Cave 3 at Badami: Discovering the Grandeur of Maha Vishnu

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:

Cave	Dedication	Reliefs
Cave 1	Shiva	Nataraja, Dwarapala, Ardhanarishvara, Harihara
Cave 2	Vishnu	Varahavatara, Vamanavatara
Cave 4	Mahavira (Jain Temple)	Mahavira, Adinatha, Parshvanatha, Bahubali, Mahavira with Jakkave

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

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, the third of the four rock-cut caves located near Badami in Karnataka, India — 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 mukhamantapa is 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 sabhamantapa is 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 garbhagriha is 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.

All the walls at the two ends are carved with large-size sculptural reliefs. On the right side, the reliefs depict Maha Vishnu seated on Adishesha, the Varahavatara, and Astabhuja Vishnu (Eight-Armed Vishnu). On the left side, the panels portray the Vamanavatara, thr Narasimhavatara, and Harihara. The following sections describe these reliefs in detail.

Maha Vishnu Seated on Adishesha

The image below shows the left half of the mukhamantapa, which resembles the royal court (durbar) of a king.

Vishnu seated on Seshanaga in Cave - 3 located near Badami in Karnataka, India — 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 carved in Cave - 3 of the Badami Caves in Karnataka, India — 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.

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

Check the other Ashtabhuja Vishnu sculptures:

Ashtabhuja Vishnu in Angkor Wat, Cambodia
Ashtabhuja Vishnu mounted on the outer wall of the Somanathapura Keshava Temple in Karnataka, India

Vamanavatara: The Fifth Avatar of Vishnu

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 Cave - 3 in Badami, Karantaka, India — 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 yajna to 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 yajna and 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.

Sculptural relief depicting Narasimhavatara, fourth of the ten avatars of Vishnu, carved in Cave - 3 of the Badami Caves in Karnataka, India — 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 carved in Cave - 3 of Badami Caves in Karnataka, India — 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.

Cave 1 of this cave complex also has a Harihara relief carved into its wall. A beautiful sculpture of Harihara is in one of the devakoshtas of the Durga Temple.

Bas-reliefs on the Ceiling

The images below show the bas-reliefs carved into the ceiling of the mukhamantapa.

Vishnu, the Preserver

A sculptural relief depicting Vishnu carved on the ceiling of the mukhamantapa (verandah) in Cave - 3 of the Badami Caves in Karnataka, India — 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

A sculptural relief depicting Brahma carved on the ceiling of the mukhamantapa (verandah) in Cave - 3 of the Badami Caves in Karnataka, India — 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

A sculptural relief depicting Yama carved on the ceiling of the mukhamantapa (verandah) of Cave - 3 of the Badami Caves in Karnataka, India — 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

Vishnu's vehicle Garuda carved on the eves of the rock-cut temple in Cave - 3 located near Badami in Karnataka, India — 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 - A view from the garbhagriha of Cave -3, the third of the rock-cut temples of Badami in Karnataka, India — 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.

Garbhagriha and Sabhamantapa of Cave -3, the third of the rock-cut temples of Badami in Karnataka, India — Sabhamantapa – Left 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 garbhagriha of Cave -3, the third of the rock-cut temples of Badami in Karnataka, India — Entrance to the garbhagriha

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.

Proceed to Cave 4 …

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Cave 2 at Badami: Unveiling the World of Vishnu

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:

Cave	Dedication	Reliefs
Cave 1	Shiva	Nataraja, Dwarapala, Ardhanarishvara, Harihara
Cave 3	Maha Vishnu	Maha Vishnu, Ashtabhuja Vishnu, Varahavatara Vamanavatara, Narasimhavatara
Cave 4	Mahavira (Jain Temple)	Mahavira, Adinatha, Parshvanatha Bahubali, Mahavira with Jakkave

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 of Cave - 2 located at Badami in Karnataka, India — Facade and Entrance

Ground plan of Cave - 2 located at Badami in Karnataka, India — 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, Vishnu's third avatara, carved on the left side wall of Cave - 2 in Badami, Karnataka, India — 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 in Cave - 2 in Badami, Karantaka, India — 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 yajna to 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.

Cave 3 of this cave complex also has a large-size Vamanavatara relief carved into its walls.

Matsya Chakra: The Intricately Carved Fish Wheel

Matsya Chakra - A wheel with fish spokes carved on the ceiling of Cave - 2 located on a soft sandstone hill near Badami in Karnataka, India. — Matsya Chakra – A wheel with fish spokes

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.

