Virupaksha Temple, Pattadakal, Karnataka, India

The Queen Lokamahadevi of Vikaramaditya II (CE 733-745) built this temple known as ‘Shri Lokeswara-Maha-Sila-prasada’ to commemorate her husband’s victory over the Pallavas of Kanchipuram.

The temple represents dravida vimana (southern) style shikhara. The devakoshtha of the garbhagriha houses images of Shaiva and Vaishnava deities like Bhairava, Narasimha, Hari-Hara, Lakulisa, etc. The pillars of sabhamandapa are embellished with episodes from Ramayana, Mahabharata, Bhagavata Gita and Kiratarjuniya.

The temple is built on high plinth with fully evolved mouldings. The outer walls of the garbhagriha are divided into a central projection, two intermediate projections and two corner projections with four recesses in between. Likewise, the mandapa walls on either side of the northern, eastern and southern porches are divided into two projections and two recesses.

Virupaksha temple

«Originally called Lokeshvara, this Shiva temple's deity was named after Lokamahadevi, the senior queen of Chalukya Vikramaditya II (733-44 CE) who built it to commemorate her husband's three conquests of the Pallava capital of Kachipuram. The temple is situated within a large prakara (compoung) along the inner face of which are several smaller shrines for Shiva-parivara. The prakara has two gateways, larger on the east and smaller on the west. The main temple on east-west axis consists of a porch; a large pillared hall entered also from a porch each on south and north; and a sanctuary inside entered through a narrow vestibule with an ambulatory around. Two sub-shrines that flank the ambulatory are for Ganesha (south) and Mahishamardini (north), the latter still preserved. A Nandi-mandapa stands in front of the temple. The vimana exterior comprises of a high basement, walls with kudya-stambhas (thin pillar reliefs) and niches, and kapota (cornice) topped by hara (parapet). Its tower has three storeys defined by haras (parapets), succeeded by a square griva (neck), a square shikhara (dome) and stupi (pot-finial). The shukanasa, a protruding component over the vestibule henceforth became a common feature of the dravidian temples in Karnataka. The temple is lavishly sculpted both outside and inside. The themes on exterior walls and porch pillars include among others Lingodbhavamurti, Chandrashekhara, Natesha, Ravana lifting Kailasa, Rama killing Vali, Jatayu fighting Ravana, Gajasamhara, Andhakasamhara, Lakulisha, Harihara, episodes from Ramayana, Mahabharata, Krishnacharita and Panchatantra. This ambitious project was executed by two master architects Gunda-anivaritachari and Sarvasiddhi-achari on both of whom the king conferred state honours. The Virupaksha temple represents the culmination of early chalukyan dravidian-style temple.»

Panorama of Virupaksha temple seen from northeast

Facade of Nandi mandapa (pillared hall)

Sculptural details of Nandi mandapa

Nandi bull facing Shiva temple

The sculpture is meticulously carved from a single stone block.
It displays an impressive attention to detail, with intricate carvings that highlight the bull’s powerful form.
Nandi, the bull, is the mount (vahana) of Lord Shiva, symbolizing strength and devotion.
The sculpture reflects the Chalukyan style of architecture and artistry prevalent during the 8th century.
The bull is often depicted in a calm and composed manner, exuding a sense of peace and sanctity.
Placed in front of the main shrine, it faces the sanctum where Lord Shiva resides, signifying the eternal gua

Nandi bull seen from north

Nandi bull seen from east

Nandi bull seen from southeast
The seated Hindu priest gives Nandi's blessings to the believers.

Nandi bull seen from south

Virupaksha temple seen from southeast

Shiva carved inside a cylindrical linga

Shiva relief
The relief exhibits an abundance of decoration. Above, acrobats with flying celestials; middle, Shiva in multi-armed form, with attributes, trampling the demon; below, a figure whose limbs are formed of swirling arabesques.

The acrobats with flying celestials often represent the celestial beings or divine attendants who are performing acrobatic feats. They symbolize the joy, celebration, and the divine playfulness (Lila) of the gods.
This central figure of Shiva in a multi-armed form, trampling a demon, represents the divine power of Shiva as the destroyer of evil and ignorance. Shiva's multiple arms signify his omnipotence and ability to perform multiple divine acts simultaneously. The demon represents the forces of chaos and ignorance that Shiva overcomes to restore order and knowledge.
The figure with limbs formed of swirling arabesques, often depicted with limbs intertwined in swirling patterns, symbolizes the cosmic dance and the dynamic energy of the universe. The arabesques represent the intricate and interconnected nature of existence, highlighting the unity and harmony of all creation.
Together, this relief illustrates the themes of divine power, cosmic order, and the eternal dance of creation and destruction. It serves as a reminder of the divine's role in maintaining balance and harmony in the universe.

