Location: The Shambhulingeshwara Temple is located in the heart of Kundgol off the Kundgol-Lakshmeshwar highway. Kundgol is about 24 kms to the south-west of Hubballi.
Shambhulingeshwara Temple
The Shambhulingeshwara is an east facing eka-kuta (single sanctum) active Temple as puja is performed every day.
There are not much literary details available about this Temple but nevertheless it is a very famous Temple in this part of Karnataka. Dharwad District Gazetter attributed this Temple to the 12th Century.
It seems as though the exterior of this Temple takes its inspiration from the Nagareshwara Temple, Bankapur and also the Tarakeshwara Temple, Hangal. The floor plan looks very much similar to Nagareshwara Temple.
The Temple is housed within a fortified wall all around the Temple premise. There are quite a few standout features of t his Temple.
There is a school which is run within the Temple premise and classrooms are spread around the western and northern walls of the premise. The neem tree standing on the left side of the premise entrance was a refreshing sight. Even the pedestal of Snake God has been placed closed to the tree.
The Temple has three entrances viz. eastern main entrance and lateral entrances to the north and south.
I am amazed with the creativity of the vendor of the support pillars and beams for the canopy!! Beams painted in blue and Pillars painted in white; there were serious concerns on painting them brown I guess. Perhaps brown paint was not available or perhaps the vendor didn’t want them to merge with the background. They wanted these extra fittings to stand out hence painted with bright colours.
Providing three entrances into the Mukha Mandapa is perhaps a signature style of the Kadambas I guess. I have seen several Kadamba Temples having three entrances. Ingress and egress becomes so convenient.
Locally the Temple is addressed as Shambhulinga Gudi. This is a 11th Century Temple built during the times of the Kadambas of Hangal and later must have been under the patronage of the Western Chalukyas.
The exterior of the Temple also carries the carvings similar to the ones on the parapet walls. The base of the wall is carved with single pillars topped with mini vimanas and figurines of vyala separating each Vimana.
The top layers is comprised of a series of twin pillars each looking like mini Mandapas with figurines of Gods and Goddesses viz. Lord Rama, Lord Krishna, Goddess Mahishasura Mardhini, Lord Manmatha, Lord Varaha, Lord Narasimha, Lord Ganesha etc.
The above relief is a very interesting portion of the Temple which is unique.
I have seen several small enclosures like these at several Temples but none of them have a frame like this one. It not only has a bottom canopy which is intricately carved but a top canopy also which is carved equally beautifully. The pair of elephants carved on the canopy is absolutely astounding.
The Temple also has a ventilator which opens into the antechamber.
The entry into the Mukha Mandapa will take you into a different world altogether. It’s like a 70 mm screen opening in front of you. A Mukha Mandapa with a set of 52 pillars!!
There is a large sukanasi (passage with stone benches) surrounding the periphery. The floor plan is absolutely marvelous narrow at the ends and wide area in the middle. Pure cinematic experience.
The pillars are populated towards all the three entrances but the beauty is though there are so many pillars they do not obstruct visibility of any portion of the Mandapa.
Massive pillars and equally massive shaft and capitals. Each pillar stands on a square base on the shaft stands. The shaft of the pillar is lathe-turned and highly polished with circular grooves towards the top. It is surprising to me that though pillars have four square facets each; a total of 208 facets but not a single facet has an inscription.
The polishing of the lathe-turned pillars is absolutely wonderful; you will feel they are mirrors but no. Can you believe it? It’s the craftsmanship of the 11th Century with no modern equipment!!
There are intricate geometric designs on each pillar on the circular sections and the shaft. Imagine preparing 60 pillars, chisel them to identical shape, lathe turn them, polishing them and then carve them out with geometric designs. What painstaking work it would have been. The dedication and devotion of the craftsman is commendable.
The entire Mandapa hall has a combination of half and full pillars. Half pillars stand on the sukanasi and full pillars in the passage and the Navaranga.
There are several pillars in the Mandapa which are damaged especially the ones near the northern entrance. It is not clear on how and what caused the damage but these pillars stand tall and strong even to this day.
Photograph of one of the entrance porches of the open mandapa of the temple at Kundgol taken by Henry Cousens in the 1880s. Kundgol is situated in what was called the Dharwar district of Karnataka when this photograph was taken. In the Bombay list Kundgol is described as being 20 miles south-east of Dharwad: "...A fine old temple, more within the limits of Par than Kundgol; it is built without lime, of highly polished stones, which are dovetailed into one another. The carvings and images on the pillars are well cut, but have been injured by Muhammadans. It was repaired by a former chief in 1808-9, and dedicated to Shiva and Parvati.'' Although damaged, the exterior of the temple is decorated with lotus and kirtimukha faces and apparently 'hundreds' of Brahmanical images.
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2 Google Map of Central and North Karnataka Temples
Embedded Interactive Google Map of North Karnataka Temples is given below. By clicking on a location, photo of the temple, web links for more details of temple, Video (Youtube) links if any can be seen.
3 Google Maps of Implemented Tour Program Day 3 & 4& Lakkundi
4 Day 3
Visited several Chalukya Temples in Haveri, Bankapura, Laxmeshwar,Kundgol, Hubli and Annigeri.As I had mentioned, only few temples pooja is being conducted. Others reduced to the state of Monuments. To Return to Index of Contents, Click Here. Otherwise Continue
4.1 Siddeswara Temple, Haveri
Siddeswara Temple, Haveri Railway Station Rd, Netaji Nagar, Vidya Nagar, Haveri, Karnataka 581110 Siddeswara Temple, is located in the heart of Haveri town, Karnataka and at a distance of 340 Kms from Bangalore and 130 Kms from Shimoga.
Siddhesvara Temple (Siddheswara or Siddesvara), also known as Purada Siddeshwara was built with soapstone and is located in Haveri. The temple is similar to the Chalukyan temples based near Haveri. Initially, the temple was constructed as a Vaishnava temple, but later in the years, the Jains removed the images and thus the Shiva temple was created since it came under the possession of Shiva devotees.
The ideal time to visit this temple is in March and April, during Ugadi and on 1st November during Kannada Rajyotsav.
The construction and art of the temple are considered as an example of the 12th century; however, if we go by the inscriptional evidence within the temple it suggests that the temple was built in the late 11th century. While currently the temple is used as a Shaiva temple dedicated to God Shiva. It has beautiful 1300 stone cravings which make it one of the most astounding beauties to visit in the city.
The temple has been constructed following the Chalukyan style and Dravida articulation. 12th-century elements were also added to the temple to beautify the place, which includes aedicules, miniature decorative towers, and pillars. The temple comprises of mandapa containing sculptures of Lord Shri Shiva and his consort, i.e. Shri Parvathi, Lord Shri Vishnu, Naga-Nagini and sons of Shiva Ganapati and Kartikeya.
The sculpture of Lord Shiva has been placed with four arms, which have following attributes; Damaru, Aksamala, Trishul .The sculpture of Goddess Parvathi and Shiva’s consort is decked with garlands, long curly hair and earrings giving the sculpture the much-needed look.Towards the side of the door, Nagini and Naga with their tails tangled are placed and along with it is the image of Parvathi. On both sides of the doorway, there is a window with stone works while the shrine has a plain linga placed over it.
The ceiling panel has been decorated with some of the most beautiful images :1) Saptamatrika which denotes seven mothers. It has also been carved into the wall of stepwell placed outside.2) Square columns have also been built up containing images of ashtadikpalase. eight guardians
There is a place in the temple, which depicts a male figure having six hands. The two lower hands hold the Linga while the middle left hands holds the wheel. An arch is also placed above the entrance which has images of Lord Brahma, Shiva, Vishnu and again Shiva at the centre.
Individuals visiting the temple would find various inscriptions printed on the walls. The earliest inscription which dates back to 1087 CE is placed on the beam inside the Siddhesvara Temple. Along with this, there is another stone inscription dated 1108 CE placed outside the temple.
Interesting Facts about Siddhesvara Temple, Haveri :
1) The temple houses sculptures of various Gods i.e. Shiva and Parvathi thus enhancing the beauty of the whole temple.
2) The inscriptions printed on the wall of temple tell a lot about the history of the religion.
3) The sculpture of Shiva has been depicted with four bhujas that hold different attributes like a Trishul, damaru and chain been.
4) The temple has the main hall, along with three mukhamantapas, antarala, navaranga. The doorways of the temple have also been carved with some of the most beautiful images.
4.2 Siddeshwara Ancient Temple,Bankapura
Siddeshwara Ancient Temple, W7C7+VPR, Bankapura, Karnataka 581202 Siddeshwara Ancient Temple, is located at , Bankapura, Karnataka at a distance of 22 kilometres from Haveri, 150 kms from Shimoga and 360 kms from Bangalore.
