The Badami cave temples are a complex of Buddhist, Hindu and Jain cave temples
located in Badami, a town in the Bagalkot district in northern part of
Karnataka, India.
The caves are important examples of Indian rock-cut architecture, especially
Badami Chalukya architecture, and the earliest date from the 6th century. The
4 caves are all 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 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 Hari Hara, Ardhanari shiva,
Mahishamardini, Dwi Bahu Ganesha and Skanda in a separate antechamber on
extended cave at western side-next to great Nataraja sculpture. Cave 2 has
premier images of relief of Vishnu as Trivikrama 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 a Buddhist cave. Another Cave like
gallery known as Arali Tirtha has around twenty seven carvings.
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Panorama of the entrance to the Badami cave temples
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Cave 1
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Cave-1
«Excavated around 550 CE, Cave-1 is dedicated to god Shiva in linga
form. It consists of an open porch, a pillared hall and a sanctuary
excavated into its rear wall. The side walls of the porch have
large-size relief sculptures of Harihara on the left and Ardhanari-Siva
on the right, supported on pedestals that have friezes of dwarf ganas in
various moods. The ceiling is adorned with deeply cut sculpture of
coiled snake-king Nagaraja. On either side of this are flying Vidyadhara
couples. The pillars that divide the porch from the inner hall are
fluted with beautiful cushion capitals. Pillars carry low relief
sculptures of deities and are decorated with pearl-festoons, foliation,
medallions with mythical creatures, rows of swans, etc. Other
interesting themes include a two-armed Saiva-Dvarapala on left flank of
porch entrance, a Vrishabha-Kunjara (bull and elephant in one) and
Siva-Parvati mounting on Nandi. Following the front contour of the rock,
on the right side an east-facing small cave is excavated. It has
Durga-Mahishamardini on its rear wall and Kartikeya on peacock and
seated Ganesha on flanking walls. Beside this small cave is a unique
sculpture of eighteen-armed Siva-Natesha, the 'king of dancers’. Over
the facade of the cave are signatures of craftsmen such as
'Aychasvami-Kalkutti'.»
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Panorama of the facade of Cave 1
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Cave 1 is about 18 m (59 ft) above ground level on the north-west part
of the hill.
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Access is through a series of steps that depict carvings of dwarfish
ganas in different postures as if they hold the cave floor.
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The verandah, with an inner measurement of 21 m (70 ft) by 20 m (65
ft), has five columns sculpted with reliefs of flower garlands,
foliage and jewelry.
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Two-armed Saiva-Dvarapala on left flank of porch entrance
On
the left of the entrance is a two-handed Shaiva dvarapala 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.
- These statues symbolize protection and the warding off of evil.
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In Shaivism, they are seen as guardians of sacred spaces, ensuring
that only the worthy can enter and approach the divine presence of
Shiva.
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The two arms typically hold weapons or symbolic objects, representing
the deity's power and authority.
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The presence of a Dvarapala at temple entrances serves as a reminder
of the divine protection and the sacredness of the space within.
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Dancing Shiva (Nataraja)
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The cave portrays the Tandava-dancing Shiva as Nataraja on the rock
face to the right of entrance and also part of Gandharveda.
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The image, 1.5 m (5 ft) 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.
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The eighteen arms express Natya mudras (symbolic hand gestures), with
some holding objects such as drums, a flame torch, a serpent, a
trident and an axe.
- Shiva has his son Ganesha and the bull Nandi by his side.
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Ardhanareshwara
To the right, toward the end of the wall, is
a relief sculpture of Ardhanarishvara, a fused image of Shiva and his
consort Parvati.
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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.
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Next to the Ardhanarishvara half that represents Shiva is Nandi the
bull, and skeletal Bhringi, a devotee of Shiva.
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The Bhringi sadhu carvings shows the advance knowledge of anatomy for
the whole body which includes the skull, ribs, bones on hands and
legs.
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Harihara
Inside the veranda, the cave presents a carved
sculpture of Harihara, a 2.36 m (7.75 ft) high sculpture of a fused
image that is half-Shiva and half-Vishnu. He is flanked by the goddesses
Parvati and Lakshmi on each side.
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Harihara represents the unity of two major deities, Vishnu and Shiva,
symbolizing the harmony between preservation and destruction, creation
and dissolution. This union emphasizes the idea that all divine forces
are interconnected and work together for cosmic balance.
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Parvati (Shiva's consort) and Lakshmi (Vishnu's consort) embody
complementary energies. Parvati represents Shakti (divine feminine
power) and nurturance, while Lakshmi symbolizes wealth, prosperity,
and well-being. Their presence highlights the importance of balance
between power and prosperity, spirituality and material well-being.
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The combination of Harihara with Parvati and Lakshmi signifies the
complete and holistic nature of divinity, encompassing various aspects
of life and the universe. It reminds devotees of the interdependence
of different divine powers and the need to seek balance in their
spiritual journey.
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The presence of Parvati and Lakshmi flanking Harihara suggests that
devotees receive comprehensive protection, blessings, and guidance
from these divine figures. It encourages believers to embrace the
multifaceted nature of the divine for a harmonious and fulfilling
life.
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This imagery serves as a powerful reminder of the interconnectedness
of divine energies and the holistic nature of spiritual life.
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Nagaraja
The head and bust are well formed and project from
the center of the coil.