A similar relief is found on the ceiling of the mukhamantapa of the Durga Temple at Aihole.

A Maze of Swastika Patterns

Swastika patterns and the Samudra Manthana frieze carved on the celing of Cave - 2 located at Badami in Karnataka, India — Swastika patterns and the Samudra Manthana frieze

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.

A similar pattern can also be found in one of jālandharas (perforated stone windows) built into the wall surrounding the sabhamantapa of the Durga Temple at Aihole.

In Summary

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.

Proceed to Cave 3 …

Hoysala Temples
– Belur Chennakeshava Temple
— Bracket Figures, Navaranga, Garbhagriha Outer Wall
– Kappe Chennigaraya Shrine
– Somanathapura Keshava Temple
Badami Chalukya Temples
– Badami, Cave Temples of Badami, Cave 1, Cave 2, Cave 3, Cave 4
– Durga Temple at Aihole
Vijayanagara Temples
– Hampi Virupaksha Temple Murals
Khmer Temples in Cambodia
– Angkor Wat, Angkor Wat Bas-Reliefs, Banteay Srei, Angkor Thom, Ta Prohm, Bayon
Monuments in Indonesia
– Prambanan Temples, Prambanan Bas-Reliefs
– Borobudur

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Cave 1 at Badami: Exploring the World of Shiva

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:

Cave	Dedication	Reliefs
Cave 2	Vishnu	Varahavatara, Vamanavatara
Cave 3	Maha Vishnu	Maha Vishnu, Ashtabhuja Vishnu Varahavatara, Vamanavatara, Narasimhavatara
Cave 4	Mahavira (Jain Temple)	Mahavira, Adinatha, Parshvanatha Bahubali, Mahavira with Jakkave

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.

Entrance to Cave - 1 located at Badami in Karnataka, India — Facade and Entrance

Ground plan of Cave - 1, the first of the four rock-cut caves located near Badami in Karnataka, India — 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 garbhagriha and a mukhamantapa (verandah) in front of the sabhamantapa.

The façade shows the pillars of the mukhamantapa and the staircase leading to it. Inside the mukhamantapa and 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.

Shiva portrayed as Nataraja carved on the right side of Cave - 1, the first of the four of rock-cut caves of Badami, Karnataka, India — 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

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

Sculptural relief depicting the story of Ardhanarishvara and sage Bhringi carved on the right side wall of the mukha mantapa in Cave - 1 located at Badami, Karnataka, India — 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

Sculptural relief depicting fusion of Shiva and Vishnu as Harihara carved on the left side wall of the mukha mantapa in Cave - 1 located at Badami, Karnataka, India — 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

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.

A similar relief is found on the ceiling of the mukhamantapa of the Durga Temple at Aihole.

Garbhagriha with Shivalinga

An interior view showing the garbhagriha entrance and pillars — An inside view showing the garbhagriha entrance and pillars

Shivalinga inside the Garbhagriha of Cave - 1 located at Badami in Karnataka, India — 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 on oval-shaped yonis.

Proceed to Cave 2 …

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Belur Chennakeshava Temple – Navaranga

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.

Check the following pages for information on other parts of the Belur Chennakeshava Temple:
– Belur Chennakeshava Temple – Bracket Figures
– Belur Chennakeshava Temple – Garbhagriha Outer Wall

Navaranga – Hoysala classic 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 in the Chennakeshava Temple in Belur, Karnataka, India — 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 Navaranga in the Belur Chennakeshava Temple, Karnataka, India — 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

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

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 of the Chennakeshava Temple in Belur, Karnataka, India — 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 of the Chennakeshava Temple in Belur, Karnataka, India — 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.

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 entrance of the Chennakeshava Temple in Belur, Karnataka, India — Hoysala emblem on the left side of the main entrance

Hoysala emblem on the right-side of the main entrance of the Chennakeshava Temple in Belur, Karnataka, India — Hoysala emblem on the left 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 of the Belur Chennakeshava Temple in Karnataka, India — Rathi at the main entrance

Belur Chennakeshava Temple - Manmatha 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

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.

Jalandhra and bracket figures on the left section of the main entrance of the Belur Chennakeshava Temple, Karnataka, India — 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.

Mounted at an angle on the pillars are the two bracket figures, Nātya Sundari and Gāna Sundari. Check the Belur Chennakeshava Temple – Bracket Figures page for a list and descriptions of the bracket figures in the temple.

