The Durga temple is an early 8th-century Hindu temple located in Aihole,
Karnataka, India.
Originally dedicated to Surya, it has the most embellished and largest relief
panels in Aihole depicting artwork of Shaivism, Vaishnavism, Shaktism and
Vedic deities.
Apart from its fine carvings, it is notable for its apsidal plan – a rare
example among early Chalukyan Hindu temple architecture.
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Aihole (5th - 8th cent A.D.)
«Aihole (Aryapura of the inscriptions) occupies a unique place in the
history, of temple architecture in India. It was the experimenting
ground for the early Chalukyan kings (450 — 750 A.D.) to build
structural temples from the mid-fifth century onwards. Within the
ancient fortification alone there are fifty temples and fifty more can
be seen outside. Most of them are Vaishnavite temples later converted
into Saivite ones. Among them the following groups are important.
- A) Huchimalli Temple
- B) Chikki Temple
- C) Ambiger Temple
- D) Durga Temple
- E) Gaudar, Ladkhan And Suryanarayana Temples Complex
- F) Chakragudi And Badiger Temple
- G) Rachi Temple
- H) Eniyar Temples Complex
- I) Hucchappayya Math Complex
- J) Kunti Temples Complex
- K) Charanti Math Complex
- L) Tryambakesvara Group
- M) Gauri Temple
- N) Jaina Temples In The Village
- O) Mallik Arjuna Temples Complex
- P) Jaina Temple On The Hill
- K, Q) Meguti Temple
- R) Jyotirlinga Group
- S) Rock- Cut Caves. (Ravan Phadi)
- T) Hucchappay Ya Temple
- U) Galaganatha Temples Complex
- V) Ramalinga Groups
The early temples namely the Gaudar, Ladkhan, Kunti and Hucchappsay Ya
Math are of the pavilion type with a slightly sloping roof. The first
phase of early Chalukyan architecture ended with the construction of the
Meguti temple which is incidentally the earliest dated (634 A.D.)
structural temple in India. Here the inscription mentions the poet
Kalidasa.
Further experimentations in giving a cognate shape to the temple roof by
adding towers resulted in evolving three distinct types namely, the
Dravida, Nagara, and Kadamba-nagara. Some shrines in the Galaganatha and
Mallikarjuna groups having an octagonal domical finial come under the
Dravida type. While those with a stepped pyramidal roof are classified
as Kadamba-nagara. More evolved forms of Dravida temples occur at Badami
and Pattadakal. The Huchimalli temple and Chakra Gudi are good examples
of Nagara type with a curvilinear sikhara.
The Durga temple is unique in conception on account of its apsidal plan
but non-apsidal curvilinear sikhara.
Some of the later Jaina temples belong to the Rashtrakuta period.
The sculptural art of the early Chaluk Yan period as examplified in the
Ladkhan, Durga, Kunti, Hucchappay Ya and Huchimalli temples and
Ravan-phadi is full of vigour.
The recent excavations have brought to light the remains of a pre-Chaluk
Yan stone temple.
The "Aihole 500” mentioned in the inscriptions appears to be a guild
engaged in building temples.»
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Durga Temple
«This was a temple originally dedicated to the sun god Aditya. An
inscription of Vikramaditya II's time (c. 733-744 CE) found on its
gateway informs that it was built by one Komarasinga. The present name
“Durga Temple” may owe to its location near the fort wall (i.e., Durga).
