#: locale=en ## Action ### URL LinkBehaviour_D6605997_C094_84A3_41DB_8D577EA430CC.source = https://forms.office.com/r/4xWRRanQWC ## Hotspot ### Text HotspotPanoramaOverlayTextImage_CB4DB6FB_DAD1_CA36_41D7_5D05235C7E8F.text = Ahalya's story HotspotPanoramaOverlayTextImage_CB82B7D7_DAD3_CA7E_41CA_F80E42D4C79A.text = At Dandaka vana HotspotPanoramaOverlayTextImage_F58AD757_DDD0_4A7D_41C9_084F8343C130.text = Attack by the Vanaras HotspotPanoramaOverlayTextImage_DE885F5B_632F_BFE8_41D2_047E98DB5C93.text = Ayodhya HotspotPanoramaOverlayTextImage_C4B2E84C_DBF0_4653_41EA_99AE2DF62747.text = Bridge to Lanka HotspotPanoramaOverlayTextImage_79B9A07B_63FB_C1AF_41D5_EC25FD17C0C7.text = Click here to start with the Kalyani \ (20-45 mins) HotspotPanoramaOverlayTextImage_7BEDE995_63EC_437B_41BD_F7729DC8B41B.text = Click here to start with the main temple \ (1-1.5 hours if visiting the main temple; \ 3-4 hours if trekking to the hill top) HotspotPanoramaOverlayTextImage_337AE26D_632F_C1AB_41C9_3741E1B2C40E.text = Dasharatha's sons HotspotPanoramaOverlayTextImage_C47CD5CA_DBD0_4E57_41E2_8189C22237D4.text = Encounter with Surpanakha HotspotPanoramaOverlayTextImage_ECD35390_F77C_77D9_415F_E3864E5DE408.text = Exit QuadHotspotPanoramaOverlayTextImage_F195F578_DED0_CE33_41DC_F12C5CB53F34.text = Exit HotspotPanoramaOverlayTextImage_CB682C68_DAD0_BE52_41EB_23320F7E48BD.text = Four weddings QuadHotspotPanoramaOverlayTextImage_F7CE6E98_DED0_DAF2_41E8_AB4B0D85CDF7.text = Krishna's exploits HotspotPanoramaOverlayTextImage_FA690FDE_DBF1_FA6E_41E1_C4FF7CF83C0E.text = Meeting the Vanaras QuadHotspotPanoramaOverlayTextImage_F677111B_DD50_47F6_41BE_881B3A7DB463.text = NORTHERN WALL HotspotPanoramaOverlayTextImage_2976C58B_32E2_8F32_41C1_0DE1631434DA.text = Rama vs Rakshashas HotspotPanoramaOverlayTextImage_FB9E8D88_DBD0_DED3_41EB_50ECBFD01B66.text = Rama's exile HotspotPanoramaOverlayTextImage_F6CE151A_DD50_4FF7_41E2_57EB5F302DAB.text = Return to Ayodhya HotspotPanoramaOverlayTextImage_F46804A8_DDD0_4ED3_41E2_8697D8024CE6.text = Return to Ayodhya HotspotPanoramaOverlayTextImage_312B0FCD_632C_BEE8_41C7_A732137CBFD0.text = Rishyasringa HotspotPanoramaOverlayTextImage_F7D948A0_DEB1_C6D3_41D5_09DC78C03BBD.text = Shravana's story HotspotPanoramaOverlayTextImage_FA7E6309_DBF1_CBD2_41E8_37A00F22E3C0.text = Sita is kidnapped HotspotPanoramaOverlayTextImage_812EFF6C_9439_7DC1_41E2_16952D234315.text = Sita is located HotspotPanoramaOverlayTextImage_AB964A6B_8E4C_E511_41BD_B42824555C64.text = Sri Giri Gangadhareshwara temple QuadHotspotPanoramaOverlayTextImage_A44AFCC6_8707_96A1_41E0_1CEBB1B4A4A3.text = The end of Ravana's evil HotspotPanoramaOverlayTextImage_F62AD560_DD50_CE52_4198_0F1A9D8D1EE6.text = To Dandaka vana QuadHotspotPanoramaOverlayTextImage_F0B865AB_DED1_CED5_41E5_86A867B814C5.text = To Main Temple HotspotPanoramaOverlayTextImage_CBD3A386_DAD0_CADF_41C0_1D17E65DAC70.text = To Mithila HotspotPanoramaOverlayTextImage_FA257D6A_DBF3_FE57_41D3_E82C4DEDCAAE.text = To Panchavati HotspotPanoramaOverlayTextImage_ABE69A07_8E4C_E511_41D4_9F07177EF95A.text = Veerabhadraswamy temple HotspotPanoramaOverlayTextImage_EDEC869A_F77C_11C9_41DC_967C266AF5E7.text = Visit Kalyani HotspotPanoramaOverlayTextImage_F69CB014_DD51_C5F2_41D0_6B832E26950A.text = WESTERN WALL HotspotPanoramaOverlayTextImage_7B392CBC_63FC_C2A9_41C5_06D0AD905F9C.text = Welcome to Shivagange Hills ## Media ### Audio audiores_A2F3A8B8_802A_7BF3_41D5_F1C06250B42F.mp3Url = media/audio_A32AA832_802A_7AF7_41C0_E4F94BC2472B_en.mp3 audiores_BA6F30F1_A47A_F503_41C9_9DF519E867C3.mp3Url = media/audio_B8BDFD66_A47A_EF01_41E0_33E41E44AE4F_en.mp3 ### Audio Subtitles ### Description album_363F7948_3B08_856A_41C9_3066D75AA61A_0.description = "Ayodhya" means that which cannot be subdued by war. It was the capital of the kingdom of Kosala, ruled by the descendants of King Raghu of the Ikshwaku dynasty or Suryavamsh (Line of the Sun). The first panel likely depicts the mighty army of Ayodhya represented by the cavalry of horses and elephants. \ \ Context \ The epic Ramayana, starts off with a vivid description of the great kingdom of Kosala to the north of Ganga, and made fertile by Sarayu, with its flourishing capital of Ayodhya ruled by King Dasharatha. Ayodhya – with its palaces, mansions, lush greenery, gardens & forts - was described as comparable to Indra's kingdom Amravati! People led healthy and happy lives, with the economy and culture thriving. photo_D42FF416_D818_EDB4_41E5_2AA4BA36C959.description = Let's start with the panel at the corner first, as there seems to be an anomaly in the sequence here – could be an oversight or an outcome of some renovation. \ \ The panel near the corner depicts young Rishyashringa - with a deer's head - taking blessings from his hermit father, Vibhandaka. The deers on the side are probably to depict his maternal lineage. Then Rishyashringa is depicted isolated in a forest – note the trees surrounding him. \ \ Context \ Vibhandaka was a powerful hermit, who through his meditation acquired powers to influence rains or help infertile couples have children. Fearful of his powers, Indra sent an apsara to tempt him away from his penace. They have a child, but the apsara transfers their child to a deer and returns to the heavens. The child was born with deer horns, and hence named Rishyasringa. Sage Vibhandaka developed a hatred for women due to his encounter with the apsara. He decided to raise Rishyashringa in an isolated part of the forest, away from all distractions of worldly pleasures, to avoid a repeat of his own errors. Over time and through penace, Rishyasringa also inherited similar powers as his father. photo_D42FF416_D818_EDB4_41E5_2AA4BA36C959.description = Let's start with the panel at the corner first, as there seems to be an anomaly in the sequence here – could be an oversight or an outcome of some renovation. \ \ The panel near the corner depicts young Rishyashringa - with a deer's head - taking blessings from his hermit father, Vibhandaka. The deers on the side are probably to depict his maternal lineage. Then Rishyashringa is depicted isolated in a forest – note the trees surrounding him. \ \ Context \ Vibhandaka was a powerful hermit, who through his meditation acquired powers to influence rains or help infertile couples have children. Fearful of his powers, Indra sent an apsara to tempt him away from his penace. They have a child, but the apsara transfers their child to a deer and returns to the heavens. The child was born with deer horns, and hence named Rishyasringa. Sage Vibhandaka developed a hatred for women due to his encounter with the apsara. He decided to raise Rishyashringa in an isolated part of the forest, away from all distractions of worldly pleasures, to avoid a repeat of his own errors. Over time and through penace, Rishyasringa also inherited similar powers as his father. album_543D98A6_407D_F53D_41CF_8A3A6DAC5EAC_1.description = A beautifully carved depiction of one of the prominent childhood narratives of BalaKrishna – that of his stealing butter. Yashoda is shown churning butter in the traditional butter churn vessel - a rope tied to a stick to rotate the cream inside the container. Balarama is pulling at her dress to create a distraction. As her head is turned, Krishna reaches into the pot to steal the freshly churned butter! album_5438F7C1_407D_5B76_4154_345CDA568496_2.description = A depiction of Krishna dancing on the serpent Kaliya's head, with one hand holding its tail. Kaliya's wives are shown on the sides praying to Krishna to have mercy. \ \ Context \ This is one of the most celebrated incidents in Bhagavatam. The Yamuna river was being poisoned by a very venomous seprent called Kaliya, often killing the unsuspecting cattle and other animals. Krishna dived into the river, and started wrestling with Kaliya. All the villagers and cowherds were aghast, and were trying to figure out how to rescue him. Krishna playfully started dancing on the hood of the fearsome snake, which after a while could not bear the weight and started bleeding from its head. He started repenting and praying to the Lord for mercy, submitting that he was only following his nature the way God had created him. His many wives too joined in, praying to Krishna to spare his life. Krishna consented on the condition that Kaliya & his family flee from Yamuna to a remote location and not trouble them again. album_543D98A6_407D_F53D_41CF_8A3A6DAC5EAC_2.description = A depiction of Krishna playing with gopikas – the milkmaids or cowherds of Vrindavan. When Krishna used to play his flute, the gopis used to get into a trance. Their minds used to always dwell on Krishna, who also used to play a lot of pranks on them. Once when the gopis were bathing in the river, Krishna stole all their clothes and climbed up a tree. He only returned the clothes after a lot of fervent pleas and prayers. album_37DDD055_2EFC_9BAE_41B2_4D6EC40119DC_1.description = A depiction of Rama killing a rakshasa. This could be Viradha or any of the other multitude of rakshasas slain by Rama & Lakshmana in the Dandaka forest to protect the rishis. \ \ Context \ As the three of them venture deeper into the formidable Dandaka forests, they encounter a huge rakshasa called Viradha. He first attempted to carry off Sita as food; when attacked, he carried off Rama & Lakshmana on his shoulders. As he had a boon by which he could not be killed by any weapon, the brothers chop off his arms and decide to bury him. Viradha then revealed himself to be a cursed gandharva, grateful to be liberated at the hands of Rama. \ \ Thereafter they visit the ashram of sage Sudeekshna and Rishi Agastya. As advised by Agastya, they decide to proceed to Panchavati to build a hut and reside there for the remainder of their exile. album_547DBF66_4024_CB3A_41CE_61DEFDA2EA2F_2.description = A depiction of Rama or Lakshmana killing a rakshas. Other than the killing of Ravana, there are no other depictions of Rama or Lakshmana fighting the rakshasas that could be seen here. Thereby, though not following the sequence of popular narratives of Ramayana, this may be a representation of the slaying of Indrajit by Lakshman or Kumbhakarna by Rama. \ \ Context \ After many of his powerful warriors are killed in the battlefield, Ravana leads the army himself along with his son Indrajit. Rama defeats Ravana in the first encounter, and he asks him to return home to refresh himself. Humbled and demoralized, Ravana returns home. He wakes up his sleeping, giant brother Kumbhakarna, and sends him to the battlefield. Rama slices off his arms & legs, and finally beheads him. Indrajit, the extremely powerful son of Ravana who had once defeated Indra, is killed by Lakshmana, under the guidance of Vibhishana. album_56BBD8CA_405F_D575_41B0_9A586D3B66A6_1.description = A depiction of Rama's arrows piercing Maricha who assumed the form of a golden deer to lure Rama away from Sita. He's depicted in a half deer-half rakshasa form holding a weapon and a shield, transforming back into his original shape as he was dying. \ \ Context \ Giving into Sita's pleas, Rama pursues the golden deer, leaving Lakshmana on guard. The deer lured Rama far from his hut, and after a long chase suspecting something amiss, Rama shoots at the deer. Maricha transforms back into his rakshasa form, and in his dying moments, imitates Rama's voice and cries out for Lakshmana & Sita. Hearing these cries, Sita urges Lakshmana to go and check the cause. She scolds Lakshmana for his hesitation, questioning his intentions. Unable to tolerate this, and with a lot of misgivings, he leaves after drawing a powerful, enchanted circle – the Lakshman rekha - around Sita for protection, and asks her not to step out of it. album_37DDD055_2EFC_9BAE_41B2_4D6EC40119DC_0.description = A depiction of a rishi & his wife. Given the sequence of the panels, these could be the sage Atri and his wife Anasuya, who they meet after leaving Chitrakoot. \ \ Context \ After Bharata's return, Rama decided to venture further into the forests for a change of venue and to ensure that he doesn't get frequent visitors henceforth. They visit the ashram of sage Atri and his wife Anasuya for guidance. Anasuya blessed Sita with many gifts of garments & cosmetics that she had acquired through her tapasya. Atri advised them to go to Dandaka, where they could also help protect the residing rishis from the evil of the rakshasas. photo_F551CC35_DD50_FE32_41EA_A0DD363DF39B.description = A depiction of the Agni Pariksha or trial by fire of Sita. Sita is seen emerging from a crucible of fire, passing the test set by Rama, and the divine couple are reunited. \ \ Context \ Escorted by Vibhishana, a bedecked Sita comes out from Lanka, the cynosure of all eyes who fought a mighty war to rescue her. However, Rama surprisingly was harsh on her and asked her about her plans now that she had been rescued. He indicated that he had fulfilled his duties as a kshatriya and reclaimed his honour, but he could not accept her back after she had spent 11 months alone in a stranger's house. An aghast and dejected Sita declared that she would rather jump into a fire, and asked Lakshmana to light a pyre. She prayed to the god of fire, Agni, to be her witness, and leapt into the lit pyre. Amidst the questions being posed by everyone to the silent Rama, Agni emerged with an unscathed and radiant Sita, and presented her to Rama declaring her integrity. Rama now joyously welcomed her, and clarified that he needed the rest of the world to know about her integrity beyond a shadow of doubt, and hence needed her to pass the test. photo_F551CC35_DD50_FE32_41EA_A0DD363DF39B.description = A depiction of the Agni Pariksha or trial by fire of Sita. Sita is seen emerging from a crucible of fire, passing the test set by Rama, and the divine couple are reunited. \ \ Context \ Escorted by Vibhishana, a bedecked Sita comes out from Lanka, the cynosure of all eyes who fought a mighty war to rescue her. However, Rama surprisingly was harsh on her and asked her about her plans now that she had been rescued. He indicated that he had fulfilled his duties as a kshatriya and reclaimed his honour, but he could not accept her back after she had spent 11 months alone in a stranger's house. An aghast and dejected Sita declared that she would rather jump into a fire, and asked Lakshmana to light a pyre. She prayed to the god of fire, Agni, to be her witness, and leapt into the lit pyre. Amidst the questions being posed by everyone to the silent Rama, Agni emerged with an unscathed and radiant Sita, and presented her