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Nagaraja symbolizes protection and guardianship. By being placed on
the ceiling, he oversees the temple, protecting it from above and
warding off negative energies.
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Snakes in Hinduism are often associated with cosmic and spiritual
energies, such as the Kundalini energy. Nagaraja's position on the
ceiling signifies a connection to higher realms and the flow of divine
energy throughout the temple.
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As a serpent king, Nagaraja embodies wisdom, fertility, and the
cyclical nature of life and rebirth. His presence on the ceiling
reminds devotees of the eternal cycle of life and the importance of
spiritual knowledge.
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Snakes are also seen as symbols of renewal, shedding their skin to
transform. Nagaraja on the ceiling signifies the continual renewal and
cleansing of the spiritual atmosphere within the temple, encouraging
devotees to seek inner transformation.
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The depiction of Nagaraja on the ceiling highlights the importance of
maintaining cosmic order and harmony. It serves as a reminder that the
divine presence watches over and maintains balance in the universe.
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Human emerging from the mouths of makara in bracket supporting the
cornice
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Makaras, mythical creatures often associated with water and the sea,
symbolize the primordial chaos from which life emerges. Humans
emerging from their mouths represent the transformation from the chaos
of the unconscious to the order of conscious existence. It signifies
the journey from ignorance to knowledge, darkness to light.
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Makaras are frequently depicted as guardians, often found at the
entrances of temples or as part of architectural elements. The human
figures emerging from their mouths can be seen as guardians of the
sacred space, embodying both the protective and transformative powers
of the divine.
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The imagery of humans being "reborn" from the mouths of makaras
symbolizes spiritual rebirth and renewal. It reflects the idea of
being initiated into higher spiritual consciousness through the
process of overcoming primal fears and embracing divine wisdom.
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Makaras are also associated with water, which is a symbol of life,
fertility, and abundance. The humans emerging from their mouths could
signify the bestowing of these qualities upon the devotees and the
temple, ensuring spiritual and material prosperity.
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This depiction highlights the interconnectedness of all creation,
illustrating how all beings are linked through the cycle of birth,
life, and rebirth. It serves as a reminder of the unity of all
existence and the divine presence within all aspects of life.
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In Hindu mythology, makaras are considered vahanas (vehicles) of
various deities, including Ganga (the river goddess) and Varuna (the
god of water). The presence of humans emerging from makaras signifies
the close relationship between deities, mythological creatures, and
humanity, enriching the temple's spiritual narrative.
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Yaksha and Apsara
In another compartment a bas-relief 0.76 m
(2.5 ft) 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.
- Yaksha with a Sword:
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Yakshas are nature-spirits often associated with treasures and
natural elements. The sword symbolizes protection and guardianship,
indicating the Yaksha's role as a divine protector.
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The sword represents strength, courage, and the ability to overcome
obstacles. It signifies the power and authority of the divine to
safeguard spiritual and material wealth.
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The presence of the sword also portrays the Yaksha as a spiritual
warrior, defending against negative forces and ensuring the sanctity
of the sacred space.
- Apsara with a Flying Veil:
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Apsaras are celestial dancers known for their grace and beauty. The
flying veil represents their ethereal and divine nature, symbolizing
the transcendent beauty of the spiritual realm.
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Apsaras are often associated with music, dance, and artistic
expression. Their presence brings joy, harmony, and cultural
richness to the spiritual environment.
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The flying veil suggests movement and freedom, symbolizing the
inspiration and liberation that comes from spiritual practice and
devotion.
- Combined Imagery:
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The relief showcases the balance between strength and beauty,
protection and grace, suggesting the harmony of different divine
aspects.
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The Yaksha (representing masculine energy) and Apsara (representing
feminine energy) together symbolize the integration and balance of
these energies, crucial for spiritual harmony.
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The combined presence of a protector and a celestial being
highlights the dual aspects of divine guardianship and blessings,
offering both protection and spiritual upliftment to devotees.
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Columns
The cave has five columns sculpted with reliefs of
flower garlands, foliage and jewelry.
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The sculpted foliage and flower garlands symbolize the connection
between the divine and the natural world. They remind devotees of the
beauty and abundance of nature, which is considered a manifestation of
the divine.
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The inclusion of jewelry motifs represents wealth, prosperity, and
divine beauty. It signifies the blessings of the deities and the
richness of the spiritual and material worlds.
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Flower garlands are traditionally offered to deities as a gesture of
devotion and reverence. Their depiction on columns symbolizes the
continuous act of worship and offering, creating a sacred atmosphere.
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Foliage and floral motifs also represent growth, purity, and renewal.
They remind devotees of the importance of spiritual growth and the
need to cultivate purity in their thoughts and actions.
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The intricate designs reflect the order and harmony of the cosmos,
emphasizing the interconnectedness of all creation. They inspire
devotees to seek balance and harmony in their spiritual lives.
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The detailed craftsmanship adds to the aesthetic beauty of the temple,
enhancing the spiritual ambiance and elevating the devotee's
experience. The motifs serve as visual aids for meditation and
contemplation.
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These sculpted columns enrich the temple's spiritual environment,
offering devotees a deeper connection to the divine and a reminder of
the sacredness of nature and the cosmos.
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Nandi contemplating the Shiva linga
In the mantapa is a
seated Nandi facing the garbha ghruha (sacrum sanctum) containing a
Shiva linga.