Jalandhra and bracket figures on the right section of the main entrance of the Belur Chennakeshava Temple, Karnataka, India — 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.

Mounted at an angle on the pillars are the two bracket figures, Darpana Sundari and Shuka Bhasini.

South entrance

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

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 Sheshanaga - A beautifully carved relief on a Jalandhra in the Belur Chennakeshava Temple in Karnataka, India — 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 the exterior wall of the Belur Chennakeshava Temple in Karnataka, India — 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:

Kurma Avatara – Turtle
Matsya Avatara – Fish
Mohini Avatara – Mohini
Narasimha Avatara – Man – lion
Varaha Avatara– Wild boar
Rama Avatara – Rama

Check the Hampi Virupaksha Temple Murals page for a list and a detailed explanation of the ten avatars of Vishnu.

Bracket figures

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.

Read more about the bracket figures in the Belur Chennakeshava Temple – Bracket Figures page.

Darpana Sundari – A bracket figure mounted on a pillar at the main entrance of the Chennakeshava Temple
Shuka Bhasini – Shilabalike talking to her pet parrot
Tribhangi – Dolu playing Natya Sundari with the Tribhanga stance
Dolu playing dancer
Kapala Durga – A bracket figure mounted on the exterior wall of the Belur Chennakeshava Temple
Naatya Sundari, the dancing madanike at the main entrance
Madanike chasing a monkey with a twig
Nagna Sundari (Nude Beauty) looking at the scorpion
Kesha Sundari – Madanike styling her long hair
Madanike hunting a bird
Mango plucking Madanike
Tribhangi – Dolu playing Natya Sundari with the Tribhanga stance
Flute playing male musician
Dolu playing male musician
Narthaka – Dolu playing male dancer
Darpana Sundari – A bracket figure mounted on a pillar at the main entrance of the Chennakeshava Temple
Koravanji – A damaru playing fortune teller
Naatya Sundari – Madanike with a perfect dance pose
Naatya Sundari – Madanike with a traditional dancing stance
Madanike holding a betel leaf and pankah (fan)
Betegarthi (Huntress) – Proud madanike after a successful hunt
Goddess Durga
Gaana Sundari playing the taala (manjira)
Natya Sundari (Dancing Beauty) – Lizard chasing a fly in the background

Hoysala Temples
– Belur Chennakeshava Temple
— Bracket Figures, Navaranga, Garbhagriha Outer Wall
– Kappe Chennigaraya Shrine
– Somanathapura Keshava Temple
Badami Chalukya Temples
– Badami, Cave – 1, Cave – 2, Cave – 3, Cave – 4
– Durga Temple at Aihole
Vijayanagara Temples
– Hampi Virupaksha Temple Murals
Khmer Temples in Cambodia
– Angkor Wat, Angkor Wat Bas-Reliefs, Banteay Srei, Angkor Thom, Ta Prohm, Bayon
Monuments in Indonesia
– Prambanan Temples, Prambanan Bas-Reliefs
– Borobudur

Belur-Halebidu

India

Belur Chennakeshava Temple – Bracket Figures

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.

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.

Belur Chennakeshava Temple - Bracket figures mounted on the pillars on the exterior wall surrounding 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

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.

In the Navaraga Layout, Darpana Sundari is figure number 1.

Sukha Bhasini – Madanike talking to her pet parrot

Shuka Bhasini - Shilabalike talking to per 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 N avaraga 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 (damsel sculpted on stone) mounted on a pillar at the main entrance of the Chennakeshava Temple in Belur, Karnataka — 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.

In the N avaraga Layout, Nātya Sundari is figure number 38.

Gāna Sundari – Singing beauty

Gaana Sundari playing the taala (manjira) - Shilabalike mounted on the rightmost pillage of main entrance facade — Gaana Sundari playing the taala (manjira)

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.

She is bracket figure number 37 in the Navaraga Layout.

Kapi Chasté (Monkey Mischief) – Madanike chasing a monkey

Belur Chennakeshava Temple - Sculpture of a shilabalike chasing a monkey pulling her dress mounted on a pillar — 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 — 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

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

Belur Chennakeshava Temple -Sculpture of a dolu playing dancer mounted on a pillar on the south side — 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 the davane steady 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 a dolu, 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

Belur Chennakeshava Temple - Sculpture of a dancing shilabalike with a lizard chasing a fly in the background mounted on a pillar at the north entrance — 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 the tāla and 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

Belur Chennakeshava Temple - Betegarthi - A shilabalike mounted on a pillar near the northern entrance — 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

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

Belur Chennakeshava Temple - Sculpture of a beautiful shilabalike plucking a mango — 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

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

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

Belur Chennakeshava Temple -Sculpture of a dolu playing male musician mounted on a pillar — 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 davane steady 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.

Hoysala Temples
– Belur Chennakeshava Temple – Navaranga
– Belur Chennakeshava Temple – Garbhagriha Outer Wall
– Kappe Chennigaraya Shrine
– Somanathapura Keshava Temple
Badami Chalukya Temples
– Badami, Cave – 1, Cave – 2, Cave – 3, Cave – 4
– Durga Temple at Aihole

Angkor Wat Bas-Reliefs

Narrative and exquisitely carved

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.

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.

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 carved in Angkor Wat, Siem Reap, Cambodia — 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, in Siem Reap, Cambodia — 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

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 commander indicates 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

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.

A contingent of Siamese soldiers marching the King Suryavarman II procession — Siamese soldiers

A section of bas-relief depicting women marching in the procession of King Suryavarman II — Siamese soldiers

South Gallery, East Section: Swargas and Narakas (Heavens and Hells)

Three tiers of the Heavens and Hells bas-relief carved on the eastern section of the south gallery — 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 the Ashta 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.

Angkor Wat bas-relief depicting Yama sitting on a buffalo conducting the proceedings in his court

A section of the Heavens and Hells bas-relief depicting Chitragupta, the assessor, checking the records of souls

Heavens and Hells bas-relief depicting Yama's guards pushing sinners to hell through a trapdoor

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.

A depiction of hell in the Heavens and Hells bas-relief

Punishing sinners in the Heavens and Hells 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.

A section of the Samudra Manthana bas-relief depicting Ravana and the asuras churning the ocean — Ravan leading asuras

A section of the Samudra Manthana bas-relief depicting Vishnu and Indra in the middle of the Churning of the Ocean of Milk — Ravan leading asuras

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.

Angkor Wat - Krishna's Victory over Banasura bas-relief depicting Krishna riding Vishnu's vehicle Garuda and fighting Banasura — Krishna riding Vishnu’s vehicle Garuda and fighting Banasura

Angkor Wat - Vishnu's vehicle Garuda entering Agnigraha (House of Fire) in the Krishna's Victory over Banasura bas-relief — 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 Garuda depicted in the Gods Vs. Asuras bas-relief carved in the lower-level gallery of the Angkor Wat Temple in Siem Reap, Cambodia — Vishnu riding Garuda

Varuna Riding Makara depicted in the Gods Vs. Asuras bas-relief carved in the lower-level gallery of the Angkor Wat Temple in Siem Reap, Cambodia — Vishnu riding Garuda

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 carved in the lower-level gallery of the Angkor Wat Temple — 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.

Check the following sculptural reliefs of Brahma on the outer walls of the temples: Brahma in Belur Chennakeshava Temple, Brahma in the Somanathapura Chennakeshava Temple in Karnataka, 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 bas-relief carved in the lower-level gallery of the Angkor Wat Temple in Siem Reap, Cambodia — 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 combat scene in the Battle of Lanka relief depicting a monkey warrior straddled on the heads of two lions carved in the lower-level gallery of the Angkor Wat Temple in Siem Reap, Cambodia — 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 Lanka relief carved in the lower-level gallery of the Angkor Wat Temple in Siem Reap, Cambodia — A combat scene in the Battle of Lanka

A combat scene in the Battle of Lanka relief depicting a monkey warrior subduing two lions carved in the lower-level gallery of the Angkor Wat Temple in Siem Reap, Cambodia — A combat scene in the Battle of Lanka

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Belur Chennakeshava Temple – Wall Surrounding the Garbhagriha

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:

– Belur Chennakeshava Temple – Bracket Figures
– Belur Chennakeshava Temple – Navaranga

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 garbagriha (sanctum sanctorum) of the Belur Chennakeshava Temple in Karnataka, India — 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

Belur Chennakeshava Temple: South side outer wall pillars — 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 surrounding girbagriha in Belur Chennakeshava Temple, Karnataka, India — 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 of the Belur Chennakeshava Temple in Karnataka, India — 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.

Narasimhavatara, the fourth avatar of Vishnu

Belur Chennakeshava Temple - Story of Narasimhavatara - Vishnu's incarnation Narasimha slaying Hiranyakashipu — Narasimhavatara – Vishnu’s incarnation Narasimha slaying Hiranyakashipu

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 girbagriha of the Belur Chennakeshava Temple in Karnataka, India — Gajasura and Bhairava on the south outer wall surrounding garbhagriha

Slaying of Gajasura

Belur Chennakeshava Temple - Shiva slaying Gajasura carved on the exterior wall — 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 of the Belur Chennakeshava Temple in Karnataka, India — 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

A view from the west side of the Belur Chennakeshava Temple in Karnataka, India — 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

Belur Chennkeshava Temple - Two-storied shrine facing north built on the exterior wall — 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

Belur Chennkeshava Temple - Exterior wall surrounding the garbagriha on the north-side — 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

Belur Chennkeshava Temple -Varahavatara — 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 garbagriha (inner sanctum) of the Belur Chennakeshava Temple in Karnataka, India — 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 garbagriha (inner sanctum) of the Belur Chennakeshava Temple in Karnataka, India — 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.

Hoysala Temples
– Belur Chennakeshava Temple – Bracket Figures
– Belur Chennakeshava Temple – Navaranga
– Kappe Chennigaraya Shrine
– Somanathapura Keshava Temple
Badami Chalukya Temples
– Badami, Cave – 1, Cave – 2, Cave – 3, Cave – 4
– Durga Temple at Aihole

Iceland

Iceland is a country like no other. It is is an island with a spectacular but strange landscape. With a population of 350,000, it is one of the smallest countries in the world. While Iceland is smaller in terms of size and population, it is not small in terms of achievement. It prides itself of having a Nobel Prize winner. It even qualified for the FIFA World Cup Soccer finals in 2018. Although Iceland is located near the Arctic Circle, the weather is not brutally cold. An underwater ocean current known as Gulf Stream in the Atlantic Ocean keeps it warmer. Mid-Atlantic ridge passes through Iceland dividing it into two parts, which drift away from each other at a rate of 2 cm per year.

Reykjavik

The capital of Iceland is Reykjavik where the majority of the Icelandic population lives here. It is also the hub for tourists who visit Iceland.

Hallgrímskirkja

Located in central Reykjavik, Hallgrímskirkja church is an iconic landmark whose tower is visible from different parts of the city. It was named after Hallgrímur Pétursson, a well-known Icelandic poet who lived in the 17th century.

As you can see from the image, the facade of this magnificent building is unique and eye-catching. It was designed by Guðjón Samúelsson, who got his inspiration for this building from Iceland’s unique landscape, which includes glaciers and lava fields. The construction began in 1945, and it took 41 years to complete. The statue of Leifur Eiríksson, a Viking explorer who visited the shores North America 500 years before Columbus, stands in front of the church. Hallgrímskirkja is not only a popular tourist attraction but also an active Lutheran parish church.

Sun Voyager – Sculpture of a Viking Ship

Sun Voyager - Sculpture resembling a Viking ship in Reykjavik, Iceland — Sun Voyager – Model Viking ship

Located on the shoreline of Reykjavik, this beautiful sculpture resembling a Viking ship is called the Sun Voyager (Solfar). Sculpted by Jón Gunnar Árnason of Iceland, it won the competition held in 1986 to commemorate the 200th anniversary of the founding of Reykjavik. It was placed in the current location in 1989.

Harpa – Modern concert hall

Opened in 2011, Harpa has become a cultural center in Northern Europe and an iconic landmark of Reykjavik. It is located by the harbor and near another Reykjavik iconic landmark, the Sun Voyager.

The Iceland Symphony Orchestra, Icelandic Opera and Reykjavik Big Band hold concerts in this hall every year. It also attracts musicians and bands from all over the world. The building was designed by the Danish firm Henning Larsen Architects. Harpa also serves as a conference center.

Northern Lights

The sky in Iceland is often lit with the Northern Lights (also known as Aurora Borealis), which is a result of some phenomenon occurring in the sun. When electronic storms occur in the sun, they throw into space a massive amount of charged particles, which are caught by the earth magnetic field at the poles. During this process, the charged particles collide with the gases on the earth’s atmosphere resulting in a spectacular display of multi-colored lights as shown in the images below.

Waterfalls

Iceland is home to several spectacular waterfalls.

