Badami Shivalaya - Revision history

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	== Location and history ==		== Location and history ==
	Badami is in north Karnataka in the Malprabha valley region – a cradle of Hindu and Jain temple architecture schools. Both Dravida and Nagara styles of temples are found in this region, particularly at the major temple sites of Badami, Aihole, Pattadakal and Mahakuta.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. pp. 12–17. {{ISBN\|978-93-83098-33-0}}.</ref> These were built by the [[Badami Chalukyas]], also called the Eastern Chalukyas, between the 6th and 8th-century. They are key to understanding the development of temple architecture and arts, as well as the Karnata tradition of arts around the mid 1st-millennium CE.<ref>Michell, George (2014~~). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books.~~ pp. ~~12–17. {{ISBN\|978-93-83098-33-0}}.<~~/~~ref~~> These sites also contain many increasingly sophisticated temples and arts from the Rashtrakutas and Later Chalukyas, completed through the early 13th-century. Thereafter, states George Michell, this region was ravaged and temples ruined by conquering armies of the [[Delhi Sultanate]]. The Malprabha region was hotly contested by the Hindu kings of the Vijayanagara Empire and the Islamic Sultans of Deccan region. The Vijayanagara kings extended the fort walls in Badami and elsewhere. The Badami Shivalayas are found in this tapestry of architecture and history.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. pp. 15–17. {{ISBN\|978-93-83098-33-0}}.</ref>		Badami is in north Karnataka in the Malprabha valley region – a cradle of Hindu and Jain temple architecture schools. Both Dravida and Nagara styles of temples are found in this region, particularly at the major temple sites of Badami, Aihole, Pattadakal and Mahakuta.<ref name="Michell, George 2014 pp. 12">Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. pp. 12–17. {{ISBN\|978-93-83098-33-0}}.</ref> These were built by the [[Badami Chalukyas]], also called the Eastern Chalukyas, between the 6th and 8th-century. They are key to understanding the development of temple architecture and arts, as well as the Karnata tradition of arts around the mid 1st-millennium CE.<ref name="Michell, George 2014 pp. 12"/> These sites also contain many increasingly sophisticated temples and arts from the Rashtrakutas and Later Chalukyas, completed through the early 13th-century. Thereafter, states George Michell, this region was ravaged and temples ruined by conquering armies of the [[Delhi Sultanate]]. The Malprabha region was hotly contested by the Hindu kings of the Vijayanagara Empire and the Islamic Sultans of Deccan region. The Vijayanagara kings extended the fort walls in Badami and elsewhere. The Badami Shivalayas are found in this tapestry of architecture and history.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. pp. 15–17. {{ISBN\|978-93-83098-33-0}}.</ref>

