| Badami Temple | |
|---|---|
 Vishnu image in Badami cave 3 | |
   | |
| Coordinates | 15°55′06″N75°41′3″E / 15.91833°N 75.68417°E /15.91833; 75.68417 |
| Discovery | 6th Century |
| Geology | Sandstone |
| Features | UNESCO world heritage site candidate[1] |
TheBadami cave temples are a complex ofBuddhist,Hindu andJain cave temples located inBadami, a town in theBagalkot district in northern part ofKarnataka, India. The caves are important examples ofIndian rock-cut architecture, especiallyBadami Chalukya architecture, and the earliest date from the 6th century. Badami is a modern name and was previously known as "Vataapi", the capital of the earlyChalukya dynasty, which ruled much of Karnataka from the 6th to the 8th century. Badami is situated on the west bank of a man-made lake ringed by an earthen wall with stone steps; it is surrounded on the north and south by forts built during Early Chalukya and in later times.
The Badami cave temples represent some of the earliest known examples ofHindu temples in the Deccan region. They along with the temples inAihole transformed the Mallaprabha River valley into a cradle of temple architecture that influenced the components of later Hindu temples elsewhere in India.
The 4 caves are all in the escarpment of the hill in soft Badamisandstone 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 dancingShiva asNataraja. Cave 2 is mostly similar to Cave 1 in terms of its layout and dimensions, featuring Hindu subjects of which the Hari Hara, Ardhanari shiva, Mahishamardini, Dwi Bahu Ganesha and Skanda in a separate antichamber on extended cave at western side-next to great Nataraja sculpture. Cave 2 has premier images ofrelief ofVishnu asTrivikrama is the largest. The largest cave is Cave 3, featuring Vishnu as Ananta seated on coiled serpent, Varaha with Bhudevi, Harihara, Narasimha in standing posture, great image of Trivikrama and Virata Vishnu. The cave has fine carvings exhibiting matured stage of Karnataka ancient art. Cave 4 is dedicated to revered figures of Jainism. Around the lake, Badami has additional caves of which one may be aBuddhist cave. Another Cave like gallery known as Arali Tirtha has around twenty seven carvings.
The Badami cave temples are located in the town ofBadami in the north-central part ofKarnataka, India. The temples are about 88 miles (142 km) east ofBelagavi (IATA Code: IXT), and 87 miles (140 km) northwest ofHampi. TheMalaprabha River is 3 miles (4.8 km) away. The cave temples are 14 miles (23 km) from the UNESCO World Heritage SitePattadakal, and 22 miles (35 km) fromAihole – another site with over a hundred ancient and early-medieval-era Hindu, Jain, and Buddhist monuments.[2]
Badami, also referred to asVatapi,Vatapipura,Vatapinagari andAgastya Tirtha in historical texts,[3] the capital ofChalukya dynasty in the 6th century, is at the exit point of a ravine between two steep mountain cliffs. Four cave temples in theescarpment of the hill to the south-east of the town were carved into the cliff's monolithic stone face. The escarpment is above a man-made lake calledAgastya Teertha, created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple.[4][5] The largest and highest cave is Cave 3, which is further to the east on the northern face of the hill.[6] The fourth cave, Cave 4, is a few steps down further east.[3][7][8]
The cave temples, numbered 1 to 4 in the order of their creation, in the town of Badami – the capital city of theChalukya kingdom (also known as Early Chalukyas[5]) – 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 dedication of the shrine byMangalesha inSaka 500 (solar calendar, 578/579 CE).[9] The inscription, written in the oldKannada language,[3][10] has enabled the dating of these rock cave temples to the 6th century.[3][11][12] This makes the cave the oldest firmly-dated Hindu cave temple in India.[13]
