The visit to this Sri Papanatha Temple at Pattadakal was a part of “Hampi, Badami, Pattadakal, Mahakuta and Aihole temples Heritage visit” organized by வரலாறு விரும்பிகள் சங்கம் Varalaru Virumbigal Sangam – VVS and எண்திசை வரலாற்று மரபுநடைக்குழு, between 24th December to 28th December 2022. I extended my sincere thanks to the organizers Mrs Radha and Mrs Nithya Senthil Kumar and Mr Senthil Kumar.
The Pattadakal temple complex is on the banks of river Malaprabha comprises nine temples near to one another in a row and from the north to south as follows…..
1. The Kadasiddhesvara Temple
2. The Jambulinga Temple
3. The Galaganatha Temple
4. The Chandrasekhara Temple
5. The Sangamesvara Temple
6. The Kasi Visvesvara Temple
7. The Mallikarjuna Temple
8. The Virupaksha Temple
9. The Papanatha Temple ( This temple is 200 meters away from Virupaksha Temple on south side ).
பாபநாதர் கோயில்… விருபாக்ஷர் கோயிலில் இருந்து சிறிது தொலைவில் அமைந்துள்ள இந்த கோயில் 8ஆம் நூற்றாண்டின் இடைக் காலத்தில் கட்டப்பட்டதாக கருதப்படுகிறது. திராவிட, நாகர கலைப்பாணியினை இணைத்து இந்த கோயில் கட்டப்பட்டுள்ளது. விமானம் நாகர அமைப்பிலும் கோயிலின் வெளிப்புற பகுதிகள் அலங்கார அமைப்புகளில் சில திராவிட கலைப்பாணியிலும் அமைக்கப்பட்டுள்ளன. மற்ற கோயில்களை போல இந்த கோயிலும் கிழக்கு நோக்கியே கட்டப்பட்டுள்ளது. கருவறைக்கு உள்ளே லிங்கம் காணப்படுகிறது. இடப வாகனம் சபா மண்டபத்தில் கருவறையை நோக்கி அமர்ந்தவாறு உள்ளது. ராமாயண காட்சிகளும், கிராதார்ஜுன புராண காட்சியும் காணப்படுகிறது. தேவகோட்டத்தில் மகிஷனை வதம் செய்யும் தேவி மஹிசமர்த்தினியாக காணப்படுகிறாள். 16 மற்றும் 4 கால்கள் கொண்ட மண்டபத் தூண்களில் அழகிய சிற்பங்கள் நிறைந்து காணப்படுகின்றன.
About hundred metres south of the Virupaksha Temple is located on a sloping eminence the Papanatha Temple commanding the view of the river Malaprabha a few metres away on the east.
ARCHITECTURE
The temple in plan and elevation differs from the other main temples in the locality. Its plan is strikingly oblong. But the height is not proportionate to the length, rather somewhat stunted. It comprises axially a mukha-mandapa, sabha- mandapa, uncommonly spacious antarala and garbha-griha with sandhara pradakshina-patha. Elevationally, from the bottom are adhishthana, bhitti (wall), kapota, hara and prastara, all typical of the vimana model of temple architecture, like the Sangamesvara. But, most unusually, from above the garbha-griha arises sikhara of the rekha-nagara form like that of the Galaganatha. Besides, in the southern, western and northern walls of the garbha-griha is cach a false, shallow portico (ghana- dvara) with pillars in the front open on the three sides enshrining the colossal sculpture of Natya Siva, Siva and again Natya Siva comparable to the similar scheme in the Galaganatha.
At the adhishthana level, are a series of elephants in assorted postures and moods, natural and dynamic, in remarkably bold relief. On the front face of the front pillars of the mukha-mandapa are dampatis in which the man is curiously horse headed and the woman, nude. And on the southern and northern faces of the pillars are a human pair and a lady tall and slender holding a lotus bud in the hand. Beside her is a dwarf female attendant at once bringing out a fine contrast between the slim and the grubby, the lofty and the diminutive, the beautiful and the ugly.
At the top corners of the mukha- mandapa are figures of mythical animals, elephant headed with the body of a lion. In the ceiling is a beautiful large square panel displaying eight armed Siva dancing on apasmara along with Parvati. On the right side the accompanying artist is playing on a ghata unusually with four short spouts (panchamukhi-ghata- vadya). His right hand is in chinmudra. Another is playing on cymbals. This panel is one of the best specimens of the Chalukyan art for spatial distribution and balance. A label inscription near Siva's left shoulder states: "Sri Baladevayya nirmmita rupu" which means Shri Baladeva, the sculptor of this panel.
At the edge of the roof on the inner side are flying dwarfs carrying garlands in their hands and at the same time as if bearing the load of the roof. Of the two saiva-dvara-palas the one on the right mutilated was sculpted by Shri Baladevayya. The dvara-bandha is well- designed and ornate. It is crowned with sala sikhara, an unusual feature. In the lalata- bimba of the lintel, is Gajalakshmi under the makara-torana. Right above this image is the figure of seated Siva - Parvati with Rishabam.
In the sabha-mandapa are four rows of four pillars each, as usual dividing the hall into a central nave and side aisles. But unlike the heavy square pillars of the other three large royal temples, the pillars here are rather slender, the shaft being fluted fixed into a moulded pitha by mortise and tenon technique. At the top is the kumbha. Thus the form and design of the pillars are nearer to those of the Galaganatha and the Kashi Visvesvara. What is more interesting is the presence of beautiful medium sized sculptures (0.75m) of men and women of status, on the shaft part facing the nave as if to welcome the incoming devotees, adding dignity and grace to the hall. This fitting decorative motif of superb workmanship is found only in this temple. Corresponding to the pillars on the pilasters of the walls are found sculptures of dampatis warrior women of enchanting beauty. Beginning from the left interior some of the sculptures are; second pilaster, niche containing eight armed Mahishasuramardini.
Third, a lady plaiting her hair; Sixth, lady holding the hair by hand. These are appealing instances of sculptors' keen observation of the humans in natural situations. Most unusually in the sabha- mandapa, there is a life size sculpture of Nandi placed. In the ceiling are big sculptural pitha. panels juxtaposed. They are Gajalakshmi, zoo- anthropomarphic Nagaraja. Vishnu as Anantasayi surrounded by Ashtadikpalas and a blossomed lotus. The beams across the ceiling also carry beautiful sculptures such as Kalyana Sundara murti with Vishnu and the gandharvas nearby. With saiva-dvara-palas on the sides the dvara-bandha is exquisitely ornate with Garuda in the lalata of the lintel, holding the tails of the two naga-sakhas.
The rectangular hall has four central pillars in the front part and garbha-griha in the back with closed narrow space on the outside serving as of pradakshina-patha. The front part therefore may be treated as antarala in this temple as there is a sabha-mandapa in the front.
In the ceiling of the nave are two sculptural panels: Nagaraja and Uma sahita-natya Siva of exquisite beauty. Interestingly, subdued natural light passes through the openings of the clerestory spread on the ceiling sculptures creating light and shadow effect, bringing the sculptures into bold relief, and infusing the effect of movement in them. In the lalata-bimba of the lintel is Gajalakshmi. Above the Gajalakshmi are two flywhisks in criss-cross position. Nearby are the seated figures with the standards such as gaja (elephant) dhvaja, vrishabha or Nandi (bull) dhvaja, probably representing the Ashtadikpalas. Inside the garbha-griha is a huge Siva linga on a high moulded pitha.
Sculptures on the northern wall
On the outside, in the middle zone of the exterior of the walls is a series of sculptures all along. To view in continuation the Ramayana series from the birth of Rama to his coronation, on the southern wall it is necessary to commence contra- clockwise from the northeast corner. On the northern wall are- Arjuna standing on one leg performing penance- Arjuna aiming an arrow at the pig- Siva Parvati in disguise of hunter and huntress- Ravana lifting Kailasa- Siva Parvati- Vishnu- a lady standing under a tree with dwarf attendants nearby(the multiple bends in the posture are noteworthy). Mahishasuramardini.
Agni seated on goat, his vahana; with an inscription much damaged- Rati-Kama- Harihara, the ghana-dvara with colossal sculpture of natya Siva with Bramha and Vishnu on the sides.
On the outer faces of the front pillars are Gajendra moksha and Trivikrama- further on the wall, Vishnu- Varuna one of the cardinal deities, on his vahana, the crocodile- dwarfish and bulky Natya Ganesha indeed remarkable for the sculptor's fine sense of humour.
Sculptures on the western wall
Much worn out on account of weathering: Narasimha and Hiranyakashipu fighting- Bhu Varaha- within the ghanadvara is the life size Gajasurari Siva- on one of the front pillars is Govardhanagiridhari Krishna- Indra seated on the elephant.
Sculptures on the southern wall
Interestingly enough, the sculptures on this wall are thematic displaying the principal episodes from the Ramayana story from the birth of Rama to his coronation with label inscriptions below to identify the persons of the scene. Starting from the southwest corner the sculptures are: Siva-seated Bramha with attributes kalasha and an object looking like the Indian numeral eight (noose) in the rear hands, the front hands being in yogamudra -eight armed natya Siva in the portico with inscription -Yama seated on the bison, natya Siva, Vasishtha and Visvamitra, the sages- a group of sages- Dasaratha and Vasishtha- Visvamitra taking with him Rama and Lakshmana to his hermitage to teach and train them-Dasaratha performing "Putra kameshthi" yaaga under the guidance of Vasishtha-Dasaratha giving a receptacle containing the sweet dish presented by Agni to Kausalya, his first queen - birth of Rama-Vishvamitra taking Rama and Lakshmana to the court of Janaka, the king for the 'Sita svayamvara"-Rama, Sita and Lakshmana ("Lakkana") departing to the forest- Shurpanakha ("Suppanaki"), Lakshmana mutilating Suppanaki's nose (Baladeva sculpted this panel)- Khara-Dushana ("kara- dusanan") with an army marching towards Rama's hermitage- Suppanaki approaching Ravana ("Rabana"), her brother- ten headed Ravana holding a meeting to devise a strategy in the matter - Sita, Lakshmana, Rama, and golden deer ("Lakkana, Rama, ponmari")- Ravana abducting Sita-Ravana ("Rabana") hitting fatally Jatayu-above: Rama ("Raman"), Lakshmana ("Lakkana") looking at the Vanara army-below, Vali and Sugriva-combating each other; and, Rama looking the other side not being able to distinguish Vali from Sugriva- Sugriva- again Vali "Baali")- Sugriva ("Sugrivan")-Rama shooting an arrow at Vali- dying Vali -Lakshmana ("Lakkana")- Rama- Hanuman ("Anama")- Jambavanta ("Jambavan")- Nala ("Nalan")- Sugriva, Angada ("Amgada"). carrying stones to construct a across the sea- construction of the bridge.
HISTORY AND INSCRIPTIONS
The original Papanatha temple comprising the dates of the other temples are garbha - griha, the approximately arrived at on sabha-mandapa with four the comparative basis of their central pillars in the front appear to be of mid-late seventh century and the remaining parts apparently seem to have been added to it later around mid eighth century.
Virupaksha temple. The first briefly states that Vikramaditya II, the Chalukyan king, honoured thrice with Perjjeripu probably the highest ceremonious decoration "Sarva Siddhi Aachari, the architect of the southern part of the "Lokesvara" built by Loka Mahadevi, the senior chief queen of the king, in memory of his conquest of Kanchi, (the capital of their arch enemy, the Pallavas) thrice. The architect was well known as the Father of Architecture ("Vastu pitamahan"), exceedingly subtle and refined in talk, "Mani-makuta chudaamani' and was involved as in the art of construction of palaces, yogaasana', couches etc.
“Sri Damodaran, Devaputra”, the disciple of Shri Sakaresvaravadi, the sculptor of the ceiling Surya panel of the eastern mukha mandapa of the Virupaksha temple- “Baladeva”, the son of “Shri Duggi achaari”, who sculpted the saiva-dvara-pala statue on the right side in the southern mukha-mandapa.,. also the saiva-dvara-pala on the right side in the eastern mukha-mandapa of the Papanatha temple. A few titles such as "Vidyadhara" bestowed on him are also mentioned that are not all clear, Sri Chegamma, the sculptor of the Siva image located near the southwestern corner of the Virupaksha temple and Sri Pullappan, the sculptor of Siva image near the southeastern corner of the temple; Revadi Ovajjar, the disciple of “Sri Silemuddara Marmman, Sarva Siddhi Achari”, who constructed the southern part of the Papanatha temple and Sri Badi.
Another architect of no less eminence is "Shri Gundan Anivaaritaachaari", also architect of the Lokesvara temple, honoured with the same Perijeripu and title Tribhuvanaachaari.
The inscription below the Mahishasuramardini sculpture records the name of the sculptor as “Changamma”.
The inscription in Kannada script, below the 8 armed Shiva, mentioning the name of the sculptor as "deva-arya nirmmita rupu" in the Nagari script and "....narya[ga] deva arya nirmmita rupa(m)" .
The inscription in In Mukha mandapam, on the panel near Siva's left shoulder records the name of the sculptor of this panel, as"Sri Baladevayya nirmmita rupu" which means Shri Baladeva.
POLITICAL HISTORY OF CHALUKYA DYNASTY
Jayasimha, a Chalukya King probably the founder, carved out a region and ruled. He was immediately followed by Ranaraga who expanded and consolidated the kingdom. However, not much is known about these two Chalukyan kings. It was Pulakesi I, the third king in the genealogical line, who made Badami, the capital of the kingdom in 543 CE and built a fort on the top of what is now known as the North hill. His son, Kirtivarma (1) with the assistance of Mangalesa his younger brother, conquered the neighbouring kingdoms of the Kadambas in the south- west, the Mauryas of the Konkana, the Kalachuris etc,. It was his celebrated grandson Pulakesi-II who extended the political boundaries of the kingdom far and wide from Narmada to Kaveri. He installed his younger brothers Jayasimhavarma in the north comprising Gujarath region and Kubja Vishnuvardhana in the eastern division while he ruled the central part from Badami. However, he met with a crushing defeat at the hands of Pallava Narasimhvarman of Kanchi in 642 CE. Badami was 'terra incognito' for the next twelve years. In 654 CE, Vikramaditya - I, Pulakesi's son, succeeded in re-conquering the kingdom from the Pallavas. The kingdom grew further and was prosperous, strong and generally peaceful under the next three rulers in succession namely: Vinayaditya, Vijayaditya and Vikramaditya II in spite of their frequent, successful wars particularly with their arch enemy, the Pallavas others in the north. Kirtivarman- II, the son of Vikramaditya- II though capable and experienced in wars and administration, succumbed to the 756 CE onslaught by Dantidurga, the Rashtrakuta chief ruling the Ellora region. This ended the Badami Chalukyan rule. The Badami region thus became a part of the Rashtrakuta kingdom.
By 973 CE the Chalukyas till then keeping a low profile at the appropriate occasion seized and rose to power supplanting the Rashtrakutas. Later Kalyana in Bidar district, Karnataka had the fortune of becoming the capital of the kingdom and continued to be so till the ruling dynasty fell in about 1189 CE. However, Pattadakal gained some importance by becoming the headquarters of an administrative division known as Kisukadu 70 ruled by Nolamba Pallava Permanadi Singhanadeva as mandalika (feudatory) under Someshvara II, Bhuvanaikamalla, the Chalukyan king, around 1070 CE and hundred years later by Chavumda II of the Sindha family, a mandalika to Noormadi Taila- III the Chalukiyan king. Chavumda’s senior queen Demaladevi and their son Achideva by virtue of his position as prince were then enjoying Pattadakal.
Ref:
A Hand book on World Heritage Series Pattadakal, published by Archaeological Survey of India.
A Hand book on Hampi, Badami, Pattadakal & Aihole supplied by VVS in Tamil.
HOW TO REACH
Pattadakal Group of temples are 13 KM from Aihole, 17 KM from Badami and 459 KM from Bengaluru.
Nearest Railway Station is Badami.
LOCATION OF THE TEMPLE : CLICK HERE
--- OM SHIVAYA NAMA ---
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