Mallikarjuna Temple, Pattadakal, Karnataka, India

The Hazara Rama temple, referred to as the Ramachandra temple in inscriptions, occupied the western part of the urban core in the royal centre section of Hampi, India.

This temple was dedicated to Rama of the Ramayana fame, and an avatar of Vishnu. It was the ceremonial temple for the royal family. The temple is dated to the early 15th century and is attributed to Devaraya I.

Panorama of the entrance gate of Hazara Rama temple

The gate is adorned with intricate carvings depicting scenes from the Ramayana, as well as various deities and mythical creatures. These carvings offer a glimpse into the rich mythological and cultural heritage of the region.
The gate features robust pillars and elegant arches that showcase the architectural brilliance of the Vijayanagara period. These elements add to the grandeur and stability of the structure.
The gate is constructed primarily from granite, giving it a sturdy and enduring presence. The stone work is meticulously detailed, reflecting the craftsmanship of the artisans.
Various symbolic elements, such as lotus motifs and other auspicious symbols, are incorporated into the design. These symbols hold religious and cultural significance.
The reliefs on the gate are detailed and ornate, capturing the attention of visitors with their fine craftsmanship and storytelling.
The friezes above the entrance are richly decorated, often illustrating processions, court scenes, and episodes from the Ramayana, making the gate both a visual and narrative masterpiece.

Hazara Ramachandra Temple

«This temple located in the core of the Royal Centre is known for its wall friezes depicting the great epic Ramayana and a few episodes of Bhagavata. It is dated to about 14th-15th century CE and dedicated to Vishnu in the form of Rama. The earliest reference to this temple dates back to an inscription dated to 1416 CE referring to a grant by Queen Annaladevi. The temple faces east and has on plan a garbhagriha (sanctum), antarala (antechamber), rangamandapa (pillared hall) with three entrances and a spacious pillared porch. The pillars of the rangamandapa made of polished schist stone are decorated with twelve sculpted panels depicting Vishnu’s avatar. A separate shrine for Devi is located at the northwest. It is more ornate and has two garbhagrihas on the west and north, antarala and a mandapa entered from the east. Typical Dravidian shikharas (superstructure) adorn the main temple as well as the Devi shrine. On the west and southeast are pillared cloisters. All these are enclosed in a prakara (enclosure) wall and has gateway at the east and north and a passage entrance at the south. The exterior walls of the prakara have depictions of horses, elephants, camels, dancing girls, stick dances, musicians etc.»

Panorama of scenes engraved on the exterior of the eastern wall
The exterior walls of the prakara have depictions of horses, elephants, camels, dancing girls, stick dances, musicians, etc.

The temple's outer walls portray the Hindu Mahanavami (Dasara) and the spring Holi festival procession and celebrations in parallel bands of artwork.
The lowest band shows marching elephants, above it are horses led by horsemen, then soldiers celebrated by the public, then dancers and musicians, with a top layer depicting a procession of the general public.
The depiction mirrors the description of festivals and processions in surviving memoirs of Persians and Portuguese who visited the Vijayanagara capital.

Details of the scenes engraved on the exterior wall

Mahanavami (Dasara) festival

Mahanavami, also known as Dasara, commemorates the victory of good over evil, particularly the triumph of Goddess Durga over the demon Mahishasura and Lord Rama's victory over Ravana.
It is part of the larger Navaratri festival, which spans nine nights and culminates on the tenth day with Mahanavami.
Temples and homes are beautifully decorated, and various rituals and prayers are performed to honor the gods and goddesses.
Grand processions featuring idols of gods and goddesses are carried through the streets, accompanied by music, dance, and festive displays.
Traditional dance, music, and theatrical performances, such as the dramatic enactments of the Ramayana, are common during the festival.
Special feasts and offerings are made, and communities come together to share food and celebrate.

