#: locale=en
## Hotspot
### Text
QuadHotspotPanoramaOverlayTextImage_AA685CB2_87B5_17E4_41E0_A29B8DA6A55F.text = Adhisthana
QuadHotspotPanoramaOverlayTextImage_7C9C8C57_5F27_91BC_41C6_AAE44A200FE5.text = Apita Kuchamba Shrine
HotspotPanoramaOverlayTextImage_5F1F3427_4991_D0B6_41C9_0880B9BA4F90.text = Deepa Stambha
QuadHotspotPanoramaOverlayTextImage_06A73132_1CAE_78D6_41B9_FBAEC5E94794.text = Deepa Stambha
QuadHotspotPanoramaOverlayTextImage_A82C2730_8806_21E3_41C4_C4D280B165C6.text = Dhwaja Stambha
QuadHotspotPanoramaOverlayTextImage_430EF0CF_5961_92AD_41CE_4BCD74B44312.text = Dhwaja stambha
QuadHotspotPanoramaOverlayTextImage_43E3DCB4_5963_B2FC_41D5_CC9AF274CC96.text = Dhwaja stambha
HotspotPanoramaOverlayTextImage_04FD815D_1CB6_1B52_4197_CA19069487A2.text = East (Main) Entrance
HotspotPanoramaOverlayTextImage_041AA081_1649_534F_419B_77EEDFCAD024.text = Enclosed Prakara / Porch
HotspotPanoramaOverlayTextImage_5873FBCC_4971_77FA_41BE_6D7363491385.text = Enclosed Prakhara / Porch
HotspotPanoramaOverlayTextImage_82E720C3_8D3E_CC83_41A0_00FD984B66F3.text = Enclosed Prakhara / Porch
HotspotPanoramaOverlayTextImage_5826405A_4977_5099_41BC_3C15D93E7CB1.text = Entrance (East)
QuadHotspotPanoramaOverlayTextImage_9D00022F_8D3E_4F82_41CA_A389D2CF8A8F.text = Entrance (North)
HotspotPanoramaOverlayTextImage_07FBE374_1CAA_1F52_41A1_A9EF3B6933BC.text = Entrance (North)/ Towards Interpretation Center
QuadHotspotPanoramaOverlayTextImage_BF38FCD1_9F32_9923_41D1_A72B25BDACB7.text = Exit
QuadHotspotPanoramaOverlayTextImage_AF99D863_9C4B_E9FB_41D5_AC5EF3297AD1.text = Girijamba Shrine
HotspotPanoramaOverlayTextImage_996B9016_8297_EEAC_41D8_B39B90ABD159.text = Gopura
QuadHotspotPanoramaOverlayTextImage_02E7E13C_1152_3EBC_41A0_BEC2F44F0C1B.text = Hope you had a memorable visit!
HotspotPanoramaOverlayTextImage_048C44FE_1CBE_194E_41B1_48A80517BD86.text = Info plaques
QuadHotspotPanoramaOverlayTextImage_B4CDE592_878D_11A4_41BD_B9836630C349.text = Inscription stones
QuadHotspotPanoramaOverlayTextImage_70215E97_5164_02EF_41CD_2D4FC5C867E1.text = Kalyana mantapa
HotspotPanoramaOverlayTextImage_0B423759_1B5A_0752_41A0_8FB5AF8F5544.text = Kalyani
QuadHotspotPanoramaOverlayTextImage_07CEAF1D_1CAA_08D2_41B9_C56D33EAA41B.text = Kalyani
HotspotPanoramaOverlayTextImage_3D01A8C2_1CDA_09B6_41BB_3C6923BAE63B.text = Kalyani
HotspotPanoramaOverlayTextImage_1424156A_1B5A_1B76_41AE_8DD6DE5B770E.text = Kalyani
QuadHotspotPanoramaOverlayTextImage_B758A5AA_878D_11E4_41CD_D8B8F64B8BD1.text = Kalyani entrance
HotspotPanoramaOverlayTextImage_AD82DD34_87FB_16EC_41C2_248C4D15D1C6.text = Kuta
QuadHotspotPanoramaOverlayTextImage_00A1A27A_1CD6_3956_41AD_6F5BD51E88EC.text = Mahanavami Dibba
QuadHotspotPanoramaOverlayTextImage_0770CDE9_1CBA_0B72_41B2_61B97632F284.text = Mahanavami dibba
QuadHotspotPanoramaOverlayTextImage_5FC297AA_4991_FFBE_41B9_2BAB2A972BC2.text = Mahanavami dibba
QuadHotspotPanoramaOverlayTextImage_8D548525_9944_490F_41D4_5DA3ADC28C9D.text = Main Kalyani
QuadHotspotPanoramaOverlayTextImage_7EB0F181_5F60_7294_41CA_8B127E42D748.text = Main kalyani
HotspotPanoramaOverlayTextImage_9EBE8BE8_8297_1164_41B0_071D8EBE0107.text = Mantapa
HotspotPanoramaOverlayTextImage_593EED55_4A7A_EF3E_41C6_4CC5C51D12A3.text = Maramma temple
HotspotPanoramaOverlayTextImage_5861E45D_4976_D09A_41B3_400508F9D88E.text = Mariamma temple
QuadHotspotPanoramaOverlayTextImage_3DF513EC_1CDA_1F72_41AD_C041EB5ED6C2.text = Mukhamantapa
HotspotPanoramaOverlayTextImage_0A279997_1B5A_0BDE_41A8_8D86616A6D86.text = Naga shrine
HotspotPanoramaOverlayTextImage_5B8CDE4B_4971_70FE_41CE_3CAB973FEB31.text = Naga shrine
HotspotPanoramaOverlayTextImage_586800F4_4993_F1AA_41A5_AE74B6636958.text = Naga shrine
HotspotPanoramaOverlayTextImage_0B4928F7_1B56_095E_41B1_550BEB0A97B7.text = Naga shrine
HotspotPanoramaOverlayTextImage_2EBCA430_3694_6458_41AC_5E55D6370842.text = Nandi hills
QuadHotspotPanoramaOverlayTextImage_AF93956F_883E_207C_41DA_0B1B835130A5.text = Navagraha
QuadHotspotPanoramaOverlayTextImage_80BE02C6_9EDD_8921_41E2_E4287FF8BCA1.text = Navagraha shrine
HotspotPanoramaOverlayTextImage_7BED5EBE_51BC_0220_41A1_8270FE284435.text = Panjara
HotspotPanoramaOverlayTextImage_0A8959EF_1B5E_0B4D_415D_2B436DB08084.text = Porch
HotspotPanoramaOverlayTextImage_59F14A1F_4971_3096_41C8_7780C23CBCE9.text = Porch
QuadHotspotPanoramaOverlayTextImage_8E0B2F82_97F1_D6B9_41C1_BC11B4ECF660.text = Pradakshina patha
QuadHotspotPanoramaOverlayTextImage_5A7D78A2_49B3_51AE_41D0_02CE6401A1FF.text = Pradakshina patha
QuadHotspotPanoramaOverlayTextImage_8DA9BB29_97F7_3FCA_41C3_84C1E8130812.text = Prakhara
QuadHotspotPanoramaOverlayTextImage_9D9D580B_8D39_FB83_41C0_619169C698A7.text = Ratha
HotspotPanoramaOverlayTextImage_7C4C44D7_51BC_066F_41CA_60CA5EB2EBCB.text = Shala
QuadHotspotPanoramaOverlayTextImage_AC413907_87F7_1EAC_41BC_8152A160A93D.text = South Entrance
QuadHotspotPanoramaOverlayTextImage_3039E433_20F8_5D2D_41B0_23F2143C2BAB.text = Sri Arunachaleshwara Shrine
QuadHotspotPanoramaOverlayTextImage_51E53964_73F5_84AB_41C0_B51BF459BAEC.text = Sri Arunachaleshwara Shrine
QuadHotspotPanoramaOverlayTextImage_2F6B3799_2088_BB1D_41BD_1E70138A7774.text = Sri Bhoganandeeshwara Shrine
QuadHotspotPanoramaOverlayTextImage_2E3AB932_2088_D72F_41B4_598BE6AD90AF.text = Sri Umamaheshwara Shrine
QuadHotspotPanoramaOverlayTextImage_31DA1474_208B_FD2B_4165_AF385B06025A.text = Sri Umamaheshwari Shrine
QuadHotspotPanoramaOverlayTextImage_0798B815_1CBA_08D2_41AC_A31EF4D452DB.text = Stone chariot wheels
HotspotPanoramaOverlayTextImage_7DA9270C_51BC_03E0_41D4_CED5CD9EEC0F.text = Stupi
QuadHotspotPanoramaOverlayTextImage_A818FF97_9C46_675B_41E0_C12848212A4B.text = To Vasanta mantapa
QuadHotspotPanoramaOverlayTextImage_8DB301EE_9944_C91D_41CD_E4AF2D66DDA1.text = Tulabhara mantapa
QuadHotspotPanoramaOverlayTextImage_8FC8CDAD_994C_791F_41D0_F8E241816BBA.text = Tulabhara mantapa
QuadHotspotPanoramaOverlayTextImage_7E53C74F_5F60_BFAC_41BA_76000BFF619E.text = Tulabhara mantapa
QuadHotspotPanoramaOverlayTextImage_7D41EF49_5F60_EF95_41B5_7321F241FF9F.text = Vasantha mantapa
HotspotPanoramaOverlayTextImage_5EBFBF58_4A9E_AB36_41CE_9C526A6344BC.text = Veerabhadraswami temple
QuadHotspotPanoramaOverlayTextImage_A82F88C9_8802_20A5_41D5_D03F4BDF89F5.text = Yajna Shala
## Media
### Floorplan
### Image
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### Subtitle
panorama_19723BCA_3AB4_23C8_41B8_1F5C19F9C975.subtitle = A Jaalandra, or perforated window, is visible on this wall. The primary purpose of this architectural element is offering light & ventilation to the main shrine. \
This jaalandra has a beautiful Nataraja engraving. \
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Nataraja is a depiction of Lord Shiva as a cosmic dancer, performing his "tandava".
panorama_1A2741FD_3A94_3FCB_41BE_3F32B3A83B3E.subtitle = A three-piece granite stone structure of an Umbrella is placed in the Mukha mantapa. \
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The Umbrella stone might have been a symbol of religious power, where the religious heads or revered saints were seated to address a gathering of devotees.