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When depicted contemplating the Shiva linga, Nandi embodies devotion,
purity, and unwavering loyalty. As Shiva's vahana (vehicle) and
faithful gatekeeper, Nandi's gaze upon the linga symbolizes constant
worship and adoration of Lord Shiva.
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The act of contemplation signifies a profound spiritual connection and
the ideal of single-pointed focus on the divine.
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It reminds devotees of the importance of bhakti (devotion) and
encourages them to maintain purity of thought and purpose in their
spiritual pursuits.
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Nandi’s presence facing the Shiva linga also represents eternal
vigilance and protection of the sacred space.
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It's a reminder that divine power and grace are always within reach
for those who seek it with true devotion.
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Shiva's linga inside the sanctum
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The Shiva linga represents the infinite nature of Shiva, transcending
all forms and attributes. It symbolizes the formless, eternal, and
omnipresent aspect of the divine.
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The linga is often interpreted as a cosmic pillar of light,
representing the source of all creation. It signifies the union of the
material and spiritual worlds, where the divine energy of Shiva
manifests.
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The sanctum is the holiest part of the temple, and the placement of
the Shiva linga there signifies the centrality of Shiva in the
spiritual practices and devotion of the temple's devotees. It serves
as the focal point for meditation, worship, and rituals.
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The sanctum, being the innermost part of the temple, represents purity
and sanctity. The presence of the Shiva linga in the sanctum
emphasizes the need for inner purity and devotion in one's spiritual
journey.
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The linga represents the unity of the physical and spiritual realms,
the masculine and feminine energies, and the transcendence of
dualities. It serves as a reminder of the interconnectedness of all
existence.
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The Shiva linga is believed to be a channel through which divine
blessings and energy flow. Devotees seek the blessings of Shiva
through their worship, prayers, and offerings to the linga.
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This sacred symbol inspires devotees to connect with the divine
essence of Shiva, seek inner purification, and realize the oneness of
all creation.
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Going up towards Cave 2
Cave 2 is above and to the east of
Cave 1 and faces north. It is reached by climbing 64 steps from the
first cave.
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Cave 2
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Cave-2
«Cave-2, which closely followed Cave-1, was excavated for the god Vishnu
in 6th century CE. In plan, like Cave-1, it comprises of an open porch
and a pillared hall with a sanctuary cut into its rear wall. Two-armed,
calmly disposed meditating door-guardians flank the entrance to the
porch. Major sculptures in the porch include panels of Vamana-Trivikrama
to the right and Bhu-Varaha to the left, with friezes of ganas (dwarfs)
carved on their pedestals. Beams carry continuous friezes of puranic
episodes of Mamudra-Manthana and Krishna's exploits. The ceiling panel
features a central matsya-chakra (fish-wheel) flanked by svastika
patterns. Brackets supporting the cornice resemble lions, elephants,
humans emerging from the mouths of makaras and aquatic creatures. There
are reliefs of gods Brahma, Vishnu, Durga, Kartikeya, Lakulisha, etc.,
decorative medallions with vidyadhara couples and foliations on
pillar-faces. The sanctuary doorframe carries on its architrave models
of northern-style temple-towers. The sculpture-style is homogeneous and
recalls that of sculptures in the 8th-century brahmanical caves at
Elephanta and Ellora. Craftsmen 'Vachya', 'Buru' and 'Duttoja' have
signed their names over the facade of the cave.»
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Facade of Cave 2
- Cave 2 was created in late 6th or early 7th century.
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It is smaller than Cave 1, somewhat similar in terms of its floor
plan, but it is dedicated primarily to Vishnu.
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The cave entrance is a verandah divided by four square pillars with
ends as half pillars, all carved out of the monolithic stone face.
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The pillars have decorative carvings with frieze of ganas (mythical
dwarfs) with various facial expressions.
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Frieze of ganas (mythical dwarfs) with various facial expressions
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Ganas are often depicted as joyous and playful beings, embodying the
spirit of celebration and divine play. Their presence on a frieze
brings a sense of joy and light-heartedness to the temple atmosphere.
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In Hindu mythology, ganas are attendants of Lord Shiva. Their varied
expressions and activities symbolize their devotion and service to
Shiva, highlighting the importance of humility and dedication in
spiritual practice.
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Ganas are also seen as guardians who protect the temple and its sacred
space. Their fierce or comical expressions can signify their role in
warding off negative energies and ensuring the sanctity of the temple.
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The different facial expressions of the ganas reflect the diversity of
human emotions and experiences. This diversity is embraced and honored
within the sacred space, reminding devotees of the richness of life
and the acceptance of all emotions in the spiritual journey.
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Ganas are known for their mischievous nature, which can be seen as a
metaphor for the interplay of wisdom and folly in human life. Their
presence encourages devotees to balance seriousness with playfulness
and to find wisdom even in seemingly trivial aspects of life.
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The ganas working together in various activities emphasize the
importance of unity and collaboration in achieving spiritual goals.
They remind devotees that collective effort and community spirit are
essential components of the spiritual path.
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Dvarapalas (guardians) holding flowers
On the two sides of
the entrance are standing dvarapalas (guardians) holding flowers, not
weapons.
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Flowers are universal symbols of peace, beauty, and welcome. Guardians
holding flowers signify a peaceful and inviting entrance, emphasizing
the temple as a place of tranquility and spiritual solace.
