THE CHALUKYAS OF AIHOLE, BADAMI AND PATTADAKAL

(450 AD to 750 AD)

• The Chalukya Dynasty began in the mid fifth century AD. The capitals at
Aihole , Badami and Pattadkal saw the construction of a fabulous series
of monuments.

• The Chalukya territory lay between Kanchipuram and Ellora and

constituted a centre of influence in medieval Indian art. Many artistic
innovations originated here and spread their influence far and wide, while
the contributions of the Pallavas in the South and of Orissa in the north
east were absorbed into Chalukyan art with northern influence.

• Aihole Group of Temples

• Badami Group of Temples
• Pattadakal Group of Temples
AIHOLE GROUP OF TEMPLES
Majority of Temples at Aihole are
Brahmanical, few are Jain.
• All appear to have been erected in the
period between 450 AD and 650 AD.
• Aihole group of temples consist of some
seventy buildings, about thirty of
which are contained inside a walled
and bastioned enclosure, while the
other are disposed within vicinity. It is in
fact a town of temples.
• Temples at Aihole have flat or slightly
sloping roofs but in some instances are
surmounted by a small upper storey or
tower (shikhara), which appears to
have been added later.
• Aihole is significant in view of its two
main temples, the Ladh khan Temple
and Durga Temple. They illustrate two
distinct variants in the development of
dressed stone Hindu Architecture.
 LADH KHAN TEMPLE AIHOLE (5th C)

• It is considered to be the oldest of the Aihole Group.

• The Temple is so called because of a Muslim hermit Ladh Khan had made it as
his residence in 19th century.
• In shape it is a comparatively low flat roofed building.
• It is inspired or devised from Village “Santhagraha” or Village Meeting
hall which was planned for secular and civic use. It was Timber
Construction.
LADH KHAN TEMPLE AIHOLE (5th C)
AIHOLE GROUP OF TEMPLES

• The temple stands on square plan of

15m side with high platform.
• It comprises a double peripheral
corridor surrounding a sculpture of
Nandi, the bull emblem of Shiva.
• It s cella or Garbhagriha stands next
to the back wall of the temple.
• Sixteen columns support this
structure, which is lit by holes in
pierced in the stone slabs.
• It is preceded by a vestibule with
four central and eight outer columns,
all of which rise from a low
perimeter wall. This form a sort of
verandah and could have served as
a mandapa.
• Access is via a staircase flanked by
an elegant banister.
• The roofing technique seem to be a primitive effort to replace the
conventional thatched roof on a wooden frame with a stone roof.
• The squat square section pillars carry the considerable weight of the roof
via a system of capitals composed of four sturdy brackets arranged in a
cross shape.
• The decoration of the Temple includes
handsome jali‐ stone slabs whose
perforations compose geometrical motifs
and relief sculptures on the columns of the
vestibule.
• On the summit of the roof , a small cubical
shikhara has reliefs of the three divinities:
Vishnu, Surya and Devi.
• No Mortar is used in construction of the
temple
DURGA TEMPLE AIHOLE (675 to 725 AD) AIHOLE GROUP OF
TEMPLES

• It is an apsidal – ended structure measuring 18m x 12m, with a large portico

on its front 7.5m depth, so that the entire length is 25.5m.
• Its peripheral colonnade itself has a apse, which encloses a structure of the
same shape containing a hall, in which two rows of four columns form a nave
and the side aisles.
• The cella apsidal formula is reflected in the cella, which stands in the centre of
the apse, leaving a narrow corridor for circumambulation. The layout adopts
some elements of the plan of a Buddhist chaitya.
• In front of sanctuary an
entrance portico slightly
narrower than the temple is
reached by two staircases at
right angles to the temple axis.
• In the portico, a series of
columns rises from the low
perimeter walls. Graceful
deities, treated in a vigorous
style of relief carving,
ornament the pillars, which are
capped with bracket capitals.
• Raised on a high particularly
high and heavily moulded
plinth, the topmost tier of the
flat roof is 9m from the ground.
Over the apse a short
pyramidal tower or shikhara,
has been added later.
BADAMI GROUP OF TEMPLES

