Hampi & Badami
Rocky Mountain
I get down from the bus and look around. The fertile fields have all disappeared as if by magic. What I see in the front, is incredible. In every direction, huge heaps of granite and sandstone stones and rocks of every imaginable and conceivable shape, lie scattered around on hilltops, vales or are heaped everywhere on top of each other in what look like to be the most precarious arrangements. It is difficult to even imagine how this scenario was ever created. Only explanation that I can think of is a major volcanic eruption billions of years ago, wherein the hot lava was thrown up in the sky to a great height. The hot lava solidified into stones while coming down and settled everywhere. My Deccan safari has just began at Hampi with the stones.
The history of any country in the world or region is always shaped by the geography of that region, human nature being same everywhere. In China, mighty empires of Qin, Han and Ming dynasties, faced periodic ravage and destruction from the north-westerly nomadic tribes of the Central Asian steppe region. The ancient Chinese history is shaped by these invasions. India is no exception. Ancient and medieval history of India also speaks of continuous aggressions from North-West.
Sasivekalu Ganesha
Cobra snake tied on tummy
Side view of Lord Ganesha
Rear view, Ganesha sits in the lap of mother Goddess Parvati
-1-
The bus shakes and rattles like a child's plaything. With every jerk, the old springs underneath the bus, keep squeaking and creaking loudly, perhaps complaining about the cruel treatment given by the potholed road. The left side windows are all draped with heavy cotton curtains, to block any sun light piercing through. Even then, an odd quiver or shudder of the bus, makes the drapes dance wildly for a moment, allowing a brilliant yellow ray of light to shoot through and scorch my bare arms. The weather is pleasant and cool. Yet the rays of the sun hit my arms like a flare. I look out through the uncovered window on my right. I see unending acres of sugar cane, jawar and cotton fields roll on. I close my eyes for an instant. I realize that the the bus now taking a sharp left turn, suddenly comes to a stop. It seems we have arrived at Hampi.
The bus shakes and rattles like a child's plaything. With every jerk, the old springs underneath the bus, keep squeaking and creaking loudly, perhaps complaining about the cruel treatment given by the potholed road. The left side windows are all draped with heavy cotton curtains, to block any sun light piercing through. Even then, an odd quiver or shudder of the bus, makes the drapes dance wildly for a moment, allowing a brilliant yellow ray of light to shoot through and scorch my bare arms. The weather is pleasant and cool. Yet the rays of the sun hit my arms like a flare. I look out through the uncovered window on my right. I see unending acres of sugar cane, jawar and cotton fields roll on. I close my eyes for an instant. I realize that the the bus now taking a sharp left turn, suddenly comes to a stop. It seems we have arrived at Hampi.
Rocky Mountain
I get down from the bus and look around. The fertile fields have all disappeared as if by magic. What I see in the front, is incredible. In every direction, huge heaps of granite and sandstone stones and rocks of every imaginable and conceivable shape, lie scattered around on hilltops, vales or are heaped everywhere on top of each other in what look like to be the most precarious arrangements. It is difficult to even imagine how this scenario was ever created. Only explanation that I can think of is a major volcanic eruption billions of years ago, wherein the hot lava was thrown up in the sky to a great height. The hot lava solidified into stones while coming down and settled everywhere. My Deccan safari has just began at Hampi with the stones.
The history of any country in the world or region is always shaped by the geography of that region, human nature being same everywhere. In China, mighty empires of Qin, Han and Ming dynasties, faced periodic ravage and destruction from the north-westerly nomadic tribes of the Central Asian steppe region. The ancient Chinese history is shaped by these invasions. India is no exception. Ancient and medieval history of India also speaks of continuous aggressions from North-West.
Geographically
speaking, Indian peninsula can be divided into four distinct regions.
Himalayan mountainous region of far north, fertile flats of North and
North-West India of Indus-Ganga river basins, central plateau region
of Godawari-Krishna river basins and the tropical southern India. Out
of these four regions, the entire Himalayan region, because of its
extreme weather, was not really suitable for habitation and not many
settlers came in except in the vale of Kashmir. Continuous foreign
invasions took place over the Indus and Ganga river valleys or
basins. The entire history of Indian sub continent is so closely
associated with these invasions in northern plains, that the history
of Deccan plateau region in the doab between Krishna and Godavari
rivers is mostly neglected by most of the historians. We can learn
from historical accounts that even this region was continuously
subjected to foreign invasions. However this region saw many risings
of local powers even up to 16th
century CE, who had established their empires in the Deccan. These
empires resisted effectively the Shaka ( Scythian) and later the
Muslim invaders. As a result, no foreign rule could be established
over complete Deccan region even up to 16th
century CE, and the states in south India always remained insulated
or isolated from Muslim invaders from north and Hindu culture
prospered in South India. It can also be said that the local kingdoms
of the Deccan plateau, blocked the process of Islamization of India,
and it could never recover again.
The
oldest known indigenous empire of the Deccan was established by
Satavahana kings after demise of Emperor Ashoka in 3rd
century BCE. However parts of this empire were soon captured by Shaka
(Scythian) invaders sometime in first century BCE. The mighty king
Goutamiputra from this dynasty liberated most of the areas of Deccan
from foreign invaders around 78 CE and limited rule of foreign
invaders only to west of his empire in Malwa, Gujrat and Kathiawad
regions where kings of Shaka, Pahelavi and Greek origins continued to
rule. Satvahana kings were followed by Chalukya, Rashtrakut and
Yadav dynasties, who ruled over the Deccan. In the year 1294, Delhi
Sultan Allauddin Khilji defeated Yadav kings and Muslim power was
established over Deccan for the first time. In the year 1347,
Bahmani empire was established in the Deccan and there were clear
signs that Islamization of the Deccan would now be complete.
Two
Hindu Kings, Harihar and Bukka from Sangma dynasty, established a
Hindu kingdom on the bank of river Tungbhadra in the year 1336 and
managed to block the spread of Islamic rule for next 200 years very
effectively. The process of Islamization of India, which got blocked
with establishment of Vijayanagara empire was eventually stopped for
ever and even when Islamic rule of local Sultans was established 200
years later, with defeat of Vijayanagara army by combined armies of
five Islamic kingdoms, it could not regain any momentum. Both these
events therefore have great historic importance.
The
traces of the indigenous empires of the Deccan are still found all
over the region. In Maharashtra, such traces are found at Ajanta,
Ellora and Doulatabad fort near Aurangabad city. However the region
that could be considered as the most important from this historical
point of view happens to be the Gadag, Bagalkote and Vijapur
Districts of the state of Karnataka. The real glory of these empires
of the Deccan can be witnessed still, only in these regions. That is
why I have decided to start my safari of the Deccan, from Hampi.
The
empire of Vijayanagara was in existence for more than 200 years and
during this period it was considered as the most powerful and wealthy
state. In 1565, after defeat of Vijayanagara army, the enemy armies
totally destroyed the beautiful capital of Vijayanagara empire at
Hampi. This destruction went on for a period that extended for more
than 6 months. Only ruins of this once beautiful metropolis now
remain. Even then, it is easy to find the traces and the signs of
original affluence and wealth at many places in the ruins. Hampi
ruins are spread over 26 square Km, but the most important ruins are
seen only at 3 places, which are near about. It is therefore easily
possible to see Hampi on foot, without much trouble.
After
alighting from the bus, I am on my way to a section of ruins towards
north, which have mostly temple ruins. I can see ahead of me 3 or 4
small structures, which appear to have a very special kind of
construction. On a plinth built from granite stone blocks, number of
vertical pillars stand up. Huge granite stone slabs seem to rest on
these pillars creating a sort of a ceiling. Almost all the structures
in Hampi that still stand, have a similar construction. I can see a
structure bit higher up on the hill slope, which contains a huge
stone idol. I walk towards the structure and immediately realize that
this structure was a temple of an elephant Hindu God, Lord Ganesha.
As per Hindu religious beliefs, any new undertaking succeeds surely,
if begun with invocation to Lord Ganesha. I start my Hampi
wanderings with a visit to a Ganesha temple.
Sasivekalu Ganesha
This
Ganesha idol, about 8 feet tall, is called Sasivekalu Ganesha and has
been sculptured from a single granite rock. In the local Kannada
language, word Sasivekalu means a mustard seed. It is said that this
idol has a stomach, shaped like a mustard seed and hence the name. A
cobra snake is seen sculptured around the waist. This Ganesha idol is
supposed to have eaten too much food and was scared that his stomach
may now burst, so he tied a Cobra around his tummy.
Cobra snake tied on tummy
Side view of Lord Ganesha
Rear view, Ganesha sits in the lap of mother Goddess Parvati
I just
go around the sculptured idol. Hindu mythology tells that Ganesha was
originally a shepherd. That is why we can see a stick and a lasso in
his hands of this idol. From the other side, this Ganesha idol looks
very much like a woman in sitting position with hair tied up in a
knot. What this sculpture actually is trying to depict is Lord
Ganesha's mother “Parvati” sitting with her gigantic child in
her lap. Perhaps the sculptor of this idol is trying to tell us the
fundamental truth, that for any mother, her son, even if he is very
famous and powerful, is always a small child in her mind. I leave
the Ganesh temple and start walking further towards north, greatly
appreciating in my mind, the flight of fancy of the sculptor.
The Sasivekalu Ganesha temple in Hampi, which I just visited, is located at the foot of a small hillock known as “Hemakut Giri.” This hillock looks rather tiny, however climbing up from the side of this temple is difficult because the cliff here is rather stiff. Most of the people take the diversionary route, which goes around the hill, because it is easier on your legs. I decide to take this longer route and start walking. Ahead of me appears another structure constructed with a granite stone block plinth, pillars and slabs for roof, and that is all that has remained there now.
Entry gate for Kadalekalu Ganesh temple. Left gate is for the King, middle for commoners and right for noblemen
Bass relief on a pillar, a servant with a "Chauri"
Figure of Shiva
Shiva Lingam
Monkey faced Lion
Kadalekalu Ganesha
Entrance gate to Hemakut hill
Temples from Rashtrakut Period
Temples on Hillside; on left are Hoyasala style, middle are Rashtrakuta style and on right Chalukya style.
West side view: Sasivekalu Ganesha and Krishna temples
East side View; tower of Virupaksha temple.
