(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 equally exulted 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.
This three feet and 1.8 meter high idol of Nandiji is carved out of a single block of black granite stone. Nandiji is carved sitting under a stone ceiling supported by four heavy columns that are square at base and have circular shaft.
Maharani Lokamahadevi– Acharya Gundan, its a beautifully carved pavilion with massive circular columns framed with intricate floral designs, petals, and garlands. The corner walls raised on high basement have beautifully carved female attendants and amorous couples.
(Commander-in-chief of Maharaja Vikramaditya-II decides to have some light hearted talk) – Acharya Gundanji, I have one question in my mind for long. Why Nandiji is always carved 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 carved 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).
Shankha Nidhi is carved towards the left as the devotees enter the temple from the East and Padma-Nidhi is carved towards the right. In other words, the position of Padma Nidhi is towards North and of Shankha-Nidhi is towards South.
Maharaj, the two treasurers of Kubera are carved here to ensure that with their blessings the devotees of Lord Shiva at Pattadakkal will always be 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
After the Entrance and the Nandi Mandapa is the porch. It is followed by a mandapa having eighteen columns, then an antechamber and in the end is the garbhgrih. The sanctuary is surrounded by an ambulatory, lit by jaalis having beautiful floral designs over them. The Grand Entrance, Nandi Mandapa, Porch, Mandapa, Garbhgrih are all aligned to East-West Axis.
The temple structure is enclosed in a walled compound that has a spacious courtyard for devotees to relax; observe and appreciate the craftsmanship; contemplate the intricacies of the sculptures on the outer wall of the temple to their hearts content; and to get bhav-vibhor and bless us that how our ishtadev helped us to think creatively and create something so unique.
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 carved 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 carved 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 hair-do of the lady, the man is wearing a tiara (crown), they are bare-chested 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 laughs. Gundan Maharaj is embarrassed at his over explanation. He sheepishly smiles and moves over to the next sculpture.
Lingodbhava, Virupaksha Temple, Pattadakal
Gundan Maharaj – Maharaj, among all Gods, Lord Shiva is the only one who is represented both in Sakala and Nisakala form.
Maharanis – Please elaborate Gundan Maharaj. I am not able to follow you.
Gundan Acharya – Maharaj, Shiva is worshipped both in Sakala (embodiment) and Nisakala (symbolic) form. And the beauty is that he is also worshipped as Sakala-Nisakala form and Nisakala-Sakala form.
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 carving is of Lingodbhava (reader please read the story behind Lingodbhava here).
I etched Shiva emerging from the middle of Linga. He is fringed by flames and His legs below knee are invisible. He has three eyes, two arms, and a serene appeasing face. He is wearing serpents as His ornaments. He is flanked by diminutive figures of Brahma flying on Hamsa on His left hand side and boar representing Lord Vishnu on the right bottom.
Lord Shiva is wearing Yagnopavita and behind Him are carved His weapons Parshu and Trishul. The top of Devakoshta is decorated with foliated birds.
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 considered the zoomorphic forms of Shankhanidhi and Padmanidhi. On either side of the frieze depicting Gajalaxmi, flying gandharva’s are carved who are singing eulogies of Devi.
As we move our eyes further towards left, above a perforated window, Bakasura Vadha is carved. 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 adorned with 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 shown 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 how Shiva was cursed by Saptarishis.
The rishi-patnis went to the forest to collect the firewood and saw ascetic Shiva meditating there. They could not take their eyes off the young ascetic. They were tired and got unconscious one by one. When rishis saw their unconscious wives and the young ascetic, they imagined all sort of sexual misconduct by the ascetic and cursed him that His linga would be broken in 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 carved playing Ghata-vadhya towards the right of Lord Shiva. In the upper panel are carved Gandharva who are flying towards Shiva to garland Him.
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, I have carved Lord Shiva sitting on Mount Kailash with Devi Parvati. Nandi is also in attendance behind the mandapa. It is mentioned in Shiva-Agama that when devotees offer something to Lord Shiva they must invoke Devi Parvati in their mind. In this carving Devi Parvati has accepted 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 shaking of mountain has scared the wild animals, even Devi Parvati is shaken. Lord Shiva at this moment has decided it is time to fix the mountain and so He is pressing His toe down. Ravana is unable to bear the weight and is seen writhing in pain.
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 is a powerful and a rare representation. Most of the time Lord Narasimha is shown holding Hiraṇyakaśipu on His lap and disembowelling him. This is a rare idol where furious Lord Narasimha is holding Hiraṇyakaśipu from behind, keeping the demon in total control and the demon looks totally helpless.