to Rama declaring her integrity. Rama now joyously welcomed her, and clarified that he needed the rest of the world to know about her integrity beyond a shadow of doubt, and hence needed her to pass the test. photo_BB777475_9093_8CCE_41D7_348D29A5E4A6.description = A likely depiction of Parashurama intercepting Rama in the procession. The second cracked engraving depicts Rama taking over the Sharanga bow – accepting the challenge by Parashurama. \ \ Context \ Parashurama, also an avatar of Vishnu, had sworn to erase the Kshatriyas race to avenge his father. He confronted Rama when he was returning to Ayodhya, and challenged him to a duel. He asked Rama to string the Sharanga – the bow equivalent to Pinaka, also crafted by Vishwakarma, but belonging to Vishnu – that would prove that he indeed was a worthy combatant. Courteously, but with great ease, Rama strung the bow and placed an arrow in it. He then enquired as to where to direct it. Parashuram then realized who Rama was. He surrendered the powers of his tapas to the arrow and Rama, and thereafter retired to the mountains. photo_BB777475_9093_8CCE_41D7_348D29A5E4A6.description = A likely depiction of Parashurama intercepting Rama in the procession. The second cracked engraving depicts Rama taking over the Sharanga bow – accepting the challenge by Parashurama. \ \ Context \ Parashurama, also an avatar of Vishnu, had sworn to erase the Kshatriyas race to avenge his father. He confronted Rama when he was returning to Ayodhya, and challenged him to a duel. He asked Rama to string the Sharanga – the bow equivalent to Pinaka, also crafted by Vishwakarma, but belonging to Vishnu – that would prove that he indeed was a worthy combatant. Courteously, but with great ease, Rama strung the bow and placed an arrow in it. He then enquired as to where to direct it. Parashuram then realized who Rama was. He surrendered the powers of his tapas to the arrow and Rama, and thereafter retired to the mountains. album_5438F7C1_407D_5B76_4154_345CDA568496_1.description = A panel depicting two figures wrestling. This could possibly be a depiction of Balarama killing the asura Pralamba, who had disguised himself as a cowherd boy. album_2E0A4C2D_3B09_832A_41C1_C6F7DA123A99_1.description = A very animated depiction consisting of a decapitated head, a sword cutting through the air, the falling body - likely to be Subahu; and an escaping person or body being flung away - likely to be Maricha. \ \ Context \ When Vishwamitra's yagna was underway, Maricha & Subahu seeking revenge for the death of their mother Tataka, attacked the ashram with their armies and sought to obstruct the yagna by throwing flesh, carcasses, rocks & trees. One of Rama's astra (weapon) shot at Maricha flung him far away to the sea. Another astra finished off Subahu with ease, freeing Dandaka from the evil that had befallen there. album_37DDD055_2EFC_9BAE_41B2_4D6EC40119DC_2.description = Another depiction of Rama killing a rakshasa in the forest (represented by the tree). Given the sequence of panels, this could be the killing of any of the rakshasas in Dandaka or Panchvati. Apart from Viradha, another prominent episode in Dandaka was the second encounter with Maricha & his accompanying demons. \ \ Context \ Maricha had escaped in his first encounter with Rama. Thereafter, he used to still roam in Dandaka in the disguise of a beast, accompanied by rakshasas in the form of animals. They used to prey on the rishis in the ashrams. When Maricha saw Rama again, seeking revenge for the first encounter where his mother & brother were killed, he attacked in the form of the beast along with the others. Rama killed his entourage, and Maricha managed to escape for the second time. album_AB4AD652_3B0F_8F7E_41C2_CABF0388ED45_3.description = Bharata comes to Chitrakoot, and urges Rama to return to Ayodhya and take his rightful place on the throne. Rama is firm and declines. Bharata refuses to sit on the throne; he then requests Rama for his sandals, that he could place on the throne and rule on behalf of Rama. \ \ Context \ When Bharata returns to Ayodhya and learns of what transpired, he is horrified at the loss of his father and departure of brothers. After completing Dasharatha's final rites, he vehemently refuses the throne and insists on going to the forest to get Rama back to Ayodhya. As the news spread, the royal elite, citizens and army decide to join him in a massive cavalcade to Chitrakoot to persuade Rama to return. Rama is disheartened by the news of his father's demise, but is firm in his decision to fulfil the promise made. Bharata too is firm in his decision to not occupy the throne. As a compromise and to honour Rama's commands, he requests Rama's sandals that he would place on the throne and govern Ayodhya for exactly 14 years on his behalf, till his return. album_57984C7E_4027_CD0D_41A2_53C502AED4D3_2.description = Carvings depicting the vanara sena bringing rocks and boulders to build the bridge. On the right, is likely a depiction of Hanuman influencing every stone before passing it on. \ \ Context \ Accepting responsibility for building the bridge, Nala instructs the vanaras to collect huge rocks, boulders and trees, to build the bridge. Hanuman too joined in the efforts, and is believed to have inscribed or whispered the mantra "Rama" to every stone and boulder that was being used. photo_744824DA_5C4C_849A_41CE_1C1AD08812BD.description = Dasharatha in his royal robes is shown welcoming the powerful sage Rishi Vishwamitra, shown with his kamandala. \ \ Context \ When the princes were around 16 years of age, Vishwamitra visits King Dasharatha to request that he send Rama with him to kill two formidable demons. Vishwamitra explains that the two shape-shifting demons called Maricha and Subahu were hindering the rituals of sages. Vishwamitra also explains that he cannot destroy the demons since he is under vows while performing the rituals. Very unwillingly, Dasharata agrees to send young Rama. Lakshmana, who never parts from his brother, accompanies him. photo_744824DA_5C4C_849A_41CE_1C1AD08812BD.description = Dasharatha in his royal robes is shown welcoming the powerful sage Rishi Vishwamitra, shown with his kamandala. \ \ Context \ When the princes were around 16 years of age, Vishwamitra visits King Dasharatha to request that he send Rama with him to kill two formidable demons. Vishwamitra explains that the two shape-shifting demons called Maricha and Subahu were hindering the rituals of sages. Vishwamitra also explains that he cannot destroy the demons since he is under vows while performing the rituals. Very unwillingly, Dasharata agrees to send young Rama. Lakshmana, who never parts from his brother, accompanies him. photo_77EDE5EA_5C45_84BA_41B8_58363058A04C.description = Dasharatha's three queens are shown cradling their sons: Kaushalya with Rama, Sumithra with the twins Lakshmana and Shatrughna and Kaikeyi with Bharatha. \ \ Context \ Kausalya, the head queen took half of the dessert. Sumitra ate half of the remaining part and handed it over to Kaikeyi. Kaikeyi took half of the rest and handed it back to Sumitra, who eats the remaining dessert. In proportion to their consumption, Kausalya and Kaikeyi give birth to 1 son each while Sumitra gives birth to twin sons. photo_77EDE5EA_5C45_84BA_41B8_58363058A04C.description = Dasharatha's three queens are shown cradling their sons: Kaushalya with Rama, Sumithra with the twins Lakshmana and Shatrughna and Kaikeyi with Bharatha. \ \ Context \ Kausalya, the head queen took half of the dessert. Sumitra ate half of the remaining part and handed it over to Kaikeyi. Kaikeyi took half of the rest and handed it back to Sumitra, who eats the remaining dessert. In proportion to their consumption, Kausalya and Kaikeyi give birth to 1 son each while Sumitra gives birth to twin sons. photo_7474432B_5C44_BDBA_41D4_E332A617EDBE.description = Dashratha is shown distributing the holy Payasam from the yagna to his three queens. photo_7474432B_5C44_BDBA_41D4_E332A617EDBE.description = Dashratha is shown distributing the holy Payasam from the yagna to his three queens. album_CC0255EA_D871_91FE_41D4_22B50638A309_0.description = Lakshmana is shown holding Surpanakha's hair, while maiming her nose with his sword in the other hand. \ \ Context \ After arriving at Panchavati, Lakshmana built a hut for them and they spent several months peacefully there in serene surroundings, till the arrival of Surpanakha. \ \ Surpanakha was Ravana's sister, who roamed in Panchavati. On laying eyes on Rama, Surpanakha is infatuated by him and wanted to marry him. She disguises herself in a beautiful form and asks him to marry her. When Rama declines citing his love for only one woman, she tries to attack and kill Sita to get rid of her. Lakshmana intervenes and maims her nose & ears with his sword. album_B8EFDD3A_A45B_AECB_41B1_B9A5C71A7637_1.description = Queen Shantala Devi was an epitome of beauty and fashion; she was also a great Bharatnatyam dancer and musician. Sculptors were inspired by this and the Shilabalikas, the dancing figures, are models of Queen Shantala Devi and her courtesans. History of Hoysalas mentions Shantala Devi had great influence in the adminstration and religious reforms during Vishnuvardhana reign. She was a follower of Jainism, while the King a follower of Vaishnavism and was influenced by Saint Ramanuja Charya. \ \ Credit: Karnataka Tourism on Instagram \ \ She made innumerable grants to temples, Jain Basadis and importantly she is said to have commissioned the Chennakeshava temple of Belur, which today is a World Heritage site. album_B8EFDD3A_A45B_AECB_41B1_B9A5C71A7637_0.description = Queen Shanthala, the consort of the Hoysala King Vishnuvardhana, was a very powerful administrator in the Hoysala Dynasty. \ \ The story goes that she was the talented daughter of a general in the Hoysala kingdom. She used to be such a good dancer that the Chalukya king threatened the Hoysala kingdom with a war, just to see her dance (for she would have to offer a sacred dance at the Lakshmi temple before the war). When King Vishnuvardhana first saw her dance, planned meticulously by his grandmother so he would fall for the girl and marry, he instantly fell for her. She refused the marriage, since both she and her best friend Lakshmi had danced together and she was a Jain while the king was a Vaishnava. To appease her, the king married not only her and Lakshmi, so they stay together as co-wives, but also five other girls from the same community. And he also let her keep her faith. King Vishnuvardhana made her his main queen, and she helped him in the administration of the kingdom as well as building temples around their capital city of Belur. photo_7643587D_5FC5_8B9E_41D5_9E60BC8C13F3.description = Rama and Lakshmana accompany Sage Vishwamithra into the Dandaka vana (believed to be in present day Chattisgarh). They are depicted carrying their weapons, with Vishwamitra carrying only his kamandala. The next panel depicts a boat to indicate a river crossing, and Rama entering a forest. \ \ Context \ Rama and Lakshmana set out with Vishwamitra. They cross the Sarayu river first towards Anga, and then cross the Ganga to reach Dandaka forest. It was a fertile land & well populated, till the cursed rakshasas - Tataka and her sons Maricha & Subahu - destroyed and transformed it into wilderness. They killed dwellers & visitors, destroyed animal & plant lives and regularly interfered with the meditations of sages in the region, by flinging flesh, bones & other impurities into the yagnas & ashramas. Vishwamitra wanted the help of Rama to rid the forest of these rakshasas. photo_7643587D_5FC5_8B9E_41D5_9E60BC8C13F3.description = Rama and Lakshmana accompany Sage Vishwamithra into the Dandaka vana (believed to be in present day Chattisgarh). They are depicted carrying their weapons, with Vishwamitra carrying only his kamandala. The next panel depicts a boat to indicate a river crossing, and Rama entering a forest. \ \ Context \ Rama and Lakshmana set out with Vishwamitra. They cross the Sarayu river first towards Anga, and then cross the Ganga to reach Dandaka forest. It was a fertile land & well populated, till the cursed rakshasas - Tataka and her sons Maricha & Subahu - destroyed and transformed it into wilderness. They killed dwellers & visitors, destroyed animal & plant lives and regularly interfered with the meditations of sages in the region, by flinging flesh, bones & other impurities into the yagnas & ashramas. Vishwamitra wanted the help of Rama to rid the forest of these rakshasas. album_56698B2D_5A2A_A332_41B4_694B2BE17878.description = Rama is shown slaying Tataka in the Dandaka forest, shown by the trees surrounding them. \ \ Context \ Rama was initially hesitant to kill Tataka, a female. He first tried to maim her by cutting off her limbs. Nevertheless, Tataka continued to attack fiercely – as she was endowed with superhuman strength and powers. Vishwamitra urged Rama to not delay and hesitate in killing the wicked and evil, irrespective of gender. Reassured thus, Rama shot a powerful arrow through the chest of Tataka, rendering her lifeless. photo_36194F85_3B08_BDDA_41CC_4023C39BED51.description = Sage Rishyasringa is shown performing a yagna for Dasharatha's heir in the presence of other sages. Here, the two headed form of Agni is seen emerging out the yagna kunda and granting an offering. \ \ Context \ Towards the end of the yagna, Agni emerges from the fire, and offers payasam (sweet dish) blessed by the Gods, to be distributed by Dasharatha to his queens. photo_36194F85_3B08_BDDA_41CC_4023C39BED51.description = Sage Rishyasringa is shown performing a yagna for Dasharatha's heir in the presence of other sages. Here, the two headed form of Agni is seen emerging out the yagna kunda and granting an offering. \ \ Context \ Towards the end of the yagna, Agni emerges from the fire, and offers payasam (sweet dish) blessed by the Gods, to be distributed by Dasharatha to his queens. album_5438F7C1_407D_5B76_4154_345CDA568496_0.description = The carving depicts Lord Krishna lifting the Govardhan hill. He is shown decked with royal robes, holding his flute in one hand and the entire hill on the other. His cattle are seen taking shelter under the hill. \ \ Context \ As per their traditions, Krishna's father Nanda was preparing for a grand worship of Indra, the lord of rains, as they considered rains critical for their livelihood. Krishna questioned the tradition, and suggested that cows, brahmins and mount Govardhan should be