Symphony in Stone: Hampi -Part 2

Virupaksha Temple:

Vidyaranya was at the shrine of the Goddess Bhuvaneshvari Devi at the Virupaksha Temple in Hampi. The Goddess would not accede to his request and bless him with abundance of wealth. "No! It is not possible in this life for you!" she said. Immediately, Vidyaranya decided to renounce the world and took sanyaasa. Sanyaasa is like a second-birth for an individual. Devi was forced to yield. Abundant wealth was soon his, but as a sanyaasi, Vidyaranya had no personal interest in it. He served as the inspiration for Hukka (Harihara Raya) and Bukka Raya who together founded the Vijayanagar empire, which became one of the wealthiest empires of its time.

We are at the same Virupaksha Temple dedicated to Lord Shiva. Shiva is "Virupaksha", the one with an odd number of eyes- i.e. three eyes. Beside the shrine for Bhuvaneshvari Devi is Pampa Devi's sannidhi. At the back of the temple is a shrine for Vidyaranya in recognition of his immense contribution as a saint and in shaping the formation of the empire. Vidyaranya is also seen in one of the paintings on the ceiling of the "Ranga mandapa" within the temple precincts- It shows Hukka and Bukka welcoming the saint who is seated in a palanquin.
The Ranga mandapa is filled with other paintings depicting scenes from the Ramayana, the Mahabharata and the Puranas. Lord Rama breaking the bow to win Sita, Arjuna striking the fish with his arrow in Draupadi's swayamvara, the avataras of Vishnu, Kama targeting Shiva with his arrow of flowers and Shiva as Tripurantaka are some of the prominent ones.

An interesting feature in this temple is an example of the "pin-hole camera" concept. A room in the temple's interior lets in a pencil of light through an aperture facing the gopuram. On the opposite wall, the gopuram's  inverted image is formed, making it a fascinating case study in Optics.

This temple predates the Vijayanagar period. However, the gopuram was added during the empire's time. Unlike the granite stones used to build the remainder of the temple, the gopuram was built using "Roman bricks". It paved the way for gopuram construction in South India as we know it today- undoubtedly, a product of the Vijayanagar mind.

Virupaksha Temple Gopuram

Hemakuta parvata:

The Virupaksha temple can be reached by crossing over the Hemakuta parvata (hill).  Hemakuta parvata is a massive, granite monolith. At the base of the hill is a huge Ganesha in "ardha padmasana"posture, interestingly called the "mustard Ganesha". This name is used to differentiate it from an even bigger "groundnut Ganesha" on the other side of the hill. The "Mustard Ganesha" has the figure of a lady when seen from the back. Apparently, Parvati is holding the over-sized Ganesha on her lap! The idol is mutilated- possibly when Vijayangar fell a prey to the marauding armies of the Bahmani kings. Since the idols are defaced, none of these are functional temples. In fact, apart from the Virupaksha Temple, there are no functional temples at all.

Mustard Ganapati- If this is a mustard in Hampi, then....

Hemakuta parvata is apparently the hillock where Shiva's penance was broken by Kama. The rest of the story is of course well known- Shiva's blazing third eye reduces Kama to ashes. Interestingly, the granite stones in Hampi are all igneous rocks- rocks formed when the lava cooled down after a volcanic eruption. The rocks have a reddish-brown hue- iron in the granite gets oxidised and leaves behind this colour. One wonders whether the story of "Kama dahana" actually points to these geological upheavals.

At the top of the Hemakuta parvata are a group of "joint temples"- i.e. temples with multiple sanctums. Today, "joint temples" have been corrupted in local parlance to "jain temples" giving these structures a totally different meaning (as per our guide)! The slopes of the Hemakuta parvata show a variety of experiments in granite temple construction.  We notice a graded progression in complexity. Watchtowers dot the hill at various points.

How were these granites cut so precisely? We're told that the technique involved making incisions in the rock, inserting wooden pegs in them and filling them up with water. The water caused the wood to expand and the rock was sliced open.

The panoramic views from Hemakuta parvata are breathtaking- Numerous hills and hillocks- all rock and stone, punctuated with clumps of rich foliage. The spire of the Virupaksha temple pierces the sky and holds our attention for  a while, before we drift off and let our imagination loose...and spot a dragon here or an elephant there...amongst the boulders!