Dwarpal, Virupaksha Temple, Pattadakal
Maharaj – Oh. This statue of dwarpal is so impressive. (Maharaj is pointing to the statue of a dwarpal statue just on right side of Yuddha-Narasimha statue). I really like the way he is portrayed. He is looking fearsome, still smiling and appears welcoming by the way he is holding his mace. His head is slightly bent, offering respect to the devotees entering inside the temple. He looks so life-like. This statue can only be crafted by someone who is a keen observer.
Gundan-Acharya – We all feel the same for this beautiful statue. This has been carved 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 can be seen sitting in a kingly posture even though he has been hit in chest by Lord Rama’s arrow and 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 upper most panel is a sage peeping from a half opened door. It is to depict that though the fight between Ravana and Jatayu was noticed by many, but they all were scared of their own life and dared not to open 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 is carved Shiva as Gajasurantaka. In this panel Four handed Shiva is carved dancing on the dead head of the demon Gajasura holding aloft his hide.
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 – Next to this statue is Shiva as Bhairava. Its a beautiful statue of Lord Shiva. Lord Shiva is adorned with beautiful ornaments. His left leg is resting on a Shiva-Gana. He has two hands and one of the hands is resting on His thigh. His hairs are tied like a Jata and you can also see a skull carved there.
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 carved 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 – Again beautifully carved sculpture. We can see the Trident – symbol of Hara (Lord Shiva) on one side and Conch – symbol of Hari (on other side). Also towards Lord Shiva’s side Nandi Maharaj is carved, while on Lord Vishnu’s side Garuda is there.
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 decided to deceive them instead of attacking them. He convinced his maternal uncle Mareech to take the form of Golden Deer and take Rama far from Devi Sita. In the third panel is carved Golden deer taking Lord Rama far. In the end part of this panel is carved Lord Rama, finally killing the deer with his arrow.
In the last panel, we can see Lakshman reluctantly leaving Devi Sita to help Lord Rama. He draws a line – Lakshmanrekha – requesting Devi Sita not to cross the same. However, as soon as Lakshmana leaves, Ravana came as a sage, requesting Devi Sita to give him alms after crossing the line. As soon as she crosses the line, he abducts her.
Devaputra – This another panel on this pillar is of Samudramanthan. In the middle is shown 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 is shown 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 – On these pillars are carved Kalyanmurthi (Lord Shiva and Devi Parvati’s marriage), Kumarasambhav, birth of Krishna, Bala-Krishna Leela, Descend of Ganga, birth of Sagar (Ocean), episodes from Ramayana and Mahabharata, Story of Markendya, Story of Arjuna getting Pashupati, vrishabh kunjaram (combined image of bull, representing Shaiva, and elephant, representing Vaishnavas), Bali and Vamanavtar of Lord Vishnu, the churning of ocean, story of Shakuntala, Kichak-Vadh, kidnapping of cows by Duryodhana, Bali-Sugriva yudha and inexhaustible range of imaginative narratives incorporating humans, birds and animals themes.
These mythological episode are carved with successive episodes separated into bands compartments or assembled in successive friezes. Apart from these carvings, the carvings of amorous couples can be seen in the Mandapa as well.
(The group is looking at all these carvings listening Gundanacharya’s voice quenching everyone’s curiosity).
Everyone is stunned with the mind-boggling craftsmanship in front of them. It was once in a life-time experience for all and the one thing was common – High appreciation of the amazing work done by Gundanacharya and his team.
Maharaj – I am convinced Gundan-Acharya that no-one in current Bharat match your vision, imagination and skills. You are Sarvasidhi-Acharya. From now onwards you would be known by this name. I order your name to be inscribed on temple walls for future generations to remember you as the genius who created this marvel.
Maharani – We would like another inscription that these temples are constructed to commemorate the victory of Maharaja Vikramaditya-II over 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.
One interesting thing about Virupaksha temple is that it is not only associated with the rulers who commissioned them but we also have the signatures of the architects and the sculptors who crafted them. It is a rare 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.
There are only a few ancient Indian inscriptions that are written in bi-script format. Bi-script format means the text is in one language but was written in two different scripts. The Pattadakal pillar in Virupaksha temple is one such example, where the language is Sanskrit and the text is written both in the North Indian Siddhamatrika script and in the local Southern proto-Telugu-Kannada script.
Recently the team of archaeologists have discovered the site from where the stones for the temples of Pattadakal were quarried. It is located 5km north of Pattadakal in hilly sandstone outcrop rising to 300 feet. The steel tools used by the artisans who worked here hundreds of years ago have also been discovered.
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.