Hemakut hill guest house
Shiva lingam engraved in stone
Engraving on temple towers done in Rashtrakut style
The Victory Pillar
Bass reliefs on hemkut hill
Frangipani tree on the hill
Towers of Virupaksha temple
Bass relief Virupaksha temple
Goddess Durga fighting demons
100 pillared enclosure, Virupaksha temple
Painting on the ceiling of Virupaksha temple
Vali and Sugreev, Monkey kings from Ramayana, fighting a battle
View of Virupaksha temple from Hampi Bazaar
Protecting wall of Zenana enclosure or Harem
Two storied Lotus palace
Arches and decorative work
A guard tower, only female guards were deployed
Bass relief of serpent God
Elephant stables
A lone guard tower on a hill
Viththala temple battery operated minibus
King's weighing balance
Tungbhadra river scene, Anjaneya hill behind
Anjaneya temple on the hill
The
rocky hills around, have been given very poetic Sanskrit names like “
Gandhamadan, Matang, Hemakut, Malayawant and Rishikesha,” which
makes me feel that I have travelled back a millennium in India's
history.
Sculptures on temple entry tower
Court yard of Viththala temple
Basil shrub pot
The world famous rock chariot
Temple south wing
Musical Pillars
A pillar from dance hall
Bass relief near the steps
Bass relief of horses and trainers on plinth of temple
The sanctum without idols
A full relief sculpture near east entrance steps
A blooming Frangipani tree near the temple
The Sasivekalu Ganesha temple in Hampi, which I just visited, is located at the foot of a small hillock known as “Hemakut Giri.” This hillock looks rather tiny, however climbing up from the side of this temple is difficult because the cliff here is rather stiff. Most of the people take the diversionary route, which goes around the hill, because it is easier on your legs. I decide to take this longer route and start walking. Ahead of me appears another structure constructed with a granite stone block plinth, pillars and slabs for roof, and that is all that has remained there now.
Entry gate for Kadalekalu Ganesh temple. Left gate is for the King, middle for commoners and right for noblemen
This
structure was actually a gate with three separate entrances. Left
entrance for the king, right entrance for the senior officers and the
middle one for common people. All the three ways converge into the
same path later. I am bit amazed at this segregation of classes. I
walk ahead and see another Temple structure with another Ganesha idol
facing me. This temple structure is somewhat different from the one
I saw earlier. There are actually two sections an outside prayer
hall, known as “Rang Mandir” and the inside sanctum where the
idol is kept. All the pillars that support the prayer hall have bass
reliefs carved on them. My initial reaction about the bass reliefs is
that they lack fine work. However I soon realize that they are
looking bit crude because the basic material in which they are carved
is granite, which is an extremely hard stone. Because of the
hardness, it must have been really tough to sculpture or create baas
reliefs here. On closer look I much impressed with the bass reliefs
as these are quite different from the usual stuff. I can make out
unusual stuff here like a hunter female with a bow and arrow, a
monkey faced lion, a Shiva figure and a lingam and Hanuman monkey
with his tail wrapped up around him.
Bass relief on a pillar, a servant with a "Chauri"
Figure of Shiva
Shiva Lingam
Monkey faced Lion
Kadalekalu Ganesha
The
Ganesha idol in the sanctum is huge, at least 15 feet high. The part
of the elephant trunk and stomach have broken off and are not seen
anywhere. This Ganesha idol was known as “ Kadalekalu Ganesha”
because, Kadalekalu means gram lentil in local Kannada language and
that is how the tummy of this idol had looked like. The surrounding
view from the prayer hall is magnificent . I can see Hampi market
directly ahead with famous “Virupaksha” temple on left and
further away in almost all directions the famed Hampi's rock
mountains. I feel rather pleased with the view and the place.
Entrance gate to Hemakut hill
I
continue walking on a steadily climbing path and see ahead a huge
gate, which has been fashioned more like a Roman or a Greek sculpture
without any “Gopura” or tower on top. It is also possible that it
looks like this because the original Gopura or the tower on the top
of the building has now collapsed. There is a particular symbol which
I do not understand, but must have been some kind of good luck sign.
Temples from Rashtrakut Period
Temples on Hillside; on left are Hoyasala style, middle are Rashtrakuta style and on right Chalukya style.
West side view: Sasivekalu Ganesha and Krishna temples
East side View; tower of Virupaksha temple.
“Hemakut
Giri” means a mountain of gold. This name has been derived from the
Sanskrit word “Hema” which means gold. It is believed that when
Hindu God Shiva got married with Goddess “Pampa,” this hill was
covered with gold flakes, which fell from the heavens. In reality, I
can only see shining black granite rock slabs covering almost entire
hill. There are number of Shiva temples on the hill with three
distinct types of “Gopura” or towers on top. I can clearly
identify the typical “Rashtrakut” style stepped towers of earlier
times. Perhaps the absence of the tower on the entry gate, which I
mentioned above is because of this reason only. This kind of entry
gate without a tower, is seen in many structures of “Rashtrakut”
period, like the Gate structure of the famous “Kailash” rock
temple at Ellora caves. Obviously, many temples here must have been
in existence long before the “Vijayanagara” was established.
I
climb to the top of the hill. I am told that the sunset view from
here is quite picturesque. However it is still mid morning here and
only things I see are the Sasivekalu Ganesha temple and the Krishna
temple further away. There is two storied structure here right on top
of hill. I had never seen anywhere this kind of structure built out
of just stone slabs without any binding materials. This was built as
a place for overnight stay of disciples, who came to prey at the
“Hemakut” temples. There were ramparts all around the hill to
protect the temples from any invaders. The ruins are still seen at
few places. While getting down the hill, I see a bass relief
depicting few scenes from “Ramayana” done by some amateur artist.
One of the temples has a victory pillar. A Frangipani tree is in
full bloom with brilliant white flowers. I just can not avoid the
temptation of snapping all that.
Hemakut hill guest house
Shiva lingam engraved in stone
Engraving on temple towers done in Rashtrakut style
The Victory Pillar
Bass reliefs on hemkut hill
Frangipani tree on the hill
If you
look east from top of the “Hemakut” hill, a huge “Gopura” or
a monumental tower, can be easily seen at a distance. This tower
belongs to the “Virupaksha” temple, which has the distinction of
being the only Hindu temple in this place where religious ceremonies
or “Pooja” is still conducted and many disciples visit the
temple to pay their respects to the lord. I am now inside the temple
courtyard having crossed the outer gate over which the huge tower has
been erected. I see two huge enclosures on my both sides. The stone
slab roofs of which are being supported by 80 or 100 pillars. All the
pillars and the stone walls are decorated with beautiful bass
reliefs. The original “Virupaksha temple” was constucted in the
seventh century CE. The outside entrance gate and the tower above
were built by the Hampi Kind “Krishnadevaraya” in the fifteenth
century . There is another gate with a smaller “Gopura.” ahead.
After crossing the second gate, I can see the main temple and many
other smaller temples on the sides. The prayer hall ceiling has some
painted scenes from epic “Ramayana” besides few more bass
reliefs and sculptures. I do not find anything outstanding in the
artwork. There is an exceptional arrangement in a completely darkened
side enclosure on the right side of the main temple. It is possible
to see an inverted image of the scene outside on a wall through a pin
hole that has been provided on the opposite wall. Am ancient pin hole
camera viewer! Obviously, the principle was known to the architects,
who built the temple. I find it quite amazing.
Towers of Virupaksha temple
Bass relief Virupaksha temple
Goddess Durga fighting demons
100 pillared enclosure, Virupaksha temple
Painting on the ceiling of Virupaksha temple
Vali and Sugreev, Monkey kings from Ramayana, fighting a battle
View of Virupaksha temple from Hampi Bazaar
I walk
out of the temple through the south side entry gate. Just outside the
temple gate, the way opens in to a wide King's way, which had stalls,
where traders used to set shops. All these are now in ruins. Much
nearer, modern traders have set up shops here selling materials for
religious ceremonies, clothes and usual stuff for visitors like
souvenirs and Tee shirts. I find the quality of good quite pathetic
and keep walking to our bus, which has been parked a little distance
away. Because of this modern shops, the place is now known as Hampi
bazaar.
Entry gate for Bal Krishna temple
A lady with a bow gets a thorn removed from her sole
A meditating ascetic
Celestial Nyph-Apsara
Rang-mandap of Bal-Krishna temple
Figures of King Krishadeavaraya and his 3 wives carved on tower of entry gate of Bal Krishna temple
Tower of the Bal-Krishna temple
Figure on Gopura, snapped with full zoom
"Badawilinga" Shiva Lingam
Angry "Nrisimha"
Hand cart selling artifacts
Queen’s Bath
Royal Bath Tub
Decorations in the plaster
Twin sisters
On way, I see two huge boulders lying is such fashion as it appears
that they are embracing each other. These rocks are known as “Akka
tangi gundu” or twin sisters.
Wall of the Royal Palace
Door pane made from stone slab
Mahanavami Dibba
Bass reliefs on Mahanavami Dibba
King's court
Elephants near the steps
A lady waiting in her house
Panel with carvings of women; on extreme right a pregnant woman
The palace water staorage
U shaped water supply channels
Stone plates for the foodies
Figures on "Hazari Rama" temple entry gate tower
An imaginary animal
King Rama meets his sons "Lava" and "Kusha"
Bal Krishna tied to grinding stone
Rama breaks the divine bow to win his wife Sita
Bal Krishna stealing butter
Rama kills a female demon "Shupanakha"
Krishna kills the evil serpent "kaliya"
A tram car for the Gods
More Bass reliefs from "hazari Rama" temple
A Lamp Holder
Rama kills the demon "Maricha" in the form of a deer
The fountains in the Tungabhadra dam garden
After
visiting the Virupaksha temple, our bus is now leaving for another
master piece of Hampi; The Bal Krishna Temple or the temple of
Krishna as a child. This temple was built in 1513 CE by Hampi king
“Krishnadevaraya” to celebrate his victory in the war over king
of Utkal ( Present day Orissa state). The temple is enclosed inside a
compound barricaded by massive stone ramparts. The main entrance gate
is also constructed from stone. However, the tower above or Gopura,
is of brick construction. While standing at this entrance gate facing
north, I glance at the view in front of me and try to imagine what it
must have been like in the glory days of Hampi. In front of me is a
huge water reservoir, which is completely empty now. On both sides of
the lake, there are ruins of rows and rows of shops or stalls. The
entire landscaping of this temple front has been done so well that it
is fairly easy to imagine how picturesque and beautiful this must
have looked then. All the shops here only dealt with merchandise that
women love and desire, such as clothes, jewelry and ornaments. This
area is still called with its original name of “Krishna Bazaar”
only. I turn around and my attention is drawn by some fine bass
reliefs on the entrance gate to the temple. Besides a hunter female
with a bow- removing a thorn from her sole, a meditating ascetic and
a divine nymph-Apsara, there is also an inscription giving details
about the victory won by the king and details of temple construction.
Entry gate for Bal Krishna temple
A lady with a bow gets a thorn removed from her sole
A meditating ascetic
Celestial Nyph-Apsara
After
entering the temple premises, I turn back and have a look at the
tower above the entrance gate, as I had spotted some fine full
reliefs there. The figures are supposed to represent King
Krishnadevaraya and his 2 official wives and a concubine. The temple
hall, with highly decorated pillars, is huge. Two well crafted stone
elephants, on both sides of the steps to the temple hall or “Rang
Mandir” welcome me. Some of the pillars have bass reliefs
depicting a lion faced animal called “Yali.” I realize that I am
getting late and decide to leave. I want to have a last look at the
tower on the entry gate. Right on top I detect a full relief human
figure, which is intact. It is so high up that I need to use full
zoom on my camera to snap it. Finally I succeed and get the picture
of the beautiful relief.
Rang-mandap of Bal-Krishna temple
Figures of King Krishadeavaraya and his 3 wives carved on tower of entry gate of Bal Krishna temple
Tower of the Bal-Krishna temple
Figure on Gopura, snapped with full zoom
There
are two smaller temples towards east of Bal Krishna temple. One of
them is known as “Badawiling” and contains a huge Shiva Lingam as
the name suggests. This temple was build just on a roadside so that
votaries could pay easily their obeisance to the idol. There is
another temple of Lord Nrisimha in an angry mood, just on the side.
To me, this idol appears very much like the cartoon character Shrek,
but I keep my thoughts to myself. I am told that this temple was
completely renovated by the Archeological Department, but when people
objected to it, all the work done was undone and the temple now
remains as it has been for last 500 years. I see two hand carts on
the other side of the road. One of them is selling fresh coconut
water. I decide to go for it as it is fairly hot with the sun blazing
above. While drinking the fresh coconut water, I observe that the
other hand cart has many small idols made from stone for sale. The
prices however turn out to be as stiff as in a a big show room. I
give up all thoughts of making a purchase and proceed further.
"Badawilinga" Shiva Lingam
Angry "Nrisimha"
Hand cart selling artifacts
Most
of the temples of Hampi are situated in the area, which I have so far
visited. I am on my way now to the capital area which had King's and
Queen's palaces and administration buildings etc. The first building,
which I see on my way is a single storied squarish building without
any roof. The arches on the entrance gate and small windows on sides
are of typical Islamic style. A name board on the side says that
this is the Queen's bath house. But after having a look it is
apparent that this is actually a water sports center for the royal
family. The building has a huge and built up square shaped water tub
at center open to sky with roofed verandas on all sides. Fresh water
inlets are provided on all sides with drain outs at the bottom. The
water was kept scented with fresh flowers and perfumes. Female guards
used to stand on the veranda roof, looking outward and if any
intruder was noticed, he would be immediately arrested and thrown off
in a water moat nearby. I can see beautiful designs in the plaster
work on the sides of the tub and on veranda walls. These walls used
to be covered with big silk curtains and a flag used to fly, when a
member of the Royal family used the bath house. There is no doubt
that this bath house must have looked stunningly beautiful during the
glory days of the empire.
Queen’s Bath
Royal Bath Tub
Decorations in the plaster
As
I come out of Queen's bath house, I realize that I am very hungry. I
move to a nice restaurant nearby. After having good lunch, I relax in
a cane chair. A cool breeze is blowing from the barren landscape
around even with the sun blazing. My eyes close unknowingly. After a
nap I get up for my next visit, which is to be to the King's palace.
Twin sisters
Wall of the Royal Palace
Door pane made from stone slab
After
travelling some distance further, I see a huge wall built from giant
stone bricks. These bricks were individually chiseled to fit each
other. The wall has no gaps and no binding material such as mortar
lime was used. The wall is about 12 to 15 feet wide at the bottom and
as tall as 36 feet at some places. Archeologists say that Hampi had 7
such protecting walls around the city. The wall surrounding the
King's palace was naturally the strongest. The door panes of the main
door were constructed from solid rock slabs and moved with two stone
pins rotating in the sockets provided in the stone sills. An
arrangement very similar to a ball and socket joint. The door panes
are lying on a side. It was possible to close or open this door only
with an elephant's help. No wonder that with this kind of massive
security, Kingdom of Hampi stood onslaught of Islamic armies for 200
years.
Mahanavami Dibba
Bass reliefs on Mahanavami Dibba
King's court
Elephants near the steps
A lady waiting in her house
Panel with carvings of women; on extreme right a pregnant woman
I
enter the palace ground through main entry door. The scene inside is
very similar to Shaniwarwada, a place of historical importance from
my home town Pune. I see everywhere, only plinths of buildings built
from stone bricks. Boards have been erected near all such ruins
explaining, what buildings stood there once. King Krishanadevaraya's
palace made from sandal wood, the Darbar hall with 100 pillars are
all destroyed. A secret enclosure for King's consultations with his
spies, exists is good shape. A large stone brick platform known as
“Mahanavami Dibba” has somehow survived the ravages of time.
This
25 feet high platform has been a mute witness to each and every major
celebration done in Hampi. The platform has a stepped construction. A
flight of steps in front and on two sides, have green granite stone
panels with beautiful bass reliefs, depicting king's court scenes,
life of people, horses and elephants. On one of the sides, the bass
reliefs only depict female warriors. This platform can be seen
without any visit fee but it is definitely worth seeing. King used to
sit on this platform and watch various sports events, march pasts and
festival programmes. The stairs in the front appear bit stiff but
stair case at the rear, which was used by the king, is easy on the
legs. In the various events organized to celebrate festivals, there
used to be an eating competition. Special giant sized plates made
from stone were used in these contests.
The palace water staorage
U shaped water supply channels
Stone plates for the foodies
All
the royal buildings were supplied running water through U shaped
channels made from rocks. I can also see a large sized water
reservoir with steps on all sides. I now walk towards the rampart on
the northern side. A temple known as “Hazari ram “ or temple of
1000 Rama idols, exists just near the northern boundary of palace
grounds. Some of the best bass reliefs found in entire Hampi area,
are found here. The pillars of the temple hall, outer and inner
walls, are all studded with wonderful sculptures. Some of the
reliefs are very funny too. A tram car for the Gods or Krishna as a
child trying to steal butter are just unbelievable. To light up the
temple with lights, decorated engraved lamps are carved at many
places.
Figures on "Hazari Rama" temple entry gate tower
An imaginary animal
A battle scene
King Rama meets his sons "Lava" and "Kusha"
Bal Krishna tied to grinding stone
Rama breaks the divine bow to win his wife Sita
Bal Krishna stealing butter
Rama kills a female demon "Shupanakha"
Krishna kills the evil serpent "kaliya"
A tram car for the Gods
More Bass reliefs from "hazari Rama" temple
A Lamp Holder
Rama kills the demon "Maricha" in the form of a deer
I
look at the watch. It is already 5 in the evening. This means that I
have been wandering all over Hampi ruins, in blazing sun, for last 5
or 6 hours. Still what I have seen in that time is something unique
and can not be seen very often. I am not feeling particularly tired,
so I decide to travel to a garden near the dam on Tungabhadra river,
to spend the evening. After reaching the spot, I find that the
shuttle bus, which would take me up to the dam is not playing today.
So, it is another long walk and then down again to the garden, which
is almost a replica of Vrindavan gardens near Mysore city. Similar
fountains with coloured flood lights and jets of water dancing to
music, are very comforting for my tired condition.
The fountains in the Tungabhadra dam garden
Later,
as I retire for the night, I wonder, how did I manage to walk so much
today? Perhaps it was the magic of Hampi after all. Tomorrow I visit
the greatest attraction of Hampi, the famed temple of “Viththala.”
With a great expectation for tomorrow, I fall asleep in no time at
all.
-2-
-2-
I an
nurturing a question in my mind, since I visited the King's palace
and the Queen's bath house yesterday, as to where the Queens of the
kingdom actually resided. I later found out, that a separate
barricaded enclosure or a harem existed for all the queens and the
concubines of the king. I am on my way now, to see this area, also
known as Zenana Enclosure. This enclosure is quite far away from the
royal palace and also has a strong wall around it. In one of the
places this wall has fallen to ruins. Just one look at the broken
wall is enough to convince how strong this fortification must have
been.
Protecting wall of Zenana enclosure or Harem
This
Jenana enclosure was built like a jail. Once a girl enters this
enclosure, it was almost impossible for her to get out. I have read
one interesting story about this. In one of the villages in the
jurisdiction of Hampi's staunch enemy state, the Bahamani empire,
there lived an goldsmith, who had a stunningly beautiful daughter
named as “Prayal.” This girl not only was very beautiful, but was
also an expert in all the arts like music, painting and conversing
with others. Somehow. King Devaraya of Hampi came to know about her.
The king sent one of his court Brahmins to her village to somehow
bring her to Hampi and also sent an expensive choker type gold
ornament to entice her. This clever girl however knew that going to
Hampi would be like going to jail and she would never be able to meet
her parents again and refused to go. King Devaraya felt very
offended with her denial and himself lead an army of 30000 soldiers
to her village. After hearing that the king is marching with his
army, this girl, along with her parents, disappeared in the jungles.
The army of Hampi caused great amount of destruction in the Bahamani
empire region around the girl's village and returned empty handed.
When Bahamai Sultan came to know about this, he collected a huge army
and marched to Hampi itself. King Devaraya had to finally sign a
treaty with the Sultan and had to pay a ransom of 1 Million Gold
coins, 50 Kg of Pearls, 50 elephants, 2000 male and female slaves
and had to marry off his own daughter with Bahamani Sultan.
While
going around the Jenana Enclosure, I am getting reminded of this
story again again. This enclosure, surely must have felt like a
golden cage for all the ladies who stayed within its perimeter. I
cross the entry gate. There is a huge open ground ahead of me. At
the middle there is a stone brick plinth, about 150 feet long and 90
feet wide, of the Queen's residence. This plinth is stepped and on
each of the steps, just like the royal palace, there are stone panels
with extremely delicate carved patterns. A Sandal wood palace once
stood on this plinth. Just opposite the Queen's residence, there was
a shallow lake (now empty). At the center of the shallow lake there
is a platform again with delicate carved panels on all sides. A
building known as “Jalmahal” or lake palace was built on this
platform. Being in the middle of a lake, this structure used to
remain cool even during hot summer. There is also another water
reservoir, for use of the enclosure inmates. In one corner of the
enclosure, a building without any windows, still stands. This was
used to store all the gold, precious jewels and other expensive
things.
There
is one more building that looks like a half bloomed lotus and still
stands erect, known as “ Kamal or Chitrangani Mahal” or Lotus
Palace. This building with brick construction and lime mortar
plaster, has a unique kind of design which appears like fusion of
Muslim and Hindu styles of construction and probably was saved from
the invaders because of that. There are huge open arches on all sides
of the building with lotus buds embossed on inside of the central
dome on ceiling. The arches on sides have nice delicate design
patterns created in the plaster and were covered from inside with
huge silk curtains. Arrangements for anchoring the silk curtains can
be still seen.
Two storied Lotus palace
Arches and decorative work
A guard tower, only female guards were deployed
Bass relief of serpent God
To the
northeast of Jenana enclosure, are the elephant stables. 12 elephants
used to be housed here for the use of the Queens. The elephants were
never chained at their feet but near their chest and the chain was
hooked at the ceiling, where a suitable iron hook was fixed. The
staff attending the elephants used to stay nearby in a building with
a very high plinth. This building was also used by the ladies to
mount the elephants.
Elephant stables
A lone guard tower on a hill
Our
bus is now moving north to last of the places, I intend to visit in
Hampi, the “Viththla Mandir” or the temple of deity know as
“viththala.” These ruins are known as best of what Hampi offers
to the visitors. The bus stops quite far away from the temple site. I
get a feeling that I would have to walk again over a large distance
in the hot sun to reach the temple. However, I can see ahead, a
battery operated stylish minibus, available from this point onwards.
These buses have been provided by the Government to prevent any
damage to these world famous ruins with diesel or petrol smoke.
The
first stop, where the bus stops is a huge weighing balance frame made
from stone. The balance was used to weigh the king with gold on
special occasions. The King would sit in one pan and the gold was put
in the other pan, When the pans balanced, that gold was donated to
the poor.
Viththala temple battery operated minibus
King's weighing balance
The
bus moves to the next stop on the bank of Tungabhadra river. This is
one of the most scenic spots found in Hampi, with azure blue sky
above, the rocky hills all around and picturesque river bed right in
front of me. The scene is so stunning that I do not feel like moving
away from this place. Just on the bank of the river, there are ruins
of a dwelling, where Karnataka's greatest saint poet, Purandardasa
stayed once. The river can be crossed here in huge wicker baskets. I
feel like doing it, but I have to move on as there is no time left
for this. Just on the other bank, there is a tall hill called
“Anjaneya Hill.” A brilliant white temple of deity “Anjaneya”
or “Maruti” glistens in the bright sun light on the hill top.
Tungbhadra river scene, Anjaneya hill behind
Anjaneya temple on the hill
Sculptures on temple entry tower
Court yard of Viththala temple
The
Bus is now leaving for the main attraction, “Viththala Mandir.” I
get down from the bus just near the entry gate with a Gopura or a
tower. Opposite to this, is a familiar view, a long bazaar with rows
of stalls or shops constructed from stone slabs, now in ruins, on
both sides of a longish pond or a water channel like what I saw in
Krishna Bazaar. This place was Hampi's main cattle market. The
middle water tank was for feeding the animals kept for sale. Traders
from far off lands like Arabia would bring Horses here along with
local cows, bulls, goats etc. I turn back and look at the Gopura,
which is much damaged now, but whatever remains has stunningly
beautiful figures sculptured on it.
I
enter the temple court yard. An enormous view unwraps itself before
my own eyes. Right ahead, in a straight line stand 3 platforms
called as “Dhwajapeeth” or Flag pedestal, “Jyotipeeth” or
pedestal of a flame and “ Balipeeth” or Sacrifice pedestal.
Behind this, but in the same straight line is a large sized “Tulsi
Vrindavan” or the Basil shrub Pot, made from stone. Behind this,
is the world famous chariot of Hampi, carved from a rock. The main
temple hall is at the end of this straight line.
On
both sides of the main temple hall, there are open structures without
any walls with highly decorated supporting pillars. The structure on
right was a kitchen and the one behind was used for chanting
religious songs or “Bhajans.” The structure on left was used for
solemnizing marriages. The structure in front of this marriage hall
is a dance hall built by King Krishnadevaraya. His second wife,
“Chinnadevi” used to dance here on special festival days like
Dussera. Arrangements are provided to enclose the dance hall in
curtains so that only selected few can watch the dance performed by
the Queen. On this day Queen would dance at 3 places; Krishna
Temple, Virupaksha temple and this Viththala temple.
Basil shrub pot
The world famous rock chariot
I am
now wandering around the temple court yard. The first and the
foremost sculpture that I see is obviously the Rock Chariot. This is
not a monolith but has been assembled from separate rock parts made
independently. The joints have been hidden so well that it appears
that it has been carved out of a single rock. This Chariot was a
temple of an eagle, supposed to be the carrier of Lord Viththala and
hence has been set up right in front of the main temple. On three
sides of the Chariot, bass reliefs describing various wars between
Gods and Demons, along with other decorations are seen. The front
side has the entrance door and a stone ladder. The 4 wheels of the
chariot also are made from rock and could rotate on axles made from
stone. Wheel are decorated with flower patterns. The whole chariot
was painted with bright colours and remnants of the paint are still
visible at some places. Two pull this chariot, two horse sculptures
were in position. These are now destroyed and their hoofs and tails
only remain now.
Temple south wing
Musical Pillars
A pillar from dance hall
Two
elephant sculptures have been kept in their place by Archeological
department.
The
main temple hall constitutes of four wings. On the sides of the
eastern steps, there are two elephant sculptures, whereas bass
reliefs of an imaginary animal “Yalis” adorn the north and south
steps. The entire plinth area is decorated with beautiful bass
reliefs which include reliefs of horses and their trainers. In the
temple halls there are pillars with fantastic engraving work. The
pillars in the front have carved wind pipes, which can create all
notes like Do Re me.... etc. of a musical scale, when hit with a
wooden hammer. It is said that other pillars produce sounds, that
appear like various musical instruments. To prevent damage to the
pillars, hammering the pillars is no longer allowed. The eastern wing
is known as music hall and has bass reliefs of musical instruments
and players only. Southern wing has bass reliefs of the imaginary
animal “Yalis” only. Northern wing has bass reliefs of Lion-Man
God “Nrisimha” only. Western wing does not exist any more. Ahead
of this main temple hall, is the sanctum of the temple with bass
reliefs of lotus flowers on outer walls.
Bass relief near the steps
Bass relief of horses and trainers on plinth of temple
The sanctum without idols
There
are no idols in the temple, which I am told were taken to Pandhapur
town in Maharashtra state. Perhaps a hearsay without any basis. I can
not be sure. Viththala temple no doubt is the best place in Hampi to
visit and if one has very little time, he should definitely see this.
A full relief sculpture near east entrance steps
A blooming Frangipani tree near the temple
The
final war between Hampi army led by king Ramaraja and joint forces of
four kingdoms formed after demise of Bahamani empire, and known as
“Nizam shahi, Adil Shahi, Barid Shahi and Imad Shahi” took place
at Banihatti on 23rd January 1564. The famous
“Malika-e-Maidan” or Queen of the battle, gun of Vijapur was used
for the first and the last time in this battle. The Hampi king
“Ramaraja” was killed in this battle and Hampi army was defeated.
For a period of 6 months afterwords, enemy forces completely
destroyed the once stunning beautiful capital of Hampi and converted
it into ruins. Even then, as I have mentioned earlier, the process
of Islamization of India, which was stopped by Hampi empire could
never recover again.
Few
decades after demise of Hampi empire, a new form of Hindu power rose
in the Deccan, led by a brave general; Shahaji Bhonsle. In the
ensuing power struggles, all other kingdoms except “Adil Shahi”
were destroyed and the power struggle in the Deccan revolved around
this kingdom and Bhonsale dynasty for next century before entry of
Mughals from Delhi.
In my
Deccan safari, I have now to go back by 1000 years from times of
Hampi empire and to the times of the Chalukya's, who were supreme
lords of the Deccan around 700 CE.
-3-
The entrance to this barbed wire compound is gated now and one needs a ticket to enter. I have bought my entry ticket after paying a small fee and I am now entering the “Aihole” archeological park here. The first structure in front of me is called as “Durg mandir” or a fort temple. This entire structure has an oval shape. There are pillars on the outside, supporting a flat stone slab roof and on inside, there is a wall of oval shape all around. Between the outside pillars and the inside wall, there is a continuous walk-way by which, one can go round the temple for his “parikrama.” Because of this peculiar shape and construction, this structure appears very distinguished one! To an onlooker, this temple appears like a fort and that is why it has been given this name as fort temple. It is difficult to say now, what idol or deity was installed here. It is said that the idol of Hindu God “Vishnu” was installed here. However, just above the main entry door lintel, there is a high relief structure of a strange animal having a human face, with many tentacles which look like snakes or arms of an octopus. I have never seen this kind of animal on the door of a “Vishnu” temple before and it is difficult to imagine that this temple could have been a temple of this God. The “Durg temple” has a tower of Curvilinear construction. A lotus flower stone sculpture was built on the top of the tower. This has fallen off now and can be see on the side of the temple.
Durg Temple
The high reliefs on pillars and outside wall of Durg temple
High relief on temple door lintel
Window with Swastka design
Lrd Vishnu, At Bottom his wife Laxmi and Garuda the eagle
Shiva and Nandi
Nrisimha Avatar
Kartikeya or Murugan, a peacock at bottom
Varaha Avatar
mahishasurmardine Goddess
A high relief face
A drunk couple with a bar tenderer
A couple in love with girl putting her arms around her lover's neck
Couple in love examines an ornament
A couple in love.
There is a small structure, which looks like a hut, just adjacent to the Durg temple. I peep in but find it plain and empty. I move on next to a temple known as “Ladkhan” temple. In reality this is a temple dedicated to Lord Shiva( The Shiva Lingam and his carrier the Bull “Nandi” are seen here) and is one of the oldest temples of “Aihole” group. This temple, built around 450 CE has been constructed like a residential house. It is known as “Ladkhan” temple as a peson of this name used to reside here. The temple has a pillared veranda in the front and a prayer hall. The sanctum has been constructed in the middle of prayer hall instead of it's usual position behind the prayer hall. The temple has no tower on roof but a normal tapered roof. Stone rafters, which look very much like wooden rafters, and which spread radially outwards, have been chiseled on the roof top. Pillars in the veranda have some odd bass reliefs like one showing an ascetic doing a yoga position known as “Sheershasan” and another one showing the official seal of the “Chalukyas,” displaying a swine, mirror, sun and a sword. It is said that Hampi empire had thought of their official seal based on this seal only. Th front veranda pillars have carved high relief figures, of couples in love again. In one of the sculptures, the lady is shown blushing. The sculptor has managed to show feelings of this lady, so well and like real life in his work. The temple has latticed windows done with great workmanship. It is unbelievable that such fine craftsmanship existed here some 1500 years ago.
Ladkhan temple
Carved windows from Ladkhan temple
An Ascetic doing sheershasan
Laughing Vishnu
Chalukya official seal
Couples in love from Ladkhan temple
Curvilinear tower of the temple of the Sun God
Sun God isol with human forms of dawn and night on sides
Badigera temple with Rashtrakut type roof and sun god bass relief at centre
-3-
The
earliest known indigenous empire that rose in Deccan, came up
immediately after demise of Emperor Ashoka in 2 nd century BCE.
Satavahana kings were in fact feudatories or vassal kings of Ashoka
in the Deccan and managed to become independent after his demise.
Goutamiputra was the mightiest king of the Satavahana dynasty and had
extended the Satavahana rule over a large area after wresting the
areas of Malwa, Gujarat and Kathiawad under foreign rule of
Scythians, Pahelavi (Persians) and Greeks. He had unified for the
first time, entire Deccan plateau under his own rule.
Satavahana
dynasty rule came to an end by 3rd
century CE and the erstwhile empire got divided into many smaller
kingdoms. In Maharashtra, Abhirs' took over power, whereas Karnataka
was ruled by Kadamba kings. In the south and to the east, Pallava,
Chola and Ishvaku kings took over the reins. This continued till 6th
century CE, when a new dynastic power rose in the Deccan plateau.
This dynasty originated from northern part of Karnataka and were
known as Chalukyas'. Kings of this dynasty, soon managed to establish
their rule in the region between Kaveri and Narmada rivers and
created a new empire. The most famous king of Chalukya dynasty was
“Pulkesi II”, who had defeated emperor Harsha to limit his empire
to north of Narmada river only. Except for a 13 year period when
Pallava kings from south, had defeated Chalukya army and had captured
their capital at “Badami,” Chalukya power continued unabated till
middle of the 8th
century CE. In the initial period of time, Chalukya kings had
selected “ Aihole” village from “bagalkote” district of
Karnataka state as their state capital. King “Pulakesi I” shifted
it to “Vatapi.” (present day “Badami”) The entire Chalukya
period is considered as one of the most important in the history of
Deccan.
Travelling
from Hampi to Badami is not particularly convenient. A major highway
(NH 13) leads north from Hampi. At present, major road widening works
are going on this way almost over entire stretch. There are many
diversions and the road surface is completely damaged by the heavy
road building machinery. This road at present could be considered as
an excellent test track to determine fitness and health of any
vehicle using it. A smaller and probably even worst kind of road,
branches off this highway towards east, near a small town called
“Amingadh.” I am on my way to “Aihole” village on this road.
“Aihole”
village is an ordinary and nondescript village hidden in the
interiors of the “Bagalkote “district. There are no facilities at
this village. I find it difficult to get even a cup of good Tea here.
Yet, about 1400 years ago, the same place was a beehive of political
and cultural activities including architecture of the “Chalukya”
empire. It is almost impossible to realize this fact unless one
visits the archeological park here. Government of India first decided
to conserve the old “Aihole” structures in 1912. Till then,
villagers of Aihole had made these magificant archeological wonders
their homes and had damaged them to substantial extent. The first
Government ordinance for conservation of 123 ancient structures was
issued in 1914. Surprisingly, even 100 years later, some of the
structures are still occupied by the villagers and Archeological
survey of India has not been able to evict the villages from these
structures even today. Luckily most of the structures are behind a
barbed wire compound now and are fully secured.
The entrance to this barbed wire compound is gated now and one needs a ticket to enter. I have bought my entry ticket after paying a small fee and I am now entering the “Aihole” archeological park here. The first structure in front of me is called as “Durg mandir” or a fort temple. This entire structure has an oval shape. There are pillars on the outside, supporting a flat stone slab roof and on inside, there is a wall of oval shape all around. Between the outside pillars and the inside wall, there is a continuous walk-way by which, one can go round the temple for his “parikrama.” Because of this peculiar shape and construction, this structure appears very distinguished one! To an onlooker, this temple appears like a fort and that is why it has been given this name as fort temple. It is difficult to say now, what idol or deity was installed here. It is said that the idol of Hindu God “Vishnu” was installed here. However, just above the main entry door lintel, there is a high relief structure of a strange animal having a human face, with many tentacles which look like snakes or arms of an octopus. I have never seen this kind of animal on the door of a “Vishnu” temple before and it is difficult to imagine that this temple could have been a temple of this God. The “Durg temple” has a tower of Curvilinear construction. A lotus flower stone sculpture was built on the top of the tower. This has fallen off now and can be see on the side of the temple.
Durg Temple
The high reliefs on pillars and outside wall of Durg temple
High relief on temple door lintel
“Durg”
temple was built in 742 CE and does not have the traditional temple
construction of a prayer hall and a sanctum. There is only one room
here and inside walls are almost plain with no engraving work. This
lack of decorations is well compensated by bass reliefs and high
reliefs on the outer wall. There are superb high reliefs of “Shiva”,
“Vishnu”, “kartikeya”, “Goddess Mahishasurmardini”,
“Varaha Avatara of Lord Vishnu” and half man half woman “
Ardhanarinateshwara.” Since most of these sculptures are with high
relief, they appear almost life like. There are bass reliefs of
swastika and wooden lattice pattern windows on the outer side of the
inside wall.
The
pillars on the outer side are carved with fantastic high relief
sculptures of couples in love. I am really stunned by the beauty of
these. The sculptors have tried to show here, many subtle aspects of
love. In one of the sculpture, the man has obviously bought a piece
of jewelry for his beloved. But instead of handing it over to her, he
is shown holding it high with his one hand and his lady is begging
and persuasively pleading with him to give it to her. In another
sculpture, the couple is shown examining an ornament the man has
brought for his lady. In another sculpture the lady has put her arms
around the neck of her man and is having a conversation with him.
Yet in an another sculpture, a couple just had too many glasses of
wine and are drunk. It is very difficult to understand the real
purpose of such sculptures done on outside near temple entrance.
Besides, these sculptures, have not just come from imagination of the
sculptor. He has tried to portray whatever social life he has seen
around. It only shows that the life of ordinary men and women in
“Chalukya “ period must have been free and and secured one. I
feel that in a way, these sculptures are kind of a mirror portraying
the social life of those times.
Window with Swastka design
Lrd Vishnu, At Bottom his wife Laxmi and Garuda the eagle
Shiva and Nandi
Nrisimha Avatar
Kartikeya or Murugan, a peacock at bottom
Varaha Avatar
mahishasurmardine Goddess
A high relief face
A drunk couple with a bar tenderer
A couple in love with girl putting her arms around her lover's neck
Couple in love examines an ornament
A couple in love.
There is a small structure, which looks like a hut, just adjacent to the Durg temple. I peep in but find it plain and empty. I move on next to a temple known as “Ladkhan” temple. In reality this is a temple dedicated to Lord Shiva( The Shiva Lingam and his carrier the Bull “Nandi” are seen here) and is one of the oldest temples of “Aihole” group. This temple, built around 450 CE has been constructed like a residential house. It is known as “Ladkhan” temple as a peson of this name used to reside here. The temple has a pillared veranda in the front and a prayer hall. The sanctum has been constructed in the middle of prayer hall instead of it's usual position behind the prayer hall. The temple has no tower on roof but a normal tapered roof. Stone rafters, which look very much like wooden rafters, and which spread radially outwards, have been chiseled on the roof top. Pillars in the veranda have some odd bass reliefs like one showing an ascetic doing a yoga position known as “Sheershasan” and another one showing the official seal of the “Chalukyas,” displaying a swine, mirror, sun and a sword. It is said that Hampi empire had thought of their official seal based on this seal only. Th front veranda pillars have carved high relief figures, of couples in love again. In one of the sculptures, the lady is shown blushing. The sculptor has managed to show feelings of this lady, so well and like real life in his work. The temple has latticed windows done with great workmanship. It is unbelievable that such fine craftsmanship existed here some 1500 years ago.
Ladkhan temple
Carved windows from Ladkhan temple
An Ascetic doing sheershasan
Laughing Vishnu
Chalukya official seal
Couples in love from Ladkhan temple
Adjacent
to the “ladkhan” temple, there is another temple with curvilinear
tower. This temple, built in 7th
or 8th
century has been dedicated to the Sun God. The pillars in the temple
have bass reliefs of an eagle, supposed to be a carrier of God
“Vishnu” and two major rivers of India “Ganga” and “Jamuna”
shown as Goddesses in human form. The ancient Indian scripture,
Rigveda, imagines two feminine forms of the Sun God called “Usha”
or Dawn and “Nisha” or night. The main deity of Sun God in this
temple is shown flanked by these two Goddesses in human form here.
Curvilinear tower of the temple of the Sun God
Sun God isol with human forms of dawn and night on sides
Next
to Sun God temple, there is another temple with a roof, which is
clearly built in Rashtrakuta style. (Rashtrakuta dynasty ruled Deccan
before Chalukya rule in 6th
and 7th
century.) This temple built in 9th
century was also originally dedicated to the Sun God only. The tower
on the temple, shows a bass relief of the Sun God. Now this temple is
considered as dedicated to creator of universe 'The Brhma.” It is
however known as Badigera temple for unknown reasons.
Badigera temple with Rashtrakut type roof and sun god bass relief at centre
I look
at my watch. I have spent well over 2 hours at “Aihole
Archeological park,” a time well spent. However there are no
facilities of any kind here. I must therefore cut short my visit and
proceed to the next proposed halt: the temples at Pattadakal village.
Our bus is now negotiating the road between “Aihole” and “Pattadakal.” This road also can not be considered as comfortable for travel. The road, in the first place is very narrow and full of pot holes. On both sides of the road, I can see standing crops of sugar cane almost ripe for cutting. That explains the almost continuous traffic of huge trailers carrying tons of sugar cane, being pulled by tractors to some sugar factory around. To add to our woes on road, are the number of cattle herds being driven to some nearby grazing spot and also hot blazing sun. Many travellers like me, bear with all this happily, for one and only one reason, the expectant joy of visiting something that is considered as one of the best in the world, the fabulous architecture of “Pattadakal” temples. These temples are compared by many to solid gold, a standard with which other temples may be judged. They say here that if “Aihole” temples are considered as artifacts created by kids studying in primary school, then “Badami” rock cut temples would have to be considered as artwork done by middle school boys and without any doubt, “Pattadakal” temples could be only considered as art forms created by university students.
Our bus stops next to the “Pattadakal” archeological complex. The entire area has been well secured and protected with chain link and barbed wire barricades. I buy entry tickets for me and my camera and enter the complex premises. The first view is rather impressive. In front of me are large tracts of well manicured green grass lawns, glistening in the mid noon sun and behind the grasses are the stunningly beautiful temple structures of Pattadakal. These temples were built in seventh and eighth century CE and, when compared to “Aihole,” the over all plan and workmanship appears to be far superior.
Kadasiddheshwar Temple
Galagnath temple
Curvilinear tower of Galagnath temple
Siva in his doomsday dance
Sangameshwar Temple
Temples of Pattadakal; Mallikarjun on left,
Virupaksha on right and Kashi Vishveshwar in middle
View of Malaprabha river from Virupaksha temple
The bull, Nandi
Virupaksha temple prayer hall
Sun God riding a chariot with 7 horses
Vishnu on outer wall of Virupaksha temple
Shiva killing a demon
Shiva, Parvati, Nandi
Angry lady as her man says no
Vishnu
Mahabharata bass relief panel
Bramha, Vishnu, Mahesh Parvati bass relief
Mallikarjun temple bass relief
churning of the sea
A panchatantra story
The bull and elephant with same head
the couple have same hair style
couple in love
An argument
Latest fashions, a miniskirt and a kurti
Badami mountain with fort on top and cave at bottom
The first cave of Shiva
Nataraja showing 81 dance poses
Shiva's doorkeeper
Godess Durga kills demon in form of a Buffalo calf
Half man-half woman Ardha Nari Nateshwara
Hari Hara
Shiva riding a bull with Parvati riding pillion
Vishnu as a dwarf Brahmin
Music makers with Greek hairstyle
swastika design with Yaksha couples
Vishnu as a swine with Godess earth
Nrisimha killing demon Hiranyakashyapu
Harihara
Third cave of MahaVishnu
Love under mango tree; man giving foot massage to the lady
Jain Ascetic
Agastya Teerth
Bhootnath Temple
-4-
Confluence of Krishna and Malaprabha rivers
The Bridge for crossing to Shiva Lingam Well
Shiva Lingam well, Circular stair case and canopy
Circular stair case
Malaprabha river bed
Almatty dam
Entry gate for Almatty dam top
Entry gate, Krishna park
Krishna Park, Almatty
Big dome behind Nakkarkhana ar sunrise
Excavated Jain Pillar
Morning sunlight floodlights the cemeteries
Roof supporting brackets, east side minar on the side
Balusters on roof
whispering gallery
Majestic grandeur of Gol Gumbaj
Malika-e Maidan Gun
Engraving on the gun
Aurangazeb's epigraph
Dainty Ibrahim Roja
Mausoleum of Adil Shah
The Masjid
Steel chain designed like earrings of queen Taj Sultana
Twin domes
Arches of Jamia Masjid
Meherab, Jamiya Masjid
I have
mentioned earlier that the “Chalukya” kings, who had firmed up
their power over Deccan plateau in sixth century CE and had continued
to rule till 8th
century CE, had established their capital at “Aihole” and later
shifted it to “Vatapi” (present day Badami) in Bagalkote district
of Karnataka state. In spite of “Vatapi” being the state
capital, the royal family of Chalukyas', considered a village
located about 22 Km away from the capital, as a place of special
significance. This village known as “Pattadakal” also happens
to be a nondescript and ordinary village today. However, Chalukya
Royal family built in this village, a number of beautiful temples
over the generations. One of the reasons that is put forward for
selection of this village for construction of Royal temples is, it's
geographical location. Most of the rivers in peninsular India flow
from west to east. “Malaprabha” river, which is a subsidiary of
the mighty Krishna river, flows next to this village and is no
exception to the rule of flowing from west to east. But it so happens
that near this village, this river suddenly changes course by 90
degrees and flows from south to north for some distance. “Pattadakal”
temples were built just next to this river bed. In all, there are
eight superb temples in the “Pattadakal” archeological complex.
For Chalukya royal family, this place was the most revered one and
the kings also had their coronation or “Rajyabhishek” ceremonies
performed here at “pattadakal” temples, instead of at state
capital “Vatapi.”
Our bus is now negotiating the road between “Aihole” and “Pattadakal.” This road also can not be considered as comfortable for travel. The road, in the first place is very narrow and full of pot holes. On both sides of the road, I can see standing crops of sugar cane almost ripe for cutting. That explains the almost continuous traffic of huge trailers carrying tons of sugar cane, being pulled by tractors to some sugar factory around. To add to our woes on road, are the number of cattle herds being driven to some nearby grazing spot and also hot blazing sun. Many travellers like me, bear with all this happily, for one and only one reason, the expectant joy of visiting something that is considered as one of the best in the world, the fabulous architecture of “Pattadakal” temples. These temples are compared by many to solid gold, a standard with which other temples may be judged. They say here that if “Aihole” temples are considered as artifacts created by kids studying in primary school, then “Badami” rock cut temples would have to be considered as artwork done by middle school boys and without any doubt, “Pattadakal” temples could be only considered as art forms created by university students.
Our bus stops next to the “Pattadakal” archeological complex. The entire area has been well secured and protected with chain link and barbed wire barricades. I buy entry tickets for me and my camera and enter the complex premises. The first view is rather impressive. In front of me are large tracts of well manicured green grass lawns, glistening in the mid noon sun and behind the grasses are the stunningly beautiful temple structures of Pattadakal. These temples were built in seventh and eighth century CE and, when compared to “Aihole,” the over all plan and workmanship appears to be far superior.
Kadasiddheshwar Temple
I
cross the greens along the well marked walkways and enter the temple
premises from the northern gateway to come across the first two
temples of “Kadasiddheshwara” and “Jambulingam.”which in
reality, are two forms of same deity; Shiva. For both temples, the
towers above are similar to the Sun God temple at “Aihole,” and
are of curvilinear pattern ( North Indian style) and the construction
appears simple , straight forward and somewhat similar to each other.
On the eastern wall of “Kadasiddheshwara” temple there are high
reliefs of two standing doorkeepers, whereas in the other or “
Jambulingam” temple, the wall stand plain and simple. “Pattadakal”
temple architects were keen to try out new techniques and
experimented continuously with newer forms. In both these temples,
the curvilinear towers bear a bass relief sculpture on the front
side, which was something new.
Galagnath temple
Curvilinear tower of Galagnath temple
Siva in his doomsday dance
Sangameshwar Temple
I
continue walking. The next temple is known as “Galagnath” temple.
The temple tower is also curvilinear but here there is a new change
in design. On both sides of the temple, two verandas have been added,
which appear to me like two wings. The verandas have sloping stone
slab roofs. The front door lintel has a bass relief showing Shiva
doing his “Tandava” or doomsday dance along with small figures of
“Parvati” and “Nandi.” The next temple is the “Sangameshwar”
temple. In the year 2009, there were huge floods in the “Malaprabha”
river and entire “Pattadakal” village had gone underwater. Many
of the villagers had then taken refuge on the roof of this temple.
This temple is quite specious and appears to have rock solid
construction. I am not able to see much of decorations here on the
roof but the walls have nice lattice work windows cut in stone and
some relief sculptures but of smaller size.
Temples of Pattadakal; Mallikarjun on left,
Virupaksha on right and Kashi Vishveshwar in middle
View of Malaprabha river from Virupaksha temple
The bull, Nandi
Virupaksha temple prayer hall
Sun God riding a chariot with 7 horses
Vishnu on outer wall of Virupaksha temple
The
next temple ahead is “Pattadakal's” biggest and most famous
temple of “Virupaksha.” This was constructed by queen
“Lokamahadevi” pf Chalukya king “Vikramaditya II.” This
temple was constructed as a mark of the famous victory won by this
king over his arch-rival, “Pallava” king at “Kanchipuram.”
The outer walls of the temple have some superb high relief
sculptures, which not only include Gods and Goddesses like
Shiva-Parvati, but also portray other subjects like all time
favourites; couples in love and also an ascetic doing yoga. The
'couples in love' sculptures here appear to me somewhat of different
style. Along with couples embracing each other, I can also see a
couple here, where the lady is questioning or ordering her man.
Facing
the main entry door to the temple a huge black coloured “nandi”
or the bull, sits waiting for the command of his master, the God “
Virupaksha.” Behind this bull is the river bed of “Malaprabha.”
This temple is quite impressive and shall always remain etched in my
memory. I enter in the main prayer hall of the temple. Up above on
the roof is a fabulous bass relief of the Sun God riding in his
chariot of 7 horses representing 7 days of the week. All the pillars
in this hall have small panels of miniature bass reliefs depicting
stories from Ramayana, mahabharata and Bhagavata; important Hindu
scriptures. To observe and study all sculptures here, one would need
to spend at least few weeks here. Since I do not have that kind of
time available, I continue to move.
Shiva killing a demon
Shiva, Parvati, Nandi
Angry lady as her man says no
Vishnu
The lady questions her man
Mahabharata bass relief panel
Bramha, Vishnu, Mahesh Parvati bass relief
Mallikarjun temple bass relief
churning of the sea
A panchatantra story
The bull and elephant with same head
Just
on the side of “Virupaksha” temple, there is a similar temple,
which was constructed by “Trailokyamahadevi,” the second wife of
king “Vikramaditya II,” who incidentally was the younger sister
of “Lokamahadevi.” This temple is known as “Mallikarjun”
temple. The overall layout of this temple is very similar to
“Virupaksha” temple. The difference is in the subjects chosen for
the bass reliefs in side the temple hall, which are mostly from
stories narrated in books like “Panchatantra,” and “puranas.”
“Panchatantra” carries animal stories just like Aesop's fables.
Both “Virupaksha” and “Mallikarjun” temples have towers of
typical south Indian style and look quite different from other
temples having north Indian curvilinear towers.
the couple have same hair style
couple in love
An argument
Latest fashions, a miniskirt and a kurti
The
temple adjacent to “Mallikarjun” temple is known as “Kashi
Vishveshwar” temple. In all the temples that I saw so far, the
presiding deity was Shiva. This temple is also no different. The
presiding deity here is also none other but Shiva. This temple has
north Indian curvilinear style tower, yet the intricate design on the
tower appears quite different and is making this temple to stand out.
Kashi Vishveshwar temple
In the
history of temple Architecture of India, “Pattadakal” temple
architecture is considered as a major milestone. Experts say that in
“Pattadakal” one can find a eye pleasing combination of north and
south Indian styles of architecture. Frankly I am no expert in this
line and can not really add anything worthwhile.
As a
layman, I am comparing the temples and sculptures of “Aihole” and
those that are here. The temple architecture here is far superior,
no doubt on that. I somehow prefer the high reliefs of “Aihole”
which appear more lively and lifelike. The relief sculptures here are
many more, have much varied subjects, yet do not appear that live, at
least to me.
I have
to hurry as our bus leaves now for “Badami”, the formal capital
of Chalukyas. I am quite tired and also hungry. I must have my lunch,
then relax for little and then proceed to the final stop for the day;
the famous rock cut temples of “Badami.”
As our
bus enters Badami town, the first thing that strikes me is the
similarity this place has with Sedona town in the Arizona state of
US, with it's huge, red coloured rocky mountains standing next to the
town. Badami also has very similar looking red mountains, almost in
the middle of the town. Yet there is a difference. The Sedona rocks
just stand there. At the most, few rock climbers are seen around
engrossed in their hobby. In Badami, things are quite different.
After Chalukya king Pulkeshi the first, had shifted his capital to
Badami in the sixth century, successive generations of kings,
facilitated excavations of fabulous rock cut temples in the
mountains. These rock cut temples have some of the most wonderful low
and high relief sculptures inside them. This has made the Badami
mountains a frequently visited tourist place.
The
first thing that I must do now is to have lunch as I am quite hungry.
For last several days I have been eating food, cooked in south Indian
style. Not that I have any complaints about it, today I would prefer
food that tastes different. More like north Indian food. Badami has
several eateries that serve north Indian food. I indulge in one of
these and then relax in an easy-chair. I have time on my side because
climbing up to Badami caves is not exactly a good idea in mid noon.
Historically,
Badami was known as “Vatapi.” It must have changed to Badami,
probably even before Chalukya dynasty time because Greek historian
Ptolemy mentions about it in his book written in 150 CE. Even in
Ptolemy's times, this town was known as a premier trade centre. The
tradition continues and even now this town is a Taluka place and a
trading centre. In Chalukya dynasty time, Badami had great political
and cultural importance as capital of the empire. During reign of
king Pulakesi II, famous Chinese monk Xuen Zang had visited the
Chalukya controlled part of India, which he calls as Maharashtra.
Xuel Zang mentions about the capital city of Maharashtra in his
travelogue. However that place, from his description, is definitely
not Badami. It is possible that Xuen Zang visited some other city
(Like Nashik), which might have been made the temporary capital.
Badami however always remained as the formal capital of Chalukyas.
Later in Eighteenth century, then Sultan of Deccan, Tipoo, had build
a fort on Badami mountain to protect the town from Marathas' ruling
from Pune under reign of Peshavas'. Tipoo Sultan had built along
with the fort a treasury also on the nearby mountain. The ruins of
both these can be seen here.
Badami mountain with fort on top and cave at bottom
Our
bus is now taking us to Badami caves and can drop us at the foot of
the mountain. I look at the watch. Time is about 4 P.M. I can see
clearly the Badami mountain and the fort on the top. Archeological
department has put up a barricade and gate at the base of the
mountain. I buy the entry ticket and enter through the gate. The
lowest cave is only about 10 or15 feet from the ground level. There
are about 30 or 35 steps that lead me to the first cave known as
“Shaiva Gumfa” or cave of Shiva followers. The steps have nice
flower beds on either side with patches of green lawns right up to
the mouth of the cave.
All
Badami caves have a similar type of construction. There is a
foreground created by flattening the rocks near the mouth of each
cave. After climbing about 5 to 7 steps from the foreground, there is
a veranda, which is known as “Mukha Mandapa” or Hall at the
mouth, with pillars to support the roof. The inner and side walls of
this hall at the mouth, have almost life size high relief structures.
The entry to the “Sabha mandapa” or Assembly hall is through
doors provided in the inner hall of the veranda. This hall also has
supporting pillars to support the roof. There are no sculptures
engraved on the walls of assembly hall. However just near the roof,
where supporting pillars touch the roof, support brackets are usually
provided on all four sides of the pillar. On all these brackets there
are many low or high relief sculptures. Behind the assembly hall is a
smaller room or sanctum. Usually, only presiding deity of the cave,
can be found here. No other sculptures are seen in the sanctum.
The first cave of Shiva
Nataraja showing 81 dance poses
Shiva's doorkeeper
Godess Durga kills demon in form of a Buffalo calf
Half man-half woman Ardha Nari Nateshwara
Hari Hara
Shiva riding a bull with Parvati riding pillion
The
first Shiva cave was excavated during the reign of King Pulakesi the
first, in 543 CE. I am now entering the hall of the mouth after
climbing few steps. On my right there is a high relief of the dancing
Shiva or “Nataraja,” with 9 pairs of hands. If we blank out 8
pairs of hands, the remaining pair shown a dancing position. In other
words, this Dansing Shiva, shows us in all 81 dancing positions.
Directly opposite to this dancing Shiva there is a high relief of a
doorkeeper with a triple pointed spear or “Trishul.” On the inner
wall. There is a high relief of the Goddess Durga trying to kill the
demon “Mahishasur,” who has taken the form of a Buffalo calf.
Next to it is Shiva again in form of half man-half woman creature
called as “Ardha Nari Nateshwar.” In this sculpture, half man
part is Shiva and half woman part is his wife, “Parvati.” Next to
it is a similar high relief, which shows half Shiva and half Vishnu,
known as “Hari Hara.” In an adjacent sculpture, Shiva is riding a
bull and his wife is shown riding pillion with both her legs on one
side; very similar to the way modern women wearing skirts or sarees
ride a scooter or a motor bike. I enter the assembly hall. It is
quite dark inside, but there is not much to see here. I have a casual
look at the sanctum an come out of the cave and again start climbing
the main flight of steps. The next cave is about 60 steps from the
first cave. This second cave is known as “Vishnu Gumfa” or Cave
of the Vishnu.
Vishnu as a dwarf Brahmin
Music makers with Greek hairstyle
swastika design with Yaksha couples
Vishnu as a swine with Godess earth
There
are two important sculptures in this cave. The first one describes
the story of God Vishnu having taken the form of a swine to free
Goddess earth. The Goddess is shown here standing on a lotus and
supports herself with her left hand kept on the head of the swine. In
the next sculpture, the God Vishnu is shown in the form of a dwarf
Bramhin known as “Wamana.” He is shown capturing all three
entities of “Swarga, Patala, and Bhooloka” or Heaven, Hell and
earth from a king known as “Bali.” There is an interesting bass
relief on the pedestal here. There are several figures playing
musical instruments. The hair style however is shown as curly often
seen in Greek sculptures.
Nrisimha killing demon Hiranyakashyapu
Harihara
After
climbing another set of 60 or 65 steps, I reach the third cave known
as “mahaVishnu Gumfa,” or cave of the God “mahaVishnu.” This
cave was excavated in memory of Chalukya king “Kirteevarma” by
his brother “Mangalesh.” in the year 598CE. The main sculptures
here describe God “mahaVishnu,” Half Shiva-Half Vishnu figure
similar to the sculpture in the first cave and Vishnu in form of a
man with Lion head, killing demon “Hiranyakashyapu” and roaring
like a lion.
Third cave of MahaVishnu
Love under mango tree; man giving foot massage to the lady
The
loving couples of Aihole and Pattadakal, which I have decribed
earlier, make there appearance once again in this cave. These couples
are engraved on the pillar roof supporting brackets here. In one of
the high relief the lady is given a foot massage by her man. Another
embracing couple stand below a mango tree. There are also some
“Yaksha” couples. The sanctum has an idol of “maha Vishnu.”
Jain Ascetic
Another
set of 30 steps and I reach the fourth cave. This for a change, is
dedicated to Jaina religion and prophet Mahaveer. There are some nice
sculptures here of Jain ascetics like “Parshavanatha, Gomateshwara
and Bahubali.” I come out of the cave and stand near the wall
facing the steep cliff sloping downwards. The weather is pleasing, a
light cool breeze is blowing and the scene in front of me looks
stunningly beautiful and picturesque. There is a lake opposite me,
deep down. This is known as “Agasti Teerth.” A nice looking
temple on lake side is known as “Bhootnath Mandir.” This part of
Badami is so beautiful that it is no wonder that Chalukya kings chose
this place as their capital.
Agastya Teerth
Bhootnath Temple
I have
now covered almost all of the important places, which are connected
with Chalukya history. The time has come to return home. However one
more important place, worth a visit and connected with the history of
Deccan remains to be seen. I need to cross again a period of eight
hundred years to sixteenth century, when Hampi empire was getting
destroyed. However all that would be for tomorrow. I realize that I
am extremely tired and need to hit the bead as early as possible.
For
last few days, I have been visiting temples and temples only, every
day, right since morning till evening. With such an overdose of
temples, I have been feeling slightly templed out without any doubt.
To bring me back to the present from the Chalukya king's period of
seventh century, I decide to visit two picturesque spots from this
area. I am on my way to to the confluence of the same “Malaprabha”
river that I saw next to “Virupaksha” temple in “Pattadakal,”
with one of the mightiest river of the Deccan; “Krishna” river
near a place called “Kudal.”
Confluence of Krishna and Malaprabha rivers
The Bridge for crossing to Shiva Lingam Well
Shiva Lingam well, Circular stair case and canopy
Circular stair case
Malaprabha river bed
At
the point of confluence, river bed of “Krishna” river is much
wider, compared to that of “Malaprabha', which makes it look like a
small rivulet. The confluence spot is extremely picturesque without
any doubt at all. Azure blue water, lavish green banks with all that
foliage and clear bright blue sky convert the scene into a magical
blue kingdom. Earlier, the river bed of “Krishna” was not so wide
and a Shiva Lingam with its temple, existed at the point of
confluence. Because of the new dam that has come up on the river,
this confluence spot has now gone underwater, as river bed here now
is part of the backwaters of the dam. Most of the people from this
area belong to “Lingayat” community, who worship this Shiva
Lingam and opposed the reality of its submergence. The Government
bowed to the pressure and have built a well around this old Shiva
Lingam, which now can be seen at the bottom of this well. A circular
staircase has been built along the inner wall of the well. I cross
the river waters by means of a bridge and walk down the well to the
bottom. At the top, a balcony has been built around the perimeter of
the well. I stand at the point and enjoy the fabulous cool breeze
flowing across the waters. It is a lovely experience, which can not
be described in words very easily.
Almatty dam
Entry gate for Almatty dam top
After
visiting the confluence, our bus leaves in the northern direction to
the last stop of my Deccan safari; Vijapur. On way, we cross a huge
dam known by the name “Alamatti.” This dam has become a major
dispute between two of Indian states, Karnataka and Maharashtra
because of its height. As it is, the backwaters have reached the
Sangli city in Maharashtra. If the dam height is increased further,
there are chances that the backwaters may enter the Sangli city
itself. This is really the bone of contention as Maharashtra state is
afraid that many more villages around Sangli city, would get
submerged. Nevertheless, this dam has now transformed once drought
prone districts of “Bagalkote” and “Vijapur” into a fertile
wonderlands. “Vijapur” district in particular, was always known
for its terrible droughts.
On
way, I stop in “Irakal” town, a place famous for its red hot
chillies and sarees. After seeing heaps and heaps of red chilies
drying in the sunlight on the road side fields, on my way to the
town, I am tempted and buy some chilli powder in the town. This
chilli is not considered to be hottest but supposedly gives a great
red colour to the dishes.
Entry gate, Krishna park
Krishna Park, Almatty
Just
next to the “Almatty” dam, which I mentioned above, a vast and
beautiful park has been developed by the Government. The park, with a
beautiful environment and scenes of vilage life with innumerable
statues of animals and birds is really worth visiting. I see number
of small kids wearing school uniforms, on a day picnic at the park. I
can not linger here any longer, as I need to reach “Vijapur” city
by evening.
In
the year 1347, Hasan Gangu Bahamani established his kingdom on the
Deccan plains, which is kinown as “Bahamani” empire. It ended in
1480 and was divided in five seperate kingdoms: Imadshahi of Berar,
Baridshahi of Bidar, Kutubshahi of Golkonda, Nizamshahi of
Ahamadnagar and finally Adilshahi of Vijapur. In addition to these
The Hampi empire was in existence in Deccan, as seen by us earlier in
this series of articles. In 1565, all these Muslim kingdoms got
together and defeated Hampi forces at “Banihatti.” Subsequently,
these kingdoms kept on fighting with each other and also with Mughals
in control of north India at that time. Slowly one by one, these
kingdoms were defeated and disappeared with Nizamshahi last to go in
1636. After this, only two powers remained. Mughals in the north and
Adilshahi in the Deccan.
This
Adilshahi kingdom ruled over Deccan from 1489 to 1686 almost all over
the plateau except for the small area under control of the small
kingdom of Great Maratha General, Shivaji. In 1686, Mughal emperor
Aurangazeb defeated “Vijapur” armies and Adilshahi saw it's final
demise. Since “Vijapur” was the capital of a large empire for
more that 150 years, we can still see here in “Vijapur,” many
traces of its past glory. All these reasons make it a must for me to
include this place in my Deccan safari.
You
may enter “Vijapur” from any direction, the first thing you
notice is the superb architecture of the magnificent landmark; “Gol
Gumbaj.” I am starting my visit from very this building. I have
been told, that to enjoy this monument, I must visit it early in the
morning. Heeding this advice, I get up early and reach the outer
gates of this place at sunrise. Ahead of me is a facade structure
known as “Nakkarkhana,” which houses a museum now. Archeological
survey of India has recently found ruins of Jain temples, while
excavating at this place, A pillar of a temple from these ruins can
be seen lying on the ground. From the place, where I stand now,
“Nakkarkhana” structure is completely hiding the main monument of
“Gol Gumbaj,” with only top dome and four minars or towers in
four corners visible to me. This kind of arrangements were built in
those days to make an impression of the grandeur of the main building
on the mind of the visitor. There is one more entry gate between this
“Nakkarkhana” and the main structure of the “Gol Gumbaj.” I
start walking towards the main structure through the entry gate. This
gate has been constructed in such a fashion that as I walk along, I
see the top dome of the main structure rise in front of me like a
full moon rising in the east.
Big dome behind Nakkarkhana ar sunrise
Excavated Jain Pillar
Morning sunlight floodlights the cemeteries
Roof supporting brackets, east side minar on the side
Balusters on roof
whispering gallery
I
reach the base of the main building and become acutely aware of the
fabulous grandeur of this great structure. I enter from a side door.
In front of me, in the middle, are the cemeteries of Mohamad Adil
Shah and his wife. However my attention is caught by the sharp beams
of sunlight piercing through small windows specially provided in the
east, which are directly falling on the cemeteries in the middle and
are making them shine as if floodlighted. The Adilshahi kings, after
coming to power, would start building their mausoleums first as
probably they never knew, how long they would continue to be in power
in those days of great uncertainty. They might be thinking that if
they do not have a mausoleum ready at the time of the their death,
they would never be remembered in the future.
I
start climbing a staircase built with steep steps in of the corner
minar or tower and reach the balcony along the inner perimeter of the
top dome after climbing up seven stories. One can witness many
amazing effects created by multiple reflections or echoes of a sound
produced at a spot in the balcony. Even if I wrinkle a piece of paper
in my hand, it can be easily heard at a distance of 38 meters. This
is the reason for this balcony being called whispering gallery. I
feel like paying my respects to the architect, who conceived and
built this place. The main hall of this “Gol Gumbaj” is a square
of 205 feet with its roof at a height of 100 feet. A 38 meter (120
feet) diameter dome has been constructed above the hall and this
entire structure had taken 30 years to build.
Majestic grandeur of Gol Gumbaj
After
visiting this amazing “Gol Gumbaj” I move towards the next
important place of visit here in Vijapur: the old fort. This fort has
retained still, the original ramparts and the rounded towers. I climb
one of the towers with the steps built there. On top I can see the
famous “Malika-e- maidan” or 'Queen of a battle' gun, which has
been placed there. This gun, with a diameter of about 5 feet and
length of 14 feet was cast as a single casting in gunmetal in
Ahamadnagar, weighing more than 55 tons. There is an engraved picture
of a dragon chewing an elephant under its teeth. When Mughal emperor
Aurangazeb had conquered “Vijapur,” he had fixed a plaque on the
gun tower, which proudly declares that “ Not only have I won
Vijapur, I have also won the Malika-e-Maidan gun.” This gun might
appear very scary, however considering its diameter to length ratio,
I feel that it might not have been a very effective and deadly
weapon.
Malika-e Maidan Gun
Engraving on the gun
Aurangazeb's epigraph
Not
very far away from the gun tower is the famous mausoleum of king
Ibrahim Adil shah known as “Ibrahim Roja.” This place, surrounded
by beautiful green lawns and flowers, actually comprises of two
structures, a mausoleum built by the king and a Masjid or a prayer
hall. The mausoleum structure has been built in a very dainty and
artistic fashion. It is said that while building this structure, the
king always wanted to build something comparable to the Taj Mahal.
This structure has the burial spots and cemeteries of Ibrahim Adil
Shah, his wife Taj Sultana and other family members.
Dainty Ibrahim Roja
Mausoleum of Adil Shah
The Masjid
Steel chain designed like earrings of queen Taj Sultana
The
adjoining structure of Masjid has a huge, elaborately fabricated
steel chain hung on the facade wall. It is said that this has been
made as per design of an earring of the queen, Taj Sultana. The
mausoleum has many decorative panels. Some of which are plans of
construction of this building and the basement. No foundation
trenches were dug for this building. The entire structure stands on
pairs of arches placed facing opposite directions of up and down.
This fact can be realized after visiting the basement.
After
dainty “Ibrahim Roja,” I visit the twin towers of “Jod Gumbaj.”
During invasion of Mughal emperor Aurangzeb, King Sikandar Adil Shah
was ruling. His prime minister or “Vazir” “ Khavas Khan” and
his guru “ Abdul Kadri,” have their final resting places here.
This Vazir Khavas khan, was in reality a traitor to the Adil Shah,
helping Emperor Aurangzeb. After his death, Aurangzeb had built these
structures as his mausoleum. However many tourists visit this place
for a different reason altogether. It is believed by many, that by
dedicating a piece of a thread, given special powers by a Mulla
present in the mausoleum, to the cemetery, one can achieve what ever
he wishes. I leave the place, as I am not much inclined to believe
in such stuff.
Twin domes
A
short distance away is the large sized “Jamiya Masjid” built by
first Adil Shah. This structure, built over an area of 1,16000 square
feet can be considered as one of the superb specimens of Islamic
architecture. About 2250 large sized persons (Like famous Afzal khan
killed by Maratha king, Chhatrapati Shivaji) could pay their
obeisance to the Allah here at ease. The roof of the structure has
been supported on number of arches. The central portion of the west
side wall is decorated with quotes from the “Qur’an” and
pictures of religiously important places. This spot is called as
“Meherab” and a Mulla giving a sermon would stand at this place.
The acoustics of this structure has been so designed that even a
smallest sound generated at this place, can be heard anywhere else
clearly. Many Hindu and Muslim person have helped in building and
maintenance of this structure including, emperor Auranzeb, Mohamad
Adil Shah and Maratha kings from Satara.
Arches of Jamia Masjid
Meherab, Jamiya Masjid
After
visiting all these places of past glory, I am aware that this place
must have been a glorious and a affluent city once. At present, this
place, now located in one neglected corner of the Karnataka state,
has become a neglected historic city. One realizes this from very
poor amenities and bad roads. If better infrastructural facilities
like good roads and an airport are created, this place has the
potential of being developed like the tourist city of Aurangabad in
Maharashtra.
I
end my Deccan safari with the visit to Vijapur. For all these years,
I had always connected history of Deccan with just one period of its
long and checkered history; the period associated with Maratha kings
beginning with Shivaji. Now along with that period, I have been able
to understand in a better fashion, importance of Chalukya kings,
Hampi Kingdom and all the Muslim kingdoms including Vijapur's Adil
Shahi in the hisory of this land. I clearly understand now, why Kings
ruling from Deccan plateau always dreamed of setting up their own
independent states, while rest of India was deeply entrenched under
foreign rule of Mughals based in Agra and Delhi. I feel that history
of Deccan teaches us the importance of independence and this history,
much neglected in the history books should be given its due place.
(Concluded)
(Concluded)
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