Virupaksha Temple seen from Hemakuta, to the left- the "joint temples"

Vijayanagar City:

The number seven is significant to Vijayanagar, as per our guide. There were 7 fortresses guarding the city, 7 bazaars (selling horses, gems, supari! etc) and there are 7 hills, the prominent ones being Gandhamana, Hemakuta, Maalyavanta, Rishyamuka, Matanga and Anjanaadri.
At its high-point, Vijayanagar was 60 sq miles and housed half a million people.
We have written accounts of Vijayanagar from travellers who visited the city- Domingo Paes and Nuniz were Portuguese travellers, Conti was an Italian and Abdur Razzak was a Persian. Jawaharlal Nehru quotes in the "Glimpses of World History" that the kingdom was so affluent that the roads were lined with silk and gold for a distance of six miles!

Yoga Narasimha:

One of the most visible faces of Hampi is the Yoga Narasimha idol. Presently, Lakshmi is missing, while the rest of the idol is fairly intact and impressive.

Yoga Narasimha

Beside the Yoga Narasimha is a huge Shiva linga, with its base filled with water. The only bigger Shiva Linga is at the Brihadeeshwara Temple at Thanjavur, the guide informs.

Vittala Temple:

By far, the most photographed monument at Hampi- the stone chariot and the musical pillars are not be missed. There are some interesting sculptures around the prakara- a single sculpture shows multiple animals as you cover different sections. Also seen is the "composite bull-elephant" sculpture- the idiom borrowed from the Badami cave temples.

The detailing to ensure that water drains off the sides of the chariot in a controlled trickle, is impressive. Vijayanagar had ties with distant lands like China and Rome. The Vittala Temple has pagoda-like arches and Chinese dragons, all carved in granite.

Granite does not lend itself to detailing. Badami sculptures are in sandstone, but the material is not durable. Hoysala sculptures are detailed, but carved out of softstone. The beauty of the Vittala Temple is that it is entirely crafted in granite, but still sculpted in a very delicate way.

It is about a kilometre's walk to the temple. Pillars stand as reminders of the bazaar which once populated this broad avenue. On the way, you can take a break and soothe your spirits by resting on the steps of the temple tank. The hills on either side of the avenue make this walk a very pleasant experience.


Hazara Ram temple:

Curiously named "Hazara Ram", this is a Rama temple inside the King's Palace. The name comes from the myriad images of Lord Rama carved on the temple's facade. The Ramayana is sculpted in panels in three levels-  if you go around the temple thrice, in effect, you would have seen vignettes of the entire story! Each panel is engaging and can keep you riveted for hours.

The Queen's Palace, Bath and the King's Palace:

Except for the granite bases, nothing remains today. The palaces were made of wood and didn't survive the pillage of Vijayanagar. The king's palace is a sprawling complex with Roman style aqueducts, feeding into several tanks. Our imagination has to fill in for what is missing. A flight of rock-cut stairs takes us to a huge raised platform used by the king to survey the Dasara procession. The Mysore kingdom was an off-shoot of the Vijayanagar empire and inherited the tradition of the Dasara procession.

Next to the Queen's Palace is the Lotus Mahal- a multi-storeyed complex, with terracotta pipes carrying water, which served as an air-conditioner!

Lotus Mahal: fitted with "air conditioners"

Further, we have the elephant's stables- eleven of them, all built in Indo-Islamic style, with prominent domes and arches.

Elephant Stables in Indo-Islamic style

It is the end of the day. The sun dips, so does our energy level. The remaining sites can wait- there's Mourya Maney or "Morey Maney" as our guide pronounces which houses some neolithic-age cave paintings on the other side of the Tungabhadra. We can barely hear the guide. Fatigue takes over. We need some tea, a hot cup of tea!

Sipping the cup of  tea in the comfort of the hotel room, we purse our lips... and linger once more on Hampi...and its delightful, over the top creations!









 

Symphony in Stone: Hampi- Part 1

You don't see monuments in Hampi. Hampi itself is one giant monument. You feel a little like Gulliver at Brobdingnag- bewildered by the enormous scale and proportions of nature as it chooses to unleash itself with a careless ease which defies description. Boulders of gigantic proportions are littered with abandon- they spring up in isolation, or appear in clumps- precariously balancing atop one-another in a delicate acrobatic act, so that at any moment, they might tumble down; an entire hillock- one single, granite slab...smooth as a bald pate, with not a blade of grass.. the rock-concert is numbing in its sheer variety!

Hampi- It rocks!