panorama_29944A55_35F4_2CDB_419B_2DDC8D4BE997.subtitle = Adjoining the entrance, there is a mantapa supported by 4 Yali pillars. \
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The practice of erecting entrance structures at temples began during the Chola era and reached its pinnacle during the Vijayanagara dynasty. \
During the Vijayanagara period, these entrance structures were known as "Rayagopurams." They were constructed using various materials like stone, wood, brick, or stucco. \
The term "Rayagopuram" derived from the fact that these gopurams were built under the patronage of Vijayanagara kings known as "Rayas," such as Krishnadevaraya, Achyuthadevaraya etc. Therefore, a "Rayagopuram" signified a grand entrance tower constructed under the sponsorship of a Raya.
panorama_2C35EF67_0A8E_BEE8_4189_0230A8196E17.subtitle = Arunachaleshwara may literally mean lord of the sun and the hills. Here, it represents the childhood of Lord Shiva through a Shivalinga. \
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As you seek darshan in the garbhagriha, observe the ceiling panel that is decorated with nine identically shaped bloomed lotuses.
panorama_28E6C471_359F_E4D8_41C0_47BF1CFEF580.subtitle = As can be seen at first glance, the mukhamantapa showcases a collection of exquisite and intricately crafted pillars, portraying deities, artists, rishis (sages), and scenes from day to day life. The pillars serve as artistic expressions of the period, capturing the essence of spirituality, creativity, wisdom and the natural world within their ornate designs. \
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The Vijayanagara architecture showcases a prominent type of pillar where the pillar shaft is divided into three square sections each separated by an octagonal and sixteen sided band. In most of the cases these square sections each have carvings on all four sides.
panorama_28453566_3AAE_B7D8_41CB_539EF6CAE090.subtitle = As you end the tour of this ancient and beautiful Shiva temple, do visit the interpretation centre if you have not done so already. The center, developed & managed by the ASI, is outside the temple complex as you exit from the north gate (turn left at the Mahanavami dibba and cross the street via the North entrance). \
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Please help maintain the beauty of the monument by ensuring that you do not leave behind any trash.
panorama_2754DF38_3A94_6448_41B4_23DC99F41025.subtitle = Bhoganandeeshwara refers to the youthful phase of Lord Shiva again represented through a Shivalinga. The ceiling panel of the navaranga is decorated with Ashthadikpalakas (Ashtha - eight, Dikku – directions, Palakas – Guardians) with Shiva and Parvathi at the centre. \
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The navaranga also houses a unique carving of a person sitting in Sukhasana or a meditative pose, on the left side of the shrine. \
Scholars from Karnataka believe that this sculpture belongs to King Rajendra Chola, who got it installed to signify his contributions to restoring the temple.
panorama_356E13F2_3821_6CE3_419F_E70295160D43.subtitle = Girija is one of the many names given to Goddess Parvati. Girija means the one who is born to a mountain and amba is a suffix added to the name meaning mother. She is generally portrayed as a gentle and nurturing mother Goddess. She is the gentle aspect of Devi Shakti and is usually represented as fair and beautiful. \
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One of the legends states that Giri or Himavath Raja, who is the father of Girija, performed intense austerities to please Shakti and manifest herself as his daughter. Pleased with his devotion, Shakti takes the form of a new born baby and descends to Earth, rests on a lotus flower in the Padmateertha lake in Himalayas. King Giri and his wife Meena Devi then adopt the newborn baby and name her Parvati. Later she came to be known as Girija, the daughter of King Giri.
panorama_291B9AB6_3AB3_B2B9_41B5_7E5AD6E1D298.subtitle = In Hindu astronomy, the nine celestial bodies are collectively known as the Navagrahas. They include Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspathi (Jupiter), Shukra (Venus), Shani (Saturn), Rahu and Ketu (North and South node of moon). These planets take the form of celestial beings in iconography. They are found in almost all the temples and the devotees pray to the navagrahas before entering the main sanctum. They are believed to bring good luck to the devotees who pray to them. \
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panorama_A18E3112_8D29_CD9D_41DD_133C86EB7D86.subtitle = Just adjacent to the Bhoganandeeshwara shrine, is the Navagraha shrine. \
In Hindu astronomy, the nine celestial bodies are collectively known as the Navagrahas. They include Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspathi (Jupiter), Shukra (Venus), Shani (Saturn), Rahu and Ketu (North and South node of moon). These planets take the form of celestial beings in iconography. They are found in almost all the temples and the devotees pray to the navagrahas before entering the main sanctum. They are believed to bring good luck to the devotees who pray to them.
panorama_2ACD5BBA_35F4_2C49_41C1_D0B2DEDC0515.subtitle = Nagas are semi-divine entities, half-human and half-serpent and are believed to reside in Patala (netherworld). \
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In Hindu iconography, they are typically depicted in three forms: as entirely human adorned with snakes from head to toe, as half-human, half-snake or as a serpent. \
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In India, they are worshipped as nature spirits. They are often associated with water bodies, wealth and treasure and most importantly worshipped by women as a symbol of fertility.
panorama_29713AE6_358C_2DF9_41C8_5B2E28082A11.subtitle = Notice the elaborate and intricate carvings on both sides of the imposing entrance arch, which exudes a sense of luxury and strength. \
In many temples, you'll notice carvings of plants, creepers, animals like elephants and lions, and even crocodiles. These are all part of the temple's design. \
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Temples were not only places of worship in earlier days but also a store of wealth and resources such as grains. The design and construction of these doorways were not only intended to convey grandeur but also to provide security to the resources within. \
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River goddesses, Ganga & Yamuna, are depicted as the dwarapalikas (guards) on either side.
panorama_A3E003D9_8D1A_4C8F_41BB_BA08D7F9CCC9.subtitle = Observe the pillars in front of the shrines - these provide a visual reminder of the varied architectural practices of the various kingdoms. \
The pillars in front of the Arunachaleshwara shrine have been designed by the Nolambas. Consider the stark cylindrical shapes with simple geometric designs for the supporting lintels at the summit. \
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Contrast this with the intricate designs of the pillar in front of you, from the Vijayanagara period, with its elaborately designed pushpa potika on top and engravings on each panel. \
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This contrast is visible even with the pillars in front of the Bhoganandishwara shrine. \
panorama_18B2B328_3AB4_3C49_41AF_CCB149E9B1DB.subtitle = On the outer side of the mantapa, we see pillars with a single shaft that extends from the main pillar. Near the capital (the top portion) of these pillars, a graceful swan is depicted, while near the pedestal, a majestic lion is intricately carved. \
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The corner pillars of the mantapa feature three shafts that extend from the main pillar. At the base of these corner pillars, seated gracefully, are three intricately carved lion figures and swans on the capital. \
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A few inscription stones that were found in & around the temple are showcased in the porch. \
panorama_1921710D_3AB5_FC4B_41B8_FDA3D579EAEF.subtitle = The Adhishthana is ornamented with relief sculptures of elephant and lions alternating throughout the temple along with Keerthimukhas. \
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The term adhiṣṭhāna is derived from the Sanskrit root ‘adhiṣṭha’ meaning ‘to stand upon’. As such, etymologically, adhiṣṭhāna denotes an object on which something stands. \
It is the base of the structure or a platform on which the super structure stands. \
So, the first step to the construction of a temple is the Adhishtaana. The Adhishtana or the base is important to elevate the stance of the deity above the ground level and the height of the Adhishtana differs under different dynasties. The height also helps in safeguarding the temple during heavy rains or from ground level dust. \
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Two ornate Yali pillars can be seen on the left breaking the monotony of the rest of the pillars in the pillared porch. These indicate another main entrance from the South.
panorama_29E068FE_359C_2DC9_41C4_9D076C4D346D.subtitle = The Bhoganandeeshwara and Arunachaleshwara shrines are very similar in plan, size & construction. Both shrines have a Garbagriha (sanctum), an Antarala (antechamber) and a four pillared Navaranga (pillared hall), with individual Nandi mantapas in front of them. In between these 2 shrines is another shrine dedicated to Umamaheshwara, with a very ornate Kalyana Mantapa made of black stone at its front. \
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All the three shrines have a common Mukhamantapa - a pavilion typically constructed in front of the main shrine. Thus the name mukhamaṇtapa: mukha- face + maṇtapa- pavilion. \
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Mukhamaṇtapa is a regular feature of the Dravidian temple architecture. The purpose of a Mukhamantapa is to seat devotees during prayers or ceremonies.
panorama_35668975_3823_3DE1_41CA_7C88ED0F4B7A.subtitle = The Bhoganandeeshwara shrine and the Arunachaleshwara shrine were initially built by the Nolambas. The Umamaheshara shrine was a later addition by the Vijayanagaras. The difference in architecture of both the dynasties can be clearly seen here. When carefully observed, one can see that the Vijayanagara panel is fitted or interlocked with the Nolamba ones. The adhishthana of the Nolamba shrines represent tripatta kumuda (one of the mouldings in adhishthana). Whereas the adhishthana of the Vijayanagara has intricate carvings of flora, fauna and celestial beings.
panorama_2941EF31_3AB2_B3BB_4199_9BD72F461632.subtitle = The North East corner of the shrine complex has a Yajna shala, where ceremonies such as havans as performed. There is an idol of Agni, with 2 heads, atop the hall entrance. This is an accurate & scientific restoration based on the earlier idol that got eroded over time.
panorama_361C7627_3827_3761_41C0_C6B6F4FEE06A.subtitle = The Shikhara belonging to the Arunachaleshwara shrine is a replica of the Shikhara belonging to the Bhoganandeeshwara shrine, including the deities portrayed on both the Shikharas. The Bhoganandeeshwara shikhara seems to have weathered better than the Arunachaleshwara shikhara, considering that it was built earlier. \
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It is also interesting to note that both the devi shrines have Girija Kalyana panels indicating that both of them are the consorts of Lord Shiva, and both the goddesses are reincarnation of Shakti or Parvati. \
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panorama_35610DB9_3821_5561_4151_817832392D0F.subtitle = The Vasanta Mantapa is said to be a mantapa with an elevated space where deities were bathed, as part of rituals. \
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The mantapa is situated between the kalyani and the main temple complex. \
Vasanta maṇtapa is a pavilion built for conducting certain specific ceremonies during the vasanta ṛitu or the spring season. Maṇtapas having this name are found commonly in almost all the temples built during the Vijayanagara and Post-Vijayanagara periods. \
Springtime, is considered the king of seasons for its mild, pleasant weather across much of India. It is also the time for some important Hindu festivals, including Vasant Panchami, Ugadi, Sankranthi, Holi, Rama Navami and Hanuman Jayanti.
