Virupaksha Temple

Virupaksha Temple

Chalukya Dynasty, 745 CE

         Chalukyans were bitter enemies of the Pallavas of Kanchipuram.  They fought each other for two hundred years. The balance would tilt at times in favour of the Pallavas, at times in favour of the Chalukyans.  

        Raja Vikramaditya II (r. 733-744 CE) captured Kanchipuram thrice in his life. Even as a Crown Prince he had subdued the might of the Pallavas.  As a king, he conquered them twice. 

       His wife, Queen Lokmahadevi built the Virupaksha Temple in order to commemorate the King's victory over the Pallavas. The temple is the finest example of Early Chalukyan architecture at Pattadakal.  Ironically while the temple commemorates the defeat of the Pallavas, yet the Virupaksha Temple is a based on the Kailashnath Temple at Kanchipuram.  The conqueror had no hesitation to learn from the conquered. This clearly proves the liberal spirit of the Chalukyan mind. 

       The temple is a huge one, divided into different parts. It is the first temple in Karnataka to have a large entrance gate, a precursor to the lofty "gopuram " which will mark later Kannada architecture.  Since the temple is dedicated to Lord Shiva, it has a huge statue of Nandi, the bull in the " Nandi Mandapa", or a temple dedicated to Nandi. 

        The temp is profusedly decorated with episodes of Lord Shiva.  But dedication to Lord Shiva did not exclude depiction of stories from the Bhagwat Purana, the Ramayan,  and the Mahabharata all of which deal with Lord Vishnu.  This clearly reveals the catholic vision of the Chalukyans.  While devoted to Lord Shiva, they were equally respectful towards Lord Vishnu. 

        Pattadakal also has a Jain shrine. Thus different religions could peacefully co - exists without any conflict or confrontation.  The magnanimous vision of the Chalukyans is woefully missing today. We have much to learn from them. 

Temples if Pattadakal

Temples if Pattadakal

Chalukya Dynasty, First Half of 8th Century CE

          If Badami was the political capital of the Chalukyan Kingdom,  Pattadakal was the seat of the Royal coronation. The word "patta" means title. About 22 kilometres away from Badami, it is the Westminster Abbey of the Chalukyan Dynasty. 

        The site preserved by the ASI, and declared as UNESCO site contains eight temples. All the temples are dedicated to Lord Shiva. The two largest temples, Virupaksha and Mallikarjuna, are commemorative temples. Vikramaditya II (r. 734-45 CE) defeated the Pallavas of Kanchipuram.  His two wives constructed these two temples in order to commemorate his victory. They are the largest temples at Pattadakal. 

       But the importance of Pattadakal is lies elsewhere: it is the cradle of Indian architecture.  In India temples are constructed in three styles: the Northern  (Nagara ), the Dravidian ( in the South),  and the Eastern ( in Odisha ). The Nagara has a tower ( the Shikhar ) over the sanctum sanctorium. The Dravidian has a step- pyramidal roof; the Eastern also has a tower ( the Shikhar ), but it is squat in size. 

        As Indian architecture evolved from the cave temples to the free standing and construed temples, Pattadakal is the missing link. The Chalukyan architects experimented with both the Northern and the Dravidian styles simultaneously.  Thus, in this picture you see the Northern style with its tower ( Shikhar ) on the left, and the Dravidian, with the pyramidal roof, on the right. 

        Experimentation is not the forte of Indian civilisation. In fact, our civilisation is marked by what is termed as "sufficient efficiency. " Once a thing has achieved sufficient efficiency, we do not improve upon it any further. This is unlike the West where experimtation and innovation are the hallmark of the civilisation. 

        But the Chalukyan mind is an innovative mind. It experimented with different designs. It is a mind free of dogmas, free of prejudices. It is a mind which is open to ideas from all sides. It is a mind which is not afraid to experiment, to take chances. Its architecture, thus, reflects a highly creative, innovative, liberal and visionary mind. A rare mind indeed. 

