Pattadakal


Pattadakal, also called Raktapura, is a complex of 7th and 8th century CE Hindu and Jain temples in northern Karnataka, India. Located on the west bank of the Malaprabha River in Bagalkot district, this UNESCO World Heritage Site is from Badami and about from Aihole, both of which are historically significant centres of Chalukya monuments. The monument is a protected site under Indian law and is managed by the Archaeological Survey of India.
UNESCO has described Pattadakal as "a harmonious blend of architectural forms from northern and southern India" and an illustration of "eclectic art" at its height. The Hindu temples are generally dedicated to Shiva, but elements of Vaishnavism and Shaktism theology and legends are also featured. The friezes in the Hindu temples display various Vedic and Puranic concepts, depict stories from the Ramayana, the Mahabharata, the Bhagavata Purana, as well as elements of other Hindu texts, such as the Panchatantra and the Kirātārjunīya. The Jain temple is only dedicated to a single Jina. The most sophisticated temples, with complex friezes and a fusion of Northern and Southern styles, are found in the Papanatha and Virupaksha temples. The Virupaksha temple is an active house of Hindu worship.
The Malaprabha River, a tributary of the Krishna River cutting across the valley of mountains surrounded and the plains has great importance and place in this history of south India. The origin of this river is from Kanakumbi, Belagavi district, in the western ghats region flows towards the eastern side. Just before reaching Pattadakal it starts flowing from south to north. As per the Hindu tradition, a river that flows in the north direction is also called Uttarvahini Ganga.

Location

The Pattadakal monuments are located in the Indian state of Karnataka, about southeast of Belgaum, northeast of Goa, from Badami via Karnataka state highway SH14, and about from Aihole, set amid sandstone mountains and the Malaprabha river valley. In total, there are over 150 Hindu, Jain, and Buddhist monuments, and archaeological discoveries, dating from the 4th to 10th century CE, in addition to pre-historic dolmens and cave paintings that are preserved at the Pattadakal-Badami-Aihole site.
Nearby airports to Pattadakal
Access to the site by train is also possible via an Indian Railways service that stops at Badami on the Hubballi-Solapur line.

History

Pattadakal was considered a holy place, being where the Malaprabha river turned northwards towards the Himalayas and the Kailasha mountain. As its name implies, it was used during the Chalukya dynasty for coronation ceremonies, such as that of Vinayaditya in the 7th century CE. Other names this place was known by were Kisuvolal meaning "valley of red soil", Raktapura meaning "city of red", and Pattada-Kisuvolal meaning "red soil valley for coronation". The site, states Archaeological Survey of India, is mentioned in texts by Srivijaya and is referred to by Ptolemy as "Petirgal" in his Geography.
The early rulers of the Chalukya during the 5th – 6th century were Vaishnavites and then converted themselves into Shaivaites. Hence the temples in and around this compound are dedicated to Lord Shiva.
Pattadakal became, along with nearby Aihole and Badami, a major cultural centre and religious site for innovations in architecture and experimentation of ideas. The rule of the Gupta Empire during the 5th century brought about a period of political stability, during which Aihole became a locus of scholarship. The experimentations in architecture extended into Badami over the course of the next two centuries. This culture of learning encompassed Pattadakal in the 7th century which became a nexus where ideas from northern and southern India fused. It was during this latter period that the Chalukya empire constructed many of the temples in Aihole-Badami-Pattadakal region.
After the fall of the Chalukya Empire, the region was annexed by the Rashtrakuta kingdom, who would rule over the region into the 10th century. In the 11th century, and into the 12th century, the region came under the rule of the Late Chalukyas, an offshoot of the Early Chalukya Empire. Although the area was not a capital region, nor in proximity to one, numerous sources such as inscriptions, contemporaneous texts and the architectural style indicate that, from the 9th to 12th centuries, new Hindu, Jain and Buddhist temples and monasteries continued to be built in the Pattadakal region. Historian George Michell attributes this to the presence of a substantial population and its burgeoning wealth.
In the advent of the 14th century, Pattadakal, the Malaprabha valley, as well as much of the Deccan region, was subject to raids and plunder by the Delhi Sultanate armies that devastated the region. This period ended with the rise of the Vijayanagara Empire. It was responsible for the construction of forts for the protection of the monuments, as evidenced by inscriptions in the fort at Badami. Pattadakal was a part of the border region that witnessed wars between Vijayanagara and the Sultanates to its north. Following the collapse of Vijayanagara Empire in 1565, Pattadakal was annexed by the Sultanate of Bijapur, which was ruled by the Adil Shahi dynasty. In the late 17th century, the Mughal Empire, under Aurangzeb, gained control of Pattadakal from the Sultanate. After the collapse of the Mughal Empire, Pattadakal came under the control of the Maratha Empire. It later changed hands, yet again, when Haider Ali and Tipu Sultan wrested control of it in late 18th century but would lose it when the British defeated Tipu Sultan and annexed the region.
The monuments at Pattadakal are evidence of the existence, and the history, of interaction between the early northern and southern styles of Hindu arts. According to T. Richard Blurton, the history of temple arts in northern India is unclear as the region was repeatedly sacked by invaders from Central Asia, particularly during the Muslim incursions from the 11th century onward. The subsequent "warfare has greatly reduced the quantity of surviving examples". The Pattadakal monuments completed in 7th and 8th century are among the earliest surviving examples of these early religious arts and ideas.
Prehistoric Monuments
Based on some recent findings by Archeologist and pre-historian Prof. Ravi Korisettar published works for National Institutes of Advance studies, India, the Early Chalukyan artisans were not the first to build monuments in the Malaprabha Valley. At Bachinnagudda, just a couple of kilometres west of Pattadakallu, along the road leading to Badami, is a rough-looking monument believed to date back to the Iron Age. This monument, called a dolmen, belongs to a class of structures called megaliths, which were erected all over southern India mostly during the Iron Age and the succeeding Early Historic period.