panorama_35F27734_3821_5567_41B3_EA986028C516.subtitle = The deity, known as Apita Kuchaamba, holds significance as a figure of local or regional reverence. It's a practice to associate a local deity, such as Apita Kuchamba in this instance, to represent Shakti/Parvathi as Shiva's consort. \
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Notably, Ganga and Yamuna are depicted as the Dwarapalikas - signifying association of the deity with Shiva. Above them, the Gajalakshmi motif is positioned, representing prosperity. To the left, Ganesha is portrayed, while on the right side, Shiva and Parvati are seated upon Nandi, the sacred bull. \
panorama_2A8A2459_3597_E4CB_41C9_E853B60544F2.subtitle = The entrance showcases engravings of the Shiva ganas - semi-divine beings who were followers of Shiva and known as being closest to him. There are also several "Kirti mukhas" - in this case, comprising of lion faces - adorning the walls. \
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Notice the depth and width of the gopura, the main entrance. This suggests an incompleteness to this gopura, which is unlike the extravagant and large gopuras usually associated with the Vijayanagara empire. We can only speculate if this were left incomplete for some reason or whether it was damaged over time.
panorama_2957E7F2_3594_63D9_41B8_0214C3C15B67.subtitle = The inner sanctum houses 3 shrines (from left to right) - Arunachaleshwara, Umamaheshwara and Bhoganandeeshwara. These represent different stages of Shiva viz Bala (childhood), Grihastha (householder) and Brahmacharya (youth). There is a 4th shrine representing Sanyasa (renunciation) which is on top of Nandi hills, which forms a backdrop to this temple complex. \
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The Bhoganandeeshwara and the Arunachaleshwara shrines were first constructed by the Nolambas. Of these 2, the presence of the Naivedyam stone & Dhwaja stambha in front of the Bhoganandeeshwara shrine suggests that it was built first. \
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The Umamaheshwara shrine, the Kalyana mantapa in front on it, along with the entire exterior including the Mantapas, Devi shrines, the entrance gate, pillared porch, kalyanis and the vimana were built subsequently by the Vijayanagaras. \
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As we enter the temple inner sanctum, please keep in mind that this is a living temple and there may be ceremonies in progress. Kindly maintain silence as you walk through the temple and give right of way to devotees who are here to pray. \
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panorama_35E1E776_383F_55E3_41C8_1DD77103FB40.subtitle = The intricately carved Yali pillars can be seen near the entrance. Inside the mantapa there is a raised platform where the deity might have been placed for the ritualistic bath. All the pillars in the mantapa have carvings of deities, sages, animals and scenes from daily lives of people, enhancing the beauty of the Mantapa.
panorama_35F83A36_3827_3F60_41BE_2B4A74319092.subtitle = The mantapa has 4 pillars with an elevated platform. \
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Tulabhara is the term used for weighing scale in Kannada. People who wished to make large donations to the temple, followed a ritual where one had to sit on one side of the scale and offerings or donations like rice, gold or other commodities were poured on to the other side. The donations were piled on till the scale is balanced with the weight of the donor.
panorama_29FBB041_358C_1C3B_41C3_B5BB649A6A74.subtitle = The mantapa itself is supported by four Yali pillars which have beautiful engravings of the Yali warrior represented on the front of the pillar. \
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The front pillars are decorated with intricate carvings of deities, rishis and animals, while the rear ones are more functional in nature. \
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The deities integral to the procession rituals are predominantly crafted from bronze and metal. These revered figures are ceremoniously brought out of the temple premises during significant festival processions and placed upon the elevated platform situated outside the temple, providing spectators the opportunity to venerate these idols. \
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panorama_29657B7E_387F_FDE3_41C1_9226CB3C1CB1.subtitle = The pillars of the prakara (porch) are embellished with a trio of projections at their summits. \
These projections take the form of pushpa pothika (lotus flower buds or bud cornels), showcasing a unique aesthetic characteristic associated with the Vijayanagara Empire. \
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It is interesting to note that in sharp contrast to the inner mantapa, the porch on the other side that encloses the inner mantapa have simple designs and lack any intricate engravings . This reflects the more mundane purpose being served by the outer porches – as a place for devotees and visitors to rest, converse and admire the temple.
panorama_19AE8E9D_3AB4_244B_41B6_E771DED80E06.subtitle = The pradakshina patha (circumambulation path) and the temple is encircled by prakara (pillared porch). \
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The entrance of the mukhamantapa are guarded by Yali pillars, similar to the ones in the mantapa at the entrance. \
There are 2 very interesting forms of Lord Shiva - Bhairava and Bhikshatanamurthi - depicted on the front pillars that are highlighted with information hotspots. \
panorama_2994C470_35FC_24D9_41C5_3E83CFBAFB57.subtitle = The term "Dibba" in Telugu means a "Mound," which essentially describes it as a raised platform. The King or elders would be seated on this platform, and it played a central role during festivals like Dasara and Mahanavami, serving as a stage for grand processions. \
This structure appears to be a smaller version of the Mahanavami Dibba in Hampi. \
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The Mahanavami Dibba in Hampi, built by the Vijayanagara rulers, is an important historical structure. \
Located near the market area, this elevated platform is adorned with intricate carvings. What's intriguing is that there's a hidden door on the Dibba that leads to an underground tunnel connecting directly to the royal palace, likely for safe & convenient travel.
panorama_4519F779_5961_FE74_41C7_5CA5DAD5BA8F.subtitle = Three sides of the Apita Kuchamba shrine have beautifully engraved panels depicting scenes from 'Girija Kalyana' - the marriage of Shiva & Parvati. These same panels are also replicated on the three sides of the Girijamba shrine. \
The panels show the groom's procession, their welcome and the rituals being performed on the 3 sides. \
panorama_2AEE8477_35FD_E4C7_41B0_A71BD5899AC3.subtitle = To your right you see a set of stone chariot wheels that are of recent origin and likely unutilized. The elevated platform behind them is called the Mahanavami Dibba. Positioned beneath the sheltering branches of a tree, this platform carries a significant connotation. It is reminiscent of a space where pivotal meetings and discussions relating to the temple, as well as judicial matters, may have transpired. \
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Click on the photo bubble to see a panoramic view from atop the Mahanavami Dibba. \
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To your left, there are a set of plaques which depicts the map of the temple complex and an overview of its history. To read a more detailed historic overview, please click on the history icon in the tour. There are two small shrines situated behind the plaques to the left, namely Veerabhadraswami temple and Maramma temple \
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Click on the blue circle to proceed to the Mantapa, on the left of the gopura (temple entrance)
panorama_1CF6E839_3FD2_7DAB_4182_34B969C10D44.subtitle = Umamaheshwara refers to Shiva and Parvati depicted and worshipped together. Here Shiva is the manifestation of Purusha - a cosmic being, and Parvati is the manifestation of Prakriti - the reality which we live in. This divine union of Purusha and Prakriti results in Srishti or procreation and this maintains the constant cycle of creation and balance. Here both Shiva and Parvati can be seen seated together with Parvati seated to the left of Shiva. \
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An elaborate Kalyana Mantapa in black stone is located in front of the shrine. Also observe the ceiling above, containing intricate carvings of various deities such as Brahma, Vishnu, Nataraja, including Vishnu in his Dashavatara form, on the extreme right. \
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The rear side of the shrine has elaborate motifs with saptarishis & various deities. Access may be restricted, but you could get a glimpse of the rear side by clicking on the 2 photo-bubble hotspots on either side of the kalyana mantapa. \
panorama_19A12355_3AB4_7CDB_41C3_507D0D7B4D25.subtitle = We now get a clear view of the Shikhara (spire) of the Arunachaleshwara shrine. \
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The Shikhara may have been built by the Nolambas, considering the architectural style which resembles the Chola Shikhara. It consists of Shala, Kuta and Panjara (click on Labels icon to view them) which are mini shrines carved on the Shikhara for decoration on each tala or story, on top of which is a stupi or a finial. Shala is a rectangular shaped shrine, Kuta is square shaped and Panjara is barrel shaped. The shikhara is decorated with carvings of forms of Shiva like Dakshinamurthi, Gangadhara etc.. Vishnu and Narasimha, and a few other deities like Surya, Brahma, Nandi, Lakshmi etc. \
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A lot of the upper part of the Shikara called Stupi is in ruins and may have been restructured at a later period, after the original construction.
panorama_2B161EF3_35F4_E5DF_41B8_DCF36903A1F3.subtitle = Welcome to Bhoganandeeshwara temple. \
A brief overview about the temple & it's history can be viewed by clicking on the "i" & "hourglass" buttons. \
As you enter the complex, observe the prakara or rectangular porch enclosing the grass courtyards on both sides. The porch extends for about 200 meters, heading towards the temple entrance. \
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This is a typical example of how the Vijayanagara empire transformed the temple from simply a place of worship to a centre for social and economic activity. In any temple that is influenced by the Vijayanagara empire, you are likely to see this horizontal expansion of the temple from its initial origins. In times past, temples were at the center of most economic and social activity in a village. One can imagine this well designed and large courtyard, as a bustling bazaar during special occasions like festivals. \
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Ahead and to your right in the courtyard, there exists a small Naga Shrine, with the first of three Kalyanis (Water step-well). As you visit the Naga shrine and the Kalyani, please do read the excellent inscription provided in front of the Kalyani. \
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As you head to the main entrance please click on the blue circle hotspot or the animated white arrows.
panorama_29F6497D_35FC_ECCB_41B8_EAA7035260A7.subtitle = Welcome to Bhoganandishwara temple! \
A brief overview about the temple & it's history can be viewed by clicking on the "i" & "hourglass" buttons. If you're entering from the North entrance, you'll see a platform on the right side called 'Mahanavami dibba' and rectangular porches enclosing the grass courtyards on your left. The porch extends for about 200 meters. \
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On the left, there's also a Naga Shrine, with the first of three Kalyanis (Water step-well). \
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As you head to the main entrance please click on the blue circle hotspot or the animated white arrows.
### Title
panorama_35668975_3823_3DE1_41CA_7C88ED0F4B7A.label = Apita Kuchamba shrine
panorama_4519F779_5961_FE74_41C7_5CA5DAD5BA8F.label = Apita Kuchamba shrine
panorama_1AD9A8C4_3AB4_2C38_41C3_BDB3A144174D.label = Apita Kuchamba shrine
panorama_35F27734_3821_5567_41B3_EA986028C516.label = Apita Kuchamba shrine
panorama_29F6497D_35FC_ECCB_41B8_EAA7035260A7.label = Entrance (North)
panorama_356E13F2_3821_6CE3_419F_E70295160D43.label = Girijamba shrine
panorama_2A8A2459_3597_E4CB_41C9_E853B60544F2.label = Gopura
panorama_29713AE6_358C_2DF9_41C8_5B2E28082A11.label = Gopura
photo_4308E95A_50A4_0E61_41CF_F24A74DBC30E.label = HS A002 Deepa Stambha
photo_44E5D4B7_50E4_0620_418F_189A463A02D8.label = HS A003 Harihara
photo_A03F4E67_8D1A_7782_41BD_A01760D76350.label = HS A003a Mythical lion
photo_A1B4CE84_8D1E_D485_41D0_1061CBC47A64.label = HS A003b Dancer
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## Popup
### Body
htmlText_4E4E64FC_6883_6E5B_41D2_92034CE99300.html = A Bharathanatyam dancer
Some scholars believe that Bharathanayam is a descendant of the devadasi system which started during the Vijayanagara period.