worshipped instead. Nanda and the elders appreciated the merit of his arguments. However, Indra got furious by their decision, and decided to punish their arrogance. He commanded dark clouds and fierce winds to destroy the community. As the skies opened up & poured heavily and the river started flooding,the scared villagers and cattle approached Krishna seeking protection. Krishna realized that it was Indra behind the deluge, and decided to teach him a lesson. He lifted up Mt. Govardhan on his little finger, and everyone took refuge under it. When he stood thus for 7 days without respite, Indra realized who he was, he realized his error and ceased the rains. album_56BBD8CA_405F_D575_41B0_9A586D3B66A6_2.description = The carving depicts Sita sitting within an arc – likely depicting the enchanted circle or Laxman Rekha. Ravana is shown approaching Sita in his disguise as a hermit with matted hair and his hands joined together as if begging for alms. \ As he kidnaps Sita and carries her away, Jatayu - the old but mighty eagle tries to rescue Sita. Ravana is shown holding a large sword and Jatayu is intriguingly depicted in a human form, wearing royal robes. However, he is shown with an elaborate beak instead of a nose and a pointy headdress. \ \ Context \ While Lakshmana was away looking for Rama, Ravana takes the form of a hermit and approaches Sita for alms. He realizes the power of the circle and tricks Sita to step out of the circle. Sita, who was also distracted by her worry for Rama, steps out making her vulnerable. Ravana reveals his true form to her. After his entreaties to woo her did not work, he abducts and carries her away in his aerial vehicle – the Pushpak vimana . Hearing her cries for help, old Jatayu – the king of eagles, awakens from his slumber and obstructs their path. Despite his age, Jatayu fights bravely but ultimately Ravana slashes his wings and he collapses to the ground. \ \ As Sita is carried away by Ravana towards Lanka, she saw a swarm of monkeys on the ground and threw some of her jewellery at them hoping to leave an indication of the direction in which she was being taken. album_4D88EDBE_3B08_7D26_41C7_2D5F7E856EDF_0.description = The carving depicts sage Vishwamithra, Rama and Lakshmana leaving Dandaka forest and heading to Mithila, the capital of Videha. The forest is depicted as trees & a bird, behind the princes. King Janaka of Mithila is shown welcoming them. \ \ Context \ Janaka was an illustrious king. He himself was ploughing a site chosen for a yagna, when he saw a beautiful girl child lying happily in a furrow in the field. He accepted her as Goddess Earth’s gift to him, and adopted her as his daughter – naming her Sita. When she attained a marriageable age, he could not decide on how to identify a worthy suitor for her. He had inherited the mighty bow of Rudra (Lord Shiva) called Pinaka – that no ordinary man could even move. The celestial bow could not be approached by selfish and weak individuals. So, the act of stringing the bow would be a test to distinguish the character and strength of the suitors for Sita. He proclaimed that only the person who could lift, bend and string the heavenly bow would be offered Sita’s hand in marriage. album_5570253C_4025_5F0D_41C1_87603BA4D7BE_2.description = The carving on the right shows Rama firing arrows to decapitate Ravana's heads and Ravana showing his true form - also known as Dashakantha or Dashagriva or Dashanana, the one who possesses ten heads. \ \ Context \ With the death of his brother, son & various commanders, Ravana again descends into the battlefield along with his remaining commanders. He confronts Rama, and a fierce battle ensues between them. Ravana fires a barrage of powerful astras towards Rama, all of which are neutralized easily. When Rama fired arrows to behead Ravana or chop off his arms, another head or arm kept replacing the decapitated part, due to a blessing Ravana had received earlier from the gods. Another reason for his depiction with 10 heads is his mastery of the vedas and shastras, and his mental prowess. Yet another representation is that each head stood for an evil side of Ravana that got eradicated by Rama's arrows. Eventually, Rama aims his powerful weapon, the Brahma-astra at Ravana's navel and kills him. The world rejoiced at the victory of good over evil. album_AB4AD652_3B0F_8F7E_41C2_CABF0388ED45_1.description = The carving seems to depict the royal court of Dasharatha. While the portrayal is not immediately apparent, given the sequence of panels it can be speculated that this is a representation of the exile of Rama. Rama, Sita and Lakshmana are shown holding weapons, and prepared for surviving in the jungles. The last image is that of Rama seeking blessings, probably from Kausalya, before leaving. \ \ Context \ Dasharatha decides to coronate Rama as the crown prince, which was welcomed heartily by everyone. However, driven by the manipulation of her maid Manthara, Kaikeyi - Rama's stepmother - becomes resentful and jealous. She insists that Dasharatha fulfill two promises he had made to her in the past, asking for Rama to be sent to the forest for fourteen years and for her son, Bharata, to be named the heir to the throne: all before the return of Bharata & Shatrughna who had gone to their maternal uncle's kingdom for a visit. \ \ A distressed Dasharatha struggles between keeping his promise and his reluctance to impose such a harsh and unjust punishment on Rama. Rama calmly accepts the declaration to honor his father's vow. Kaushalya was heartbroken, but ultimately had to agree to let him honour his father's bidding. Sita and Lakshmana were adamant in their resolve to accompany him into the forest, without heeding his pleas to stay back in Ayodhya. Without delay, all three discard their regalia, don common clothes and armed themselves to face the challenges of the jungles, and present themselves to their parents to take leave. After they leave, Dashratha is grief-stricken and passes away, leaving the Ayodhya dwellers even more sorrowful. album_547DBF66_4024_CB3A_41CE_61DEFDA2EA2F_3.description = The carving shows Hanuman carrying Rama on his shoulder while Rama shoots at Ravana in their first encounter. \ \ Context \ Ravana and his son Indrajit lead their armies into battle after the early contingents lead by a few powerful rakshasa warriors are defeated by the vanara army. They enter the battlefield in their chariots, adorned with all their weaponry. Ravana engages and defeats Lakshmana, Sugriva and Hanuman and other warriors; Rama then enters the fray and they come face to face for the first time. Hanuman sees the inequality between the protagonists – the heavily armoured & armed Ravana on his glorious chariot, while Rama was on foot with minimal armaments. He persuades and carries Rama on his shoulders for the fight. In a fierce encounter, Rama wounds Ravana's horses & charioteer, shatters his chariot and knocks down Ravana and his crown. Taking pity on the sorry figure that Ravana now was, Rama suggests that he return to Lanka to refresh & re-energize before facing him again in battle. A humiliated and humbled Ravana returns, and then sends his brother Kumbhakarna and son Indrajit to the battle where they get killed (previous panel) album_C351E523_D64B_4B53_41D7_741405A270DB_0.description = The carving shows Lord Rama stepping on a huge boulder and Ahalya emerging from it, grateful to Rama for lifting her curse. \ \ Context \ Vishwamitra, through his inner powers, knew about the purpose of Rama's avatar and the course of action he needed to take. After Dandaka was freed of the evil of Tataka & her sons, the rishi advised the brothers to accompany him to Mithila, the capital of Videha, where King Janak was hosting a yagna. \ On the way to Mithila, at an ashrama, Rama's feet brush against a rock. A beautiful lady emerges from the rock and pays her respects to Rama. Vishwamitra then narrates the story of the lady, Ahalya. album_54209281_407D_35F7_41C8_999789B849AF_1.description = The carving shows Shravana Kumara's parents, Shantanu and Gyanvati, seated in baskets tied to a bamboo pole placed on a tree waiting for their son to return with water. Dasharatha, decked in his royal robes, can be seen carrying a pot of water to Shravana's parents while his weapons are placed aside. \ \ Context \ After Shravana succumbs to his injury, a dismayed Dasharatha keeps his weapons aside and carries the pot of water to Shravana's parents. He narrates the unfortunate and tragic accident to them, and conducts them to their son. In their anger, they curse Dasharatha that just like them he too would have to bear the grief of putrashoka - the parting with his son. Unable to bear the shock, Shravana's parents too pass away. \ \ Their curse comes true several years later, when Dasharatha has to part with beloved son Rama by sending him to exile, and ultimately dies of grief. album_57984C7E_4027_CD0D_41A2_53C502AED4D3_0.description = The carvings here are eroded and difficult to interpret. The first one could be a representation of Vibhishana, Ravana's brother, seeking refuge with Rama. The second carving, serpentine in appearance, could be the waves of the ocean – as Rama in his fury wants to evaporate the waters to gain passage to Lanka. The other carvings could represent the advice of Samudra, the sea-god, on building a bridge with the help of Nala & Nila, and Rama building a Shiva linga with sand to worship him. \ \ Context \ The vast army of Rama, comprising of monkeys and bears, reach the shores of the sea standing between them and Lanka. Meanwhile, Vibhishana having tried and failed to counsel Ravana, seeks refuge with Rama. Rama, as per his dharma, welcomes Vibhishana and crowns him as the king of Lanka. Vibhishana guides him on the war strategies of Ravana, and strengths and weaknesses of his various warriors. Rama decides to pray to the God of the sea, Samudra deva, to seek passage to Lanka. After 3 days of penance, when he sees no progress, he decides to evaporate the waters and starts shooting arrows into the sea. Alarmed, Samudra deva appears before him and pleads his inability to go against his nature. He however promises him all help and to support a bridge built across the sea. For building the bridge, he brings to attention the power and engineering skills of Nala - a chieftain in the Vanara army and the son of the architect of the Gods, Vishwakarma. One of the other legends is that Nala had the powers to make any stone he touches float on water, and it were such stones that were used to build a floating bridge. \ \ Before beginning construction, Rama creates a Shiva linga with sand from the sea shore, to pray for success. The place where he built and installed the linga is Rameshwaram in Tamil Nadu. photo_36D06DCC_3B08_BD6A_41CA_E314B04B2DA1.description = The first panel depicts King Dasharatha and his 3 queens – Kaushalya, Sumitra & Kaikeyi – seeking the counsel of Brahmarishi Vashishta for addressing the problem of them not having a male heir. \ \ Context \ At the time of Dasharatha's rule in Ayodhya, the Devas were troubled to no end by the powerful Ravana and feared a destruction of their world. Ravana had acquired his tremendous powers through devotion to the Lords Brahma and Lord Shiva – and they could not help the Devas against their own disciple and powers they had blessed him with. Thus, the devas appealed to Lord Vishnu. Ravana, in his arrogance, had not sought protection against the human form. Hence, Vishnu promised the devas that we would assume a human avatar to end the evils of Ravana by taking birth as the son of Dasharatha. Sage Vashistha, through his inner vision, had realized this promise of Vishnu. \ \ Accordingly, he advised Dasharatha to get the powerful sage Rishyashringa from the neighbouring kingdom of Anga to perform an elaborate yagna (a ceremonial sacrifice) to please the Gods and for birth of a male heir. photo_36D06DCC_3B08_BD6A_41CA_E314B04B2DA1.description = The first panel depicts King Dasharatha and his 3 queens – Kaushalya, Sumitra & Kaikeyi – seeking the counsel of Brahmarishi Vashishta for addressing the problem of them not having a male heir. \ \ Context \ At the time of Dasharatha's rule in Ayodhya, the Devas were troubled to no end by the powerful Ravana and feared a destruction of their world. Ravana had acquired his tremendous powers through devotion to the Lords Brahma and Lord Shiva – and they could not help the Devas against their own disciple and powers they had blessed him with. Thus, the devas appealed to Lord Vishnu. Ravana, in his arrogance, had not sought protection against the human form. Hence, Vishnu promised the devas that we would assume a human avatar to end the evils of Ravana by taking birth as the son of Dasharatha. Sage Vashistha, through his inner vision, had realized this promise of Vishnu. \ \ Accordingly, he advised Dasharatha to get the powerful sage Rishyashringa from the neighbouring kingdom of Anga to perform an elaborate yagna (a ceremonial sacrifice) to please the Gods and for birth of a male heir. photo_BB9CB0BD_9091_85BE_41E0_4566051EBE4B.description = The first section depicts the welcoming of the procession to Ayodhya. The other carving, with figures framed in an ornate looking pavilion, likely suggests residence of Rama & Sita in Ayodhya. \ \ Context \ After the encounter with Parashurama, the wedding procession proceeded to Ayodhya without any interruptions, where they were accorded a grand welcome. Rama & Sita spent the next 12 years happily in Ayodhya in each other's company. Rama also learnt to handle administration and a king's duties. photo_BB9CB0BD_9091_85BE_41E0_4566051EBE4B.description = The first section depicts the welcoming of the procession to Ayodhya. The other carving, with figures framed in an ornate looking pavilion, likely suggests residence of Rama & Sita in Ayodhya. \ \ Context \ After the encounter with Parashurama, the wedding procession proceeded to Ayodhya without any interruptions, where they were accorded a grand welcome. Rama & Sita spent the next 12 years happily in Ayodhya in each other's company. Rama also learnt to handle administration and a king's duties. album_5570253C_4025_5F0D_41C1_87603BA4D7BE_0.description = The frieze at the corner shows the finale of the epic war, when everyone on the battlefield – the Vanaras, Lakshman & Vibhishana - pause in their individual battles to watch the fierce duel between Rama and Ravana. album_57984C7E_4027_CD0D_41A2_53C502AED4D3_3.description = The frieze depicts Nala laying out the bridge