Shiggaon taluk’s Bankapura, is home to a rare peacock sanctuary. The bird sanctuary spread across 134 acres, is home to over 2,000 peacocks. You can get to watch flocks of them everyday before 7 am or after 6 pm. Twenty six kilometres away from Haveri and ten kilometres from Shiggaon is Bada village, the birthplace of the great Kanakadasa, a sixteenth century devotee, poet and composer
Under the Chalukyas, many temples were built in Bankapura, but during the invasion of Ali Adilshahi in about 1567 most of the temples were destroyed. A fort, now in ruins, at Bankapura houses the Ranganatha Nagareshwara temple, which has 66 pillars carved out of grey stone. There is also a mosque in the fort. The place is of historical significance to Jains. Adipuran, a Jain religious text was composed here. Bankapura fort (454 AD), was ruled by Kadamba of Banavasi, Gangas, Cholas, Rashtrakutas, Hoysalas, Chalukyas, Kings of Vijayanagar, Adilshahi of Bijapur, Hyder Ali and Tipu Sultan. During the 9th century, Bankapura was named after Bankeyarasa (in 898 CE) who was a feudatory of Rashtrakoota king Amoghavarsha I. In the 11th century the Kadambas took over, followed by the Hoysalas king Vishnuvardhana.
The small temple construction is typical Hoysala style with nicely crafted pillars and gabagruha housing Lord Shiva in Linga form.
Temple is not being maintained properly.
4.3 Shree Nagareshwara Temple, Bankapura
Shree Nagareshwara Temple, W6GX+8WJ, Bankapura, Karnataka 581202 Shree Nagareshwara Temple, is located at Bankapura, Karnataka at a distance of 150 kms from Shimoga and 360 kms from Bangalore.
Lying in the ruins of the Bankapura Fort, the Nagareshvara temple built in the 12th century is a monument of national importance which is protected by the Archaeological Survey of India.
The Nagareshvara Temple, also called the Aravattarukmbhada Gudi (“Temple with sixty six columns”) is a 12th-century Western Chalaukya construction. During medieval times, the Bankapura fort was considered one of the most important fortifications in the Karnataka region. The temple suffered much damage when Bankapura fell to the armies of Firoz Shah Bahamani in 1406 CE and later again when it was occupied by the Bijapur Sultan Adil Shah. The Sultan “ordered a superb temple within the fort to be destroyed”. However, despite much pillage, the large temple with its majestic “great” hall (mantapa) still retains some of its original beauty. That the temple was built in honor of the Hindu god Shiva comes from two short inscriptions in the temple which begin with a salutation to “Shambu” (another name for the Hindu god Shiva). There are other inscriptions in the temple, two of which are dated 1138 CE and one dated 1091 that record grants to the god “Nagaresvaradeva.
The temple is constructed with soap stone material and comprises a small shrine (vimana) and a closed hall (mantapa) that connects to a large open hall (Mahamantapa or Navaranga) Like all Western Chalukyan temples, the sanctum is connected to the large hall via a vestibule (“antechamber” or ardhamantapa, which literally means “half hall”). At the end of the large hall, facing the sanctum is an open Nandimantapa (a small open hall with a seated sculpture of Nandi). The Western Chalukya architects provided well rendered external wall surfaces for the shrine and the halls. This they did by spacing out the surface with slender full and half pilasters. On top of the half pilasters are miniature decorative towers (shikhara, called aedicula) with niches underneath.
The highlight of the large hall are the bell shaped lathe turned pillars of dark grey stone (soap stone). So well polished are the pillars that they sparkle with reflected light. This is a standard characteristic of Western Chalukya pillar art, later to become popular with the Hoysala architects as well.The main decoration on these pillars are the horizontal rings of moldings. There are other pillars on square bases whose shafts are octagonal or 16-sided with round capitals. The columns that stand between the two halls are extremely ornate and belong to an entirely different workmanship.[The ceiling in the large hall between pillars are highly decorative with designs such as rosettes with imaginary beasts (Kirtimukhas) at the four corners.
Mention must be made of the central domed ceiling in the large hall which rises in concentric ornamental circles. The door jamb and lintel decoration is worthy of mention, especially at the entrance to the closed hall from the south. The sanctum is now empty but would have at one time housed a linga, the universal image of the god Shiva. Though this temple has been called a Jain temple, there is no trace of any images directly related to Jainism. On the contrary, there are numerous sculptures in relief of the Hindu gods such as Shiva, Vishnu, Ganapati, Brahma and Kal
The fascinating structure and carvings of the Trakeshwar temple which is an example of the architectural magnificence of the Hoysala Empire is another place of historical importance in this town. Besides these, the Galageshwar temple is also popular among tourists. The Bankapura Peacock sanctuary that is exclusively for the breeding and conservation of peacocks and the Blackbuck sanctuary near Rannebennur are also famous tourist destinations. Temple timings are 6 am to 6 pm;
4.4 Someshwar Temple, Laxmeshwar
Someshwara temple, Someshwar Temple Rd, Laxmeshwar, Karnataka 582116 The beautiful temple of Someshwara is located at Laxmeshwar an agricultural town.of Karnataka at a distance of 55 kilometres from Hubli, 180 kms from Shimoga and 400 kms from Bangalore.
Lakshmeshwara also known as Puligere is a town in Shirahatti Taluk, Gadag district, Karnataka. Lakshmeshwara is famous for its rich heritage and contribution to literature. The famous Kannada poet Pampa penned some of his famous poems in this town. Many kings of different royal dynasties have patronized the place including Badami Chalukyas. Laxmeshwar was home to many Jain saints and writers.
The Someshwara temple complex was built in the 11th century in Chalukya style of architecture There are three entrances to the Someshwara temple. The high walls of the Someshwara temple lend a feeling of a fort. It is a superb specimen of exclusive Chalukya art and architecture. The principal deity that is worshipped in the temple is Lord Shiva. It is believed that an ardent devotee’s wishes are fulfilled here.
There are many small temples surrounding this big temple. All these temples also boast of rich architecture and sculptures that have been so neatly carved. The temple was built by the Chalukyas during the 12th century and a token of their devotion to Lord Shiva.
The temple’s hall, navaranga, entrance porch or mukha mantapa has beautiful stone carvings. The beautiful idols of Shiva Parvati and Nandi have been exquisitely sculpted. The Badami Chalukyas of Deccan encouraged art and architecture and this is clearly visible in the paintings and art structures of the temple. It was during this time (1050 to 1200 CE) that the Gadag art form was encouraged by King Someshwara I. Around 50 temples were erected during this period. Carved figurines of gods and goddesses have been chiselled beautifully in the temple.
It is believed that the idols of Shiva, Parvathi and Nandi were brought by an ardent Shiva devotee from Saurashtra. Hence, the temple is also referred to as Saurashtra Someshwara. The temple has beautiful idols of Chaturbhuj Ganapati and goddess Mahishasurmardini (who slays the demon). There is a very big well behind the temple and the water of the well is used for pooja and for temple use.
Kalyani Chalukyas most important Jinalayas are the Brahma Jinalaya at Lakkundi, Charantimatha at Aihole, and Sankha Jinalaya at Lakshmeswar. Though there were many Basadi (Jain temples) built in this area only two of them have survived and they are Sankha Jinalaya also known as Sahasrakuta Jinalaya and Ananthanatha basadi
Restoration of Someshwara Temple Complex has been taken up by Infosys Foundation, Bangalore. Hope that such a welcome venture may be undertaken for various other Ancient temples of North Karnataka. To Return to Index of Contents, Click Here. Otherwise Continue
4.5 Shambholingeshwar Temple, Kundgol
Shambholingeshwar Temple, 764V+RX4, Kundgol, Karnataka 581113 Shambholingeshwar Temple is located at Kundgol, Karnataka at a distance of 24 kms from Hubli and 400 kms from Bangalore.The ancient temple is more than 1000 years old.
The approach to the temple is through some narrow roads – several houses have come up around temple – presumably unauthorised. Within the temple premises, a school has come up – which is quite noisy and spoiling the serene atmosphere of the temple. Also during lunch time, mid day meals are served for the school children on the temple pradakshina path – School is important for the village – surely some other area in the town could be found instead of occupying temple premises.
Kundgol town is the birthplace of Rambhau Kundgolkar (popular as Pandit Sawai Gandharva), a well known Hindustani musician. Gangubai Hangal, Bhimsen Joshi were his disciples. Kundagol also comes under the core area of Western Chalukya Empire. The existence of 11th century Shri Shambhulingeshwara temple supports this claim. Prior to 1948, Kundgol was a non-contiguous part of the princely state of Jamkhandi.
