This page is about Badami, a small town in in northern Karnataka with a glorious past., where the Chalukya Empire was founded 1500 years ago, and remained its capital until 753 CE.
its iconic landmarks, which include four rock-cut cave temples, Agastya Lake, and temples in the surrounding area. This page describes important landmarks of Badami with detailed images captured from vantage points. These include four rock-cut temples, Agastya Lake and temples in the surrounding area.
A Vibrant Town with a Glorious Past
Badami is just another town in northern Karnataka, but with an exception. Here, a glorious chapter in the history of India, Karnataka in particular, was written, when Pulakeshi I, a vassal/feudal lord from nearby Aihole, established the Chalukya Empire about 1500 years ago. It flourished for 200 more years and became the precursor to the other powerful empires, including the Vijayanagara Empire, that ruled the region for another eight hundred years.
When Pulakeshi I saw Badami, he fell in love with its beauty, and at the same time, he recognized its strategic importance because of its location. Badami offers a natural defense against enemy attacks because of the rugged sandstone hills around it. He moved his capital from Aihole to Badami and founded his dynasty by declaring his independence in 540 CE. His lineage became known as the Badami Chalukyas or Early Chalukyas.
Badami remained as their capital until 753 CE when its last ruler Kirtivarman II was overthrown by the Rastrakutas, the feudatory of Badami Chalukyas. The Badami Chalukyas later split into the Eastern and Western Chalukyas and ruled the region until the 12th century.
The Western Chalukyas eventually defeated the Rastrakutas and occupied Badami in the 10th century. They built a few new temples and enhanced the existing temples, especially the Jain temple in Cave 4. Later, the Vijayanagara Empire gained control of Badami. However, Badami never regained its past glory.
Tippu Sultan, the tiger of Mysore, also left his mark in Badami in the 18th century. Enamored by its beauty and the strategic location, he built forts around the existing ruins on the northern and southern sandstone hills. He built granaries and the treasury in the north fort and a watch tower in the south fort.
Chalukyas were benevolent rulers, and under their patronage, religions, arts, and most importantly, the Kannada language flourished. They were responsible for building numerous temples in and around Badami, including the magnificent rock-cut cave temples. The dynasties that came after the Chalukyas continued this trend, and the temple building flourished. As a result, hundreds of beautiful temples, big and small, dedicated to a variety of gods and goddesses, now dot the landscape of Karnataka and the surrounding regions.
Cave Temples of Badami – Masterpieces of Chalukya Temple Art
Carved out of a red sandstone hill overlooking the beautiful Agastya Lake, the four cave temples of Badami are great works of art. Because of their stunningly beautiful carvings – enhanced by the colorfulness and pleasant texture of the red sandstone – they stand out from the rest of the cave temples in India (which include Ajantha-Ellora caves, Karla caves, Elephanta caves, and Barabar caves).
The cave temples were constructed by meticulously carving out the stone material from the rock to create beautiful structures, sculptures, and sculptural reliefs. Visiting these masterpieces of art and architecture is a fascinating experience. It is mind-boggling how ancient Indians were able to create such magnificent structures without the aid of sophisticated machinery or tools.
Built next to each other and connected via stone staircases, the four cave temples are labeled Cave 1, Cave 2, Cave 3, and Cave 4, based on the sequence of their approach. In other words, you would visit Cave 1 first and Cave 4 last.
The chronological order of their construction is not known because of lack of inscriptions. Only Cave 3 has inscription detailing its dating. However, it is generally believed that they were constructed in the same sequence as their approach.
Check these pages for a detailed explanation of these caves:
According to the inscriptions found in the area, Badami was known as Vatapi when it was the capital of the Early Chalukyas. It got its name from the legend of two rakshasa (demon) brothers, Vatapi and Ilvala, who used to live the region and tormented the travelers. Agastya, a powerful rishi (sage) who lived in the Vindhyas, eventually killed them. Badami has an ancient lake in the valley between the sandstone hills, and the inscriptions refer to it as Agastya Tirtha or Agastya Mahasarovara, most likely because of this legend.
Agastya Thirta
Agastya Lake in Badami
Agastya Thirta is an artificial lake sandwiched between the northern and southern red sandstone hills of Badami. Commissioned most-likely by the Early Chalukyas and created by building a dam on its west side. The magnificent Badami caves are located on the southwest side of the lake. This picture was taken from a vantage point near Cave 2 of the Badami Caves.
The red sandstone cliffs located north of the lake are home to ancient temples built mostly by the Early Chalukyas. The temple at the top of the hill is called the Upper Shivalaya, and the small temple at the extreme left is called the Lower Shivalaya. Both the temples are now dedicated to Shiva and built by the Early Chalukyas in the 6th century CE.
If you expand the image, the walls of the fort built by Tippu Sultan are visible. The temple on the dam is the Yellamma Temple (See below), which was built by the Western Chalukyas in the 11th century CE.
Agastya Lake – A view from the north side
The image shows a view of the Agastya Lake from the north side with the dam on the right and the northern red sandstone hills at the far end. If you expand the image, you can see Cave 1 and Cave 4. Cave 2 and Cave 3 are hidden by the rocks.
At the top of the hill, you can see the Badami Fort, built in 543 CE by Pulakeshi I, and a watchtower built by Tippu Sultan. The entrance with steps to the watchtower and the fort is located in an opening in the rocks between Cave 2 and Cave 3.
Bhuthanatha Temple on the Eastern Shore
The image shows a view of the Bhuthanatha Temple on the eastern shores of the Agastya Lake. This picture was taken from Cave 4 of the Badami caves located on the southern red sandstone hills.
Bhuthanatha Temple on the eastern shore
During the monsoon season, the water level reaches up to the temple platform. As you can see from the image, the water has receded, and the near-end of the image shows the dried-up lake bed.
This temple is dedicated to Bhuthanatha, a form of Shiva, and dated to the 8th century CE. The temple underwent modifications in the later when the Western Chalukyas ruled Badami.
Yellamma Temple on the Western Shore
The image shows a view of the Yellamma Temple built on top of the dam on the west side of the Agastya Lake. The picture was taken from Cave 2 of the Badami Caves located on the southern red sandstone hills.
Yellamma Temple on the west side of the Agastya Lake
As the name suggests, the temple is dedicated to Yellamma, a popular
goddess worshiped in parts of Karnataka and Telangana. Yellamma is a
local name for Renuka, the wife of Rishi Jamadagni and the mother of Parashurama, the sixth avatar of Vishnu. The temple was built by the later Chalukyas in the 11th century CE.
As you can see from the image, the temple has a beautiful shikara (tower) above its garbhagriha (inner sanctum) and a mantapa (hall) in front of it. The architecture of this temple is a fusion of nagara-style of North India with the mantapa-style of South India (i.e., Dravida architecture).
The image shows structures on top of northern red sandstone hills which are north of the Agastya Lake, and opposite of similar sandstone hills on the south side o this lake. The south-side hills home to four magnificent rock-cut cave temples.
Upper Shivalaya, North Fort, and Watch Towers in Badami
At the top is Upper Shivalaya built by the Chalukyas in the 6th century CE. Surrounding Upper Shivalaya is a fort rebuilt by Tippu Sultan. The two structures below the Upper Shivalaya are the watchtowers.
According to the information on the ASI (Archeological Survey of India) plaque, the Upper Shivalaya was originally a Vishnu temple, which became a Shivalaya (a temple for Shiva) in the later years. It has sculptural reliefs related to Vishnu and Krishna, an avatar of Vishnu. The idol in the garbhagriha is missing.
Lower Shivalaya
The image shows the remnants of a once magnificent temple, now known as the Lower Shivalaya, located just below the Upper Shivalaya and to the east of the Malegitti Shivalaya.
Lower Shivalaya in Badami
Only the inner sanctum and the tower above it have survived. The idol in the inner sanctum is missing. The temple was originally dedicated to Vatapi Ganapathi and was well known in olden times. Even today, Carnatic musicians invoke the blessings of Vatapi Ganapathi by singing Vatapi Ganapathi Bhajeyam.
Malegitti Shivalaya
The image shows the Malegitti Shivalaya built on the red sandstone cliffs located north of the Agastya Lake.
Malegitti Shivalaya in Badami
According to the information on the ASI (Archeological Survey of India) plaque, the temple is dated to the late 7th century CE and was dedicated to Surya, the sun god. The original idol in the garbhagriha (inner sanctum) is missing. However, there is a relief depicting Surya riding seven horses on the lintel of the garbhagriha door. Check the Surya idol in the Surya shrine in the Hoysalesvara Temple complex in Halebidu.
As you can see from the image, the outer wall contains jālandharas (perforated windows) and devakoshtas (niches), which are unique to the Davida-style architecture. The Durga Temple in Aihole, also built by Badami Chalukyas, has similar architectural elements installed in its inner wall. The richly decorated shikhara (tower) of Malegitti Shivalaya is unique in that it is octagonal.
It is not clear how the temple got its name. In Kannada, mālé means garland and mālegitti means lady garland maker. It became a Shivalaya (a shrine for Shiva) after a Shivalinga was installed in its garbhagriha (inner sanctum) years later.
Carved out of the red sandstone cliffs of Badami, Cave 4 stands as a serene testament to Jain faith, art, and philosophy. Dedicated to Mahavira, the 24th Tirthankara, this cave temple brings together exquisite sculptures, spiritual symbolism, and architectural elegance, offering visitors a quiet journey into India’s rich Jain heritage.
Cave 4 is one of the four rock-cut cave temples carved into a red sandstone hill near Badami in Karnataka, India. As the name suggests, it is the fourth cave encountered from the main entrance through which visitors enter the cave complex.
Explore the following pages for a detailed explanation of the other three caves:
Cave 4 is the smallest of the four rock-cut caves, historians believe that it was built in the early 7th century CE.
Unlike the other three caves, which are Hindu temples, Cave 4 is a Jain temple and is a testament to the peaceful co-existence of different religions in ancient India.
Layout and Access
Ground Plan of Badami Cave 4
Just like the other three caves, the garbhagriha(inner sanctum) is at the rear of the cave. In front of it are three successive halls: 1. Antarala (ante-chamber) 2. Sabhamantapa (main hall) 3. Mukhamantapa (verandah). The ground plan on the left shows the arrangement of these spaces.
The garbhagrihahouses a sculpture believed to depict Mahavira, the 24th Tirthankara, seated on a lion throne. Sculptural reliefs of Tirthankaras and the other Jain figures adorn the pillars and sidewalls of the halls.
Today, the only access to this cave is through a flight of steps from Cave 3. However, when the temple was originally built, it could also be approached from the eastern side.
Mahavira: The 24th Tirthankara — Serene and Enlightened
The image shows a sculptural relief of a Tirthankara, most-likely Mahavira, seated majestically on a lion throne carved of the back wall of the garbhagriha.
Sculptural relief of 24th Tirthankara – Mahavira in the Garbhagriha
Mahavira is seated beneath a chaitya vriksha (sacred tree) with the Paryankasana posture — a lotus-like pose with upward-facing palms placed one over the other. A prabhamandala (circle of light or halo) encircles his head, and above it rises a mukkode — three ceremonial umbrellas stacked one above the other. Flanking him are two chamaradharas (male chamara bearers), while above them are two Vidyadhara couples performing pushpadhaare (offering a deluge of flowers).
Note: The word tirtha means a ford — a shallow crossing of a river or stream — and Tirthankara means ford maker. In Jain philosophy, a Tirthankara is an extraordinary being who understood the true meaning of samsara (continuous cycle of life, death, and rebirth) and obtained Kevala Jnana (Omniscience). He is a teacher who builds a ford for others (i.e., guides) to follow the path from samsara to moksha (liberation from Samsara).
The Majestic Figure of Adinatha — the First Tirthankara
First Tirthankara – Rishabhanatha (Adinatha)
The image shows a life-size sculptural relief depicting Adinatha (also known as Rishabhanatha), the first of the 24 Tirthankaras of Jainism, carved into the left sidewall of the antarala. As seen in the image, he is flanked by 12 Tirthankaras on either side.
Adinatha is a Digambara(person with no clothes) and is standing with the Kayotsarga posture — a stance symbolizing the renunciation of bodily movements and comfort. His long locks of hair flow over his shoulders.
Note: One of the distinguishing features of Adinatha’s iconography is the presence of these flowing locks, which help identify his sculptures
Parshvanatha: The Serpent-Crowned Tirthankara
The image shows a life-size sculptural relief of Parshvanatha, the 23rd Tirthankara of Jainism, carved into the interior walls of Cave 4.
23rd Tirthankara – Parshvanatha
Parshvanatha is the successor of Neminatha and the predecessor of Mahavira, the most well-known and final Tirthankara. Historians believe that both Mahavira and Parshvanatha were historical figures.
Born in the holy city of Varanasi, Parshvanatha lived around 877 BCE and attained moksha on Mount Summeta (present-day Madhuban in the state of Jharkhand, India).
In this relief, Parshvanatha is depicted as a Digambara (person with no clothes) with the kayotsarga posture, i.e., meditating while standing. Notice the beautifully carved five-headed naga above his head, one of the distinctive features used to identify Parshvanatha.
Bahubali: The Ascetic Prince
Bahubali
The image shows a life-size sculptural relief depicting Bahubali carved into the interior walls of Cave 4.
Bahubali is one of the 100 sons of Adinatha (Rishabhanatha). Although Bharata, the eldest, was heir to the throne, Bahubali challenged him for sovereignty.
According to Jain tradition, Bahubali defeated his brother in three non-violent games. However, realizing the futility of worldly power, he renounced everything in disgust and lived the life of an ascetic. He is said to have meditated by standing up unclothed for twelve years to attain moksha. Because he was completely motionless, vines grew around his legs and body — a distinctive feature of Bahubali’s standard iconography, which portrays him standing nude with his body encircled by vines.