A female warrior with bow
The image is a depiction of a female warrior holding a bow.
In the context of the Vijayanagara empire, women transcended conventional roles. They embraced wrestling, assumed positions as bodyguards, pursued diverse professions, actively engaged in governance and even demonstrated their valor on the battlefield, thus revealing their multifaceted talents and significant contributions to society.
Representation of Women during the Vijayanagara Period
Women as Wrestlers: Portuguese traveler Fernao Nuniz wrote about women wrestlers, and there's an epigraphical record from 1446 AD confirming this. For instance, Hariyakka avenged her father's death in a wrestling match and a memorial was erected for her in Shekarpur, Shimoga.
Women as Body-Guards: Portuguese traveler Domingo Paes mentioned women guards, eunuchs, and attendants who supported queens and court ladies. These women were skilled in various tasks, including handling swords, shields, blowing trumpets, and even wrestling. Sculptures, like one on the Maha Navami Dibba in Hampi, depict women bodyguards protecting the king with swords.
Women as Warriors: Inscriptions highlight the bravery of queens who actively joined their husbands in wars. In 1515 AD, Tirumala Devi and Chinna Devi joined Krishna Deva Raya during his expedition to Kondaveedu. Keen observations of the sculptures of the Vijayanagara period in Hampi show women riding elephants and horses on the battlefield.
Source:
Vijayanagara Empire: Role of the Women in Shaping Its History - A Critical Study in the Economic Sphere. Published Paper in International Journal of Innovative Research In Technology, June 2023
Ardhanarishwara
(on the far side of the pillar)
A manifestation of Lord Shiva, as a composite of the male & female forms. The right half is male and represents Shiva, while the left half is female representing his consort, Parvathi.
Bhairava or Kalabhairava
He is an extremely powerful manifestation of Lord Shiva, with quite a frightening appearance. In his four hands, he holds Trishula (trident), danda (a stick to punish the sinners), damaru and a severed head of Brahma. His vahana or vehicle is a black dog, that can also be observed here.
Bhairava or Kalabhairava
He is an extremely powerful manifestation of Lord Shiva. His appearance is quite frightening. In his four hands, he holds Trishula (trident), danda (stick to punish the sinners), Damaru and a skull or the severed head of Brahma. His vahana is a black dog.
One of the many versions associated with this ferocious avatar of Shiva is that he assumed this form to punish Brahma, who had insulted him. He cut off one of Brahma's five heads to punish him and end his ego. The head or skull of Brahma then gets attached to one of Shiva's hands due to his sin of killing a holy & learned scholar.
To atone for this sin, Shiva then assumes the form of a mendicant with the skull as his begging bowl. This form is depicted on another nearby pillar.
Bhikshatana murthi
This is another form of Shiva who is the supreme medicant. Bhikshatana is a gentler form of Bhairava that Shiva assumes to atone for his sin of severing Brahma's fifth head. He wanders the world as a beggar (Bhiksha = beggar) till he reaches theh holy city of Varanasi, where he is freed from his sins.
He is often depicted with a Jatamandala (matted hair arranged in a circle), a third eye on his forehead, an ornamental headband and wearing very few or no clothes. He holds Brahma's kapala (skull) used as a begging bowl, and on the other hand which is stretched out downwards, he holds a bit of grass near the mouth of his pet deer.
This depiction offers a stark contrast to the more frightening form of Kalabhairava that is 2 pillars away at the entrance to the mukha mantapa.
Dakshinamurthi
Dakshinamurthi literally means the one who is facing South in Sanskrit. This form of Shiva represents knowledge and ultimate awareness and can always be found carved or installed facing the South.
Dhwaja Stambha
The Dhwaja Sthamba or Flag staff is the tallest shaft of a stone pillar placed in front of the temple.
It acts as a landmark for the temple. The Pillar is placed before starting the construction of the temple.
Dhwaja stambha
The flagstaff is usually the tallest pillar and is placed in front of the temple, between the Gopura and the Garbha griha. During festivals or important occasions, it is decorated with different types of flags.
It acts as a landmark of the temple, and is usually established before starting the construction of the temple.
[[[In many temples, the stambha is plated with metals such as copper or brass - possibly to also act as lightning arrestors & protect the temple. Being the highest point in the temple, they would offer a grounding passage in case of lightning strikes.]]]
Dwarapalas
The temple guardians or Dwarapalas of the Shiva temple are depicted with 4 hands, one hand holding the Damaru, one holding the mace, the third hand holding a Trishula, and the fourth hand is depicted in Abhaya Mudra.
Often depicted as larger-than-life warriors with fearsome looks and armed with gada (mace), Dwarapalas are the gatekeepers and guardians of the temple and the inner abode of the lord. They are always in pairs or in even numbers. The Agama texts recommend four pairs of Dwarapalas, each pair to guard a cardinal direction based on the size of the temple. In rare cases, structures may have had only one Dwarapala.
The Dwarapalas of the Shiva temple here are depicted in a male form, an extremely large representation of similar figures can be seen in front of the Brihadeshwara temple of Tanjore, which is also a Shiva temple. Other than Ganga and Yamuna who were associated as Dwarapalikas of a Shiva temple from the Pallava period, male Dwarapalakas have always been associated with Shiva long before this.
Gangadhara
Shiva as Gangadhara depicts the mythological story when he uses his tresses to absorb the mighty impact of Ganga as she descends from the heavens to the earth at the invocation of Bhagiratha.
Goddess Durga or Kali
Depicted here holding an axe.
Kali is the goddess of time and change. She is often seen as a destroyer of illusions and ignorance, and her use of the axe symbolizes the cutting away of ignorance and the opening of new possibilities.
Goddess Durga shown standing on the demon Mahisha. This is a very interesting carving as Durga is seldom shown holding Shanka and Chakra. However, while battling the demon, she was granted powers by the Trimurthis, hence the depiction is quite apt for the scene.
Harihara
A composite of Shiva & Vishnu, Harihara is a philosophical term to denote an amalgamation of different aspects of both the gods as part of one identity. His name is derived from Hari - a form of Vishnu, and Hara - a form of Shiva. He's also known as Shankarnarayana (Shankar=Shiva; Narayana=Vishnu).
He can be seen holding Trishula (trident, Shiva's weapon) in his right hand, and the Sudarshana Chakra (Vishnu's weapon) in his left.
Harihara is discussed in the Advaita Vedanta texts of Hindu Philosophy.
Harihara
A composite of Shiva & Vishnu, Harihara is a philosophical term to denote an amalgamation of different aspects of both the gods as part of one identity. His name is derived from Hari - a form of Vishnu, and Hara - a form of Shiva. He's also known as Shankarnarayana (Shankar=Shiva; Narayana=Vishnu).
He can be seen holding Trishula (trident, Shiva's weapon) in his right hand, and the Sudarshana Chakra (Vishnu's weapon) in his left.
Harihara is discussed in the Advaita Vedanta texts of Hindu Philosophy.
History
The region around Nandi has been known throughout history as Mulbagilu, which means “Eastern Doorway” in Kannada. Positioned as a gateway between Tamil Nadu and Karnataka, this region was a crucial point along the trade routes that went up to the Malabar coast. Travel between the heartlands of Tamil Nadu and Karnataka also passed through this region. Many dynasties sought dominion over this land, due to its location amidst the trade routes.
The Chola, Pallava, Ganga and Rashtrakuta dynasties had influence in this region between the 4th and 11th century C.E., followed by the Vijayanagara dynasty in the 15th century C.E. However, it is believed that the region around Nandi has always been under the control of feudatories, key amongst them the Banas and the Nolambas.
The Banas (4th – 9th century C.E), who were feudatories of the Chalukyas and Pandyas are believed to have been a strong power in this region till the late 9th century C.E. A copper plate inscription found in Chikaballapur states that Ratnavali, the consort of a Bana king from 810 C.E donated a gift of land to a temple in the region, but it is unclear if this refers to the Bhoganandeeshwara temple.
The Nolambas (8th – 11th century C.E), were feudatories to the Pallavas and Gangas at different times. The Bhoganandeeshwara temple, built in the 9th and 10th century shows architectural evidence of the Nolamba style, which was influenced by the Cholas and Pallavas. Late 9th century inscriptions found near the Nandi village, belonging to the Nolamba king Mahendra, also known as Nolambadiraja, mention a temple dedicated to Shiva.
The Arunachaleshwara and Bhoganandeeshwara shrines, show the influence of the Nolambas architectural style. The Umamaheswara shrine and the rest of the temple complex reflects the style of Vijayanagara architecture, with an outward and horizontal expansion of the temple complex.
History
The region around Nandi has been known throughout history as Mulbagilu, which means “Eastern Doorway” in Kannada. Positioned as a gateway between Tamil Nadu and Karnataka, this region was a crucial point along the trade routes that went up to the Malabar coast. Travel between the heartlands of Tamil Nadu and Karnataka also passed through this region. Many dynasties sought dominion over this land, due to its location amidst the trade routes.
The Chola, Pallava, Ganga and Rashtrakuta dynasties had influence in this region between the 4th and 11th century C.E., followed by the Vijayanagara dynasty in the 15th century C.E. However, it is believed that the region around Nandi has always been under the control of feudatories, key amongst them the Banas and the Nolambas.
The Banas (4th – 9th century C.E), who were feudatories of the Chalukyas and Pandyas are believed to have been a strong power in this region till the late 9th century C.E. A copper plate inscription found in Chikaballapur states that Ratnavali, the consort of a Bana king from 810 C.E donated a gift of land to a temple in the region, but it is unclear if this refers to the Bhoganandeeshwara temple.
The Nolambas (8th – 11th century C.E), were feudatories to the Pallavas and Gangas at different times. The Bhoganandeeshwara temple, built in the 9th and 10th century shows architectural evidence of the Nolamba style, which was influenced by the Cholas and Pallavas. Late 9th century inscriptions found near the Nandi village, belonging to the Nolamba king Mahendra, also known as Nolambadiraja, mention a temple dedicated to Shiva.