It is apsidal in plan with its back resembling the hind part of an
elephant (gajaprishtha). Interiorly it comprises of a semicircular
sanctum placed within a pillared hall with an apsidal end and a square
porch. The whole is placed within an apsidal ended larger cage-like
structure. Standing on a high pedestal, the temple has a fallen rekha
nagara superstructure. The temple is entered through flights of steps
from the south and the north. There are several interesting high relief
sculptures occupying the pillars and niches, some of loving couples and
some of gods. Significant ones are Asvamukhiyakshi, Surya Chiding
Chhaya, Narasimha, Ardhanari, Shiva leaning on Nandi, Vishnu riding
Garuda, Varaha, Mahishamardini and Harihara. Some of these are in Malwa
style. There are also depictions of Ramayana episodes on the pedestal of
the porch. The temple's interest lies in the resemblance of its plan to
the Buddhist chaitya halls of western India. although it was assigned in
5th century earlier, recent scholarship strongly believes that it is a
structure built in 7th-8th century CE.
Superintending Archaeologist Archaeological Survey of India, Dharwad
Circle, Dharwad 2021»
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East entrance to Durga temple
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Durga temple seen from southeast
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External reliefs of the porch pillars
Decorated with
sculptures of mithunas (loving couples, an auspicious motif).
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These carvings are not just artistic expressions but also represent
the celebration of love, fertility, and the union of male and female
energies.
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In Hinduism, such imagery often symbolizes the divine union of Shiva
and Parvati, representing the balance and harmony of cosmic forces.
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These carvings also serve as a reminder of the importance of
partnership and mutual respect in spiritual and worldly life.
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They are a testament to the ancient Indian belief in the sanctity of
marriage and the essential role of both partners in the journey of
life.
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Sculptures of couples outside the ambulatory passage (pradakshina
patha)
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Devotees use this passage to perform pradakshina, or circumambulation,
around the deity's sanctum. This act of walking in a clockwise
direction symbolizes reverence, devotion, and a desire to absorb the
divine energy.
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The passage represents the cosmic journey and the path to
enlightenment. As devotees walk, they metaphorically travel through
the universe towards the divine center, embodying the spiritual quest
for moksha (liberation).
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The ambulatory passage provides a space for quiet reflection and
meditation. It allows devotees to focus their mind and spirit while
moving in a rhythmic, mindful manner.
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Architecturally, the passage enhances the symmetry and balance of the
temple layout. It ensures that the energy flow within the temple is
harmonious and conducive to spiritual practices.
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Shiva leaning on Nandi
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Shiva is depicted in a relaxed, reclining posture, leaning on Nandi,
the bull. His weight is on his right foot, while the left foot is
broken.
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Shiva's face shows a calm, contemplative mood with a fleeting smile,
expressing inward bliss, peace, and contentment.
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Shiva's body is slender and sensitively treated, with long, bow-like
eyebrows, fish-shaped eyes looking inward, a small but sharp nose,
sensuous lips, and a round face.
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Shiva has eight hands in total. One right hand is raised gracefully,
while the left hand caresses Nandi's left ear. Another left hand
caresses Nandi's right ear, and the third left hand rests on Nandi's
humps. All hands are adorned with beaded bracelets, and the left hands
also have serpent coils as armlets.
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The sculpture achieves a harmonious balance with the leftward movement
of Shiva's upper body perfectly counterbalancing the rightward
movement of his leg. This creates a sense of movement and lightness in
the statue.
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Narasimha, the fourth avatar of Vishnu
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Narasimha is depicted with four arms, symbolizing his divine power and
strength.
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Two of Narasimha's right hands are broken, but he still retains a
majestic and powerful presence.
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In his upper left hand, Narasimha holds a conch, while his lower left
hand rests on his waist in the Katihasta Mudra (hand gesture).
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Narasimha stands majestically with his entire weight on his left foot,
creating a balanced and confident posture.
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He is adorned with wristbands, a yagnopavita (sacred thread), snakes
as armlets, and a dagger.
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The rightward swerve of his torso is delicately balanced by his left
hands, which rest gracefully below his waist.
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Vishnu riding Garuda
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Vishnu is depicted with four arms, symbolizing his divine power and
protection.
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In his upper hands, Vishnu holds a conch and the Sudarshana Chakra
(discus).
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His lower right hand is in the Varada Mudra (gesture of blessing).