The Devotion of Jakkave
Jakkave with Mahavira carved near the entrance of Cave 4
The relief shown in the image depicts a pious Jain nun named Jakkave, who is believed to have attained moksha through sallekhana. She is seated beside Mahavira, who is depicted with his standard iconography.
The carving of Jakkave appears on the right sidewall near the entrance to the cave.
Note: Sallekhana is a religious practice in Jainism in which a person gradually renounces food and bodily comforts while rigorously following certain vows to reduce human passions and attain spiritual purification.
Echoes of Jain Heritage
Though the smallest of the four caves, Cave 4 holds profound spiritual and artistic significance. The cave’s layout follows a traditional plan with a sanctum and successive halls, and its walls are adorned with life-size sculptural reliefs of Mahavira, Adinatha, Parshvanatha, and Bahubali, each rich in symbolic meaning. The presence of the Jain nun Jakkave further highlights the depth of devotion represented in the cave. Together, these carvings reflect the philosophical ideals of renunciation, enlightenment, and liberation, offering visitors a serene journey into Jain heritage preserved in stone.
Cave 3 at Badami, the largest and most elaborate of the rock-cut temples, stands as a magnificent tribute to Maha Vishnu and the artistic brilliance of the Early Chalukyas. Completed in 578 CE, the cave combines grand architecture with richly detailed sculptural panels depicting Vishnu’s avatars and legends from the Puranas, offering visitors a remarkable glimpse into early Hindu temple art carved in living rock.
Among the four rock-cut cave temples at Badami, Cave 3 stands out for its exquisite carvings, beautifully enhanced by the natural colors and textures of the stone itself. As its name suggests, it is the third cave encountered from the main entrance of the cave complex.
Dedicated to Maha Vishnu, Cave 3 is the largest of the four caves and showcases elegant mantapa-style architecture. It is also the most elaborate, featuring an extraordinary ensemble of sculptural reliefs depicting Vishnu’s avatars and mythological narratives from the Puranas.
For detailed descriptions of the other three caves, please refer to the following pages:
In Hindu mythology, Maha Vishnu represents a supreme form of Vishnu, one of the Trimurti (the Hindu Trinity), who is responsible for preserving cosmic order and maintaining harmony in the universe. Regarded as the primordial source from whom even the creator Brahma emerges—often described as the “creator of the creator”—Vishnu is revered as Maha Vishnu (Great Vishnu).
Unlike the other three caves, Cave 3 bears an inscription that records its precise date of completion. This inscription states that the cave was completed in 578 CE by Chalukya Mangalesha, the stepbrother of King Kirtivarma I of the Chalukya dynasty. It also records his donation of the village of Lanjisvara (present-day Nandikesvara) to the temple.
As the temple is dedicated to Vishnu, most of its carvings depict Vishnu, his various avatars, and episodes from the Puranas associated with his legends.
Facade and Entrance
Facade and Entrance
Cave 3 stands out from the other three caves due to its larger size and the remarkable precision and finesse of its carvings. In contrast to the other caves, it features a broader façade and a spacious courtyard enclosed by a prakara (protective wall).
As seen in the image, the central staircase provides access to the temple. It leads to a narrow terrace, behind which stand six pillars embellished with beautiful artwork and reliefs.
Elegant Mantapa-Style Architecture
Ground Plan of Cave – 3
Like the other three caves, Cave 3 follows the mantapa-style architecture, consisting of three distinct sections.
1. Mukhamantapa (Verandah or Porch) The mukhamantapais a narrow hall near the entrance, supported six squarish pillars on the side facing the courtyard and four pillars on the side facing the garbhagriha. Its ceiling is ornate with bas-reliefs depicting Vishnu, Brahma, Indra, Varuna, and Yama.
2. Sabhamantapa (Congregation Hall) – The sabhamantapais a large hall flanked by two aisles. The rectangular ceiling panel is divided into nine framed sections, each carved with a bas-relief. The central panel depicts Brahma, while Kartikeya appears in the southern panel, Varuna in the western panel, Indra in the eastern panel, and Kubera in the northern panel.
3. Garbhagriha (Sanctum Sanctorum) – The garbhagrihais a small chamber carved into the rock at the rear of the cave. The principal deity is now missing; however, according to some scholars, a statue of Maha Vishnu once stood in this sanctum.
Mukamantapa: Porch Embellished with Exquisite Carvings
The mukhamantapa is highly ornate with an ensemble of decorative elements. Its walls feature large narrative sculptural reliefs while the ceiling and eves are adorned with intricately carved bas-reliefs. The pillars display fine workmanship, and traces of murals — though now mostly faded — can still be seen on the eaves.
At either end of the mukhamantapa, along the edge facing the garbhagriha, small extensions project almost at right angles to the sidewalls. In addition, the mukhamantapa sidewalls extend beyond the façade at both ends. As shown in the ground plan, these extensions create three carved walls at each end of the mukhamantapa.
The image below shows the left half of the mukhamantapa, which resembles the royal court (durbar) of a king.
Vishnu seated on Seshanaga
Maha Vishnu is seated majestically on a throne formed by Adishesha, a seven-headed mythical serpent. His vehicle Garuda is on the lower left, while his consort Lakshmi is on the lower right.
Adishesha is known by many names, including Shesha, Sheshanaga, and Ananta. Embedded within these names are the two intriguing mathematical concepts. In Sanskrit, shesha means “that which remains” (i.e., remainder), and ananta means “endless” or “infinite.” Symbolically, Shesha will remain even after the end of the universe, and Ananta will exist for eternity.
The squarish pillars on the left are richly embellished with carvings of beautiful patterns and reliefs depicting figures and stories drawn from ancient Indian texts and Hindu epics. The ceiling also has intricately carved bas-reliefs of Vishnu, Brahma, and Ashta Dikpalas (eight guardians of the directions), including Indra and Yama.
Varahavatara: The Third Avatar of Vishnu
The image shows a large sculptural relief illustrating the story of Varahavatara, carved into the wall perpendicular to the left sidewall of the mukhamantapa.
Sculptural relief depicting the story of Varahavatara
Varahavatara is the third of the ten avatars of Vishnu (dashavatara). In Sanskrit, varaha means “wild boar.” In this avatar, Vishnu assumes the form of a wild boar and rescues Bhudevi (Mother Earth) from an evil demon Hiranyaksha, who was tormenting her. As depicted in the relief, Vishnu as Varaha lifts Bhudevi from the cosmic ocean represented by multi-headed nagas (serpents).
The story of Varahavatara is a popular sculptural theme in both Chalukya and Hoysala temples. The Chennakeshava Temple and the Hoysaleswara Temple feature several finely carved Varahavatara reliefs on their walls. Within the Badami cave complex itself, Cave 2 also has a Varahavatara relief carved into its wall.
A Varahavatara sculpture can be found in one of the devakoshtas of the Durga Temple at Aihole, about 22 miles east of Badami. Also built by the Badami Chalukyas, it is a free-standing temple carved with many sculptures and reliefs that closely resemble those found in the Badami cave temples.
Ashtabhuja (Eight-Armed) Vishnu
This beautiful relief depicting Vishnu with eight arms is carved on the left extension of the facade.
Ashtabhuja (Eight-Armed) Vishnu
The carvings of Vishnu with standard iconography show him with four arms. In this relief, however, he has four additional arms, making a total of eight. This feature indicates that he is indeed Maha Vishnu, to whom Cave 3 is dedicated.
In this finely-carved relief, Vishnu is wearing elaborate jewelry around his neck, arms, wrists and waist, and a tall crown on his head. He stands elegantly with a composed expression.
Each of his eight hands holds an object. Here are his signature objects in four of his hands: 1. Chakra (A disc-like weapon) – right hand, first from the top 2. Gadā (Mace) – right hand, third from the top 3. Padma (Lotus) – missing, left hand, second from the top 4. Shankha (Conch Shell) – left hand, first from the top
The remaining four hands hold the following objects: 1. Dhanush (Bow) – left hand, third from the top 2. Bāna (Arrow) – right hand, second from top 3. Sword (partly broken) – right hand in front 4. Rope – left hand in front
One of the most fascinating reliefs in Cave 3 depicts the Vamanavatara, an important avatar of Vishnu described in the Puranas. The sculptural relief shown below, carved into the left sidewall near the entrance of the cave, illustrates this story. Vamanavatara is the fifth of the ten avatars of Vishnu (Dashavatara).
Vamanavatara relief depicting Mahabali, Vamana, and Trivikrama
In Vamanavatara, Vishnu appears in two forms: 1. Vamana, the dwarf brahmin holding a wooden umbrella 2. Trivikrama, the gigantic form of Vishnu taking a giant stride. In this avatar, Vishnu curbs the powers of the asura king Mahabali and relegates him to Patala (Netherworld).
In this relief, Trivikrama is portrayed as Ashtabhuja Vishnu. His additional four hands carry a bow, arrow, sword and a shield. As seen in the image, Trivikrama’s left foot is on Mahabali’s head as he takes a giant stride.
Trivikrama’s raised leg stretches above the site where Mahabali is performing yajnato please Vishnu. Attending him are the brahmins who are holding ritual materials to offer them as sacrifices into the yajna pyre. The Vamana sculpture under Trivikrama’s raised leg is missing, but his umbrella can still be seen.
Note: Yajna is a Hindu religious ceremony performed by priests (brahmins) in front of a ritual fire. It includes a ritual in which sacrificial materials are poured into the fire as priests chant hymns from the sacred texts.
The Story of Vamanavatara
In this avatar, Vishnu takes the form of a diminutive brahmin to punish Mahabali, a benevolent asura (demon) king who harbored the ambition to acquire more power and defeat the devas (demigods). Mahabali was also a grandson of Hiranyakashipu, who was slain by Narasimha (man-lion), a previous avatar of Vishnu.
To fulfill Mahabali’s ambition, his guru Shukracharya advises him to perform yajna – a ritual conducted before a sacred fire – to please Vishnu and acquire more power. Indra, the lord of the heavens and the king of the devas, sees Mahabali as a threat to his position and authority and seeks Vishnu’s help to curb Mahabali’s power and save the devas from defeat.
Vishnu agrees and incarnates himself as Vamana, a dwarf brahmin carrying a wooden umbrella. Vamana goes to the site of the yajnaand asks Mahabali to grant him a piece of land that would cover his three strides. Mahabali considers it as a trivial request, and against the advice of his guru Shukracharya, who senses a trickery, grants his wish.
As soon as Mahabali grants his wish, Vamana, the diminutive brahmin, transforms himself into Trivikrama, an enormous giant. With his long legs, Trivikrama takes his first stride from Bhuloka (Earth) to Swarga (Heaven) and then the second stride from Bhuloka to Patala (Netherworld).
Vishnu then asks Mahabali where he should place his third stride, since the first two had already covered all the realms, Mahabali humbly offers his own head. Vishnu places his foot on Mahabali’s head and pushes him down to Patala.
Once Mahabali is relegated to Patala, Vishnu grants him the immortality as a reward and allows him to return to Earth once every year because he was a benevolent king.
This dramatic moment of Vishnu as Trivikrama taking a giant stride and subduing Mahabali is beautifully captured in the sculptural panel of Cave 3.
Narasimhavatara: The Fourth Avatar of Vishnu
The image below shows a large-size sculptural relief depicting Narasimhavatara, the fourth of the ten avatars of Vishnu (dashavatara), carved into the right sidewall of the mukhamantapa.
Narasimhavatara
The Story of Narasimhavatara
In this avatar, Vishnu has a man’s torso with the lion’s face and claws. He adopted this body to kill an asura named Hiranyakashipu, who wanted to take revenge on Vishnu for killing his brother Hiranyaksha in his previous avatar, i.e., Varahavatara.
To avenge his brother’s death, Hiranyakashipu performs an intense tapasu (austerity and meditation) to please Brahma, hoping to obtain a vara (boon) that would grant him special powers and make him immortal.
Pleased with Hiranyakashipu, rahma appears before him and asks him to state his wish. When Brahma realizes that he wants to become immortal, he refuses his request but allows him to ask for other varas. Hiranyakashipu then cleverly asks Brahma that he must not be killed by either a man or an animal, and that no weapon should be able to kill him.
Brahma accedes to this request and endows him with the vara. With the superpowers he gained from the vara, Hiranyakashipu assumes the godly status and starts tormenting Vishnu’s devotees, including his own son Prahlada.
To end Hiranyakashipu’s tyranny, Vishnu cleverly transforms himself as Narasimha (lion-man) and slays Hiranyakashipu in a gruesome manner by ripping off his entrails with his bare claws.
The story of Narasimhavatara is also a popular theme in both Chalukya and Hoysala temple art. It is depicted, for example, in the Ugra Narasimha relief carved into the outer wall of the Chennakeshava Temple at Belur. The Durga Temple at Aihole also contains a Narasimhavatara sculpture installed in one of its devakoshtas (niches).
Harihara: Vishnu and Shiva as a Single Entity
This large-size sculptural relief depicting Harihara is carved into the perpendicular extension of the sidewall on the right side of the mukhamantapa. Harihara represents the symbolic unification of Vishnu and Shiva, forming a single entity made from half of Vishnu’s and half of Shiva’s features. Because of this fusion, the followers of both the Shaiva and Vaishnava traditions worship him.
Sculptural relief depicting Harihara
As seen in the image, Harihara is carved with Vishnu’s features on the left side and Shiva’s features on the right side. One of the left hands carries a shanka (conch), a signature object of Vishnu, indicating that the left part of Harihara belongs to Vishnu. One of the right hands carries a staff with a serpent, and the right part of his crown has a half-moon, kapala (skull cup), and a serpent, indicating that the right part of Harihara belongs to Shiva.