Shri Shambhulingeshwara Temple, was built by Western Chalukyas. It is built with highly polished stones, which are dovetailed into one another. The carvings and images on the pillars are well cut.On the side of the door steps of the temple, carvings of the Lion face a long scroll issuing from its mouth. This temple is dedicated to Lord Shiva and Parvati. Although damaged, the exterior of the temple is decorated with lotus and kirtimukha faces and apparently hundreds of Brahmanical images.This temple was a victim of Muhammadans. It was repaired by a former chief (During 1808- 09).
The temple is facing towards east and constructed in ekakutachala style. The temple consists of sanctum, vestibule and navaranga. The navaranga has three entrances on the eastern, southern and northern side. The navaranga is supported by 64 lathe-turned and polished pillars. The sanctum enshrines the presiding deity, Shambu Linga.
The Bana Linga is pale brown in colour while the yoni part is black stone. The sanctum is flanked by the beautiful images of Parvathi and Vinayaga. Ganesa is of natural red stone – seeing this, Ganesa temple was built in Chabbi, Hubli. Linga is also special here – top is of natural red color.- only 2 or 3 Jyothir lingas have this feature. Nandi is also special here – one of its eye sees Shiv Linga – other eye sees Parvati devi.
An old Kannada inscription can be seen on the walls of the sanctum. The exterior walls of the navaranga is decorated with miniature towers and sculptures of various gods and goddesses of Hindu pantheon. Pooja is being carried out regularly – Contact Shri Vittal Sripal – Mobile : 9902679298
4.6 Shri Bhavani Shankar Temple, Hubli
Shri Bhavani Shankar (Jakanacharya) Temple, Fort Road, Diddi Oni, Old Hubli, Nava Ayodhya Nagar, Ayodhya Nagar, Old Hubli, Hubli, Karnataka 580024 Shri Bhavani Shankar (Jakanacharya) Temple is located at Old Hubli, Karnataka at a distance of 3 kms from Hubli and 400 kms from Bangalore.
Set in the old Hubballi area of the city, the ancient Trikutachala’ temple constructed in Nagara style was built by the renowned temple architect of yore, Jakanachari. Dedicated to Lord Shiva and Parvati, the small temple bears remarkable floral motifs and Puranic carvings on its walls and sculptures of Lord Shiva, Ganapathi, Narasimha, Brahma and Parvati.
The road level has been raised so high that the temple floor is below road level. The columns, beams, walls, roof and floor are all made of sandstone. This stone is available easily in these parts. The architecture is Chalukyan. The columns are simple but well made. The midsection of the column is interesting.. looks like a stack of torus. Torus is defined as a solid formed by rotating a closed curve, especially a circle, about a line which lies in the same plane but does not intersect it (e.g. like a ring doughnut).
A door connects this hall to another hall which has four turned pillars of granite. Granite is much harder compared to soapstone. Granite can be polished to mirror finish but not with soapstone. These four pillars form a central Mantapa, its floor is slightly raised from its surrounding. Straight ahead is the east-facing Garbhagriha which houses the deity of Sri Bhavani Shankar, a form of Lord Shiva. A small idol of Nandi sits in the Antarala ~ vestibule connecting the Nritya Mantapa and Garbhagudi.
Even though the temple looks plain i.e. the absence of grand artwork, basic requirements have been taken care of. For example- the multiple layers of door frame and floral art on the floor at the Garbhagudi entrance.
The south-facing Garbhagudi is occupied by a beautiful idol of Sriman Narayana. The idol seems to be of Hoysala period. The four-armed idol features Chakra, Shankha, Gada and Pani. At his feet is Anjaneya. At the crest of the idol is a Kirtimukha.
In the passage connecting the south-facing Garbhagudi and Nritya Mantapa is an idol of Saptamatrikas. On the other side is a pedestal with an idol of serpent god and a pair of feet.The temple has some open space on the northern and western sides. These walls and Shikhara form Narayana’s Garbhagudi. The walls are also quite plain except for the miniature columns. The flag atop the Shikhara is a nice touch, the fluttering saffron triangle makes gives a lively feeling.
There are seperate sannadhis of Ganesha, Sri Parvati, Shri Shankara Bhagavat Pada and Shri Surya Narayana, Though the temple is small, it is nice and compact. Poojas are conducted regularly in the temple. Contact phone numbers : Vanishree Joshi Trustee 9591175371 Shankar Kulkarni Archakar 9986802505
4.7 Chandramouleshwara Temple, Hubli
Chandramouleshwara Temple, Hindu Shiva temple, Sai Nagar, Unkal, Munneshwar Nagar, Hubli, Karnataka 580031 Chandramouleshwara Temple, is located on the banks of the Unkal lake beside the Nrupatunga Hills, Hubli, Karnataka at a distance of 2 kms from Hubli and 415 kms from Bangalore. Very narrow approach roads to temple makes it quite difficult to reach. The temple has marvelous sculptures that attract any art lover.
Unkal -historical name was Unukallu – is an area in the Hubli-Dharwad municipality .Chandramouleshwar temple is a 900-year-old temple from the Badami Chalukyan era. It was built on the lines of Badami, Aihole and Pattadakal temples, is a Monument of National Importance, and is designated as a Protected Monument by Archaeological Survey of India (ASI).
Chalukyas built this temple in the 11th and 12th century. As per the legend,Chalukyans wanted to boast their architectural splendidness and showcase their power and wealth to their enemies. The tales says that the temple was built overnight by a group of anonymous artisans and sculptors. Since the temple was constructed in a night, and as the artisans couldn’t finish the whole work in one night, the temple structure is incomplete. Unlike other temples, the temple doesn’t have a gopura.
The sthapathi or the sculptor of the temple could not finish the temple before the day-break, hence the temple was left half done. The temple has unfinished architecture, yet the most marvelous and a spectacular architecture by the Chalukyas. The unfinished temple has many quarters that have left half way done yet a visual delight. The wall height is around 20-25 feet out of which half of the temple is made of red stones while the other half is made of green stone, giving the temple an overall remarkable look. The temple is located on a raised place.
The temple is a remarkable building that illustrates the sandhara plan, with a square garbhagriha that can accessed from four cardinal directions.This open from all sides plan comes with four molded walls each with decorated doors. The doorjambs are decorated with pancha shakhas (five concentric band of fine carvings), but the artisans made each door unique. The eastern door is particularly excellent, one of the best from the 11th-century.[1] Each door has a pair of dwarapalas. The temple includes a pradakshina patha for circumambulation. It also has an antarala and a sarvatobhadra-style mukhamandapa
Unlike other Shiva temples in the North Karnataka region, the Chandramouleshwar Temple has four doors in as many directions, altogether accounting for twelve doors in the temple besides two Shivalingams and two Nandi statutes at the entrance. One of the two lingams is the ‘Chaturmukha Lingam’, a four-faced Shiva lingam, which is the speciality of the temple and one of the features that make the temple stand out among the various Lord Shiva temples in the state. Another spectacular feature of the temple architecture is the dancing Lord Ganesh and the Jaladhara images on the walls of the temple
The temple has sculpted walls and pillars of black granite stones. Images of dancing Lord Ganesha and jaalandhra at are a visual delight. Temple Timings: 6 AM to 11 AM. 5:00 PM to 7:30 PM
4.8 Banashankari Temple Amargol, Hubli
Banashankari Temple Amargol, Unnamed Road, 580025, Amargol, Hubli, Karnataka 580025 Banashankari Temple is located at Amargol , Hubli, Karnataka at a distance of 6 kms from Hubli and 420 kms from Bangalore.The Banashankari Temple, Amargol, Dharwad is a protected monument maintained by the Archaeological Survey of India (ASI). Very narrow approach roads to temple.
Banashankari is a form of the Goddess Parvati which is very popular in Karnataka. The reason why Parvati took up this form is explained In the Skanda Purana. When people on earth were being tormented by an Asura named Durgamasura, the Devas prayed to Goddess Parvati to relieve them of this menace. So, the Goddess came down to earth and killed the Asura. She was known as Vana Shankari, the Goddess of the forest. This later became Banashankari.She is also addressed by various other names such as Shakambhari, Banadavva, Vanadurg, Sunkavva, Balavva, Shiravanthi and Chowdamma Banashankari.
The Banashankari Temple in Amargol is a fine architectural marvel and is located near the Unkal Lake and the Chandramouleshwara Temple. The temples built in this area in the 13th century exhibit northern influence. They have the Nagara style incorporated into them. This temple is no exception.
The Banashankari temple in Amargol is a Dvikuta -a two shrine/two tower temple. Like most temples in this region of this period, this temple also exhibits Nagara influence. This temple has two shrines topped with Vimanas, one in the stepped-diamond shaped Nagara style and the other in the Dravida style.
