Adilshahi wonders & the temples of Karnataka- Nov'05

Mumbai- Bijapur- Badami- Aihole- Pattadakal- Goa! November'05

As a part of the academics of bachelors of architecture of Mumbai University, it is mandatory to have a study tour conducted to different parts of India to make the pupils aware of their cultural heritage! So here we were! It was our first year and this was our first ever study tour together- To Bijapur- the AdilShahi bastion and Badami, Aihole, Pattadakal- the temple cities of North Karnataka and then Goa (probably the only reason everyone decided to join the tour in full strength)!

Day1: We caught an evening train from Mumbai for an overnight journey to our first destination- Bijapur. The train that was carrying THE most excited 120 souls on earth, crossed Pune and Solapur, entered Karnataka and headed to its onward journey to the town of famous Gol Gumbad!

Day2: Early morning we reached the deserted Bijapur station and congregated outside the station and waited for our bus driver to come pick us up and take us to the hotel for much needed freshening up post the overnight journey.  Just while waiting outside, someone shouted and then everyone started looking at the same direction and clicking with their cameras! There it was- the white dome of Great great GolGumbad. The fact itself that this structure, miles away from where we were standing, could be seen so clearly proved its grandeur. Now I couldn't wait to visit Bijapur’s this most eminent building this evening!

After freshening up, we were all set for some sightseeing of Bijapur, first halt being- The Ibrahim Rauza- the mausoleum which is often described as the finest Islamic building in the Deccan.

This funerary complex comprises of a tomb and a mosque facing it, built on high plinth, in the middle of what seemed like a formal lush green garden.

First look at the Ibrahim Rauza

 Ibrahim Rauza

As we entered the complex, a description read- “This handsome sepulchre and the balancing mosque facing it on west were constructed by Ibrahim Adil Shah2 (1580-1626), the sixth sultan of AdilShahi dynasty. As per the epigraphic records, it was erected primarily as a mausoleum for his queen Taj Sultana. But the King died before her and was buried in it. Therefore it came to be called- Ibrahim Rauza.

 Ibrahim Rauza

 Ibrahim Rauza

 Ibrahim Rauza

 Ibrahim Rauza

 Ibrahim Rauza

There are six tombstones on the plinth inside the sepulchre, serially from east to west, they point to the graves of 1) Queen Taj Sultana, 2) Mother of Ibrahim Adil Shah2, 3) Ibrahim Adil Shah2, 4) his daughter Zohra Sultana, 5 &6) Ibrahim’s sons Darvesh and Sulaiman.

The originals of these tombs lie in the same order in the vault beneath the floor of the chamber. A Persian inscription in the outer face of the east wall of this structure informs that, it was built under the superintendence of the adilshahi state architect- Malik Sandal at a cost of one lack fifty thousand and nine hundred huns (AdilShahi Gold coin)

 Ibrahim Rauza- internal view of the dome

Ibrahim Rauza- domes supported on the pendentives

Ibrahim Rauza

Ibrahim Rauza- detail of the brackets

Ibrahim Rauza- quranic texts

For the striking symmetry of its proportions, exquisite modelling of minarets, cupola, parapet and cornice; bold calligraphy of the Quranic texts on the walls and the delicate refinement of the stone tracery panels of its fanlights, this rauza has few equals among the buildings of AdilShahi period”.

After a lot of clicking and making notes and yeah equal amount of on the spot pencil sketching, we moved to the GolGumbad.

Bijapur’s most celebrated building, the monumental tomb of Mohammad Adil Shah (1627-1656), second son and successor of Ibrahim2, is commonly known as Round dome or GolGumbad. The slightly bulbous tomb- largest in India and second largest in the world after St. Peters in Rome; rises on the base of petals to form a fitting climax to the whole composition. Completed in 1656, even this tomb stands in the middle of a formal garden.

Gol Gumbad's deceptive look

Gol Gumbad

The first look of the Gumbad after entering the complex gives an illusive look- very similar to what the Humayun’s tomb in Delhi gives. Both the structure give a false appearance of sitting on the entry gate which is actually more than 100 meters in front of the actual structure when entered from the front side.

The entrance arch of the actual building façade has a wide, lofty arch in the centre, pierced with small windows on either side.

Entry door of the Gol Gumbad

Gol Gumbad- detail at the entrance

Gol Gumbad- detail at the entrance

Entering inside this massive structure, everything looked so much bigger than what our eyes are usually used to. All the humans looked so tiny and out of proportion while inside this building. Leave humans, even the centrally located grave of Mohammad Adil Shah looked so much out of place.

The mihrab bay of this building is within a part-octagonal projection, to the west. The walls are overhung by richly carved stone brackets with tiers of lotus buds.

Gol Gumbad- the massive door from inside

Gol Gumbad- perspective of the brackets

Gol Gumbad- the smaller domes around the main dome

View of Bijapur city from the base of the dome

Gol Gumbad- Picture perfect!!