Lord Bahubali

Lord Bahubali

Cave No. 4, Badami, Chalukya Dynasty, 6th Century CE

         While Cave No. 1 is dedicated to Lord Shiva,  Cave Nos. 2 and 3 are dedicated to Lord Vishnu.  Cave No. 4 is dedicated to Jainism. Here we find sculptures of Jain Tirthankaras or Gurus. 

         Son of Rishabhadev, the first Jain Tirthankara, Bahubali defeated his brother Bharata.  But became disillusioned with the intra - family feud. He abandoned his Kingdom and his clothes and became a Jain monk. He stood in deep meditation for a year till vines grew from the sides and enveloped him. His two sisters reminded him that he couldn't reach enlightenment as he stood on an 'elephant'-- Ego. ( We see the two sisters beseeching him). He also renounced Ego. He reached Moksha or liberation from the cycle of life and death. 

        Renunciation has an ancient ancestry in India. The human mind is obsessed with possession : my family, my house, my car, my laptop, my ipad etc. But we are like tenants in a house. Nothing is ours as we are not the owner. We are mere transit passengers.  Yet we crave for tangible objects. 

       Bahubali is a symbol of perfect renunciation, even of clothes and Ego. His giving up clothes is similar to the story of St. Francis of Assisi who also gave up his fine clothes when he lost a civil suit to his own father. It is symbolic of giving up one's identity. To give up ego, to see the world with equanimity is to realise the Tao-- all things are interconnected. Hence, there can not ever be "we" and "them", or "mine" and "his". Such a vision leads to the ultimate philosophy of "Live and Let Live". 

Lord Vishnu on Sheshnag

Lord Vishnu on Sheshnag

Cave No 3., Badam, Chalukya Dynasty,6th Century CE

        This sculpture of Lord Vishnu is considered the masterpiece of the Badami caves.  It is a highly unusual sculpture.  For, generally Lord Vishnu is depicted as sleeping on the Serpant Sheshnag.  But rarely shown as sitting on him. Generally Goddess Lakshmi is shown as massaging Lord Vishnu 's feet; Garuda, His vehicle, is usually shown in half human form and standing in His attendance. But here the small figure of Goddess Lakshmi sits casually, leaning against the coils of the Serpant on the right hand side.  Even Garuda is in a relaxed mood on the left side. Even Lord Vishnu does not sit in a "regal" pose.  Even He sits casually as though freely conversing with the devotee. There is an unusual informality in the divine group. 

       Perhaps God is portrayed not as an impersonal god, but as a personal one.  Unlike Judaism where God is a distant object of veneration, in Hinduism, He is a personal God: intimate, friendly, confidante. 

       But perhaps this sculpture is a political commentary and a warning. The Chalukyan Kingdom had reached its zenith. Now the King and the subject could relax. The guardians could take it easy. But too much relaxation, too much carelessness can be dangerous. For, when Lord Vishnu falls asleep on the Sheshnag, two demons arise from Him and attack Him. Thus, this sculpture is a warning to the people to be ever vigilant, lest the Pallavas attack again. 

      A nation cannot afford to relax. For there are endless troubles on the horizon.  Every citizen must contribute to the development of the country.  Be vigilant, be safe.

Mithuna Figures ( A Loving Couple)

Mithuna Figures ( A Loving Couple)

Cave No 3, Badami, Chalukya Dynasty,6th Century CE

           Every pillar in Cave No. 3 is crowned by a loving couple or Mithuna. These figures are important both historically and artistically.  Historically they tell us about the lifestyle of India in 6th Century CE. The couple is young and fashionable.  The Chalukyan figures are tallish in appearance.  The men are not muscular but slim. Women are voluptuous but slim. They are attired in the best of clothes and jewellery. They reflect the prosperity of their Age. Artistically, unlike the stout and short figures of North India, the figures are tallish. Apparently the concept of beauty was different in the South and the North. Moreover, these loving couples are the beginning of erotic art in India. Eroticism will reach its climax at Khajaraho and Konark temples in the North and East. 

          These couples also had a social and political significance. Since the family is the smallest unit of the society, it was important to emphasise on the "happy family." Politically, such couples and their opulence stressed the political stability and the economic prosperity of the Kingdom. 