• ROCK CUT CAVE TEMPLES, BADAMI (550 AD to 700 AD)

• STRUCTURAL TEMPLES, BADAMI (550 AD TO 700 AD)

PATTADAKAL GROUP OF TEMPLES

• PATTADAKAL GROUP OF TEMPLES (650 AD to 750 AD)

• PAPANATH TEMPLE, PATTADAKAL (6th C)

• VIRUPAKSHA TEMPLE, PATTADAKAL (6th C)

BADAMI GROUP OF TEMPLES (550 AD to 700 AD)
Badami was the second capital Town of
theChalukyas after Aihole.
• Badami was formerly called Vatapi. It stands in
an attractive setting formed by an artificial lake
created by a medieval dam and is surrounded
by a picturesque hill scape of red ochre rock.
The town offers a range of fine buildings.
The site is also renowned for a series of caves
entered through rock galleries with sculpted
pillars carved out of the cliff face.
15kms from Badami, at Mahakuta, stands a
group of temples by a fort‐ like heavily built
wall enclosed fort wall.
The architecture falls into two distinct types
1). Rock‐ Cut Temples
• Rock Cut Cave temples at Badami
2). Structural Temples
• Malegitti Temple Group of Temples, Badami
• Shivalaya Temple, Badami
• Bhutanath Group of temples, Badami
• Maha kuta Group of Temples, Mahakuta
ROCK CUT CAVE TEMPLES, BADAMI (550 AD to 700
AD) A series of four cave temples hewn from
top to bottom in the scrap of a southern
hill called Ranmandal (Fort of Battlefield).
• These are Brahminical in nature, one
Shaivite, two Vaisnavites and the fourth
one belongs to Jaina.