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Flowers are often used in Hindu rituals as offerings to deities,
representing purity and devotion. Dvarapalas with flowers highlight
the sanctity of the temple and the importance of approaching the
divine with a pure heart and sincere devotion.
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The presence of flowers instead of weapons suggests the guardians are
bestowers of spiritual blessings rather than protectors against
physical threats. This emphasizes the temple's role as a source of
divine grace and positive energy.
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Holding flowers instead of weapons aligns with the principle of ahimsa
(non-violence), promoting harmony and non-violence as core values. It
encourages devotees to cultivate these virtues in their own lives.
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Flowers symbolize the beauty and abundance of nature, reminding
devotees of the interconnectedness of all life and the divine presence
in the natural world. The guardians holding flowers reflect this
sacred relationship.
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The gentle and beautiful imagery of guardians with flowers adds to the
aesthetic and spiritual elegance of the temple, creating a serene and
uplifting environment for worship and contemplation.
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This unique depiction of dvarapalas serves to enhance the temple's
sacred atmosphere and offers a warm, peaceful invitation to all who
enter.
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Trivikrama stepping Vishnu and Vamana avatar legend
The
largest relief in Cave 2 depicts the legend of Vishnu in his Trivikrama
form, taking one of the three steps. Below the raised step is a frieze
showing the legend of Vamana dwarf avatar of Vishnu, before he morphs
into the Trivikrama form.
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Vamana, the dwarf avatar of Vishnu, approaches the demon king Bali and
humbly asks for three paces of land. This request, though seemingly
modest, is a divine strategy to reclaim cosmic order. The avatar
teaches the importance of humility and the idea that appearances can
be deceiving.
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Upon Bali's agreement, Vamana expands into the giant form of
Trivikrama, covering the entire universe with his first two steps.
This transformation symbolizes Vishnu's cosmic power and the
omnipresence of the divine.
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By covering the earth, sky, and heavens in three steps, Trivikrama
reclaims the universe from the demon king's rule. This act signifies
the restoration of dharma (righteousness) and the maintenance of
cosmic balance.
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The legend illustrates how divine grace can manifest in unexpected
ways to protect and preserve the universe. It reassures devotees of
the constant presence and protection of the divine.
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The Vamana avatar emphasizes the balance of power between gods and
demons, good and evil. It teaches the importance of righteousness and
the inevitability of divine justice.
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King Bali's eventual surrender to Vishnu's third step symbolizes the
importance of humility and surrender to the divine will. It encourages
devotees to relinquish ego and pride in their spiritual journey.
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The legend reinforces the need to uphold dharma and righteousness,
even in the face of challenges and temptations.
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It teaches that trusting in the divine and remaining humble can lead
to the restoration of order and balance in one's life.
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This powerful story offers profound insights into the nature of
divinity, the importance of humility, and the eternal struggle between
good and evil.
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Vishnu as Varaha rescuing Earth as Bhudevi
Another major
relief shows the legend of Vishnu in his Varaha (a boar) avatar rescuing
goddess earth (Bhudevi) from the depths of cosmic ocean, with a penitent
multi-headed snake (Nāga) below.
- Symbolism of the Varaha Avatar:
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Vishnu incarnating as Varaha signifies the divine intervention that
occurs when dharma (righteousness) is threatened. It demonstrates
Vishnu's role as the protector and preserver of the universe.
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The rescue of Bhudevi from the demon Hiranyaksha symbolizes the
restoration of balance and order in the cosmos. It highlights the
theme of triumph over evil and the reinstatement of harmony.
- Bhudevi and the Earth:
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Bhudevi represents the Earth, revered as a goddess. Her depiction
emphasizes the sanctity of the Earth and the need to respect and
protect it.
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Bhudevi symbolizes fertility, abundance, and the nurturing aspect of
the Earth. The story underscores the interdependence of all life
forms and the importance of preserving the natural world.
- Spiritual Themes:
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The Varaha avatar teaches the lesson of overcoming adversity through
divine strength and courage. It inspires devotees to face challenges
with faith and determination.
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The act of lifting the Earth from the depths of the ocean signifies
renewal and rebirth. It serves as a reminder of the cyclical nature
of creation and the possibility of regeneration.
- Moral and Ethical Values:
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The story reinforces the importance of performing one's duty and
upholding righteousness (dharma) in the face of obstacles.
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Vishnu's rescue of Bhudevi reflects the compassionate and caring
nature of the divine, emphasizing that the divine is always present
to support and protect the faithful.
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This myth provides profound insights into the relationship between
the divine, the Earth, and humanity, encouraging devotees to live in
harmony with the natural world and uphold moral and spiritual
values.
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Wheel with sixteen fish spokes
The ceiling of Cave 2 shows a
wheel with sixteen fish spokes in a square frame.
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The wheel, or chakra, is a powerful symbol in Hinduism representing
the cyclical nature of time and existence. The sixteen spokes can
symbolize the complete cycle of time, encapsulating various phases and
transitions in life.
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The wheel is often associated with dharma (righteousness) and the
cosmic order. It signifies the divine law that governs the universe,
emphasizing the importance of living in harmony with these principles.
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Fish are symbols of fertility, abundance, and prosperity in many
cultures, including Hinduism. The sixteen fish spokes can signify the
blessings of prosperity and the nurturing aspects of divine energy.