One shrine houses the main deity, Devi Banashankari, and the other houses a Shiva Linga. The main Banashankari shrine is built in the Nagara Style. This shrine has been fully renovated. The restoration work on the other shrine is ongoing. The Navaranga Mandapa in this temple has beautiful pillars decorated with figures of Shiva, Parvati, Vishnu, Narasimha, Ganapathi, Brahma and other Gods.
4.9 Shri Amruteshwara Temple, Annigeri
Shri Amruteshwara Temple, Unnamed Road, Annigeri, Karnataka 582201 Shri Amruteshwara Temple is located at Annigeri, Karnataka at a distance of 23 kms from Gadag and 440 kms from Bangalore.Very narrow approach roads to temple.
The Amruteshwara temple is a beautiful Black Stone temple built by the Kalyani Chalukyas, in Annigeri. Annigeri is a historical town, which was an important part of the western Chalukyan Empire. It was also part of the Hoysalas, Yadavas and Kalachurya domain. For a short period, it even served as the capital of the Kalyani Chalukyas as the Kalachuryas seized their main capital, Kalyani. Annigeri is also famous as the birthplace of the first Kannada poet, Pampa.
The Amruteshwara Temple, built in 1050, is a fine example of Kalyani Chalukya Architecture. It is a temple dedicated to Lord Shiva. The temple is built of black soapstone. Built in the Dravidian style, the temple has a roof is supported by 76 pillars. The walls of the temple are covered in carvings of mythological figures. This temple served as the model for later structures like the Mahadeva Temple at Itagi.
Amruteshwara Temple is built in black soapstone and probably the first instance of this material in the case of the Western Chalukyas. Adam Hardy puts the temple to the Lakkundi school and mark it as the predecessor of the Mahadeva temple at Ittagi. The temple was largely patronized and extended during the Hoysala rule.
The external façade of the temple is devoid of much sculptures. The sculptures on upper level of the vimana only surviving, other on the lower level are gone missing. All the three major niches on three directions are empty now.
It is a beautiful, serene and calm temple To Return to Index of Contents, Click Here. Otherwise Continue
5 Day 4
Visited Basaveshwara statue ,Dattatreya Temple and Ganjibasaveshwar Temple in Gadag. Also famous Gadag Chalukya Temples : Trikuteshwar Temple & Saraswathi temple and Shri Veeranarayan Temple. Next visited several Lakkundi and Dambal Chalukya Temples.Next visited Itagi, Kuknoor and Cholachagudda, Badami Chalukya Temples. Details are given below
5.1.1 Basaveshwara statue, Gadag
Basaveshwara statue,CJCJ+5X7, Sidha Maheshwar Nagar, Gadag-Betigeri, Karnataka 582101 Basaveshwara statue,is located at Gadag- i, Karnataka and at 415 kms from Bangalore dedicated to the memory of Basavanna, who was a 12th-century philosopher and social reformer of Karnataka. It is approximately 108 feet tall and has about 40 steps that allow to go up to the statue.
The massive statue of Basaveshwara is visible from most parts of town and behind Bheeshma lake. At the base of the statue is a circular museum with the life story of Basaveshwara who was a very strong spiritual leader of people of North Karnataka.The life story is conveyed via a series of stills depicted by concrete sculptures and painted backgrounds (similar to comic books). The sculptures are very life like and well done. Really worth having a look about Basavanna. The lake is good place to hang out at sunset and has boating
Basaveshwara, colloquially known as Basavanna, was a 12th-century CE Indian statesman, philosopher, poet, social reformer and Lingayat saint in the Shiva-focussed bhakti movement, and a Hindu Shaivite social reformer during the reign of the Kalyani Chalukya/Kalachuri dynasty. Basava was active during the rule of both dynasties but reached the peak of his influence during the rule of King Bijjala II in Karnataka,
Basava spread social awareness through his poetry, popularly known as Vachanaas. He rejected gender or social discrimination, superstitions and rituals but introduced Ishtalinga necklace, with an image of the Shiva Liṅga, to every person regardless of his or her birth, to be a constant reminder of one’s bhakti (devotion) to Shiva. As the chief minister of his kingdom, he introduced new public institutions such as the Anubhava Mantapa (or, the “hall of spiritual experience”), which welcomed men and women from all socio-economic backgrounds to discuss spiritual and mundane questions of life, in open.
Basava was the poet philosopher who revived, refined and energized an already existing tradition. The Basavarajadevara Ragale (13 out of 25 sections are available) by the Kannada poet Harihara (c.1180) is the earliest available account on the life of the social reformer and is considered important because the author was a near contemporary of his protagonist A full account of Basava’s life and ideas are narrated in a 13th-century sacred Telugu text, the Basava Purana by Palkuriki Somanatha.
Basava literary works include the Vachana Sahitya in Kannada Language. He is also known as Bhaktibhandari (literally, the treasurer of devotion) and Basavanna.
Basava was born in 1131 CE in the town of Basavana Bagewadi in the northern part of Karnataka, to Maadarasa and Madalambike, a Kannada Orthodox Brahmin family He was named Basava, a Kannada form of the Sanskrit Vrishabha in honor of Nandi (carrier of Shiva) and the local Shaivism tradition.Basava spent twelve years studying in the Hindu temple in the town of Kudalasangama,
Several works of Basava include various Vachana such as the Shat-sthala-vachana (discourses of the six stages of salvation), Kala-jnana-vachana (forecasts of the future), Mantra-gopya, Ghatachakra-vachana and Raja-yoga-vachana.
The Basava Purana, a Telugu biographical epic poem, first written by Palkuriki Somanatha in 13th-century, and an updated 14th century Kannada version, written by Bhima Kavi in 1369, are sacred texts in Veerashaiva Lingayat. Other hagiographic works include the 15th-century Mala Basava-raja-charitre and the 17th-century Vrishabhendra Vijaya, both in Kannada
As a leader, he developed and inspired a new devotional movement named Virashaivas, or “ardent, heroic worshippers of Shiva”. This movement shared its roots in the ongoing Tamil Bhakti movement, particularly the Shaiva Nayanars traditions, over the 7th- to 11th-century. However, Basava championed devotional worship that rejected temple worship and rituals led by Brahmins and replaced it with personalized direct worship of Shiva through practices such as individually worn icons and symbols like a small linga. This approach brought Shiva’s presence to everyone and at all times, without gender, class or caste discrimination His Basava’s poem, such as Basavanna 703, speak of strong sense of gender equality and community bond, willing to wage war for the right cause, yet being a fellow “devotees’ bride” at the time of his or her need
5.1.2 Dattatreya Temple,Gadag
Dattatreya Temple, Dattatray Rd, Tanga Koot, Gadag, Karnataka 582101 Dattatreya Temple, is located at Tanga Koot, Gadag, Karnataka and at a distance of 415 kms from Bangalore. The 108 feet tall Basaveshwara statue is nearby. Also the famous Trikuteshwar Temple of Gadag is nearby.
This temple is supposed to have been built by King Yakhsa Malla in 1427 CE. According to legends, the entire temple was created from the trunk of just one tree. It features wood carved panels, with the peacock window of the pujari math being the main attraction of visitors.
Dattatreya, is a paradigmatic Sannyasi (monk) and one of the lords of Yoga, venerated as a Hindu god. He is a syncretic deity, considered to be an avatar of the three Hindu gods Brahma, Vishnu and Shiva, collectively known as the Trimurti. He is also considered as an avatar of Lord Vishnu
The temple is very small – compact and divine.
5.1.3 Ganjibasaveshwar Temple, Gadag
Ganjibasaveshwar Temple, CJHF+WJG, Janta Colony, Gadag-Betigeri, Karnataka 582101 Ganjibasaveshwar Temple is located at Gadag- Karnataka near Trikuteshwar Temple, Gadag.
This is a very small temple on the roadside dedicated to Lord Shiva
5.2.1 Trikuteshwar Temple, Gadag
Trikuteshwar Temple, Tanga Koot, Gadag, Karnataka 582103 Trikuteshwar Temple is located at Tanga Koot, Gadag, Karnataka and 420 kms from Bangalore.
Gadag, a prosperous town of importance in Dharwad district of Karnataka, was known in the ancient days by various names, as Kratuka, Kratupura, Kardugu, Galadugu and Gadagu. It was also known as ‘Maha Agrahara’. One of the inscriptions found in the region mentions that Gadag was a part of Belavola, a country comprising of the fertile tract surrounding Dambal, Gadag and Lakkundi. The political history of Gadag has been varied. The Rashtrakutas, the later Chalukyas, the Yadavas of Devagiri and the Vijayanagar kings were successive suzerains of this region.
