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Badami Cave Temples:
The Badami cave temples are a complex of four Hindu, Jain
and possibly Buddhist cave temples located in Badami, a town in the Bagalkot
district in northern part of Karnataka, India. The caves are considered an
example of Indian rock-cut architecture, especially Badami Chalukya
architecture, which dates from the 6th century. Badami was previously known as
Vataapi Badami, the capital of the early Chalukya dynasty, which ruled much of
Karnataka from the 6th to the 8th century. Badami is situated on the west bank
of an artificial lake ringed by an earthen wall with stone steps; it is
surrounded on the north and south by forts built in later times.
The Badami cave temples represent some of the earliest known
examples of Hindu temples. UNESCO has described the designs of the Badami cave
temples, and those in Aihole, as having transformed the Malaprabha River valley
into a cradle of temple architecture that defined the components of later Hindu
temples elsewhere in India.
Caves 1 to 4 are in the escarpment of the hill in soft
Badami sandstone formation, to the south-east of the town. In Cave 1, among
various sculptures of Hindu divinities and themes, a prominent carving is of
the Tandava-dancing Shiva as Nataraja. Cave 2 is mostly similar to Cave 1 in
terms of its layout and dimensions, featuring Hindu subjects of which the
relief of Vishnu as Trivikrama is the largest. The largest cave is Cave 3,
featuring Vishnu-related mythology, and it is also the most intricately carved
cave in the complex. Cave 4 is dedicated to revered figures of Jainism. Cave 5
may be a Buddhist cave. Another cave was discovered in 2015, about 500 metres
(1,600 ft) from the four main caves, with 27 Hindu carvings.
History:
The cave temples, numbered 1 to 4 in the order of their
creation, in the town of Badami – the capital city of the Chalukya kingdom
(also known as Early Chalukyas) – are dated from the late 6th century onwards.
The exact dating is known only for Cave 3, which is a temple dedicated to
Vishnu. An inscription found here records the creation of the shrine by
Mangalesha in Saka 500 (lunar calendar, 578/579 CE). The inscription, written
in the Kannada language, has enabled the dating of these rock cave temples to
the 6th century.
The Badami caves complex is part of a UNESCO-designated
World Heritage Site candidate under the title "Evolution of Temple
Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley,
considered a cradle of temple architecture that formed the model for later
Hindu temples in the region. The artwork in Caves 1 and 2 exhibit the northern
Deccan style of the 6th and 7th centuries, while those in Cave 3 simultaneously
represent two ancient Indian artistic traditions; the northern Nagara and the
southern Dravida styles. Cave 3 also shows icons and reliefs in the Vesara
style, a creative fusion of ideas from the two styles, as well as some of the
earliest surviving historical examples in Karnataka of yantra-chakra motifs
(geometric symbolism) and colored fresco paintings. The first three caves
feature sculptures of Hindu icons and legends focusing on Shiva and Vishnu,
while Cave 4 features Jain icons and themes.
Temple Caves:
The Badami cave temples are man-made, all carved out of soft
Badami sandstone on a hill cliff. The plan of each of the four caves (1 to 4)
includes an entrance with a verandah (mukha mandapa) supported by stone columns
and brackets, a distinctive feature of these caves, leading to a columned
mandapa, or main hall (also maha mandapa), and then to the small, square shrine
(sanctum sanctorum, garbhaghrha) cut deep inside the cave. The cave temples are
linked by a stepped path with intermediate terraces overlooking the town and
lake. The cave temples are labelled 1–4 in their ascending series; this
numbering does not reflect the sequence of excavation.
The architecture includes structures built in the Nagara and
Dravidian styles, which is the first and most persistent architectural idiom to
be adopted by the early chalukyas. There is also a fifth natural cave temple in
Badami, a Buddhist temple, a natural cave that can only be entered by crouching
on all fours
CAVE 1
Troglodytique Shiva Badami Karnataka India - Cave 1 - Photo By Jean-Pierre Dalbéra
Cave 1 is about 59 feet (18 m) above ground level on the
north-west part of the hill. Access is through a series of steps that depict
carvings of dwarfish ganas (with bovine and equine heads) in different
postures. The verandah, with an inner measurement of 70 feet (21 m) by 65 feet
(20 m), has four columns sculpted with reliefs of the god Shiva shown in
dancing positions and incarnations. The guardian dwarapalas (door keepers) at
the entrance to the cave measure 6.166 feet (1.879 m).
The cave portrays the Tandava-dancing Shiva as Nataraja. The
image, 5 feet (1.5 m) tall, has 18 arms in a form that expresses the dance
positions arranged in a geometric pattern, which Alice Boner – a Swiss art
historian and Indologist, says is a time division symbolizing the cosmic wheel.
While most of the arms express mudras (symbolic hand gestures), some of the
arms hold objects such as drums, a trident and an axe; some also have serpents
coiled around them. Shiva has his son Ganesha and the bull Nandi by his side.
Adjoining the Nataraja, one wall depicts the goddess Durga, who is depicted
slaying the buffalo-demon Mahishasura. Elsewhere, the sons of Shiva, Ganesha
and Kartikkeya, the god of war and family deity of the Chalukya dynasty, are
seen in one of the carved sculptures on the walls of the cave, with Kartikkeya
riding a peacock.
The cave also has carved sculptures of the goddesses Lakshmi
and Parvati flanking Harihara, a 7.75-foot (2.36 m) high sculpture of a fused
image that is half-Shiva and half-Vishnu. To the right, toward the end of the
wall, is a relief sculpture of Ardhanarishvara, a composite androgynous form of
Shiva and his consort Parvati. All the figures are adorned with carved
ornaments and surrounded by borders with reliefs of animals and birds. The
lotus design is a common theme. On the ceiling are images of the Vidyadhara
couples. Through a cleft in the back wall of the cave is a square sanctuary
with more carved images.
Other prominent images in the cave are Nandi, the bull, in
the sculptural form of Dharmadeva; the god of justice; Bhringi, a devotee of
Shiva; a female decorated goddess holding a flat object in her left hand, all
of which are part of Ardhanarishvara. The roof of the cave has five carved
panels with the central panel depicting the serpent Shesha. The head and bust
are well formed and project boldly from the centre of the coil. In another
compartment a bas-relief 2.5 feet (0.76 m) in diameter has carvings of a male
and female; the male is Yaksha carrying a sword and the female is Apsara with a
flying veil. The succeeding panel has carvings of two small figures and the
panel at the end is carved with lotuses.
CAVE 2:
Badami Cave 2 entrance - Photo By Michael Gunther
Cave 2, lying to the west of Cave 3 and facing north, was
created in late 6th century. It is almost same as Cave 1 in terms of its layout and dimensions, but
it is dedicated primarily to Vishnu. Cave 2 is reached by climbing 64 steps
from the first cave. The cave entrance is a verandah divided by four square
pillars, which has carvings from its middle section to the top where there are
yali brackets with sculptures within them. The cave is adorned with reliefs of
guardians. Like Cave 1, the carved cave art is a pantheon of Hindu divinities.
The largest relief in Cave 2 shows Vishnu as Trivikrama,
with one foot on Earth and another directed to the north. Other representations
of Vishnu in this cave include Varaha (a boar) shown rescuing Bhudevi (a symbol
of the earth) from the depths of the ocean; and Krishna avatars, legends found
in Hindu Puranas texts such as the Bhagavata Purana. Like other major murti
(forms) in this and other Badami caves, the Varaha sculpture is set in a
circle; according to Alice Boner, the panel is an upright rectangle whose
"height is equal to the octopartite directing circle and sides are aligned
to essential geometric ratios, in this case to the second vertical chord of the
circle".
The doorway is framed by pilasters carrying an entablature
with three blocks embellished with gavaksha ornament. The entrance of the cave
also has two armed guardians holding flowers rather than weapons. The end walls
of the outer verandah are adorned with sculpted panels: to the right,
Trivikrama and to the left, Varaha rescuing Bhudevi, with a penitent
multi-headed snake (Nāga) below. The adjacent side walls and ceiling have
traces of colored paint, suggesting the cave used to have fresco paintings. The
columns show gods and battle scenes; the churning of the cosmic ocean (Samudra
Manthan); Gajalakshmi and figures; Brahma; Vishnu asleep on Shesha;
illustrations of the birth of Krishna; Krishna's youth; Krishna with gopis; and
cows.
The ceiling of Cave 2 shows a wheel with sixteen fish spokes
in a square frame along with swastikas and flying couples. The end bays have a
flying couple and Vishnu on Garuda. The main hall in the cave is 33.33 feet
(10.16 m) wide, 23.583 feet (7.188 m) deep, and 11.33 feet (3.45 m) high and is
supported by eight square pillars in two rows. The roof of this hall has panels
filled with bas-relief carvings. At the upper reaches of the wall, a frieze
runs all along the wall with engravings of episodes from the Krishna or Vishnu
legends.
The sculptures of Cave 2, like Cave 1, are of the northern
Deccan style of the 6th and 7th century similar to that found in Ellora caves.
CAVE 3:
Vishnu image inside cave number 3 in Badami - Photo By Dineshkannambadi
Cave 3 is dedicated to Vishnu; it is the largest and most
intricately carved cave in the complex. It has well carved, giant figures of
Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. Cave
3's primary theme is Vaishnavite, though it also shows Harihara on its southern
wall – half Vishnu and half Shiva shown fused as one, making the cave important
to Shaivism studies.
Cave 3, also facing north, is 60 steps away from Cave 2.
Cave 3's temple's verandah is 70 feet (21 m) in length with an interior width
of 65 feet (20 m); it has been sculpted 48 feet (15 m) deep into the mountain;
an added square shrine at the end extends the cave 12 feet (3.7 m) further
inside. The verandah itself is 7 feet (2.1 m) wide and has four free-standing,
carved pillars separating it from the hall. The cave is 15 feet (4.6 m) high;
it is supported by six pillars, each measuring 2.5 square feet (0.23 m2). Each
column and pilaster is carved with wide, deep bases crowned with capitals that
are partly hidden by brackets on three sides. Each bracket, except for one, has
carvings of human figures standing under foliage in different postures, of male
and female mythological characters, and an attendant figure of a dwarf. A
moulded cornice in the facia, with a dado of blocks below it (generally 7 feet
(2.1 m) long), has about thirty compartments carved with series of two fat
dwarves called ganas. The cave shows a Kama scene on one pillar, where a woman
and a man are in maithuna (erotic) embrace beneath a tree.
Cave 3 also shows fresco paintings on the ceiling, some of
which are faded, broken and unclear. These are among the earliest known
surviving evidence of fresco painting in Indian art. The Hindu god Brahma is
seen in one of the murals; the wedding of Shiva and Parvati, attended by
various Hindu deities, is the theme of another. There is a lotus medallion on the
floor underneath the mural of the four-armed Brahma. The sculpture is well
preserved, and a large number of Vishnu's reliefs including standing Vishnu
with eight arms; Vishnu seated on a hooded serpent called Sesha or Ananta on
the eastern side of the verandha; Vishnu as Narasimha (half human, half lion);
Varaha fully armed; a boar incarnation of Vishnu in the back wall of the cave;
Harihara (a syncretic sculpture of Vishnu and Shiva); and Trivikrama avatars.
The back wall also has carvings of Vidhyadaras holding offerings to Varaha;
adjoining this is an inscription dated 579 AD with the name Mangalis inscribed
on it.
At one end of the pilaster is a sculpture of the fourth
incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja; this
is decorated with various types of weapons. A crescent moon is crafted above
his face and the crown of Vishnu decorates his head. He is flanked by Varaha
and two other figures; below on his right is his attendant Garuda. The images
in front of Vamana are three figures of Bali and his wife with Shukra, his
councillor. Reliefs stand 4 metres (13 ft) tall. Some aspects of the culture
and clothing in the 6th century is visible in the art sculpted in this cave.
The roof of the verandah has seven panels created by cross beams; each is
painted in circular compartments with images of deities including Shiva,
Vishnu, Indra, Brahma and Kama, with smaller images of Dikpalas (cardinal
guardians) with geometric mosaics filling the gaps at the corners.
The roof of the front aisle has panels with murals in the
centre of male and female figurines flying in the clouds; the male figure is
yaksha holding a sword and a shield. Decoration of lotus blooms are also seen
on the panels. The roof of the hall is divided into nine panels slightly above
the level of the ceiling. The central panel here depicts a deva mounted on a
ram – conjectured to be Agni. Images of Brahma and Varuna are also painted on
the central panels; the floating figures are seen in the remaining panels.