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The wheel can also represent spiritual progress and the journey toward
enlightenment. Each spoke may symbolize different stages or aspects of
spiritual growth, guided by the divine.
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Fish are closely associated with water, which symbolizes life,
purification, and renewal. The presence of fish spokes in the wheel
can emphasize the importance of these qualities in spiritual practice.
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The wheel, often depicted as a protective symbol, combined with the
fish, can signify divine protection and guidance for the devotees,
ensuring their spiritual well-being.
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Main hall
The main hall in the cave is 10.16 m (33.33 ft)
wide, 7.188 m (23.583 ft) deep, and 3.45 m (11.33 ft) high and is
supported by eight square pillars in two rows.
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Entrance door to the sanctum
The path that leads to the
sanctum door features the relief of a lotus.
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The lotus is a powerful symbol of purity, beauty, and divine presence
in Hinduism. Its placement on the path signifies that devotees are
entering a pure and sacred space, encouraging them to leave behind
impurities and worldly distractions as they approach the divine.
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The lotus, often associated with spiritual awakening and
enlightenment, signifies the journey of the soul from the material
world to spiritual realization. Walking over the relief of a lotus
symbolizes the devotee's progress on their spiritual path towards
enlightenment.
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Stepping over the lotus relief can be seen as receiving divine
blessings. The lotus is often depicted as the seat of deities, and its
presence on the path indicates the blessings and grace of the divine
beings.
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The lotus, which rises from muddy waters to bloom beautifully,
represents transformation and renewal. This imagery inspires devotees
to undergo their own spiritual transformation and renewal as they
approach the sanctum.
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The lotus is also a symbol of the universe and cosmic order. Its
presence on the path emphasizes the alignment of the temple and its
devotees with the cosmic principles of dharma (righteousness) and
harmony.
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As devotees step over the lotus relief, they are reminded of the
importance of devotion, purity, and the sacred journey they are
undertaking. It serves as a spiritual cue to focus their minds and
hearts on the divine.
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Going up towards Cave 3
Facing north, Cave 3 is 60 steps
from Cave 2 at a higher level.
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Cave 3
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Cave-3
«Cave-3 was created in 578 CE by Chalukya Mangalesha, in the reign of
his step-brother Kirtivarma I for the god Maha-Vishnu. Like the two
earlier caves its plan comprises of an open verandah and a pillared-hall
with a sanctuary cut into its rear wall. But it is executed on an
ambitious scale, being the largest and most ornate of all the Chalukya
caves. The cave has a stone structural enclosure. A sanskrit inscription
carved beside the great varaha relief in the verandah details its
dedication, date and gift of village Lanjisvara (=modern Nandikesvara)
by Mangalesha. The temple's verandah accommodates major super-human size
figural compositions: eight-armed Vishnu, Vishnu seated on Ananta and
Bhu-Varaha on the left side and Harihara, majestically standing
Narasimha and Vamana-Trivikrama on the right. Side faces of beams carry
narrative friezes of episodes from Mahabharata and Puranas:
Samudra-Manthana (churning of the ocean), Krishna's exploits and
Parijata-Harana. The verandah ceiling bears medallion-reliefs of Vishnu
(centre), Shiva, Indra, Varuna, Bramha and Yama. The front row of
verandah pillars have bracket-figures of loving divine couples, like
Siva-Parvati, Kama-Rati, Naga-Nagini, etc. and Nayikas in moods under
trees. The hall's ceiling bears reliefs of Brahma at the centre
surrounded by Indra (east), Varuna (west), Kubera (north) and Kartikeya
(south). On the verandah's eave is depicted an image of Vishnu's vehicle
Garuda, carved by artist Nelavalke. The whole cave was beautifully
painted and a fragment surviving beside the Garuda relief depicts a
royal couple witnessing dance, testifying to the quality of painting.
The image of Maha-Vishnu is missing from the sanctuary. Craftsmen
Kolimanchi, Singimanchi, Aju-Acharasiddhi, etc., have signed on the
sides of the facade.»
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Panorama of the facade of Cave 3
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Cave 3's verandah is 21 m (70 ft) in length with an interior width of
20 m (65 ft).
- It has been sculpted 15 m (48 ft) deep into the mountain.
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An added square shrine at the end extends the cave 3.7 m (12 ft)
further inside.
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The verandah itself is 2.1 m (7 ft) wide and has four free-standing,
carved pillars separating it from the hall.
- The cave is 4.6 m (15 ft) high.
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It is supported by six pillars, each measuring 0.23 m2 (2.5 ft2).
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Frieze of ganas (mythical dwarfs) with various facial expressions
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Vishnu in his Trivikrama form, taking one of the three steps
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Vishnu is shown taking one of his three steps, symbolizing his cosmic
strides to measure the universe. This form represents Vishnu's role as
the preserver and protector of the cosmos.
-
Vishnu is depicted with a powerful physique, standing majestically
with one leg lifted, symbolizing his cosmic stride. His other leg is
firmly planted on the ground, and his arms are positioned in a gesture
of assurance and protection.
-
The relief is surrounded by smaller figures, including celestial
beings (apsaras) and other deities, which add to the grandeur and
divine atmosphere of the scene.