Holi festival

Holi, also known as the Festival of Colors, marks the arrival of spring and the victory of good over evil, symbolized by the burning of Holika.
People of all ages joyfully throw colored powders (gulal) and water at each other, creating a riot of colors and laughter.
On the eve of Holi, bonfires are lit to signify the burning of Holika and the triumph of good over evil.
The festival is accompanied by lively music, dancing, and singing, creating a joyous and festive atmosphere.
Special sweets and delicacies, such as gujiya and thandai, are prepared and shared among family and friends.
Holi transcends social boundaries, bringing people together to celebrate in a spirit of unity and harmony.

Going through the Main gate

Durga killing the buffalo demon (Mahishasura) inside the Main gate

Mahishasura, the buffalo demon, symbolizes chaos, ignorance, and the dark forces of the universe. Durga's victory over him represents the triumph of good, righteousness, and divine power over evil and disorder.
Durga embodies Shakti, the divine feminine energy. Her victory signifies the potency and supremacy of feminine power in maintaining cosmic balance and dharma (righteousness).
The story inspires individuals to recognize their inner strength and courage. Just as Durga confronts and vanquishes the formidable demon, believers are encouraged to face their own challenges and overcome inner demons like fear, anger, and ignorance.
Durga is revered as a protector of the universe. Her act of slaying Mahishasura reassures devotees of her protective and nurturing presence, offering them comfort and faith in times of distress.
This event is celebrated during the festival of Navaratri, particularly on the tenth day known as Vijayadashami or Dussehra. It's a time when devotees honor Durga's victory and seek her blessings for prosperity, health, and protection.
Durga's battle with Mahishasura is not just a story of divine intervention but also a profound allegory for the ongoing struggle between light and darkness, good and evil, within and around us.

Panorama of the inner courtyard
The inner courtyard of the Hazara Rama Temple is home to several structures and features:

The central shrine dedicated to Lord Rama.
A smaller shrine within the courtyard, also adorned with carvings depicting scenes from the Ramayana, including depictions of Lord Vishnu.
The courtyard features beautifully sculpted columns that support the temple's structure.
There is an empty pedestal with three holes, signifying the original placement of the idols of Rama, Lakshmana, and Sita.
A sprawling lawn on the northern side of the temple and pathways connecting the temple to other parts of the royal enclosure.

Detail of the frieze

Reliefs on the inside of the exterior wall

Panorama of the pediment of the entrance pillared hall (mandapa)

Conversation between Queen Kaikeyi and her maid Manthara on the left side of the east wall of the central shrine
This conversation is pivotal to the storyline as Manthara manipulates Kaikeyi into demanding that her son, Bharata, be made king instead of Rama, resulting in Rama's exile to the forest for 14 years.

Tale of King Dasharatha, the father of Rama on the left side of the east wall
In this story, King Dasharatha went hunting and mistakenly shot an arrow at what he thought was an animal drinking water.

Unfortunately, it was a young ascetic named Shravan Kumar who was collecting water for his blind parents.
Upon realizing his mistake, Dasharatha tried to help Shravan, but the boy succumbed to his injuries.
As a result of this tragic accident, Shravan's parents cursed Dasharatha, foretelling that he would die of grief caused by separation from his beloved son.
This prophecy later came true when Rama was exiled to the forest, and Dasharatha died of a broken heart.