over the sea – famously called the Rama setu - shown here as layers of rocks on a platform – likely to indicate the waves of the sea. The gateway represents Lanka. The outline of a monkey is clear in the last carving - but the rest is eroded, and appears to be that of a being on bent knees - may be a depiction of Sugriva attacking Ravana, before the war between the armies commence. \ \ Context \ Rama's army cross the bridge and they camp by the shores of Lanka. Ravana appears atop the gates for a survey. Sugriva gets incensed upon sighting him, and without warning, he impulsively leaps at Ravana and lands a blow on his chest knocking his crown off. They wrestle fiercely for a while, and Sugriva realizes his error in judgement. He then returns to the camp, where he's chided by Rama for his impulsiveness and risky act not being appropriate as a king. album_4D88EDBE_3B08_7D26_41C7_2D5F7E856EDF_1.description = The frieze depicts Rama lifting and stringing the Pinaka (Shiva's mighty bow) propped against his toe – ending up unintentionally breaking it! Sita is shown holding a garland and ready to accept Rama as her husband. \ \ Context \ Princes and brave warriors from many kingdoms had tried to meet the criteria set by Janak. Among them was Ravana from Lanka, considered to be a very knowledgeable and mighty warrior. However, he struggled to even lift the bow and had to return embarassed! However, young Rama had lifted the Pinaka effortlessly. Resting one end of the bow against his toe, he bent and strung it. When he drew back the string, his force just snapped the bow into two with a tremendous, thundering sound! Fulfilling the condition set, he thus won the beautiful Sita’s hand in marriage. \ Ravana's hatred for Lord Rama started from this incident as his ego was tremendously hurt. album_5769E748_405B_5B75_4190_94D6A8B9CE15_1.description = The frieze depicts Rama standing behind a tree, aiming his arrow towards Vali while Sugriva and Vali are dueling. Rama then fires his arrow towards Vali, ultimately killing him. \ \ Context \ To help Sugriva, Rama agreed to kill Vali, who was extremely powerful. He asked Sugriva to challenge Vali to a duel. However, during the fight, Rama could not differentiate between the two brothers, leading to Sugriva’s defeat. Rama asked Sugriva to call for a rematch, but with Sugriva wearing a garland this time for Rama to know. In the second duel, Rama shot an arrow at Vali mid-battle, piercing his heart. In his dying moments, Vali asks Rama the reason for his killing him while being hidden. Rama explained his position of his promise to Sugriva and the dilemma he might have faced had Vali sought Rama's blessings or refuge in him, and the need for punishing the sin of Vali in stealing his brother's wife. Vali realized his errors as life ebbed from him, asked for Sugriva’s forgiveness and entrusted the kingdom's responsibility to him. album_56BBD8CA_405F_D575_41B0_9A586D3B66A6_0.description = The frieze depicts Sita being attracted to the golden deer, which is Maricha in disguise. She urges Rama to capture the deer and bring it to her. \ \ Context \ Akampana, a rakshasa who escaped, informs Ravana about the defeat of his outpost. He suggests kidnapping the beautiful Sita as a way to weaken Rama. Ravana meets his uncle Maricha to seek help, who strongly advises against waging war with Rama. Ravana heeds his counsel and grudgingly returns to Lanka. However, Surpanakha visits him, insults and taunts him, while praising the beauty of Sita. Ravana is then consumed both by rage and desire, and visits Maricha again to force him to create a diversion. Maricha then assumes the form of a golden deer, and wanders around the hut of Rama. Sita is fascinated by the deer, and goads Rama to capture it for her. album_5769E748_405B_5B75_4190_94D6A8B9CE15_0.description = The frieze depicts the meeting of Rama & Lakshmana with the Vanaras – or the monkeys. The first carving is likely to be that of Hanuman's first meeting to ascertain the identities of the ascetic-warriors in human form and their intentions. The second carving is likely to be that of Sugriva (seated) and his advisors. \ \ Context \ Rama & Lakshman return to their ashram to find it empty. In great despair & turmoil, they started searching for her and encountered the dying Jatayu, who narrated what transpired. After performing his last rites, they started walking in the direction Jatayu indicated. They encountered a one-eyed rakshasa called Kabandha; who while being released from his curse, suggested that they meet the monkey king Sugriva and seek his help to locate and rescue Sita. As they approach Pampa, Hanuman approaches them in the form of a scholar, and enquires about their purpose in roaming the forests. Upon learning their identities, and taken in by their bearing, he conducts them to Sugriva. They narrate the situations they each find themselves in. Sugriva had a fallout with his powerful brother Vali due to a misunderstanding. His wife then was taken away by Vali and was banished from his kingdom. He also narrated that they had seen a lady being kidnapped in an aerial vehicle, and showed Rama the jewellery she had thrown at them. Rama & Sugriva promise to be friends, and help out each other in rescuing their wives. photo_CDD69CCD_EB2C_AC10_41D6_00C4FEA6A5CA.description = The gateway of a temple is known as a Gopura especially in Dravidian architecture. The Gopuras were incorporated as an architectural style in the Tamil region during the reign of Pallavas and then the Cholas. Their initial purpose was to serve as watch towers but later on several details like increase in the size of the gopura, intricate carvings, addition of finials etc. can be seen which enhanced the architectural beauty of the given temple. \ \ The Vijayanagara dynasty introduced its own distinctive style – particularly the "porch gopura" - where the gopura acts as a connection and continuation of the surrounding porch itself. The Vijayanagaras also kept adding porches, gopuras and other architectural elements to existing temples to beautify and enhance their significance. The Nayakas, after the decline of Vijayanagara empire, continued the addition of similar enhancements in the 16th century. photo_CDD69CCD_EB2C_AC10_41D6_00C4FEA6A5CA.description = The gateway of a temple is known as a Gopura especially in Dravidian architecture. The Gopuras were incorporated as an architectural style in the Tamil region during the reign of Pallavas and then the Cholas. Their initial purpose was to serve as watch towers but later on several details like increase in the size of the gopura, intricate carvings, addition of finials etc. can be seen which enhanced the architectural beauty of the given temple. \ \ The Vijayanagara dynasty introduced its own distinctive style – particularly the "porch gopura" - where the gopura acts as a connection and continuation of the surrounding porch itself. The Vijayanagaras also kept adding porches, gopuras and other architectural elements to existing temples to beautify and enhance their significance. The Nayakas, after the decline of Vijayanagara empire, continued the addition of similar enhancements in the 16th century. album_363F7948_3B08_856A_41C9_3066D75AA61A_2.description = The last frieze here is a bit defaced – but seems to depict the palaces of Ayodhya and the royal court. album_5570253C_4025_5F0D_41C1_87603BA4D7BE_3.description = The panel appears to be a depiction of the coronation of Vibhishana as the king of Lanka conducted by Lakshmana. They are shown to be ensconced in a pillared hall & gateway, which is suggestive of the palace of Lanka. \ \ Context \ Rama consoled Vibhishana, referring to the death of Ravana on the battlefield as being worthy of a warrior. He asks Vibhishana to perform the final rites in an appropriate manner. Rama had already anointed him as the king in exile of Lanka; as he could not set foot in a city, Rama asked Lakshmana to conduct the coronation ceremony in Lanka. After completing these duties, Rama asked Hanuman to meet Sita in Ashok vana and update her. He then requested Vibhishana to convey to Sita to have an auspicious bath and come out to meet him. photo_5425ADBC_4027_4F0D_41D0_24957EE17BC4.description = The panel depicts Hanuman returning to Kishkinda, and conveying the happy news of having located Sita in Lanka as well as her messages to Rama. Rama, Lakshmana and the vanara army of Sugriva then set out to invade Lanka and rescue Sita. \ \ Context \ Sita declines to accompany Hanuman back, and requests that it is only righteous and honourable that her husband Rama should rescue her from her captor. Hanuman, before heading back, decides to create chaos in Lanka to send a message to Ravana about the impending peril. He allows himself to be captured after a fierce fight with the rakshasas and destroying several parts of Lanka. To teach him a lesson, the rakshasas try to set fire to his tail – but with the protection of Agni and his father Vayu – he is safe, and by brandishing his long tail. sets fire to the mansions and palaces in Lanka. Satisfied with the destruction he wrought, he leapt once again over the ocean and returned with his contingent to Rama to report the location of Sita. photo_5425ADBC_4027_4F0D_41D0_24957EE17BC4.description = The panel depicts Hanuman returning to Kishkinda, and conveying the happy news of having located Sita in Lanka as well as her messages to Rama. Rama, Lakshmana and the vanara army of Sugriva then set out to invade Lanka and rescue Sita. \ \ Context \ Sita declines to accompany Hanuman back, and requests that it is only righteous and honourable that her husband Rama should rescue her from her captor. Hanuman, before heading back, decides to create chaos in Lanka to send a message to Ravana about the impending peril. He allows himself to be captured after a fierce fight with the rakshasas and destroying several parts of Lanka. To teach him a lesson, the rakshasas try to set fire to his tail – but with the protection of Agni and his father Vayu – he is safe, and by brandishing his long tail. sets fire to the mansions and palaces in Lanka. Satisfied with the destruction he wrought, he leapt once again over the ocean and returned with his contingent to Rama to report the location of Sita. album_543D98A6_407D_F53D_41CF_8A3A6DAC5EAC_0.description = The panel depicts Krishna dragging a rice mortar between the trunks of 2 Arjuna trees. As the trees fall, 2 figures of are shown emerging atop the trees, with their hands folded and bowing to Krishna. \ \ Context \ Fed up with his mischief, Yashoda once tied Krishna to a huge and heavy rice mortar (a vessel to husk rice) hoping to stop him from running around and causing mischief. Krishna however drags the heavy mortar along with him, and wiggles through a gap between the trunks of two Arjuna trees nearby. These trees were Nalakubara and Manigriva - the 2 sons of Kubera, the god of wealth. Sage Narada had cursed them to become trees, signifying their pride and obsession with wealth, to be released only when Vishnu himself frees them from their attachment. The force of Krishna dragging the mortar between the trees causes them to get uprooted and fall over, thus fulfilling the requirement for their release. They express their gratitude and prayers to Krishna, recognizing him as Narayana himself. photo_BEE89AD3_9093_85CA_41DB_4DDD709A736F.description = The panel depicts Rama, Sita & Lakshmana in the forest of Chitrakoot and the challenges that they had to face in order to survive – with a representation of attack by wild animals and gathering fruits & berries for food. \ \ Context \ Rama, Sita & Lakshmana leave Ayodhya and it's grieving citizens behind. Crossing the Ganges, and the ashram of Bharadwaja, they reach Chitrakoot. Enchanted by the beauty of the place, they decide to stay there. Lakshmana built a hut for them, and was ever vigilant against threats and sensitive to the needs of his elder brother and sister-in-law. photo_BEE89AD3_9093_85CA_41DB_4DDD709A736F.description = The panel depicts Rama, Sita & Lakshmana in the forest of Chitrakoot and the challenges that they had to face in order to survive – with a representation of attack by wild animals and gathering fruits & berries for food. \ \ Context \ Rama, Sita & Lakshmana leave Ayodhya and it's grieving citizens behind. Crossing the Ganges, and the ashram of Bharadwaja, they reach Chitrakoot. Enchanted by the beauty of the place, they decide to stay there. Lakshmana built a hut for them, and was ever vigilant against threats and sensitive to the needs of his elder brother and sister-in-law. photo_AA97BD4D_801A_1AAD_41CF_6E9ACE89A596.description = The panel depicts a lady and a chariot – probably a continuation of the army of Ayodhya – and the royal court of Dasharatha . It could also represent the episode where Dasharatha's queen Kaikeyi risked her life to save his, leading to Dasharatha granting her 2 boons. \ \ Context \ When Dasharatha was injured severely In one of his wars, Kaikeyi acting as his charioteer, skilfully navigated him to safety and nursed his wounds. Pleased with her, he granted her two boons that he would fulfil. This promise subsequently led to Kaikeyi seeking Rama's exile and is a pivotal point in the epic. photo_AA97BD4D_801A_1AAD_41CF_6E9ACE89A596.description = The panel depicts a lady and a chariot – probably a continuation of the army of Ayodhya – and the royal court of Dasharatha . It could also represent the episode where Dasharatha's queen Kaikeyi risked her life to save his, leading to Dasharatha granting her 2 boons. \ \ Context \ When Dasharatha was injured severely In one of his wars, Kaikeyi acting as his charioteer, skilfully navigated him to safety and nursed his wounds. Pleased with her, he granted her two boons that he would fulfil. This promise subsequently led to Kaikeyi seeking Rama's exile and is a pivotal point in the epic. photo_227F2B58_32E2_9BDE_41C3_03DFE4C4C53A.description = The panel depicts encounters between vanaras and rakshasas. Given the significance of the warriors, these could potentially represent the fight between Hanuman and Dhumraksha and Angada and Vajradamstra. \ \ Context \ The bridge to Lanka is completed, and Rama and his army march on and reach Lanka. They camped on the shores of Lanka. Following the rules of engagement, Rama attempted one last time to avoid war and sent Angada, Vali's son, as a messenger of peace. When he was insulted and sent back, Rama ordered the attack on Lanka. The vanaras rushed forward, armed with huge sticks, stones