	The north fort of Badami overlooks the lake, and is penetrated by deep canyon-like crevices through which climbs a straight path. The first features to be seen along this path are two freestanding, multi-storeyed mandapas, seemingly unconnected with any temples. They are possibly ruins of lost temples. Lower Shivalaya stands on a rocky terrace. At the summit of north fort is the upper Shivalaya. Both these were probably erected in the early 7th century. These two temples are partly ruined and their artwork damaged.		The north fort of Badami overlooks the lake, and is penetrated by deep canyon-like crevices through which climbs a straight path. The first features to be seen along this path are two freestanding, multi-storeyed mandapas, seemingly unconnected with any temples. They are possibly ruins of lost temples. Lower Shivalaya stands on a rocky terrace. At the summit of north fort is the upper Shivalaya. Both these were probably erected in the early 7th century. These two temples are partly ruined and their artwork damaged.
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	== Malegitti Shivalaya ==		== Malegitti Shivalaya ==
	[[File:Badami, Malegitti-Shivalaya-Tempel 3 (1999).jpg\|left\|thumb\|upright=1.25\|Malegitti Shivalaya, an excellent example of early Dravida architecture.]]		[[File:Badami, Malegitti-Shivalaya-Tempel 3 (1999).jpg\|left\|thumb\|upright=1.25\|Malegitti Shivalaya, an excellent example of early Dravida architecture.]]
	The Malegitti temple (c. 625–675 CE) is on the top of a huge boulder to the north of the Badami town. It the earliest surviving and best preserved example of the [[Dravidian architecture\|Dravida]] style in Early [[Chalukya]] architecture in Badami. It consists of a sanctum that opens into a ''gudha-mandapa'' supported by four pillars.<ref>{{cite book\| author1=M. A. Dhaky\|author2=Michael W. Meister\| title=Encyclopaedia of Indian Temple Architecture: Volume 1 Part 2 South India Text & Plates\|url= https://books.google.com/books?id=oClTtAEACAAJ \| year=1983 \|publisher= University of Pennsylvania Press\|isbn= 978-0-8122-7992-4\|pages=37–38 }}</ref> Walls of sanctuary and mandapa have a curved course and a central recessed portion, divided into panels, with reliefs of musicians, dancers and warriors. Though a small Shiva temple, it includes both Shaivism and Vaishnavism artwork with equal prominence.<ref name=~~gm71~~/><ref~~>{{cite book\| author1~~=~~M. A. Dhaky\|author2=Michael W. Meister\| title=Encyclopaedia of Indian Temple Architecture: Volume 1 Part 2 South India Text & Plates\|url= https:~~/~~/books.google.com/books?id=oClTtAEACAAJ \| year=1983 \|publisher= University of Pennsylvania Press\|isbn= 978-0-8122-7992-4\|pages=37–38 }}</ref~~>		The Malegitti temple (c. 625–675 CE) is on the top of a huge boulder to the north of the Badami town. It the earliest surviving and best preserved example of the [[Dravidian architecture\|Dravida]] style in Early [[Chalukya]] architecture in Badami. It consists of a sanctum that opens into a ''gudha-mandapa'' supported by four pillars.<ref name="University of Pennsylvania Press">{{cite book\| author1=M. A. Dhaky\|author2=Michael W. Meister\| title=Encyclopaedia of Indian Temple Architecture: Volume 1 Part 2 South India Text & Plates\|url= https://books.google.com/books?id=oClTtAEACAAJ \| year=1983 \|publisher= University of Pennsylvania Press\|isbn= 978-0-8122-7992-4\|pages=37–38 }}</ref> Walls of sanctuary and mandapa have a curved course and a central recessed portion, divided into panels, with reliefs of musicians, dancers and warriors. Though a small Shiva temple, it includes both Shaivism and Vaishnavism artwork with equal prominence.<ref name="University of Pennsylvania Press"/><ref name=gm71/>

	The mandapa walls have three projections on the north and south, among which the middle one accommodates panels portraying Shiva (south) and Vishnu (north). Each god is accompanied by a pair of attendants. The mandapa walls, beside the porch, have a corner pilastered projection and a single niche containing a dvarapala.<ref name=gm71/> The mandapa walls have a ''jali'' window (perforated stone window to let light in). The base of the temple sits on a northern style kapotabandha, not a Dravida style jagati. Above this level, the temple is Dravida architecture set with a square floor plan.<ref>{{cite book\| author1=M. A. Dhaky\|author2=Michael W. Meister\| title=Encyclopaedia of Indian Temple Architecture: Volume 1 Part 2 South India Text & Plates\|url= https://books.google.com/books?id=oClTtAEACAAJ \| year=1983 \|publisher= University of Pennsylvania Press~~\|isbn= 978-0-8122-7992-4\|pages=37–38 }}<~~/~~ref~~>		The mandapa walls have three projections on the north and south, among which the middle one accommodates panels portraying Shiva (south) and Vishnu (north). Each god is accompanied by a pair of attendants. The mandapa walls, beside the porch, have a corner pilastered projection and a single niche containing a dvarapala.<ref name=gm71/> The mandapa walls have a ''jali'' window (perforated stone window to let light in). The base of the temple sits on a northern style kapotabandha, not a Dravida style jagati. Above this level, the temple is Dravida architecture set with a square floor plan.<ref name="University of Pennsylvania Press"/>