-
The relief showcases intricate carvings and detailed workmanship,
characteristic of the Badami Chalukya style of architecture. The
expressions and postures of the figures are carefully crafted to
convey a sense of divine presence and power.
-
The depiction of Vishnu in the Trivikrama form is rich in symbolism,
representing the concept of divine omnipresence and the protection of
the world from evil forces.
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Narasimha avatar of Vishnu
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Narasimha, an avatar of Vishnu, is depicted in a dynamic and fierce
posture, showcasing his strength and power. He is shown with a lion's
head and a human body, symbolizing the divine protection against evil
forces.
-
The relief portrays Narasimha with four arms, holding various
attributes such as a mace, a conch, a discus, and a lotus flower. This
iconography emphasizes his divine and protective nature.
-
Similar to the Trivikrama relief, the Narasimha relief is surrounded
by smaller figures, including celestial beings and other deities,
adding to the grandeur and divine atmosphere of the scene.
-
There is an inscription by Mangalesha, son of Pulakeshin-I, dating the
creation of this cave to 578 CE. This inscription provides historical
context and highlights the significance of the relief.
-
The relief showcases intricate carvings and detailed workmanship,
characteristic of the Badami Chalukya style of architecture. The
expressions and postures of the figures are carefully crafted to
convey a sense of divine presence and power.
-
The depiction of Narasimha in this form is rich in symbolism,
representing the concept of divine protection and the triumph of good
over evil.
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Vertical panorama of Narasimha avatar of Vishnu
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Harihara (left half Shiva, right half Vishnu)
-
Harihara is depicted with a dual nature, where one half of the body
represents Vishnu and the other half represents Shiva. This symbolizes
the unity and equivalence of the two major deities in Hinduism.
-
The Vishnu half (Hari) is shown with a crown and a serene expression,
while the Shiva half (Hara) is depicted with matted hair and a more
ascetic appearance. The two halves are seamlessly integrated,
showcasing the artistic skill of the Chalukya craftsmen.
-
The Vishnu half often holds attributes like a conch (shankha) and a
discus (chakra), while the Shiva half may hold a trident (trishula)
and a drum (damaru).
-
Similar to other reliefs in the cave, Harihara is surrounded by
smaller figures, including celestial beings and other deities, adding
to the grandeur and divine atmosphere of the scene.
-
The relief showcases intricate carvings and detailed workmanship,
characteristic of the Badami Chalukya style of architecture. The
expressions and postures of the figures are carefully crafted to
convey a sense of divine presence and power.
-
The depiction of Harihara represents the concept of the unity of
different aspects of divinity and the harmonious coexistence of
different deities within Hinduism.
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Vertical panorama of Harihara (left half Shiva, right half Vishnu)
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Garuda
- Garuda symbolizes power, speed, and devotion.
-
As Vishnu's mount, Garuda is believed to protect dharma
(righteousness) and swiftly remove obstacles in the path of devotees.
-
Garuda is also known for his role in various Hindu scriptures, such as
the Vedas, Puranas, Mahabharata, and Ramayana.
-
He is depicted as a fierce and loyal servant of Vishnu, often engaging
in battles against demonic forces.
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Vishnu seated on serpent Sesha
-
Vishnu is shown seated in a meditative posture on the hooded serpent
Sesha (also known as Shesha or Ananta), which symbolizes eternity and
stability. Sesha is often depicted with multiple heads, and in this
relief, he supports Vishnu with his coils.
-
Vishnu is depicted with a calm and serene expression, often with a
mace (gada) and a conch (shankha) in his hands. His posture is relaxed
yet regal, showcasing his divine authority and tranquility.
-
The relief is surrounded by smaller figures, including celestial
beings (apsaras) and other deities, adding to the grandeur and divine
atmosphere of the scene.
-
The relief showcases intricate carvings and detailed workmanship,
characteristic of the Badami Chalukya style of architecture. The
expressions and postures of the figures are carefully crafted to
convey a sense of divine presence and power.
-
The depiction of Vishnu seated on Sesha represents the concept of
divine protection and the eternal nature of the cosmos. It also
symbolizes Vishnu's role as the preserver and protector of the
universe.
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Vertical panorama of Vishnu seated on serpent Sesha
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Vishnu in his boar avatar (Varaha)
-
Vishnu is depicted in his boar avatar, Varaha, with a human body and a
boar's head. This form symbolizes his role as the protector and savior
of the Earth.
-
The relief shows Varaha lifting the Earth (personified as the goddess
Bhudevi) out of the cosmic ocean, symbolizing the restoration of order
and balance.
-
Below Varaha, there is often a depiction of a multi-headed snake,
representing the cosmic ocean from which the Earth is being lifted.
-
Varaha is shown with a muscular physique, holding the Earth goddess in
his left arm, while his right arm is often raised in a gesture of
strength and protection.
-
The relief is surrounded by smaller figures, including celestial
beings and other deities, adding to the grandeur and divine atmosphere
of the scene.
-
The relief showcases intricate carvings and detailed workmanship,
characteristic of the Badami Chalukya style of architecture. The
expressions and postures of the figures are carefully crafted to
convey a sense of divine presence and power.
-
The depiction of Vishnu as Varaha represents the concept of divine
protection and the restoration of cosmic order. It symbolizes Vishnu's
role as the preserver and protector of the universe.
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Vertical panorama of Vishnu in his boar avatar (Varaha)
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Fresco paintings on the ceiling
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.
