The Badami cave temples are a complex of Buddhist, Hindu and Jain cave temples located in Badami, an ancient heritage town in the Bagalkot district in northern part of Karnataka, India. This is an instance of rock cut temple built in Chalukya architectural style
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History & geographical location
The Badami cave temples are located about 142 km east of Belagavi and 140 km northwest of Hampi.
Badami a heritage town, was previously known as “Vataapi”, the capital of the early Chalukya dynasty. Chalukyas ruled a significant portion of Karnataka from the 6th to the 8th century. Badami is situated on the west bank of a man-made lake Agastya Teertha ringed by an earthen wall with stone steps. In this serene heritage town, you can feel the footsteps of history in the vestiges and artefacts centuries have left behind.
It is surrounded on the north and south by forts built during Early Chalukya reign and in later times. The Malaprabha River is flowing silently [4.8 km away) through this pilgrim land of ancient architectural marvels. The journey to Badami cave temples will definitely provide you an enthralling and delightful experience transporting into another period of time.
The UNESCO world heritage site Pattadakal [23km]and Aihole – another site with over a hundred ancient and early medieval era Hindu, Jain and Buddhist monuments[ 35km] are close to Badami.
The Badami temple complex has principally 4 caves. The first three caves feature sculptures of Hindu gods and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.
It is believed that the cave temples are built in the late 6th century onwards. The exact dating is known only for Cave 3, which is a Hindu temple dedicated to Lord Vishnu.
An inscription found here records the dedication of the shrine by Mangalesha in Saka 500 (solar calendar, 578/579 CE). The inscription is written in the old Kannada language and it denotes the dating of these rock cave temples to the 6th century. This makes the cave 3 temple of Badami as the oldest firmly-dated Hindu cave temple in India.
Architecture of Badami cave temples
The temple is built on a rocky terrain in red sandstone and here you can explore the Chalukya architectural style.The Badami rock temple caves include 4 caves, all in the escarpment of the hill in soft Badami sandstone formation, to the south-east of the town.
The complex includes four caves principally, although a few caves are also located in the premises. Around the lake, Badami has additional caves and one of them is believed to be a Buddhist cave. Another Cave like gallery known as Arali Tirtha has around twenty-seven carvings.
Four cave temples in the escarpment of the hill to the south-east of the town were carved into the cliff’s monolithic stone face. The escarpment is above a man-made lake called Agastya Teertha, created by an earthen dam faced with stone steps.
The largest and highest cave is Cave 3 in the complex and it is situated further to the east on the northern face of the hill. The fourth cave, Cave 4, is a few steps down further east. The cave has fine carvings exhibiting matured stage of Karnataka ancient art. Cave 4 is dedicated to revered figures of Jainism.
The artwork in Caves 1 and 2 exhibit the northern Deccan style of the 6th and 7th centuries, while those in Cave 3 represent two ancient Indian artistic traditions; the northern Nagara and the southern Dravida styles.Cave 3 also shows icons and reliefs in the so-called Vesara style, a fusion of ideas from the two styles, as well as some of the earliest surviving historical examples in Karnataka of yantra-chakra motifs (geometric symbolism) and colored fresco paintings.
Cave 1 is a Hindu temple and here you can find various sculptures of Hindu divinities and themes along with a prominent carving of the dancing Shiva as Nataraja. Cave 2 goes in the same architectural line of cave 1 in its layout and dimensions, featuring Hindu subjects of which the Hari Hara, Ardhanari shiva, Mahishamardini, Dwi Bahu Ganesha and Skanda in a separate antechamber on extended cave at western side-next to great Nataraja sculpture. The Cave 2 also has premier images of Vishnu as Trivikrama and it is the largest.
The largest cave, Cave 3, featuring Vishnu as Ananta seated on coiled serpent, Varaha with Bhudevi, Harihara, Narasimha in standing posture, great image of Trivikrama and Virata Vishnu.
which Alice Boner – a Swiss art historian and Indologist, states is a time division symbolizing the cosmic wheel.
The Badami cave temples- Interior architecture &themes
Cave I of Badami :
Nataraja Carving is the significant feature of this cave. The cave depicts the Tandava-dancing Shiva as Nataraja on the rock face to the right of entrance. The image, 5 feet (1.5 m) tall, has 18 arms (9 in left and 9 on right) in a form that expresses the dance position (about 9×9=81 combinations in total) arranged in a geometric pattern. The eighteen arms express Natya mudras (symbolic hand gestures), with some holding objects such as drums, a flame torch, a serpent, a trident and an axe.
Shiva has his son Ganesha and the bull Nandi by his side.
The wall depicts the goddess Durga of Shaktism tradition slaying the buffalo-demon Mahishasura. The carvings and its accuracy show that sculptors who built this cave temple were very proficient in the Natya mudras of Bharatanatya dance form.
Mahisasura Mardini Carving
On the right side of the Nataraja carving is a carving of Mahishasura mardini with Chaturbhuja (Chatur means 4, Bhuja means hands). The sculpture depicts the killing of the demon Mahishasura by godess Durga. According to legends and myths Mahishasura, a demon was the son of Mahisi and great grandson of Bhahmarishi Kashyapa.