          Unfortunately today we do not emphasise the unity of the family. As we "progress" we are becoming more and more individualistic. Instead of spending time with our wife and children, we would rather be surfing the Internet or be in Facebook.  The intimacy, the love and affection between the couples is beginning to dry up. Perhaps we should look at the Indian art and realise the importance of " Kama" ( desire), of love and affection in our lives. 

Lord Narsimha ( Lord Vishnu as the Half - man , Half - lion form)

Lord Narsimha ( Lord Vishnu as the Half - man , Half - lion form)

Cave No 3,Badami. Chalukya Dynasty,6th Century CE

            This Cave contains images of different incarnations of Lord Vishnu.  Here we have the fourth incarnation: Narsimha  ( the half - man,  half - lion ). This is a unique incarnation as it was instantaneous one. There were no long preparation for the incarnation amongst the Gods.  Hiranyakashipu, the demon, demanded to know from his son, Prahlad, who was ever devoted to Lord Vishnu if his god was present in a pillar of the palace as well. Prahlad said "yes He does." Hiranyakashipu hit the pillar with his mace in order to prove that the pillar did not contain any god. Out popped Narsimha incarnation.  Here we see the Lord in all his glory. Prahlad stands on the left side; Hiranyakashipu on the right. The fight between Narsimha and Hiranyakashipu is yet to begin. 

          This story has various meanings: it speaks of bhakti ( total devotion to God) as portrayed in Prahlad ' s complete devotion to Lord Vishnu; it proves that devotion is not by birth as Prahlad was born from a demon. But is self - acquired.  Thus, it challenges the Brahminical belief that knowledge is the monopoly of only the Brahmins. It  speaks of the omnipresence of God--He is everywhere; it deals with generation gap and with the concept of father and son conflict. The older generation should not impose its  dictates and thinking on the younger generation.  The young should be permitted to think out of the box. It stresses on devotion, single mindedness, and hard work. It teaches us that life is not easy, but is full of obstacles. However, eventually we will overcome our troubles. It is an optimistic tale.

Drunken Courtesan

Drunken Courtesan

 Cave No 3, Badami, 6th Century CE, Chalukya Dynasty

        Gods were not the only concern of the Chalukyan artist. The social conditions also invited his attention.  Drinking amongst the women was a common phenomenon. Here we see a drunken woman being supported by a man. The man could be a client of the courtesan, or a paramour or even a husband of the woman. Although I have called this sculpture "The Drunken Courtesan", but it might be a depiction of a couple. 

        The artist has beautifully captured the collapsing body of the woman: with one foot facing the onlooker, with a limp body, with on arm dangling. The woman is ready to crash to the floor. Yet the woman is not one belonging to a low class. Her jewelry, her youth, indicate her high social status. But notwithstanding her social status, she is overtaken by liquor. 

         The purpose of such sculpture could be to just portray the reality. Or it could be a warning to the people not to get addicted to alcohol. It is an anti - alcohol campaign.  Or it could be a symbol of the need to save the degraded environment or Nature. Since women were seen as a symbol of Nature, here the Nature is degraded, is "falling" due to excess. Hence the need to "prop her up". The need to save Nature before it collapses completely. 

       The sculpture contains a message for all Ages.

Varaha Avtar ( The Boar Incarnation of Lord Vishnu )

Varaha Avtar  ( The Boar Incarnation of Lord Vishnu )

Cave No. 3 , Badami,  6th Century CE, Chalukya Dynasty  

          Of the four Cave Temples,  Cave No. 3 is the largest and most elaborate.  It was commissioned by Raja Manglesh,  the second son of Pulkeshin I. An inscription in the cave tells us the date of construction as 578 CE. Interestingly, the date is given in the Sakha Era. Sakhas were foreigners who came after the Greeks and settled in India. Surprisingly the Chalukyans have adopted their calender , but have not created their own calender and Era. 