-
The frescoes depict various Hindu deities, including Lord Shiva as
Nataraja (the cosmic dancer), Shiva and Parvati, and Brahma on his
vahana, the Hamsa (swan). These paintings reflect the religious and
mythological themes prevalent during the Chalukya dynasty.
-
The frescoes showcase a blend of northern Nagara and southern Dravida
styles, resulting in a unique Vesara style that combines elements from
both traditions. This fusion of styles is evident in the intricate
carvings and detailed workmanship.
-
The paintings are rich in symbolism, representing various aspects of
Hindu mythology and spirituality. For example, the depiction of Shiva
as Nataraja symbolizes the cosmic dance of creation, preservation, and
destruction.
-
Some of the frescoes have faded and deteriorated over time, but
remnants of pigment remain, indicating that the ceiling was once
elaborately painted. This suggests that the original frescoes were
vibrant and colorful, adding to the grandeur of the cave.
-
The frescoes were created during the reign of King Mangalesha, son of
Pulakeshin I, and date back to the 6th century. They provide valuable
insights into the artistic and cultural achievements of the Chalukya
dynasty.
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Panorama of the inner hall
The cave is supported by six
pillars.
-
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.
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Loving couples on pillar top
-
These reliefs depict couples in intimate and affectionate poses,
symbolizing love and marital bliss. The figures are often shown
embracing, holding hands, or gazing at each other with tenderness.
-
The mithunas are intricately carved with great attention to detail.
The artists skillfully rendered the expressions, clothing, jewelry,
and postures of the figures, capturing the essence of love and
connection.
-
Mithunas are often seen as auspicious symbols in Hindu and Buddhist
art, representing fertility, harmony, and the unity of male and female
principles. Their presence in the caves adds to the spiritual and
symbolic richness of the site.
-
The reliefs reflect the artistic style of the Badami Chalukya period,
characterized by elegant proportions, smooth contours, and elaborate
ornamentation. The figures exude a sense of grace and beauty.
-
The placement of these loving couples on the pillar tops enhances the
overall aesthetic of the cave's interior. They add a touch of human
warmth and emotion to the divine and mythological themes depicted
elsewhere in the cave.
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Entrance door to the sanctum
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Going up towards Cave 4
Cave 3 and Cave 4 are positioned
close to each other, with Cave 4 slightly elevated compared to Cave 3.
The path between them involves a short climb, offering visitors a scenic
view of the surroundings and the lake below.
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Panorama of the scenic view of the surroundings and the lake below
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Cave 4
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Cave-4
«Cave-4 is a Jaina cave-temple, the smallest among the cave-temples at
Badami and datable to early 7th century CE. Somewhat unfinished, it
consists of an open verandah and an oblong antechamber with a sanctuary
piercing into its rear wall. Its verandah walls accommodate relief
sculptures of Bahubali (also called Gommata) in penance and Parsvanatha
in penance over coming the obstacles of his demonic enemy Kamatha. The
sanctuary doorframe depicts Kama as the door-guardian. On the rear wall
of the sanctuary is the relief sculpture of a sermon-delivering
tirthankara, probably Mahavira with halo behind and seated on a
lion-throne under a chaitya-tree and triple-umbrella, and attended by
chauri-bearers, vidyadharas offering flowers and divine drums beating by
themselves. There are several smaller and larger figures of tirthankaras
in the antechamber. The small lady, seated beside a tirthankara, carved
at the right side of the entrance to the cave is Jakkave, a pious votary
who attained salvation according to the Jaina vow called sallekhana.
Kolimanchi is among the craftsmen who have signed on the boulder of the
cave. The cave was originally accessed from the east side and separated
from Cave-3 by a stone wall.»
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Facade of Cave 4
The cave has a five-bayed entrance with
four square columns – each with brackets and capitals.
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Cave 4 is dedicated to tirthankaras, the revered figures of Jainism.
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It was constructed after the first three, sponsored by Hindu kings in
later part of the 7th-century CE. Some scholars state this cave may
have been created in the 8th century CE.
-
Some embellishments were likely added in later centuries until about
the 11th or 12th century CE.
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Panorama of the facade of Cave 4
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Lions carved at the base of the columns on the facade
-
The lion is a powerful symbol of protection, strength, and royal
authority.
-
It represents the spiritual authority and courage of the tirthankaras,
especially Mahavira, the 24th tirthankara.
-
These lion carvings are often placed at temple entrances to symbolize
the guardianship of the sacred space and to ward off negative
energies.
-
They also serve as a reminder of the protection and strength that the
teachings of Jainism provide to its followers.
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Interior of Cave 4
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The first aisle is a verandah 9.4 m (31 ft) long by 2.0 m (6.5 ft)
wide, extending to 4.9 m (16 ft) deep.
-
To the back of the verandah is a hall with two standalone and two
joined pillars.
-
From the hall, steps lead to the sanctum sanctorum, which is 7.8 m
(25.5 ft) wide extends to a depth of 1.8 m (6 ft).
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Jakkave, Jain nun
The relief depicts a pious Jain nun called
Jakkave who attained Moksha through Sallekhana. She is seated next to
Mahavira who is carved into the right sidewall near the entrance to the
cave.
-
Sallekhana is a voluntary, peaceful act of fasting to death,
undertaken with the aim of purging karmic bonds and achieving
spiritual liberation.