Description

Site layout

There are ten major temples at Pattadakal, nine Hindu and one Jain, along with numerous small shrines and plinths. Eight of the major temples are clustered together, a ninth one about half a kilometer south of this cluster, and the tenth, a Jain temple, located about a kilometer to the west of the main cluster. The Hindu temples are all connected by a walkway, while the Jain temple has road access.

Style

The Pattadakal monuments reflect a fusion of two major Indian architectural styles, one from north India and the other from south India. Four temples were built in the Chalukya Dravida style, four in the Nagara style of Northern India, while the Papanatha temple is a fusion of the two. The nine Hindu temples are all dedicated to Shiva, and are on the banks of Malaprabha river. The oldest of these temples is Sangameshwara, which was built during the reign of Vijayaditya Satyashraya, between 697 and 733 CE. The largest of these temples in Pattadakal is the Virupaksha Temple, which was built between 740 and 745 CE.
The last temple built in the Group of Monuments is the Jain temple, known locally as the Jain Narayana temple, which was likely built in the 9th century during the reign of Krishna II of Rashtrakutas. Its style is patterned on the lines of the Kailasanatha temple at Kanchipuram.
The temple structures were built using the sandstones found abundantly locally at Pattadakkal. Some of the sculptures are carved from polished black granite.

Kadasiddheshwara temple

A relatively small temple, the Archaeological Survey of India has dated it to around the mid-7th century CE, but George Michell dates it to the early 8th century. The temple faces east and is built around a square garbha griha. It houses a linga on a peetha ; there is a mantapa around the sacrum center. Much of the temple has been eroded or was damaged in the following centuries. The Shikhara is a northern Nagara style with a sukanasa projection on the east. The sukanasa has a damaged Nataraja accompanied by Parvati.
The outer walls of the Kada Siddheshwara sanctum feature images of Ardhanarishvara on its north, Harihara to its west and Lakulisha to the south. Mounted on a lintel at the sanctum entrance is Shiva and Parvati flanked by Brahma and Vishnu on either side. The steps at the sanctum entrance are flanked by the river goddesses Ganga and Yamuna, with attendants.

Jambulingeshwara temple

Another small temple, the Jambulingeshwara temple, also called the Jambulinga temple, is variously estimated by ASI and Michell to have been complete between mid 7th and early 8th century, respectively. The temple is built around a square garbha griha, whose outer walls feature intricate devakoshtha. Inside the frames are images of Vishnu on its north, Surya to its west and Lakulisha to the south. The temple also experiments with the idea of projecting sukanasa from the shikhara in front, over the mandapa. The temple still faces east, greeting the sunrise. The Nandi too is provided with a raised platform which is in ruins and the Nandi image shows signs of erosion. The dancing Shiva Nataraja with Parvati and Nandi by his side on the frontal arch sukanasa is better preserved.
The style of the temple is northern rekha-nagara with a curvilinear profile of squares diminishing as they rise towards the sky. The amalaka and kalasha of the northern style, however, are damaged and not in place. The entrance of the Jambulingeshwara mandapa is decorated with three shakhas, each with purnakumbhas below their capitals. A swan themed frieze covers the passageway with the faint remains of the carvings of swans, kutas and salas.