This has to be Kishkinda of the Ramayana. Only the mighty Hanuman, Sugriva, Vali and the hordes of vanaras could have run on these hills and slopes and rearranged the rocks with intent... or simply stacked them up, in a mindless, mischievous exercise. References to the Ramayana abound at Hampi. There is Pampa sarovara- Kabandha, the rakshasa, directed Rama and Lakshmana to this lake so that they could find Sugriva...and through him, succeed in finding the whereabouts of Sita. Then, there is Anjanaadri, the stony hillock, where Hanuman was born. There is Matanga Hill in the distance- Matanga was Shabari's guru. Shabari's meeting with Rama is of course a well known episode in the epic. Next to the Matanga hill is Rishyamuka parvata- the hill where Sugriva and Hanuman hid from Vali's clutches because a curse made this hill out of bounds for Vali. There is  even a Maalyavanta Parvata- another hill where Rama and Lakshmana spent the entire rainy season waiting, waiting for Sugriva to keep his promise and send his monkeys to trace Sita. We do not know when Hampi was identified with Kishkinda of yore, but the mapping is indeed apt.

This has to be Kishkinda!

Every stone has a story...an epic story

The river Tungabhadra flows through Hampi. The natural flow of the river is restricted now, but the Tungabhadra Dam is a huge reservoir, with water stretching as far as the eye can see. There are a couple of canals which criss-cross Hospet township (next to Hampi) and despite the stony backdrop, the fertile sugarcane fields and plentiful vegetation are entirely the river's handiwork.

Hampi gets its name from "pampa" another name for Parvati- It was known as "pampa kshetra" in the past and appears to have been well known even prior to the Vijayanagar kingdom which was established here, about 500 years ago.

Vijayanagar empire:

Hampi was the capital of the Vijayanagar empire which flourished for 229 years- from 1336 to 1565. What was India like at this time? 1336 was the time when Mohammad Bin Tughlaq ruled Delhi. Where does Tughlaq fit in the list of Delhi kings? When we talk about muslim rule, we need to remember the following chronology- Mohammad of Ghazni, Ghori, the "slave" dynasty beginning with Qutb-ud-din Aibak, the Khiljis, the Tughlaqs, the Sayyids, the Lodis, Babur, Humayun, Akbar, Jehangir, Shah Jahan and Aurangzeb...in that order. It is roughly the timeline..starting from the 10th century right up to 1707, when Aurangzeb died.

Of these, Alauddin Khilji is an important character in the rule of the Khiljis as far as South India is concerned. Alauddin Khilji's army general was Malik Kafur- who went as far as Madurai and Srirangam and supposedly, plundered the temples. Swami Vidyaranya, Shankaracharya of the Shringeri matha was a witness to these events. A great Vedantic scholar and a visionary, his role was pivotal in bringing together Hukka and Bukka as the first Vijayanagar kings and selecting Hampi as the capital city of this empire.

After Alauddin Khilji, the next important Delhi sultan in our Vijayanagar story is Mohammad Bin Tughlaq. Hukka (Harihara Raya) and Bukka Raya were captured by Tughlaq's men. Later, they were sent by Tughlaq's men to quell the revolts in the Deccan. But they ended up being the founders of the Vijayanagar empire.

Krishnadeva Raya was of course the greatest king of the Vijayanagar empire who ruled for 20 years (1509 to 1529). The Vijayanagar empire did not last even 40 years after his death. In 1565, in the battle of Talikota (near Bijapur), the Vijayanagar empire lost to the Bahmani kings of the Deccan. The kingdom and Hampi was totally wiped out and never built again. When the Vijayanagar empire went down, Akbar was the ruler at Delhi.

Thus, the Vijayanagar empire flourished during those 200 years when the Delhi throne was occupied by the Tughlaqs and was decimated around Akbar's time. It is this time frame that we want to focus on...when we are at Hampi.

Who were these Bahmani kings who brought about the abrupt end to the Vijayanagar empire? Well, Mohammad Bin Tughlaq had the bright idea of shifting the capital city from Delhi to Daulatabad in Maharashtra. This led to a revolt of the "nobles" in Daulatabad and led to the formation of the Bahmani empire. Later, the Bahmani empire broke into 5 kingdoms- which ruled from Bijapur, Bidar, Golconda, Berar and Aurangabad. Thus, the Bahmani kingdom and Vijayangar kingdom were formed and grew around the same time. The two kingdoms were constantly at war with each other  and the history of Vijayanagar is essentially a record of these clashes. In 1565, all the 5 Bahmani kingdoms combined and attacked Vijayanagar. That was the end of Vijayanagar empire.
As far as the Bahmani kings themselves were concerned, they were all systematically attacked by the mughals and their territory annexed to the Delhi Sultanate. How Aurangazeb laid siege to Golconda for 8 months and eventually captured the city through devious means is the topic of an entire light-and-sound show at the Golconda  Fort, Hyderabad.

Eventually, the Bahmani kings...the hunters, as far as Vijayangar and Hampi are concerned, became the hunted. Such is history.... a sad chronicle of perennial strife and conflict.