This is one of the most beautiful sculptural reliefs carved in the Badami cave complex. Enhancing its beauty are the rich red and bluish tones of the sandstone, which highlight the fine details of the carving.
The images below show the bas-reliefs carved into the ceiling of the mukhamantapa.
Vishnu, the Preserver
Vishnu carved into the ceiling of the mukhamantapa
As seen from the image, there are two concentric circular panels enclosed by a square panel. Carved into the innermost circular panel is a relief depicting Vishnu with four arms, one of which carries the Sudarshana Chakra (disc-like weapon) and the other a shankha (conch).
Filling the space between the outer and inner circular panels are the eight circular frames, likely carved with the Ashta Dikpalas (Guardians of the eight directions). Some of them are identifiable, including Indra (riding an elephant), Kubera, Varuna (riding Makara), Agni (riding a ram), and Nirtti (riding a horse).
Covering the space between the outer circular panel and the square panel is beautiful artwork depicting foliage spewed by Makara.
Brahma, the Creator
Brahma carved into the ceiling of the mukhamantapa
Just like the Vishnu relief, this relief also has two concentric circular frames. The inner circular frame depicts Brahma seated majestically on his vehicle Hamsa (a swan). One of his four hands carries a long-handled spoon, and another a japamala(prayer beads).
Between the outer and inner circular frames, there are eight smaller circular frames, each with a relief carved inside.
The relief above Brahma depicts Yama, the god of justice and death, riding a buffalo. The relief below him depicts Varuna, the sea god, riding Makara. To his left is the relief depicting Indra, the king of heaven and the devas (demigods), riding Airavata, an elephant. To his right is the relief depicting Kartikeya, a son of Shiva and the god of war, riding a peacock. The other four circular frames have reliefs of yakshas and vidyadhara couples.
Yama, the God of Justice and Death
Yama carved into the ceiling of the mukhamantapa
The Yama relief is similar to Vishnu and Brahma relief except for the number of circular frames between inner and outer frames. The inner circular frame depicts Yama, the god of justice and death, riding his vehicle, a male buffalo.
Between the outer and inner circular frames, there are four smaller circular frames, each with a relief carved inside.
Garuda on the Eaves
Garuda carved on the eves
The image shows a sculptural relief depicting Vishnu’s vehicle Garuda carved on the eaves of Cave 3. This relief is above the entrance and faces the interior side of the temple. In this sculpture, Garuda, a mythical eagle-like bird, is portrayed with a human body having two wings and the nose resembling a beak. Flying above Garuda’s wings are two vidyadhara couples.
Sabhamantapa: Spacious and Well-designed
Sabhamantapa and mukhamantapa – A view from the garbhagriha
Compared to the other three cave temples, Cave 3 has a spacious and well-designed interior. Check the ground plan to see its layout.
The hall at the near end of the image is the sabhamantapa (congregation hall), and the horizontal aisle at the far end is the mukhamantapa(porch), which overlooks the courtyard. At the center of the outer edge of the mukhamantapa is the entrance to the temple. On the eves above the entrance is the bas-relief of Vishnu’s vehicle Garuda watching the garbhagriha.
If you notice the ceiling, there is a 3 x 3 grid that neatly divides it into nine blocks. This design is called Navaranga, which means nine sectors in Kannada. The architects of Hoysala temples used the concept of Navaranga to design mantapas in front of the garbhagrihas. Read more about the Navaranga in the Belur Chennakeshava Temple – Navaranga page.
Sabhamantapa – Left side viewSabhamantapa – Right side view
The intricately carved bas-reliefs adorn each of the nine blocks, and as you can see, some of them are weathered. Carved into the central block is Brahma, the creator and one of the Trimurti. Carved into the rest of the blocks around are the Ashta Dikpalas (guardians of the eight directions).
In Indian mythology, space has eight directions, four cardinal and four inter-cardinal, each with a dikpala, the god who oversees that direction. Check the Ashta Dikpalas painting on the Hampi Virupaksha Temple Murals for a list and descriptions of all the dikpalas.
The Navaraga truly represents cosmic space as experienced by a human being. The builders of this temple tried to capture this concept in stone.
Garbhagriha: An Ornate Sanctum Without a Deity
Entrance to the garbhagrihaGarbhagriha
As seen in the image on the left, an elegantly carved staircase at the center leads to the garbhagriha, which is set at a higher level than the subhamantapa. The sculptural reliefs carved on either side of the staircase depict the Vishnu’s dwarapalas (a.k.a. dwarapalakas), Jaya and Vijaya. Surrounding the door to the garbhagriha are multiple layers of exquisite artwork on stone.
The garbhagriha is a small chamber carved out of the stone at the rear of the cave temple. As shown in the image on the right, only the pedestal of the principal deity remains. Experts believe that a statue of Maha Vishnu once stood on this pedestal.
The Grandeur of Cave 3
Perched within the red sandstone cliffs of Badami, Cave 3 represents the artistic excellence of the Early Chalukya period. It is the largest and most architecturally advanced of the four rock-cut cave temples. Dedicated to Maha Vishnu and completed in 578 CE, the cave showcases elegant mantapa-style architecture and an extraordinary collection of sculptural reliefs depicting Vishnu’s avatars and mythological narratives from the Puranas. From the majestic image of Maha Vishnu seated on Adishesha to the dynamic reliefs of Varahavatara, Narasimhavatara, Vamanavatara and other divine forms, Cave 3 reflects the devotional spirit of early Hindu temples.
Cave 2 is one of the four rock-cut cave temples carved out of a red sandstone hill near Badami in Karnataka, India. As its name suggests, it is the second cave encountered from the main entrance of the cave complex.
For detailed descriptions of the other three caves, refer to the following pages:
Unlike Cave 1, which is dedicated to Shiva, Cave 2 is primarily dedicated to Vishnu. It contains sculptural reliefs depicting his avatars and stories taken from episodes from ancient Indian texts such as the Puranas.
Comparable in size and similar in overall design to Cave 1, Cave 2 displays the distinctive artistic style of the Early Chalukyas, with ornate pillars, intricately carved ceilings, and walls adorned with narrative reliefs.
No inscriptions have been found that record the exact date of the excavation or completion of this cave. However, experts believe that the cave temple was likely completed in the late 6th or early 7th century.
Cave 2 is situated at a higher elevation than Cave 1. The approach to Cave 2 is through a flight of steps located on the left side of the Cave 1 courtyard.
Facade and Layout
Facade and Entrance
Ground plan
The image on the left shows the rectanguar façade of the cave temple and the rock from which it was carved. The façade features four pillars and a short flight of steps leading to the entrance of the temple.
The layout of the temple is shown in the image below. Like Cave 1, Cave 2 is also a mantapa-style temple consisting of a garbhagriha, sabhamantapa, and mukhamantapa.
The garbhagriha (sanctum sanctorum) is a small chamber carved into the rock at the rear of the cave and once housed a statue of Vishnu, which is now missing. In front of the garbhagriha lies the sabhamantapa, supported by three rows of pillars. Beyond it is the mukhamantapa (verandah), whose front portion forms the façade with four pillars visible at the entrance.
Mukhamantapa: The Ornate Front Porch
The mukhamantapa serves as the front porch or verandah of the cave temple. Its lateral walls display narrative sculptural reliefs depicting two avatars of Vishnu, while the ceiling is adorned with intricately carved bas-reliefs.
Varahavatara: The Third Avatar of Vishnu
Sculptural relief depicting Varahavatara
Carved into the left sidewall of the mukhamantapa, this sculptural relief depicts the story of Varahavatara, the third of the ten avatars of Vishnu.
In Sanskrit, Varaha means “wild boar.” In this avatar, Vishnu assumes the form of a wild boar to rescue Bhudevi (Mother Earth) from an evil demon named Hiranyaksha, who was tormenting her by submerging the earth in cosmic waters. After a fierce battle, Varaha slays Hiranyaksha and lifts Bhudevi to safety.
As depicted in the image, Varaha is shown lifting Bhudevi, while the defeated Hiranyaksha lay dying on the ground after being slain by Vishnu.
The story of Varahavatara is a popular theme in both Chalukya and Hoysala temple art. Cave 3 of this cave complex also features the Varahavatara relief carved into its wall, reflecting the importance of this story in Chalukya rock-cut architecture.
A beautiful sculpture depicting Varahavatara can be found in one of the devakoshtas of the Durga Temple at Aihole, about 22 miles east of Badami. Also built by the Badami Chalukyas, it is a free-standing temple, richly adorned with sculptures and reliefs similar in style and iconography to those in the Badami cave temples.
Vamanavatara: The Fourth Avatar of Vishnu
Vamanavatara relief depicting Mahabali, Vamana, and Trivikrama
Carved into the right sidewall of the mukhamantapa, this sculptural relief illustrates the story of Vamanavatara, the fourth of Vishnu’s ten avatars.
Vishnu takes two forms in this avatar:
Dwarf Brahmin – Vishnu assumes a small, humble figure holding a wooden umbrella, symbolizing his unassuming appearance when approaching the asura king.
Gigantic Trivikrama – Vishnu assumes a gigantic form in which he takes a giant stride, measuring the three worlds in a single step.
In this avatar, Vishnu curbs the powers of the asura king Mahabali, ultimately relegating him to Patala (the Netherworld).
In the relief, Mahabali is seen clinging to Trivikrama’s leg as he takes a giant stride. Vamana, who is holding a wooden umbrella, is seen standing under Trivikrama’s extended leg at the spot where Mahabali is performing yajnato please Vishnu. Attending him are the other brahmins who are holding materials to offer them as sacrifices at the yajna pyre.
Note: Yajna is a Hindu religious ceremony performed by the priests (brahmins) in front of a ritual fire. During the ritual, sacrificial materials—such as grains, ghee, or herbs—are offered into the fire while the priests chant hymns from sacred texts.
This eye-catching relief, known as Matsya Chakra (Fish Wheel), is carved into the ceiling of the mukhamantapa. The Matsya Chakra is a wheel consisting of a hub at the center and 16 spokes shaped like fish, all enclosed by a rim carved with patterns of flowers and leaves. The hub is a medallion carved with the lotus flower pattern. Surrounding the Matsya Chakra are the two concentric square frames carved with intricate patterns.
Flanking the Matsya Chakra relief on the left and right sides are the reliefs consisting of swastika patterns.
The image shows a pattern consisting of swastikas carved into the ceiling of the mukhamantapa. As seen in the image, it is situated above a beam carved with the Samudra Manthana story and next to the Matsya Chakra relief (which is not visible). A matching relief with identical swastika patterns is located on the opposite side of the Matsya Chakra, creating visual symmetry and balance in the ceiling design.
The swastika is an auspicious symbol in Hinduism, Buddhism, and Jainism. In Sanskrit, the word swastika roughly means “well-being” or “good fortune.”
The four arms of the swastika symbolize several concepts in Indian tradition, including the cyclical movement of the universe and the eternal rhythm of creation and preservation. In the context of this temple, the symbol can be understood as representing the preservation of the universe — a role associated with Vishnu.
With its elegant mantapa-style layout, the cave reflects the sophistication of early Hindu temple architecture carved in stone. Though comparable in size and design to Cave 1, Cave 2 stands out for its finely carved pillars, narrative reliefs of Vishnu’s avatars, and intricately decorated ceiling motifs such as the Matsya Chakra and swastika patterns.
Cave 1 is one of the four rock-cut cave temples carved out of a red sandstone hill near Badami in Karnataka, India. As its name suggests, it is the first cave encountered from the main entrance of the cave complex.
For detailed descriptions of the other three caves, refer to the following pages:
Dated to approximately to 550 CE, Cave 1 is the first of the four rock-cut caves in the Badami hills. It is a mantapa-style temple dedicated to Shiva. Visitors first enter the courtyard of the temple through a flight of steps and then ascend a second flight of steps to enter the interior of the temple.
Facade and Entrance
Ground plan
Excavated from the massive red sandstone boulder at 60 feet above ground level, Cave – 1 has an impressive rectangular façade measuring approximately 70 ft x 20 ft. As seen in the image, the façade is supported by four pillars and approached by a flight of steps. Flanking the façade on either side are two life-size sculptural reliefs, carved into the walls that extend from the façade.
The garbhagriha(sanctum sanctorum) is a small chamber housing the Shivalinga that was carved out of the stone at the rear-side of the cave. Like any traditional mantapa-style temple, there is a sabhamantapa(congregation hall) in front of the garbhagrihaand a mukhamantapa(verandah) in front of the sabhamantapa.
The façade shows the pillars of the mukhamantapaand the staircase leading to it. Inside the mukhamantapaand sabhamantapa, there are more pillars embellished with beautiful carvings. Extending the facade on the right and left are the walls carved with beautiful sculptural reliefs, which are described below.
Nataraja Performing Tandava Nritya
Carved into the right side extension, this large-size sculptural relief depicts Nataraja (Dancing King), a form of Shiva, performing the Tandava Nritya, a vigorous cosmic dance of creation, preservation, and destruction.
Nataraja carved into a wall on the right side of the Cave – 1 facade
Nataraja in this image is standing with an elegant dancing pose on a lotus flower pedestal, and his 18 hands carry a variety of objects, including a trishula(trident) and an ax. His vehicle Nandi is standing behind him, and his son Ganesha is standing to his left. An unidentified figure is seated behind Ganesha.
Dwarapala with Shiva-Parvati and Vrishabha-Kunjara
Dwarapala with Shiva-Parvati and Vrishaba-Kunjara
Carved into the left-side extension, this relief depicts the dwarapala (door-keeper) of Shiva. The dwarapala is holding a trishula (trident) with his right hand. Carved below the dwarapala is Vrishabha-Kunjara (Bull-Elephant), an illusionary sculpture with a single head joined by the torsos of the bull and elephant. It looks like an elephant from one side and a bull from the other side. Carved above the dwarapala is a relief of Shiva and Parvati seated on Nandi, Shiva’s vehicle.
