While India is home to over 1,500 rock-cut works of architecture with the earliest one being the Barabar caves in Bihar (3rd century BC) and later additions such as Ajanta (2nd century BC) and Ellora in Maharashtra, the rock-cut shrines of Badami in Bagalkote district of Karnataka remain as a symbol of Chalukyan architecture (6th to 8th century AD) beginning from the regime of Pulikesin-I (543-566 AD).
The Chalukyan style is a unique synthesis of Nagara and Dravidian styles which was later adopted by the Hoysalas. Badami, also known as Vatapi, the capital of early Chalukyas, has four inimitable rock-cut temples.
Though these structures with monolithic columns and elaborate structural compositions appear similar to the rock-cut structures of Ajanta in Maharashtra, Chalukyan structures are different with each of them having ‘mukha mantapam’ — a columned hall which leads to the artha mantapam. Intricate cell-like carvings are found in the rear walls of the mantapas. Carved out of soft sandstone on a hill cliff, Badami rock-cut temples are located on the banks of a lake (Agastiya Tirtha), an early example of rainwater-harvesting (the tank's main source of water is rainwater flowing from the rocks) adopted by the Chalukyan kings. The tank is surrounded by a wall with stone steps.
Steps lead to four cave temples with Cave-I at the bottom and cave-4 at the peak. Visitors to the shrines climbing on the steps are followed on the two sides by an army of monkeys. They never disturb the people, except making frantic search for food.
Cave-I is dedicated to Lord Siva. The rock that faces the right of the temple entrance bears a magnificent sculpture of Nataraja with 18 arms, depicting beautiful dance postures and having weapons such as trident, axe, drums and serpents coiled around them. The statues of Ganesha and Nandi are carved on the side of Nataraja, and on the walls nearby one can see a sculpture of Mahishasuramardhini with a trident, a carved image of Harihara with axe and serpent and Ardhanariswara. On the ceiling of the mukha mantapam is an impressive sculpture of Nagaraja with coiled serpent surrounding a human figure flanked by flying couples. There is no idol in the sanctum and hence there is no worship.
A row of steps leads to Cave-2, which according to the ASI, belongs to sixth century AD. This one is dedicated to Lord Vishnu and is similar to Cave-I in dimension. This is carved on a rock elevated on a plinth with a base where sculptures of ganas playing instruments and dancing are aplenty. The walls of the mukha mantapam depict Vishnu as Varaha and Trivikrama - with one foot on the earth, another directed to the north, and Vamana standing to the right. The Varaha sculpture depicts the Lord rescuing Bhoodevi.
Interesting episodes from Krishna avataram depicting His birth, Krishna as a cowherd and Vishnu on Adisesha – adorn the side walls. The ceiling has intricate carvings of fish-spike wheel, swastika compositions and flying couples. As in the first cave the interior mantapam leads to the sanctum with no idol for the presiding deity.
Cave-3 - the largest and most prominent early Chalukya rock-cut temple represents Saivaite and Vaishnavite aspects. An inscription here records the creation of the temple by the Chalukyan king, Mangalesha in 578 CE. The shrine opens with an extended facade with massive columns cut artistically into the rock cliff. It appears as if the entire work is of nature. The mukha mantapam raised on a plinth with panels has carvings of ganas in dancing postures.
At the left end of the mantapam is a rare sculpture of Vishnu as Vaikuntha (the Lord seated on Adisesha, the open hoods of which serve as the shelter for the Lord) seen carved on the wall. The panels seen on the ceiling have exquisite carvings of Kubera; Indra (on an elephant in the company of dancers and musicians); Siva and Parvati on Nandi surrounded by ganas; Brahma with rishis and Varuna with ‘makara.’
The top part of the wall has panels depicting interesting episodes such as the churning of ocean, Krishna’s childhood; Vishnu as Seshasayana; Arjuna fighting Siva and Lakshmi and Narasimha. The Artha mantapam with 12 columns are engraved with floral motifs, monster head, animals, birds and human figures.
Steps from the mantapam lead to the sanctum at the rear end of the shrine. The sanctum has a pedestal and is devoid of deity.
The fourth cave is dedicated to Mahavira and is comparatively smaller than the other three temples. This shrine has a five-bay entrance with the mukha mantapam having square pillars. The end walls have sculptures of Bahubali and the images of Parshvanatha, the multi-hooded cobra rising above his head, on the right.
A monk seated on a lion throne flanked by a pair of attendants is carved on the rear wall. But the sanctum, unlike the other three, is adorned with the idol of Mahavira. The pedestal has an early Kannada inscription dating back to the 12th century AD. The inner pillars of the mantapam have numerous carved images of Jain Tirtankara. There are idols of Bahubali, Yakshas and Yakshis.
A tomb, believed to be dating back to the 17th century AD (of Bijapur Sultan period), forms the façade of the cave temples. Also found is a mosque belonging to a later period. On the banks of Agastiya tirtha tank is the Yellamma Temple, belonging to the Chalukyan period. Further away stands the Virupaksha Temple and on the cliff is the Malegitti Siva Temple. At the end of the tirtham stands the impressive Bhuthanatha shrine dotted with several small enclosures for deities with towers depicting the late Chalukyan architecture. But the tower over the main shrine clearly boasts Dravidian style with a multi-storeyed structure capped with a prominent ‘kuta’ that belongs to the 8th century AD.
ASI conservation
“The Archaeological Survey of India (ASI) has undertaken the conservation and restoration works of the Chalukyan architecture, at Aihole, in Bagalkote district, where an ancient well inside a temple with stone steps is in a dilapidated state,” said A.M.V. Subramaniam, superintending archaeologist, Dharwad circle. “Another dilapidated Desaigudi shrine is being restored completely by the ASI,” he added.
“While the group of Chalukya temples at Pattadakkal in Bagalkote district has already come under the ‘U.N. World Heritage Sites,’ we have sought a similar status for the Chalukya heritage temples in Aihole and Badami,” he added.