-
Practitioners usually decide to undertake Sallekhana when they believe
their life's purpose is complete or when enduring severe, incurable
illness.
-
This practice is distinct from other forms of fasting because it's
done with a high level of consciousness, acceptance, and complete
detachment from worldly desires.
-
The process includes reducing food and liquid intake gradually,
preparing the mind through meditation and spiritual reflection, and
maintaining a state of equanimity.
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Parshvanatha, the 23th tirthankara
The image shows a
life-size sculptural relief depicting Parshvanatha, the 23rd tirthankara
of Jainism.
-
Parshvanatha is the successor of Neminatha and the predecessor of
Mahavira, the most well-known and final tirthankara. Historians
believe that both Mahavira and Parshvanatha were historical figures.
-
Born in the holy city of Varanasi, Parshvanatha lived around 877 BCE
and attained Moksha on Mount Summeta in the present-day Madhuban in
the state of Jharkhand, India.
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In this relief, Parshvanatha is depicted as a person with no clothes
(digambara) meditating while standing (Kayotsarga posture).
-
Notice the beautifully carved five-headed snakes (naga) above his
head. This is one of the features that identify Parshvanatha.
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Vertical panorama of Mahavira flanked by 24 tirthankaras
Mahavira, the 24th and last tirthankara, is considered the
founder of modern Jainism and is revered for his teachings on
non-violence, truth, and renunciation.
-
The 24 tirthankaras are spiritual teachers who attained enlightenment
and serve as guides for others on the path to liberation.
-
Each tirthankara represents a step in the spiritual evolution towards
ultimate liberation (moksha).
-
By showing Mahavira with the 24 tirthankaras, it symbolizes the
continuity and culmination of spiritual wisdom and the path to
enlightenment.
-
This imagery also emphasizes the importance of following the teachings
and examples set by these enlightened beings, highlighting the journey
of spiritual growth and the ultimate goal of liberation from the cycle
of birth and death.
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Bahubali
The image shows a life-size sculptural relief
depicting Bahubali.
- Bahubali is one of the 100 sons of Adinatha (Rishabhanatha).
-
Bharata was the eldest, but Bahubali challenged him for the throne.
-
Although Bahubali defeated his brother in three non-violent games, he
relinquished everything in disgust and lived like an ascetic.
-
He meditated by standing up naked for 12 years to attain liberation
(moksha).
-
Because he was motionless, vines grew on him, which is the reason why
the standard iconography of Bahubali shows him standing naked with his
body encircled by vines.
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Rishabhanatha, the 1st tirthankara, flanked by Bharata and
Bahubali
These two figures are often depicted as devotees or worshippers,
symbolizing their connection and reverence to Rishabhanatha.
-
As the inaugural Tirthankara, Rishabhanatha laid down the foundational
principles of Jainism. His teachings are considered the genesis of the
Jain faith, focusing on non-violence (ahimsa), truth (satya), and
renunciation (vairagya).
-
Rishabhanatha is revered for his immense wisdom and spiritual insight.
His life and teachings serve as a guide for Jains on the path to
spiritual liberation (moksha).
-
He is also credited with establishing the social and cultural
practices that form the bedrock of Jain society. This includes
teaching humans essential skills like agriculture, arts, crafts, and
social conduct, helping them transition from a nomadic lifestyle to a
settled, civilized society.
-
Rishabhanatha's life is a testament to the power of meditation and
self-discipline. His example encourages Jains to lead a life of
contemplation, restraint, and spiritual striving.
-
Rishabhanatha's spiritual legacy continues to inspire millions, making
him a central figure in Jain worship and philosophy.
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Rishabhanatha, the 1st tirthankara
The image shows a
life-size sculptural relief depicting Adinatha (also known as
Rishabhanatha), the first of the 24 tirthankaras of Jainism, carved on
the left sidewall of the antarala. He is flanked by 12 tirthankaras on
either side.
-
Adinatha is a person with no clothes (digambara) and is standing with
the Kayotsarga pose, which means giving up body movements and comfort.
-
He has long hair flowing on his shoulder and is one of the ways to
identify his sculptures.
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Sculptural relief of Mahavira, the 24th tirthankara, in the sanctum
(garbhagriha)
The image shows a sculptural relief of a tirthankara, most-likely
Mahavira, seated majestically on a lion throne carved on the back wall
of the sanctum (garbahgriha).
-
Mahavira is sitting under a holy tree (chaitya vriksha) with the
lotus-like pose with upward-facing palms placed on top of each other
(Paryankasana posture).
-
He has a circle of light or halo (prabhamandala) around his head and a
three umbrellas stacked one above the other (mukkode) above the circle
of light or halo (prabhamandala).
-
Flanking him are two male chamara bearers (chamaradharas), and above
them are two vidyadhara couples offering a deluge of flowers
(performing pushpadhaare).
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Leaving Badami cave temples
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See Also
Source
Location
Pattadakal Temples, Pattadakal
Kadasiddheshwara Temple, Pattadakal
Jambulinga Temple, Pattadakal
Galaganatha Temple, Pattadakal
Sangameshwara Temple, Pattadakal
Monolithic Stone Pillar, Pattadakal
Virupaksha Temple, Pattadakal
Mallikarjuna Temple, Pattadakal
Kashivishweshwara Temple, Pattadakal