To the right of dwarapala are the pillars of the mukhamantapa and to the left are the flights of steps to Cave 2.
Mukhamantapa: Richly Decorated Porch
As mentioned, the mukhamantapa is the front porch of the cave temple. It is ornate with beautifully carved reliefs on the lateral walls and the ceiling, which are described below.
Ardhanarishvara: Fusion of Shiva and Parvati
Ardhanarishvara and sage Bhringi carved on the right side wall of the mukhamantapa
Carved into the right-side wall of the mukhamantapa, this narrative sculptural relief depicts the story of Ardhanarisvara, a manifestation of Shiva as half man and half woman.
In this relief, Ardhanarishvara, who has man-like features on the right half and woman-like features on the left half, is standing with an elegant tribhanga stance (i.e., body bent in three places, neck, waist, and knee).
While appearing to play a musical instrument, Ardhanarishvara is gently leaning on his vehicle Nandi. Standing with the folded hands (i.e., namaste gesture) behind Nandi is Bhringi, a sage with three legs who appears like a skeleton. Standing to the left of Ardhanarishvara is an unidentified female figure carrying a bowl with her left hand. Flying above Ardhanarishvara are the Vidyadhara couples.
Read the Ardhanarishvara with Sage Bhringi page for a brief explanation of the story behind Shiva’s manifestation of Ardhanarishvara.
Harihara: Fusion of Shiva and Vishnu
Fusion of Shiva and Vishnu as Harihara
Situated on the left lateral wall of the mukhamantapa, this beautifully carved relief depicts Harihara, a symbolical fusion Vishnu and Shiva, two principal deities of the Hindu Trinity.
This composite form is created by combining half the features of Shiva and half those of Vishnu. As a result of this fusion, Harihara is revered by followers of both the Shaiva and Vaishnava traditions
As seen in the image, Harihara is carved with Shiva’s features on the left side and Vishnu’s features on the right side. Shiva’s consort Parvati and his mount Nandi stand beside the Shiva half, while Vishnu’s consort Lakshmi and his mount Garuda appear on the Vishnu half, reinforcing the dual identity of the deity.
A stunningly beautiful sculpture depicting Harihara can be found in one of the devakoshtas of the Durga Temple at Aihole, about 22 miles east of Badami. Like the Badami cave temples, this free-standing temple was built by the Badami Chalukyas and is richly adorned with sculptures and reliefs of comparable artistic excellence.
Coiled Nagaraja
Coiled Nagaraja carved into the ceiling
This intricately carved relief depicts Nagaraja, the mythical king of serpents, with multiple serpent heads and a human head above a torso extending into a spiraling serpent body.
As seen here, the Nagaraja has five serpent heads surrounding his human head. His coiled serpent body—gradually tapering as it spirals outward—fits harmoniously within a finely engraved wheel. Enclosing the wheel is a square panel richly decorated with flower-like patterns.
An inside view showing the garbhagriha entrance and pillars
Shivalinga inside the garbhagriha
The image captures the interior of Cave 1, where a flight of steps leads up to the entrance of the garbhagriha. Inside the sanctum, the shivalinga is not a separately installed structure but is carved from the rock itself, created at the same time this cave temple was excavated.
Notice that the shivalinga rests on a square-shaped yoni, an uncommon feature, as most shivalingas in Indian temples are set onoval-shaped yonis.
Located in Belur, about 137 miles west of Bangalore in Karnataka, India, the Chennakeshava Temple is an architectural masterpiece and engineering marvel. Dedicated to Vishnu, it is one of the most beautiful temples in India, and with its unique style and features, it stands out from all the rest. Built by the Hoysalas in the 12th century, it is a shining example of their ingenuity and engineering skills.
Architecturally classified as a Mantapa style temple – a subclass under the southern Dravida style – the Belur Chennakeshava Temple consists of two main parts, garbhagriha and mantapa. Note that in Indian temples, the mantapa is a covered hall, and the garbhagriha (translated as womb chamber) is its inner sanctum, i.e., the chamber in which the principal deity of the temple resides. The Mantapa style temples can have more than one garbhagrihas. The Chennakeshava Temple has a single garbhagriha, and such temples with a single garbhagriha are known as ekakuta temples.
This page is about the mantapa in front of the garbhagriha, popularly known as the Navaranga because of the style of its design.
Although the Navaranga is relatively small, it is unique in many ways and its appearance, interior as well as exterior, is aesthetically pleasing. The layout of the Navaranga shown below highlights its architectural elements.
Note: The diagram is not drawn to scale. The bracket figures are represented by circles and given a number. The sections of the wall are also labeled to indicate their location. For example, S4 is the fourth section on the south side from the main entrance.
Navaranga Layout and the location of the Bracket Figures
The temple is symmetrical about an east-west axis. In other words, the south-side layout is a mirror image of the north side (and vice versa).
As you can see from the diagram, there are three entrances, the main entrance to the temple is on the east side, and a side entrance each on the north and the south. There is no entrance on the west side because of the location of the garbhagriha.
Navaranga design
Navaranga is a unique element of Hoysala architecture. In Kannada, nava means nine, and ranga means stage or sector, Navaranga means nine sectors. Generally speaking, the Navaranga is a mantapa (covered hall) where people congregate before taking the darshana of the deity.
The Navaranga design is based on a simple geometrical principle of dividing a rectangular area into nine rectangular blocks by throwing a 3 x 3 grid over it. In Indian mythology, cosmic space has eight directions, four cardinal and four inter-cardinal. The blocks placed in eight different directions around the central block of the Navaranga symbolizes cosmic space as experienced by a human being. The builders of this temple tried to capture this concept in stone.
A mantapa built using the Navarnaga design has pillars at the corners of the central section of the 3 x 3 grid and a roof above those pillars to cover the entire space. There can be pillars at the corners of the rest of the sections to support that roof.
The Navaranga design has sub-elements that include sabhamantapa and mukhamantapa. The area covered by the central section (i.e., enclosed by the four middle pillars) is called the sabhamantapa and is typically the largest. The area covered by the sections facing the entrance is called the muhkamantapa. In architectural terms, the sabhamantapa is like a community hall, and the mukhamantapa is like a porch. In the Belur Chennakeshava Temple, the sabhamantapa is also the dance hall.
Exquisite interior
In the Chennakeshava Temple, the central section of the Navaranga is the dance floor, situated in the middle of the hall and enclosed by four pillars at its corners. Besides these four, there are other pillars, 48 in all, inside the Navaranga. Some support the roof, and others are there just for decorative purposes. These pillars have smoothly-cut circular grooves and are partly covered with artwork of beautiful patterns.
Pillars on the northwest side of the Navaranga
The image shows the pillars on the northwest side of the Navaranga. As you can see, each one is different in design. In fact, none of the 48 pillars inside the Navaranga are similar, except for the four at the corners of the dance floor.
These pillars are precisely cut, smooth and polished, and it appears as though they were made using sophisticated machinery, such as modern-day lathes. Because of their appearance, they are called lathe-turned pillars, although nobody is sure how they were built.
Among all the pillars in the Navaranga, the Mohini and Narasimha pillars are highly ornate and the most popular with the visitors.
Mohini pillar
Mohini Pillar – Mohini carved on a pillar inside Navaranga
This sculptural relief depicts Mohini, a female avatar of Vishnu, carved into a pillar located near the dance floor. This stunningly beautiful and intricately carved sculpture was made of black stone (locally known as Krishna Shile), unlike most of the sculptural reliefs, which were made of soft soapstone (locally known as Balapada Kallu).
Note: Moha means Infatuation or crush. Mohini means a seductress.
According to Hindu mythology, Mohini is a by-product of the Samudra Manthana (Churning of the Ocean of Milk), which was a collaborative effort by devas (demigods) and asuras (demons) to produce amrita, the nectar of immortality. Once the churning produced amrita, asuras cleverly stole all of it. When Vishnu realized that asuras have amrita, he appeared as a beautiful young woman, a femme fatale, who enticed asuras and successfully grabbed amrita back from them and gave it to the devas.
As you can see from the image, Mohini has a slender and well-proportioned body. She is standing with a graceful stance, with her body slightly curved around the midriff. Her beautiful face has a calm and pleasant facial expression. A crown with an unusually tall cap adorns her head. She is wearing a variety of jewelry, including necklaces, anklets, and armbands. Above her long skirt, which has beautiful patterns, an udiyana (waistband) is wrapped around the waist.
Notice the looped thread hanging across the chest from the left shoulder to the waist. It is known as yajnopavita and is a symbol that indicates that the person wearing it – typically a man – has mastered the Vedas and undergone the Upanayana ceremony. Mohini wearing the yajnopavita does symbolize that she is indeed an avatar of Vishnu, generally depicted as a man.
If you look at Mohini’s toes, you will notice that her second toe is longer than the big toe. In modern medicine, it is considered a deformity, suffered by 20% of the population. This deformity even has a name, i.e., Morton’s Toe. In ancient India, a woman with Morton’s Toes is highly sought after for marriage because of the belief that she would make an ideal wife.
Narasimha pillar
Narasimha PillarNarasimha Pillar – A close up view
This intricately carved pillar is one of the major attractions of the Chennakeshava Temple. It is a testament to the ingenuity of the builders and sculptors of the temple. It is believed that this pillar had a rotating mechanism – like having ball-bearings at the bottom and top – to enable it to rotate about its own axis.
At the bottom, there is a rectangular pedestal on which the circular end of the pillar rests. People were able to rotate the pillar above the circular end. Above the circular end, there is a rectangular base, above which the pillar becomes circular. This circular space is divided into six horizontal layers, each of which has several miniature shrines carved into it.
Above the horizontal layers, the pillar gradually becomes narrower, ending up with two disc-like constructions, and then it evolves into a wide disc. Sitting on top of the wide disc is an inverse conical construction with a polygonal slab on the top. Above this is the capital of the pillar.
The entire pillar space is covered with fine filigree work. The base has reliefs depicting episodes, such as Samudra Manthana, Ravana shaking Mount Kailash, described in ancient Hindu texts and epics. A variety of deities are carved inside and around the miniature shrines.
Highly ornate exterior
The outline of the Navaranga exterior is step-shaped and consists of multiple sections. As mentioned before, there are three entrances, the main entrance on the east side, the south entrance, and the north entrance. There is no entrance on the west side because of the garbhagriha located on that side. Architecturally, the temple is symmetrical about an east-west axis. In other words, the north-side design is a mirror image of the south-side design (and vice-versa). However, no two architectural elements are alike. Between the main entrance and the south/north entrance, there are four sections of walls.
Main entrance – Grand and magnificent
As you can see, the richly decorated facade with perfect symmetry is a delightful sight to watch. The structure faces east and is symmetrical about the east-west axis, although carvings are different on either side.
Main entrance to the Chennakeshava Temple
The Chennakeshava Temple stands on Jagati, a star-shaped four-foot-high platform with an extended terrace surrounding the temple. This terrace acts as the pradakshinpatha, the path on which visitors walk in the clockwise direction to perform circumambulation.
The temple floor is at a higher level than Jagati, so the approach to the door at the main entrance is through two staircases. The first staircase leads to Jagati from the courtyard, and the second to the doorway from Jagati. These staircases are flanked by four mini shrines, two on the courtyard floor and two on the Jagati terrace.
Mini shrines
The image below shows one of the mini shrines, i.e., one to the right of the staircase in the courtyard. Flanking the door are the two pillars with the sculptural reliefs of dwarapalakas carved in the lower half. Attached to each of these pillars is Yali, a mythical creature formed by combining the parts of different animals. As you can see, it is a lion on top of the head of an elephant in this case.
Bhairava inside a mini shrine at the main entrance
Standing inside this mini-shrine is a beautiful statue of Bhairava, who in Hindu mythology is a fierce form of Shiva created by himself to destroy both the internal and external enemies. His sculptural depictions indicate the fierceness of his physical presence.
As you can see from the image, he is standing on top of a slain demon with a dancing pose. Although he is a digambara (i.e., wearing no clothes), he is wearing a variety of jewelry, including necklaces, anklets, armbands and an udiyana (waistband). He is also wearing the yajnopavita, a looped thread sacred to Hindus worn across the chest from the left shoulder to the waist.
With one of his left hands, Bhairava is carrying a severed-head belonging to Brahma. According to a legend, Brahma used to have five heads, four of which facing the cardinal directions and the fifth head gazing upwards. Shiva cut off the fifth head when he realized Brahma became infatuated with a female goddess he created.
Bhairava’s other hands are holding a variety of objects that include a trishula (trident), Shula (a pointed weapon), damaru (drum-like instrument), and pasha (noose).
Hoyasala lanchana (emblem)
Mounted between the shrines and the facade are the sculptures depicting a young man killing the tiger with a lance. See the images below. Both these sculptures are at the end of the flight of steps leading to the main door and placed at an angle to enable visitors to get a good view of them as they enter.
These sculptures represent the lanchana (emblem) of the Hoysala dynasty that ruled most of Karnataka from the 11th to 14th century and is based on a story about the founding of this dynasty, which appears on an inscription attributed to King Vishnuvardhana. Per this inscription, Hoysala is a combination of Hoy and Sala. Hoy in Halegannada (Old Kannada) means hurl, and Sala is the name of the founder of the Hoysala dynasty.