Gullfoss Waterfall

Gullfoss, which means Golden Waterfall in the Icelandic language, is one of the most visited attractions in Iceland. Located 70 miles northeast of Reykjavik, Gullfoss is on the Hvítá River’s path. The Hvítá River gets its water from the nearby glaciers.

As you can see from the image, Gullfoss is a two-drop waterfall. The first drop is shorter and calmer, whereas the second drop is higher and fiercer. The water from the second drop falls into the Gullfossgjúfur canyon with an enormous force. With a height of 230 feet, the second drop is an awe-inspiring sight.

Gullfoss Waterfall: Two drops

Gullfoss Waterfall: Water falling into the canyon

Faxi Waterfall

Faxi is a small waterfall compared to Gullfoss. It is located on the Tungufljót River’s path near Skálholt Cathedral.

Faxi Waterfall

Geothermal Activities

Iceland is home a lot of geothermal activities and has two types geothermal areas, which are:

Hot areas : These are high temperature areas. Areas near volcanoes come under these category.
Cold areas: The areas outside the volcanic zone come under these category.

Strokkur Geyser

Located in the Geysir geothermal area of Iceland, the Strokkur Geyser is a spectacular sight during its eruption, which happens regularly at every 8 to 10 minutes. During eruption, it spews hot water to a height of 25 to 35 meters in the air.

Strokkur means churn in the Icelandic language. It is one of the few active geysers in the world that erupt at regular intervals. Some of the other famous geysers are Pohutu in Rotorua, New Zealand and Old Faithful in the Yellow Stone Park, USA. The video shows three continuous eruptions, which happens once in a way.

trokkur Geyser

Currency

The Icelandic currency is Icelandic Króna or krónur in the plural. The ISO symbol is ISK. The approximate exchange rate is 120 krónur for the US Dollar.

Facade and Entrance

Elegant Mantapa-Style Architecture

Mukamantapa: Porch Embellished with Exquisite Carvings

Maha Vishnu Seated on Adishesha

Varahavatara: The Third Avatar of Vishnu

Ashtabhuja (Eight-Armed) Vishnu

Vamanavatara: The Fifth Avatar of Vishnu

The Story of Vamanavatara

Narasimhavatara: The Fourth Avatar of Vishnu

The Story of Narasimhavatara

Harihara: Vishnu and Shiva as a Single Entity

Bas-reliefs on the Ceiling

Vishnu, the Preserver

Brahma, the Creator

Yama, the God of Justice and Death

Garuda on the Eaves

Sabhamantapa: Spacious and Well-designed

Garbhagriha: An Ornate Sanctum Without a Deity

The Grandeur of Cave 3

Proceed to Cave 4 …

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Facade and Layout

Mukhamantapa: The Ornate Front Porch

Varahavatara: The Third Avatar of Vishnu

Vamanavatara: The Fourth Avatar of Vishnu

Matsya Chakra: The Intricately Carved Fish Wheel

A Maze of Swastika Patterns

In Summary

Proceed to Cave 3 …

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Nataraja Performing Tandava Nritya

Dwarapala with Shiva-Parvati and Vrishabha-Kunjara

Mukhamantapa: Richly Decorated Porch

Ardhanarishvara: Fusion of Shiva and Parvati

Harihara: Fusion of Shiva and Vishnu

Coiled Nagaraja

Garbhagriha with Shivalinga

Proceed to Cave 2 …

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Navaranga – Hoysala classic design

Navaranga design

Exquisite interior

Mohini pillar

Narasimha pillar

Highly ornate exterior

Main entrance – Grand and magnificent

Mini shrines

Hoyasala lanchana (emblem)

Manmatha and Rathi on the door jambs

Garuda and Narasimha on the pediment

Jālandharas- Perforated stone windows

South entrance

North entrance

Exterior wall

Maha Vishnu

Avatars of Vishnu on a frieze

Bracket figures

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Navaranga – Hoysala Classic Design

Bracket Figures – Hoysala Masterpieces

Darpana Sundari

Sukha Bhasini – Madanike talking to her pet parrot

Nātya Sundari – Dancing madanike

Gāna Sundari – Singing beauty

Kapi Chasté (Monkey Mischief) – Madanike chasing a monkey

Kesha Sundari – Madanike styling her long hair

Tribhangi

Davane Playing Madanike

Nātya Sundari with a Lizard Chasing a Fly in the Background

Betegārthi (Huntress) – Proud madanike after a successful hunt