The visit to this Sri Virupaksha 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 extend 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 )
விருபாக்ஷர் கோயில்.. மல்லிகார்ஜுனர் கோயிலுக்கு தென்புறம் இந்த கோயில் கட்டப்பட்டுள்ளது. பட்டடக்கல்லில் உள்ள கோயில்களுள் இதுவே மிக பெரிய கோயிலாகும். வாதாபி சாளுக்கிய அரசர் இரண்டாம் விக்கிரமாதித்தர் காலத்தில் கட்டப்பட்டதாகும். இவரது தேவியருள் ஒருவரான லோகமாதேவி இந்த கோயிலுக்கு நிவந்தங்கள் கொடுத்துள்ளார். “ஸ்ரீலோகீஸ்வர மகாசீல பிரசாத” என்று கல்வெட்டு வரிகள் கூறுகிறது. விக்கிரமாதித்தரின் காஞ்சி படையெடுப்புக்கு பின்னர் காஞ்சியை வெற்றி கொண்டதின் நினைவாக இந்த கோயில் கட்டப்பட்டுள்ளது என்று கல்வெட்டு கூறுவதாக ஆய்வாளர்கள் கூறுகின்றனர். காஞ்சியில் உள்ள கைலாசநாதர் கோயிலின் சாயலை இங்கு காணமுடிகிறது. துவிதள(மூன்று நிலைகள்) விமானத்தின் மேலே சதுர்கூட சிகரம் உள்ளது. அதற்கு மேலே கலசம் காணப்படுகிறது. இந்த கோயிலை கட்டிய பெருந்தச்சனாக “குண்ட அணிவரிதாசார்யர்” என்பவர் அறியப்படுகிறார். விக்கிரமாதித்தர் இவருக்கு “பெரிஜெரெப்பு பட்ட(PERIJEREPPU PATTA)” என்ற பட்டப்பெயர் கொடுத்து இவரை சிறப்பித்துள்ளார். மற்ற கோயில்களை போல அல்லாமல் இந்த கோயில் முழுவதும் சிற்பங்களால் நிரம்பி உள்ளதால், அவற்றை பற்றிய விபரங்கள் விரிவாக ஆங்கிலத்தில் கீழே கொடுக்கப்பட்டு உள்ளது.
மல்லிகார்ஜுனர் மற்றும் விருபாக்ஷர் கோயில்கள் அருகருகே அமைந்திருப்பதால் இவற்றை “இரட்டை கோயில்கள்” என்று கூறலாம். மேலும், இவை இரண்டும் ஒரே காலகட்டத்தில் கட்டப்பட்ட கோயில்கள் ஆகும்.
The two celebrated royal temples, the Mallikarjuna Temple and the Virupaksha Temple ( one beside the other ) on the south side of Kasi Visvesvara Temple. Virupaksha temple is also called as Lokeshvara Temple. Virupaksha Temple is little forward and larger than the Mallikarjuna Temple.
ARCHITECTURE
Both Mallikarjuna Temple and the Virupaksha Temple are within a prakara with two maha- dvaras one on the east and the other on the west. The prakara is partially extant. The two temples are of tritala- vimana model, almost similar to each other in the layout, elevation, the pillar forms, the dvara- bandha, the ceiling pattern, the external wall projections, recesses of the walls, the scheme of the wall sculptural patterns and forms; the narrative panels on the pillars and pilasters with mithuna and other sculptures. The sikhara of the Mallikarjuna Temple is circular while that of the Virupaksha Temple is of square / Nagara.
The temple is with an independent pillared mandapas enshrining Rishabam in the front, the temple comprises of a spacious squarish heavily pillared sabha-mandapa having mukha-mandapas on the north, east and south, a small shrine each at the front corners of the antarala, distinctly bifurcated from the sabha-mandapa by two pillars in the façade in alignment with the inner most rows of the pillars of the sabha- mandapa and a garbha-griha encircled by the sandhara- pradakshina-patha accessible from the antarala. What distinguishes these two temples is the profusely exuberant decoration of the pillars, pilasters, dvara- bandha, beams, ceilings, exterior of the kakshasana and the exterior of the walls, with miniature and colossal sculptures of various kinds, like human and divine, narrative panels displaying episodes from the two maha-kavyas and of other classical Sanskrit works, floral designs, animals, mythical forms and scenes from everyday life. Especially, in the superstructure on the garbha- griha there is a prominent projection on the front of the talas resting on the antarala beneath- a feature to be noticed for the first time in these two temples. This architectural component is known as sukanasi.