and trees as their weapons of choice. In an initial clash Indrajit binds and renders Rama & Lakshmana immobile with serpent darts (nagapasa), but the arrival of Garuda releases them from the noose. Ravana then sends a large contingent led by the fiery eyed rakshas, Dhumraksha – who is slain by Hanuman. Ravana then sends Vajradamstra, the rakshas with sharpened fangs, who is killed by Angad. Other powerful warriors of Ravana such as Prahasta and Akampana are also killed by the vanaras. photo_227F2B58_32E2_9BDE_41C3_03DFE4C4C53A.description = The panel depicts encounters between vanaras and rakshasas. Given the significance of the warriors, these could potentially represent the fight between Hanuman and Dhumraksha and Angada and Vajradamstra. \ \ Context \ The bridge to Lanka is completed, and Rama and his army march on and reach Lanka. They camped on the shores of Lanka. Following the rules of engagement, Rama attempted one last time to avoid war and sent Angada, Vali's son, as a messenger of peace. When he was insulted and sent back, Rama ordered the attack on Lanka. The vanaras rushed forward, armed with huge sticks, stones and trees as their weapons of choice. In an initial clash Indrajit binds and renders Rama & Lakshmana immobile with serpent darts (nagapasa), but the arrival of Garuda releases them from the noose. Ravana then sends a large contingent led by the fiery eyed rakshas, Dhumraksha – who is slain by Hanuman. Ravana then sends Vajradamstra, the rakshas with sharpened fangs, who is killed by Angad. Other powerful warriors of Ravana such as Prahasta and Akampana are also killed by the vanaras. album_CC0255EA_D871_91FE_41D4_22B50638A309_1.description = The panel is likely that of Rama killing Khara, a cousin of Surpanakha who attacked Rama for revenge. \ \ Context \ Enraged and insulted by the disfigurement by Lakshmana, Surpanakha asks her cousin Khara – who resided in Janasthana, an outpost for Ravana, on the outskirts of Dandaka – to take revenge. Khara sent 14 of his powerful generals along with Surpanakha – but they are all easily tackled and killed by Rama. As an enraged Khara with his armies attacks, Lakshmana escorts Sita to a safe location and stands guard. Khara, his general Dushana, the 3-headed rakshasa Trisira and their rakshasa armies are annihilated entirely by Rama alone. album_57063FB1_4025_4B16_41C0_8256C047FF0F_0.description = The panel likely depicts Rama & Lakshmana waiting in the forests near Kishkinda, the kingdom of the Vanaras as the vanara army of Sugriva sets out to locate Sita. The second carving shows Hanuman locating Sita and handing over Rama's ring to her to identify himself and reassure her of rescue. \ \ Context \ After Sugriva takes over Kishkinda, the vanara kingdom, he sets out to fulfil his promise to Rama. Rama & Lakshmana stay in the forests near Kishkinda as they were bound by the terms of their exile and wait for the monsoon season to end. After the rains, Sugriva sends his vanara army in all directions to locate Sita. Rama had recognized Hanuman as being exceptional, and had the highest hopes in his ability to locate Sita. He recounted personal anecdotes to him and gave him his ring for Sita to recognize him as his messenger. After a lot of travails, with the guidance of Sampati (Jatayu's brother) and Jambavan (the King of Bears), Hanuman leapt across the seas and landed in Lanka. After a thorough search, he was able to locate Sita in Ashok vana – an orchard of Ashoka trees where she was held captive - and conveyed Rama's messages to her and handed over his ring. photo_B598D029_90F7_8446_41E0_9BDE4DF954DC.description = The panel probably depicts Rishi Gautama and Lord Indra in the form of a cat. The second depiction seems to be the reunification of Gautama with Ahalya after her liberation. \ \ Context \ There are slightly differing versions of Ahalya's story by different authors. The most popular one is that Brahma created Ahalya to be the most beautiful woman on Earth and arranges for her marriage to Rishi Gautama. However, Lord Indra desires her for himself. Once when Gautama leaves the ashrama, Indra disguises himself as Gautama to be with Ahalya, who falls for Indra's trickery. Upon Gautama's unexpected sudden return, in order to escape his wrath, Indra assumes the form of a cat – the most convenient form to slink in & out of a residence. \ \ Gautama realizes this deception, and he curses both Indra and Ahalya severely. He condemned her, presuming her sin to be on account of her beauty - to turn into a shapeless rock, to be unnoticed and unappreciated by anyone. Ahalya pleaded hard for his forgiveness, and as she was turning into stone, he relented by uttering that she would be released when the son of Dasharatha, a symbol of righteousness, touches her. Gautama then leaves for the Himalayas to pursue his sanyas. \ \ Upon the touch of Rama's feet, Ahalya's curse is lifted and is purified. Her sins washed off, she regains her lost beauty. Gautama returns from the Himalayas and they are reunited at his ashram. photo_B598D029_90F7_8446_41E0_9BDE4DF954DC.description = The panel probably depicts Rishi Gautama and Lord Indra in the form of a cat. The second depiction seems to be the reunification of Gautama with Ahalya after her liberation. \ \ Context \ There are slightly differing versions of Ahalya's story by different authors. The most popular one is that Brahma created Ahalya to be the most beautiful woman on Earth and arranges for her marriage to Rishi Gautama. However, Lord Indra desires her for himself. Once when Gautama leaves the ashrama, Indra disguises himself as Gautama to be with Ahalya, who falls for Indra's trickery. Upon Gautama's unexpected sudden return, in order to escape his wrath, Indra assumes the form of a cat – the most convenient form to slink in & out of a residence. \ \ Gautama realizes this deception, and he curses both Indra and Ahalya severely. He condemned her, presuming her sin to be on account of her beauty - to turn into a shapeless rock, to be unnoticed and unappreciated by anyone. Ahalya pleaded hard for his forgiveness, and as she was turning into stone, he relented by uttering that she would be released when the son of Dasharatha, a symbol of righteousness, touches her. Gautama then leaves for the Himalayas to pursue his sanyas. \ \ Upon the touch of Rama's feet, Ahalya's curse is lifted and is purified. Her sins washed off, she regains her lost beauty. Gautama returns from the Himalayas and they are reunited at his ashram. album_3FB46FB7_29AA_B0DA_41BC_633D64591D54_0.description = The panels depict 4 marriage ceremonies being performed, for all the four brothers. Sage Vashistha is shown seated in the right corner while King Janaka is depicted performing Kanyadaan while holding a kalasha in his hands. The brides and the grooms are shown holding hands. \ \ Context \ Dasharatha, accompanied by his wives and huge entourage, are welcomed enthusiastically to Mithila by Janak. Janaka also suggests that Sita's sister Urmila can be wedded to Lakshmana at the same time; and that Janaka's brother Kushadhwaja's daughters Mandavi and Srutikirti, be wedded to Bharata and Shatrugna. Dasharatha was delighted to welcome all the beautiful brides for his sons. \ \ Sage Vashishtha officiates the weddings of the four brothers with four sisters, that is conducted simultaneously with great pomp and ceremony. photo_C5A5D18E_D34F_0549_41D6_7A6D80AC8E50.description = The second last panel before the corner shows Rishyasringa being carried in the arms of four beautiful women, out of the forest - in order to bring rains to the drought stricken kingdom of Anga. \ \ Context \ Indra – the lord of rains – was upset with the kingdom of Anga due to which there was a severe drought. King Romapada of Anga was advised that only a brahmin of perfect chastity could overcome the issue, and that was the recluse Rishi Rishyasringa. Romapada decides to resolve this by sending his female courtesans to Rishyashringa's hermitage when Vibhandaka was away. The courtesans charm and carry Rishyashringa, out of his hermitage and to the kingdom in their arms. As soon as Rishyashringa steps into Anga, rain starts pouring, thus ending the drought. photo_C5A5D18E_D34F_0549_41D6_7A6D80AC8E50.description = The second last panel before the corner shows Rishyasringa being carried in the arms of four beautiful women, out of the forest - in order to bring rains to the drought stricken kingdom of Anga. \ \ Context \ Indra – the lord of rains – was upset with the kingdom of Anga due to which there was a severe drought. King Romapada of Anga was advised that only a brahmin of perfect chastity could overcome the issue, and that was the recluse Rishi Rishyasringa. Romapada decides to resolve this by sending his female courtesans to Rishyashringa's hermitage when Vibhandaka was away. The courtesans charm and carry Rishyashringa, out of his hermitage and to the kingdom in their arms. As soon as Rishyashringa steps into Anga, rain starts pouring, thus ending the drought. photo_F45C6FAE_DD50_DA2E_41E0_6A0304955DD3.description = The series of panels shows the coronation of Rama in Ayodhya after their return, in the presence of Hanuman & the other vanaras, Vibhishana along with the dignitaries and people of Ayodhya. Ramarajya had begun... \ \ Context \ The 14 years of exile of Rama had come to an end, and they were eager to return to Ayodhya. Vibhishana offered the Pushpaka Vimana for speedy return to Ayodhya. Vibhishana, Sugriva, Hanuman & the entourage of helpers all accompanied Rama to Ayodhya, as they wished to witness the joyous occasion of his coronation. As they retraced their route home, Rama pointed out to Sita all the landmarks and associated memories of the past 14 years. They finally halted at Rishi Bharadwaj's ashram, while Hanuman went ahead to check and inform Bharata about Rama's return. \ \ Ayodhya was decked up once again and rejoiced at the return of their prince. Following elaborate & joyful ceremonies, Rishi Vashishta crowned him as the King of Ayodhya. The era of Ramarajya - the governance of Rama – a glorious epoch commenced... photo_F45C6FAE_DD50_DA2E_41E0_6A0304955DD3.description = The series of panels shows the coronation of Rama in Ayodhya after their return, in the presence of Hanuman & the other vanaras, Vibhishana along with the dignitaries and people of Ayodhya. Ramarajya had begun... \ \ Context \ The 14 years of exile of Rama had come to an end, and they were eager to return to Ayodhya. Vibhishana offered the Pushpaka Vimana for speedy return to Ayodhya. Vibhishana, Sugriva, Hanuman & the entourage of helpers all accompanied Rama to Ayodhya, as they wished to witness the joyous occasion of his coronation. As they retraced their route home, Rama pointed out to Sita all the landmarks and associated memories of the past 14 years. They finally halted at Rishi Bharadwaj's ashram, while Hanuman went ahead to check and inform Bharata about Rama's return. \ \ Ayodhya was decked up once again and rejoiced at the return of their prince. Following elaborate & joyful ceremonies, Rishi Vashishta crowned him as the King of Ayodhya. The era of Ramarajya - the governance of Rama – a glorious epoch commenced... photo_2318492B_32E2_8771_41AF_1D11558B0F6B.description = The vanara army is shown as attacking Lanka, represented here by vanaras rushing to the battlefield with their weapons – that included sticks, stones, trees - held high. \ \ Context \ Following the rules of engagement, Rama attempted one last time to avoid war and sent Angada, Vali's son, as a messenger of peace. When he was insulted and sent back, Rama ordered the attack on Lanka to commence. The vanaras rushed forward, armed with huge sticks, stones and trees as their weapons of choice. photo_2318492B_32E2_8771_41AF_1D11558B0F6B.description = The vanara army is shown as attacking Lanka, represented here by vanaras rushing to the battlefield with their weapons – that included sticks, stones, trees - held high. \ \ Context \ Following the rules of engagement, Rama attempted one last time to avoid war and sent Angada, Vali's son, as a messenger of peace. When he was insulted and sent back, Rama ordered the attack on Lanka to commence. The vanaras rushed forward, armed with huge sticks, stones and trees as their weapons of choice. photo_C30EF345_D828_6B96_41D6_8A8EB52EBE26.description = The wedding procession of the four Princes, returning to Ayodhya with their brides. \ \ The elaborately carved panels show 4 palanquins accompanied by trumpeters, beautifully decorated royal horses and elephants photo_C30EF345_D828_6B96_41D6_8A8EB52EBE26.description = The wedding procession of the four Princes, returning to Ayodhya with their brides. \ \ The elaborately carved panels show 4 palanquins accompanied by trumpeters, beautifully decorated royal horses and elephants album_4D88EDBE_3B08_7D26_41C7_2D5F7E856EDF_2.description = This frieze probably depicts the festivities that erupted on the finalization of Sita's wedding to Rama. \ \ Context \ When the Pinaka was broken, it led to even the Gods celebrating and showering petals & blessings – as it was leading to the reunion of Vishnu and Lakshmi – in their different, human forms. \ King Janak was overjoyed that the Prince Rama was the one who fulfilled his condition, and ended his desperate wait for a worthy suitor for Sita. He sent messengers to Dasharatha, informing him about the auspicious news and formally inviting him for the wedding. photo_C530B01F_CB4A_38AA_41E5_218CD5456A4E.description = This seems to be a depiction of Krishna's encounter with Bakasura - an asura that took on the form of a crane to kill Krishna. We can observe the splitting of the head of the crane \ \ Context \ Kamsa once sent an asura friend of his, called Bakasura, to kill Krishna. Bakasura took on the form of a huge, fierce crane. When Krishna was out playing, the crane swallowed him whole – but had to spit him out when he became unbearingly hot. He then tried attacking with his sharp beak – but Krishna just caught him and split him apart, killing him. photo_C530B01F_CB4A_38AA_41E5_218CD5456A4E.description = This seems to be a depiction of Krishna's encounter with Bakasura - an asura that took on the form of a crane to kill Krishna. We can observe the splitting of the head of the crane \ \ Context \ Kamsa once sent an asura friend of his, called Bakasura, to kill Krishna. Bakasura took on the form of a huge, fierce crane. When Krishna was out playing, the crane swallowed him whole – but had to spit him out when he became unbearingly hot. He then tried attacking with his sharp beak – but Krishna just caught him and split him apart, killing him. album_2E0A4C2D_3B09_832A_41C1_C6F7DA123A99_0.description = Vishwamitra is shown performing his yagna in the Dandaka forest, with Rama standing guard against attack by rakshasas. \ \ Context \ Pleased with the slaying of Tataka, Vishwamitra teaches Rama & Lakshmana the control and use of all the divine and powerful astras obtained through his long tapasyas. They then proceed to Vishwamitra's ashram, called Siddhashram. Vishwamitra and the other sages in the ashram begin their 6-day long yagna, reassured with the protection of the young and fearless princes. album_FDA75190_E071_86E4_41B7_3D05DDD78267_1.description = We can observe different types of gopuras around the temples in Shivagange, all of which appear to have been built by the Nayakas. The first one is at the entrance to the village, and appears to be a continuation of the fort walls that descend from the hills. There are gopuras at the entrance to the temple, a prominent one close to the Nandi & cave temple and one near the Honnamma devi shrine. On the eastern side, close to the prakara, there is a gopura that appears to have been damaged. The upper part of the main gopura over the Gavi Gandhareshwara shrine is visible only from certain locations due to obstructions. \ \ While the foundation of these gopuras are crafted from stone, the upper portion is meticulously constructed with brick and mortar, allowing for intricate detailing and precision at the pinnacle. In addition to featuring representations of Dwarapalikas (doorkeepers) and ganas (celestial attendants), the gopuras also exhibit a noteworthy stylistic element – the intricate outward protrusion of patterns and columns on each storey. album_54209281_407D_35F7_41C8_999789B849AF_0.description = We start with the panel at the corner of the wall. Shravana Kumar is shown filling water in a pot by the riverside. Dasharatha is shown taking aim from a hiding place behind a tree, targeting the origin of the sound of gurgling water. \ \ Context \ Shravana Kumara is famous for his duty and love for his parents. His parents, Shantanu and Gyanvati, were both old and blind but wanted to go on a pilgrimage. Shravana decided to carry them each in a basket tied to a bamboo stick that he would bear on his shoulders. In the middle of a forest during their travels, they ask Shravana to get them some water to quench their thirst. Shravana heads to a nearby river, the Sarayu, to collect water. At the same time Dasharatha, the prince of Ayodhya, had come to the forest on a hunting trip. He was skilled in shooting based on his hearing alone. He mistakes the sound of Shravana's pot filling with water to that of a deer drinking water, and he shoots his arrow trusting his ears. However, he hears the cry of a human. He is horrified to find that he has accidentally shot Shravana, who with his dying breath request him to take water to his parents. ### Floorplan ### Image imlevel_F070BFFA_EA39_E325_41BC_04FEFA3EC0FF.url = media/map_8069EC07_8FB7_9C4A_41B1_E68277F4DD40_en_0.png imlevel_F070EFFA_EA39_E325_417F_C2FF33A22CF7.url = media/map_8069EC07_8FB7_9C4A_41B1_E68277F4DD40_en_1.png imlevel_F06F0FFB_EA39_E31B_41E9_61B9C52BE4CA.url = media/map_8069EC07_8FB7_9C4A_41B1_E68277F4DD40_en_2.png imlevel_F06F2FFB_EA39_E31B_41E1_F1A75722C080.url = media/map_8069EC07_8FB7_9C4A_41B1_E68277F4DD40_en_3.png imlevel_D0FA0C84_DD67_BBA1_41A6_BF5001BA67D1.url = media/panorama_3BA5726A_3630_3F13_41B0_5638BA8594BE_HS_3ic6fwxx_en.png imlevel_FF372CEA_DBD1_FE57_41DD_971EC5B64EFC.url = media/panorama_3BA5726A_3630_3F13_41B0_5638BA8594BE_HS_8qigpi58_en.png imlevel_D0FA5C68_DD67_BB61_41D0_A5F0DDA42BE4.url = media/panorama_3BA5726A_3630_3F13_41B0_5638BA8594BE_HS_g4zm6eng_en.png imlevel_FF352C84_DBD1_FED3_41D6_185C41E61747.url = 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There is no audio narration for the main shrines to avoid any inadvertent disturbance to other devotees \ \ Entering the main temple, we see a Shiva Linga on the right as well as an inscription. Pillars belonging to the Ganga period can be observed on either side. The pillars showcase a simple design with square base and a circular abacus and capital. Further to the left we can see a Nandi mantapa, belonging to the Hoysala period. \ \ Crossing the main doorway, we see a Parvathi shrine on the right and a Surya Narayana shrine on the left. Moving further, on the right, Vinayaka shrine can be observed and to the left is the famous Kempegowda's treasury. Further ahead, shrines and engravings of Harihareshwara , Aaru mukha Subhramanya swamy, Ganesha, Vishweshwara Ganapati, Veerabhadra Swamy and Umamaheshwari can be seen. \ \ After visiting the main temple, please proceed to the mukhamantapa outside \ panorama_44672619_4AB7_59C2_41C0_56D931E1A3A7.subtitle = It is highly recommended that you read about the shrines before entering & not use your mobile phone inside the shrine. There is no audio narration for the main shrines to avoid any inadvertent disturbance to other devotees \ \ The cave temple dedicated to Goddess Honnamadevi is significant as one of the stops before reaching the main Shiva temple. Honnammadevi, also known as Swarnamba, regarded as a local deity and an incarnation of Parvathi and the consort of Lord Shiva. Varied legends surround this goddess, each contributing diverse narratives about her worship and significance. A few believe that Honnammadevi was a devotee of Shiva who performed penance on the hill and attained salvation. \ \ We continue ascending the steps to the main temple. There is a gateway on the left leading to the trekking path to the top. Leave your footwear here before entering the main temple, and return to pick them up for the trek uphill. panorama_B99D82F6_A47D_FB5B_41C1_6768FE144025.subtitle = A fairly new shrine, called "Kailasa Bagilu" (bagilu in Kannada = doorway) , with huge sculptures of Shiva, Parvathi & Nandi, is enroute to the top. It is so named as this is the gateway to the peak, as it is believed that visiting the top is akin to visiting Kailasa, the abode of Lord Shiva. There is a representation of the 12 Jyotirlingas within this shrine. \ \ The climb hereafter becomes steeper, with narrow footholds & broken railings. Also, watch out for monkeys who are often present on the entire climb here! \ \ There are a couple of mantapas along the way for taking rest, before we reach the Sutta Basava statue . panorama_F83BCBD0_E564_9430_41D7_DA866B5AFC41.subtitle = A part of what seems like an entrance connected to a prakara wall or the fortified wall, can be seen here along with a Vijayanagara style mantapa and a Gopura which is partially damaged, presumably due to natural causes. Beyond the gopura, to the left, the rest of the Prakara/Fortified wall can be seen which has also been damaged. \ \ We can observe the brickwork that is used for the top of the gopura; while stone is used for the base. panorama_7B15115B_6A98_5F74_41BF_FF6475F57424.subtitle = A very steep and tricky ascent up a narrow flight of steps brings you to the beautifully poised Nandi statue carved atop a huge boulder, very close to the summit of Shivagange. It is believed that three parikramas (or circumambulations of the idol) is equivalent to doing parikrama of Kailasa – and hence the name Sutta Basava (Sutta = Around; Basava = Nandi in Kannada). Another name that it is known by is Siddha Basava (Siddha = Accomplished in Kannada), to signify reaching the top. \ \ We now head to the summit of Shivagange. panorama_47753CFB_4AB1_2A40_41CE_DEE98EC40E51.subtitle = An imposing, almost 8 feet tall Lord Veerabhadraswamy is engraved near the entrance of the Patalaganga shrine. He is depicted here with 3 fiery eyes, a garland of skulls and 4 arms bearing his cosmic weapons. These include the mighty bow Pinaka, the destructive arrow Pashupata – that can destroy all creations, and his 2 swords. The broad, spatulate sword in his left hand – the Pattisa – has been used to decapitate Daksha. To his right, Daksha is portrayed with his goat’s head and hands folded. \ \ One interpretation of his symbolism is that just as a manifestation of Shiva, he represents the inherent transformative power of individuals to overcome the ego, represented by Daksha. panorama_3BF28937_3630_0D71_41C1_D0E140DAC96E.subtitle = At the corner, on the eastern wall, interestingly are 2 panels depicting the accidental killing of Shravana by Dashratha. The placement of these seem to be a bit out of context - as it would seem more logically placed on the opposite walls, ahead of Dasharatha's yagna. It is not clear whether this was intentional, accidental or relocated during some renovation. \ \ The southern wall has depictions of some of the notable exploits of Balakrishna - including the splitting of twin Arjuna trees, his stealing butter, playing with the gopis, lifting of Govardhana, and the defeat of Kaliya - the multi-headed snake. \ \ If the Kalyani was the starting point of your visit, please proceed to the main temple entrance. panorama_675E5F49_69A8_4357_41D6_33796C5F48B5.subtitle = Close to the exit of the temple, opposite to the shops, is a huge drum from the Kempegowda period. As we step outside the main shrine, we come to the Mukhamantapa built by the Nayakas, mounted on a decorative plinth. The supporting pillars are built in the Vijayanagara style, with ornate carvings on the pillars with a variety of depictions - including sages, gods, travelllers etc. The walls have carvings of Dwarapalikas, Girija Kalyana and depictions of gods including Shiva, Vishnu, Brahma as well as Shiva Rudras. panorama_8236AE75_3B38_9F25_41AC_0A254EE75EFE.subtitle = Continuing with the right part of the first half, we see panels showing Rama's meeting with the Vanaras, including Hanuman & Sugriva, the killing of Vali, the search & location for Sita and setting off of Rama and his army towards Lanka. \ The first part of the right half of the northern wall has depictions of the march of Rama & his vanara sena and the building of the "Ramsetu" or bridge to Lanka. panorama_BCD15BC1_A44A_A9B9_41E1_49A401BE63DD.subtitle = It is believed that Queen Shantala, wife of the Hoysala king Vishnuvardhana, sacrificed herself by leaping to her death from here. \ \ Even after many years of marriage, Shantala was unable to have a child. Despite many requests, her husband refused to denounce her and take on his pregnant co-wife Lakshmi, as his main queen, in order to have a heir for the kingdom. Therefore, to get out of the way of the kingdom getting an heir, she sacrificed herself. \ \ However, this theory is contested by some. Another legend says that she didn’t kill herself but took the Jain vow of sallekana- or self-starvation - to achieve nirvana to become a saint and guide her community for generations to come. While both are legends, it is rumored that an inscription detailing her death exists in a basadi in Shravanabelagola; however this claim lacks substantial evidence. \ \ Just below this point is Kapila Teertha – where the Rishi Kapila is believed to have committed penance. There is another natural spring originating near this point. \ \ We now head to the northern side of the temple, where we see 2 pillars perched on the overhanging rock. panorama_A9A17056_BFF1_9F09_41CF_2D106419BB28.subtitle = It is very interesting to note that the Kalyani has carvings of Ramayana & Bhagavatam - avatars of Lord Vishnu - whereas the main temple is dedicated to Lord Shiva. According to inscriptional evidence, there were two tanks or kalyanis named Vishnusamudra and Bochasamudra built by the Hoysala king Vishnuvardhana in 1140 AD in the Shivagange region and this might be one of them. Vishnuvardhana, who also commissioned the prominent Vishnu temple in Belur - the Chennakeshava temple - was a devout Vaishnavite. Thereby, it is speculated that he chose to build a tank dedicated to the avatars of Vishnu. \ \ We have 8 "waypoints" or "viewing positions" on the walk around the Kalyani - indicated by the blue figure. You could move to the next waypoint by clicking the Next arrow on the main image or the animated arrow on the ground panorama_4BA6D710_45DE_3DFD_41BB_F02883364631.subtitle = Locals believe that this ~8 feet impressive carving of Ganapathi on a massive boulder was undertaken by Lord Rama. Harake in Kannada means wishing a person with prosperity or divine blessings or a vow undertaken in the name of a god in return for granting wishes. This deity is believed to grant the wishes of the devotees, and hence the name Harake Ganapathi. On the opposite side, there is also a small image of Veerabhadra swamy, considered to be the kshetrapala or guardian deity of the region. \ \ Climbing up further, we see the Shree Aarumukha Subrahmanya Swamy shrine on the right. panorama_7570A31E_63FC_4768_41C9_42EDFEFD1B43.subtitle = On the southern wall, we can observe depictions of Ayodhya and the story associated with Rishi Rishyasringa. The western wall starts with depiction of Dashratha's yagna for the birth of his sons. \ \ Click on the Information hotspots (animated circles with "i" logo ) for more details & legends associated with the carvings on the panels. panorama_46B6E7DB_49B7_AC4C_41C8_99D0929CCA17.subtitle = Several remnants of a fort may have been visible as you ascended the hill. However, once you exit the temple courtyard and look up the hill, clear view of the ramparts of the fort become visible. The partially demolished fortification wall is believed to have continued its path downwards from here. This structure serves as a tangible link to the region's historical significance, offering glimpses into its fortified past. Shivagange thus held a lot of economic and political relevance, even before Bengaluru as a city was founded. \ \ It is believed that Kempegowda, as a Governor of the Vijayanagara empire, conquered Shivagange in 1526 and found a treasure in the temple, leading him to set up a treasury here. This site may have subsequently served as a military base for his Treasury army – responsible to collect and convey taxes from the region to the King's treasury. This could also be the reason for his setting up a tunnel from here to the city he established later, Bengaluru. \ \ As we continue uphill, we come across a large stone mantapa on the left, called the Kempegowda Hazara or Kempegowda Hall. panorama_6613CE9E_69A8_45ED_41D8_92E21C140635.subtitle = The Kempegowda Hall, constructed in Vijayanagara style, is adorned with distinctive Yali pillars facing outwards and features a raised platform at one end. Currently, the hall and the pillars have been white-washed. The pillars are adorned with a variety of intricate carvings. \ \ According to historical accounts, this mantapa was commissioned by Kempegowda himself after his conquest of Shivagange. It is believed to have served as a vital administrative center, where he conducted various official duties. This included the disbursement of salaries to his soldiers and deliberations on tax collection strategies. As such, the hall holds significant historical importance, offering insight into Kempegowda's governance practices and administrative operations during his reign. \ \ Uphill of this mantapa, we come across a stambha, Nandi mantapas, an open Veerabhadra shrine and a gateway with a bull or Nandi sculpture on top of it. There are several teerthas or water sources spread across the mountain. \ \ From Kempegowda Hall, after a climb of about 15-20 mins on the trail that veers to the left, we come to the most well known one called Olakal or Olakallu Teertha. panorama_3BF11CA3_3630_0B12_418F_79FCA070C7F2.subtitle = The corners of the northern and eastern walls contains friezes depicting the war between the armies, Rama putting an end to Ravana's evil and establishment of Vibhishana as the next king of Lanka. panorama_2146C467_2EC5_846A_41B9_DE924224000D.subtitle = The entrance to the temple consists of an elaborate Gopura which seems to have been painted over recently, along with a Nandi mantapa and a dhwaja sthamba. \ Behind the gopura, the peak of Shivagange can be seen - the destination in case you are trekking all the way up! \ \ Shivagange is also popularly known as Dakshina Kashi, due to the presence of many Shaivaite temples. From certain angles, the temple is shaped like a Shiva linga. An eternal spring found here is thus named Ganga as well. It is also believed that it's called Dakshin Kashi as the number of steps leading from the base to the main temple is equivalent to the number of yojanas (an ancient measure of distance, approximately equal to 15 kms) from Shivagange to Kashi. \ \ As we enter the temple and climb up the stairs, we first visit the Harake Ganapati shrine on the left. It is customary to seek the blessings of Lord Ganesha before starting any auspicious event. \ \ Tip: If you are planning to walk beyond the main temple, you could continue to wear your footwear & leave them at the entrance to the main temple panorama_3BF270E3_3633_FB12_41C2_BCF6A73965F1.subtitle = The first half of the eastern wall has carvings of Sita's "agnipariksha" or trial by fire, the return of Rama to Ayodhya and his coronation. \ \ There are quite a few other depictions on the panels on the eastern wall that are defaced, eroded and not easily decipherable, including those of various sages. The second half seems to contain a few depictions from the Bhagavatam, including a carving of Balakrishna. Glancing over these, we move to the south-east corner. panorama_3BA5726A_3630_3F13_41B0_5638BA8594BE.subtitle = The friezes on the first half of the western wall of the Kalyani depict Dasharatha's yagna and the birth of the 4 princes. Thereafter follow depictions of the initial exploits of young Rama & Lakshmana in Dandaka forest, and the story of Ahalya. panorama_3BF08726_3630_0513_4189_CAA81CBD1504.subtitle = The friezes on the second half of the western wall of the Kalyani depict Rama's winning of Sita's hand after breaking the Pinaka, the wedding of the all the 4 princes and their return to Ayodhya. There's also a depiction of the encounter of two avatars of Vishnu - Rama with Parashurama! panorama_665413ED_7483_12BB_41AD_2A185EE61FE7.subtitle = The name literally means Underground Ganga. This is a perennial mountain spring emerging between the rocks, adjacent to the Honnammadevi temple. We can reach the water levels by carefully navigating the very narrow & steep steps between the rocks. It is believed that this river is connected underground to the Antargange river in Kolar district, almost 100 kms away. \ \ One associated legend is Goddess Honammadevi destroyed demon Rakthabeejasura here. Feeling thirsty after the fight, she asked for water from Lord Shiva who guided her to Goddess Ganga. Honammadevi split the land to allow waters from Ganga to flow from underground, giving rise to Patalaganga. \ \ As we return to the main stairway & continue climbing, just after the gopura, we come to the Sri Honnammadevi shrine on the right.  panorama_3BF16110_3630_1D0F_41C4_F983F162C9A6.subtitle = The northern wall of the kalyani is quite packed! The friezes on left half include depictions of the exile of Rama, Lakshmana & Sita, their journey to Chitrakoot & Panchavati and the kidnapping of Sita by Ravana. panorama_BF3C64CF_A44B_FF49_41D4_C8393DBC867D.subtitle = There are two khambas or pillars at the overhanging rock at the summit. The one closer to the edge is called Uri khambaand the one behind it is called Teertha khamba. \ \ In earlier times, a lamp used to be lit atop this pillar during festivals, and thus the name (Uri in Kannada = Fire or burning). Remnants of what looks like a receptacle can be seen atop the pillar. \ \ Every year in January, on the day of Makar Sankranti , the marriage of Sri Gangadhareshwara and Sri Honnamma devi (Parvati) is conducted in the main temple below. Water seeps from the bottom of the Teertha khamba. This is considered as water from the holy Ganges, and is used to perform the dhara ritual or solemnization of their marriage. \ \ Take in the stunning views of hills and lush green landscapes, Savor the tranquility before you begin your return journey. Please be careful during your descent & watch out for monkeys! \ \ We recommend a visit to the kalyani, in case you have not already done so. There are remarkable engravings on the kalyani walls depicting episodes from Ramayana & Bhagavatam. \ \ We hope you enjoyed this tour. We would greatly appreciate your feedback & ideas. Please take some time to share your insights with us by clicking on the exit button to respond to a survey. \ \ Have a wonderful day & safe travels! \ \ panorama_46B7EDBA_49B4_9CCD_41BE_B0A47B3E0A9D.subtitle = There is no presiding deity inside the Garbagriha. Just outside the sanctum one can see a partially broken hero stone. It is very common to find Hero stones around Ganga temples as the concept of recording and commemorating a Hero's death started from this period. \ \ A stairway on the left leads to the trekking path up the hill and bypasses the main temple. We return to our earlier path, where just before a gopura, a gateway on the right leads to the Patalaganga and Veerabhadra swamy shrines. panorama_67130731_69B8_C337_41A7_133C52DE4080.subtitle = This natural spring holds significant importance, as it marks the origin of the Kumudavathi river. Olakallu - means a manual grinding stone in Kannada. Inside this cave temple, there is a grindstone like cavity, through which you can touch the waters from the spring. The legend around this is that the great Veerashaiva saint, Shri Renukacharya, had created this cavity by striking his kamandala on to the ground. It is believed that this water can help wipe off one's sins – hence is also called the "Papa Vimochana Teertha". \ \ We resume the uphill climb keeping to the left of the Olakallu teertha, crossing a broken down mantapa, a shrine dedicated to Nandi & naga stones and Kumbha teertha to reach a fairly new Shiva-Parvati temple at the foothills, called Kailasa Bagilu panorama_5657C9D7_4672_0A90_41BA_2F90654EBA2C.subtitle = This small shrine is dedicated to Aarumukha Subrahmanya swamy or Lord Karthikeya, considered the elder son of Shiva & Parvati. The name of the shrine is derived from the 6 faces of Subrahmanya (in Kannada, Aaru = 6 & Mukha = Face) . He is also known as Shanmukha or Shanmugham in Tamil – the Lord with Six Faces. \ \ Subrahmanya was born to defeat a demon named Tarakasura. There are many variations to the reason as to why Subrahmanya has six heads. One popular belief is that Lord Shiva through his third eye emitted 6 rays of fire which fell onto a lotus flower. The rays turned into six babies whom Goddess Parvati gathered into her arms and turned into a beautiful baby boy with six heads, each head representing the five elements of nature (Earth, Water, Air, Fire and Space) along with Shakti (pure consciousness). The baby was extremely powerful and Parvati could not nurse the child alone. Six celestial beings or apsaras named Kritikas take up the responsibility of nursing the six headed child, hence his name also came to be known as Kartikeya. \ \ As we climb up further, there is a gateway on the left leading to a cave temple & a Nandi mantapa. panorama_5AAAC0F8_499C_A44D_41CC_606C3B763331.subtitle = Typically, Nandi is placed before the shrine of Shiva in erect or recumbent form either within the temple or on a raised pedestal in an outer mandapa. This beautiful Nandi statue, carved out of a granite monolith, is located to the right of the Gavigangadhareshwara temple. It must have been a later addition by the Nayakas judging by the prominent hump and the stout but sharp horns. \ \ Nandi is considered to be the guardian of Kailasa, the abode of Shiva. 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. 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. \ \ Just behind the Nandi mantapa is a cave temple, that is now defunct. panorama_7A4AAD59_63FC_C3EB_41D7_7B08CE63C27B.subtitle = Welcome to Shivagange Hills! \ \ We could start our visit at the Kalyani, or temple tank, which is around 100 metres to the north of the main temple entrance, close to the main parking area. One of the most interesting feature of this kalyani are the ornate friezes carved on the walls depicting several episodes from the Ramayana and Bhagavatam. It would take 20-30 minutes to walk around the kalyani. \ \ The visit to the main Gavi Gangadhareshwar temple & shrines in the temple complex would take around 1-1.5 hour. The climb to the hilltop, via Olakal Teertha, is very scenic and would take between 3-5 hours. \ \ This heritage monument is protected and maintained by the Dept. of Archaeology, Museums & Heritage, Mysuru. \ \ We would suggest starting at the kalyani, by clicking on the Next button or the first option. If you wish to start with the temple, please click on the 2nd option.  panorama_604DB13A_6E7B_B869_41CA_A2AF3E45FAF4.subtitle = As we climb up towards the summit, we come across a Veerabhadraswamy temple on the left - considered the kshetrapala or guardian deity of the region. There is a Giri Gangadhareshwara temple just ahead. Giri in Kannada means hill – thus lending the name to the Gangadhareshwara or Shiva temple at the top of the hill. In between the 2 temples, a small pathway to the left (i.e the Southern direction) leads to the Shantala Point. panorama_66999914_69AB_CCFC_41CA_EF4FD180EEE7.subtitle = As we step away from the mukhamantapa, we can notice the elaborate carvings (currently whitewashed for protection) that adorn the top. The mantapa extends further to the left, inside which a number of Naga stones can be found. To the right, we can see a pillared porch - the prakara - that goes around the temple. Several sections of the porch are in a broken down condition on the other side of the temple. \ \ In case you have to collect your shoes or return to the foothills, please proceed to the right (by the prakara). 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Monument Protected & Maintained by
Dept. of Archaeology, Museums & Heritage, Mysuru.
Research
Shraddha Ravi
Sharanya Sai
Narration
Shraddha Ravi
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2 eroded carvings of dwarapalas are visible at the entrance to the now defunct garbagriha. The dwarapalas are holding maces and are likely to be Shringi and Bhringi, along with the Nandi in front, it suggests this temple might have been a Shiva temple. A hero stone with an engraving of a Shiva linga is visible on the left side, probably moved here during some renovation. The inscriptions on this are also eroded to make out what it refers to.
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A Nandi mantapa, belonging to the Hoysala period, is seen in front of the main dwara of the Gavi Gangadhareshwara shrine.
The mantapa is supported by four lathe turned pillars made of soap stone, three of them bearing inscriptions. Snake hood projections can be noticed around the capital on all four sides of each pillar, specific only to the Nandi mantapa. There are intricately carved Rangoli like patterns on the stone platform around the Nandi mantapa.
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Also known as Dakshina Kashi, the earliest reference to Shivagange is found in the Kakudgiri Mahatme of Kalale Nanjaraja, where the hill was referred to as Kakudgiri. In ancient mythology, it is believed that the sage Agastya named this place as Shivagange. It is also known by other names as Mandakini, Dharachala and Gangadharachala.
This area has historically come under the influence of several dynasties such as the Gangas, Hoysalas, Kakatiyas, Vijayanagara rulers, Nadaprabhus of Yelahanka and Wodeyars of Mysore. During the reign of the Gangas, Shivangange was a famous Shaivite pilgrimage centre. Stone inscriptions of the Hoysalas along with copperplate inscriptions of the Vijayanagaras have been found here, indicating that Krishnadevaraya, in 1512 A.D, had donated several villages to Brahmins in the area. There are indications of ramparts running around the Shivagange temple and it has been suggested that Shivappa Nayaka had fortified this hill.
Kempegowda, the ruler of Yelahanka and the founder of Bangalore, is also associated with this temple. You can find a statue of Kempegowda inside the sanctum of the main temple. It is believed that he captured Shivagange and took over its treasury. You can see evidence of this treasury within the temple premises.
There is a stream that originates from the the hill which disappears underground, which the locals believe to be the Patala Gange. The hill is also the origin of another river, Kumudavati, which is currently being rejuvenated.
A popular belief about the Shivalinga in the Gangadhareshwara temple is that when ghee (clarified butter) is poured over the deity, it turns into butter. On the day of Sankranthi, devotees visit Shivagange to witness the Sankramana gangotpatti (emergence of holy Ganga water), when natural water oozes out from a rocky spot atop the Kumbi betta, from the base of a pillar called the Teertha sthamba.