Hoysala emblem on the left side of the main entranceHoysala emblem on the right-side of the main entrance
Here is the legend of Sala in brief:
While Sala was walking with his guru, a Jain sage named Sudatta Muni, a tiger suddenly appeared from nowhere and was about to pounce on his guru. To save his life, his guru yelled “Hoy Sala” at Sala, who was holding a lance at that time. Sala complied immediately by hurling the lance at the tiger and then killing it after a fierce fight, thus saving his guru’s life.
Sala was a boy at the time of this incident, and the news of his bravery soon spread, and he became a legend. He used his fame to found a dynasty, which got its name from the words uttered by his guru.
The narrative sculptures shown above capture the essence of the Hoysala legend. However, the animal appears to be a lion rather than a tiger. The north and south side entrances to the temple also have sculptures depicting Hoysala emblems near the doors.
Manmatha and Rathi on the door jambs
The door at the entrance opens into the Navaranga. A variety of sculptures and sculptural reliefs adorn the facade of the temple at the main entrance.
Rathi at the main entrance
Manmatha at the main entrance
As you can see from the image of the facade, the door jambs and the lintel are beautifully decorated. Carved on the bottom part of the left door jamb is Manmatha and the right door jamb is his wife Rathi. Manmatha, who is also known by many names, including Kamadeva, is a son of Vishnu and the Hindu god of love.
As you can see from the image, Manmatha is standing elegantly with the Tribhanga (bent in three places) stance, holding a sugarcane bow with his left hand and the floral arrows with his right hand. He is wearing a variety of jewelry, including necklaces, anklets, armbands, and udiyana (waistband).
Rathi is also wearing a variety of fine jewelry, including necklaces, anklets, armbands, and udiyana (waistband), and standing elegantly with the Tribhanga stance.
Garuda and Narasimha on the pediment
Garuda and Narasimha on the pediment
Carved on the pediment, which is above the door, is a finely-carved relief of Narasimha, the fourth avatar of Vishnu, carried by his vahana, Garuda, a mythical eagle-like bird with human body. Enclosing this pediment is a creeper disgorged by the Makaras sitting atop the beautifully crafted pilasters that are standing on either side of the doorway. Garuda is also on the roof, flanked by two female figures.
Jālandharas- Perforated stone windows
Known as the jālandhara, the perforated stone window is a unique element of the Dravida style architecture and is a common feature in Chalukya and Hoysala temples. The perforations allow light and air into the mantapa (covered hall). When the temple was built, the Navaranga was an open mantapa, which means there were no jālandharas. King Veera Ballala II (1173 – 1220 CE), a grandson of King Vishnuvardhana, was responsible for covering the Navaranga windows with the jālandharas, likely for security reasons.
The facade of the main entrance has four pillars, two on the left and two on the right of the door. As you can see from the images below, the jālandharas occupy the space between the pillars. Not only do the jālandharas provide ventilation and light, but also make the temple aesthetically pleasing due to the beautiful patterns of the perforations and the carvings around them. Some of the jālandharas are carved with the themes from the Hindu epics and ancient Indian texts, such as the Puranas.
The jālandhara on the left section of the main entrance facade has a sculptural relief depicting the court of King Vishnuvardana and the right section has the relief depicting the court of King Vira Ballala II.
Left section of the main entrance with the jālandhara and bracket figures
As you can see from the image, the diamond-shaped perforations are at the top and bottom of the window. Carved between the perforations are the beautiful sculptural reliefs depicting three distinct themes. The top-level relief depicts Narasimha, the fourth avatar of Vishnu. The reliefs of kneeling Garuda are at the ends. The middle-level relief depicts the āsthāna (royal court) of Vishnuvardhana (1108 – 1152 CE), one of the great kings of the Hoysala dynasty and the builder of this temple. The bottom level has lions carved in between the perforations.
Right section of the main entrance with the jālandhara and bracket figures
This jālandhara is on the right side of the facade. It also has the diamond-shaped perforations and the carvings between the perforations depict three distinct themes. The top-level relief depicts Vishnu standing with his consort Lakshmi, and Hanuman and Garuda are at the ends. The middle-level relief likely depicts the āsthāna (royal court) of King Veera Ballala II (1173 – 1220 CE), a grandson of King Vishnuvardhana and one of the great kings of the Hoysala dynasty. The bottom level has lions carved in between the perforations.
The structure of the southern entrance is similar to the main entrance, but the carvings are different. The lower part of the door jambs have the carvings of Hanuman and Garuda on the left and right side respectively.
There is only one jālandhara, which is on the right side, and it depicts the story of Narasimha, one of the avatars of Vishnu, slaying Hiranyakashipu in a gruesome manner by ripping off his entrails with his bare claws. The left side jālandhara was most likely destroyed, so it is now closed with stones.
North entrance
North entrance to the Chennakeshava Temple in Belur
Just like the southern entrance, the structure of the northern entrance is similar to the main entrance, but the carvings are different. The lower part of the door jambs have the carvings of Jaya and Vijaya, the dwarapalakas of Vishnu. In this entrance also, there is only one jālandhara, which is on the left side, and the right side window is closed with stones. The jālandhara on this entrance doesn’t have a sculptural relief but has a beautiful pattern of square holes.
Exterior wall
The exterior wall surrounding the Navaranga has four lateral sections between the main facade and the south entrance. Likewise, there are four lateral sections between the main facade and the north entrance because of the east-west symmetry.
Separated by pillars, the consecutive lateral sections are at right angles to each other. In addition to the end pillars, there is a pillar in the middle of these lateral sections. Mounted on these pillars just below the eaves are the bracket figures. The jālandharas occupy space between two pillars.
Here are some of the noteworthy sculptural reliefs and carving on the jālandharas:
Maha Vishnu
Vishnu reclining on Adishesha
The jālandhara shown in the image is located on the fourth section of the wall from the main entrance. It has several square holes surrounded by carvings that include beautiful patterns, figures from the Hindu epics, and the main sculptural relief, i.e., reclining Vishnu.
As you can see from the image, the reclining Vishnu relief is finely carved with great details. Vishnu in this relief is portrayed with four hands and is wearing a beautiful dress and a variety of jewelry all over the body. He is lying down in a relaxed manner on Adishesha, the seven-headed king of serpents, who appears to be floating on an ocean. Vishnu’s facial expression also shows his relaxed mood as his wife Lakshmi massages his left foot.
This relief actually depicts the birth of Brahma, the creator of the Universe in Hindu mythology, and is based on an ancient Indian text called Vaishnava Purana. If you look closely at the relief, you can see Brahma is attached to a lotus flower that is emerging from Vishnu’s navel. The lotus flower acts as the umbilical cord of Brahma. Because of his role as the primary creator, Vishnu is referred here as Maha Vishnu (Great Vishnu).
Note: There are differing accounts of Brahma’s creation in other Puranas. For example, in Shiva Purana, Shiva created Vishnu and Brahma.
Avatars of Vishnu on a frieze
Just below the Maha Vishnu jālandhara, there is a frieze with some avatars of Vishnu.
Avatars of Vishnu carved on a frieze on the exterior wall of the Belur Chennakeshava Temple
The frieze depicts six of the ten avatars of Vishnu. Here is the list from left to right:
One of the amazing features of this temple is the placing of the finely carved figures, popularly known as the bracket figures, atop the pillars on the exterior wall just below the eaves. There are 38 of them, and each of them tells a story. Only a couple of them are goddesses, and the rest are people, mostly women.
The Belur Chennakeshava Temple, a gem among stones, is an architectural marvel. It showcases the Hoysala architecture with many notable features, including its unique layout, ornate pillars (one of them revolves about its own axis), and most importantly, the bracket figures, the beautifully carved sculptures mounted on the exterior wall at an angle just below the eaves.
Note: This page is about the bracket figures. Check the Belur Chennakeshava Temple – Navaranga page for the images and detailed explanation of the architectural elements inside and outside the Navaranga.
Navaranga – Hoysala Classic Design
Although the front portion of the temple – popularly known as Navaranga – is relatively small, it is unique in many ways and aesthetically pleasing. The layout of the Navaranga shown below highlights the location of the bracket figures and the other architectural elements.
Note: The diagram is not drawn to scale. The bracket figures are represented by circles and given a number. The sections of the wall are also labeled to indicate their location. For example, S4 is the fourth section on the south side from the main entrance.
Navaranga layout and the location of the Bracket Figures
The temple is symmetrical about an east-west axis. In other words, the south-side layout is a mirror image of the north side (and vice versa).
As you can see from the diagram, there are three entrances, the main entrance to the temple is on the east side, and a side entrance each on the north and the south. Because of the location of the garbhagriha (inner sanctum), there is no entrance on the west side.
Bracket Figures – Hoysala Masterpieces
The exterior wall surrounding the Navaranga has eight sections each on the south (S1 to S8) and north (N1 to N8) sides. On each section, small (height of 2.5 ft on the average) but finely-carved and ornate sculptures are mounted on the brackets just below the eaves of the temple. They are known as bracket figures because they are mounted on brackets.
There are 38 bracket figures on the exterior wall, 18 on the south side and 20 on the north side. Two on the south side are missing from the original 40. There are four bracket figures on the pillars surrounding the dance hall inside the Navaranga.
Bracket figures mounted on the pillars on the exterior wall surrounding the Navaranga
The bracket figures are inclined in such a way that the onlookers can have a good view of them. Each figure is standing on a disc-like base mounted on top of a pedestal that is attached to a pillar slightly below its capital. The pedestal is carved to look like a lotus flower. Engraved into the sides of some of these bases are the inscriptions, written in Halegannada (Old Kannada), with information about the sculptor.
Each pillar in the outward-pointing corner has two figures mounted at right angles to each other. Each middle pillar, as well as the pillar in the inward-pointing corner, has just one figure.
Most of the bracket figures were made of Balapada Kallu, a type of soft soapstone with characteristics ideal for sculpting and is available in plenty in Karnataka. It is soft, so it is easier to sculpt. Once the stone is exposed to air, it gets hard, so the sculpture lasts longer. Balapada Kallu comes with an attractive soft gray color, which is one of the main reasons most bracket figures are made of this stone. However, a few of them use Krishna Shilé, a type of black stone. As the name suggests, these stones are black and are typically used for sculpting gods and goddesses.
Here are some of the noteworthy bracket figures:
Darpana Sundari
Darpana Sundari
Darpana Sundari – Another view
Popularly known as Darpana Sundari, this beautifully carved shilābālike is an iconic figure and one of the most famous sculptures in the world. She is like Monalisa of the sculpture world. In Kannada, darpana means mirror, and sundari means beautiful lady.
As you can see from the image, Darpana Sundari, wearing a stylish dress and fine jewelry, is holding a mirror and looking at herself. Her elegant stance suggests that she is a dancer. It appears as though she is looking into the mirror just before the start of a dance performance.
Notice the three small figures at the bottom. Two of them are handing over some objects, likely the makeup material, to Darpana Sundari. The third one is a mysterious stocky figure carrying a monkey on his left side and holding a bunch of fruits or nuts with his right hand.
Located to the right of Shuka Bhasini, Darpana Sundari is mounted on a pillar on the left side of the door at the main entrance. She is also one of the four shilābālikes on the facade of this entrance. Experts believe that one of these shilābālikes resembles Pattada Rani Shantala Devi, an accomplished dancer and the queen consort of King Vishnuvardana, the builder of the Chennakeshava Temple.
Sukha Bhasini – Madanike talking to her pet parrot
Shuka Bhasini – Madanike talking to per pet parrot
Popularly known as Shuka Bhashini, this madanike appears to be talking to her pet parrot while her three friends/assistants, who are holding what appears to be corn cobs, are watching her talk. In Kannada, shuka means parrot, and bhashini means lady who talks.
As you can see from the image, the Shuka Bhashini has gracefully bent her body to give her an elegant stance and held her left hand precisely at the chest level so that the parrot can stand on the back of her palm and look at her.
In the Navaraga Layout, Shuka Bhasini is figure number 2, i.e., mounted on the leftmost pillar on the facade of the main entrance.
Nātya Sundari – Dancing madanike
Dancing Shilabalike at the main entrance
This beautifully sculpted madanike, popularly known as Nātya Sundari, is one of the first bracket figures you see when you enter the Chennakeshava Temple. She is above the doorway on the right side, and the iconic Darpana Sundari is on the left side.
As you can see from the image, Nātya Sundari has a well-proportioned body covered with stylish clothes and jewelry. She has a graceful dancing stance, and it appears as though she is dancing with an Indian classical dance move. Accompanying her at the bottom are the four musicians playing different musical instruments. As you can see, two on the left are beating the dolu, one on the right is playing the tāla, and the other playing the flute.
This madanike, popularly known as Gāna Sundari (Singing Beauty), is seen singing and playing the tāla (notice the bell-like objects in her hands). Unlike the other bracket figures, her mouth is slightly open, indicating that she is singing.
As you can see from the image, her well-proportioned body is gracefully bent to give her an elegant stance. She is wearing stylish clothes and finely crafted jewelry all over her body.
Notice the four figures at the bottom; They are playing some musical instruments. It appears Gāna Sundari is part of an orchestra, a quintet in which she is the lead singer accompanied by two male musicians playing the dolu, a lady musician playing the tāla, and a male musician playing the flute.
Kapi Chasté (Monkey Mischief) – Madanike chasing a monkey
Shilabalike chasing a monkey pulling her dress
As you can see from the image, a monkey is pulling the dress of a beautiful lady who is trying to chase it with a small tree branch. She appears to be semi-nude, and her facial expression shows annoyance at being harassed by the monkey.
As with the other bracket figures, the background is a finely carved creeper. The base on which the dancer stands has an inscription describing the sculptor – inscribed most likely by the sculptor himself.
This madanike is figure number 5, i.e., mounted on a pillar on the third section (S3) of the exterior wall.
