Pattadakal, a cluster of Hindu and Jain temples from the 7th century Located on the west bank of the Malaprabha River in the district of Bagalakote, Karnataka. This UNESCO World Heritage site is 9.7 km from Aihole, both of which are historically important Chalukya monument centres.
Pattadakal was considered a holy spot, where the river Malaprabha toward the Himalayas turned north. As its name suggests, it was used for coronation ceremonies during the Chalukya dynasty, such as that of Vinayaditya in the 7th century A.D.
In the 7th century, this learning community encompassed Pattadakal which became a vortex in which ideas from northern and southern India fused. It was during this latter era that the Chalukya empire constructed several temples in the region of Aihole-Badami-Pattadakal.
The area was conquered by the Rashtrakuta kingdom after the collapse of the Chalukya Empire, which would rule over the area into the 10th century. The region came under the control of the Late Chalukyas an offshoot of the Early Chalukya Empire during the 11th century, and into the 12th century.
In the 13th century, Pattadakal, the Malaprabha Valley and much of the nearby Deccan region were subjected to raids and plundering by the armies of the Delhi Sultanate which devastated the city. This time ended with the rise of the Vijayanagara Hindu Empire. As evidenced by inscriptions in the fort at Badami, it was responsible for the building of forts to protect the monuments. Pattadakal was a part of the frontier area experiencing wars to its north between Vijayanagara and the Sultanates.
In 1565, the fall of the Vijayanagara Empire annexed Pattadakal to the Sultanate of Bijapur, which was ruled by the family of Adil Shahi. The Mughal Empire took control of Pattadakal from the Sultanate during the late 17th century, under Aurangzeb. Pattadakal came under the rule of the Maratha Dynasty, after the fall of the Mughal Empire. It later changed hands, again, when in the late 18th century Haider Ali and Tipu Sultan wrestled control of it but would lose it when the British defeated Tipu Sultan and annexed the city.
Pattadakal has been described by UNESCO as 'a harmonious blend of architectural forms from northern and southern India' and an example of 'eclectic architecture' at its peak. The Hindu temples are usually devoted to Shiva, but there are also aspects of the religion of Vaishnavism and Shaktism, and stories.
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The Chalukyas were known for being patrons of art and literature. We were matched with some of their time's most professional craftsmen, and their combined efforts gave rise to many incomparable beauty architectural buildings. Some of the principal attractions were listed below.
- Kadasiddheshwara temple
- Jambulingeshwara temple
- Galaganatha Temple
- Chandrashekhara Temple
- Sangameshwara Temple
- Kashi Vishwanatha Temple
- Mallikarjuna Temple
- Virupaksha Temple
Kadasiddheshwara temple
Constructed around a square garbha griha, the temple faces east. It houses a linga on a peetha, and the Nandi bull faces it from outside; the sacrum core is surrounded by a mantapa. The mantapa offers an extended axial form with a circumambulation direction. Most of the temple was destroyed in the following years, or damaged. The Shikhara is a Northern Nagara style with a projection of sukanasa to the West.
Jambulingeshwara temple
The Jambulingeshwara mandapa entrance is adorned with three shakhas, each of which has purnakumbhas below its capitals.The temple is built around a square garbha griha with intricate devakoshtha on the outside walls. Photos of Vishnu to its north, Surya to its west and Lakulisha to the south are within the frames. The temple is also playing with the concept of projecting sukanasa in front of the shikhara, over the mandapa. Always facing east, the temple welcomes the sunrise. On the frontal arch sukanasa is best preserved the dancing Shiva Nataraja with Parvati and Nandi by his side.
Galaganatha Temple
Galaganatha temple lies to the east of the Temple of Jambulingeshwara. The temple is a rekha-nagara northern style with a linga and a vestibule in the sanctum of the temple. Different mandapas exist in this temple, such as a social or group hall used for ritual purposes, and a mukha mantapa, of which only the foundation remains. The river goddesses Ganga and Yamuna surround the entrance to the mantapa.