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An archival photograph from 1915 shows an unhindered view of Shivagange hills. Most of the structures from then are still existent today.
Source: Report on Archaeological researches by Govt. Of Maharajah of Mysore, 1914-15
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Beautiful carvings can be observed atop the kapota of the Mukhamantapa. The carvings include small ornate shrines with a niche housing deities like Ganesha, forms of Shiva, Lakshmi, etc. It is very interesting to note that the carving is supported atop a series of parrots, enhancing the architectural beauty and showcasing the incredible skills of the artisans. The parrots carved on top of the mini shrines are represented in geometrical patterns.
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Bronze figures found inside the temple, the photographs of which were published in the research paper.
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It is believed that there is a secret passage that starts here (the entrance is marked, but sealed off currently) - opposite the garba griha - which leads to the famous Gavi Gangadhareshwara temple, built by Kempegowda, in the Basavanagudi area of Bangalore.

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It was rumoured that when Kempegowda conquered Shivagange in a battle, he found a significant treasure inside the temple stored here, part of which he used to build the Kempegowda hall situated further up the hill.

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It's intriguing to observe that positioned at the center of the Torana or the top of the Dwara, there exists a portrayal of Durga slaying the demon Mahishasura. This depiction raises the possibility that Durga could be considered as an incarnation of Parvathi. Alternately, it may signify the engraving of Goddess Honnamadevi - another form of Durga - seeking vengeance against Raktabeejasura, as per local legend.
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Just above the doorway, we see a Gajalakshmi motif. Gajalakshmi (literally Elephant Lakshmi, Gaja = Elephant in Sanskrit) is believed to have restored Indra's wealth that was lost to the depths of the ocean. She's depicted seated on a lotus, with two elephants on either side showering her with water. Gajalakshmi is worshipped as a bestower and protector of wealth & prosperity, strength and abundance.
The interesting carving on top depicts Lord Ganesha with Kinnaras on either side. Kinnaras are mythological beings, either half-human and half-horse (male/Kinnara), or half-human and half-swan or other birds (female/Kinnari). They are celestial beings with a fondness for music and singing. We also find references to them in Jataka as well as in Buddhist mythology.
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Nandi is depicted sitting in a couchant position with both his hind legs positioned to the same side and his tail resting on one of his legs. When observed carefully, the Nandi is adorned with bells which have been carved intricately. Many such Nandis can be seen in Shivagange, of all sizes. The Ikkeri Nayakas belonged to the Vokkaliga and Banajiga clans belonging to the Veerashaiva sect. This might also be the reason why we get to see Nandi mantapas all over the hill.
Nandi is considered to be the guardian of Kailasa, the abode of Shiva. 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. 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.
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Prajapati Daksh was one of Brahma’s son. His dislike for Shiva first started, when during a yagna he took offence that Shiva did not acknowledge and bow to him. It was heightened further when Shiva cut off one of Brahma’s head.
Daksha’s youngest daughter was Sati, considered to be an incarnation of the goddess Shakti. Since a young age, Sati was in love with Shiva and wanted to marry him. Despite Daksh’ opposition, she married Shiva resulting in their strained relationship.
Daksh decided to conduct a Ashwamedha Yagna where he invited all the Gods, but pointedly ignored Shiva & Sati. Sati believes this to be an oversight, and decides to attend the yagna against Shiva’s wishes. There, Daksha mocks and insults Shiva using contemptuous language. Repenting the decision to attend the yagna, and unable to bear the ignominy, she jumps into the sacrificial fire in front of the gathering of all the gods.
When Shiva hears the news of Sati’s casting off of her physical body, he flies into a terrible rage. He plucked a cluster of his matted hair and flung it to the ground. From half of it emerged the ferocious Veerabhadra, and from the other the equally fearsome Mahakali. Shiva instructs these embodied forms of his fury to destroy Daksha’s yagna and all the gods who partook in it. With the might of Shiva’s armies alongside, they descend on Daksha and his entourage that included Vishnu, Indra and several gods. A terrible fight ensues resulting in the maiming of several gods – including a legend where Veerabhadra swallows Vishnu’s mighty Sudarshana chakra. The might of the ferocious Veerabhadra prevails – he defeats the gods, captures & decapitates Daksha and throws his head into the fire.
Subsequently, Brahma, Vishnu and the other gods seek to pacify Shiva through repentance and request restoration of Daksha’s life. Shiva finally relents, and revives Daksha after placing the head of a sacrificed goat on his body. Daksha realizes the errors of his ways, and thereafter becomes Shiva’s devotee as well. Sati reincarnates as Parvati, the daughter of Himavan and is reunited with Shiva subsequently.
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The Vijayanagara Empire that rose during the early part of 14th Century manifested itself as a great source of cultural enrichment to Indian history, and the reign of the rulers of the empire stands out as a resplendent chapter in the cultural and political history of the country.
The minor principality of Yelahanka Nadu contributed greatly to the glory of the Vijayanagara Empire. The Yelahanka dynasty started off as farmers, but proceeded to rule for over three centuries as the vassals of the Vijayanagara Empire, from 1367 to 1728.
Over time the nucleus power declined resulting in dilution of the wholeness of this kingdom. The situation needed a local chieftain to settle the uncertainties and this paved the way for Kempegowda to fill the vacuum of a Nada Gowda - a farmer leader or a clan head. During those times, those who took the lead in supporting farmers by building tanks, lakes, canals and temples often gained the heartfelt acceptance of the populace, who embraced them as their leader.
Kempegowda was obliged to pay annual tribute to the King's Treasury and also helped recruit men to the King's Treasury army. Military bases at the strategically located forts of Ramgiri, Sivaganga, Savanadurga, Bhairava Durga, Huliyuru Durga and Huthari Durga, came into existence and were reinforced by Kempe Gowda's soldiers.
Source: International Journal of Applied Research 2016;
Political milieu during Kempe Gowda: The founder of Bangalore by Dr. Munirajappa, Dr. Venkatesha TS
In this context, the term "Treasury army" refers to a military unit tasked with safeguarding the tax revenues collected from villages and ensuring their safe transportation to the King's treasury.
This research paper suggests that Shivagange served as one of Kempegowda's military bases, although the precise strategic significance of this region remains unclear. This observation may explain the fortifications surrounding the temple atop the hill.
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The cave temple consists of an entrance leading to two mukha mantapas on either side. The one on the left consists of a small subsidiary shrine (a shrine dedicated to the family or an incarnation of the main deity) housing a Shiva linga and Nandi. There is a pathway between the mukha mantapas leading to the Garbagriha to the left which houses the main deity, Goddess Honnamma devi. The entrance to the main shrine is adorned with a captivating scene of Durga defeating Raktabeejasura.
Upon crossing the threshold, three shrines become apparent, with the central one dedicated to Honnamadevi herself. To the right, arranged are the Ratha idols that catch the eye. The goddess is depicted with 8 hands, holding her weapons including her khadga (sword) and crushing a demon with her feet.
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The pillars are built in Vijayanagara Style. 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 of different deities or designs on all four sides.
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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 may be gentle-looking or fierce armed with weapons mostly a mace-gada. 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.
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This frieze shows Shiva and Parvathi, seated on a pedestal with Brahma and Vishnu to their right and the Saptarishis to their left (3 rishis alongside on this wall, and 4 on the adjoining wall)
The Saptarishis are the Seven great sages. They are revered as born from the mind of Brahma, and taught yoga by Lord Shiva himself to pass the knowledge and tradition to humanity. The Saptarishis are:
• Atri
• Bharadvaja
• Gautama
• Jamadagni
• Kashyapa
• Vasistha
• Vishwamitra
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Three sets of ornate door frames can be observed at the dwara (entrance) to the main cave temple. The first set of door frame has the carving of Dwarapalas (guards) with the Hoysala lion symbol on top. The second set of door frame consists of the carvings of Dwarapalikas (female guards), shown standing on makaras with a parrot carved near the head. The third, outermost set of door frame shows the Dwarapalas represented in Namaskara mudra with a Shivagana shown below holding up the pillar. A beautiful carving of Lord Nataraja can be observed at the top of the dwara.
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Nagas are a class of semi-divine entities taking form as half-human and half-serpent. They 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 common serpent. 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.
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A pillared porch or Prakara can be seen in a semi-circular fashion around the Gavi Gandhareshwara temple. Several sections are in a broken down condition however. We can observe several enclosed areas alongside the open porch. In earlier times, these may have served as shelters for devotees coming from afar.
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Shiva Rudras are immortal beings created by Shiva himself. Different scriptures celebrate different legends of the creation of these Rudras.
According to Shivapurana, there are 11 Rudras, each with unique attributes and significance, collectively embodying the diverse aspects of Lord Shiva and reflecting the cycles of creation, preservation and destruction. They are usually depicted holding a trident or a sword. One legend is that Lord Shiva was born to Rishi Kashyap as 11 sons, to defeat the rakshashas who terrorized Indra and the devas. Another story is that Brahma got bored of creating ordinary mortals, and asked Shiva to create some beings – and he then created these 11 immortal beings
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The Yali pillars, present all around at the front of the mukhamantapa, depict a warrior mounted on a mythical creature, with an elephant positioned beneath, powerfully emitting 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. For example, notice the warrior riding the Yali. He is shown with two faces, so that the rider appears to be facing the viewer on either side. These are exquisite relics of the Vijayangara period, majorly themed on war scenes.
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Ganga and Yamuna are depicted as dwarapalikas on either side of the entrance. They are shown standing on a Makara.
Makara is a sea creature in Hindu mythology. Iconographically it is always depicted as the vahana of river goddeses Ganga and Yamuna. It is a composite animal, with the trunk of an elephant, jaws of a crocodile, extruding teeth of a wild boar and the tail of a peacock.
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Madanikas are a regular feature in Vijayanagara temples. They are depictions of celestial beauties, such as apsaras, carved on the walls or pillars to break the monotony and add beauty to the walls or pillars. They are also known as Soorasundari in Maharashtra and Salabhanjika in Northern parts of India.
They are usually shown in great detail – adorned with elaborate jewellery, costumes and accessories – striking different postures such as playing musical instruments, dance poses, hand gestures, singing etc. They are often used to demonstrate the skills and express individuality of the artisans carving them.
Note the similarities and differences of the intricate details on the madanikas carved on the opposite pillars of the mukhamantapa. The notable details include the head band (Lalaatapatta), Earrings (Karnabhushana), Necklaces (Hara), Arm bands (Bahubhushana), Shoulder ornaments (Bhuja shobhana), Waist bands (Kathibandhas), Anklets (Nupuras) and toe rings.
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This beautiful carving depicts the scene of Girija Kalyana - the wedding of Shiva and Parvathi. The king of the Himalayas, Himavat (also known as Himavan or Himnaresh) and his wife Menavati are depicted performing Kanyadana. Shiva and Parvati are shown holding hands while holy Ganga water is being poured over their hands. Nandi is shown receiving that water at the bottom. Vishnu and Brahma are present for the wedding, with Brahma seated on a pedestal, performing the wedding ceremonies and seeming to pour offerings to the sacrificial fire near him.
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Located about 56 kms from Bangalore near Dabaspet, Shivagange is a small hillock located at 4,600 ft above sea level.
The main temples here are the Shri Gavi Gangadhareshwara temple and the Honnamadevi temple, both of which are situated in large natural caves and believed to be built by the Gangas. A shrine dedicated to Veerabhadraswami, with a majestic 8ft high carving of the deity, can also be found here. Locals folklore has it that Veerabhadraswami is the son of Honnamadevi. One can also find two Nandi statues near the temple, including a Nandi carved into the top of the hillock.
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The garbagriha houses the main deity which is a Shivalinga. There are two bronze pillars situated in front of the garba griha. The main entrance has two dwarapalas carved on either side of the door frame, with a Gajalakshmi motif carved on top.
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A large, ornate engraving on a rock depicts Aarumukha Subrahmanya Swamy.

Lord Subrahmanya was born to defeat a demon named Tarakasura. There are many variations to the reason as to why Lord Subramanya has six heads. One popular belief is that Lord Shiva through his third eye emitted 6 rays of fire which fell onto a lotus flower that bloomed in the lake Saravana. The rays turned into six babies whom Goddess Parvati gathered into her arms and turned into a beautiful baby boy with six heads, each head representing the five elements of nature (Earth, Water, Air, Fire and Space) along with Shakti (pure consciousness). The baby was extremely powerful and Parvati could not nurse the child alone. Six celestial beings or apsaras named Kritikas take up the responsibility of nursing the six headed child, hence his name also came to be known as Kartikeya.
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One can notice the 3 feet tall Kempegowda statue beside the Vishveshwara Ganapati shrine. The bronze statue of Kempegowda opposite to the Garbagriha was installed in 1609, after Kempegowda's demise.

Photographs shown above are of the bronze statues found inside the temple, which were published in a research paper.

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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.
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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.

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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.
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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.
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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.
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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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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.
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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.
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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.
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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.
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There are quite a few depictions on the panels on the eastern wall that are defaced, eroded and not easily decipherable!

<< What else can we add here ??? It is also interesting to note that the kalyani has 4 entrance mantapas in all the 4 directions. The roofs of the mantapas are decorated with sculptures of bulls; the engravings on the inside have eroded over time though. They also seem to have been renovated. >>>

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There are quite a few depictions on the panels on the eastern wall that are defaced, eroded and not easily decipherable!

<< What else can we add here ??? It is also interesting to note that the kalyani has 4 entrance mantapas in all the 4 directions. The roofs of the mantapas are decorated with sculptures of bulls; the engravings on the inside have eroded over time though. They also seem to have been renovated. >>>

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