Kesha Sundari – Madanike styling her long hair
Kesha Sundari – Shilabalike styling her long hair
Popularly known as Kesha Sundari, this gorgeous madanike is styling her long hair, helped by two lady assistants at the bottom, who are holding objects that are likely part of the hair-styling kit available in that era. Note: In Kannada, kesha means hair, and sundari means beautiful lady.
As you can see, Kesha Sundari and her accomplices are standing on a disc-like base mounted on a lotus pedestal. Engraved into this base is an inscription, written in the Halegannada (Old Kannada), likely inscribed by the sculptor to describe himself and his work.
In the Navaranga Layout, Kesha Sundari is figure number 7, i.e., mounted on the corner pillar located at the junction of the third and fourth sections of the south exterior wall.
Tribhangi
Tribhangi – Davane playing Natya Sundari with the Tribhanga stance
As you can see, Tribhangi has elegantly curved her body by bending her knee, waist, and neck to give her a beautiful S-like shape. The sculptor has captured this dance pose perfectly with great details.
This exquisitely carved sculpture captures the details of a complicated dance move, known as Tribhanga, commonly performed in the Indian classical dances, such as the Odissi, Bharatanātyam, and Kathakali. Described in the Nātya Shāstra (ancient Indian text on dance) and Shilpa Shāstras (ancient Indian texts on crafts), Tribhanga refers to a pose with three bends in the body (typically, knee, waist, and neck). Because of this dance move, the popular name for this stunningly beautiful sculpture is Tribhangi.
Tribhangi is dancing while playing on the davane, held gracefully above her head. She is beating the drum-head with her right hand while holding the davane steady with the left. As part of the dance move, she has bent and twisted her well-proportioned body and gracefully lifted her left leg. As you can see, this move is difficult to perform, and capturing it perfectly in stone requires extraordinary sculpting skills.
In the Navaranga Layout, Tribhangi is figure number 8, i.e., mounted on the middle pillar attached to the fourth section (S4) on the exterior wall.
Davane Playing Madanike
Davane playing dancer
As you can see from the image, this exquisitely carved madanike appeared to be dancing while playing on the davane, hung by a thin rope from her left shoulder (part of the rope is missing). Using a curved stick, she is beating the drum-head with her right hand while holding thedavanesteady by inserting her left hand inside the net formed by the strings connecting the drum-heads.
Accompanying this madanike are the two male musicians, each beating adolu, also a two-sided drum-like instrument, but played with hands. All these sculptures are standing on a disc-like base mounted on a lotus pedestal. Engraved into this base is an inscription, written in Halegannada (Old Kannada), likely inscribed by the sculptor to describe himself and his work.
This madanike is mounted on the middle pillar of the fifth section (S5) of the south-side exterior wall. She is figure number 10 in the Navaranga Layout.
Nātya Sundari with a Lizard Chasing a Fly in the Background
Dancing shilabalike with a lizard chasing a fly in the background
As you can see, this beautiful madanike, popularly known as Nātya Sundari, is dancing with an Indian classical dance move, accompanied by two musicians at the bottom, one playing thetālaand the other beating the dolu. She is unaware of a lizard behind her chasing a fly on a fruit (likely a jack fruit).
Nātya Sundari and her accomplices are on a disc-like base, mounted on a pedestal carved with three layers of lotus flower petals.
She is bracket figure number 13 in the Navaranga Layout, i.e., mounted on the pillar on the right side of the door at the south entrance.
Betegārthi (Huntress) – Proud madanike after a successful hunt
Betegarthi (Huntress) after a successful hunt
TThis madanike is a Betegārthi (a huntress), shown by the bow on her left shoulder and an arrow (only a small piece remains) in her right hand. She seems to have finished a successful hunt, indicated by the kill, what appears to be a deer, carried by the lady, standing at the bottom right, on her shoulder.
The lady on the bottom left, who likely helped the hunt, is seen carrying a sword-like object. Sitting next to this lady is a small mysterious figure, most likely a man, with a puzzled facial expression.
This bracket figure is finely carved with amazing details. Betegārthi’s majestic stance and facial expression show her pride after a successful hunt. Notice her left toe, which is up slightly as if she is about to move.
Betegārthi is mounted on the right most pillar located at the north entrance of the temple. She is figure number 23 in the Navaranga Layout.
Kapāla Durga
Shilabalike as Durga
This shilābālike, depicted as Goddess Durga, is seen holding the kapāla danda (skull cup attached to a staff) with her left hand and an unidentified object with her right hand. Accompanying her are the two dolu playing male musicians at the bottom.
In Hindu mythology, Durga is a goddess who fights evil forces. As you can see from the image, Durga is wearing a garland of kapālas on her crown, symbolizing the liberation of mankind from evil.
The round base on which this shilābālike is standing is on top of a lotus pedestal. The side of the base has an inscription written in the old Kannada script inscribed most likely by the sculptor describing him and his work.
This shilābālike is mounted on the pillar at the junction of section 4 (S4) and 5 (S5) of the exterior wall. She is bracket figure number 9 in the Navaranga Layout.
Mango Plucking Madanike
Shilabalike plucking a mango
Standing with an elegant pose, this beautifully carved madanike is plucking a fruit – what appears to be a mango – with her right hand. Her stance suggests that she neither a dancer nor a singer, rather a beautiful lady collecting fruits. Notice that her left hand is missing, which she likely used to hold a basket to collect fruits. The marks of broken stones at the bottom suggest that two small figures existed on either side of the original sculpture, just like in many other bracket figures.
As you can see, this madanike is on a disc-like base mounted on a pedestal carved with three layers of lotus flower petals. Engraved into this base is an inscription, written in the Halegannada (Old Kannada), likely inscribed by the sculptor to describe himself and his work.
This madanike is on a corner pillar at the junction of the 6th and 7th section of the exterior wall. She is bracket figure number 16 in the Navaranga Layout.
Nagna Sundari
Nagna Sundari (Nude Beauty) with the scorpion carved on the base of the sculpture
This beautiful madanike, popularly known as Nagna Sundari (Nude Beauty), is holding the ends of her dress as though she is undressing. She is scantily clad but covered with a lot of jewelry, including necklaces, bracelets, armbands, and anklets.
Standing with an elegant stance on a disc-like base mounted on top of a lotus pedestal, Nagna Sundari is looking intensely at the scorpion crawling on the side of the base. Her facial expression suggests that she is amused or scared.
The story behind this madanike is anybody’s guess. According to one story, Nagna Sundari is shaking off the scorpion found in the dress. Another one suggests that she is a visha kanye (venomous girl), indicated by the presence of the scorpion, a poisonous creature.
The legends of visha kanyes appear in many ancient Indian texts, including Kautilya’s Arthashastra, a treatise on statecraft authored by Chanakya, the Prime Minister of Emperor Chandragupta Maurya. According to the legend, visha kanyes were beautiful women born with poisonous blood (or other bodily fluids). They were capable of seducing powerful men and killing them with their poison.
In the Navaranga Layout, Nagna Sundari is figure number 26, i.e., she is on the leftmost pillar attached to the facade of the north entrance.
Flute Playing Male Musician
Flute playing male musician
This is one of the most beautifully carved sculptures among the 42 bracket figures in the temple. It depicts a flute-playing male musician standing with the Tribanga pose (bent in three places, knee, waist, and neck), typically performed in the traditional Indian dances like the Odissi, Bharatanātyam, and Kathakali. Accompanying him are the two musicians, a lady musician is playing the tāla on the bottom left, and a male musician is playing the flute on the bottom right.
As you can see, all the figures are standing on a disc-like base, mounted on a lotus pedestal. Engraved into this base is an inscription, written in the Halegannada (Old Kannada), likely inscribed by the sculptor to describe himself and his work.
This bracket figure is mounted on the corner pillar (11) of the fifth section (S5) of the south-side exterior wall.
Davane Playing Male Musician
Davane playing male musician
This beautifully carved sculpture depicts a male musician playing the davane, a two-sided drum-like instrument played with a stick that is curved at the end. As you can see, he is beating the drum-head with his right hand while holding the davanesteady with his left hand. Accompanying him at the bottom are the two male musicians, each playing a dolu, also a two-sided drum-like instrument played with hands.
As you can see from the image, the male musician is sporting a mustache (upward-pointing handlebar style) and a beard (neatly-trimmed boxed style), which is probably a reflection of men’s fashion in those days. As for his hair, he has a long ponytail held up behind his head. Like his female counterparts in the bracket figures, he is wearing stylistic jewelry, including large loop earrings, armbands, and necklaces. Because of his stance, it appears that he is dancing as he beats the davane. As with the other bracket figures, the background is covered with a finely carved creeper.
This male musician is one of the three male figures among the 42 bracket figures in the temple and located on the last pillar on the south side of the exterior wall. This is bracket figure number 18 in the Navaranga Layout.
Notes
Note 1: Tāla – An Indian musical instrument made of brass, typically played while singing devotional music. It looks like a smaller version of hand cymbals.
Note 2: Dolu – A two-sided drum-like instrument played with hands.
Note 3: Davane – A two-sided drum-like instrument played with a stick that is curved at the end.
Known for its immensity, grandeur, and architectural brilliance, Angkor Wat is the largest religious monument in the world and one of the most visited. Located in Siem Reap, Cambodia, this sprawling complex was originally a Vishnu temple built by the Khmer King Survarman II in the 12th century. It was later converted into a Buddhist monument by the kings who came after him.
Angkor Wat also offers a glimpse of the day-to-day life during the heyday of the Khmer civilization through its intricately-carved numerous bas-reliefs carved on its galleries, pediments of gopuras, and pillars depicting scenes based mostly on the Hindu epics, Ramayana and Mahabharata, and ancient Hindu texts, such as the Puranas. Although there are bas-reliefs on the upper-level galleries and pediments, the bas-reliefs on the lower-level galleries are extensive and detailed.
Elaborate bass-reliefs on the lower-level gallery
The lower-level galleries are in a rectangular structure built at the periphery of the lower enclosure. On each side of this structure, there are two sections of continuously carved bas-reliefs. In total, there are eight sections of bas-reliefs, each with a different theme. The bas-reliefs are carved on the polygonal walls of the structure, and most of them have two or three tiers in the vertical direction. Many of the bas-reliefs have polished appearance, and a few still have traces of original paint, especially red.
Unlike the majority of Hindu temples, which are east-facing and where the visitors follow the pradakshina patha (clockwise circumambulation path), Angkor Wat is west-facing and the visitors follow the counter-clockwise path starting from the main entrance, which is in the middle of the west side gallery.
Angkor Wat Temple Layout
West Gallery, South Section: Battle of Kurukshetra
The Battle of Kurukshetra is the theme in the southern section of the west gallery. Based on the Hindu epic Mahabharata, this bas-relief depicts the fighting scene between the Pandavas and Kauravas.
The image below shows the advancing Kaurava army. On the top-left corner, Bhishma, the commander of the Kaurava army, is seen lying on the bed of arrows fired by Arjuna.
Advancing Kaurava armyDeath of Bhishma
Death of Bhishma
The death of Bhishma is a well-known episode in Mahabharata. According to the story, Bhishma, the grand-uncle of both the Kauravas and Pandavas, leads the Kaurava army for the first ten days of the battle. As the Kurukshetra Battle rages, Krishna realizes Bhishma is an obstacle to Pandava’s victory because Arjuna is unable to beat Bhishma in the battle. To ensure Pandava’s victory, Krishna devises a clever plan involving Shikhandi, a eunuch, to kill Bhishma. Krishna knew Bhishma took an oath not to fight the other gender.
As per the plan, Shikhandi accompanies Arjuna in his chariot on the tenth day of the battle. When the battle starts between Arjuna and Bhishma, Arjuna hides behind Shikhandi and fires arrows at Bhishma. Unable to fight back because of his oath, Bhishma lays down his arms. As Arjuna’s arrows pierce through Bhishma’s body, he falls down making it appear as if he is lying on the bed of arrows. See the image on the right side.
Raging Battle
Battle of Kurukshetra bas-relief depicting melee of Kaurava and Pandava warriors
The image depicts the fight between the Kaurava and Pandava armies. The Kaurava warriors are moving from left to right, and the Pandava warriors are from right to left. The commanders are on the chariots.
South Gallery, West Section: Procession of King Suryavarman II
The Procession of King Suryavarman II is the theme of the western section of the south gallery. Unlike the other bas-relief themes, this is based on history. It depicts King Suryavarman II in a procession with his commanders, soldiers, courtiers and ordinary people. The commanders are on elephants, and the rank of commander is indicated by the number of parasols surrounding them.
Suryavarman II as the King
Bas-relief of Khmer King Suryavarman II, the builder of Angkor Wat
As you can see from the image, King Suryavarman II is elegantly seated on his throne with his legs on the seat – a typical Indian way of sitting. He is portrayed with beautiful jewelry on his body as per the custom in India and Indianised kingdoms in Southeast Asia. He is wearing bracelets and arm rings on his hands, anklets on his legs, a beautiful necklace around his neck and an udiyan (waist chain) around his waist. He is holding with his right hand a strange object believed to be a dead snake, the significance of which is a mystery.
Surrounding King Suryavarman II are his attendants waving pankahs (fans) with long handles and chauris (fly-whisks). Notice the parasols around the king. There are fifteen of them in this bas-relief. The number of parasols indicate the rank of a commander in his army. The king has the highest number of parasols among the commanders in the procession implying that he is the commander-in-chief.
Suryavarman II as the Commander-in-Chief
King Suryavarman II as the commander-in-chief
Standing majestically on top of the elephant is King Suryavarman II as the commander-in-chief of his army. His left hand is holding a sword that is pointing downwards, and his right hand is holding an unknown object (probably a weapon). Sitting in front of him is the mahout goading the elephant with an ankusha, which is a pointed tool with a hook used in India and Southeast Asia for training and controlling elephants.