Shiva dancing
Shiva, carrying a Nandi standard and other attributes, dances on the demon of ignorance.

This form of Shiva is often referred to as Nataraja, meaning the "Lord of the Dance." Shiva's dance symbolizes the cosmic cycles of creation, preservation, and destruction, as well as the daily rhythm of birth and death.
Nandi, the sacred bull, is Shiva's vehicle and a symbol of strength, virility, and devotion. The Nandi standard in Shiva's hand represents steadfastness and unwavering loyalty. It also signifies the importance of dharma (righteousness) and the ethical path one must follow.
Shiva is often depicted with multiple arms, each holding different attributes such as a drum (damaru), a flame, and a trident (trishula). These attributes represent the elements of creation, destruction, and balance. The drum symbolizes the sound of creation, the flame signifies destruction, and the trident represents the three fundamental aspects of existence (creation, preservation, and destruction).
The demon under Shiva's feet is often identified as Apasmara, representing ignorance, ego, and illusion (maya). By dancing on this demon, Shiva signifies the triumph of knowledge, wisdom, and enlightenment over ignorance and illusion.
The dance itself, known as the Tandava, is a dynamic and powerful representation of the universe's constant motion and change. It embodies the idea that the universe is in a continuous state of flux and transformation.
The entire depiction emphasizes that through divine wisdom and the destruction of ignorance, one can attain spiritual enlightenment and harmony with the cosmos. Shiva's dance is a reminder of the cyclical nature of existence and the ultimate triumph of truth and knowledge over falsehood and ignorance.

Defaced divine couple

Vishnu man-lion avatar Narasimha tackling the demon Hiranyakashipu

Shiva subduing Ravana
Shiva quells an earthquake by subduing the demon Ravana, who had disturbed the god and his consort by by shaking their home on Mount Kailasa.

In this sculpture Ravana (always with multiple heads and arms) is shown in large scale below, while Shiva, Parvati, and their retinue are carved in very small scale above.
This is an exception to the general rule that in Indian art, relative importance is indicated by size.

South side porch

Jatayu fights with Ravana
Jatayu, a heroic and loyal vulture, fights with Ravana to protect Sita, the wife of Rama.

Ravana, the demon king of Lanka, abducts Sita while she is in the forest with Rama and his brother Lakshmana. Ravana takes Sita away in his flying chariot.
Jatayu, who is a friend of Rama's father, King Dasharatha, sees Ravana abducting Sita. He feels it is his duty to rescue her and stop the injustice.
Jatayu courageously confronts Ravana and fights fiercely to rescue Sita. Despite his old age, Jatayu attacks Ravana with his sharp beak and powerful claws, attempting to halt the abduction.
Unfortunately, Jatayu is no match for the powerful Ravana. Ravana ultimately overpowers Jatayu, severely injuring him, and continues with Sita towards Lanka.
Although fatally wounded, Jatayu manages to hold on long enough to inform Rama and Lakshmana about Sita's abduction. His valiant efforts and sacrifice deeply move Rama, who later performs the last rites for Jatayu, honoring him as a noble and devoted soul.
Jatayu's fight with Ravana symbolizes loyalty, bravery, and the selfless commitment to justice and righteousness. His sacrifice is celebrated as a testament to the lengths one will go to protect the innocent and uphold dharma (righteousness).

Shiva Bhikshatana
Shiva in ascetic form, with unbound hair, trident, and club, triumphs yet again over the demon of ignorance.

Shiva in the Bhikshatana form is depicted as an ascetic, renouncing worldly possessions and desires. This emphasizes the importance of detachment and renunciation in the pursuit of spiritual enlightenment.
Shiva's matted and flowing hair symbolizes his ascetic nature and his mastery over the chaotic and untamed aspects of existence. It also represents his connection to nature and the wild, unbound elements of the universe.
The trident is a powerful symbol of Shiva, representing the three fundamental aspects of reality: creation, preservation, and destruction. It signifies Shiva's role as the supreme controller of these cosmic functions.
The club represents discipline, authority, and the power to overcome obstacles. It also symbolizes the ascetic's staff, a tool for support and protection on the spiritual path.
In this form, Shiva's victory over the demon of ignorance (Apasmara) signifies the triumph of divine knowledge and wisdom over the darkness of ignorance and ego. It highlights the importance of spiritual awakening and the eradication of ignorance as essential steps towards liberation (moksha).
Bhikshatana also embodies Shiva's compassion and grace, as he roams the world to teach and uplift beings, offering them a chance to transcend their limitations and achieve spiritual growth.
Overall, Shiva Bhikshatana is a powerful representation of the ascetic ideals, the triumph of knowledge over ignorance, and the compassionate nature of the divine, guiding devotees towards spiritual liberation and enlightenment.

Shiva spearing Andhaka

Andhaka was a powerful demon born from a drop of sweat of Parvati, Shiva's consort. He was initially blind but was later blessed with sight and immense strength. However, his ego and ambition grew, leading him to desire Parvati and challenge Shiva.
Andhaka symbolizes ignorance, desire, and the ego's blindness. His lust for Parvati represents the destructive nature of uncontrolled desires and the consequences of letting ignorance and ego dominate one's actions.
In the myth, Andhaka tries to abduct Parvati, leading to a fierce battle between him and Shiva. Shiva eventually spears Andhaka, vanquishing him. This act symbolizes the triumph of divine wisdom and righteousness over ignorance and unruly desires.
After being defeated, Andhaka realizes his mistakes and seeks forgiveness. Moved by his repentance, Shiva grants him a boon and transforms him into a devoted follower. This aspect of the story emphasizes the themes of redemption and the transformative power of divine grace.
The narrative highlights the importance of conquering one's inner demons—such as ignorance, lust, and ego—through the guidance of divine wisdom. Shiva's victory over Andhaka serves as an allegory for the inner spiritual struggle and the ultimate triumph of higher consciousness and self-realization.
The story of Shiva and Andhaka is a powerful reminder of the need to control and overcome negative tendencies within ourselves, seeking spiritual enlightenment and the grace of the divine.

Panorama of the southwest corner of Virupaksha temple

Virupaksha temple seen from west

Vishnu

Vishnu supreme deity

Vishnu avatar Varaha

Shiva Bhikshatana

Shiva leaning on the bull Nandi

Harihara
This Harihara has all the correct attributes, trident and Nandi on the photo left and a conch on the photo right.

Note also the solar disk engraved in low relief by his face, on the Vishnu side (photo right).

Androgyneous Shiva

Jali window on the north side
Jali windows, also known as latticed windows, are a distinctive feature of South Indian temple architecture from the 8th century.

Jali windows are typically made from intricately carved stone, featuring geometric patterns and sometimes floral motifs.
These windows allow for effective air circulation, helping to cool the interiors naturally.
Jali windows diffuse sunlight, creating a soft, ambient light inside the temple.
The intricate patterns provide privacy while still allowing visibility from the inside out.
They are seamlessly integrated into the temple walls, enhancing both the aesthetic appeal and functional utility.

Guardian on the right side of the north door

Dancing Shiva inside the north porch

Garuda carrying Vishnu on the pillar of the north porch

The turtle (Kurma) represents stability, patience, and resilience. In Hindu tradition, the turtle is associated with the god Vishnu, symbolizing the foundation of the world and the endurance of life.
The elephant on top of the turtle signifies strength and wisdom. Elephants are revered in Hindu culture for their majestic presence and intelligence.
Garuda, the mythical bird-like creature, is the vahana (vehicle) of Vishnu. Garuda represents power, speed, and martial prowess.
Vishnu, resting on Garuda, symbolizes protection, preservation, and the maintenance of cosmic order (dharma).
The scene depicts Vishnu's Kurma avatar, where Vishnu takes the form of a turtle to support the churning of the ocean (Samudra Manthan) in Hindu mythology. This act is a metaphor for the struggle between good and evil, and the ultimate triumph of good.

Dancing Shiva

Shiva, Parvati and Nandi

Vishnu or Harihara
Harihara, with a trident-bearing gana on his right and Lakshmi on his left. His left upper hand holds a conch. His right upper hand holds a worn attribute which looks suspiciously like a chakra, although this would not be correct for the "Shiva half" of Harihara.

Vishnu Trivikrama
Vishnu Trivikrama takes an acrobatic step across the universe.

Ardhanarishvara
Shiva Ardhanarishvara is half-man and half-woman, here accompanied by a gana who seems astonished by the transformation.

East facade of Virupaksha temple

Entering the east porch

Guardian (Dvarapala) on the left side of the entrance door

Guardian (Dvarapala) on the right side of the east entrance door

Surya on chariot in the ceiling of the east porch
The sculpture of Surya on his chariot in the ceiling of the porch at the Virupaksha Temple in Pattadakal is a remarkable piece of art from the 8th century.

Surya, the Sun God, is shown riding a chariot pulled by seven horses.
The chariot represents the Sun's journey across the sky, symbolizing the passage of time and the cycle of day and night.
The sculpture is an excellent example of Early Chalukyan art, showcasing intricate detailing and craftsmanship.
Located on the ceiling of the porch, it is prominently visible to devotees entering the temple.
Surya is often depicted with a radiant face, symbolizing the brilliance of the sun, and sometimes with a lotus flower, representing purity and enlightenment.

Couple on the southeast pillar of the east porch

Couple on the northeast pillar of the east porch

Shankha Nidhi
Although having the dwarfish form of a gana, this figure is a personified nidhi, one of the treasures of Kubera.

Nidhis include auspicious objects such as moneybags, flowers, coins, or - as here - a conch shell (shankha).
The nidhi is richly dressed, and seated "at ease" upon a lion platform.
His right hand holds the conch, from which a garland issues forth and passes above the nidhi's head.
The garland's carving seems to resemble the body of a naga (snake), a creature frequently associated with the underground and its treasures.

Padma Nidhi
The Nidhis are often depicted as personified deities or sacred treasures symbolizing various aspects of prosperity and well-being.

Padma Nidhi is represented by the lotus flower, which is a symbol of purity, beauty, and spiritual enlightenment. The lotus grows in muddy waters but rises above the surface to bloom in pristine beauty, symbolizing spiritual emergence and purity despite earthly attachments.
In artistic depictions, Padma Nidhi is often shown as a divine personification holding or being surrounded by lotuses. This reinforces its association with growth, renewal, and the blossoming of divine consciousness.
The lotus is also closely associated with Goddess Lakshmi, the consort of Lord Vishnu, who is the deity of wealth, fortune, and prosperity. This connection underscores the treasure's link to material and spiritual abundance.
In Hindu rituals and ceremonies, the lotus is frequently used as an offering to deities, symbolizing the offering of a pure and untainted heart. This tradition highlights the reverence and importance of the lotus and its representation as Padma Nidhi.
Beyond its physical representation, Padma Nidhi represents the inner spiritual wealth that one can attain through devotion and purity of heart. It signifies the flourishing of one's spiritual journey and the attainment of divine grace.

East entrance door

Interior of Virupaksha temple
The interior of the Virupaksha temple in Pattadakal is a stunning example of Dravidian architecture and is adorned with intricate carvings and sculptures.

The innermost sanctum houses a Shiva Linga, the primary deity of the temple. This area is highly sacred and is the focal point of worship.
The temple has a large hall supported by 18 pillars, which is used for gatherings and rituals. The pillars are intricately carved with various deities, mythical creatures, and floral motifs.
Located in front of the sanctum, this area contains two small shrines with images of Ganesha and Parvati in her Durga form as Mahishasuramardini.

"Ananda Bhairavi" or "Paraspara" pose
This relief is often found in temple carvings and is known as the "Ananda Bhairavi" or "Paraspara" pose. In this depiction, the goddess is shown lying down, often in a reclining position, and being massaged by celestial beings or attendants. This imagery symbolizes divine pleasure, relaxation, and the nurturing care provided by the celestial beings.

The name "Ananda Bhairavi" translates to "Blissful Bhairavi." This pose represents a state of divine pleasure and happiness. It signifies the bliss that arises from spiritual union and the deep contentment that comes from being in harmony with the divine.
The pose often depicts the goddess being massaged or attended by celestial beings, highlighting the nurturing aspect of the divine. It symbolizes the care and comfort that the divine provides to devotees, reassuring them of divine protection and love.
The reclining position of the goddess signifies a state of relaxation and peace, embodying the idea of spiritual rest and rejuvenation. It suggests that in the presence of the divine, one can find rest from the struggles and stresses of worldly life.
The imagery of the goddess in a state of repose and being cared for also symbolizes abundance and prosperity. It reflects the idea that divine grace brings not only spiritual fulfillment but also material well-being.
The term "Paraspara" implies mutuality or reciprocity. This aspect of the pose can symbolize the integration of opposites, such as activity and rest, masculine and feminine, and earthly and divine elements, illustrating the holistic nature of spiritual experience.
This pose is a powerful reminder of the nurturing, blissful, and abundant aspects of divine energy, inviting devotees to seek inner peace and spiritual contentment through their connection with the divine.