The Arunachaleshwara and Bhoganandeeshwara shrines, show the influence of the Nolambas architectural style. The Umamaheswara shrine and the rest of the temple complex reflects the style of Vijayanagara architecture, with an outward and horizontal expansion of the temple complex.
Inscription Stones
Inscriptions serve as enduring records etched onto durable materials, preserving valuable information for future generations and providing insights into history. However, creating inscriptions was a costly endeavor that demanded significant financial resources and skilled craftsmanship to engrave words onto materials like stone or metal. The royal families or merchant families, sponsored craftsmen to inscribe about the deeds of their families and their lineages.
While inscriptions are valuable sources of historical knowledge, it's important to note that they often represent the aristocratic perspective of history rather than the voice of the common people.
Examples of translations of some of the inscription stones found in & around the temple are shown in the adjacent hotspots.
Kala Bhairava
This fierce form of Shiva is depicted with Trishula, Damaru and the severed head of Brahma. His lower garment is made of skulls.
Linga with Vasuki
Linga with serpant Vasuki coiled around it. Vasiki is believed to be the king of snakes. He is an ardent devotee of Shiva.
The serpant winds around the Shivalinga three and a half times. This represents the three levels of consciousness: Unconscious, Subconscious and Conscious. The half turn refers to the awakened super–consciousness.
Lingodbhava
Notice the Linga in the background. Shiva is shown emerging from it.
Madanika
Madanika in Karnataka, Soorasundari in Maharashtra and Salabhanjika in Northern parts of India, mainly in Buddhism, is a Yakshi. Yakshis are tree spirits and in Buddhist architecture, salabhanjikas are usually depicted holding a tree with creepers all around her. In Hindu iconography however, the meaning is less specific. These female sculptures are carved to break the monotony of the pillars and walls and also to show the artistic skill of an artisan. They are typically shown indulging in various activities such as dancing, playing instruments etc.
Notice the jewellery and fashion sense of this period that are very intricately engraved! The Madanika is adorned with ornaments from head to toe. The notable ones include Lalaatapatta (forehead jewellery), Karnabhushana (Earings), Haara (Necklaces), Bahubhushana (Arm bands), Angulikas (Finger rings), Bhuja shobhana (Shoulder ornaments), Kathibandhas (Waist bands), Nupuras (Anklets).
Madanika
Madanika in Karnataka, Soorasundari in Maharashtra and Salabhanjika in Northern parts of India, mainly in Buddhism, is a Yakshi. Yakshis are tree spirits and in Buddhist architecture, salabhanjikas are usually depicted holding a tree with creepers all around her. In Hindu iconography however, the meaning is less specific. These female sculptures are carved to break the monotony of the pillars and walls and also to show the artistic skill of an artisan. They are typically shown indulging in various activities such as dancing, playing instruments etc.
Notice the jewellery and fashion sense of this period that are very intricately engraved! The Madanika is adorned with ornaments from head to toe. The notable ones include Lalaatapatta (forehead jewellery), Karnabhushana (Earings), Haara (Necklaces), Bahubhushana (Arm bands), Angulikas (Finger rings), Bhuja shobhana (Shoulder ornaments), Kathibandhas (Waist bands), Nupuras (Anklets).
Markandeya embracing a Shivalinga.
The beautiful carving is likely to be a depiction of how sage Markandeya was rescued by Lord Shiva from Yama. Markandeya was an ardent devotee of Lord Shiva but unfortunately, he was destined to die at the age of sixteen. So, when Yama tries to take him away, Markandeya embraces the Shivalinga in front of him and pleased by his devotion, Lord Shiva saves him from death.
Another nearby pillar depicts Shiva emerging from the Linga to punish Yama.
Minanatha, is a Natha-Siddhas part of the Siddha cult that worshipped Shiva in Tamil Nadu. He is seated on a long fish in an ardhapadmasana pose. He is wearing a thick sacred thread in his neck, tied with a pendant. He is holding a sankha (horn) like instrument in his right hand and his left hand is resting on his left thigh.
Naivedyam stone
Also known as 'Bali peetam' - is a platform used for offering prasadam to the Lord. It is usually built in front of the main sanctum in a temple.
Here, it is built in front of the Bhoganandeeshwara shrine, which along with the Dhwaja stambha in front, suggests that this was the first of the 3 shrines to be constructed.
Nandi Mantapa
There are two Nandi Matapas built in front of both the Bhoganandeeshwara and Arunachaleshwara shrines. The mantapa is surrounded by 4 pillars which clearly show the architectural influence of the Cholas with their simple geometric design. The outer walls of the mantapas are etched with Tamil inscriptions.
Nandi is the vahana (vehicle) of Lord Shiva. He is the guardian of Kailasa, the abode of Shiva. Almost all Shiva temples display stone sculpture of Nandi, generally facing the main shrine. Nandi is described as the son of the sage Shilada.
Shilada underwent severe penance to have a boon– a child with immortality and blessings of Shiva, and received Nandi as his son. Legends say that Nandi was born from a yajna performed by Shilada. Nandi grew up as an ardent devotee of Shiva and he performed severe penance to become his gate-keeper, as well as his mount, on the banks of river Narmada.
Nandi Mantapa
There are two Nandi Matapas built in front of both the Bhoganandeeshwara and Arunachaleshwara shrines. The mantapa is surrounded by 4 pillars which clearly show the architectural influence of the Cholas with their simple geometric design. The outer walls of the mantapas are etched with Tamil inscriptions.
Nandi is the vahana (vehicle) of Lord Shiva. He is the guardian of Kailasa, the abode of Shiva. Almost all Shiva temples display stone sculpture of Nandi, generally facing the main shrine. Nandi is described as the son of the sage Shilada. Shilada underwent severe penance to have a boon– a child with immortality and blessings of Shiva, and received Nandi as his son. Legends say that Nandi was born from a yajna performed by Shilada. Nandi grew up as an ardent devotee of Shiva and he performed severe penance to become his gate-keeper, as well as his mount, on the banks of river Narmada.
Narasimha
He is the 4th incarnation of Vishnu, who took the form of a part-lion, part-man being to kill the demon, Hiranyakashipu, in order to protect his devotee Prahlad.
Panduranga
He is a form of Lord Krishna. He is often depicted as a dark young boy with both of his hands placed on his hips. His consort is Goddess Rukmini.
Parashurama
He is the 6th Avatara of Vishnu.
He is one of the gods, whose presence is seen in both the epics Mahabharatha and Ramayana. He was born to a Rishi and a royal princess, hence was both a Brahmin and a Kshatriya. Parashurama is known as the teacher and wielder of weapons and archery in both the epics. He is depicted here with his traditional weapon, the axe.
Pranala
Pranalas are used to drain the Abhisheka – teertha - liquids such as milk, water, ghee - from the Sanctum.
This particular pranala is a form of Makara pranala. It depicts a mythical sea-creature - makara with it's mouth propped open by a celestial being.
It is interesting to note that the adjacent shrine of Bhoganandishwara has a different pranala called Bhuta pranala.
Pranala
Pranalas are used to drain the Abhisheka – teertha from the Sanctum.
This particular pranala is called the Bhuta - pranala. It depicts a Bhuta or a goblin like creature squatting down, with his mouth open wide, which is a passage for the teertha to flow out.
Rishabhantika
Rishabhanatha or Adinatha is the founder of the Ikshvaku dynasty and he is also considered as the first of the 24 thirthankaras of Jainism. Adinatha also refers to being the first lord.
Shiva emerging from Linga
A depiction of Markandeya & Shiva.
Markandeya was an ardent devotee of Lord Shiva but unfortunately, he was destined to die at the age of sixteen. So, when Yama tries to take him away, Markandeya prays to and embraces the Shivalinga in front of him.
This engraving shows Shiva emerging from the Linga, with one leg still inside the Linga. He then proceeds to punish Yama and saves Markendya from death.
Another nearby pillar depicts Markandeya embracing the Linga.
Stone Wheels
The stone wheels that have been positioned here don't appear to hold any significant historical value. They seem to have been recently added and painted over on one side.
Vaishnavi
She is the manifestation of Adi shakti. She possesses the power of Vishnu, and it is often believed that she is the incarnation of Lakshmi who is the consort of Vishnu. She is shown seated on a peetha (raised platform) in sukhasana holding shanka and chakra in her back hands and the front ones show Varadha and abhaya mudra.
Varaha Avatar
The 3rd avatar of Vishnu.
As per the Hindu mythology, a demon named Hiranyaksha dragged the Earth to the bottom of the sea.
It was Lord Vishnu who took the form of a boar (Varaha Avatar) to rescue it. The Varaha Avatar slew the demon and raised the Earth out of the waters using his tusks.
It is represented in full animal form or with the head of a boar and the body of a man.
The divine purpose of Varaha Avatar was to restore Dharma or righteousness and save the planet earth from the hands of demons or Asuras.
Veerabhadra swami
There are 2 carvings side by side that are mirror images of a unique depiction of Shiva where he is shown mounted on a makara, similar to the Ganga and Yamuna carving seen at the gopura.
Shiva is represented with a mustache. The representation of a mustache on deities is specific to the Vijayanagara style.
Veerabhadra swami
This is a typical representation of Veerabhadra swami. He is created by the wrath of Shiva, when he hurls a lock of his matted hair on the ground upon hearing the news of self-immolation of his consort, Sati, at the Daksha yajna.
He is depicted holding weapons like sword and bow. His face holds a fierce expression with a warrior-like mustache. His left hand is shown holding the Severed head of Daksha (Sati's father). On his right, Daksha can be seen with the head of a ram after being restored by Brahma.
Vrushabhantika
Vrushabha means a bull. Shiva is depicted here alongside Nandi, the bull and vahana of Shiva.
Vyaghrapada
A rishi (sage) with the face of a human and the feet of a tiger.
He was an ardent devotee of Lord Shiva, and daily used to offer fresh flowers that were untouched, even by bees. In collecting such flowers, he faced a lot of hardships causing injury to his legs. Pleased with his devotion, the Lord replaced his legs with tiger's feet. Thus his name: Vyaghra - Tiger + Pada - feet
Vyaghrapada
A rishi (sage) with the face of a human and the feet of a tiger.
He was an ardent devotee of Lord Shiva, and daily used to offer fresh flowers that were untouched, even by bees. In collecting such flowers, he faced a lot of hardships causing injury to his legs. Pleased with his devotion, the Lord replaced his legs with tiger's feet. Thus his name: Vyaghra - Tiger + Pada - feet
At the zenith of the pillar, a courtyard unfurls, With royal figures casting their gaze upon the world. Descending through the elegantly carved gallery, a parliament of parrots in perfect array, as though majestic lords, adorned in vibrant feathers.