But between two conflicts was a lull, a momentary lull.... and in that suspended state, people rejoiced, there was gurgling laughter and merriment once more- painting and poetry, music and sculpture... flowed and flourished!

Such is life!





 

The cave temples of Badami

Brown, pillar-like hills stack up against the blue afternoon sky as we drive towards Badami from Aihole. Badami gets its name from the "almond coloured" (badami) hills, our guide informs us. The comparison is apt- like the almond, the hills are brown and even have a texture resembling the almond- with furrowed vertical crevices lining the entire hill facade.

Vatapi and Agastya:

The ancient name of the city of Badami is Vatapi. Vatapi figures prominently in the mythological story involving the Sage Agastya. Amar Chitra Katha captures the details beautifully. Agastya migrates from North India to the South. He reaches Vatapi which is ruled by the Asura brothers- Vatapi and Ilvala. Ilvala has a devious plan to kill  brahmanas by cooking his brother Vatapi and feeding the guests with his meat. Once inside the stomach, Ilvala would call "Vatapi"... and out came Vatapi, tearing the insides of the hapless brahmana. Many a brahmana met his end this way. But not Agastya- he was equal to the task. Once he had comsumed his food, he burped... and burped so audibly, that Vatapi was digested for good!

The guide informs us that the Greek astronomer Ptolemy actually visited this site and recorded it as "Badami" with a slight corruption. Ptolemy lived in the first century after Christ. The cave temples came up only in the seventh century. Badami appears to have had some standing even before it became the capital of the Chalukyas. The name "Badami" too appears to be an ancient one, given this anecdote about Ptolemy.

A flight of  rock-cut stairs takes us to the Cave Temples. From this perch, the Agastya Lake is seen down below, shimmering in a deep shade of emerald-green. Hugging the lake at the farther end is the Bhutnath temple, dedicated to Lord Shiva. As the wind blows, the limpid waters of the lake registers a ripple... and the inverted image of the temple...sways ever so gently. A closer scrutiny reveals that there are in fact two temples- one on the Northern side and another on the Eastern front. The hills in the distance reveal numerous sandstone structures- but time is limited, and we have just enough to explore the cave temples.

Badami was the capital of the Chalukyas who ruled in the 7th century. The hills tower above the caves and remnants of a fort can be seen. The Chalukyas found these hills to be a strategic location for their capital and constructed the fort. Tipu Sultan took possession of the fort in the 18th century. Some of the cannons that Tipu fitted stick out of the fort walls.

Essentially, there are 4 caves. The first one is dedicated to Lord Shiva, the second and the third are dedicated to Lord Vishnu and the fourth to Mahavira. These cave-temples were the first temples constructed by the Chalukyas, the free standing temples at Aihole came later and finally came the structures at Pattadakkal.

Cave 1:

The most endearing sculpture of Shiva as Nataraja greets us at the first cave. Unlike Nataraja's usual stance with 4 hands, this has 18, nine on either side! With each hand on the left-side, we have 9 combinations, with every other hand on the right- a total of 81 postures, all in a single image! Apparently, Sage Bharata talks about 81 postures in his Natya Shastra and all of the them are condensed in this sculpture. Another differentiator is that unlike Nataraja who has his right foot pinned to the goblin (Apasmara), in this sculpture, the foot is on a lotus. It is a dance of happiness, an "ananda  taandava", the guide informs us. Ganesha also seems to join Shiva in this dance.

Kartikeya on a peacock graces another panel. Apparently, Kartikeya was one of the main deities of the Kadambas, who preceded the Chalukyas. His influence seems to have continued to Chalukyan times.

What lathe machine did they have then!?

On one wall is the majestic figure of Ardha Naareeshwara-half Shiva and half Parvati . The story of the Sage Bhringi unfolds on this panel. Bhringi refused to circumambulate around Parvati. His reverence is only for Shiva. But then, Parvati is the one who blesses with health- and devoid of her grace, Bhingi is reduced to a grotesque, skeleton-like figure. It is at this point that Shiva and Shakti manifest as Ardha-naareeshwara symbolising that Shiva and Shakti are inseparable and form a composite whole at all times.

Ardhanaareeshwara

On the other side is the grand figure of "HariHara"- half Shiva and half Vishnu. Chalukyan art has a disproportionate number of "composite deities"- there's Ardha Naareeshwara, there's Harihara and a Narasimha (in the Vishnu cave). In cave 1 itself, there is an image of a bull and an elephant intertwined- cover one side and you see a bull, cover the other, and you see an elephant. The bull-elephant idiom has since been repeated at other places- at Hampi and even at Thanjavur. But, these caves seem to have started the trend, which caught the imagination of later sculptors.


Harihara

Harihara

Cave 2 and 3:

Both these caves are dedicated to Lord Vishnu. In the first, Lord Vishnu is seated on Adi Sesha, as opposed to the reclining posture that we are used to nowadays. The images are gigantic and larger than life.

Vishnu seated on Adisesha

Lord Vishnu as Trivikrama takes over an entire wall. The story of Vamana Avatara springs to life- a small image of Vamana, Bali Chakravarty and his teacher Shukracharya are clearly delineated. Finally, it is Trivikrama who takes centre-stage. One foot on the ground.. and the other raised....right up to the very heavens. Where is the room for the third step, he seems to question.

Trivikrama appears twice, in Cave 2 and Cave 3. So, does Varaha. The Chalukyan sculptors have a special fascination for Varaha. He was the emblem of the Chalukyas, no doubt. The stance is majestic, with Bhoomi Devi, held aloft on his snout, and watched by denizens of the different lokas.

A radiant, standing Narasimha idol jumps out at us. It is a massive work and remarkably different from the more famous "seated-Narasimha" that we see in current temples.

Narasimha

 

There are also exquisite figurines of  couples on the upper walls. They seem to have served as the inspiration for the Hoysala figures at Belur and Halebeedu  which were carved much later.

In one of the caves, curiously, Shukracharya (in the Trivikrama panel) bears a striking resemblance to Buddha. He has the same curly hair and wears robes which match the Buddha as well.

Cave 4:

This cave has the idol of Mahavira, the 24th tirthankara in the sanctum. The 23rd tirthankara- Parshvanath is seen on an entire wall- easily identified by the hooded snake which looms over his head. On the opposite wall is the figure of Bahubali or Gomateshwara, son of the second Tirthankara, Ajitanatha. Bahubali can be recognised by the host of creepers twirling over his body.

Almost 400 years later, the very same image, complete...with the creepers was carved at Sravanabelagola. Again, it was Chalukyan art which set the standard for later works.

All the caves are in exceptionally good shape- almost unmutilated and unaffected by the ravages of time. In some places, it is evident that the walls which appear vacant now, were filled with paintings, made with some kind of herbal paint. The colours are still visible in a few places- a dash of green here, a patch of red there and in some places, a faint hint of a human figure outline.

Monkeys rule these caves, ever on the lookout to snatch away food from the inattentive tourist. I was attentive, very attentive, as I walked down the steps with a bottle of mineral water. Surely, monkeys wouldn't need that. I was wrong. Accosted by a rather aggressive monkey, I had little choice but to hand him over  the bottle. I didn't look back, just ran for cover! I was later told that the monkey took the bottle, smartly opened the lid and downed the contents in style!

View from the caves

P.S: It is interesting to note that the Elephanta Caves, close to Mumbai haven't been exactly dated. There are numerous theories, amongst which, is the suggestion that those caves may have been carved by the Chalukyas. This is an angle worth exploring. The style and content at Elephanta Caves bear a resemblance to these caves at Badami.

Aihole- Masterpiece of the Chalukyas

We are at the courtyard in Aihole- a dozen structures, all in a dull-brown colour, lie scattered in a small area. In a broad sweep, there's nothing which meets the eye as particularly catchy. They appear like any other set of ruins which dot the landscape... But these are no ordinary monuments. They are beacons of a bygone era....dating back to a dim and distant past... a past almost 1400 years ago.
If these stones could tell a story, it would be an engaging one....for they go back to that point in Indian history...when Harshavardhana ruled the North and the Pallavas ruled the South. The Chalukyas ruled the Deccan... and these monuments at Aihole, Pattadakkal and Badami were a labour of their love. But... alas, these stones are silent...- they stand tall... grim and grave... and mock all our attempts to unravel their mystery.
But....try we must... to arrange these stones in some order and piece together the chequered history of those times.

Who were these Chalukyas? Why are these monuments important? The Chalukyas ruled with Vatapi (Badami, North Karnataka) as their capital around the 7th century AD. In a sense, they set the trend for temple architecture in South India. The shore temple at Mahabalipuram, Tamil Nadu is amongst the earliest free-standing temples in the South. The structures at Aihole predate the shore temple. The Kailash temple at Ellora is a rock-cut temple built by the Rashtrakutas. The Rashtrakutas came after the Chalukyas. The Kailasanatha Temple and the Vaikuntha Perumal Temple are one of the oldest temples in Kanchipuram. The Aihole structures were standing for a good hundred years before these temples.
The Cholas built those grand temples around Thanjavur....almost 300-400 years later. The huge gopurams that we see all over the South were a much later addition. They came only with the advent of the Vijayanagar empire which was almost 800-900 years after the Chalukyan period.
Now...we see the relevance of these monuments! They were the trailblazers...!

How did Aihole (pronounced "eye-ho-lay") get its name? There are 2 stories-
Mythology says that Parashurama killed 21 generations of evil Kshatriyas. To obey the dictat of his father, he even  hacked off his mother's head. Finally, he washed the blood off his axe in the Malaprabha river, colouring it red, when someone exclaimed "ai-hole"!
Aihole was also the place where "cultured people" ("ayyaas" or "aaryas") congregated. Hence, the name "ayyaavale" or "aaryapura" (as it is called in Sanskrit).

The museum:

To the far end of the courtyard is a little museum. A 15 minute scan took us through numerous interesting facts- how scripts of different Indian languages originated like branches of a huge tree with the "Brahmi script" serving as the root, how there is evidence of neolithic sites around these parts etc. There were also numerous sculptures of Ganapatis.
What does the Chalukyan Ganesha remind us of? We have to sift through the yellowed pages of history and go back nearly 1400 years... It was the time of Narasimha Varma, the Pallava king..... who ruled from Kanchipuram, Tamil Nadu. Pulakeshi, the Chalukya king ruled Vatapi. In a bloody battle, Narashimha Varma defeated Pulakeshi and brought back the "Vatapi Ganapati" as a trophy. It was after all this "Vatapi Ganapati" which inspired Muthuswami Dikshitar to compose his celebated Hamsadhvani raga kriti "Vatapi Ganapatim" that every Carnatic music fan loves to listen to. Dikshitar lived only 200 years ago... but the Vatapi Ganapati, its folklore and immense appeal has endured for millennia.

There is one aside point that we can recall about this battle. Pulakeshi lost his life. Narasimha Varma's commander-in-chief was "Paranjyoti".  Saddened by the immense loss of life, like emperor Ashoka, Paranjyoti's life took a new turn. He became a great devotee of Lord Shiva so much so.. that he was given pride of place as one of the 63 Nayanmars (saints). He was rechristened as "Siruthondar naayanaar". In an incident later in life, Siruthondar Naayanaar  went to the extent of almost sacrificing his own son to feed a Shiva devotee. Such was his bhakti to the Lord.  He was called "suta drohi"...someone who could do "droha" (harm) to his own son (suta) to please the Lord.
All this is an aside story... which we got into...from the Vatapi Ganapati sculpted by the Chalukyas.

Now, back... to the original track.

The courtyard:

We engaged the services of a guide who took us around the courtyard. Without his commentary, the monuments would have made little sense and we would have missed most details.

The entire courtyard is in 3 levels. The lowest level corresponds to the earliest monuments- built in the pre-Chalukyan era, by the Kadambas. This monument's spire is in "nagari" (North Indian) style. As the silt from the Malaprabha river accumulated, the level of the land rose so that the next set of monuments are at a higher plane.

Chalukyan temple architecture has a basic feature- the entry to the sanctum has either a "dwarf" or a "Gaja Lakshmi" at the top. Paraphrasing the leit-motif of "Gaja Lakshmi", we're told that the two elephants holding the water pots stand for "rain bearing clouds".  When it rains, the land becomes fertile and crops spring forth. That is the real wealth (Lakshmi)... the plentiful wealth of food! The Gaja Lakshmi symbol is repeated in many structures in the complex.

Early Chalukyan architecture had "square pillars" inside the temple. The "rounded pillars" came later. This simple fact can be used to date the structures.

Durga Temple:

Presently called the "Durga Temple", it has little to do with Goddess Durga. Since this temple was close to a fort (durga), it was called "Durga Temple"! The name stuck.. and so did the related confusion. It was actually a "sun" temple, we're told. The sides of the temple have some of the most exquisite carvings of Shiva, Vishnu and Devi..all in sandstone. We're informed that this temple is carved in the "gaja-prishta-aakruti-rachana" style- that is, a temple... constructed like the "back of an elephant". The back of the temple is rounded (gaja-prishta), as if in Jaina style. The front of the temple is like a Hindu temple, while the side is like the "parliament house"... a rectangular edifice lined with several straight pillars!

The entrance to the sanctum has multiple layers- sculpted like a "lata" (creepers), with human figurines in the next layer and with floral patterns in the third. Yamuna (lady standing on a turtle) and Ganga flank the sides.
The ceiling has a coiled serpent and another panel of fishes whirling in a circle. The details are simply stunning.

Temple with 3 sanctums and 2 sanctums:

Chalukyas were essentially Vaishnavas. Their symbol is the "boar" (varaha) with the insignia of a shankha (conch), chakra (discus) and a "mirror". The mirror stands for "transparency in administration", the guide points out! We have no way of verifying some of these interpretations. We just take it at face value!
The "varaha" symbol was later borrowed by the Vijayanagar kings.