Notice the parasols surrounding the king. There are fifteen of them in this bas-relief. The number of parasols surrounding a commanderindicates his rank in the army. The king has the highest number of parasols among the commanders in the procession implying that he is the commander-in-chief.
A Commander
A commander riding an elephant in the procession of King Suryavarman II
The image shows an army commander standing majestically on an elephant. He is holding a shield with his left hand and an unknown object with his right hand (similar to the one held by the king). Sitting in front of him is the mahout goading the elephant with an ankusha.
Other Participants
The image on the left shows a contingent of Siamese soldiers carrying spears marching at the head of the parade. Behind them is their commander riding an elephant. The image on the right shows women marching along the procession.
Siamese soldiersWomen
South Gallery, East Section: Swargas and Narakas (Heavens and Hells)
A section of the Heavens and Hells bas-relief carved on the eastern section of the south gallery
As the name suggests, the Heavens and Hells bas-relief is about the depiction of heavens and hells as described in the ancient Hindu texts called Puranas. The image shows a section of 200 feet long bas-relief carved into the eastern section of the southern gallery.
As you can see from the image, this section of the bas-relief has the following three horizontal layers: 1. Upper layer: Depicts swargas (heavens) 2. Middle layer: Depicts the bhoomi (earth) 3. Bottom layer: Depicts narakas (hells)
The entire Heavens and Hells bas-relief depicts 37 swargas and 32 narakas. The narakas are much more descriptive than the swargas. As you can see from the bottom layer, the punishment of sinners is gory and elaborate. Although naraka translates to hell, it is not the hell as understood in the West. A naraka is more akin to purgatory because it is not eternal and the sinners can redeem themselves once they pay for their sins. In Hindu mythology, sinners are reborn, but not always as human beings.
Yama’s Court
In Hindu mythology, Yama is one of theAshta Dikpalas(guardians of the eight directions) and is responsible for guarding the South, which makes him the lord of the south. Therefore, the bas-reliefs related to Yama are in the south gallery.
The bas-relief on the left image depicts the Yama, the god of justice and lord of naraka, sitting on a buffalo and conducting the proceedings in his court. He is portrayed with multiple hands, one of which carries his signature weapon gada (mace), and is surrounded by his guards and sinners.
The bas-relief on the top right shows the continuation of Yama’s court where Chitragupta, a god in Hindu mythology and the assessor who keeps the records of good and bad deeds of a human being from birth to death, assisting Yama in determining who goes to heaven and who goes to hell.
The image on the bottom right shows the guards in the upper-tier pushing the sinners to the lower-tier through a trapdoor and the guards in the lower tier, which represents a naraka, punishing the sinners in a variety of ways.
Narakas – Punishing the Sinners
According to Hindu mythology, a naraka is designed to punish a specific type of sin. The images below show some of the 32 narakas depicted in the bas-relief.
East Gallery, South Section: Samudra Manthana
The south section of the east gallery depicts Samudra Manthana, one of the well-known legends of Hindu mythology. In Sanskrit, samudra means ocean and manthana mean churning. It is a story about the churning of the ocean to produce amrita, the nectar of immortality. This story appears in many Hindu epics, including Mahabharata and Vishnu Purana.
According to the story, devas (demigods) and asuras (demons) collaborate to produce amrita by churning the Ocean of Milk. To perform churning, they use Vasuki (king of nagas) as the rope and Mount Mandara as the churning rod. Vasuki is coiled around Mount Mandara with asuras are on the head side and devas are on the tail side of Vasuki.
The churning took 1000 years to complete resulting in many by-products, including 14 ratnas (precious things), one of them is amrita. The other ratnas include the Moon, Ramba (an apsara), Lakshmi (Goddess of Wealth). Produced along with amrita was halahala (poison) emanating from the mouths of Vasuki. Realizing the danger posed to the world by this poison, Shiva drank it but did not swallow it. So, it stayed in his throat forever. Shiva is therefore called Neelakanta (blue throat) as the result of poison remaining in his throat. Vasuki then became Shiva’s snake and remained coiled around his neck.
Ravan leading asuras Vishnu and IndraHanuman leading devas
The left image shows asuras led by a multi-headed Ravana pulling Vasuki’s body on the head side. To the left of Ravana is the army of asuras on elephants and horses. The middle image shows Vishnu with four arms overseeing the churning at Mount Mandara and Indra flying on top of the mountain to stabilize it. The right image shows devas led by Hanuman pulling the body of Vasuki on the tail side. Although Ravana and Hanuman were not part of Samudra Manthana, their symbolic inclusion was to show that it was a fight between good and evil.
To the left and right of the Mount Mandara are the apsaras acting as cheer-leaders to asuras as well as devas. The bas-relief in this section is beautiful and intricately carved. Unlike the other bas-reliefs, it is easy to understand the story and identify the players.
East Gallery, North Section: Vishnu’s Victory over Asuras
A section of the Gods Vs. Asuras bas-relief depicting an asura commander on a chariot fighting the gods
The northern section of the east gallery is about Vishnu’s victory over asuras, a generic theme not taken from any epics. It is believed that this bas-relief was likely completed at a later date, probably in the 15th or 16th century.
North Gallery, East Section: Krishna’s Victory over Banasura
The scenes depicted on the bas-relief carved on the eastern section of the north gallery is based on Krishna’s Victory over Banasura story, which appears in Mahabharata and Vishnu Purana. This story is about Krishna, who is an avatar of Vishnu, fighting Shiva and becoming victorious. It is not a well-known story but chosen deliberately to show the dominance of Vishnu because King Suryavarman II broke the Shaiva tradition of his predecessors and made Vishnu the dominant god of the Hindu Trinity.
Legend of Banasura
According to the story, Banasura, an asura king with thousand arms, is an ardent devotee of Shiva whom he tried to please by doing tapasu (austerity and meditation) for many years. Pleased with his devotion, Shiva confers upon him with many varas (boons), one of which was to be his ally in future fights. Once he gets these varas, Banasura becomes arrogant and starts ill-treating his subjects. When his daughter Usha reaches the marriageable age, many suitors approach her with an intention to marry. Banasura gets angry at the suitors and builds a fortress called Agnigraha (house of fire in Sanskrit) and imprisons her there to keep her away from them.
Krishna riding Vishnu’s vehicle Garuda and fighting Banasura
Garuda entering Agnigraha (house of fire) built by Bansaura
One day, Usha dreams of a young man and falls in love with him. When she mentions this to her maid Chitraleka, who realizes that the young man is Aniruddha, one of the grandsons of Krishna. Chitraleka with her superpowers summons Aniruddha to Usha’s quarters. When he sees Usha, he falls in love with her too. Meanwhile, Banasura comes to know of Aniruddha’s presence in Usha’s quarters. He captures and imprisons him. When Krishna comes to know about his grandson’s imprisonment, he wages war against Banasura. At the request of Banasura, Shiva keeps his promise and starts fighting against Krishna. Realizing this, Krishna tricks Shiva by firing a weapon that puts Shiva to sleep. Krishna then severs all but four arms of Banasura. Shiva then wakes up and begs Krishna not to kill Banasura. Meanwhile, Banasura realizing his mistakes begs forgiveness and allows his daughter to marry Aniruddha.
The image shows Garuda facing Agnigraha (house of fire) built by Bansaura to keep his daughter Usha.
North Gallery, West Section: Battle between Gods and Asuras
The theme of the bas-relief on the western section of the north gallery is not taken from any epics, instead, it depicts a generic theme of the good fighting evil. The bas-relief Battle between Gods and Asuras is about the Hindu pantheon of gods fighting the evil asuras. It is a battle scene with 21 Hindu gods mounted on their vehicles fighting the asuras.
The images below show four of the gods, Vishnu, Varuna, Indra, and Kartikeya (also known as Skanda, Subramanya), and an unidentified asura.
Vishnu riding GarudaVaruna riding MakaraIndra riding Airavata Kartikeya (Skanda) riding a peacockMulti-headed asura riding a chariot
The gods are seen riding their signature vahanas (vehicles) and fighting asuras. Vishnu, one of the Hindu Trinity, is riding Garuda, an eagle-like mythical bird. Indra, the king of heaven and gods, is riding an elephant called Airavata. Varuna, the sea god, is riding a multi-headed mythical creature called Makara. Indra and Varuna are dikpalas (guardians of directions); Indra guards East and Varuna West. Check the Ashta Dikpalas page to read more about all the eight dikpalas. Skanda, the god of war, is riding a peacock called Parvani.
Brahma sitting in a cocoon in the Battle between Gods and Asuras bas-relief
The bas-relief of Brahma, one of the Hindu Trinity, sitting in a cocoon is unusual. Although Brahma is the creator in Hindu mythology, he is not worshiped widely like Vishnu or Shiva. There are very few temples dedicated to Brahma in the world. The Brahma Temple in Prambanan is one of the well-known temples in Southeast Asia. The Brahma Temple in Pushkar is one of the few temples dedicated to Brahma In India.
There are several legends why Brahma is not worshiped. According to one legend, his consort Savitri, who was angered by Brahma’s extreme lust, cursed him not to be worshiped anywhere in the world except in Pushkar. In another legend, Shiva cursed Brahma because he lied to him and Vishnu about their creation.
West Gallery, North Section: Battle of Lanka
The Battle of Lanka is the theme of the bas-relief carved on the northern section of the west gallery. This is the final battle in Ramayana in which Rama and the army of monkeys (Vanara Sené) defeat Ravana and rescue Rama’s wife Sita. The Battle of Lanka bas -relief is likely based on the Yudda Kanda chapter of Ramayana authored by Valmiki. Besides Rama and Ravana, it depicts many prominent figures from both sides.
After the abduction of Rama’s wife Sita by Ravana, Rama gathered an army with the help of his ally Sugriva, the king of the vanara (monkey) kingdom of Kishkindha, and attacked Lanka to rescue her. According to Ramayana, Lanka, where this epic battle took place, is an island located south of India. The present-day island nation of Sri Lanka closely fits the description of Lanka in Ramayana.
Ravana in the Battle of Lanka
According to Hindu mythology, Ravana is a rakasha (demon) with supernatural powers. He is capable of assuming any forms, but in his natural form, he has ten heads and twenty arms. His typical iconography shows him with these features. As you can see from the image, he does have ten heads and twenty arms. ,
In this bas-relief, Ravana is in battle mode leading his warriors in this epic battle against Rama. He is holding a variety of weapons with his hands, including bow and arrows, maces, and astras (arrows that posses supernatural destructive power). While Ravana is leading his charge, a monkey warrior is lunging at him on the leff. Ramayana describes this monkey warrior as Nila, the commander-in-chief of the vanara sené (monkey army) and builder of Rama Sethu (the bridge between India and Lanka). Charging with Ravana are his warriors carrying gadaas (maces).
Raging Battle between Rakshashas Vs. Vanara Sené (Army of Monkeys)
In this battle, Rama’s warriors are mostly the vanaras from his ally Sugriva. Ravana being a rakshasa (demon), his warriors mostly the rakshasas.
A monkey warrior straddled on the heads of two lions
The entire Battle of Lanka bas-relief is about raging battle that is underway with the rakshasa and monkey warriors engaged in hand-to-hand combat. Straddled on the heads of two beautifully carved lions harnessed to a chariot is a ferocious monkey warrior carrying on his shoulder a rakshasa, who presumably is the charioteer. Notice that the rakshasa is wielding a sword and trying to attack the monkey warrior.
The images below show two more such scenes where a monkey warrior is dueling with a rakshasa.
A combat scene in the Battle of LankaA monkey warrior subduing two lions
Located 137 miles west of Bangalore in southern India, the Belur Chennakeshava Temple is a magnificent temple dedicated to Vishnu. King Vishnuvardhana of the Hoysala dynasty commissioned the temple in 1167 CE to commemorate his victory over the Cholas at Talakadu.
Architecturally classified as the Mantapa style temple – a subclass under the southern Dravida style – the Belur Chennakeshava Temple consists of two main parts, garbhagriha and mantapa. The garbhagriha is the inner sanctum where the principal deity of the temple resides. The mantapa, popularly known as the Navaranga, is a covered hall in front of the garbhagriha.
This page describes the exterior wall surrounding the garbhagriha. To read about other parts of the temple, check the following pages:
Unlike the wall surrounding the Navaranga, which has a step-like outline, the outline of the wall around garbhagriha (inner sanctum) is jagged with a random pattern. The shape of this outline is symmetrical about the east-west axis, i.e., the south side outline is a mirror image of the north side, and vice-versa. The wall structure is also symmetrical about the east-west axis. However, no carvings on the north and south side are alike. The outline of the roof also has the same shape and is symmetrical about the east-west axis.
Attached to the outer wall are the massive pillars carved with sculptural reliefs of gods and goddesses and other deities. The carvings do not appear to be in any particular order or following any storyline.
Because the temple is dedicated to Vishnu, the majority of the reliefs are related to Vishnu and his avatars. Shiva and his consort Durga appear in many reliefs, most of which depict the story of their incarnations. Brahma, on the other hand, appears only in one pillar. The other deities include Manmatha (Vishnu’s son) and his consort Rathi and Ganesha (Shiva’s son). There is also a relief depicting Ravana shaking Mount Kailash.
South side wall
The orientation of is wall changes from east-west to north-south. For the sake of simplicity, the description of the wall is divided into the following four sections: 1. East section 2. Middle section 3. Southwest Section 4. Rear Section
The carving is much denser on the southern side of the wall than the northern side, and the south side has more variety of sculptural reliefs.
East section
Sculptural reliefs of Vishnu carved on the south-side exterior wall surrounding the garbhagriha
This is where the wall around the garbhagriha starts and is connected to the Navaranga wall. The wall is oriented along the north-south direction and is flatter compared to the other sections. As you can see, there are six beautifully carved sculptural reliefs with Vishnu as the theme.