Further down, parrots vertically aligned, feeding on the creepers, all so natural and abundant. Creepers unfurl in patterns intricate and bold, till they intertwine at the base of the pillar into stories untold.
The pillar adorned by life's essence in full bloom, with nourishing flora and fauna. Blooming lotuses, miniature lions and celestial beings, they convene, in unity, to grace the pillar's elegant scene.
A carving of Garuda, the revered celestial bird and the sacred vehicle of Vishnu. The distinguishing features of the Garuda carving include a worn headgear and a beak-like nose, symbolizing its eagle-like form.
A celestial being, playing an instrument that looks very similar to a sitar.
A deepa stambha - a ceremonial pillar where lamps are lit at the top, especially during festivals - is positioned at the front of the mantapa. It has a few small projections used for grip to climb up the shaft to light the diya on top. The base of the stambha is adorned with engravings of Nandi & other deities.
A drummer with a unique looking matted hair
A few distinct images (the second image can be seen on the other side of the pillar) - the girls depicted seem to possess disheveled, untamed hair, and appears to be devoid of any clothing or jewelry. This portrayal could suggest a potential representation of poverty or social marginalization.
Alternately, the images could also represent a travellers with differently styled & braided hair.
A jaalandra (lattice window) with several ganas dancing, playing musical instruments & in different poses.
Shivaganas are the attendants of Shiva. These ganas are said to be mischievous. It is commonly believed that they follow the devotees around inside the temple. Hence, in a Shiva temple, the devotees are expected to sit and spend some time inside the temple before leaving so that the ganas don’t cause any trouble on the way back.
A lady is depicted holding a flying whisk in her right hand. This particular depiction may suggest her role as a servant in the royal family or within a noble household, as the flying whisk was often associated with such positions. The inclusion of these details offers valuable insights into the social hierarchy and roles within the depicted society.
A madanika holding a kalasha, that seems to be crowned with a coconut.
A madanika holding a parrot.
A prototype of the original chariot, that might have belonged to the Vijayanagara period. The chariot would be used to seat the deities on it during important festivals and carry them in a procession around the temple.
Remnants of a chariot can be seen in the outer premises, near the Mahanavami dibba.
A roaring lion in full glory
A summary of the inscription dated 1680 AD refers to Ballapura Kingdom who ruled over this region. The Mleccha, (Greeks or in this context, might be referring to the British) who wanted to take control of the fort were driven off.
In the 17th century the Maratha ruler Sambhojirat was ruling over this region.
Source: Epigrāphia Karnāṭaka Kolar district (Mysore; 1905)
A warrior presumably belonging to that period, holding a curved dagger and striking a fighting stance.
A warrior tying the bow string using his foot for support. Notice the headdress! It is not a crown of a king or a devata.
Alongside the engravings, the walls of the entrance feature numerous pilasters, and the depiction of Purnakumbha, a pot filled with water with creepers emerging from it. The Purnakumbha serves as a powerful symbol representing Mother Earth and the essence of life. It serves as a poignant reminder that water is the source of nourishment and sustenance, symbolizing prosperity and the blossoming of life.
An Apsara holding a mirror.
An interesting depiction of an elephant with its head bowed down
Another example of an inscription (not corresponding to the stone behind though): it refers to a Nolambhadiraja, who was a king of Nolamba and a feudatory of the Pallavas. It mentions a chief whose son Paliyana built a tower to the Nandi temple, and information on how he received the land is lost from the inscription.
Source: Epigrāphia Karnāṭaka Kolar district (Mysore; 1905)
At the base of the Shikhara, it is interesting to note that the Ganas are depicted trying to hold the weight of the entire Shikhara using their palms or in some cases their shoulders. This adds a rather comical aspect which displays their personality.
At the bottom of the temple, intricate carvings can be seen. Here you can see a brave warrior astride a legendary creature, and a highly detailed depiction of an elephant and a crocodile( makara) leaping towards the warrior. These carvings exhibit an impressive level of creativity and skill.
At the bottom of the temple, intricate carvings can be seen. Here you can see a brave warrior astride a legendary creature, and a highly detailed depiction of an elephant and a crocodile( makara) leaping towards the warrior. These carvings exhibit an impressive level of creativity and skill.
For over a millennium, the Bhoganandeeshwara Temple has stood as a sanctuary of Lord Shiva and his beloved companion Nandi. Among the chronicles of Bangalore's past, this temple emerges as not only one of grandeur but also an epicenter of devotion.
In Kannada, "Bhoga" means happiness and prosperity, and "Nandi" refers to the vehicle or Vahana of Shiva. Hence, the temple is called Bhoganandeeshwara- a haven of joy where Shiva and Nandi's companionship is celebrated. It's not just a sacred space - it's a tapestry of history, a place where ancient stones echo with stories from eras long gone.
The temple has three main shrines and two shrines for local goddesses. The main shrines are devoted to
Arunachaleshwara, Umamaheshwara &
Bhoganandeeshwara.
The entire temple complex and its architectural nuances are devoted to celebrating and worshipping Lord Shiva in his many forms.
For over a millennium, the Bhoganandeeshwara Temple has stood as a sanctuary of Lord Shiva and his beloved companion Nandi. Among the chronicles of Bangalore's past, this temple emerges as not only one of grandeur but also an epicenter of devotion.
In Kannada, "Bhoga" means happiness and prosperity, and "Nandi" refers to the vehicle or Vahana of Shiva. Hence, the temple is called Bhoganandeeshwara- a haven of joy where Shiva and Nandi's companionship is celebrated. It's not just a sacred space; it's a tapestry of history, a place where ancient stones echo with stories from eras long gone.
The temple has three main shrines and two shrines for local goddesses. The main shrines are devoted to
Arunachaleshwara, Umamaheshwara &
Bhoganandeeshwara.
The entire temple complex and its architectural nuances are devoted to celebrating and worshipping Lord Shiva in his many forms.
Ganapathi standing in Samabhangi posture, with Madanikas bringing offerings on either side.
Ganga and Yamuna on either side of the entrance as dwarapalikas stand on top of a makara, a creature from Hindu mythology, and the vahana (vehicle) of these river goddesses.
Notice the beautifully carved details of the makara, which is a composite animal. It has the trunk of an elephant, jaws of a crocodile, protruding teeth of a wild boar and the tail of a peacock.
Ganga and Yamuna dwarapalikas is usually a feature of Shiva temple especially in the Pallava period. It can be seen in Vijayanagara architecture as well.
Dwarapalikas are usually common for Shakthi temples. For Shiva temples they are usually carved on pillars or on Gopuras.
Goddess Lakshmi depicted with four arms, two of which show the Varadha and Abhaya mudra. The other two hands are holding Lotus buds. They symbolize fortune, knowledge and spiritual liberation.
Goddess Saraswathi standing in samabhangi holding a veena.
In this particular carving on the jaalandra, a multitude of Shiva ganas are depicted showcasing diverse mudras (hand gestures) and positions.
Just like the mantapa at the entrance, Yali pillars guard the entrance to the shrine complex and the mukha mantapa. These are better preserved than those at the entrance - the ornate designs, ornaments and finer details such as eyes,teeth & claws of the Yali are clearly visible in these pillars.
The Yali pillars, depict a warrior mounted on a mythical creature, with an elephant positioned beneath, emitting powerful war cries.
Kartikeya sitting on his vahana, the peacock.
Lord Brahma depicted in a rather unusual posture.
Lord Brahma seated on a lotus, below which is carved a beautiful peacock.
Lord Shiva depicted with his trishul, damru and his mace - Ekasha gada - with his left hand in abhaya mudra.
Lord Surya (Sun) shown on his chariot drawn by 7 horses. The 7 horses are believed to represent the 7 colours of the rainbow.
Lord Vishnu bearing his Sudarshan chakra. his shankha (conch), his mace - Kaumodaki - and his right hand in abhaya mudra.
Narasimha killing the demon Hiranyakashyapu
On the ceiling of the Umamaheshwari shrine, one can observe beautiful carvings of several devatas like Brahma, Vishnu, Nataraja, Saraswati, Lakshmi, Ganesha along with other divine and semi–divine beings.
On the extreme right, we can see a beautiful carving of Vishnu in his Dashavatara form.
On the four sides of the Stupi (finial or top most part of the shikhara), it looks like there used to be carvings of different figures, but they seem to have eroded now.The carvings on top are too old and damaged to be sure about what they depict.
The carving on one side of the Stupi is seen with a figure of three heads and hence identified as Brahma. The other carving does not seem to signify a deity, and hence is likely a powerful royal figure.
The concept of the King being as divine as a god was a propaganda that most royal dynasties propagated. This might have been a symbolism of the same, but it is not clear which king this is this image depicting.
On the lower part of the chariot, is a representation of decorative kirtimukhas of goblin like structures. They are depicted with a gigantic face and a small body.
One of the most common elements of temple architecture is the representation of flora & fauna as part of the structure, for ex: creepers, flowers like lotus carved in symmetry, animals like elephants, lions, crocodiles etc.
The way the vines or creepers are carved to look balanced and elegant is an old tradition. It's called "Kalpalatha" or "Kalpataru." Besides adding beauty, they have a special meaning in the temple's architecture.
The representation of flora and fauna as part of the temple architecture is a long-standing tradition
Even before people created images of God, they worshipped the idea of God as something or someone beyond human understanding. They saw that soil helped plants grow, water made the soil fertile, and the food from these plants nourished our bodies. All of this happened without humans fully knowing or comprehending how it worked. Thus, nature became one of the earliest representations of the Divine. Our livelihood depended on the flora & fauna around us and worshipping them was a way of safeguarding from calamities like draughts, floods etc.
Several Buddhist, Tibetan and Chinese scholars explored the Indian subcontinent in search of knowledge and exchange of ideas. Around the mantapa, they are several varied depictions of such travellers shown wearing different types of attires and hairstyles.
Several Buddhist, Tibetan and Chinese scholars explored the Indian subcontinent in search of knowledge and exchange of ideas. Around the mantapa, they are several varied depictions of such travellers shown wearing different types of attires and hairstyles.
Shivalinga along with his vahana Nandi
Shivapurana mentions the following story of how Shiva married his consort Parvati.
Tarakasura was a very powerful demon who had performed several penances and was invincible. The demon terrrorised all three worlds. When the Devatas turned to Lord Brahma for help, they find out that only Shiva's child would be powerful enough to defeat the demon. However, Shiva was grieving the death of Sati and hence had gone into deep tapasya (meditation).