The Badami Caves complex is part of aUNESCO-designatedWorld 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.[7][1] 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 northernNagara and the southernDravida styles.[14][15] Cave 3 also shows icons and reliefs in the so-calledVesara style, a fusion of ideas from the two styles, as well as some of the earliest surviving historical examples in Karnataka ofyantra-chakra motifs (geometric symbolism) and colored fresco paintings.[16][17][18] The first three caves feature sculptures of Hindu icons and legends focusing onShiva andVishnu,[19] while Cave 4 features Jain icons and themes.[20]
The Badami cave temples are carved out of soft Badamisandstone on a hill cliff.[11] The plan of each of the four caves (1 to 4) includes an entrance with a verandah (mukha mantapa) supported by stone columns andbrackets, a distinctive feature of these caves, leading to a columnedmantapa, or main hall (alsomaha mantapa), and then to the small, square shrine (sanctum sanctorum,garbha ghriya) cut deep inside the cave.[21] 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.[22]
The architecture includes structures built in theNagara andDravidian styles, which is the first and most persistent architectural idiom to be adopted by theearly chalukyas.[22]
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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 dwarfishganas in different postures as if they hold the cave floor.[23] The verandah, with an inner measurement of 70 feet (21 m) by 65 feet (20 m), has five columns sculpted with reliefs of flower garlands, foliage and jewelry.[24][25]
Nataraja Carving
The cave portrays theTandava-dancing Shiva asNataraja on the rock face to the right of entrance and also part of Gandharveda.[24][26][19] The image, 5 feet (1.5 m) tall, has 18 arms (9 in left and 9 on right) in a form that expresses the dance position (about 9x9=81 combinations in total) arranged in a geometric pattern, whichAlice Boner – aSwiss art historian andIndologist, states is a time division symbolizing the cosmic wheel.[19] The eighteen arms express Natyamudras (symbolic hand gestures),[27] with some holding objects such as drums, a flame torch, a serpent, a trident and an axe.[25] Shiva has his sonGanesha and the bullNandi by his side. Adjoining the Nataraja, the wall depicts the goddessDurga ofShaktism tradition slaying the buffalo-demonMahishasura.[25] The sculptors had excellent knowledge of the natya mudras of Bharatanatya (a very popular classical dance in southern part of India), because there is no chance to correct any errors and it has to be perfectly carved at the first place otherwise the entire cave has to be abandoned.
Mahisasura Mardini Carving
On the right side of the Nataraja carving is a carving ofMahishasura mardini with Chaturbhuja (Chatur means 4, Bhuja means hands). The sculpture depicts the killing of the demon Mahishasura by Durga. Mahishasura was the son of Mahisi and great grandson of Bhahmarishi Kashyapa.
On the left of the entrance is a two-handed Shaivadvarapala who holds a trident, and below him is a bull-elephant fused image where they share a head; seen from left it is an elephant and from right a bull.[25]
Harihara Carving
Inside the veranda, the cave presents a carved sculpture ofHarihara, a 7.75-foot (2.36 m) high sculpture of a fused image that is half-Shiva and half-Vishnu. He is flanked by the goddessesParvati andLakshmi on each side.[26][25]
Ardhanareshwara Carving
To the right, toward the end of the wall, is a relief sculpture ofArdhanarishvara, a fused image of Shiva and his consort Parvati. One half of the image has Shiva with a moon on his mukuta (head), snakes in his hands, earrings and next to the half that represents Parvati is an attendant carrying a tray of jewels. Next to the Ardhanarishvara half that represents Shiva is Nandi the bull, and skeletalBhringi, a devotee of Shiva.[28][25] The Bhringi sadhu carvings shows the advance knowledge of anatomy for the whole body which includes the Skulls, Ribs, bones on hands and legs.
The carvings of Ardhanareshwara and Harihara were carefully built with a vision by the Chalukya kings delivering message to the Chalukya citizens about the equal rights for men and women in the society and need to mutually respect each other. There is no great male and no great female.