	The sanctum and the mandapa walls are overhung by continuous kapota eaves on a frieze of ganas. Two recessed moldings support a parapet, with a set of corner kutas and central shalas over the mandapa walls. A ''shikara'' superstructure rises above the sanctum, featuring two ''talas'' (storeys). These ''talas'' and architecture of the ''vimana'' is Dravida in contrast to the temples near the lake that include the Nagara architecture.<ref name=gm71/> The ''vimana'' is divided into bhadra and karnas with recesses between them. The stupi (kalasa) has been lost to history.<ref>{{cite book\| author1=M. A. Dhaky\|author2=Michael W. Meister\| title=Encyclopaedia of Indian Temple Architecture: Volume 1 Part 2 South India Text & Plates\|url= https://books.google.com/books?id=oClTtAEACAAJ \| year=1983 \|publisher= University of Pennsylvania Press~~\|isbn= 978-0-8122-7992-4\|pages=37–38 }}<~~/~~ref~~>		The sanctum and the mandapa walls are overhung by continuous kapota eaves on a frieze of ganas. Two recessed moldings support a parapet, with a set of corner kutas and central shalas over the mandapa walls. A ''shikara'' superstructure rises above the sanctum, featuring two ''talas'' (storeys). These ''talas'' and architecture of the ''vimana'' is Dravida in contrast to the temples near the lake that include the Nagara architecture.<ref name=gm71/> The ''vimana'' is divided into bhadra and karnas with recesses between them. The stupi (kalasa) has been lost to history.<ref name="University of Pennsylvania Press"/>

	The mandapa interior has a central east-west aisle, defined by raised floor strips linking the free-standing and engaged columns. Two additional columns define a small bay in front of the sanctuary doorway. Transverse beams carried on open-mouthed makara brackets carry the raised and horizontal roof slabs, with Vishnu on flying Garuda carved onto the central bay. The sanctuary doorway is framed by jambs, including those with serpent bodies culminating in a flying Garuda over the lintel, with male and female figures beneath at either side. A linga on a pedestal, perhaps replacing a sculpted icon, is seen within the sanctum, according to George Michell.<ref name=gm71>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. p. 71. {{ISBN\|978-93-83098-33-0}}</ref> Other intricately carved artwork include those of Brahma, Surya, Ganesha, Durga, Trivikrama, Narasimha, Kartikeya, Ganga, Bhuvaraha, Umasahita, Vinadhara and Tandavesvara Shiva.<ref>{{cite book\| author1=M. A. Dhaky\|author2=Michael W. Meister\| title=Encyclopaedia of Indian Temple Architecture: Volume 1 Part 2 South India Text & Plates\|url= https://books.google.com/books?id=oClTtAEACAAJ \| year=1983 \|publisher= University of Pennsylvania Press~~\|isbn= 978-0-8122-7992-4\|pages=37–38 }}<~~/~~ref~~>		The mandapa interior has a central east-west aisle, defined by raised floor strips linking the free-standing and engaged columns. Two additional columns define a small bay in front of the sanctuary doorway. Transverse beams carried on open-mouthed makara brackets carry the raised and horizontal roof slabs, with Vishnu on flying Garuda carved onto the central bay. The sanctuary doorway is framed by jambs, including those with serpent bodies culminating in a flying Garuda over the lintel, with male and female figures beneath at either side. A linga on a pedestal, perhaps replacing a sculpted icon, is seen within the sanctum, according to George Michell.<ref name=gm71>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. p. 71. {{ISBN\|978-93-83098-33-0}}</ref> Other intricately carved artwork include those of Brahma, Surya, Ganesha, Durga, Trivikrama, Narasimha, Kartikeya, Ganga, Bhuvaraha, Umasahita, Vinadhara and Tandavesvara Shiva.<ref name="University of Pennsylvania Press"/>

	== Lower Shivalaya ==		== Lower Shivalaya ==

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{{short description|Human settlement in India}}
{{more citations needed|date=January 2015}}
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{{Use Indian English|date=August 2019}}
[[File:Uppershivalaya temple.jpg|thumb|Upper Shivalaya]]

'''Badami Shivalaya''' is located in the [[Bagalkot district]] of [[Karnataka]], [[India]]. It was the regal capital of the [[Badami Chalukyas]] known as 'vatapi' then, from 540 to 757 AD. It is famous for [[rock cut architecture]] and other structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. [[Badami]] is surrounded in the north and south by forts built in later times, from the ramparts that crown their summits.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. p. 37. {{ISBN|978-93-83098-33-0}}.</ref>

== Introduction ==
The north fort which is on the opposite side of the town is penetrated by deep canyon-like crevices, through which climbs a straight path. The first features to be seen along this path are two freestanding, multi-storeyed mandapas, seemingly unconnected with any temples. They are possibly vestiges of an early ceremonial complexes. Lower Shivalaya stands on a nearby rocky terrace, surveying the houses beneath. At the summit of north fort, upper Shivalaya is sited majestically overlooking the town beneath. Both these were probably erected in the early 7th century, but appear to have partly dismantled mostly by conquering [[pallava]] forces; and maybe they have been pillaged for building blocks to strengthen north fort by later occupiers.

The ruinous condition of this monument contrast with the comparatively intact Malegitti Shivalaya, which crowns on an isolated boulder beneath the western flank of the North fort. This temple is also dated to the first half of the 7th century and is of historical interest for its well-preserved cravings.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. p. 37. {{ISBN|978-93-83098-33-0}}.</ref>

== Lower Shivalaya ==
Only the towered sanctuary of the temple does exist today; its outer walls have been dismantled. The sanctuary was originally surrounded by a passageway on three sides, possibly with a [[mandapa]] extension to the east which can be predicted by observing the broken roof slabs set into its walls and the stumps of beans with friezes of ganas. The temple's doorway is framed by bands of lotus ornament. An unusual, elliptical pedestal is seen within which happens to be empty now. The outer walls have flat pilasters but there are no signs of projections or sculptures niche. The roof is an octagon to dome topped by a tiny amalaka finial. It is framed by corner model elements topped by kuta roofs containing miniature nidhis.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. p. 65. {{ISBN|978-93-83098-33-0}}</ref>

== Upper Shivalaya ==
The outer walls of the temple create a rectangle containing a sanctuary with a passageway on three sides, opens into a columned mandapa on the east, missing all its internal columns. The walls are built on a basement with a central recessed course containing foliate ornament and narrative scenes. On the south face, [[Ramayana]] episodes are pictured, like, waking of [[Kumbhakarna]], [[Rama]] fighting with forest enemies. Panels on the west face depict the birth and childhood of [[Krishna|Lord Krishna]], including Krishna sucking [[Putana]]’s breasts. Though there are no narratives seen on the north.
The walls above have narrow projections by pilasters carried up into the parapet, four on the south and three on the west. The central pilastered projections have panels depicting [[Krishna]] lifting Mount [[Govardhan Hill|Govardhana]] (south), [[Narasimha]] disemboweling his victim (north), etc. These support miniature eaves and [[Gavaksha|kudus]], the latter intruding in the kapota eaves.
The square tower over the sanctuary has pilastered walls. It is crowned by a large kuta, without finial, the earliest and best preserved example of this type of [[Dravidian architecture|Dravida]] styled roof in Early [[Chalukya]] architecture.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. p. 66. {{ISBN|978-93-83098-33-0}}</ref>

== Malegitti Shivalaya ==
This temple is the earliest surviving example of the [[Dravidian architecture|Dravida]] style in Early [[Chalukya]] architecture. It consists of a sanctuary, without passageway, opening into a triple aisled mandapa. Walls of sanctuary and mandapa have a curved course and a central recessed portion, divided into panels, some filled with gana musicians, dancers and warriors. The mandapa walls have three projections on the north and south, among which the middle one accommodates panels portraying Shiva (south) and Vishnu (north). Each god is accompanied by a pair of diminutive companions. The mandapa walls, beside the porch, have a corner pilastered projection and a single niche containing a swaying dvarapala.
The sanctuary and mandapa walls are overhung by continuous kapota eaves on a frieze of ganas. Two recessed moldings support a parapet, with a set of corner kutas and central shalas over the mandapa walls, and a similar, kuta-shala-kuta parapet over the sanctuary walls. There is a tower rising over the sanctuary, above which rises the octagon-to-dome roof, exactly like that of upper Shivalaya, but without amalaka finial.
The mandapa interior has a central east-west aisle, defined by raised floor strips linking the free-standing and engaged columns. Two additional columns define a small bay in front of the sanctuary doorway. Transverse beams carried on open-mouthed makara brackets carry the raised and horizontal roof slabs, with vishnu on flying Garuda carved onto the central bay. The sanctuary doorway is framed by jambs, including those with serpent bodies culminating in a flying Garuda over the lintel, with male and female figures beneath at either side. A linga on a pedestal, perhaps replacing a sculpted icon, is seen within the sanctuary.<ref>Michell, George (2014). Temple Architecture and Art of the Early Chalukyas. India : Niyogi Books. p. 71. {{ISBN|978-93-83098-33-0}}</ref>

== References ==
{{Reflist}}

[[Category:Chalukya dynasty|*]]
[[Category:Bagalkot district]]
[[Category:Former capital cities in India]]