         This Cave is also dedicated to Lord Vishnu as the Chalukya Dynasty were, at the time, Vaishnavites. The Chalukyan Royal emblem was the Varaha Avtar of Lord Vishnu.  For, they believed that like Lord Varaha ( the Boar), they too have saved Earth from chaos. Hence, again this sculpture was  both a political statement and a sacred image. 

         The theme of saving the Mother Earth from danger is a recurring theme in Hinduism. The Varaha incarnation is the classic story. Hiranyaksha, the demon,  dragged Earth into the ocean of chaos. Lord Vishnu appeared as a Boar; he plunged into the ocean, killed the demon,  and brought the Earth out. She married Lord Vishnu.  Bhodevi is His second wife, after Godess Lakshmi. 

         Like demons, we too are destroying Mother Earth for our insatiable greed. We mine her depths, we pollute the air, we pollute the oceans, we kill the animals, we flatten the mountains. What we consider to be the path of development is the path of our destruction.  With global warming, with high air, water, noise and light pollutions all around us, with wars, and nuclear weapons where are we dragging Mother Earth? Back to the ocean of chaos. But like the Varaha Avtar we have to save her. We have only one home in the entire Universe: Mother Earth. 

Trivikram: Dwarf (Vaman ) Incarnation of Lord Vishnu

Trivikram: Dwarf  (Vaman )  Incarnation of Lord Vishnu

 Cave No 2, Badami,  6th Century CE

             Cave No 2 is dedicated to Lord Vishnu.  Thus, we find different images of the God. The Chalukyan Dynasty was a native Dynasty of Karnataka.  Yet its Kingdom was not a local one.  It had expanded its limits to a large extent of the Deccan. Raja Pulkeshin II had even crossed the Narmada River and had defeated Raja Harshvardhan of Kannauj.  Hence , its Kingdom had extended even to the North India. 

             For such a Dynasty, the Dwarf incarnation if Lord Vishnu was an apt symbol. Like Vaman  ( dwarf), the Dynasty had humble beginnings.  But like Lord Vishnu, it too had conquered "the earth and the sky" and was still looking for a place to take its "third" step. Raja Pulkeshin II must have seen himself as a "Chakravirtin " king (as an all conquering king). Therefore, this over lifesize sculpture of Lord Trivikram  ( conqueror of the threw worlds) is as much a political statement as it is a religious icon. 

           The story of Vaman is a reminder of the divinity within us. We have the potential to grow and conquer. We just need a will power.  Like the son of King Bali, who is shown trying to hold back Lord Vishnu from taking his third step over King Bali ' s head, obstacles are there in the path of growth and development. But like the Lord we must overcome them. As individuals we must reach our maximum capacity; as a nation we must become an economic world power. But the path to growth is not through endless squabbles, and through self - doubts,  or through the doomsday preaching. It is through self - confidence, self - sacrifice,  through zeal, compassion and kindness. 

Cave No. 2

Cave No. 2

Cave No. 2, Badami, 6th Century CE

            In which chronological order these four caves were carved, we do not know. Cave No 3 is the only 'dated' cave we have. An inscription there gives its  date as 578 CE. But when and by whom Cave No. 2 was excavated,  we do not know.

           Compared to Ajanta, this Cave temple is a simple one. Cut into the rugged reddish sandstone cliff, it has no ornamental facade as do the Ajanta Caves. Perhaps the architect and the labour were trying to get used to the idea of chiselling through the solid rocks. Thus, Cave Nos.  1 and 2 are rather simple looking. 

          But the simplicity also hides the great achievements of the builders. The ancients did not have the advantages that we have today: no excavators, no earthmover, no explosives for blasting the rocks, no instruments for seeing the geological formations of the inside of the rocks. All the ancients had were chisels and hammers, a deep religious faith, a zeal for perfection, and sheer hard work. For years the faceless and voiceless labourer toiled at the site, hammering and chiselling the rocks, till over lifesize figures could be carved in all their divine beauty and grace. 

         These Cave temples are testimonies of our vision and endurance. They are  a living proof of the human spirit to tackle, to transform Nature from its chaos and rugged surface into order and beauty. They are source of eternal inspiration.