The relief on the rightmost pillar depicts Lakshmi Narayana, i.e., Vishnu sitting with his consort Lakshmi on his lap. Below them is his vehicle Garuda in the kneeling position with folded hands. The relief to the right of Lakshmi Narayana is Vishnu portrayed with four hands carrying his signature objects, Gada, Chakra, Shanka, and Padma. The relief on the pillar next to it depicts Harihara, i.e., Vishnu and Shiva fused into a single entity with Vishnu’s features on his right side and Shiva’s on the left. Carved on the Vishnu’s side is his vehicle Garuda, and on the Shiva’s side is his vehicle Nandi the bull.
The rest of the reliefs carved with the standard iconography of Vishnu.
Mid section
South side outer wall pillars
This section of the wall is oriented along the east-west direction. On the right side, it is attached to the east section. On the left side, it is attached to the wall of the chariot-like shrine.
The middle part of the square pillars and the wall in between the pillars are carved with sculptural reliefs. There is a round pillar that has no carvings except for a small figure at the bottom. The reliefs on the wall to the left and right of this pillar are related to Shiva. The relief on the right side depicts Shiva slaying Andakasura and the relief on the left side depicts Kali, an incarnation of Shiva’s consort Parvati.
The relief on the squarish pillar portrays Vishnu with four hands, each carrying his signature objects. Another Vishnu relief is carved on the wall to its left. The next square pillar on the left has two sides, each of which has reliefs of some unknown deities. The relief on the corner pillar attached to the shrine depicts Ravana shaking Mount Kailash, where Shiva is resting with his consort Parvati.
Southwest section
Brahma, Varaha, and Narasimha on the south outer wall
This is the section between the south shrine and the west shrine and the most interesting one from the sculptural reliefs point of view.
Brahma, the creator
Brahma carved on the south exterior wall
In Hindu mythology, Brahma, the God responsible for the creation, is one of the Trimurti (Hindu Trinity). The depictions of Brahma with standard iconography show him with four heads, each facing a cardinal direction and four arms.
As you can see from the image, Brahma has three heads (the assumption is that the fourth head [facing east] is not visible) and four arms, two on each side. Brahma, with his two right hands, is holding a spoon (used for pouring ghee into the yagna pyre and japamāla (prayer beads), and with his two left hands, a kamandala (water jug) and a book (Vedas).
Carved on the bottom right is Brahma’s vāhana (vehicle) Hamsa (Swan), and on the bottom left are the two unidentified figures.
Although Brahma is the creator in Hindu mythology, he is not worshiped as widely as Vishnu or Shiva. There are very few temples dedicated to Brahma in the world. The Brahma Temple in Prambanan (in Yogyakarta, Indonesia) is one of the few temples dedicated to Brahma. The other well-known Brahma Temple is in Pushkar, Rajasthan, India.
There are several legends why Brahma is not worshiped. According to one legend, his consort Savitri, who was angered by Brahma’s extreme lust, cursed him not to be worshiped anywhere in the world except in Pushkar. In another legend, Shiva cursed Brahma because he lied to him and Vishnu about their creation.
The Narasimhavatara relief is carved on a pillar attached to the exterior wall surrounding the garbhagriha. This pillar is located on the south side of the temple between the south and west two-storied shrines.
In this avatar, Vishnu has the torso of a man and face and claws of a lion. He adopted this body to kill an asura named Hiranyakashipu, who wanted to take revenge on Vishnu for killing his brother Hiranyaksha in his previous avatar, i.e., Varahavatara. Here is the story of Narasimhavatara in brief:
To exact revenge for his brother’s death, Hiranyakashipu performs an intense tapasu (austerity and meditation) to please Brahma from whom he expects to obtain a vara (boon) that would give him special powers and make him immortal. Pleased with Hiranyakashipu, Brahma asks him what he wants. When Brahma realizes that he wants to become immortal, Brahma refuses his request but suggests that he can request other varas. Hiranyakashipu then cleverly asks Brahma that he must not be killed by a man or animal or by any weapons. Brahma accedes to this request and endows him with the vara he asked. With the superpowers he gained from the vara, Hiranyakashipu assumes the godly status and starts tormenting Vishnu’s devotees, including his own son Prahlada. To solve this problem, Vishnu cleverly transforms himself as Narasimha (lion-man) and kills Hiranyakashipu in a gruesome manner by ripping off his entrails with his bare claws.
The relief depicts Vishnu with the lion head and human torso having multiple hands with claws. With the body of Hiranyakashipu lying on his lap, Vishnu is seen ripping the entrails of Hiranyakashipu with his claws.
Gajasura and Bhairava on the south outer wall surrounding garbhagriha
Slaying of Gajasura
Gajasura carved on the exterior wall
The relief shown in the image depicts Gajasurasamhara, which means the slaying of a demon named Gajasura. In Sanskrit, gaja means elephant, asura means demon, and samhara means slaying.
The Gajasura story is described in two ancient Indian texts, Kurma Purana and Varaha Purana. Here is the story in brief:
Gajasura wants to take revenge for the slaying of his father Mahishausura by Shiva’s consort Durga. To fulfill his wish, he goes the Himalayas and performs tapasu. Brahma pleased with his tapasu, gives a vara (boon), which makes him very powerful. With this boon, he thinks he is invincible and starts tormenting people of Kashi (present-day Varanasi, India). When they complain to Shiva, he confronts Gajasura, and after a prolonged fight, he kills Gajasura with his trishula (trident).
As you can see from the image, Shiva with a dancing pose is standing on an elephant head and with his numerous hands carrying a variety of objects that include trishula (trident), shula (sharp knife), kapala danda (staff with a skullcup), ghanta (bell), and damaru (drum-like musical instrument). Shiva Ganas (goulish attendants of Shiva) are on the bottom left. Several musicians are playing the dolu (drum) near the head of the elephant.
Bhairava – Fierce form of Shiva
In Hindu mythology, Bhairava is a fierce form of Shiva created by himself to destroy both the internal and external enemies. His sculptural depictions indicate the fierceness of his physical presence.
Bhairava carved on the south exterior wall
As you can see from the image, Bhairava is standing with a fearsome stance. Although he is a digambara (i.e., wearing no clothes), he is wearing a variety of jewelry, including necklaces, anklets, armbands and udiyana (waistband). He is also wearing the yajnopavita, a looped thread sacred to Hindus worn across the chest from the left shoulder to the waist.
He is wearing a crown made of a garland of kapalas (skull cups), and another set of kapalas is hanging from one of his necklaces. Surrounding is legs are two coiled nagas (serpents) with one visible head.
With one of his left hands, Bhairava is carrying a severed-head belonging to Brahma. According to a legend, Brahma used to have five heads, four of which facing the cardinal directions and the fifth head gazing upwards. Shiva cut off the fifth head when he realized Brahma became infatuated with a female goddess he created. Bhairava’s other hands are holding a variety of objects that include a trishula (trident), Shula (a pointed weapon), damaru (drum-like instrument), and pasha (noose). All in all, it is a fearsome sight.
Rear section
Belur Chennakeshava Temple – Rear view
The image shows the west side of the temple surrounding the garbhagriha (inner sanctum). As you can see from the image, there is a two-storied mini-shrine at the center.
The star-shaped roof is supported by pillars on the right and left of this mini shrine with sculptural reliefs. The temple is built on a platform named Jagati, which is also star-shaped. There is a small shrine built on the floor exactly at the center.
North side wall
The north side wall is similar to the south side, but has less denser carvings.
Chariot-like shrine
Two-storied shrine facing north built on the exterior wall
As you can see from the image, a statue of Vishnu is standing inside the inner sanctum. Each story of this shrine has a balcony with beautifully decorated balustrades. The water from the shrine drops into a small tank made of stone. A small statue of Ganesha, Shiva’s son the head of an elephant, is placed below the second-floor balcony.
Notice the three layers of beautifully carved frieze below the first floor. The bottom layer is a row of elephants, the middle layer is a row of lions with some men fighting them, and the top layer is a row of people riding horses. It is interesting to note that no two carvings in a row are alike.
The shrine is flanked by two squarish pillars. The left pillar has a relief of Vishnu and the right pillar depicts Shiva slaying Andakasura.
Mid section
Exterior wall surrounding the garbhagriha on the north side
The section of the wall shown in the image is on the north side of the temple and is oriented in the east-west direction. On the right side, it is attached to the wall of the chariot-like shrine.
The square pillar standing on the right side exposes the front and left sides.The front side relief depicts Vishnu, and the left side depicts Bhairava, who is an incarnation of Shiva. The relief on the mid-section of the square pillar standing next to it depicts the story of Varahavatara, (i.e., Vishnu’s incarnation as a wild boar). The wall between these two square pillars has the relief of Vishnu. Standing to the right of the Varahavatara pillar is a tall round pillar with no reliefs carved on its midsection.
The relief on the wall between the Varahavatara and this round pillar replicates a bracket figure that depicts a lady trying to chase a monkey that is trying to pull her dress. The relief on the wall to the right of the round pillar depicts a beautiful lady holding a flower with the right hand and the head of a child with the left hand. There is another child on her left side. This wall is then attached to a section that is part of the Navaranga.
Varahavatara, the third avatar of Vishnu
Varahavatara
Varaha is the third of the ten avatars of Vishnu. Varaha in Sanskrit
means wild boar. In this avatar, he assumes the form of a wild boar and
rescues Bhudevi (Mother Earth) from an evil demon named Hiranyaksha, who
was tormenting her.
As you can see from the image, Vishnu as Varaha is lifting Bhudevi with his tusks while Hiranyaksha lay dying on the ground killed by Vishnu.
The story of Varahavatara is a popular theme in both Chalukya and Hoysala temples. Both the Chennakeshava and the Hoysalesvara temples have several reliefs carved on their walls. The Badami caves also have numerous carvings of Varahavatara.
Monolithic pillar at the corner
Corner pillar on the wall surrounding the garbhagriha
This massive monolithic pillar is standing at the junction of the Navaranga and garbhagriha (inner sanctum) on the north side of the exterior wall. There is a similar pillar at the corresponding location on the south side.
As you can see, the exterior wall of the temple is attached to this pillar. The wall on the left surrounds the Navaranga, and the wall on the right surrounds the garbhagriha.
This precisely-cut pillar is highly ornate, with two female figures carved at the bottom and many layers of star-like patterns stacked on top. It appears as though grooves in the middle are machine-made because of their smoothness and precision.
West Section
Reliefs on the north-side exterior wall surrounding the garbagriha
As you can see, there are six reliefs, three of which depict Vishnu with standard iconography. In middle of the wall is the relief depicting Manmatha his consort Rathi. Manmatha, who is known by many names, including Kamadeva, is a son of Vishnu and the Hindu god of love and desire. As you can see from the image, Manmatha is holding a sugarcane bow with his left hand and the floral arrows with his right hand.
On the right, there are two female figures, similar to the ones in the Bracket Figures. The second female figure from the right – likely depicts a huntress – appears to be damaged and defaced.
Revered by Cambodians from all walks of life, Phnom Kulen (means Mountain of Lychees in Khmer) is the birthplace of the Khmer civilization. King Jayavarman II chose Phnom Kulen to found the Khmer Empire and declare himself a Chakravarty (King of Kings) in 802 CE. The kings who came after him expanded the empire and built numerous temples and monuments in and around Phnom Kulen.
Phnom Kulen is not a single mountain, but a landscape covered with hills and hillocks separated by valleys and flatland. This land of exceptional beauty is now a part of Phnom Kulen National Park.
Legend of Mahendrparavata
Phnom Kulen was known as the Mahendraparvata during the Khmer period. In Sanskrit, mahendra means great Indra and parvata means mountain.
According to a local legend, Mahendraparvata is the mountain which Hanuman lifted to the battlefield in Lanka to extract Sanjeevini, a herbal plant that is capable of curing all diseases, to save Lakshmana from dying.
Location
Phom Kulen is located 30 miles northeast of Siem Reap.
Kbal Spean River
The Kbal Spean River is a small river flowing within the Phnom Kulen National Park. It is a tributary to the Siem Reap River, which flows through the Angkor Wat Archaeological Site in Siem Reap, Cambodia.
The Kbal Spean River is known as the Sahasralinga River (River of One Thousand Lingas) because of the hundreds of lingas carved on its sandstone riverbed. Sahasra means a thousand in Sanskrit. The linga is a symbol of Shiva, one of the Hindu Trinity.
As you can see from the images below, the lingas are carved on the riverbed in a grid-like fashion. In addition to the lingas, the river has other sculptures carved on its riverbed and the rocks.
Sahasra lingas carved into the riverbed of the Kbal Spean River
One thousand lingas carved into the Kbal Spean riverbed
Natural Pool
The natural pool near shown in the image below is located near the Kbal Spean River. The water in this pool is a result of some geological activity occurring beneath the pool. It appears as though there is an underground spring under the pool. A small stream of water flows out of the pool into the Kbal Spean River. The water in the pool is not very hot but appears to contain a lot of minerals.
The natural freshwater pool near Kbal Spean River in Phnom Kulen National Park
Waterfalls
The image below shows a spectacular view of the waterfall in Phnom Kulen, which is a major tourist attraction, is visited by Cambodians who come here to dip in the pool at the bottom of the falls to atone their sins.
A Waterfall in Phnom Kulen, Cambodia
The waterfall shown below is located just above the larger one shown above.
A Smaller Waterfall in Phnom Kulen, Cambodia
Preah Ang Thom
Preah Ang Thom is a Buddhist monastery situated on a boulder in the Phnom Kulen National Park. It’s famous for the reclining Buddha statue carved out of the boulder.