Second thing we all had to do was climb up the spiral staircases situated at the four corners of the structure, till the base of the massive dome and check whether the stories of ‘2 people standing in the opposite sides of each other of the circular gallery across 44m and still being able to talk to eachother with softest murmurs’ was true or not. And voila it was 100 percent true!

It was from this level that the 133 feet (44m) diameter dome looked out of the world. This dome is carried on eight overlapping arches with intervening pendentives. I’m sure at the end of the visit to this dome, everyone had just one question!- How the hell was it constructed back in 1656!!

Day3:Today after breakfast we were to leave for Badami- the capital of early Chalukyan Kings.

But on the way we had another important monument of Bijapur to visit- that was- the Jami masjid. The grandly conceived Jami masjid was begun by Ali Adil Shah1 in 1576, but never finished. The marble floor of the spacious prayer hall has been divided into 2250 rectangular bays to resemble prayer mats. It’s said; even today the mosque attracts more than 2000 worshippres during Friday prayers.

Bijapur- Jami Masjid's Mihrab

Bijapur- Jami Masjid's Mihrab

Bijapur- Jami Masjid

Roughly a 120 km journey to the south of Bijapur got us to this beautiful town, dramatically situated within many red sandstone cliffs surrounding it from three sides. This 6^th-7^th century Chalukyan capital overlooks the green waters of a large manmade lake- Agastya lake.

Arriving at the Badami cave temples

View of Agastya tank and Badami village from top of the cliff

Among the rock cut and structural monuments here, the most richly decorated are the cave temples, which are carved into the cliff on the southern side. Of these, Cave 1 is dedicated to Shiva, Caves 2 and 3 dedicated to Vishnu and 4 to Jaina saints.

Badami- Cave number.1- Natraja sculpture

Badami- Cave number.1- Dwarpal at the entrance

Badami- Cave number.1- pillar detail

Badami- Cave number.1- swastika ceiling

While climbing the red sandstone hill, the first cave on the right is the cave number 1. This cave consists of a pillared verandah, behind which is a square, columned hall with a small sanctuary carved into the rear wall. The main highlight in this cave is the beautiful Natraja panel on the right side of the entrance along with the carved panels on the ceilings. The natraja panel here is of the 12 armed dancing Shiva- which is one of the earliest and finest depictions of the Natraja in Karnataka.

Badami- Cave number.2- Varaha frieze

Next up the hill is the cave number 2. This Vaishnava cave is famous for its superb frieze of Varaha- the boar incarnation of Vishnu on one end of the porch. A row of dwarfs is carved below the frieze.

Cave number 3 has a large and beautiful hall, verandah of which has an enormous four armed figure of Vishnu seated on Adishesha, the serpant whose five hoods spread protectively over Vishnu’s crown. At His feet is Garuda- his vahana. This is also the only cave with inscriptions dated back AD 578.

Badami- Cave number 3- Narsimha frieze

Badami- Cave number 3-  frieze of Vishnu on Sheshnaga

The highest located cave number 4 has seating and standing naked Jain tirthankaras covering the walls and columns. Some of these were added in 11^th and 12^th centuries when this part of Karnataka was governed by a later line of Chalukyans.

Badami- Cave number 4-  Jaina sculptures

Badami- Cave number 4-  Jaina sculptures

Badami- scenic view of Bhutnatha temple

Seen from the cliffs but on the other side of the lake- a 10 minutes’ walk away-  is situated the Bhutnatha temple built in different phases. The core shrine with a pyramidal tower is from the 6^th-7^th centuries while the porch, embellished with angled eaves overlooking the water is made in 11^th century. The huge boulders lying around add to the beauty of this already beautifully located temple and create amazing frames which can keep a photographer busy all day long!

Badami- carvings on the boulders around Bhutnatha

Badami- carvings on the boulders around Bhutnatha

Badami- boulders around Bhutnatha

Badami- scenery around Bhutanatha

The archaeological museum- north of the lake displays many sculptures and friezes discovered in the area around while excavating. Some of these include the magnificent triangular panel depicting Brahma surrounded by foliage and a squatting female divinity with a lotus head.

A peaceful sunset down the horizons of the skyline of Badami with the waters of Agastyalake as the foreground. Well, there couldn’t be anything better to end the day…….

Badami sunset!!

Day4:Aihole- a dusty town some 44 km northeast of Badami was where we started our today’s exploration.  This town situated on the Malprabha River along with its ancient sandstone temples of varying types is mostly encircled by the fortification. The temples situated here are associated with both early and later Chalukyan rulers of Badami dating from 6^th century to 11^th century.

Aihole- Durga temple

Aihole- Durga temple- entrance carvings

Like most visitors, we started our tour of Aihole at its most important building- the Durga temple-the largest and the finest of monuments here. This temple is most unusual because of its apsidal sanctuary and open colonnade- the temple being horseshoe shaped in plan. The temple is elecated on a lofty plinth with steps at one end leading to a porch with elaborate carvings of Gods, guardians as well as romancing couples also a ceiling panel in mandapa depicts a naga with a coiled serpant body.