Inside this cave, the sons of Shiva, Ganesha andKartikeya, 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 Kartikeya riding a peacock.[23][24] The roof of the cave has five carved panels with the central panel depicting theNagaraja, with flying couples on both sides.[25] The head and bust are well formed and project 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 isYaksha carrying a sword and the female isApsara with a flying veil. The succeeding panel has carvings of two small figures and the panel at the end is carved with lotuses.[29]
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 theVidyadhara couples as well as couples in courtship and eroticMithuna scenes. Through a cleft in the back wall of the cave is a square sanctuary with more carved images. In the mantapa is a seated Nandi facing thegarbha ghruha (sacrum sanctum) containing aShiva linga.[24][25]
Cave 2 is above and to the east of Cave 1 and faces north. It was created in late 6th or early 7th century. It is smaller than Cave 1, somewhat similar in terms of its floor plan, but it is dedicated primarily to Vishnu.[30] Cave 2 is reached by climbing 64 steps from the first cave. The cave entrance is a verandah divided by four square pillars with ends as half pillars, all carved out of the monolithic stone face. The pillars have decorative carvings with frieze ofganas (mythical dwarfs) with various facial expressions. On the two sides of the entrance are standingdvarapalas (guardians) holding flowers, not weapons.[30][11] Like Cave 1, Cave 2 art reflects Hindu theology and arts.[11][30][31]
The largest relief in Cave 2 depicts the legend of Vishnu in hisTrivikrama form, taking one of thethree steps. Below the raised step is a frieze showing the legend ofVamana dwarf avatar of Vishnu, before he morphs into the Trivikrama form.[11] Another major relief shows the legend of Vishnu in hisVaraha (a boar) avatar rescuing goddess earth (Bhudevi) from the depths of cosmic ocean, with a penitent multi-headed snake (Nāga) below.[11][32] Like other majormurti (statue) in this and other Badami caves, the Varaha artwork is set in a circle and symmetrically laid out; 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".[19] The walls and ceiling have traces of colored paint, suggesting the cave used to have fresco paintings.[11]
Inside the temple are friezes showing stories from Hindu texts such as theBhagavata Purana.[19][33] These show the legend of cosmic ocean churning (Samudra Manthan) and Krishna's birth and flute playing indicating the theological and cultural significance of these in 7th century India. The ceiling and door head carvings showGajalakshmi, theswastika symbols, flying couples, Brahma, Vishnu asleep on Shesha and others.[11][30][34]
The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame. The end bays have a flying couple and Vishnu onGaruda.[11] 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.[35] The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of the 6th and 7th century similar to that found inEllora Caves.[14]
Cave 3 is earliest datedHindu temple in the Deccan region. It is dedicated to Vishnu; it is the largest cave in the complex. It has intricately carved friezes and giant figures of Trivikrama, Anantasayana, Vasudeva, Varaha,Harihara andNarasimha.[11] Cave 3's primary theme isVaishnavite, though it also showsHarihara on its southern wall – [36] half Vishnu and half Shiva shown fused as one, making the cave important toShaivism studies.[10][37]
Facing north, Cave 3 is 60 steps from Cave 2 at a higher level. Cave 3'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.[38] 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).[39] 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 adado of blocks below it (generally 7 feet (2.1 m) long), has about thirty compartments carved with two dwarves calledganas.[39]
Cave 3 also shows fresco paintings on the ceiling, some of which are faded and broken. These are among the earliest known surviving evidence of fresco painting in Indian art.[17] The Hindu god Brahma is seen onHamsa vahana in one of the murals.The wedding of Shiva and Parvati, attended by various Hindu deities is the theme of another.[42]
There is a lotus medallion on the floor underneath the ceiling mural of Brahma. The ceiling has reliefs of many Vedic gods and goddesses such as Agni, Indra and Varuna.[43] The cave artworks, in some cases, show the artists signatures, as well as a major inscription. This and other epigraphical evidence suggests that the cave temple was inaugurated on the "full moon day, 1 November 578".[44] 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 andKama, with smaller images ofDikpalas (cardinal guardians) at the corners.[45]
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 isyaksha 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 adeva mounted on a ram – conjectured to beAgni. Images of Brahma andVaruna are also painted on the central panels; the floating figures are seen in the remaining panels.[35]
The sculpture in Cave 3 is well preserved. Vishnu is presented in various avatars and forms, such as a standing Vishnu with eight arms; Vishnu seated on the hooded serpent Shesha on the eastern side of the veranda; Vishnu as standing Narasimha (man-lion avatar); Vishnu as Varaha (man-boar avatar) rescuing earth; Harihara (half Shiva, half Vishnu and their equivalence); and Trivikrama-Vamana avatars.[19][43] The back wall has carvings ofVidhyadharas. The cave shows manyKama scenes in pillar brackets, where a woman and a man are in courtship ormithuna (erotic) embrace.[46][47]
Aspects of the culture, cosmetics and clothing in the 6th century is visible in the art sculpted in this cave, showing a sophisticated tradition.[48][49]