On the left of the entrance is a two-handed Shaiva dvarapala who holds a trident, and below him is a bull-elephant fused image where they share a head; seen from left it is an elephant and from right a bull.
Harihara Carving
Inside the veranda, the cave depicts a carved sculpture of Harihara, a 7.75-foot (2.36 m) high sculpture of a fused image that is half-Shiva and half-Vishnu. He is flanked by the goddesses Parvati and Lakshmi on each side.
Ardhanareshwara Carving
To the right, toward the end of the wall, is a relief sculpture of Ardhanarishvara, a fused image of Shiva and his consort Parvati. One half of the image has Shiva with a moon on his mukuta (head), snakes in his hands, earrings and next to the half that represents Parvati is an attendant carrying a tray of jewels.
It delineates the vision of the Chalukya kings delivering message to the Chalukya citizens about gender equality.
On the ceiling of this cave are images of the Vidyadhara couples as well as couples in courtship and erotic Mithuna scenes.
Through a cleft in the back wall of the cave is a square sanctuary with more carved images.
In the mantapa is a seated Nandi facing the garbha ghruha (sacrum sanctum) containing a Shiva linga.
Cave 2 of Badami
Cave 2 is above and to the east of Cave 1 and faces north. It was built in late 6th or early 7th century. It is smaller than Cave 1 and it is dedicated primarily to Lod Vishnu. It depicts the legend of Vishnu in his Trivikrama form.
Inside the temple are friezes showing stories from Hindu texts such as the Bhagavata Purana. These show the legend of cosmic ocean churning (Samudra Manthan) and Krishna’s birth and flute playing indicating the theological and cultural significance of these in 7th century India.
The ceiling and door head carvings show Gajalakshmi, the swastika symbols, flying couples, Brahma, Vishnu.
The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame. The end bays have a flying couple and Vishnu on Garuda.
Cave3 of Badami
Cave 3 is considered as the earliest dated Hindu temple in the Deccan region. It is dedicated to Lord Vishnu and it is the largest cave in the complex.
The cave is facing north, 60 steps from Cave 2 at a higher level. The cave is 15 feet (4.6 m) high; it is supported by six pillars, each measuring 2.5 square feet (0.23 m2). It has intricately carved friezes and giant figures of Trivikrama, Anantasayana, Vasudeva, Varaha, Harihara and Narasimha.
This temple is built in Vaishnavite theme; however, it also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one.
Cave 3 also shows fresco paintings on the ceiling, some of which are faded and broken. These are among the earliest known surviving evidence of fresco painting in Indian art.
The Hindu god Brahma is portrayed on Hamsa vahana in one of the mural paintings. The wedding of Shiva and Parvati, attended by various Hindu deities is depicted in another painting.
Cave 4 of Badami
The cave 4 is located immediately adjacent to and east of Cave 3. The floor is situated about 10 feet lower and is the smallest of the four caves of this land. It is dedicated to Tirthankaras, the revered figures of Jainism.
It was constructed after the first three, sponsored by Hindu kings in later part of the 7th-century. Some scholars are of the view that this cave may have been created in the 8th century.
Also it has been proposed that some embellishments seems to be added in the subsequent centuries until about the 11th or 12th century.
Cave 4 shows detailed carvings and a diverse range of motifs. The cave has a five-bayed entrance with four square columns – each with brackets and capitals. To the back of this verandah is a hall with two standalone and two joined pillars
Inside the cave are major carvings of Bahubali, Parshvanatha and Mahavira with symbolic display of other Tirthankaras.
Bahubali is standing in Kayotsarga meditating posture with vines wrapped around his leg, his classic iconography. Parshvanatha is shown with the five-headed cobra hood.
Mahavira is represented sitting on a lion throne.
Other carvings include Indrabhuti Gautama covered by four snakes, Brahmi and Sundari.
In the sanctum is an image of Mahavira resting on a pedestal containing a 12th-century Kannada inscription marking the death of one Jakkave. Twenty-four small Jaina Tirthankara images are engraved on the inner pillars and walls. In addition there are idols of Yakshas, Yakshis and Padmavati.
Other unnamed caves of Badami
Apart from the numbered 4 main caves of Badami, this land has a few other centuries old caves with statues and carvings. History sleeps in this land of temples which is believed to be built in medieval era. On the other side of the lake, near the Bhutanatha temple, there is a 7th-8th century Chalukya period cave with a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), a Pipal tree, elephants, and lions in an attacking pose.
According to colonial-era texts of John Murray – a Jainism scholar & missionary in British India, the main image carved in this Cave is that of a Jaina figure. However, it has been contradicted by archeologists Henry Cousens and A. Sundara and their views have been buttressed by local legends, which proposes that the statue is of an ancient king. Because in a photograph of the statue taken before its face was damaged, the figure lacked the Ushnisha lump that typically found with Buddha’s image.