Parvati was the daughter of Himavanraja, the King of the Himalayas. She was completely devoted to Shiva, wishing that one day she could marry the Lord. When Narada found out about this, he suggested that she perform rigorous penance in order to please Shiva.
As per Narada's suggestion, Parvati decides to perform tapasya and ask for Shiva's hand in marriage. Impressed by her dedication, Shiva agrees to marry her. Later he sends the Saptarishis as messengers to the Parvatharaja's domain, seeking his permission and blessings to marry his daughter Parvati. Delighted by this, the king agrees to the proposal and fixed a day for their wedding.
Lord Brahma discharged the duties of a divine priest and Lord Vishnu was responsible for the wedding preparations. Lord Shiva who was worshipped by both devatas and danavas alike, had invited both clans for the wedding along with all his ganas. He also instructed sage Narada to invite all the deities, sages and celestial beings.
The Girija kalyana panels seen represent elements of this story.
Girija Kalyana is a beautiful poem written by the 12th century Kannada poet Harihara. In his epic poem he mainly narrates the story of Manmatha (the god of Love) who tries to disturb Lord Shiva's penance but in turn gets punished brutally. The story behind this poem became extremely popular as it shows Lord Shiva's untainted love for Sati. The poem also mentions the ordeals faced by Parvati during her penance and how she endures all of it because of her unwavering love for Shiva.
The Kalyana Mantapa is a marvel of intricate design. A distinctive feature of their architectural style, it stands as a testament to the unparalleled artistic prowess prevalent during the era of the Vijayanagara dynasty.
The material used here is Black stone, while majority of the temple is constructed in granite. Notice especially the four pillars of the mantapa - they are masterpieces of carving.
The mantapa stands as an independent structure built during a different period from the two adjacent temples. The deliberate space left between these structures not only separates them but also serves as a form of ventilation, allowing us to appreciate the temple's intricate details better.
The Yali refers to a mythical creature. They are depicted in a variety of ways, but most commonly with the head & body of a lion. They are considered as guardian creatures, protecting the temples and residents.
The image shown here is of a pillar from the mukha mantapa of the temple, where it is better preserved and the intricate details are more visible.
The pillars here depict a warrior mounted on the mythical creature, with an elephant positioned beneath emitting powerful war cries. These pillars are meticulously designed to convey a sense of dynamic movement, as if the lion is poised to pounce upon any beholder. They stand as remarkable examples of the artistic mastery and intricate craftsmanship of the era. These are exquisite relics of the Vijayangara period, majorly themed on war scenes.
The representation of the lion in the Yali is believed to be inspired by the Hoysala representation of the lion, from a legend that mentions the founder of the Hoysala dynasty, Sala, battling a lion to death, as a ode to his strength and power
The carving is a unique representation of a foreign traveler or a sage seated in a meditative posture. The attire depicts suggests that he is not a native Indian. He seems to be wearing a robe and a unique headdress.
The carving is quite intriguing as the person in it including his attire seems like a Chinese/Buddhist traveler.
The ceiling of the Kalyana Mantapa gracefully transitions into a splendidly detailed dome. This dome is adorned with multiple tiers or layers of intricate decorations. Each level or layer features its unique theme of engravings, such as unique geometric patterns, ganas supporting the weight of the ceiling and creeper motifs. These decorative tiers take the form of octagons, with decreasing diameters as they ascend, culminating in an exquisitely crafted lotus at the pinnacle.
The depiction captures the artistry of a drummer engaged in performance.
The drummer is adorned with a distinctive and traditional hat, and showcases elongated earlobes.
The entrance of the temple as seen in 1843, documented by Philip Meadow Taylor.
This drawing seems to indicate some masonry work atop the gopura, suggestive of it being incomplete or damaged over time.
Source:
Retrieved from the Digital British Library.
The exquisite carvings on the pillars reveal parrots that are feeding off a creeper emerging from a elaborate pot.
Throughout the Kalyana Mantapa, a theme emerges - one that celebrates nature in all its forms—birds, plants, flowers, and animals. In this context, the word "Kalyana" transcends its role as a mere symbol of marriage; it embodies the ideals of well-being, joy, and prosperity. In the rich tapestry of Hindu mythology, "Loka Kalyana" signifies the welfare of the world and the flourishing of nature. The artistic motifs within this Kalyana Mantapa beautifully capture the essence of nature's bountiful nourishment, symbolizing the prosperity it bestows upon humankind.
The gopuras depicting various deities around the main kalyani had eroded over time. They were painstakingly reconstructed by ASI to the exact design & dimensions based using scientific methods.
An image showing the kalyani gopuras before & after ASI conservation efforts, shown above, can be viewed at the Interpretation Center located outside the temple.
The halo behind the being identifies it to be a deity. The deity is seen kneeling on a chariot.
The image showcases members of the royal family, specifically the King and Queen, positioned gracefully upon a majestic royal elephant. The elephant itself is lavishly adorned with ornate metal jewelry, suggesting its royal status.
Positioned above the Queen, we can see a carriage with a closed top, a clear visual indicator of their royal lineage.
The mantapa's kapota, or ceiling, showcases an elegant curved design. The rings positioned at the corners of the kapota served the purpose of suspending lamps or diyas, creating a luminous ambiance within the space.
The panel on this side is a continuation of the panels on the other 2 sides of the shrine. It depicts the finale as the divine wedding ceremony of Shiva with Parvathi, in the presence of various deities. King Himavan or Parvath raj, the Lord of Himalayas and father of Parvati, is shown pouring sacred water over the hands of Parvati & Shiva, and being consumed by Nandi. The sacrificial fire is also visible in the background.
The pillars across the temple have engravings of a variety of animals including lions, elephants, monkeys & birds such as swans & peacocks.
An example here - an engraving of a monkey eating a banana!
The pushpa pathikas or bud cornels have evolved from the Chola period and have been majorly adapted during the Vijayanagara period and can be found in all the temples belonging to this period.
The evolution of buds from simple geometric designs to more intricate & ornate designs can be observed in different parts of the temple - like in the porch & mantapa.
The pushpa pathikas or bud cornels have evolved from the Chola period and have been majorly adapted during the Vijayanagara period and can be found in all the temples belonging to this period.
The evolution of buds from simple geometric designs to more intricate & ornate designs can be observed in different parts of the temple - like in the porch & mantapa.
The right half of the panel portrays the Trimurtis -- Brahma, Vishnu and Maheshwara - seated, and being requested by rishis to arrange the wedding of Shiva with Parvati.
The left half of the panel depicts the Trimurtis arriving for the wedding on their respective vahanas or vehicles. Brahma is seated upon a swan, Vishnu borne by Garuda - the mighty bird, and Shiva seated atop Nandi, the divine bull. They are being ushered by a Rudra (a companion of Shiva, also called Rudra) holding a trident and another deity with a sword.
To read the story of Girija Kalyana, click on the book icon below the hotspot.
The sides of the chariot are adorned with Yali figurines and a mighty winged horse. The horse is seen to be supported by or atop a human figure, dressed in a turban & dhoti.
You'll also see several Yali pillars in the mantapas inside the temple.
The superimposition of the panel & wall built by the Vijayanagar behind the Umamaheshwara shrine can be observed here based on the differences in adhisthana and panel styles, especially the decorative engravings.
The wedding procession, including the Saptarishis, two headed Agni and other Vedic deities arrive for the wedding.
These cylindrical pillars were constructed by the Nolambas, and clearly shows the architectural influence of the Cholas. The design carved on the shaft is referred to as Maala sthana.
This carving depicts the Vedic deity Agni (Fire) seated on his Vahana which is a Ram. In Hindu iconography, Agni is usually depicted with 1 to 3 heads suggesting Fire, Lightning and Sun. This carving is an example of a two headed Agni. His crown resembles that of a raging fire.
It is interesting to note that Agni is the guardian of the Southeast direction and hence has been carved on the southeast corner of the Mantapa.
This carving portrays a graceful dancer joyfully moving to the rhythm. The dancer's attire and jewelry are minimal, and she wears a unique thread or belt that stretches diagonally from her shoulder to her waist. This distinctive feature may suggest that she might be performing a distinct folk art form.
This carving seems to be that of a saint sitting on a deer skin, holding an ekatara while the other hand is raised as if he's preaching or singing.
The Bhakti movement in India developed during 7th - 12th century peaked between 15th – 17th century. The movement was formed because of the socio-economic shifts observed during that time. It was led by a group of well-known saints known as the Nayanmars (Shivas) and Alvars (Vaishnavas). They emphasized equality among all beings. The movement was inspired by many poet-saints, who promoted a wide range of philosophical ideas.
This style of Shiva, in the pose of Nataraja, is adopted from the Badami-Aihole structures, where the right leg of the Nataraja is shown planted on the demon, Apasmara (a dwarf representing ignorance) instead of being raised in the air, which is typical Chola style.
The choice of symbolic representation is shaped not only by the patronage of the temple's ruling kingdom but also by the artistic inclinations of the skilled craftsmen engaged in its creation. These craftsmen hailed from cultural hubs of artistry, such as Badami and Tanjore, and imbued their work with the distinctive artistic characteristic of their respective origins.
Umamaheshwara
Shiva and Parvathi seated with Nandi
Vishnu as Yogamurthi
He is seen sitting in a yogic posture, wearing a sacred thread made of Rudraksha.
Women occupied a very honourable position in the Vijayanagar society. Some of them were very learned and eminent litterateurs.
Many women were also courtesans who played a very important role in society. They were two classes: those who were attached to the temples,and those who lived independently. They were highly skilled in music & dance, and were entertainers for the royalty & nobility. Courtesans were highly educated and cultured with no social stigma attached to them.
Yantras are geometrical diagrams or designs used for worship of deities in temples or at home, as an aid in meditation used for the benefits given by their supposed occult powers based on Hindu astrology and tantric texts.. They are also used for adornment of temple premises. Some also believe that Yantras are a dwelling place of certain deities. Each symbol is a representation of various aspects of the divine. Even today symbols are used as means of manifestation.
Young Lord Krishna eating butter from a pot.
The porch was ingeniously designed with a specific need in mind. During the vibrant nights of the temple festivals, countless devotees from diverse villages would gather, seeking solace and refuge beneath its embrace. These sprawling porches, thoughtfully crafted, served as a haven for the faithful, offering them shelter.
The porch was ingeniously designed with a specific need in mind. During the vibrant nights of the temple festivals, countless devotees from diverse villages would gather, seeking solace and refuge beneath its embrace. These sprawling porches, thoughtfully crafted, served as a haven for the faithful, offering them shelter.