Trikuteshwara Temple architecture was planned by the architect Amara Shilpi Jakanachari. The Badami Chalukyas were exponents of early architectural achievements in Deccan. Aihole, Badami, and Pattadakal were their centers of art. They were succeeded by the Rashtrakutas and the Kalyani Chalukyas.
The temples of Trikuteshwara and Saraswati are in the same compound. The Trikuteshwara temple is bigger. In reality, it is a double shrine with two separate ‘sanctums’ facing each other. The bigger shrine is on the western side and faces east. To this is attached the smaller closed ‘mandapa’. The bigger ‘mandappa’ is connected with the smaller shrine on the east. In between these ‘mandapas’, there is a narrow passage with doors leading to north and south. The northern exit leads into a smaller attached shrine. This appears to be a later addition. The other exit opens into the courtyard in the south.
In the ‘sanctum’ of the bigger shrine is found a row of three ‘Shiva lingas’ on a common ‘yonipeetha’. This temple derives its name, ‘Trikuteshwara’ (Lord of the three peaks) from these ‘lingas’. The interior of the temples is rather plain, while the exterior walls are profusely decorated. The visible portion of the larger ‘mandapa’ on the exterior is intricately carved. The decoration consists of scrolls with small perforations in alternate squares and rows. In the niches of the walls are idols, among others, of Bhairava, Lakshmi, Vishnu, Ganapati, Shiva, Narasimha, Mahishamardini, etc.
The ‘vimana’ (spire) of the temple is a later addition in brick and plaster. The ‘Nandi’ on the front is also made by these materials. Successive coats of white wash have almost entirely obliterated the fine tracery upon the doorway of the temple.
Inclined slabs that serve as balcony seats are decorated with figurative panels and are overhung by steeply angled eaves. Inside the hall, the columns have figures arranged in shallow niches. The east Sanctorum has three lingas representing Brahma, Maheshwara, and Vishnu; the one to the south is dedicated to the goddess Saraswati. The main shrine has the three Lingas representing the Trinity on a single base. Pujas are still offered here. Sadly, the Saraswathi idol has been damaged at some period by vandals and so it is not used. Even while broken, the statue is still remarkable and leaves you wondering how beautiful it would have looked when whole. In an adjacent temple, there are three shrines dedicated to Saraswathi, Gayathri and Sharada.
Just by the side is another temple dedicated to three devices – Saraswathi, Gayathri, and Sharada. Only the statues are in a new style; the temple is in old architecture. The temple dates back to the Kalyani Chalukyas who ruled this region from around 1050 to 1200 CE, during which time about 50 temples were built. Saraswathi temple has been vandalized at an early age and hence pooja is not offered here. But the architecture exists. A new temple has been built for Goddess Saraswati under the advice of Shankaracharya, Kanchipuram. Temple Timings are 07:00 AM – 12:30 PM | 05:00 PM – 08:30 PM To Return to Index of Contents, Click Here. Otherwise Continue
5.2.2 Shri Veeranarayan Temple Gadag
Shri Veeranarayan Temple Gadag, Hanuman Gardi, Agrahar, Karnataka 582101 Shri Veeranarayan Temple is located at Gadag, Karnataka.and at a distance of 420 Kms from Bangalore. The Veeranarayana temple is a protected monument under Archaeological Survey of India.
The Veeranarayana Temple, is believed to be built by the king of Hoysala Vishnuvardhana around C. 1117 after his conversion to Hinduism. Narayana (Maha Vishnu), the Hindu god, is the main deity in the temple. With the statues of various gods and goddesses, the gopuram looks astounding indeed.
King Vishnuvardhana built some of the best specimens of Hoysala temple architecture during his reign. It is believed that at the behest of Sri Ramanujacharya, he built five temples dedicated to Narayana (Pancha Narayana Kshetras) — .Chennakeshava Temple at Belur, Cheluvanarayana Temple at Melkote, Nambinarayana Temple at Tondanur, Veeranarayana Temple at Gadag and Kirtinarayana Temple at Talakad. Under King Vishnuvardhana, the northern extent of the empire was up to Lakkundi. . Built in 1117 AD, the temple is known more for the legends that are linked to it than the architectural significance. The temple has Chalukya, Hoysala and Vijayanagar influences. The entrance gateway is in Vijayanagar style. This leads to a garudastambha and the ranga mantapa, which are in Hoysala style. The inner mantapa, sanctum and the main tower are in Chalukya style.
In Garbhagudi Shri Veeranarayana statue carved In the dark blue shaded stone attracts everyone. Decorated with Kireeta, Karnakundala, Shankha, Chakra, Gadha, Padma and in the robe of Veeragachche, Veeranarayana stands protecting his Bhaktas with Abhayahasta. In his broad bosom is Laxmi, at the pedestrial aureole the Dashawathara and at both sides stand Laxmi and Garuda. In the courtyard of this temple, there are other small temples of gods and goddesses like Laxmi-Narasimha temple, Sarpeshwara temple and so on..
The Kannada version of the great Hindu epic Mahabharata was written during the Vijaynagar empire era by the famous Kannada poet Kumar Vyasa to whom Gadag was as if his own home and the god Narayana of Gadag his most preferred deity. Legend has it that by receiving divine inspiration from his deity that Kumar Vyasa was able to complete the epic. The epic was accomplished at a certain pillar of the hall.
Legend has it that by receiving divine inspiration from his deity that Kumar Vyasa was able to complete the epic. The epic was accomplished at a certain pillar of the hall. A gift (Anandanidhi) was presented to the temple during King Achyuta Deva Raya’s reign, confirms an inscription of c.1539.
Chalukya, Hoysala, and Vijayanagara are the major three architectural styles being reflected by the temple. The main entrance is known as ‘mahadwara’ and the tower known as “gopura” resemble the Vijayanagara model while the ‘garuda stambha’ (literal meaning “eagle pillar”) and ‘ranga mantapa’ (“gathering hall”) are built in the Hoysala style. The Chalukya style is visible in the making of the inner ‘mantapa’ which is the hall adjoining the sanctum. The outfit on deity with a ‘veera kaccha’ (“warrior style”) signifies that it is “ready for battle”. Lakshmi and eagle are the consort and companion of the deity respectively by which it is flanked with.
5.3.1 Brahma Jinalaya (Basadi), Lakkundi
Brahma Jinalaya (Basadi), PQ7+RH5, Lakkundi, Karnataka 582115 – Brahma Jinalaya (Basadi) is located at Lakkundi, Karnataka at a distance of 12 kms from Gadag and 430 kms from Bangalore.
Lakkundi is famous for its many ancient temples and monuments dating from the Later Chalukya period. Many inscriptions were discovered here covering the Chalukya, Kalachurya and Hoysala periods. Among the many different temples and monuments here is the remarkable Brahma Jinalaya, the oldest Jain Basadi in Lakkundi.
This temple is dedicated to the greatest of the Jain Thirthankaras, Mahavira. There is also a beautiful idol of Lord Brahma in this temple. The Brahma Jinalaya, a Jain Basadi, was built by Queen Attimabbe, the wife of a Chalukya Chieftain. She was a generous patron of arts and was given the title ‘Daanachintamani’. This is the oldest of the Jain temples in Lakkundi. It is built of Chloritic Schist, a building material that made for easier and more delicate carvings. Built on a square plan, it has a 5 storied Vimana. It has a mukha mandapa and an open pillared hall.
It faces east, has a mukhamandapa, a gudhamandapa and its sanctum is covered by a sur-temple style vimana superstructure. The temple is notable for its reliefs depicting Jaina artwork, statues of the Tirthankaras and the two Hindu statues of Brahma and Saraswati inside its inner mandapa.
The Garbagudi or sanctum houses the idol of Vardhamana Mahavira. The statue of Brahma Deva in this temple is captivating. He is depicted standing, with 4 faces. The faces are polished and form a darker contrast to the rest of the idol. At his feet are his consorts, Savitri and Gayatri.
The temple was ruined and mutilated during or after the wars of the 13th-century. It was rediscovered by British archaeologists led by Henry Cousens in “deserted, filthy condition, occupied by a colony of bats” with beheaded Mahavira statue outside. Now cleaned and restored, the Jain temple of Lakkundi is one of many historic Chalukya era Jain and Hindu temples found in Lakkundi. It is the oldest major Jain temple in this region. Archaeological Survey of India has listed this basadi in the complex in the list of “Must See” Indian Heritage.
The temple illustrates the “Later Chalukya architecture, mainstream Lakkundi school of mid-11th century with late 11th century superstructure (shikhara)”. The temple has single shrine (ekakuta) connected to a closed mantapa hall via a vestibule (sukanasi or ardhamantapa) that is connected to another, open mantapa. This temple is one of the fine illustrations of the Western Chalukya architecture. The temple has a garbhagriha, an antarala, a closed navaranga mandapa, and an open pillared mukha-mandapa. Over the garbhagriha is the three storeyed nirandhara vimana with a square griva and sikhara. Above the cornice of these arched niches at regular intervals is a seated Jaina figure. The ceilings are plain and pillars are well decorated. The open mandapa is supported by 32 pillars and pilasters.
These elements are found commonly in all Western Chalukya temples. The building material is soapstone, which became the standard in later Hoysala architecture as well. The most conspicuous feature of the Western Chalukya temples is the decrease in the size of masonry and the resulting decrease in the overall height of the temples compared to those built by the Badami Chalukyas at Pattadakal. This was a result of a shift in the basic building material, from sandstone to the more workable soapstone (Chloritic Shist). In the coming decades, this transformation was to lead Vesara architecture toward increased ornamentation and articulation.
The temple style is quite similar to the older Shiva temple in Kukkanur, and they represent the transition phase between early Chalukya and Late Chalukya styles It is classified it as Vesara because each tier are encrusted with motifs that make the tower more “curvilinear”. The overall structure with its well proportioned tiers and finial (amalaka, kalasha) give the superstructure a “majestic” look. Above the cornice are circular niches, each of which holds the image of a Jain saint (Jaina) in relief, with a kirtimukha decoration above. The walls of the shrine have pilasters, with the spaces between them containing, in relief, pavilions, and miniature decorative towers (aedicula) on slender half pilasters. Some miniature towers have niches below them. Overall, decorative ornamentation is taken to a new level compared to earlier temples.
5.3.2 Laxmi Narayan Temple , Lakkundi
Laxmi Narayan Temple ,9PQ8+Q79, Lakkundi, Karnataka 582115 Laxmi Narayan Temple ,is located at , Lakkundi, Karnataka at a distance of 12 kms from Gadag.
Lakkundi is a home to numerous ruins of historic Hindu and Jain temples, Lakkundi is geographically located in a region with many major temple groups from the Kalachuris, Chalukyas, Yadavas-Seunas, Hoysalas and Vijayanagara era. It is close to historic temples found in Dambal, Kukkanur, Gadag, Annigeri, Mulgund, Harti, Laksmesvara, Kalkeri, Savadi, Hooli, Rona, Sudi, Koppal, and Itagi.
Lakkundi grew to be a major city, prosperous and one with a mint. Lakkundi and several historic towns to its north – such as Rona, Sudi, Kradugu now known as Gadag, Hooli and others – attracted a burst of religious, cultural and literary flowering from the 11th to 13th century, with ever more sophisticated temple architectures, Vidyadana (charity supported schools) and public works such as step wells. These are largely in the context of Shaivism and Jainism, though a few major temples of Vaishnavism here are also from this period.
In 1192 CE, after many of the remarkable temples of Lakkundi were already standing, a Sanskrit inscription of Hoysala king Ballala II re-affirms the continued importance of Lakkundi and it becoming his capital After the 13th-century, there is an abrupt end to all evidence of new public works, temples, inscriptions and other indirect signs of economic prosperity in Lakkundi.
It is said that there were 101 Temples in Lakkundi – many of them cease to exist as of date. Laxmi Narayan Temple is one of the surviving temple – no pooja is being done here. It is a very small temple dedicated to Lord Vishnu
5.3.3 Kasivisvesvara Temple, Lakkundi
Kasivisvesvara Temple, Lakkundi, 9PP8+XRF, Lakkundi, Karnataka 582115 Kasivisvesvara Temple is located at Lakkundi Karnataka at a distance of 12 kms from Gadag The Kasivisvesvara temple is one of the best illustrations of fully developed Kalyana Chalukya style of Hindu architecture.
Lakkundi is phonetically shortened name of the historic city of Lokkigundi.Lakkundi grew to be a major city, prosperous and one with a mint. Lakkundi and several historic towns to its north – such as Rona, Sudi, Kradugu now known as Gadag, Hooli and others – attracted a burst of religious, cultural and literary flowering from the 11th to 13th century, with ever more sophisticated temple architectures, Vidyadana (charity supported schools) and public works such as step wells. These are largely in the context of Shaivism and Jainism, though a few major temples of Vaishnavism here are also from this period
It was a center of activity and culture development of the Western Chalukya Empire. The temple is on the banks of the River Tungabhadra..The region on the banks of the Tungabhadra is famous for numerous monuments that speak the medieval stories. The monuments existing in this place is a true depiction of the Dravidian temples.
Kasivivesvara temple is one of the most ornate temples in the Karnataka region. The beams of the temple contain inscriptions that are dated back to 1087 CE, which implies that the temple has undergone various modifications from every era of rulers from Cholas to Chalukyas. The temple is a dual shrine or dvikuta, in which the one facing east is Lord Shiva in the universal form of linga and the other facing west is the Sun god.
The Kasivisvesvara temple has two sanctums facing each other and sharing a mandapa. The larger sanctum is dedicated to Shiva, the other to Surya.[3] It is notable not only for the three dimensional miniature reliefs and fine details of its artwork, the temple is also notable, states James Harle, for integrating all three major styles of Hindu temple architecture – the Nagara, the Vesara and the Dravida
The temple has a unique plan. The Shiva linga is around three feet high from the sanctum and the Sun God faces west which is different from other Sun temples. The temple has very sharper and crispier stone plans and with perfect light and dark shades to the stone works. The arches, moldings and lintels and door jambs have enough carvings that depict the exemplary architecture of the Chalukyan era.
The temple also has some mini towers which were Shrines or the deities depicting the influence of the architecture in northern India. The doorstep moldings and the doorways contain impeccable work of art and presentations that keep the art lovers busy. The pillars also contain many sculptures and artworks.
The walls contain images of Lakshmi, Vishnu. The lintel contains an image of Gajalakshmi and elephants in the dedicatory block. The temple doesn’t have a kalasha, the finishing capping structure, yet the temple contains work that is indeed the depicting of expert workmanship. The polished pillars and the shafts are indeed an elegant work of art.
The walls and pillars are elaborately decorated with exquisite stone chiseling on the slabs of the windows are an excellent showcase of craftsmanship of the Chalukyas. The intricate architecture works are great additions to the temple. There are inscriptions on the ceilings that are dated back to the era of Vijayanagara empire too. The decorative moldings give the influence of the south Indian architecture and the overall structure is more of a kind of Northern style. The towers have decorative works with several niches. To Return to Index of Contents, Click Here. Otherwise Continue
5.3.4 Nanneshwara Temple, Lakkundi
Nanneshwara Temple, 9PP8+WJQ, Lakkundi, Karnataka 582115 Nanneshwara Temple is located at Lakkundi, Karnataka at a distance of 12 kms from Gadag. It stands immediately west to the much larger and more ornate Kasivisvesvara twin Temple in a similar style.
Lakkundi is a home to numerous ruins of historic Hindu and Jain temples, Lakkundi is geographically located in a region with many major temple groups from the Kalachuris, Chalukyas, Yadavas-Seunas, Hoysalas and Vijayanagara era. It is close to historic temples found in Dambal, Kukkanur, Gadag, Annigeri, Mulgund, Harti, Laksmesvara, Kalkeri, Savadi, Hooli, Rona, Sudi, Koppal, and Itagi.
Lakkundi grew to be a major city, prosperous and one with a mint. Lakkundi and several historic towns to its north – such as Rona, Sudi, Kradugu now known as Gadag, Hooli and others – attracted a burst of religious, cultural and literary flowering from the 11th to 13th century, with ever more sophisticated temple architectures, Vidyadana (charity supported schools) and public works such as step wells. These are largely in the context of Shaivism and Jainism, though a few major temples of Vaishnavism here are also from this period.
In 1192 CE, after many of the remarkable temples of Lakkundi were already standing, a Sanskrit inscription of Hoysala king Ballala II re-affirms the continued importance of Lakkundi and it becoming his capital After the 13th-century, there is an abrupt end to all evidence of new public works, temples, inscriptions and other indirect signs of economic prosperity in Lakkundi.
The Nanneshwara (also spelled Nanesvara or Naneshwara) Temple is located in Lakkundi village of the Gadag district in Karnataka. This 11th-century temple is dedicated to Lord Shiva. The architecture reflects the later Chalukya style. Today, this temple is protected by the Archaeological Survey of India as a monument of national importance
According to art historians, the Nanneshwara Temple has the same architectural plan as the Kasivisvesvara Temple. Because of this similarity, it is often said that this temple was a prototype for the Kasivisvesvara Temple. However, it is important to note that this is an Ekakuta Temple, not a Dvikuta temple.
