churn the ocean.

In the above panel there is only one single person churning the ocean with his might. This person is Bali, whom Indra requested to help in churning when devata’s got tired. He took hold of both the edges of serpent Vasuki and was able to churn the ocean singlehandedly.

Gundanacharya – The pillars have carvings of Kalyanmurthi (the marriage of Lord Shiva and Devi Parvati), Kumarasambhav, the birth of Krishna, Bala-Krishna Leela, the descent of Ganga, the birth of Sagar (Ocean), episodes from the Ramayana and Mahabharata, the story of Markendya, the story of Arjuna obtaining Pashupati, vrishabh kunjaram (a composite image of a bull, symbolizing Shaivism, and an elephant, symbolizing Vaishnavism), Bali and the Vamanavtar of Lord Vishnu, the churning of the ocean, the story of Shakuntala, Kichak-Vadh, the abduction of cows by Duryodhana, the battle between Bali and Sugriva, and a vast array of imaginative narratives featuring humans, birds, and animals.

Mythological scenes are in a series of successive bands or compartments, often assembled into friezes. Additionally, carvings of amorous couples are also present in the Mandapa.

(The group is looking at all these carvings listening Gundanacharya’s voice quenching everyone’s curiosity).

The audience is left in awe by the astonishing craftsmanship before them. It is a once-in-a-lifetime experience for everyone, and the unanimous sentiment is of a deep appreciation for the incredible work accomplished by Gundanacharya and his team.

Maharaj – I am certain, Gundan-Acharya, that no one in present-day Bharat can match your vision, imagination, and skills. From this moment onwards you will be Sarvasidhi-Acharya. I decree that your name be engraved on the temple walls so that future generations may recognize you as the genius who crafted this wonder.

Maharani – We also desire an additional inscription declaring that these temples were erected to celebrate the triumph of Maharaja Vikramaditya-II over the Pallava Dynasty.

It was time to do Pranprathistha by Anivrata Acharya and soon the mandapa was echoing with the chants of Om Nama Shivaya.

Trivia

Virupaksha Temple of Pattadakkal represents the zenith of the Chalukyan art. This monument exhibits well balanced distribution of built structures, strict adherence to symmetry, beautiful carvings, and harmony of forms.

Virupaksha (Commissioned by Lokamahadevi) and Mallikarjuna Temple (commissioned by Trailokamahadevi) are similar to each other in both interiors and exterior plans. The only difference is that Virupaksha is larger and its shikhar is square, while that of Mallikajuna temple is circular.

An intriguing aspect of the Virupaksha Temple is its association not just with the rulers who commissioned its construction, but also with the architects and sculptors who created it, as their signatures are present. This represents a unique expression of individualism in ancient India.

The Virupaksha Temple bears strong resemblances to the Kailasanatha temple of Kanchipuram built by Pallavas and itself became an inspiration for the rock-hewn Kailasa Temple at Ellora built by Rashtrakutas.

A limited number of ancient Indian inscriptions exist in a bi-script format, which refers to text written in one language but inscribed in two different scripts. An example of this is the Pattadakal pillar in the Virupaksha temple, where the inscriptions are in Sanskrit and are written in both the North Indian Siddhamatrika script and the local Southern proto-Telugu-Kannada script.

A team of archaeologists has recently uncovered the quarry site that provided the stones for the temples of Pattadakal. Situated 5 km north of Pattadakal, this site is a hilly sandstone outcrop that rises to 300 feet. Additionally, the steel tools used by the craftsmen who worked here centuries ago have been found.

References

• ŚAIVA MONUMENTS at PAṬṬADAKAL by Vasundhara Filliozat
• Badami Aihole Pattadakal by George Michell
• Pattadakal by A. Sundara
• A guide to the Pattadakal Temple by A.M.Annigeri
• Indian art (Oxford History of Art) – Partha Mitter.
• Hindu Temples of South India (Approach guide) by David and Jennifer Raezar
• A History of Ancient and Early Medieval India: from the stone age to the 12th Century) by Upinder Singh
• Southern India – A guide to Monument Sites and Museums by George Michell.

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