Cave 1 – Shaiva Temple

Cave 2 ‐ Vaishnava Temple
Cave 3 ‐ Vaishnava Temple
Cave 4 – Jaina Temple or Basti
ROCK CUT CAVE TEMPLES, BADAMI (550 AD to 700 AD)
CAVE 1‐ SHAIVA TEMPLE
This cave is reached by climbing about
35 steps.
• This is L‐Shaped cave and measures
14m long and 7.5m deep and faces
towards north.
• The cave consists of pillared verandah,
a hall, and a small square cella hewn
deep into the rock.
• The Ceiling of the Verandah is carved
with huge “Naga” (Serpent) with human
form and five hoods.
• The four square pillars of the verandah
and hall are carved with animal figures
like lion, elephant etc.
• The pillars ribbed shafts and capitals
containing bas reliefs of gods with
amalaka type cushions.
CAVE 1‐ SHAIVA TEMPLE
• On the left side of the pillared hall, and outside the cave, a handsome
sculpture of “Nataraja” (God Shiva, the King of Dancers) with eighteen
hands is carved.
• The snake , the drum, the trident, the fire and the tiger skin etc, held in his
hands are all symbolic and conventional representations of some abstract
concepts.
• He is shown dancing on a lotus pedestal and flanked by Nandi (Bull) and
Ganapati.
CAVE 2‐ VAISHNAVA TEMPLE
• The cave can be reached by
climbing about65 steps from
Cave I towards east. It faces
north.
• The four pillars of the
verandah are carved with
bands of ornaments and
brackets containing sculpture
“yalis” supporting eave of the
cave.
• The mantap measures about
10m long and 7m wide and
stands on eight massive pillars
3.5m high with capitals
containing yalis, lions etc.
• The ceiling is full of scenes
based on mythological stories.
CAVE 3‐ VAISHNAVA TEMPLE
• The cave can be reached by
climbing about 60 steps from
Cave II towards east, after
crossing through a door frame
which contains inscription.
• The inscription states that
“Mangalesha” got excavated this
cave “ Vishnu Griha” in Shaka
500 (578 AD).
• The cave is about 21m long and
15m deep with high platform,
the front face of which is filled
with delightful dwarfs playing
the musical instruments.
• The hall is supported by six
massive pillars and two pilasters
carved with bracket figures.
CAVE 3‐ VAISHNAVA TEMPLE
• In the cave we can see many images and sculptures like Narasimha (incarnation
of Lord Vishnu with a face of a lion and body of a man), Varaha, Adishesha
(Vishnu sitting on five hooded serpent).
• The mantapa has fourteen pillars and a few pilasters with capitals containing
“yalis” supporting the ceilings.
 • This cave is situated at top of the hill. It
CAVE 4‐ JAINA TEMPLE
has the Jaina temple or basti.
• Because of this cave, all the caves of
Badami are known as “Mena Basti”
meaning Jaina Temple made of wax.
• This cave is dedicated to Adinath
Tirthankara. The four pillars of the
verandah (10mx5m) have wide capitals
containing the hybrid creatures – yalis
supporting eave of the cave.
• In the cave we can see many images or
sculptures like Parshvanath, Jaina
Tirthankaras, Bahubali, Mahaveeer
Tirthankara etc.
• The entrance of the mantapa is lavishly
decorated. The pillars are carved with
sculptures of tirthankaras, yakshas and
yakshinis.
• The shrine contains the statue of Adinath
Tirthankara sitting on lion pedestal under
a tree.
CAVE 4‐ JAINA TEMPLE
STRUCTURAL TEMPLES, BADAMI (550 AD TO 700 AD)
MALEGITTI SHIVALAYA, BADAMI • The temple stands on the north side of
Badami.north side of Badami.
• It contains of a porch, assembly hall
and a cella or garbha griha.
• The square porch consists of large
monolithic pillars with heavy bracket
capitals. The entrance is guarded by
two Dwarpalakas.
• Sculptures of Shiva and Vishnu at the
back, are carved on the south and
north walls of the temple into which
are built square perforated window
that let in a subdued light faintly
illuminating the interior of the hall.
• The high plinth contains a row of lions
and elephants symbolising strength,
the outer wall contains a belt of
dwarfs dancing and playing musical
instruments.
MALEGITTI SHIVALAYA, BADAMI
 AZAR SHIVALAYA, BADAMI

• Azar Shivalaya Temple displays an

elegant profile on the height above
Badami.
• Little elephant mark the entrance of
the roofless mandapa.
• The abstraction of decorative forms is
clear. On either side of the entrance of
the garbha griha is a door leading into
the circumambulatory passage.
LOVAL SHIVALAYA, BADAMI HYPOSTYLE, BADAMI
MAHAKUTA GROUP OF TEMPLES, MAHAKUTA
• 15kms from Badami, at
Mahakuta, stands a
group of temples
enclosed by a fort‐ like
heavily built wall
DATTATREYA TEMPLE, BADAMI

The dam that maintains the artificial lake

at Badami has its own temple, Dattatreya
Temple built after 12th C, a syncretic deity
combining Brahma, Vishnu and Shiva.
• The columns inside the mandapa are
made of stone turned on a lathe, while the
pillars at its periphery are square.
• The multiple roof storeys contrast with the
vertical projections and re entrants
surrounding the cella
BHUTANATH GROUP OF TEMPLES, BADAMI

• These temples are situated on the

eastern edge of the lake in which
reflections represents a fine
enchanting view. These temples
stand on a high plinth, two to
three meters high.
• The big temple has a pillared
hall, the door frame of which
consists of sculptures of Ganga
and Yamuna flanked by
Dwarapalas.
• A “Shiva Linga” is enshrined in
the temple, over which rises a
vimana, which is characterised by
receding tiers resembling a
stepped pyramid culminating in a
finial or kalasa.
PATTADAKAL GROUP OF TEMPLES
PATTADAKAL GROUP OF TEMPLES (650 AD to 750 AD)
• Under Vikramaditya I, the Chalukyans
established yet another capital, that of
Pattadakal, situated half way between
the older cities of Badami and Aihole.
• The Pallavas and Chalukyas were rival
dynasties that battled for control of
southern India. But in the wake of war
artistic influences were exchanged and
the result was a style that combined
Dravidian and Nagara styles.
• At Pattadakal, temples of no mean and
order and in both styles of architecture INDO –ARYAN DRAVIDIAN
are found side by side.
Papanath Temple Sangameshvar
• There are ten temples of importance at Jambulinga Virupaksha
Pattadakal, four of which are in the Karsedesvar Mallikarjuna
Indo‐Aryan or northern style, and six in Kasinath Galagnath
the Dravidian or southern Sunmeswar
Jain Temple
Virupaksha Temple, Pattadakal

Papanath Temple, Pattadakal Mallikarjun Temple, Pattadakal

 • The temple of Papanath , both in Plan and in elevation, bears every
indication of a conception in course of formation.
• In general appearance it is a long low composition, some 27m in length, with
a tower at its end too small and stunted to be in good proportion with the
remainder of the building.

PAPANATH TEMPLE, PATTADAKAL (6th C)

• The Temple is entered through a porch leading to Mandapa, which has four bays
of four columns and a nandi along the axis. The Mandapa leads to a vestibule
or antarala which has 4 pillars. The vestibule leads to the Garbha griha, which
has a Pradakshina around it.
• Much of the inconsistency of its exterior design is brought about by illogical
arrangement of plan.
• Here the vestibule or antarala as the compartment is too large, it takes the shape
of a square court , containing four pillars widely set, so that instead of forming a
ante chamber, it becomes a supplementary assembly hall. It is this disproportion
in the plan that has produced a corresponding disproportion in the elevation.
• Over the outer walls is a heavy
cornice above which is a parapet
of ornamental shrines, while below
is a substantial basement formed of
bold string courses carried round
the structure, like powerful bands
binding the whole composition
together.
• It is the broad space between the
upper and lower members of the
outside wall surface that the most
instructive architectonic sculpture has
been applied. This consists of a
repetition of a feature derived from
a particular type of shrine for
decorative purposes into a bas
relief.
• Each niche is composed of two
pillars, a cornice and a canopy.
• The interior produces that massive
solid character, both in bulk of its
wall and particularly in the shape of
its pillars it suggests rock cut
influence.
VIRUPAKSHA TEMPLE, PATTADAKAL (6th C)
• It is a comprehensive scheme, as it not only consists of the central structure, but a
detached nandi pavilion in the front and is contained within a walled enclosure
entered by an appropriate gateway.
• Larger in size, it measures 36m from the front of the porch to the back of the
shrine.
• Standing within a huge walled courtyard, the Virupaksha Temple is symmetrical in
plan. On the axis of the gopuram that leads into the courtyard stand the square
Nandi pavilion, then the great hypostyle mandapa that precedes the sanctum .
The garbha griha is surrounded by a narrow circumambulatory corridor, with a
courtyard forming a further peripheral passage.
• Two pillars precede the cella, forming a kind of porch. Hypostyle hall has four
bays of four pillars. The Hypostyle forms the centre of the composition and is
surrounded by three projecting portals, creating a most original cruciform plan.
• In the front of the axial portal
is amandapa, which
accommodates the bull Nandi,
which symbolizes Shiva’s
presence. It stands in the centre
of a courtyard, which is
entered via a gateway in the
form of low gopuram.

• Owing to its balanced

composition it is much more
pleasing to eye. This
satisfactory effect has been
obtained by treating the
building as unity, so that
there is a definite coherence
and rhythmic grouping of its
parts.
The temple displays projections and re‐entrants whose vertical rhythms contrast with
the vigorous horizontal mouldings of its base.
A multitude of divinities inhabits its recesses .