This temple, almost intact gives a complete idea of the fully evolved vimana architectural form of the period. Stylistically too it represents the zenith of the Chalukyan art. This is the largest of all the temples in the locality. In the centre of the eastern and western walls of the prakara measures 67.20 metres x 31.50 metres, enclosing the temple, are maha-dvaras. The eastern maha-dvara is practically a pillared mandapa having four square pillars with reliefs of mithunas on them.
On entering the maha-dvara one would see in the front court a Rishaba -mandapa (7.50 metres square) raised on a high adhishthana of mancha- bandha type with series of elephants in diverse postures and attitude. The mandapa, open on all the sides, has four heavy and ornate corner pillars ( 2.10 to 2.40 metres in height ) having circular upper part. Within the mandapa is a colossal Rishabam sculpture with glittering polish made on black granite. On the western side near the corners are sculptures, most elegant and varied, of a tall, slender lady in a posture lovely and sinuous under an umbrella of distinct type on one side, on the other side is a lady of similar type and style with a flower in her hand. Similarly there are sculptures mostly of romantic couples on the other sides as well. Of them two on the southern side are noteworthy: Indrani, the goddess, carrying an elephant standard (gaja-dhvaja) and a lady talking to a parrot perched on her right hand. Even on the inside are amorous couples. One of them is playing on a stringed musical instrument held by a dwarf servant.
On the right and left sides of the dvara-palas are in the side walls, respectively, auspicious Padmanidhi and Sankhanidhi the semi divine beings symbolising prosperity and wealth. The pancha sakha-dvara-bandha including the naga-sakha is ornate. And in the lalata- bimba of the lintel is a miniature figure of Garuda holding the tails of the nagas of the naga-sakha.
Next is a spacious hall measuring 5.20 metres x 13.25 metres, with four rows of square pillars without base, of four each dividing the hall into a central nave and side aisles. On the top of each pillar is the capital of taranga type supporting the beams. As in the Mallikarjuna temple, the upper and the lower zones of the pillars are decorated with semi circular medallions with vertical band in between carved with floral and animal or mythical designs of exquisite beauty. Narrative panels depicting episodes from the Sanskrit literary works besides scenes from the mundane life are depicted. Only those panels that need identification are enumerated below.
From the west end pillar near the garbha-griha, in the north side of the hall and from the south face:
1. i. Above flying gandharvas; Ahalya, a rishi-patni and Tilottama, one of the apsaras (celestial nymphs) of the svarga-loka (heaven), Indra and Vajra.
iv. Besides the usual mundane scene, Indra, Tilottama, Tilottama, Indra, Ahalya, Indra cajoling Ahalya. In particular, an elephant trampling a horse and piercing it with its tusks, a forceful depiction of superb workmanship.
2. i. Fight between Hanuman and demons; construction of the bridge by the Vanaras; Hanuman appearing before Sita in the Asokavana; Hanuman devastating the garden.
ii. Hanuman crossing the sea.
iii. Fight between Hanuman and Lamkini: her death at the hands of Hanuman; Hanuman's entry into Lanka city etc.
iv. Hanuman crossing the sea
3. i. Bhishma lying on the bed of arrows.
ii. Duryodhana hiding in the Vaishampaayana lake. Duryodhana and Bhima fighting with maces.
iii. The Kauravas capturing the cows (gograhana), the war, Arjuna, Uttara (the son of Virataraya), Duryodhana Bhishma offering obeisance to Krishna before the commencement of the war, Kama and Salya fighting with Arjuna.
iv. Gograhana; the Mahabharata war.
4.i. Pandavas discussing in camera.
5. i. An episode from Saiva purana: Royal couple with the rishis. Daksha, Sati's father, performing sacrifice, Siva and Sati on Nandi; Sati immolating herself in the sacrificial fire.
Jadayu fights with Ravavana
The inner row of the pillars on the southern side
From the northern face of the pillar near the garbha- griha i.e. from the west end
1.i. Churning the sea by the Devas and Asuras; emergence from the sea of the Kamadhenu, Airavata (white elephant), Uchchhaisravas (horse), Lakshmi etc.
2. ii. Dual fight between Arjuna and Siva in disguise of a kirata (a hunter); Arjuna obtaining Pasupatastra from Siva.
ii.Arjuna and Siva chasing the pig in opposite directions.
3. i. Natya Siva (note the balancing of his posture with the serpent in the hand); Kharadushanan, Surppanagi (Shoorpanakhaa) Lakshmana mutilating her nose; Surppanagi in disguise of a beautiful lady approaching Lakshmana; Rama and Sita;
Ravana and Maricha; Lakkana (Lakshmana), Rama, ponmari' (golden deer i.e. Maricha in disguise), Ravana in disguise of a rishi approaching Rama's hut; Ravana abducting Sita and carrying her in his chariot. Ravana confronting Jatayu fight between the two.
5 ii. Indra and Indraani on the elephant; Vishnu on Garuda and Brahma on swan.
iii. Natya Siva and Parvati.
iv. Eight armed natya Siva and Parvati.
Pillars on the south side from the west end and from the south face.
1. Four armed Siva seated in yogasana on lotus etc.
2. ii. Siva appearing before Markandeya, a young devotee of Siva destined to die at sixteen worshiping Siva linga. Yama, the god of Death, throwing his noose at the boy. This is a Puranic episode.
3 i. Indra on Airavata, the divine elephant. An episode displaying the sons of a Puranic king, Sagara by name, entering with their sacrificial horse the hermitage of Kapila, a great rishi who was engaged in penance.
ii. Surya in the chariot in the sky indicated by clouds along with Usha and Pratyusha. Below: Garuda offering obeisance to his mother. To release his mother from the bondage under Aditi, co-wife to Kashyapa, a great rishi, Garuda successfully fighting Indra and getting amrita-kalasa (to Aditi as per the terms for emancipating his mother from the bondage).
iii. The descent of the Ganga from the heavens to the earth at the instance of Bhagiratha's penance, Siva in order to contain Ganga's terrific and torrential pour receiving it into his matted hair locks and thus subdued allowing it to flow to the earth. Siva and Parvati (being pleased with his persistent efforts for a noble cause) appearing before Bhagiratha.
iv. Sacrificial horse, Jahnu, another great rishi, swallows the Ganga and allows her to flow through his ears (on account of which Ganga came to be known as Jaanhavi). Bhagiratha standing on one leg and performing penance.
Pillars on the north side from the west end and north face
1. i. A couple seated on a couch, listening to music. Noteworthy are a water pot and 'pan-supari (beetle leaves and areca-nut) box under the couch, a natural scene of life. Above are the gandharvas with their wives on the back approaching a mandapa
ii. Goats' fight. Below: the Vanaras fighting the demons.
2. iv. Three passionate couples engaged in friendly activities such as in one of them the husband is plaiting his wife's hair.
4. i. Gods and gandharvas approaching Siva and Parvati. Ganesa.
ii. Under a tree women in graceful postures with their dwarf attendants. Below seated Siva and Parvati.
Fascinating mithunas on the pilasters
Couples of nobility or young females of captivating beauty, are on each of the sixteen pilasters in varied postures, often voluptuous with lively expressions and moderately attired, they display cheerful and intimate moments of life.
Unfortunately most of them are mutilated. From the innermost on the north the fourth is Manmatha with Rati, his consort, the god of love holding his distinctive attribute sugar cane in the left hand. Beside him is his standard with an emblem of crocodile i.e. makara-dhvaja. Above this divine pair, is the scene from the story of the tittibha birds to the one in the Mallikarjuna temple. The one near the front door of the hall attracts the attention of the on-looker. The husband is holding the left hand of his wife, frightened at the monkey nearby. The depiction is simply natural. On another pilaster nearby is portrayed a lady whose long dangling. plaited hair is by itself beautiful. There is an array young couples bewitching and modest as if they are vying with each other in displaying their beautiful forms at their best.
In the southern mukha- mandapa is an attention- grabbing sculpture: Narasimha, one of the incarnations of Vishnu getting Hiranyakasipu, the demon, into his inescapable grip from behind in the dual fight, a powerful presentation rare and unusual, at once natural and striking. The saiva-dvara-pala on the right, in side profile almost in round relief is another masterpiece of sculptural art. Slightly bent forward and resting his hands on the tip of the upright mace as if offering obeisance to the dignitaries passing through the mandapa. The statue is testimony to the sculptor's intimate and keen observation of such moments in society and his dexterity in portraying such unusual forms. The posture so naturally portrayed is superb.
There is yet another sculpture here on the pillar that readily attracts the attention of a visitor i.e. Ravana lifting the Kailasa mountain with his hands. What is noteworthy is owing to the swinging of the mountain the alarm created among the inmates of Kailasa so naturally brought out and the fear stricken animals such as monkey, squirrel, snake, pig, lion, deer, running helter -skelter for life; a salva-gana throwing stone at Ravana, another aiming an arrow from the bow towards him; whereas Parvati also struck with fear unabashedly holding Siva by her side though being with the Supreme Protector close by! On account of the unbearable weight of the mountain on him, Ravana's leg is stuck in the earth displaying the gravity of the situation. In spite of all these, Siva remains totally composed and unmoved.
In the northern mukha- mandapa in a niche on the right is Siva dancing on apasmara, the death. Here are as usual charming mithunas. On the outer side of a pillar of this mandapa is again a beautiful depiction of Gajendra- moksha. The composition is exceedingly well balanced, rhythmic and superb in execution.
Outside the temple are wall sculptures all around. The sculptures in pillared deva- koshthas under intricately carved makara torana or without deva-koshthas in the recesses and projections in the wall are from the southern side of the earlier mukha mandapa a couple under a tree, Siva as Lingodbhava- murti under the makara- torana representing a Puranic episode in which Siva appears in the form of an effulgent pillar of fire (spiritual brilliance) unfathomable from the top or the bottom and Vishnu on Garuda and Bramha on swan trying to find out respectively the bottom and the top of the pillar but in vain - eight armed Siva carrying parasu and trishula in his hands.
Southern wall
Four armed Natya Siva carrying Rishabam-dhvaja in the right rear hand and damaru in the left, the other two hands- being held in natya-mudras. Below is the accompanying artist playing on the ghata and above are the flying gandharvas with garlands in the hands approaching the dancing god. The whole picture is so well composed maintaining perfect rhythm and balance.
Siva and Parvati- Siva and Parvati seated in Kailasa-terrific (ugra) Narasimha- Rama and Angadi(da) with their names written below-Ravana while abducting Sita. confronting Jatayu who ultimately was smitten fatally- above Lakshmana and Shurpanakha, below, Rama, Lakshmana, Sita as also Maricha in disguise of a golden deer to entice Sita- seated Ganesa with padma below- Siva, four armed in a mandapa-above, Siva-linga in a small shrine- Siva four armed with meticulously fashioned matted hair in a dancing posture with the name of the sculptor engraved below stating that this sculpture was carved by Chengamma, one of the finest wall sculptures- Siva two armed Lakulisa, with Siva and Parvati above.
Western wall
Lakulisa with hair locks dangling on the shoulders- mutilated two sculptures- four armed Siva- four armed Siva with the right leg placed on a gana- Vishnu.
Northern wall
Siva-eight armed Vishnu- Bhu-Varaha-jatadhaai Siva, a beautiful sculpture- four armed Siva-Siva leaning against Rishaba behind, an excellent specimen of the art- Hari-Hara-Ardhanarisvara.
Ravana worshiping Siva-linga located on the western side of the northern mukha- mandapa-Hari-Hara on the eastern side of the mukha mandapa-Natya Siva.
Further on northern wall; Siva with Parvati by the side- Trivikrama one of the incarnations of Vishnu, above, Vamana, also another incarnation of Vishnu, receiving the gift from Bali, the demon king, below, Ardhanari-natesvara.
Below and above the wall sculptures are small sculptural panels running continuously.
From above the garbha- griha is the tri-tala superstructure crowned with a square / nagara sikhara. On the frontal side of the superstructure is the sukanasa with Natya Siva in the mukha-patti / extended sukha nasi.