Though Vaishnavas, Chalukyas constructed temples with 3 sanctums- one each for Brahma, Vishnu and Shiva...all housed in the same temple, within the same "garbha griha".

We also see a temple with 2 sanctums- one for Vishnu and the other for Shiva, the guide points out. None of these are functional temples- there are no idols to corroborate these facts. But considering the figure of "Harihara" seen at Aihole (Durga Temple) and at Badami, both very elaborately carved, it is quite possible, that the two-sanctum temples actually housed Shiva and Vishnu, who interestingly, will be facing each other.

"Lad Khan temple":

Some of the names are funny- Apparently, during the British period, one "Lad Khan" lived in the temple premises and used a portion of the temple as his office too. Hence, the name "Lad Khan Temple" for one of the structures! As per the guide, one of the inscriptions on the temple front points to 500 traders getting together at this place- it must have been some congregation!
Though in stone, the temple gives a feel of a "wooden structure"- complete with carvings of logs of wood lining the roof. A stone ladder leads to a little opening... and from there to the first floor... an example of a multi-storey temple with the sanctum actually on the first floor and terrestrial issues being discussed by traders, on the ground floor!

The windows on the ground floor have apertures resembling "exhaust fans"- they are circular with perforated spokes and let in pencilled beams of sunlight.

A good-sized nandi is seen inside the temple. As per the guide, this temple was converted to a Shiva Temple at a later point in time. We don't ask for any proof and move on.

There is also an interesting bas-relief of an "inebriated lady"- seen both at the Lad Khan Temple and repeated in the Durga Temple. As per the guide, women in the Chalukyan age were modern and drank alcohol! These tidbits add comic relief to the commentary and keeps us focused!

Jain Temple:

Beyond the courtyard, in the distance, is a little hillock with a small structure. Those are "Jain temples", the guide points out. They were built outside the city because Jainas were digambaras (sky-clad saints) and it was usual to have their temples outside the city limits, as their dressing or the lack of it, may be a delicate point for the rest of the population, we're told.

It is the sheer variety in architecture that baffles us- pyramidal spires, rectangular bases, rounded sides, flat tops, multi-storey buildings, multiple sanctums, multiple deities...all clustered in a very small area.

It is also clear that the Chalukyas were secular and promoted worship to Shiva, Vishnu and even Mahavira. We see this  at Aihole and repeated in the caves at Badami. Jainism appears to have been very popular in South India in those days. This is corroborated by these sculptures as well as by historical records. Mahendra Varma, the Pallava king before Narasimha Varma... had converted to Jainism, before reconverting to Hinduism. All these events took place exactly around the time... these structures came up.

We couldn't take any more history. It had reached a point of saturation. Outside the courtyard, a vendor sold some of the most succulent guavas. That's exactly what we needed! There were no knives to cut the guavas to pieces. Each member of the group, child and adult, got one full, over-sized, gleaming-green guava.

As we drove off from Aihole, we nibbled at the guava...and dreamily ruminated over kings and kingdoms, Pallavas and Chalukyas. Even History seemed full of life suddenly- exhilaratingly juicy and tasty!!





 

"Roll number 15"... "Present miss!"

"Roll number 15....!" Ms Clare called out from her attendance register. It was met with silence. "Roll number 15...!" she slightly raised her voice. No response except for the general hub-hub of classroom chatter. Ms Clare looked up, adjusted the glasses against the bridge of her nose and positively irritated, she hollered... "I said roll number 15.... FIFTEEN". Mulraj was busy fidgeting at his desk. Sticking his tongue out, he was trying to scrape out the fresh coat of varnish from the desk with his nail. The varnish coloured his unkempt nail a shade of deep brown. Mulraj nibbled at his nail... to scoop out the varnish from the nail-tip and savour the after-taste. Evidently, he was in his own world.
This time, the sound of the word FIFTEEN did hit his ear. The auditory signal seeped into his seventh-grade brain. In a jiffy, it was processed and its response was dispatched. "PRESENT MISS!" Mulraj blurted out... in a sudden, strangulated reflex! Miss Clare was clearly not impressed. "Gaddha (donkey!)... dreaming... dreaming all the time! Go and wash your face!"

The roll-call was the ice-breaker. You needed it at the start of the school day. It produced laughs each time and helped the students to warm up to the classes ahead. Someone always made a mistake- we never knew which ones were involuntary and which ones deliberately instrumented.
Sometimes, two boys from opposite ends of the class responded to the same roll-number. The rhythm of the roll-call was broken and they looked at each other sheepishly. The roll-numbers marginally changed each year (with the addition/departure of a few students) and with this change came the inevitable confusion. Students who were used to a particular number over the years, found it difficult NOT to respond to that number.. especially at the start of the scholastic year.

