The Ellora of Deccan

The Badami Cave temples represent a remarkable example of early rock-cut architecture. Constructed by the Badami Chalukyas over several decades, these temples not only showcase the rich tradition of Deccan Temple architecture but also provide a glimpse into the inclusive governance of the Chalukyan Kings.

By Ms Sarah Welch - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62917881

In 1924, Stella Kramrisch was invited by Rabindranath Tagore to teach, and it was during her exploration of Karnataka that she stumbled upon a group of structures carved into the cliffs along the side of Agastya Lake in Badami. This discovery marked a turning point in the study and perception of Deccan temple architecture.

The ancient name of Badami was believed to be Vaatapi, derived from a demon named Vaatapi who, along with his brother Ilvana, terrorized the local inhabitants. Their malicious scheme involved inviting their victims for dinner, with Vaatapi assuming the form of a goat and being cooked. Once eaten, he would regenerate inside the victim's body, causing an explosive death. Sage Agastya, a rishi with extraordinary powers of digestion, was invited for such a meal. However, he managed to digest the demon, preventing him from regenerating and effectively putting an end to his reign of terror. Over time, the name Vaatapi transformed into Badami.

The group consists of four temples that date back to the 6th century and onwards. The natural purple streaks in the sandstone give the structures a visually striking appearance. These temples exhibit both Nagara and Dravida architectural styles, with some areas showcasing characteristics of the hybrid Vesara style. As of 2023, they are being considered as a candidate for UNESCO World Heritage Site status due to their influence on later Hindu temples in the region.

On the left side of the entrance stands a large sentry holding a trident, while on the right, there is a beautifully carved and iconographically unique Nataraja. The Nataraja sculpture portrays various natya mudras and objects such as drums and tridents. Accompanying Nataraja are his sons Karthikeya and Ganesha, as well as his divine vehicle Nandi. Additionally, one can find awe-inspiring sculptures like Mahishasuramardini and Ardhanareshwar in this cave.

The second cave, dedicated to Vishnu and facing the North, showcases the Northern Deccan Style. The two sides of its five-bayed entrance feature dvarapalas, who are usually depicted as guardian figures wielding weapons. However, in this cave, the dvarapalas are depicted holding flowers, suggesting a welcoming gesture towards visitors.

All of the temples share a similar ground plan, featuring a bayed entrance with a verandah (mukhamandapa), an inner verandah (Maha Mandapa), a vestibule (antarala) connecting the Maha mandapa to the sanctum sanctorum (Garbhagriha), which is intricately carved into the rock. The base of the temples displays an endearing frieze depicting ganas in various numbers, seemingly supporting the caves (bharvahakas).

The Cave temples of Badami are a unique testament to the secular mindset, creativity, and innovation of the Chalukya rulers. Despite their individual characteristics, such as the Nataraja in Cave 1 and the flower-bearing dvarapalas in Cave 2, these caves form a harmonious ensemble. Their sculptural tradition and artistic acumen bear resemblance to the caves of Ellora, solidifying their status as a cornerstone of Deccan temple architecture.

The facade of the third cave consists of a seven-bayed mukha mandapa, featuring sculptures of Ashtabhuja Vishnu on the East and Trivikrama on the West. Other carvings include Anantsayana, Vasudeva, Varaha, and Narasimha. Interestingly, despite being a Vaishnavite cave, it also houses a large sculpture of Harihara on the Southern wall, making it equally significant for Shaivites. This sculpture showcases a sophisticated tradition and offers insights into the culture and fashion of that period.

Dedicated to Jainism, the smallest temple cave among the four serves as a remarkable example of the Chalukya rulers' secular governance. It is believed to have been constructed between the 6th and 8th centuries. Despite its size, it boasts ornate sculptures of various Tirthankaras. The depiction of Bahubali standing in the kayotsarga posture with vines wrapped around his leg is particularly noteworthy. The sculpture of Parshavanath shows him with a five-headed cobra hood, while the identifying features of Mahavira have eroded over time. However, he can still be seen seated on a lion throne inside the sanctum. The cave also contains reliefs of Indrabhut Gautama and female monks Brahmi and Sundari.

The largest among the four, it is the earliest-dated Hindu temple in the Deccan region. It incorporates elements from the Northern Nagara style, the Southern Dravida style, and the hybrid Vesara style. The amount of effort and creativity invested in this cave is heartwarming. Its influence on Deccan temple architecture persisted for decades, cementing its status as one of the most significant sites in the study of Deccan temple architecture.

The third cave, considered the most important out of the four, is both awe-inspiring and intriguing. Its most notable feature is the presence of frescoes on the walls, although only fragments remain. These paintings depict secular subjects as well as the marriage of Brahma and Shiva-Parvati.

The first cave, excavated at the lowest level, is dedicated to Shiva and represents the Northern Deccan Style. Access to the cave is via a staircase adorned with bharvahakas.

The largest relief inside the second cave depicts Vishnu as Trivikrama, alongside other representations of Vamana and Varaha. The cave also features various carvings depicting scenes from the Bhagavata Purana, Samudramanthan, and Krishna Janam. These intricate narratives envelop the viewer, creating a surreal experience.

One of the remaining fragments of the frescoes. By P4psk - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51268185

By Ms Sarah Welch - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62856760

Varaha with Bhudevi By Ms Sarah Welch - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62856770

Agastya lake and the caves from a distance. By IM3847 - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62339933

By Haneeshkm - Own work, CC0, https://commons.wikimedia.org/w/index.php?curid=124380418

1: Vishnu; 2: Trivikrama; 3: Vishnu on sesha; 4: Vishnu avatar Varaha rescuing earth; 5: Harihara (half Shiva, half Vishnu); 6: Vishnu avatar Narasimha standing; 7: Garbha ghriya (sacrum sanctum); Blue O: ceiling carvings of Vedic and Puranic Hindu gods and goddesses. By Ms Sarah Welch - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62952771

Vishnu in Cave 3 By Dineshkannambadi at English Wikipedia, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=4748869

By Ms Sarah Welch - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62859738

By Jean-Pierre Dalbéra from Paris, France - Temple troglodytique dédié à Shiva (Badami, Inde), CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=37213652

By Anirudh Bhat - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=21273338

Entrance to Cave 2. Note the Ganas on the plinth. By Ms Sarah Welch - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62856753

By Ms Sarah Welch - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62856766

By Rahulpurushot - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=21044280

Sanctum of the Cave By Pradeepmudhliyar22 - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=72872130

Bahubali in Cave 4 By ArnoldBetten - Own work (Original text: eigenes Foto (Dia)), Public Domain, https://commons.wikimedia.org/w/index.php?curid=25359413

Parshavanath By Rahulpurushot - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=21044683