The temple is built using a unique material called soap stone which was a prominently used by the Chalukyas and the Hoysalas during the 12 th and 13 th century AD. The temple is constructed over a raised platform (jagati). The temple consists of an open hall (mandapa) with highly ornate pillars. This hall ends in a small closed hall that leads to the Garbhagraha (sanctum sanctorum) which houses a Shiva Linga.
The Nanneshwara Temple is a small but beautiful temple dedicated to Lord Shiva. According to art historian, Adam Hardy, it dates back to the 11th century and is built in the mainstream style of the Lakkundi school. The temple sits on a raised platform or jagati and features an open mandapa with beautifully decorated pillars, a small, covered mandapa and a Garbhagriha. A single Linga has been installed in the Garbagriha. Soapstone was the main building material used in the construction of this temple. Temple open timings : Morning 6:00 AM To Evening 6:00 PM
5.3.5 Halugonda Basaveshvara Temple, Lakkundi
Halugonda Basaveshvara Temple, Unnamed Road, Lakkundi, Karnataka 582115 Halugonda Basaveshvara Temple, is located at Lakkundi, Karnataka. It is one of the surviving monuments of 101 temples which were built in Lakkundi.There is a nice lake adjacent to this temple. The temple seems to be damaged fully and reconstructed. However no idols or pooja here.
5.3.6 Manikeshwara temple and pushkarini, Lakkundi
Manikeshwara temple and pushkarini ,9PR9+58C, Lakkundi, Karnataka 582115 Manikeshwara temple and pushkarini is located at Lakkundi, Karnataka at a distance of 12 kms from Gadag.
The Manikeshvara temple – also referred to as Manikeswar temple, Manikeshwara temple or Manikyeshwara temple – is a Hindu temple of Shaivism tradition in Lakkundi,
This Trikutachala-style temple, is so-called as it is a threecelled structure, with the three sanctums or shrines connected by a vestibule or acommon Hall. This temple is devoid of any tower at present. The door jambs aredecorated and there is jali work (perforated stonework with ornamental pattern) on the walls. Another Trikutachala-style temple at Lakkundi is the 11th-centuryKumbareshwara Temple.
Prior to the 14th-century, Lakkundi was a large, major historic city referred in pre-14th century texts and inscriptions as Lokkigundi – serving as a capital of the Hoysala dynasty. The city was destroyed in the Sultanate raids and wars that began in the 13th-century but rose from the ruins during the Vijayanagara Empire. The end of Vijayanagara Empire brought further social and political chaos to this region. Lakkundi was reduced to a galaxy of abandoned and mutilated ruins, spread over a cluster of small rural villages with a combined population of few thousand residents in the 19th-century.
This ruined temple was among the dozens in this Lakkundi area that were rediscovered in the 19th-century by British archaeologists and scholars such as Henry Cousens. Much is original, but some parts of this temple have been restored.
This is a large temple with a regionally famous Muskin Bhavi – a water tank (pushkarni) from the 12th-century. The temple has three shrines (trikuta style), of which is generally open to visitors. These have Shiva linga. The temple entrance has a porch with four pillars. This leads to the main mandapa. Each shrine cell has space for Nandi, but all Nandi are missing. Inside walls of the temple and the mandapa are in plain style, with niches provided for statues (missing). The lalita-bimba show Gajalakshmi. A notable feature of all three shrines is the perforated stone windows (called jali in Hindu architecture texts of the 1st millennium). The perforated stone windows are also part of the temple walls to allow light into the temple.
The outer walls of the temple are also simple and plain. The gavaskas have simple floral motifs (e.g. lotus), while other decorations near the top show dancers and musicians. The temple entrance has a standing person in the namaste posture at the top.The temple had a sikhara (spire), with signs of destruction visible.
There is an impressive stepped tank of the Chalukya dynasty near the temple. The steps are on three sides of the tank which is flanked on both sides with smaller temples. The approach to the mandapa of these temples forms a bridge on the fourth side of the tank.
Muskukina Bavi is one of the numerous step wells at Lakkundi and is located adjacent to theManikeshwara temple. Built in the 11th century CE, the step well has a flight of stairsleading to the water on the southern, eastern and western sides. There is a double-storey mandapa over the flight of stairs on the southern side.
5.4.1 Doddabasappa Temple, Dambal
Doddabasappa Temple, hanumappa temple, Dambal, Karnataka 582113 Doddabasappa Temple, is located at , Dambal, Karnataka at a distance of 22 kms from Gadag and 370 Kms from Bangalore.
Dambal was famous ancient town popularly known as Dharmapura or Dharmovolal during the 11th and the 12th century AD. The place was ruled by the Chalukya Vikramaditya’s queen Lakshmidevi from the small-town capital during those times. Dambal town was famous for Buddhism in the earlier times as well as cultus of Tara Bhagvathi.
Doddabasappa Temple is one of the architectural novelties built by the Kalyani Chalukya Dynasty, the later Chalukyas in 12th-century The temple contains a Shiva linga. Here Nandikeswara is facing the shrine through Eastern doorway.
The Doddabassappa temple was built in 1124-26 AD, when it was known as Ajjameshara temple as the builder of the temple was called Ajjayanayaka. The temple acquired the name Doddabasappa as it has the big bull (Doddabasappa) Nandi placed at the entrance of the temple.
The temple architecture is a star shaped with a stellate plan made with soapstone. The temple has an incessant stellate star shaped model. The vehicle of Lord Shiva, the Nandi, the bull, is placed right in the entrance towards the east.
The architecture is a kind of a basic Dravidian Architecture which was inculcated in the Chalukyan Architecture. The star projections give the temple a magnificent look. The seven-tiered architecture is incredibly designed with the top projection shaped like a cogged wheel with around 48 indentations. The temple has incredible sculptures on the pillars. The star shape forms the perimeter of the gopura giving the temple an elegant look.
The temple consists of a sanctum, a vestibule and a main mantapa. The vestibule connects the sanctum to the mantapa In the main hall, devotees can see three images, one of the five-headed Lord Brahma and the goose, and two images are of Lord Surya. The Western Chalukya monuments, regional variants of existing dravida (South Indian) temples, defined the Karnataka dravida architectural tradition.
The temple hallway or the vestibule is decorated with numerous floral designs and images of many dancers, few musicians etc. In the hall or the mantapa are the images of Brahma, and the goose which is his vehicle and the images of Sun god.
The temple has two entrances with a portico, one towards the east and the other towards the south. The east side doorway has stylish header decorations and the large resting Nandi the bull ( Basappa) facing the east.The Gopuram of Dodda Basappa temple is simply majestic. The exterior decorations of the temple are also very good. The wall reliefs are mainly the Krithimukha Pilasters and the miniature designs like the Dravida architecture. The porch of the temple contains well-crafted half pillars with intricate carvings supporting the roof. The walls of the temples contain turrets and pilasters at intervals making the overall decoration attractive. The embellishment at the basements and the intricate works on the walls is a dazzling combination that makes the architecture unique. To Return to Index of Contents, Click Here. Otherwise Continue
5.4.2 Someshwara Temple, Dambal
Someshwara Temple, Dambal, 8Q2C+RFJ, Gadag, Karnataka 58210 Someshwara Temple is located at Dambal, Karnataka at a distance of 22 kms from Gadag. and very near Doddabasappa Temple Dambal. It is a 1,000-year-old Chalukyan shrine. This is ASI monument
The Someswara temple is also referred to as Someshwara temple, Somesvara temple, Dharmeshwara temple, or Dharmesvara temple.It is located to the immediate west of Doddabasappa temple, It is about 15 kilometers south-southeast of Lakkundi group of Jain and Hindu temples, and 105 kilometers west of UNESCO world heritage site of Hampi.
Dambal was an important ancient town, one with its own fort, that is also referred to as Dharmapura and Dharmavolal in historic Hindu and Jain texts. A prosperous town, it was a center of education and monasteries. A number of stone inscriptions and texts state it to be the site of schools and monasteries of Buddhism, Hinduism and Jainism by mid 1st millennium. All three major religious traditions were thriving in Dambal till about the 13th-century.
Dambal was destroyed in raids, looting by the Muslim invaders who swept this region in and after the 13th-century as Sultanates attempt to establish themselves. By the 19th-century, Dambal was a forgotten village. Colonial era British officials and archaeologists visited Dambal in the second half of the 19th-century, finding the site to be full of mounds, ruined temples with forest growing over them.