Then, there were the students who were emboldened to "proxy" for their chums-when the latter played truant and hung around Five Gardens. Valentino had a flair for it- he could "proxy" like a pro- with no hint of suspicion and with no visible change in his voice or body language. Others gave it away- either they changed their voice to a squeak... or covered their mouth with their fingers to reduce the sound to a muffle. It was a strategy which was doomed to begin with- the teachers were trained to look for these obvious changes. Students were caught and caned!

There were no male teachers in primary school. "Sirs" started teaching once we moved to the secondary section. It required an adjustment in the roll-call drill too. "Present miss" or "present ma'am" had to be changed to "present sir"- which wasn't exactly simple. As the roll-call proceeded in a desultory manner, invariably someone bungled and shouted out "Present miss". The boys waited for this opportunity- there were giggles all around class with several imitations of "miss" doing the rounds. Pandey sir knitted his brows, visibly irritated. We never knew which one actually provoked him...whether it was a reference to him as "miss" or just the general commotion in class. "SILENCE!" he thundered and scared away a few crows sitting on the window sill, in his attempt to bring the class back on track.

Sridhar was a rebel. He had got used to the phrase "present teacher" right from primary school and insisted that he would make no adjustment. Taking recourse to the Wren and Martin's grammar textbook, he insisted that "teacher" was a common gender which could be applied equally to "sirs" and "madams". To an uninitiated student, this detail was lost. "Teacher" meant only a lady and applying the term to Pandey sir  in his safari suit, was simply preposterous! The class looked forward to Sridhar's turn at the roll-call. His response evoked amusement and was just  the trigger needed to turn the class into a little fish-market.

Offenders came in different flavours. There were occasional offenders who forgot to respond to the roll-call on a given day and needed a nudge from the partner. Then, there were serial offenders who answered the roll-call in a self-styled "high pitched sing-song" manner each time and deliberately broke the decorum. You couldn't fault them because it was difficult to pinpoint their crime. Then, there was Mehernosh. Mehernosh could never end the sentence in a clipped manner. If the word was "bamboo", he fell over the word for more time than he should.. so that it sounded like "bambooooooo". The slur was unintentional, but comical for the rest of the class. His "miss"  just wouldn't end quickly till the whole class resounded with a crescendo of "hisses". Occasionally, someone pretended to have a problem of stuttering and would derail the class... with a caricature of "p-p-p-present m-m-m'am".

Substitution teachers had a rough time. There was no way they could rein in the students. They didn't know any names, neither did they have any idea of the notorious students in the class. It was the perfect setting for students to eject out of class after answering their roll-call. The plan was simple- the ones who wanted to "cut class" sat closest to the window- which faced the corridor. Just after their turn in the roll-call was over, even as the teacher squinted over the attendance register, the students needed only a hop-skip and a jump to freedom; freedom for at least a half-hour!
Occasionally, the story did not have a happy ending. One ill-fated day, Valentino's jump to freedom was badly timed. In his excitement, he lost his balance and fell into the corridor with a huge thud. In the process, he let out a shriek... and alerted the teacher's attention. To make it worse, Fr Lionel was doing the rounds... and was unpleasantly surprised to see students flying out of windows! Valentino hobbled around... and had to deal with a bruised knee and an impending punishment. The punishment was always the same- whoever was caught, was caned.

The attendance register was an elaborate tome. The monitor had to carry it to class each day and return it to the staff room at the end of the roll-call. Against each student,  "present" was marked with a "P" and "absent" was left blank. Students explored loopholes all the time. They figured that if they took the monitor into confidence, the monitor could easily manipulate their absence on previous days, by simply writing a "P" against their name. All the monitor  had to do, was to feign a visit to the rest-room with the attendance register, on the way to the staff room. As simple as that!
It took just a bribe of a few stickers or the promise of a "pepsi" to rope the monitor into this nefarious activity.

The best laid plans of men and mice oft go astray. As the story goes, our monitor accidentally dropped the attendance register in the rest-room as he tried to fudge the records. What emerged from the toilet was a soggy-dossier, dripping all over and of course, a red-faced monitor. To this day, no one knows exactly where he dropped the attendance register. Some said that he just dropped it into the wash basin. Others claimed... that it actually fell into the urinal!!! 
For sure, the students didn't touch the attendance register that entire year....or if they handled it, it was with a lot of care, with inordinate care!!










 

Watercolor study- Lord Rama, Ramaswamy Temple, Kumbakonam