Chandrashekhara Temple
Chandrashekhara temple is situated on the southern side of Galaganatha temple . The temple has a garbha griha with a Shiva linga and a closed hall; a Nandi sits on a platform facing the linga to the east. Though lacking in ornamentation, extensive pilasters decorate the temple's exterior walls. On either side of the Chandrashekhara temple sanctum is a devakostha in the walls. The temple lacks a lintel, but at each side of the entrance features a dvarapala; the door frames are carved with shakhas.
Sangameshwara Temple
In 734 CE, the death of its patron king, Vijayaditya, resulted in the temple remaining unfinished, though construction continued intermittently in later centuries. Other prominent Sangameshwara temples, such as the one at KuDavelli, were built during the Badami Chalukya reign between 543-757 CE; in modern times this temple was moved to Alampur, after extensive restoration work.The temple has a square plan, and a sanctum facing east. The sanctum, surrounded by three carved windows with a painted pradakshina patha lit by. There is a Linga Shiva within the sanctum. There is a vestibule in front of the sanctum which is flanked by smaller shrines on either side.
Kashi Vishwanatha Temple
The temple of Kashi Vishwanatha is the garbha griha square, which houses a linga. The moulded base of a Nandi-mantapa is to the east of the garbha griha, featuring the image of a seated Nandi. The temple also features a pranala, a stone structure used to drain water used during devotional practices, and an antarala or foyer that connects with a ruined entrance porch to a mantapa.Ardhanariswara and Lakulisha sculptures are built into the temple mantapa's northern wall, but these were damaged and defaced.Within the temple are intricately carved pillars and pilasters, with friezes portraying the Shiva Purana and the Ramayana Bhagavata Purana. One frieze shows the demon Ravana ascending Mount Kailasha, others show Krishna 's playful pranks, while another narrates the Kalyansundarmurti.
Mallikarjuna Temple
The temple was built about the same time as the temple of Virupaksha, with a similar design and layout, but it is much smaller and has a few major variations.The temple is the expression of a fully formed architecture of the South Indian vimana type. The garbha griya has a Shiva linga, and it has a walking path. There is an antechamber in front of the sanctum, with small shrines for Durga as Mahishasuramardini killing the buffalo demon on each side, and another for Ganesha on either side, both now vacant.The use of stone carvings is prominent in the temple for storytelling. On the temple pillars in the community hall the legends of Hindu epics and the Puranas are portrayed. These stories cover all major traditions within Hinduism including Shaivism, Vaishnavism and Shaktism. The Mallikarjuna temple friezes depict kama and mithuna amorous couple scenes.
Virupaksha Temple
The Virupaksha temple at Pattadakal is the largest and most sophisticated shrine. Virupaksha temple was built facing east based around a square garbha griya, surrounded by a paved circumabulatory path with a Shiva Linga. There is an antarala with two small shrines facing images of Ganesha and Parvati in front of the sanctum, in its Durga aspect as Mahishasuramardini kills the demon buffalo.The temple contains historically significant inscriptions which provide hints on India's 8th-century society and culture. For example, one inscription mentions a queen's grant to "temple musicians." The famous temple of Kailasha at Ellora Caves was modeled after this temple, while the temple of Virupaksha itself was modeled after the temple of Kailasanatha at Kanchipuram.
Papanatha temple
The temple 's irregular configuration may be due to its construction that took place in three stages but there is a lack of epigraphic evidence to support this theory. Its architectural and sculptural details are indicative of a plan, showing a coherent and cohesive theme. The temple is larger, with two interconnected mantapas, one with 16 pillars and the other with 4 pillars.Papanatha temple faces east towards the sunrise and in its garbha griya has a Shiva linga except that there is no Nandi-mandapa. Instead, the sanctum faces an image of Nandi housed in the sabha mantapa.