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Vishnu's body appears luminous and weightless, exuding spiritual
bliss.
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He is adorned with a crown, earrings, a sacred thread (yagnopavita),
and armlets made of serpents.
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Garuda, Vishnu's mount, has a dwarf-like form with curly hair,
resembling a baby or cupid.
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Vishnu's legs are parted to sit on Garuda, with his right leg slightly
bent and his left leg broken from the knee down.
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Varaha, the third avatar of Vishnu
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Varaha is depicted with four arms, symbolizing his divine power and
strength.
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Varaha stands in the Alidhasana pose, with one knee bent and the other
leg retracted, giving a dynamic and powerful appearance.
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In his upper right hand, Varaha holds the Sudarshana Chakra (discus).
- His lower right hand is in the Katihasta Mudra (hand gesture).
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Bhudevi (the Earth goddess) sits on the crook of his upper left hand,
symbolizing the rescue of the Earth from the cosmic ocean.
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Varaha's left leg rests on the coils of the three-hooded Sheshanaga
(serpent king), who is depicted in a posture of reverence and
adoration.
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Varaha is adorned with a yagnopavita (sacred thread), necklace,
mekhala (waist-belt), and armlets made of snake coils. He also wears
an embellished crown.
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Durga Mahishasuramardini
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Durga is depicted with four arms, each holding a different weapon or
symbol.
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The upper arms typically hold a sword and a shield, while the lower
arms hold a trident and a mace.
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Durga stands in a dynamic, warrior-like stance, symbolizing her
strength and readiness to fight evil.
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Her face shows determination and ferocity, reflecting her role as a
fierce warrior.
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The demon Mahishasura is depicted beneath her feet, often shown in a
submissive posture, symbolizing Durga's victory over evil.
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Harihara
The Harihara statue is a unique and significant
piece of Chalukyan art, depicting the fusion of two major deities,
Vishnu (Hari) and Shiva (Hara).
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The statue is divided into two halves, with the right side
representing Shiva and the left side representing Vishnu.
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Harihara is depicted with eight arms, symbolizing the combined powers
of both deities.
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The right side (Shiva) features a Jatamukuta (matted hair with a
crescent moon), a serpent around the neck, and a trident (trishula).
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The left side (Vishnu) has a Kirita-mukuta (crown), a conch (shankha),
a discus (Sudarshana Chakra), and a mace (gada).
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The statue has a serene and peaceful expression, reflecting the divine
calmness and balance.
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Goddess Lakshmi stands next to Vishnu, depicted in an inclined
position, adding to the overall composition.
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Beautiful apsaras (celestial nymphs) are depicted on either side,
enhancing the aesthetic appeal of the statue.
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Couple inside de mandapa (pillared hall)
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Four-handed Ardhanarishvara
The name itself means "the Lord
who is half woman," symbolizing the synthesis of masculine and feminine
energies.
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The deity is depicted as half Shiva (male) and half Parvati (female),
divided vertically down the middle.
- The four-handed depiction of Ardhanarishvara includes:
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Upper Right Hand: Often holds a trident (trishula), symbolizing
Shiva's power and his role as the destroyer in the cycle of
creation, preservation, and destruction.
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Upper Left Hand: Usually holds a mirror or a lotus, representing
Parvati's beauty and the gentle, nurturing aspects of the feminine
principle.
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Lower Right Hand: Typically shows the gesture of reassurance (abhaya
mudra), denoting protection and fearlessness.
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Lower Left Hand: Often holds a pot or a bowl, symbolizing abundance,
fertility, and nourishment.
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The male half may be adorned with serpents, rudraksha beads, and a
tiger skin, while the female half is adorned with jewelry, flowers,
and a sari.
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The male side usually features a rugged, ascetic look, while the
female side is more delicate and beautifully adorned.
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Narasimha opening the belly of the demon
Narasimha, one of
the ten avatars (dashavatara) of Vishnu, is depicted with the body of a
man and the head of a lion.