The Dambal area has many ruins, predominantly of Hindu and Jain traditions, as well as historic stepwells (Japada Bavi) and remnants of a fort. Two temples amongst these are significant to the history of Hindu architecture: the Dodda Basappa temple and the Somesvara temple.The Somesvara temple is likely from about 1070–1080 CE, built during the Somesvara II reign.
It is a box-like temple with plain outer walls. It consists of an open ranga-mandapa (gathering hall), The notable pillars are well carved in the 11th-century Srikara and Bhadraka styles.A small Nandi faces the Shiva-linga inside the square-plan sanctum.
5.5.1 Mahadeva Historical temple, Itagi
Mahadeva Historical temple, CXV9+W2R, Itagi, Karnataka 583232 Mahadeva Historical temple, is located at Itagi, Karnataka at a distance of 45 kms from Gadag.
The Mahadeva Temple was built based on the general plan of the Amruteshwara Temple at Annigeri (used as the prototype). The Mahadeva Temple has the same architectural components; there is a difference in their articulation. The temple’s carvings, sculptures, pillars and tower stand proof to the immense talent of Chalukyan artists. One of the inscriptions on the walls of the temple calls it Devalaya Chakravarti (Emperor among Temples). This temple is protected by the Archaeological Survey of India.
The Mahadeva Temple at Itagi was built circa 1112 CE by Mahadeva, a commander (dandanayaka) in the army of the Western Chalukya King Vikramaditya VI. The well-executed sculptures, finely crafted carvings on walls, pillars and the tower make it a good example of complete Western Chalukyan art which speaks volumes about the taste of the Chalukyan artisans. This monument is the “finest in Kannada country after Halebidu” These Western Chalukya monuments, regional variants of existing dravida (South Indian) temples, defined the Karnata dravida tradition
The temple consists of a shrine connected to a hall by a vestibule. The sanctum of the main temple bears a linga and the rest of the shrines surrounding it bear their own linga. The closed mantapa or hall has a doorway on its either side, the doorway on its west leads to the sanctorum while the other leads to an open mantapa. This open mantapa has 64 pillars and of these 24 are fully built and support the main ceiling while the rest are only half pillars which are constructed from the parapet wall around the mantapa. The stonework on the ceilings and in the halls is interesting while in some places the work appears to be plain and simple.
The Mahadeva temple has a vesara-style sikhara (spire) above the sanctum. The sikhara has four original talas (storeys) and restored sections. The sukhanasi projects to the east. The temple shows extensive signs of deliberate damage, mutilation of faces, limbs and beheaded statues. Based on the inscriptions here, the temples ensemble here was in good working condition till the time of the Hoysalas, and the damage and destruction occurred in or after the 14th-century. Nevertheless, the sections that have survived in this temple provide an exceptional illustration of Hindu temple architecture perfected by Kannada speaking people.
The antarala reverentially includes reliefs of Brahma, Nataraja-Shiva and Vishnu. The pillars are lathe-shaped, then artistically carved into star-sectionals with cubical bottoms covered with legends from the Vedas, the Epics and the Puranas. These decorations include Nataraja, Ardhanarisvara (half Shiva, half Parvati), Bhairava, Gajasamharamurti, Lingobhava, Ganesha, Mahisasuramardini (Shakti), Kali, Sarasvati, Varaha with Bhudevi (Vishnu), Narasimha, Rama, Krishna, Pandavas and others. The sabha mandapa has eight framed niches that are deep and with evidence that there were once major statues in them, now missing. On the east side in this open mandapa is a Nandi.
The eastern main door leading to the inner closed maha mandapa has nine concentric layers of finely carved sakhas that are three dimensional (instead of being reliefs). The artists not only crafted and polished the outer visible surface, they polished the not easily visible surfaces behind. These include scenes of amorous couples (kama), artha, dharma, dancers, musicians, festivities, prakrit (nature) and others. The ceiling predominantly has inverted lotus motif, with the exception of a Nataraja panel (damaged).
The maha mandapa has 52 pillars, each intricately carved and polished. The mandapa volume is created by placing square spaces equally rotated to create a twelve cornered, symmetric-from-all-sides mandapa. The 52 pillars are of four types selected from the early Hindu texts on architecture. These types are arranged to create a further architectural symmetry within the mandapa, positioned to form circles within the rotated squares. Once again, like the sabha mandapa pillars, the lower square sections of the 52 pillars in the maha mandapa depict Hindu legends from the Vedas,
Epics, Puranas and folklores such as those found in Panchatantra. Both Vedic deities (Surya, Indra, Brahma, etc) and post-Vedic prominent deities (Shaiva, Vaishnava and Shakti) are depicted. Secular folklore such as the “lady teaching her parrot to talk” are depicted on these pillars. The surviving bracket figures (damaged) show the nine emotional rasas (aesthetics), such as adbhuta (marvel), sringara (erotic), shanti (peace, contentment), bhaya (fear), raudra (anger), and others.
The maha mandapa also has inscriptions in Old Kannada and Sanskrit, which help date and understand the history of this temples ensemble.Outside the main temple are smaller shrines, a major stepwell (puskarni), remnants of a Saraswati matha and sala (monastery and school). Among the better surviving ones is the Murtinarayana temple dedicated to Vishnu (Narayana), and it is to the north side of the Mahadeva temple. Another is the Chandelsvara temple. Outside in the temple ensemble compound are defaced and mutilated Brahma and other large statues. The ensemble includes Dravida, Nagara and Vesara styles.
5.5.2 Shree Kshetra Mahamaya Temple, Kuknoor
Shree Kshetra Mahamaya Temple, Kuknoor Rd, Kuknoor, Karnataka 583232 Shree Kshetra Mahamaya Temple is located in the center of the town Kuknoor, Karnataka at a distance of 50 kms from Gadag and 28 kms from Koppal.
Kuknoor is known for the temples of the Rashtrakutas and Chalukyas in the town, with the most notable being the Shree Kshetra Mahamaya Temple and Navalinga Temple. – both are housed in a single compound.
Mahamaya Temple is mentioned in the Indian epic Mahabharata. This is the same temple which King Chandrahasa, a devotee of Lord Krishna, visited. The temple is dedicated to three deities of the Garbhagriha, and features statues of them. Two of the deities are female; Laxmi & Parvathi (Mahamaya), and one male; Harihara, which means half-Shiva and half-Vishnu. All 3 statues face south, in contrast to the regular orientation towards the north. Statues like these, which face south are often considered to be more powerful.
The reference to this temple in the Mahabharata suggests it was built before the 8th century B.C. According to legend, there exists a hidden underground temple dedicated to Kali below the Mahamaya Temple. This temple plays a role in the events of the epic, as it practices Narabali, a type of human sacrifice. In modern history, there were plans to unearth it, however they were cancelled after villagers protested, citing the possible release of evil spirits if it were to be uncovered.
Within the Shree Kshetra Mahamaya Temple, there are seperate sannadhis for for Shri Annapurna , Sri Lakshmi Venkatesa Prasanna, Lakshmi Narayan (Like Srirangam) , Rama- Lakshman- Seetha and Dattatreya. There is a temple tank within the premises.
The contact phone numbers are : Sanjeeva Pujari 9632420126, 8123993993925, 9986287525,9886683811 .
5.5.3 Navalinga Temple, Kuknoor
Navalinga Temple, FXRQ+9Q6, Kuknoor, Karnataka 583232 Navalinga Templeis located located in the center of the town Kuknoor, Karnataka at a distance of 50 kms from Gadag and 28 kms from Koppal..The Navalinga Temple houses nine of the 12 Jyotirlingas (the sacred devotional representation of Lord Shiva worshipped in the form of a linga or the phallus symbol of the deity) and is probably the only place to have such lingas. Each linga has a separate sanctum sanctorum and a shikhara.
Kuknur, is popular for its Navalinga Temple constructed by Chalukyas and Ratrakutas in Dravidian style. Since each of the nine temples has a linga, they are known as Navalinga meaning nine lingams. Each of the nine temples in the cluster houses a Shivalinga installed within a circular yonipith.
The temple was built under the Rashtrakuta Dynasty, under the reign of King Amoghavarsha I or under his son Krishna II. The temple town boasts of inscriptions from the Vijayanagara period and they refer to a number of Hindu Goddesses such as Ganga, Saraswati, Kalikadevi, Mahamay and Chamundi, it also mentions the name of God Mallikarjuna.
The Navalinga group of temples appears to be built without any particular order in an asymmetric manner. The temple is constructed with sandstone but the shrine walls have lost their sheen now. The shrines have a Shikara like any South Indian temple. The shrine has a linga and the entrance of this shrine bears the image of the Goddess Gajalakshmi. There are two ancient Kannada inscriptions in the complex of this temple. The pillars in the halls are of better quality than seen at Pattadakal, indicating an advancement of this art from the previous centuries
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