CAVE 4:
Wall relief1 in the Jain cave temple no 4 Badami - Photo By Dineshkannambadi
Located to the east of Cave 3, Cave 4 is situated higher
than the other caves. It is dedicated to revered figures of Jainism and is the
most-recently constructed of the caves. Like the other caves, it features
detailed carvings and a diverse range of motifs. The cave has a five-bayed
entrance with four square columns – each with brackets and capitals. To the
back of this verandah is a hall with two standalone and two joined pillars. The
first aisle is a verandah 31 feet (9.4 m) long by 6.5 feet (2.0 m) wide, extending
to 16 feet (4.9 m) deep. From the hall, steps lead to the sanctum sanctorum,
which is 25.5 feet (7.8 m) wide extends to a depth of 6 feet (1.8 m).
On the back part of this, Mahavira is represented sitting on
a lion throne; this figure is flanked by bas-reliefs of attendants with chauri
(fans), sardulas and makara's heads. The end walls have Parshvanath about 7.5
feet (2.3 m) tall with his head decorated with a multi-headed cobra
representing protection and reverence. Carvings include Indrabhuti Gautama
covered by four snakes, and Bahubali seen to the left of Gautama with his lower
legs surrounded by snakes, together with his daughters Brahmi and Sundari. In the sanctum is an image of Mahavira
resting on a pedestal containing a 12th-century Kannada inscription marking the
death of one Jakkave. Many Jaina Tirthankara images have been engraved on the
inner pillars and walls. In addition there are idols of Yakshas, Yakshis,
Padmavati and other Tirthankaras. Most scholars believe Cave 4 was created in the
mid-7th century, but some place its creation in the 8th century.
CAVE 5:
Cave 5 is an as-yet-undated, natural cave of small
dimensions that is approached by crawling due to its narrow opening. Inside,
there is a carved statue seated over a sculpted throne with reliefs showing
people holding chauris (fans), a tree, elephants, and lions in an attacking
pose. The face of this statue was reasonably intact until about 1995, it is now
damaged and missing parts.
There are several theories as to who the statue represents.
One theory holds that it is a relief of the Buddha in a sitting posture.
According to this theory, those holding the chauris are Bodhisattvas flanking
the Buddha. In the intervening centuries, the cave was converted to a Hindu
shrine of Vishnu, as is seen from the white, religious markings painted on the
face of the Buddha as the ninth incarnation of Vishnu. According to B.V. Shetti
– archaeologist and curator of Prince of Wales Museum of Western India, the
cave was not converted but from the start represented a tribute to Mayamoha of
the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely
carved in or before the 8th century.
A second theory, found in colonial-era texts such as one by
John Murray – a missionary in British India and Jainism scholar, say the main
image carved in Cave 5 is that of a Jaina figure. According to a third theory,
by Henry Cousens and A. Sundara – archaeologists, and supported by local
legends, the statue is of an ancient king; in a photograph of the statue taken
before its face was damaged, the figure lacked the Ushnisha lump that typically
goes with Buddha's image. The statue has several unusual, non-Buddha ornaments
such as rings for fingers, a necklace and a chest-band; it wears a Hindu Yajnopavita
thread and its head is stylistically closer to a Jina head than a Buddha head.
These features suggest the statue may be of a king represented with features of
various traditions. According to Carol Radcliffe Bolon – Assistant Curator at
the Smithsonian Freer Gallery of Art, the date and identity of the main statue
in Cave 5 remains enigmatic.
Other Caves:
In 2013, Manjunath Sullolli – Assistant Director of Bagalkot
district working for the state government of Karnataka, reported the discovery
of another cave with 27 rock carvings, about 500 metres (1,600 ft) from the
four main caves. Water gushes from this newly discovered cave year round. It
depicts Vishnu and other Hindu deities, and features an inscription in the
Devanagari script. The dating of these carvings is unknown.
Bhootnath temple complex near Augustya Lake in Badami Cave
Temples - Photo By Shatarupa Bhattacharyya
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