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Located immediately next to and east of Cave 3, Cave 4 floor is situated about 10 feet lower and is the smallest of the four. It is dedicated toTirthankaras, the revered figures ofJainism. It was constructed after the first three, sponsored byHindu kings in later part of the 7th-century.[50] Some scholars state this cave may have been created in the 8th century.[51] Some embellishments were likely added in later centuries until about the 11th or 12th century.[52]
Like the other caves, Cave 4 features detailed carvings and a diverse range of motifs.[20][52] 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 thesanctum sanctorum, which is 25.5 feet (7.8 m) wide extends to a depth of 6 feet (1.8 m).[53]
Inside the cave are major carvings ofBahubali,Parshvanatha andMahavira with symbolic display of other Tirthankaras. Bahubali is standing inKayotsarga meditating posture with vines wrapped around his leg, his classic iconography. Parshvanatha is shown with the five-headed cobra hood.[52] Mahavira is represented sitting on a lion throne,[54][53] whose identifying markers are not visibly and is identified by some scholars simply as a "seated Jina".[52] This figure is flanked by bas-reliefs of attendants withchauri (fans),sardulas andmakara's heads. Other carvings includeIndrabhuti Gautama covered by four snakes, Brahmi and Sundari.[51][53] In the sanctum is an image of Mahavira resting on a pedestal containing a 12th-century Kannada inscription marking the death of one Jakkave. Twenty-four small JainaTirthankara images are engraved on the inner pillars and walls. In addition there are idols ofYakshas,Yakshis andPadmavati.[51]
The artistic work, the icons to represents ideas and the motifs in Badami Cave 4, states Lisa Owens, resembles those of nearby Aihole Jain caves and much farther northEllora Caves Jain caves in northernMaharashtra.[50]
Other than the numbered caves, Badami is home to many other cave monuments and medieval era temples.[55] On the other side of the lake, near the Bhutanatha temple, is a 7th-8th century Chalukya period cave of small dimensions. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holdingchauris (fans), a Pipal tree,[56] elephants, and lions in an attacking pose. On one side of the statue is a chakra, on the other a conch shell. The statue wears abundant jewelry and a thread over its chest. The face of this statue is damaged and missing its face.[57][58]
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.[58] This is supported by twochauri bearers who may beBodhisattvas flanking the Buddha. According to George Michell, the halo, the Pipal tree, and cloak-like dress suggests that this was originally a Buddha statue.[56] According to B.V. Shetti – archaeologist and curator of Prince of Wales Museum of Western India,[59] the cave was not converted but from the start represented a tribute toMayamoha of the HinduPuranas, orBuddhavatara Vishnu (ninth avatar of Vishnu). This theory is supported by thechakra,conch and jewelry included in its iconography. The style suggests it was likely carved in or before the 8th century.[57]
Another theory found in colonial-era texts such as one by John Murray – a missionary inBritish India and Jainism scholar,[60] states the main image carved in Cave 5 is that of a Jaina figure.[61] 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 theUshnisha lump that typically goes with Buddha's image.[57] The statue has several unusual, non-Buddha ornaments such as rings for fingers, a necklace, and a chest-band; it wears a HinduYajnopavita thread and its head is stylistically closer to aJina head than a Buddha's head.[57] These features suggest the statue may be of a king represented with features of various traditions.[57] 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.[62]
Close to the controversial cave are other monuments. One of them is a small shrine consisting of a 7th-century rock carving of Anantashayana Vishnu, or reclining Vishnu with Lakshmi and Garuda in namaste posture. Vishnu is shown restarting the cosmic cycle by giving birth to all of existence. Above the reclining carved relief are the ten avatars of Vishnu – Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki. Between the Narasimha and Vamana is shown relief of Brahma cord connected to Vishnu's navel. To the left of the relief is depicted the Trinity – Vishnu, Shiva, and Brahma, while to the right is a human couple and a mother cow with a calf feeding.[56][63]
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 theDevanagari script. The dating of these carvings is unknown.[64][65]
Next to Badami caves Main complex, near Shri Gudde Ranganathaswami Temple, Prehistoric Rock Paintings in Ochre can be seen. They are also called Hiregudda Rock Paintings based on the name of these Hills. Drawings consist of Human figurines which are very tall, animals like Wild Boar, Bulls, rabits etc. along with figures of warriors, unidentified humanoids etc.[66][67][68]
Many scenes from web series 'The secret of the Shiledars' were shot at Badami caves complex.[69]
See also :Jain temples in North America | |
| Bihar | |
| Delhi | |
| Gujarat | |
| Jharkhand | |
| Karnataka | |
| Kerala | |
| Madhya Pradesh | |
| Maharashtra | |
| Nagaland | |
| Odisha | |
| Rajasthan | |
| Tamil Nadu | |
| Telangana | |
| Uttar Pradesh | |
| West Bengal | |
 Jain Caves in India | |
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| Andhra Pradesh | |
| Bihar | |
| Gujarat | |
| Karnataka | |
| Madhya Pradesh | |
| Maharashtra | |
| Odisha | |
| Tamil Nadu | |
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