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Narasimha's main purpose was to protect his devotee, Prahlada, from
the demon king Hiranyakashipu. Despite Hiranyakashipu's attempts to
kill him, Prahlada remained devoted to Vishnu. Narasimha represents
the divine assurance that sincere devotion and righteousness will
always be protected.
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By tearing open Hiranyakashipu's belly, Narasimha symbolizes the
destruction of evil and the triumph of good. This act is a powerful
reminder that divine forces will always intervene to restore cosmic
order (dharma) when it's threatened by adharma (unrighteousness).
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Narasimha's appearance challenges conventional boundaries, being
neither man nor beast, demonstrating that divinity transcends all
forms and limitations. This highlights Vishnu's adaptability and
readiness to take any form necessary to uphold righteousness.
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The unique condition of Narasimha's manifestation—neither day nor
night, neither inside nor outside—signifies the balance and nuances in
cosmic justice. It teaches that divine wisdom and timing are beyond
human comprehension, ensuring justice is served in the most fitting
manner.
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Ceiling of the mandapa (entrance hall)
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The ceiling boasts intricate carvings, including floral patterns,
geometric designs, and mythological scenes. These carvings are both
decorative and symbolic.
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A central lotus motif is a common feature, symbolizing purity, beauty,
and spiritual enlightenment. The lotus is a recurring element in Hindu
temple architecture.
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Various panels depict scenes from Hindu mythology, including the
stories of deities like Vishnu, Shiva, and Durga. These panels are
carefully crafted and hold significant religious and cultural value.
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The ceiling often features a central dome or a raised section that
adds to the grandeur and aesthetic appeal of the mandapa. This dome
may have additional carvings or symbolic elements.
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The design of the ceiling is highly symmetrical, reflecting the
Chalukyan emphasis on harmony and balance in architecture.
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Mandapa (entrance hall) with two makaras holding the ceiling with
their trunks
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Makaras are mythical creatures often depicted as part crocodile and
part elephant, or part fish.
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It is a common motif in Hindu, Buddhist, and Jain temples and is often
seen as the mount (vahana) of the river goddess Ganga and the sea god
Varuna.
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Makaras symbolizes protection and are associated with water and
fertility.
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The open mouth and trunk give them a fearsome appearance, warding off
evil and negative energies.
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It’s a fascinating blend of different animals, embodying various
attributes such as strength, agility, and mystery.
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Pediment above the entrance door to the sanctum
Note Garuda
holding two serpents in each hand above the entrance door.
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Garuda is a mythical bird-like creature in Hindu mythology, known as
the mount (vahana) of Lord Vishnu.
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He is often depicted with serpents in his hands, symbolizing his role
as a protector against evil and his ability to control serpents.
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Nagaraja, the King of Serpents
The coiled serpent depicted
in the innermost section of the mandapa ceiling in the Durga Temple at
Aihole represents Nagaraja, the King of Serpents.
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In Hindu mythology, Nagaraja is often associated with Lord Shiva, who
is frequently depicted with serpents around his neck or in his hands,
symbolizing his mastery over the forces of nature and his role as the
cosmic dancer.
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Spiritually, the serpent represents kundalini energy, which is
believed to reside at the base of the spine and, when awakened,
travels through the chakras (energy centers) leading to spiritual
enlightenment.
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The depiction of the serpent in the temple's ceiling can be seen as a
reminder of the potential for spiritual awakening and the importance
of inner transformation.
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Base of the left jamb of the entrance door to the sanctum
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Base of the right jamb of the entrance door to the sanctum
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West side of the temple viewed from the south
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The heart of the shrine (garba griha) is surmounted by a tower which
announces the future higher towers shikharas and vimanas.
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The amalaka that once crowned the shikara is on the ground nearby
(visible in bottom picture).
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See Also
Source
Location