The statue has several unusual, non-Buddha ornaments such as rings for fingers, a necklace, and a chest-band; it wears a Hindu Yajnopavita thread and its head is stylistically closer to a Jina head than a Buddha’s head. These features point out that the statue may be of a king represented with features of various traditions. There are no clear-cut evidence regarding the century of construction of this main statue.
Adjacent to the controversial cave are other monuments belonging to the ancient centuries. One of them is a small shrine consisting of a 7th-century rock carving of Anantashayana Vishnu, or reclining Vishnu with Lakshmi and Garuda in namaste posture.
In 2013, Manjunath Sullolli, Assistant Director of Bagalkot district working for the state government of Karnataka, reported the discovery of another cave with 27 rock carvings, about 500 metres (1,600 ft) from the four main caves.
Water gushes from this newly discovered cave year-round. It depicts Vishnu and other Hindu deities, and features an inscription in the Devanagari script. The dating of these carvings also is unknown.
Best time to visit Badamicaves
November to February is the best season to visit. The weather is fine cool and and clear. Other months are less recommended as scorching summer or Monsoon rain may make it difficult to travel and explore.
Internet Connectivity
BSNL or Cell one connectivity is available
How to reach Badami ?
The nearest airports to Badami in Karnataka are Hubli and Belgam. Hubli is connected to Banglore and Mumbai airports.
From Hubli cabs are available to Badami[105km].
From Belgam to Badami [150km]
Badami is connected to other cities by bus.
For international travelers
Flight to Banglore and train to Badami [447km]-7 hours 51 minutes
Flight to Pune airport[Mumbai] and then train to Badami[470km] 9 hours 28 min
Flight to Hyderabad [Andrapradesh]airport and train to Badami.[420km] 9 hours 32 min
References
1.Evolution of Temple Architecture – Aihole-Badami- Pattadakalhttps://whc.unesco.org/en/tentativelists/5972
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In this life style people learn to minimize their use of Earth’s resources and reduce the personal and environmental impact.
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A few sustainable living options
· Empower organic farmers & people with agricultural and financial support they needed to make a fair living without cutting down trees.
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Praveswara temple, Thalagunda in Karnataka is an ancient shiva temple of Kadamba dynasty , a monument protected monument by Archeological Survey of India[ASI] due to its historical significance.
Thalagunda,karnataka
Thalagunda is a village in the Shikaripura taluk of Shivamogga district in the state of Karnataka, India. The village has been referred as Sthala-Kundura, Sthana-Kundur and Sthana-kunja-pura during ancient period. This hamlet is situated about 45 km from Banavasi, 20 km from Soraba and 7 km from Siralkoppa town.
There are many ancient temples in Thalagunda village including pranaveshvara, gangaadhareshvara, trineetra and veerabhadra temples. Praveswara temple is a protected monument by Archeological Survey of India[ASI] due to its historical significance.
According to the inscription found in the pillar of pranaveswara temple, it can be assumed that the temple was worshiped by earlier rulers including the Satakarnis. The temple dates back to the Satavahana period. However the current findings of architecture denotes that it is not of the Satavahana period but of the early Kadambas although explorations around the temple premises had revealed brick structure of the Satavahana period.
Pranaveswara temple
The temple is a small square building consisting of a garbhagriha and a sukanasi. There is a huge Shivalinga inside the sanctum. The garbha-griha doorway jambs are carved out of Kadamba inscription stones, the entrance doorway construction style denotes that it is of a later period, perhaps of the eleventh century CE.
Thalagunda inscription pillar
The Talagunda pillar inscription of Kakusthavarman is a well known epigraphic record in Sanskrit found in the ruined pranaveswara temple. The pillar is located in front of the Pranavalingeshwara temple.
The inscriptions are engraved on hard grey granite and dated to between 455 and 470 CE. It throws light into the history of Kadamba dynasty and the reign of king Śāntivarma in northwest Karnataka.
The pillar is 1.635 metres (5.36 ft) high with a 0.4 metres (1.3 ft) square top. It is octagonal shaft that slightly tapers and narrows as it goes up. The width of the octagonal face is 0.178 metres (0.58 ft). The inscription is found on all faces, but on 7 of the 8 faces, it consists of two vertical lines that start at the bottom of the pillar. On the eighth face, we can find just one short line.
The inscription consists of 34 poetic verses that respect the chanda rules of Sanskrit. It is the earliest epigraphical evidence found in Karnataka about the existence of a Hindu temple dedicated to Shiva in Talagunda, the construction of a temple water tank, and the practice of worshipping the Shiva Linga before about 450 CE.
The inscription unravels the glory of Kanchipuram as a center (ghatika) for advanced studies in ancient India, where the already learned Brahmin Mayurasarman from Talagunda goes with his counsellor to study the whole Veda. It also throws light into the cultural values and customs prevailed in the 5th-century India with the mention of “music” and goddess of wealth (Lakshmi) and speaks about the practice of marriage between north Indian and South Indian empires.
How to reach Thalagunda ?
The nearest railway station is Shivamoga .You may reach Manglore or Bangluru by flight and may reach Shivamoga by train or bus service. Approximately a one and half hour journey from Shivamoga by cab may help you reach Thalagunda[77.5km].