Aihole- Durga temple- naga ceiling

The most notable sculpture is that of goddess Durga at the left of the entrance staircase. This niche shows a multi armed Durga slaying the buffalo demon. The other sculptural masterpieces of the temple include the sculptures of Shiva with nandi, Harihara, Narsimha, Vishnu with Garuda etc placed in the niches lining the colonnade. The interior of the temple is plain by contrast if compared to its exterior and colonnade.

Aihole- Durga temple- sculpture of Durga

Other deceptive thing about this temple is its name. The name Durga here means a fort (durg= fort in Hindi/Sanskrit) maybe due to the fortification it is enclosed within. The identity of the image that was once worshipped here remains unknown.

Closeby is the Ladkhan temple- recognizable by its tiers of sloping slabs that roof the spacious hall as well as the adjoining porch. The appearance of this temple gives out a lot of resemblance with the technique of wooden construction. River goddesses and romancing couples are carved on the columns of the porch, while carved deities can be seen on walls of small chamber at roof top level. Barring these few sculptures, most of this temple remains very very plain for a Hindu temple.

Aihole- detail at Ladkhan temple

Aihole- on the top of Ladkhan temple's roof

View of Aihole temple complex from Ladkhan temple's roof

Aihole- Ladkhan temple

Aihole- Ladkhan temple's sanctum

Adjacent is the GaudarGudi temple which comprises of a small sanctuary set within an open mandapa, with balcony seating on four sides.

Aihole- Gaudar Gudi temple

A stepped path leads to the top of the hill southeast of the town. At the summit of the hill stands the serene Meguti temple built in AD 634, the earliest dated structural monument in Karnataka. The temple’s clearly articulated basement, plastered walls and eaves show the south Indian style of temple architecture in its earliest phase. An impressive Jaina sitting figure can be seen installed in the sanctum.

Aihole- Meguti temple

Aihole- Meguti temple

Aihole- Meguti temple

Nearby ( a 5 minutes bus ride) lies the rock cut Ravalaphadi cave, dating to 6^th century. Its interiors are enhanced with carvings of Hindu pantheon- these include- the dancing Shiva ,Ardhanarishwara, Harihara and Shiva with Ganga. A small Shiva linga sits in the sanctuary of the cave.

Aihole- Rawalaphadi cave

Aihole- Rawalaphadi cave- sanctum

Aihole- Rawalaphadi cave- sculpture of Shiva with Ganga

Aihole- Rawalaphadi cave- Varaha sculpture

Aihole- Rawalaphadi cave- Dancing Shiva sculpture

17 km back on the way to Badami lay one of the two UNESCO world heritage sites of Karnataka- The Pattadakal Group of monumnets’. Similar to Aihole, even this picturesque sacred town is located on the Malaprabha River. Its superb 8^th century temples were a perfect climax to the artistic achievements of Chalukyan kings. While neighbouring Badami and Aihole were ancient Chalukyan settlements, Pattadakal remained a town used mainly on royal festivities or ceremonies.

Pattadakal- South Indian temples

Pattadakal- North Indian temples

The main temple complex here is situated in the landscaped gardens next to the small village. Built in a combination of the North Indianand South Indian temple styles, these structures reveal a great deal of evolution of temple architecture in South India.

The North Indian roof tower (shikhara) is exemplified in Kadasiddheshwara and Jambulinga temples which are situated near the entrance. These are the sandstone structures with damaged wall sculptures and curving tiered towers. Galagnatha temple closeby is larger but incomplete and has a well preserved tower.

The KashiVishwanath temple which lies to the west, dates back to 8^th century mid and it further illustrates the development of North Indian temple style. Its faceted tower is entirely covered with a mesh of interlocking horseshoe arched motifs.

South Indian temple towers (Vimanas) rise in stepped pyramidal formation, as in the Sangameshwara temple, the oldest in the complex built around 733 AD when its creator –King Vijayaditya died. Its multi-storey tower is topped with a square domed roof. The hall in front of it was incomplete but now has been restored.

The largest temples here are the twin- Virupaksha and Mallikarjun temples to the south. Both the temples are dedicated to Shiva and were constructed in AD 745 by two sister queens of Chalukyan king Vikramaditya 2, to commemorate his victory over the Pallava rulers of neighbouring Tamilnadu.

Today the Virupaksha temple is the only active temple in the complex. In front of the temple is the Nandi pavilion with a magnificently carved bull covered by a cloth. The temple consists of a spacious columned hall with triple porches leading to the lingasantum, surrounded by a passageway. The ornately carved pillars and ceilings portray mythological and religious stories. The most noteworthy sculpture is of the Shiva appearing out of linga on the eastern porch.

Mallikarjun temple though similar, is much compact and its carvings mainly include the scenes from Panchatantra- the Indian classic of animal and bird heroes. 

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Extremely tired that we were that evening due to a whole day of roaming in the scorching sun of south, we reached back our hotel in Badami, stayed for the night and next day continued our onward journey to Goa!