Scenes from the Ramayana on the right side of the south wall

The Ramayana emphasizes the importance of adhering to dharma, or righteousness, in one's life. Lord Rama is often portrayed as the ideal personification of dharma, consistently upholding justice, truth, and moral duty even in the face of immense challenges.
The epic highlights the themes of devotion and loyalty through the characters of Sita, Hanuman, and Lakshmana. Sita's unwavering faith in Rama, Hanuman's selfless service, and Lakshmana's unwavering loyalty to his brother are powerful examples of these virtues.
The Ramayana underscores the significance of love and relationships, portraying the deep bonds between family members, friends, and allies. The relationship between Rama and Sita represents ideal marital devotion, while the bond between Rama and his brothers exemplifies fraternal affection and loyalty.
Central to the narrative is the triumph of good over evil, symbolized by Rama's victory over the demon king Ravana. This theme reinforces the belief that righteousness and virtue ultimately prevail over deceit and malevolence.
The characters in the Ramayana serve as spiritual role models, illustrating the qualities and behaviors that devotees are encouraged to emulate. Rama's adherence to dharma, Sita's purity and strength, and Hanuman's devotion are all revered attributes.
The Ramayana is also viewed as a divine play (leela) orchestrated by the divine beings to maintain cosmic order. It reflects the belief that the divine intervenes in human affairs to restore balance and righteousness.
The epic provides teachings on the path to liberation (moksha), emphasizing selflessness, devotion, and adherence to dharma as means to attain spiritual liberation and union with the divine.
The stories and characters offer moral and ethical guidance, teaching important life lessons and encouraging individuals to live virtuous lives.
The Ramayana is much more than a story; it is a spiritual guide, offering timeless wisdom and inspiration for personal and spiritual growth.

More scenes from the Ramayana on the south wall

Shikhara (tower) above the sanctum seen from southeast
The Shikhara (tower) above the sanctum is particularly notable for its Dravidian style architecture, characterized by its pyramidal shape and detailed ornamentation.

The Shikhara rises in a step-like manner, creating a pyramid-like appearance.
The tower is adorned with detailed carvings depicting various deities, mythological scenes, and floral motifs.
The Shikhara consists of multiple tiers, each decreasing in size as it ascends, giving it a tiered look.
At the top, the Shikhara is crowned with a small, decorative element, often referred to as the "kalasha" or "amalaka," which is a stone disc or pot-like structure.

Rama encounters his wife, Sita, after her abduction by Ravana

During this emotional scene, Hanuman informs Rama about Sita's location in the Ashoka Vatika in Lanka.
Sita, who is being held captive by Ravana, is lying on the ground, in deep despair and sorrow.
When Rama finally arrives, he is overcome with emotion upon seeing her condition.

Cosmic mountain or Meru on the left side of the south wall
Relief of a vase from which a column emerges, topped with a temple.

This motif symbolizes the cosmic mountain or Meru, which is considered the axis of the universe in Hindu cosmology.
The vase represents the source of creation, while the column signifies the path to the divine.
The temple on top symbolizes the abode of the gods and the ultimate goal of spiritual ascent.
This imagery is a visual representation of the journey towards enlightenment and the connection between the earthly realm and the divine.
It serves as a reminder of the spiritual quest and the importance of devotion and righteousness in achieving union with the divine.

Krishna playing the flute with two bulls listening on the far left of the south wall

Krishna, often seen as a protector of cows and animals, playing the flute while the bulls listen signifies the harmony between humans, nature, and divine presence.
The bulls, representing strength and steadfastness, listening to Krishna's flute music can symbolize the unwavering devotion of devotees. It shows that even the strongest creatures are soothed and enchanted by Krishna's divine melody.
This imagery is a nod to Krishna's life as a cowherd in Vrindavan, where his flute would captivate both the human and animal inhabitants, illustrating the divine connection with pastoral life.
Krishna's flute music is often said to have the power to transcend the material world, calling all souls to experience divine love and bliss.

Buddha, the ninth avatar of Vishnu, meditating before the cosmic mountain or Meru on the left side of the west wall

Buddha's meditation signifies the pursuit of enlightenment and spiritual awakening. It embodies the journey towards self-realization and the attainment of Nirvana, which is a central theme in both Buddhism and Hinduism.
Mount Meru, considered the axis of the universe, represents the center of all physical, metaphysical, and spiritual realms. Meditating before Meru symbolizes the connection between the individual soul and the cosmic consciousness.
This imagery brings together the teachings of Buddhism and Hinduism, highlighting the unity and harmony between the two traditions. It emphasizes that different paths can lead to the same ultimate truth and spiritual liberation.
As an avatar of Vishnu, Buddha’s meditation before Meru represents the renewal and preservation of dharma (cosmic law and order). It underscores the importance of maintaining balance and harmony in the universe through righteous living.
The combination of Buddha's meditation and Mount Meru illustrates the journey of the soul from the material world to the divine realm, emphasizing the spiritual ascent towards higher consciousness and union with the Supreme Being.
This powerful image is a visual representation of the deep spiritual messages found in both Hindu and Buddhist traditions, encouraging seekers to embark on their own journey of inner discovery and enlightenment.

Runoff or drainage system coming out of the northern sanctum on the right side of the north wall

The runoff system was designed to ensure that rainwater and other liquids were efficiently drained away from the temple, preventing waterlogging and preserving the structural integrity of the temple.
Water is often seen as a purifying element in Hinduism. The runoff water symbolizes the cleansing of impurities and the flow of positive energy. It can also represent the flow of blessings and spiritual purity emanating from the sanctum.
The presence of a drainage system highlights the temple builders' respect for nature and their understanding of harmonizing architectural design with the natural environment.
Often, water used in rituals and ablutions in the sanctum is considered sacred. The runoff system ensures that this sanctified water is respectfully channeled out, maintaining the sanctity of the temple grounds.

More scenes from the Ramayana on the right side on the north wall

Hanuman meets Sita in the Ashoka Vatika in Lanka

After assuring Sita of Rama's impending rescue, Hanuman asks for a token to prove to Rama that he has found her.
Sita gives Hanuman her Chudamani, a jeweled hair ornament, which he then takes back to Rama as a sign of their meeting.
This moment is profoundly emotional, symbolizing hope and the deep bond between Rama and Sita.
Hanuman's devotion and bravery in undertaking the perilous journey to find Sita, and Sita's trust in Hanuman, are beautifully encapsulated in this exchange.
The Chudamani becomes a crucial piece of evidence for Rama, reaffirming his faith and determination to rescue Sita.

Secondary door in the north side of the Hazara Rama temple
Above the door, Lakshmi is flanked by two elephants and topped by Yali.

The goddess Lakshmi is the deity of wealth, prosperity, and fortune. The elephants, usually shown pouring water, symbolize abundance, fertility, and the washing away of impurities. This imagery is known as Gajalakshmi, which represents the goddess's ability to bestow prosperity and well-being.
The Yali is a mythical creature, often depicted as a lion-like figure with elements of an elephant or other animals. It is a symbol of strength, protection, and fierce guardianship. Placing a Yali above the goddess signifies the protective power that safeguards the divine blessings she bestows.
The combination of the goddess, elephants, and Yali embodies the harmony between nurturing prosperity (Lakshmi), the natural world (elephants), and protection (Yali). Together, they create a balanced representation of divine benevolence and strength.
This imagery underscores the idea of maintaining cosmic order (dharma) through the combined forces of prosperity, purity, and protection. It reflects the interconnectedness of different aspects of life and the universe, guided by divine principles.
This iconography is not only visually striking but also deeply imbued with spiritual lessons about the nature of prosperity, purity, and protection in the divine cosmic order.

More scenes from the Ramayana on the north wall
In the lower right corner we can see the Agni Pariksha (Fire Ordeal) of Sita.

After Rama defeats Ravana and rescues Sita, doubts about her purity arise. To prove her chastity, Sita voluntarily undergoes a trial by fire.
In this dramatic and poignant scene:

Sita steps into the sacrificial fire (Agni).
Agni, the fire god, is the being with the head of an animal, depicted as a human-like figure with a fiery halo or flames around him.
Rama, the man, stands by the fire, watching the ordeal with a heavy heart.

From the fire emerges Sita, unharmed and radiant, signifying her purity and innocence. Agni himself testifies to her chastity, affirming that she remains untouched by the flames.
This scene holds profound spiritual and symbolic significance, illustrating themes of loyalty, virtue, and divine justice. It is a testament to Sita's unwavering devotion and the righteousness upheld by the divine.

Shikhara (tower) above the sanctum seen from the northeast

More scenes from the Ramayana on the left side of the north wall

Rama bending and breaking the bow
This event is often referred to as "Rama breaking the bow" or the "Sita Swayamvara."

Bending and breaking the bow, which no one else could do, symbolizes Lord Rama's divine strength, virtue, and rightful place as a divine avatar of Vishnu.
The event marks the divine choice of Sita as Lord Rama's consort, representing the union of divine masculine and feminine energies.
The act exemplifies adherence to dharma (righteousness). Rama's success in this task highlights his commitment to righteousness and his role as the protector of dharma.
The event sets the stage for the fulfillment of divine plans and cosmic order, paving the way for Rama's journey and the eventual destruction of evil represented by Ravana.
Symbolically, breaking the bow signifies the triumph of good over evil, as Rama's journey leads to the defeat of the demon king Ravana.
This event is celebrated and revered in Hindu culture, illustrating the spiritual qualities of Lord Rama and his significance in maintaining cosmic balance and justice.

Sita Swayamvara
Here, King Janaka and Sita are seated on a platform during the swayamvara ceremony, which is a marriage contest.

This represents King Janaka's role in organizing the swayamvara for his daughter Sita and Sita's presence as the one who will choose her future husband.
Rama, having successfully strung and broken the bow of Lord Shiva, stands outside the platform. His achievement of this feat signifies his divine strength and worthiness to marry Sita.
This moment is pivotal as it marks the official engagement of Rama and Sita, setting the stage for their eventual marriage and the subsequent events in the Ramayana. The breaking of the bow by Rama is celebrated as a demonstration of his righteousness and divinely ordained role.

Abduction of Sita by the demon king Ravana (top) and Ravana is seated with a sacrificial fire (bottom)

Top: Ravana, disguised as a sage, deceives Sita and then reveals his true form. He grabs Sita by her hair, forcefully abducting her and taking her to his kingdom of Lanka. This event sets off the subsequent journey of Lord Rama and his allies to rescue Sita, leading to the epic battle against Ravana.
Bottom: In this scene, Ravana, the demon king of Lanka, performs a yajna (sacrifice) to seek blessings for his impending battle against Lord Rama. He holds items related to the ritual, such as offerings, while he sits next to the sacrificial fire, chanting mantras. This moment underscores his efforts to harness divine powers in his struggle against Rama.

Entering the temple through the main door in the east

Panorama of the interior of the temple
Inside the main mandapa are four intricately carved pillars in the Hoysala style; these carving include depictions of Rama, Lakshmana, and Sita of Vaishnavism, Durga as Mahishasuramardini of Shaktism and Shiva-Parvati of Shaivism.

Kalki, the tenth avatar of Vishnu

Kalki is prophesied to appear at the end of the current age of Kali Yuga to restore righteousness and destroy evil.
He is often shown riding a white horse and is armed with a sword, which symbolizes the eradication of adharma (unrighteousness) and the re-establishment of dharma (righteousness).
The depiction of Kalki riding a horse and wielding a sword and shield represents the divine intervention that will cleanse the world of darkness and bring about a new era of truth and virtue.

Krishna playing the flute flanked by two bulls and two Gopis (milkmaids)

This symbolizes divine love and the enchanting nature of Krishna's presence. His flute music is said to captivate not just humans but all of creation, representing the divine call to the soul.
Often representing strength, virility, and agricultural abundance, the bulls signify the sustenance and prosperity that come from a harmonious relationship with nature. In the context of Krishna, who is associated with cows and pastoral life, the bulls also highlight his role as a protector of cattle and a nurturer of life.
Two female characters often represent the Gopis (milkmaids) of Vrindavan, who are symbols of pure, unconditional devotion to Krishna. Their presence signifies the soul's longing and unwavering devotion to the divine.
The combination of Krishna, the bulls, and the female characters represents the balance and harmony between strength (bulls), devotion (female characters), and divine love (Krishna). It reflects the interconnectedness of different aspects of life and spirituality.
Krishna's flute playing is also part of his divine play (Lila), where he engages with the world in a way that brings joy, love, and spiritual upliftment. It emphasizes the joyous and playful nature of divinity.