Around the temple is an open space which in turn is encircled by a series of smaller shrines raised against the inner side of the wall of the prakara that originally housed images of gods and goddesses in accordance with the prescription given in the relevant silpa text.
HISTORY AND INSCRIPTIONS
In the group of temples Sri Sangamesvara Temple, Sri Mallikarjuna Temple and Sri Virupaksha temples can be dated in the light of the inscriptions referring to their patrons. The trisula- stambha inscription refers to all the three temples; the Vijayesvara, the Lokesvara ( Virupaksha Temple ) and the Trailokesvara Temple ( Mallikesvara Temple ) were constructed by Vijayaditya Lokamahadevi and Trailokyamahadevi respectively. This Virupaksha Temple was built by Lokamahadevi, hence called as Lokesvara Temple. These are known from the epigraphical records on the pillars of the maha-dvara of the Virupaksha temple. Also the inscription on the right side of the mandapa records that Lokamahadevi, the chief queen constructed this 'Lokesvara' temple.
The Mallikarjuna Temple and the Virupaksha Temple were constructed in memory of their husband's victories three times over Kanchi, the Pallava capital. by Vikramaditya's (circa.733-744) two chief queens: Lokamahadevi and Trailokyamahadevi. The latter two temples therefore were constructed at the same period around 740 and the Vijesvara was probably around 710 CE. The dates of the other temples are approximately arrived at on the comparative basis of their architectural characteristic features and styles.
The other inscription on the pillar on the left side speaks about Gunda Anivaritacharya, a distinguished architect.
About 4.50 metres westwards from the Rishaba - mandapa is the temple proper. There are inscriptions on the front pillars of the eastern mukha- mandapa. The one on the left pillar states the renewal of the grants, made earlier by Vijayaditya Satyashraya to the artists (gandharvas of the temple), by Lokamahadevi and Shri Guppa Duggadi Duggamara, probably the chief of the team, received the confirmation.
On the back of the same pillar is a Sanskrit inscription in praise of Achalan, the celebrated exponent of Bharatamuni's Natyasastra and supreme in the field. On the front side of another pillar is an inscription mentioning the grant of a village, Nareyamgalla (the present Naregal, Ron taluk, Gadag district, Karnataka) to the temple. Beside this are beautiful sculptures of attractive human pairs. On either side of the dvara- bandha is a saiva dvara-pala richly adorned with ornaments.
Below the dvara-pala on the right side is an inscription stating that Devaputra, the disciple of Sakaresvaravaadi and the son of Sripaadadeva carved the large ceiling ( melgandu an old Kannada word for a decorative ceiling panel ) panel of Surya, the sun god. He is accompanied with Usha and Pratyusha aiming an arrow on the bow in the chariot yoked with seven horses and driven by legless Aruna. All together imply that the sunrise dispells darkness.
A little above the Dwarapalaka sculpture is an inscription mentioning that the sculpture was made by Duggilacharya, the son of Baladeva.
The inscriptions at Virupaksha temple, 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.
Also The inscription in the Rishaba mandapa lady sculpture records
Also The inscription in the Rishaba mandapa lady sculpture records that Sarvasiddhi acharya is the architect of the southern part of the temple.
Another architect of no less eminence is "Shri Gundan Anivaaritaachaari", also architect of the Lokesvara temple, honoured with the same Perijeripu and title Tribhuvanaachaari.
Below Padmanidhi is an interesting inscription announcing the merits of "Natasevya" i.e. Achalan, the son of Devayya.
Below Padmanidhi is an interesting inscription announcing the merits of "Natasevya" i.e. Achalan, the son of Devayya.
An inscription below the Hari-Hara- Ardhanariswara sculpture records the sculptor’s name as 'Pullappan' ( Siva-eight armed Vishnu- Bhu-Varaha-jatadhaai Siva ).
The inscription of circa 782, in the northern mukha mandapa pillar pillar belonging to the period of Kaliballaha ( Dhruva, the Rashtrakuta king ). It states that Baadipotte, the daughter of Goyinda potte in regular service of the temple had donated gosasa ( gifting of cows ).
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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