This intricately carved chariot seems to be relatively new compared to the temple but the carvings on it seem to be replicated from that of the temple.
One can observe different forms of Shakti & Parvathi on one side of the chariot and different forms of Shiva on the opposite side.
The image might be a depiction of a man performing a folk art. His attire depicts a different looking hat or hair style with a knot on top. Such headgear are observed shown even on drummers and other performers on pillars inside the temple. The person seems to be holding an accessory associated to the art form.
This is a mythical representation of lion. They are frequently seen on the pillars of Hoysala and Vijayanagara architectural styles.
The representation of dance and art is common on pillars all across the temple complex. Temples were also cultural centers of art, specifically music and dance. These art forms were seen as a way of worshipping the divine.
The ganas are typically depicted in a joyous state, dancing or playing musical instruments.
How to use this self-navigated tour?
Swipe the 360 degree views at the virtual location markers on your mobile screen to get a brief overview of the views & specific information hotspots.
• Move through the virtual monument on your screen by clicking on the animated white arrows or blue circle that closely matches your physical location in the monument. The animated white arrows also indicate the suggested path through the monument. You can return to the prior view(s) by clicking on the blue circle with a “Circular arrow” on the screen located at the previous location marker.
• The narration box at the bottom provides details associated with the views currently seen on the screen. You can toggle the narration box by clicking on the "T" button on the right.
• Each view would have information hotspots - indicated by white circle with a red "i" - click on these for additional information or details.
• Additional or inaccessible panoramas of interest can be seen by clicking on the “photo-bubbles” highlighted in blue circles
• A plan of the monument is shown on the top right showing where you are, that can also be used for navigating. You can jump to any location marker by clicking on the blue pointer within the map. The blue arc in the map roughly indicates your field of view. The map view can be toggled using the map button on the right.
• A few labels are provided to highlight specific areas of the monument. These can be seen/hidden by clicking on the "Tag" button on the right.
How to use this self-navigated tour?
Swipe the 360 degree views at virtual location markers on your mobile screen to get a brief overview of the views & specific information hotspots.
• Move through the virtual monument on your screen by clicking on the animated white arrows or blue circle that closely matches your physical location in the monument. The animated white arrows also indicate the suggested path through the monument. You can return to the prior view(s) by clicking on the blue circle with a “Circular arrow” on the screen located at the previous location marker.
• The narration box at the bottom provides details associated with the views currently seen on the screen. You can toggle the narration box by clicking on the "T" button on the right.
• Each view would have information hotspots - indicated by white circle with a red "i" - click on these for additional information or details.
• Additional or inaccessible panoramas of interest can be seen by clicking on the “photo-bubbles” highlighted in blue circles
• A plan of the monument is shown on the top right showing where you are, that can also be used for navigating. You can jump to any location marker by clicking on the blue pointer within the map. The blue arc in the map roughly indicates your field of view. The map view can be toggled using the map button on the right.
• A few labels are provided to highlight specific areas of the monument. These can be seen/hidden by clicking on the "Tag" button on the right.
This panel depicts Shiva Parvati along with Nandi in human form, and madanikas who seem to be welcoming them.
Beautifully carved birds can be seen on the upper part of the panel and ganas are depicted on the lower part.
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Narration for Vasanta mantapa
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Narration for Vasanta mantapa
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Narration for dummy 3
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Narration for rear, left side view of UM shrine
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Narration for rear, left side view of UM shrine
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Narration for rear, right side view of UM shrine
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Narration for rear, right side view of UM shrine
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Narration for the dummy 2
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Narration for the main Kalyani
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Narration for the main Kalyani
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Mahanavami dibba
A series of stone steps lead up to the Mahanavami Dibba. This elevated platform, appears to be a structure of some significance. It is reminiscent of similar places in villages in India, where People gathered in sabhas to discuss matters of importance to the temple, the village and perhaps even judicial deliberations.
During festivals, perhaps this was also a place to seat dignitaries and for them to address large audiences.
Mahanavami dibba
A series of stone steps lead up to the Mahanavami Dibba. This elevated platform, appears to be a structure of some significance. It is reminiscent of similar places in villages in India, where People gathered in sabhas to discuss matters of importance to the temple, the village and perhaps even judicial deliberations.
During festivals, perhaps this was also a place to seat dignitaries and for them to address large audiences.
Mahanavami dibba
The term "Dibba" in Telugu means a "Mound," which essentially describes it as a raised platform. The King or elders would be seated on this platform, and it played a central role during festivals like Dasara and Mahanavami, serving as a stage for viewing grand processions.
This structure appears to be a smaller version of the Mahanavami Dibba in Hampi.
The Mahanavami Dibba in Hampi, built by the Vijayanagara rulers, is an important historical structure.
Located near the market area, this elevated platform is adorned with intricate carvings. What's intriguing is that there's a hidden door on the Dibba that leads to an underground tunnel connecting directly to the royal palace, likely for safe & convenient travel.
Naga Shrine
Nagas are semi-divine entities, half-human and half-serpent and are believed to reside in Patala (netherworld).
In Hindu iconography, they are typically depicted in three forms: as entirely human adorned with snakes from head to toe, as half-human, half-snake or as a serpent.
In India, they are worshipped as nature spirits. They are often associated with water bodies, wealth and treasures, and most importantly worshipped by women as a symbol of fertility.
There are ornate engravings on the panels and walls behind the Umamaheshwara shrine. One of the panels depicts Saptarishis with the Trimurtis (Brahma, Vishnu, Shiva) and another panel depicts a set of deities.
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This kalyani or water tank was constructed by the Vijayanagaras as a part of horizontal expansion. This is a specific feature of the Vijayanagaras.
This kalyani was mostly used for the ritualistic bathing of the temple deity. The water from here might have been carried to the Vasantha mantapa for the ritualistic bath.
The Kalyanis may have not just been of ritualistic importance but also as a part of social importance.
Research was conducted on the subterranean water flow and its points of discharge, with the aim of comprehending the strategic locations for the construction of Kalyanis.
This is the largest kalyani in the temple complex. The Kalyani has 20 steps, and a pillared porch on an elevated platform surrounding it, with doorways at four directions.
Initially the gopura on top was constructed from bricks but it did not stand the test of time. The ASI has rigorously & scientifically reconstructed the gopuras as they were, without any changes and to the same dimensions as before.
It is believed that the kalyani may also have been used by the devotees considering the entrance into the kalyani is directly from the outside of the temple complex. Also considering the architecture of the kalyani and the courtyard surrounding it, It may also have served as a resting space for devotees or a social space for the people of neighboring villages.
Naga Shrine
Nagas are semi-divine entities, half-human and half-serpent and are believed to reside in Patala (netherworld).
In Hindu iconography, they are typically depicted in three forms: as entirely human adorned with snakes from head to toe, as half-human, half-snake or as a serpent.
In India, they are worshipped as nature spirits. They are often associated with water bodies, wealth and treasures, and most importantly worshipped by women as a symbol of fertility.
Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
This is one of the three kalyanis in the temple: the other one is just behind the mantapa at the entrance, and the largest & main kalyani is to the north of the main temple complex, adjacent to the Vasanta mantapa.
The intricately carved Yali pillars can be seen near the entrance. Inside the mantapa there is a raised platform where the deity might have been placed for the ritualistic bath. All the pillars in the mantapa have carvings of deities, sages, animals, and scenes from daily lives of people, enhancing the beauty of the Mantapa.
This panel depicts Shiva Parvati along with Nandi in human form, and madanikas who seem to be welcoming them.
Beautifully carved birds can be seen on the upper part of the panel and ganas are depicted on the lower part.
Narration of the engravings of parrots in Kalyana mantapa
Narration of the engravings of parrots in Kalyana mantapa
Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
This is one of the three kalyanis in the temple: the other one is just behind the mantapa at the entrance, and the largest & main kalyani is to the north of the main temple complex, adjacent to the Vasanta mantapa.
The intricately carved Yalli pillars can be seen near the entrance. Inside the mantapa there is a raised platform where the deities might have been placed for ritualistic baths. All the pillars in the mantapa have carvings of deities, sages, animals, and scenes from daily lives of people, enhancing the beauty of the Mantapa.
The second kalyani of the temple is just behind the mantapa at the entrance. The exact date of construction of this kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.
Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace. You can click on the image to get a panoramic view of the kalyani & surroundings.
The second kalyani of the temple is to the left of the Vahana mantapa. The exact date of construction of this Kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.
Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace. You can click on the image to get a panoramic view of the kalyani & surroundings.
The second kalyani of the temple is to the left of the Vahana mantapa. The exact date of construction of this Kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.
Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace. You can click on the image to get a panoramic view of the kalyani & surroundings.
Mahanavami dibba
The term "Dibba" in Telugu means a "mound," which essentially describes it as a raised platform. The King or elders would be seated on this platform, and it played a central role during festivals like Dasara and Mahanavami, serving as a stage for viewing grand processions.
This structure appears to be a smaller version of the Mahanavami Dibba in Hampi.
The Mahanavami Dibba in Hampi, built by the Vijayanagara rulers, is an important historical structure.
Located near the market area, this elevated platform is adorned with intricate carvings. What's intriguing about the dibba at Hampi is that there's a hidden door that leads to an underground tunnel connecting directly to the royal palace, likely for safe & convenient travel.
This kalyani or water tank was constructed by the Vijayanagaras as a part of horizontal expansion. This is a specific feature of the Vijayanagaras.
This kalyani was mostly used for the ritualistic bathing of the temple deity. The water from here might have been carried to the Vasantha mantapa for the ritualistic bath.
The Kalyanis may have not just been of ritualistic importance but also as a part of social importance.
Research was conducted on the subterranean water flow and its points of discharge, with the aim of comprehending the strategic locations for the construction of Kalyanis.
This is the largest kalyani in the temple complex. The Kalyani has 20 steps, and a pillared porch on an elevated platform surrounding it, with doorways at four directions.
Initially the gopura on top was constructed from bricks but it did not stand the test of time. The ASI has rigorously & scientifically reconstructed the gopuras as they were, without any changes and to the same dimensions as before.
It is believed that the kalyani may also have been used by the devotees considering the entrance into the kalyani is directly from the outside of the temple complex. Also considering the architecture of the kalyani and the courtyard surrounding it, It may also have served as a resting space for devotees or a social space for the people of neighboring villages.
There are ornate engravings on the panels and walls behind the Umamaheshwara shrine. One of the panels depicts Saptarishis with the Trimurtis (Brahma, Vishnu, Shiva) and another panel depicts a set of deities.
The second kalyani of the temple is just behind the mantapa at the entrance. The exact date of construction of this kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.
Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace.