#: locale=en ## Hotspot ### Text HotspotPanoramaOverlayTextImage_AFA9BA50_A0CE_7B3B_41DF_9161F3DD534E.text = 2 Elephants HotspotPanoramaOverlayTextImage_893AEDE5_99A9_9A3A_41CD_7A7FBAB3D8EF.text = 2 Lions & Elephant HotspotPanoramaOverlayTextImage_F9810635_E89B_63B8_41B2_3215424BB49F.text = Adhisthana HotspotPanoramaOverlayTextImage_10EAAFDA_035F_1FCB_4166_4D09E77182E0.text = Agni HotspotPanoramaOverlayTextImage_F9EF8746_EA51_BF1F_41B5_ECA3C1F72228.text = Akka Mahadevi HotspotPanoramaOverlayTextImage_6BCBD985_7B04_1D2D_41DD_E8BEB5BD74A1.text = Approaching Nandi HotspotPanoramaOverlayTextImage_6BCB6985_7B04_1D2D_41C8_FF71E493B410.text = Arjuna HotspotPanoramaOverlayTextImage_B1A9F64E_A15A_6B27_4195_3138EE3D9E30.text = Arjuna (1) HotspotPanoramaOverlayTextImage_9680EB12_99A8_9E1E_41AA_E1AA52D6917A.text = Arjuna (2) HotspotPanoramaOverlayTextImage_BB93B6C2_AA91_7B19_41CD_80F2CB5A0B71.text = Ayyanar HotspotPanoramaOverlayTextImage_3AC58401_2AD6_D251_41B2_7001E1271D96.text = Ayyappa swamy HotspotPanoramaOverlayTextImage_4C14CB5B_52DB_45B3_41CD_E83DAC6EE0EE.text = Balakrishna HotspotPanoramaOverlayTextImage_F8BCEE6D_EA5E_F112_41DA_1393AFD4CE87.text = Bhairava HotspotPanoramaOverlayTextImage_890283BD_99AF_8E05_41D6_EFC67CA0628C.text = Bhima (1) QuadHotspotPanoramaOverlayTextImage_CD58AC19_DEB7_FA5B_41E9_E14C304C0CDA.text = Bhima (2) HotspotPanoramaOverlayTextImage_7DDFC397_686B_072E_41BB_F28510E5E2BD.text = Brahma HotspotPanoramaOverlayTextImage_95459C6F_9A57_BA06_41CF_C2FB1FB86AF5.text = Chamundeshwari HotspotPanoramaOverlayTextImage_5CF99781_48B4_F5D0_41C7_AAF4DD717AB5.text = Chandikeshavara HotspotPanoramaOverlayTextImage_148AA7A2_0661_2264_4189_B378A04B88C6.text = Chandikeshwara HotspotPanoramaOverlayTextImage_DB9F9669_C9B9_2C88_41B8_BB5A5B76AB8D.text = Chandrashekhara HotspotPanoramaOverlayTextImage_F6D6B04F_E6AC_EC01_41E4_98EF77ACF772.text = Dakshinamurthy HotspotPanoramaOverlayTextImage_F7625E1D_E6F5_1401_41D2_41C0057FCFA6.text = Dakshinamurthy HotspotPanoramaOverlayTextImage_11351E39_035B_0049_416B_4948197B668A.text = Dwarapala HotspotPanoramaOverlayTextImage_AA2036A3_BA69_507A_41E5_8EEED998D739.text = Epitaph HotspotPanoramaOverlayTextImage_90091F79_83E2_9D6C_41DE_65DF8A713034.text = Gajalakshmi HotspotPanoramaOverlayTextImage_105B1E37_035F_0059_4152_CC73A8EE8470.text = Ganapathi HotspotPanoramaOverlayTextImage_F71ADB99_E6ED_3C01_41E8_493082A080F1.text = Ganesha HotspotPanoramaOverlayTextImage_FA932119_EA56_7335_41E4_0339B51C5C08.text = Ganesha HotspotPanoramaOverlayTextImage_6BCB8984_7B04_1D23_41D4_F7E5F3B4346B.text = Ganesha HotspotPanoramaOverlayTextImage_5A161A59_488D_BF70_41BB_3E00C6C20212.text = Hamsas HotspotPanoramaOverlayTextImage_C2D6EB6A_D3AB_3740_41E9_FFE63A98B13C.text = Hybrid Hamsa QuadHotspotPanoramaOverlayTextImage_C0A1820C_D4E9_50C7_41E8_9CDA4C899556.text = Jambu Savaari HotspotPanoramaOverlayTextImage_B1A81132_A0DA_297F_41DC_1FBBB8FACAF9.text = Kaalantaka HotspotPanoramaOverlayTextImage_FAAC6D94_E89B_A179_41EB_BB43ADA13725.text = Kakshasana HotspotPanoramaOverlayTextImage_8A85155D_9AE8_8A05_41D6_BA98EDE9859F.text = Kaliya Mardana HotspotPanoramaOverlayTextImage_BB0A7632_AA92_9B79_41E4_832E1EFFFF95.text = Kaliya mardhana HotspotPanoramaOverlayTextImage_15D1716B_06E1_3EFB_4195_D3D5483E4400.text = Kamadhenu QuadHotspotPanoramaOverlayTextImage_C7C8EFDF_D4EB_2F41_41E9_08ACCA936FD0.text = Kamadhenu HotspotPanoramaOverlayTextImage_88840EDC_9A68_760B_41B2_243B68F03D1B.text = Kamadhenu HotspotPanoramaOverlayTextImage_6BCB1985_7B04_1D2D_41CE_12933BB04833.text = Kankalamurti HotspotPanoramaOverlayTextImage_893890DA_99A9_8A0E_41DF_51921F38D061.text = Kankalamurti HotspotPanoramaOverlayTextImage_6BC7A980_7B04_1D23_41D5_DBA6F987E530.text = Kannappa Nayanar HotspotPanoramaOverlayTextImage_B7EF6539_A3B2_5759_41D1_2697CB508F2C.text = Kannappa Nayanar (1) HotspotPanoramaOverlayTextImage_F6BC187B_E6EB_1C01_41D1_2A87BC18702A.text = Karthikeya HotspotPanoramaOverlayTextImage_8A830123_9A68_8A3E_41E2_1EB48F0EEE06.text = Karthikeya HotspotPanoramaOverlayTextImage_8A9EE9CE_9A5F_FA07_4193_347B0F60F77F.text = Karthikeya HotspotPanoramaOverlayTextImage_5B36AD6E_488C_9550_41C1_3C04E1336FC4.text = Kinnara HotspotPanoramaOverlayTextImage_118C8D6E_0355_00CB_4168_B96D25FFC720.text = Krishna HotspotPanoramaOverlayTextImage_F95CBD57_EA5F_B33E_41E2_209020653515.text = Lakshmi HotspotPanoramaOverlayTextImage_4C6814BD_52DB_4CF7_41C2_C3CA09B9ED90.text = Mahishasura-mardhini HotspotPanoramaOverlayTextImage_7D818DE1_6897_02E2_41D4_F994C9F090FE.text = Mahishasura-mardhini HotspotPanoramaOverlayTextImage_F8EB0D11_EA51_B332_41C1_528AD7A3F79B.text = Mohini HotspotPanoramaOverlayTextImage_10C631FD_0357_03CE_4152_BEA6E7CD4D5C.text = Monkey HotspotPanoramaOverlayTextImage_8A4BFB7D_9AE8_9E05_41D0_F940EDF8CA46.text = Nagabandhana (1) HotspotPanoramaOverlayTextImage_AF47D476_A0C6_2FE7_41E2_9FB4FCA31365.text = Nagabandhana (2) HotspotPanoramaOverlayTextImage_88A5CB3F_99A8_FE05_41E0_69BD9940843A.text = Nagabandhana (3) HotspotPanoramaOverlayTextImage_14ABC50E_065F_263C_418D_40E10C698293.text = Nagakundalachola HotspotPanoramaOverlayTextImage_F7750281_E6F5_2C01_41D2_DDB51F417C91.text = Nandi HotspotPanoramaOverlayTextImage_F75D9F3E_E6DF_1403_41E4_A8A811E1CC27.text = Nataraja HotspotPanoramaOverlayTextImage_6BCA2986_7B04_1D2F_41C8_EE1E35792379.text = Nataraja HotspotPanoramaOverlayTextImage_E002D49B_F693_52EB_41D6_3CFFD9433DF2.text = Pic courtesy: Tirthatanay / Wikimedia Commons HotspotPanoramaOverlayTextImage_71868A46_6999_012F_41D5_C42085786FCE.text = Pinakadhari HotspotPanoramaOverlayTextImage_71BB5875_6999_01E2_41D9_A7FA3C03D663.text = Saraswati HotspotPanoramaOverlayTextImage_BA18C3AD_AA91_996B_41DB_9DE032493CF6.text = Shakti Ganapati HotspotPanoramaOverlayTextImage_89D253D9_99A9_8E0A_4170_5A045104FD04.text = Shankaracharya HotspotPanoramaOverlayTextImage_F944664D_EA52_D112_41C7_D72F2CDBEB5B.text = Shankaracharya HotspotPanoramaOverlayTextImage_81A3FBFF_905B_B3CE_41CE_F1E230C21472.text = Shiva HotspotPanoramaOverlayTextImage_7E0D0EBF_6869_015E_41BB_2F8C395DC35F.text = Suryanarayana HotspotPanoramaOverlayTextImage_126078A6_0661_2E6C_4166_EB598033634E.text = Umamaheshwara HotspotPanoramaOverlayTextImage_91A282CC_80E2_87A4_41C8_4A9216AC4630.text = Varadaraja HotspotPanoramaOverlayTextImage_6BC8B985_7B04_1D2D_41DB_CC64AA759519.text = Veerabhadra HotspotPanoramaOverlayTextImage_BF688704_AF77_F918_41C5_4EA6873A7C83.text = Veerabhadra HotspotPanoramaOverlayTextImage_12161874_0661_2EED_4198_0E49C0440D45.text = Venugopala HotspotPanoramaOverlayTextImage_F9CE94D4_EA5E_7133_41BD_95CC5C551CD2.text = Vishnu HotspotPanoramaOverlayTextImage_71C5FA3C_699B_0162_41AA_FE1E0F90490E.text = Vyaghrapada HotspotPanoramaOverlayTextImage_136CCB5D_00FB_00C9_4174_BC8186D1A442.text = Yali HotspotPanoramaOverlayTextImage_939EECD8_80E5_83AC_41B1_6625FD688D42.text = Yoganarasimha ## Media ### Floorplan ### 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media/panorama_F81D4056_EA52_713F_41E8_8CC9861C5B70_HS_qmt5i9w2_en.webp imlevel_06CEADD9_1270_2005_418A_35451351299C.url = media/panorama_F9122BB4_E897_A0B9_4197_7811B17898C4_HS_amany8cg_en.webp imlevel_06CE4E24_1270_2003_41AE_05B03A2713FD.url = media/panorama_F9122BB4_E897_A0B9_4197_7811B17898C4_HS_srh9z2sa_en.webp ### Subtitle panorama_D73F5DBC_D923_BCAB_41E2_7675BF1C1EEC.subtitle = A majestic bird’s eye view of the Shri Keerthi Narayana Temple, as seen from the path between the Maraleshwara and Pataleshwara temples. ​ \ \ Dedicated to Lord Vishnu, this temple is one of the sacred Pancha Narayana temples of Karnataka. It holds deep historical significance as well - it was built in 1117 CE by King Vishnuvardhana Hoysala, along with the Vishnu temples at Belur and Tonnur, to commemorate his victory over the Chola governor of Talakadu. Today, this stands as the only surviving example of Hoysala architecture in Talakadu. ​ \ \ This entire temple complex was once completely buried under sand — and the signs of that are still clearly visible in the surroundings. Between 1910 and 1925, it was painstakingly excavated, revealing the temple’s hidden grandeur.​ \ \ Over the years, the structure endured significant damage, and due to heavy rains and soil subsidence, the vimana (tower) tragically collapsed in 2002.​ \ \ Subsequently, the Archaeological Survey of India (ASI) undertook an extensive restoration effort. The vimana was rebuilt, and the entire temple was carefully dismantled, stone by stone, and then reassembled, bringing \ this historic monument back to life. ​ \ \ ​Next: Start at the Mahadwara. ​ panorama_27256DD0_36B8_C9BD_419C_7B104444DCAD.subtitle = A quiet, beautiful shrine dedicated to Goddess Manonmani, a gentle but powerful form of Parvati, the wife of Vaidyanatha. Popularly known as Manonmani Amba, and she is seen as a symbol of peace, wisdom, and divine energy.​ \ \ The name Manonmani means “the jewel of the mind.” She represents calmness, inner strength, and spiritual clarity. \ In many traditions, she is also seen as the highest form of Shakti—the energy behind all creation. People pray to her \ for peace of mind, strength, and guidance on the path to liberation.​ \ \ The shrine is built in the Vijayanagara style, with a small sanctum (garbhagriha), an inner passage (sukhanasi), and a \ hall with carved pillars (navaranga). The sculpture of Manonmani is carved from a single stone, along with a \ beautifully detailed torana (arched frame) above her—both dating back to around the 14th century.​ \ \ Placed in the same complex as Vaidyeshwara, the healing form of Shiva, Manonmani’s shrine brings a sense of balance. While Vaidyeshwara represents strength and protection, Manonmani brings grace, care, and inner stillness—completing the spiritual atmosphere of the temple. \ \ Do not miss the impressive stone vessel, carved out of a single block of stone, maintained just outside the temple. \ \ Next: Visit the Chandikeshwara shrine. panorama_C6AD57D8_CA20_7960_41E3_833475ECAC42.subtitle = Along the southern wall, are two smaller twin shrines, with a mantapa between them. Each shrine houses a small Shiva Linga, with Nandi seated in reverence at the front. The eastern shrines are currently under renovation. Do note the elaborate Yali hastihasta (handrails) of these shrines.​ \ \ Between the 2 smaller shrines stands a mantapa, crowned by a massive Nandi on its roof. This structure is believed to have marked the ceremonial path of kings, who would enter the temple from the southern porch after ritually bathing in the Kaveri river nearby. (Note: the current boundary walls were added later to protect the temple from sands)​ \ \ The deity enshrined here represents Kashi Vishwanatha – the famous Shiva linga of Kashi (Varanasi). It was installed here in 2009 to mark the Panchalingeshwara Mahotsava. The imposing Nandi above was also added at that time—a replica of an older idol that has weathered over the centuries. The original is now kept near the Kirtinarayana Temple. \ \ Next: View the south-west bitti of the main temple by the side of the southern porch. panorama_7EC00AB9_6B5D_B7DC_41C2_2AC4210465C3.subtitle = Also known as Shri Maruleshwara temple, it is located around 250 metres away from the Chowdeshwari amma temple. Considered to be the oldest temple in the region – it is simple, but steeped in history & legend. The architecture and Tamil inscriptions on the exteriors suggests it was built by the Gangas or Cholas. ​ \ \ Folklore has it that on the Southern flow of Kaveri, Lord Shiva appeared before Brahma & Saraswati. Thereafter, the large, natural looking Shivalinga was installed and worshipped here by Lord Brahma himself. ​ \ \ As per legends, the deity here has control over the sands of the region – and hence is called Maruleshwara (Marulu = sand in Kannada). ​ panorama_F4BC5252_E6AB_6C03_4163_98391BEEFF82.subtitle = As we move toward the south-western wall of the temple, you’ll notice that large wall carvings are quite sparse. \ The elegant towered canopies still grace the bitti. At the base, you’ll find a delightful variety of smaller carvings - graceful kinnaras, beloved deities like Krishna and Ganesha. simhamukhas (lion faces) and enchanting hybrid hamsas. ​ \ \ Just along the southern wall stands a small shrine dedicated to Adi Guru Dakshinamurthy, a tranquil and wise form of Lord Shiva. Revered as the supreme teacher, he embodies knowledge, introspection and guidance. \ \ Next: Continue towards the smaller shrines and the mantapa. Also take a moment to view a video introducing the fascinating history of this region. panorama_A5F21522_B3EA_728F_41C1_7E66BB3620BB.subtitle = As we step inside the simple shrine complex, we see a small \ alcove with a relief sculpture of Lord Surya, the Sun god, \ directly facing the entrance to the Arkeshwara temple. ​ \ \ There are 4 small shrines behind the alcove dedicated to Shiva's other manifestations: Shri Kashi Vishwanath, NeelaKanteshwara, ChandraMouleshwara and Maheshwara. ​ \ \ Kashi Vishwanath: Refers to Shiva, as the "Lord of the \ Universe" and as the presiding deity of the holy city of Kashi \ (Varanasi)​ \ \ NeelaKanteshwara: Literally meaning "the blue-throated \ lord," this name comes from the legend of the Samudra \ Manthan (churning of the cosmic ocean). To protect the \ universe from a deadly poison that spewed forth during the \ churning, Shiva drank it and held it in his throat, which turned blue. ​ \ \ ChandraMouleshwara: Literally meaning "the lord with the \ moon on his head", refers to Shiva's iconic depiction, in which he wears a crescent moon in his hair. ​ \ \ Maheshwara: A general name for Shiva, translating to "the \ Great Lord" or "the Supreme God", emphasizing his status as \ the supreme deity in the holy trinity of Brahma, Vishnu, and \ Shiva. ​ panorama_7E901426_6B5F_B2F4_41C3_FD4E43E41223.subtitle = Chowdeshwari amma is a manifestation of Goddess Durga. She is considered \ to be a protector against demons & evil forces, and is regarded as a fierce form \ of Goddess Shakti. She is depicted here in the form of ashtabhuja (eight armed), trinayani (three eyed) and jwala kirita darini (wearing a flaming crown) - all combining to \ represent her fiery nature. She is depicted with one foot planted on a demon, piercing him with her prominent trishul (trident). ​ \ ​ \ Next: Follow the sandy trail by the side to Maraleshwara temple. panorama_7FC05D55_6B6F_4D54_4174_358E0EB65476.subtitle = In contrast to the richly carved South wall, the North wall appears relatively plain, featuring mostly pilasters and \ shikharas in relief, with only a few deity sculptures. The wall doesn’t seem unfinished, suggesting this minimalism was intentional—though the reason remains unclear.​ \ \ One standout feature here is an intricate depiction of a Shiva temple entrance. Another is the "NagakundalaChola" —a set of interlocking rings dangling at the corner.​ \ \ As you move towards the exit, in case you haven't already seen it - don’t miss the small yet distinctive image of \ Vijaya Ganapati, near the dwarapala —a subtle but special detail worth pausing for. panorama_7EDCC4A1_7074_FD73_41C8_906E1F54A3D5.subtitle = Located just south of the Vaidyesvara Temple, this small shrine is a relatively modern structure with little architectural significance. It includes a mukhamantapa, two navarangas, an antarala, and a garbhagriha. ​ The images in & around the temple though belong to the Vijayanagara period. \ \ The main deity here is Veerabhadra, and he is depicted here with a long face, wide nostrils, and thick moustache, typical of the Vijayanagara art style. ​ \ \ In front of the temple, two relief figures are seen labelled as the kirata (hunter) brothers - Tala and Kada: the legends who lead to the naming of this place. \ However, an old inscription found nearby and recorded, mentioned that these actually represent two warrior devotees (bhakta-vigrahas).​ \ \ ​Next: We’ve explored 3 of the 5 Panchalingeshwara temples along with the Keerthinarayana temple located in this vicinity. The remaining two – Shri \ Arkeshwaraswamy and Shri Mallikarjunaswamy temples – are located about 6 km from Vaidyanatheshwara temple. Do note, the Mallikarjunaswamy \ temple is under renovation (as of July 2025) and access may be restricted, so it’s best to check ahead. panorama_ADAFF15F_B77D_B2B5_41E3_D1F68E6E1B61.subtitle = Shri Mallikarjunaswamy temple, one of the revered Panchalingeshwara temples, is located on top of Somagiri hillock at Mudukuthore village - officially known as Thirumalakudu Bettahalli - approximately 6 kms from the Shri Vaidyanatheshwara \ temple. ​ \ \ It is here that the mighty Kaveri River takes a graceful turn to the south, giving the village its \ name: muduku meaning “bend or diversion” and thore meaning “stream or flow” in \ Kannada. From the hilltop, the river winds like a silver ribbon through the green expanse, \ offering sweeping, panoramic views. The temple walls are decorated with beautiful \ frescoes depicting scenes from Indian mythologies. ​ \ \ A popular legend is that Arjuna, the valiant Pandava prince, once stayed on this very hill during his exile. In his devotion to Lord Shiva, he crafted a Shiva Linga from the rocks and adorned it with simple offerings of mallika (jasmine) flowers gathered from the surrounding slopes. This gave the temple its enduring name – Mallikarjunaswamy.​ \ \ ​The other temple here is dedicated to his consort, Goddess Brahmaraambika – a \ manifestation of Goddess Durga. Mythology has it that an asura (demon) called \ Arunasura after performing severe penance, received a boon from the god Brahma that no creature with two or four legs could harm him. Thereafter, Arunasura wrecked havoc in the \ heavens & earth – forcing the devas to seek help from Durga. She created thousands of six \ legged bees, who attacked & stung the asura to death. ​ \ \ \ ​ panorama_F81D4056_EA52_713F_41E8_8CC9861C5B70.subtitle = Take a moment to pause and admire the nuances of the temple’s exterior. ​ \ \ The adhisthana (base) features five distinct cornices, separated by deep grooves, running seamlessly around the temple. The middle cornice is particularly striking, decorated with a repeating pattern of miniature arches, each housing tiny carvings of lingas, swans, and other symbolic figures.​ \ \ Above, the eaves curve gently and are kept mostly simple—except for a few delightful touches, such as stucco monkeys perched playfully at \ select spots.​ \ \ Look up to the parapet, and you’ll see a beautifully carved frieze of simhamukhas (lion faces) that envelop smaller carvings like hamsas, sages, and spiritual symbols.​ \ \ Returning to the bitti (wall), noteworthy images include a crocodile attempting to swallow Adi Shankaracharya, and representations of Akka Mahadevi, the renowned 12th-century mystic poetess and \ Bhairava, a fierce form of Shiva.​ \ \ Next: We move further along the pradakshina patha. ​ panorama_B7D579B6_A72E_7361_41E2_0733916E7FE5.subtitle = The Navaranga is a modestly sized hall with a square-shaped, \ indented layout. Stone benches – the Kakshasana - line the \ northeast and southeast sides. The hall originally featured nine \ bays along with four entrance sections, designed with generous proportions — Over time, the western bay was adapted into a sukhanasi (vestibule), while the southern one now connects to the Lakshmi shrine.​ \ \ On the western wall, there are two niches topped with small \ turrets – they used to house idols earlier, but currently empty. \ The garbhagriha (sanctum) has a simple doorway a Gajalakshmi motif on the lintel, but no dwarapalas. Inside, the ceiling features a shallow padma (lotus design), and there are three small niches along the walls.​ ​ \ \ The Sukhanasi or Antarala doorway seems to be a later addition, and features a large, beautiful stucco image of Anantasayana (Vishnu in a reclining pose), likely from the 17th century. Inside the sukhanasi there are images of a seated Narasimha avatar and Thirumangai Alvar - the last of the 12 alvars (Saints) of South India, renowned for his poetry. ​ panorama_7858D157_6B6D_7554_41D3_20B5A78DD1C8.subtitle = The Pataleshwara temple is located in an excavated pit, surrounded by protective walls to keep the sand out. It is similar in size & structure to the \ Maraleshwar temple. The main structure, made of stone, dates back to around the 10th century. The outer walls feature three inscriptions in Tamil \ and one in Kannada from the Hoysala period. ​ \ \ The brick tower and the statues on the roof are recent additions. Note how the Nandi sculptures on the corners of the tower share one head! ​ \ \ Lord Shiva is believed to have appeared on the eastward flow of Kaveri, in front of Vasuki, the King of serpents - who then worshipped the linga here. \ Hence the deity is also known as Shri Vasukishwara. ​ \ \ A unique feature of the temple is that the small Shivalinga is said to appear to be of different colours at different times of the day: it appears to have a reddish hue in the morning, dark in the afternoon and white in the evening. ​ \ \ Next: You could read up about the navaranga before entering the shrine. ​ panorama_7BCDDCBD_689B_0162_41C1_91C71DB59749.subtitle = The bitti (wall) has a pattern of alternating shallow recesses (indentations) and raised sections that look like flat columns. Both the recesses and \ columns have towered canopies, with shikharas (towers) that are crowned by simha mukhas (lion faces) or kalashas (vessels). The shikharas are quite ornamented and of various shapes – square, drum, \ boat etc. The pilasters supporting the roof have squarish capitals, with lotus bud pendants adorning them. ​ \ \ The layered bitti (wall) has numerous large images of deities on the eastern & southern sides; \ These images are labelled on your screen (which can be toggled on/off). Additional details, context & associated stories are detailed as spotlights \ for some of the more interesting images (click on the circles or spotlights to view). ​ \ \ On the south-east wall, you can see images of Mahishasuramardhini, \ Brahma & Suryanarayana. panorama_272AAE93_36B8_CBA3_41C8_C961A9918A2D.subtitle = The entrance structure has only the dwara, but there is no shikhara built above it. \ It is unclear whether this was part of the original design or if the upper portion was \ damaged or lost over time. In Vijayanagara temple architecture, especially during \ the time of the Rayas, gopuras were large and impressive gateways that often had \ tall, decorative towers made of brick and plaster. These towers usually added height and grandeur to the entrance. The absence of a shikhara here is unusual, as most Raya gopuras were crowned with such structures. It is possible that the \ tower was never completed, or that it was made of materials that have since deteriorated. Without clear historical records or physical evidence, we cannot be certain of the original plan. \ \ Next: We'll walk to Gokarna tirtha, located around 150 mtrs away. panorama_6A50E43A_7B04_2B67_41C1_9A519C2B7125.subtitle = The fascinating legend of the devotion of Kannappa Nayanar to Shiva is commemorated at 3 different locations in the temple – the first being in this section. Striking depictions of Arjuna, Nataraja, Kankalamurti are among others here – which too are repeated at other places in this temple. Another interesting \ depiction is that of a person approaching a Nandi pillar with a dagger & sugarcane stalk in hand. It's also represented on the south porch – however, it's not clear who or which incident is this referring to. ​ \ \ On the bitti (wall) here, one can also appreciate the different type of shikharas that adorn the canopies over the deities. At the base, you’ll find beautiful carvings— vahanas (divine mounts) and delicate floral motifs—adding richness and rhythm to every frame.​ \ \ Next: Wall next to the south porch. panorama_8906D816_9A58_7A07_41E0_6C8467BBD07D.subtitle = The imposing mantapa is supported by 20 tall granite pillars of Vijayanagar style: each \ one is monolithic, with elegant octagonal shafts connecting cuboidal mouldings that \ are broader & larger at the base to provide structural stability. Despite being carved in \ hard granite, the pillars feature fairly detailed carvings - a testament to the skill of the \ artisans. ​ \ \ Do take the time to appreciate the carvings that are both rich & diverse in their themes, \ including Deities (Shiva, Ganesha, Karthikeya, Rama, Krishna, Anjaneya); Epic \ legends (Arjuna, Bhima); Saints (Shankaracharya, Akka Mahadevi, Kannappa \ Nayanar); Decorative motifs (floral designs, purnakumbha); Sacred & symbolic \ animals (Kamadhenu, hamsas, lions & elephants); Symbols (Nagabandhana, \ Gajasimha & Yali). ​ \ \ Next: Visit the Manonmani Amba shrine​ panorama_F7575248_E6AB_2C0F_41E9_758DF838358F.subtitle = The influence of the Ganga dynasty is most prominently visible on the western side of \ the main temple, where there is a small shrine with 2 sanctums, housing Mahishasura mardhini and Shakthi Ganapathi. ​ \ \ This is believed to date back to the Western Ganga period, identified mainly by its distinctive architectural style—especially the pillars. These pillars are simple yet elegant, with smooth surfaces and cylindrical or octagonal (eight-sided) shafts, typical of early stone architecture in Karnataka.​ \ \ One standout feature is the cushion-like capital—a rounded, soft-looking top where the pillar meets the roof. Besides being decorative, it’s a clever structural element that helps distribute the weight from above more evenly. \ \ Next: We enter the mantapa to the west of main temple panorama_F1F4C323_E6EB_6C01_41E6_A9EA792D9C24.subtitle = The magnificient southern porch is part of the original temple structure, unlike the eastern porch. Many of the fine details on the doorway have \ eroded, and renovation has been undertaken. On the lintel, we can see the Gajalakshmi motif, above which is a carving of Umamaheshwara. \ The jagali (platform) in front of the doorway is beautifully ornamented with cornices and friezes, comprising simhamukhas & beaded pattern designs. The bottom most frieze comprises elephants, lions, swans & other animal \ forms in different poses. The layered ceiling above has a padma (lotus). \ The most intricate part of the porch are the 2 pillars in the front, with detailed relief carvings. Do step in to admire the ornate carvings on all sides of the pillars – the hotspots on your screen provide the labels & added descriptions of some of the key ones. \ \ Next: Visit the smaller shrines on the southern side, and return to the other side of the porch. panorama_27245921_36B8_569F_4193_8BCD471DC40A.subtitle = The name literally means "five lingas" (Pancha=five and linga= the universal symbol of Lord Shiva) - and are associated with 5 different aspects of Shiva. These five shrines are believed to represent different aspects or manifestations of Shiva — possibly the five elements, senses, powers, or roles — underscoring his omnipresence and multi-faceted nature. ​ \ \ As per an inscription found here, these shrines were built in 1633 CE by an office of the Mysore kingdom. There's a jagali (verandah) in front of the shrines, with short Vijayanagar style pillars. The overall design is modest - only the central shrine entrance & cuboidal mouldings of the pillars have some carvings – these too are not very intricate. \ \ These shrines are believed to represent the Shiva temples of Talakadu, built to offer devotees the opportunity to have darshan of all the sacred sites—especially for those unable to visit each one in person. \ \ A semi-finished, yet eye-catching sculpture of Karthikeya is hosted at the far end of the verandah – likely relocated from another part in the temple. \ \ Next: Manonmani amba shrine panorama_AB1B3329_B365_B69A_41DA_2BC9AEBF1870.subtitle = The plan of this small temple is quite straightforward with a Navaranga, an antarala and \ a small Garbagriha. As one enters the navaranga, a mix of pillar styles - round, eight- \ sided and sixteen-sided fluted ones can be noticed. The base of the garbhagriha is \ decorated with tiny arches. The antarala was likely a later addition, with its modern \ doorway. ​ \ ​ \ In the Navaranga, there are several beautiful images including those of Madhava, \ Suryanarayana, Kalabhairava, Mahishasura mardhini , Kartikeya and Ganesha. ​ \ \ Madhava is depicted with Gada, Prayoga chakra,and Shanka,and left hand in Katihasta. ​ \ \ Lord Surya (Sun god) is depicted standing, with seven horses on the pedestal. His prabhavali (halo) seems to consistof his 8 Adityas (aspects); with Usha and Pratyusha –representing Dawn & Dusk near his feet. ​ \ \ The flair & style of some of these idols indicate them to belong to the 14th century. You \ could also spot several old pieces ofidols lying half-buried in the sand outside the \ temple. ​ \ \ Next: Continue to follow the sandy trail to Shri Pataleshwara temple, located approximately 500 metres away. The path also offers fine elevated views of the Keertinarayana temple. panorama_2761282E_36B8_D6E5_41B8_43F2FDE933E3.subtitle = The popular legend of Talakadu is that it is named after 2 hunter brothers Tala & Kada. They unintentionally hurt a Shivalinga, but healed it under the guidance of Lord Shiva himself. Thereafter Shiva was worshipped here as Vaidyeswara or Vaidhyanatheshwara – literally translating to "Lord of Physicians". This temple is \ associated with healing powers, and attracts devotees from far and wide, especially those seeking cures for ailments.​ \ \ ​This is the most elaborately carved temple in the Talakadu region, constructed almost entirely of close-grained granite. Given the hardness of granite, the level of details and intricacies of the carvings are surprisingly good! ​ \ \ Although the exact origins of this temple remain uncertain, inscriptional evidence and sculptural styles suggest that the main structure was built during the late Hoysala or early Vijayanagara period—around the 14th century. However, older Hoysala and Chola inscriptions mention a temple here during the reign of Raja Raja Chola, indicating that the current temple may have been constructed over an earlier linga installed during the Ganga or Chola period. A small shrine nearby is believed to date back to the Ganga era, while most other shrines appear to have \ been added after the main temple was built.​ \ \ ​Next: Entrance of Eastern Porch​ \ ​ panorama_A18C798E_B365_B597_41D9_9331F26E12AA.subtitle = The small temple has a square navaranga and garbagriha. ​ \ \ The navaraṅga has four granite pillars with the typical rounded Chalukyan design. It also houses several images from different time periods. Sculptures of Brahma, Venkatesha, Dakshinamurthi, Bhikshatana murthi and Mahishasura Mardhini, belonging to various dates can be found here. ​ \ \ Shiva as Bhikshatana murthi - With Damaru, Trishula, danda and kapala. His vahana, a black dog, can be seen near his feet. ​ \ \ Mahishasuramardhini – Is depicted in sambhanga (standing pose), with \ katihasta (hand on the waist) with a buffalo head depicted on her pedestal. ​ \ \ ​Next: As you climb back up to the sandy trail, you'll notice a fork. One leads to the banks of Kaveri (approximately 500 metres walk; it is also accessible \ by road). The other the other leads back to the Vaidyeshwara temple via Veerabhadraswamy temple – which we'll visit next. panorama_E00DF756_F375_5E7D_41CA_FAE3854A4389.subtitle = The temple consists of a Garbagriha, 2 sukhanasis and a navaranga. The plan is squarish with each angle twice indented and stands on a low & narrow jagati (platform), which follows the contours of the shrine. ​ \ \ The main deity is Lord Shiva in the form of Udbhava Linga. This signifies that the linga is believed to have self-manifested or occurred naturally, rather than being installed by humans – adding to the deep spiritual significance & legend of this temple. ​ \ \ Images of several deities including Ganesha, Saraswati, Bhadrakali are placed outside the sanctum. Do note the striking depiction of Lord Venkatesha, said to be holding Prayoga-chakra – i.e. with his Sudarshana chakra in a ready-to-release position. ​ \ \ Two small shrines to the north of the navaranga house the utsavamurtis (festival idols) of Tandavamurti & his consort. It used to have another image of \ Chandrashekhara, which was damaged &relocated – and only the beautiful image of his consort Parvati is seen here. It is said that there is a secret passage through the walls from these shrines to the sukhanasi. ​ \ \ Next: Corner of the east porch, in front of the dwarapala, following the pradakshina patha, ​ panorama_24CD3E85_36B8_4BA7_41B9_A0C8F512D568.subtitle = The temple has two porches—one on the east (where you’re standing now) and another on the south. It’s believed that the original eastern porch was quite ornate, much like the elaborate southern doorway you’ll see later.​ This porch is believed to have replaced the original around 1633 CE during restoration. Note the rather modest pillars supporting the porch – they are of the Vijayanagara style. Both porches are small compared to the larger mukhamantapas of other Vijayanagara temples. ​ \ \ ​The entrance doorway is magnificently carved in great detail in granite. The sill has a seated lion at the centre. Dwarapalas with their feet resting on their gadas (maces) and lady attendants flank the entrance. There are 10 intricate \ bands around the doorway – with ornamental designs of flowers, beads or creepers, with a motif of Gajalakshmi adorning the lintel. The 2 dwarapalas – \ are likely Nandi and Mahakala, who are identified as Shiva's dwarapalas to the East. Standing ~10 feet tall, these monolithic figures are amongst the tallest dwarapalas in Karnataka. \ \ Next: A description of the interior of the main sanctum that you could read up \ before entering. ​ panorama_F9122BB4_E897_A0B9_4197_7811B17898C4.subtitle = The temple's adhisthana (base) is decorated with unique trapezoidal and cross-shaped mouldings. Just above the adhisthana, is the panel (the front of the kakshasana – or seating platform in the interior). The main shrine features an open navaranga (pillared hall), \ and its layout is reminiscent of the famed Chennakeshava Temple at Belur. The outer pillars are of various shapes including square, eight-pointed, sixteen-pointed with fluting and octagonal. \ \ ​Next: Before you step into the main shrine, you could read an overview of the navaranga & garbagriha to appreciate the interior grandeur. panorama_72267D75_6999_03ED_41C5_547F395E943D.subtitle = The wall adjacent to the southern porch has wall images of 2 different forms of Shiva – Pinakadhari & Chandrashekara. The depiction of Goddess Saraswati, with Kannada letters \ inscribed on the manuscripts in her hands, provide important \ clues to the period of construction. ​ \ ​ \ On the bitti (wall), you can notice a fascinating variety \ of miniature shikharas crowning the canopies above the deities. Each deity is enshrined within a small, finely carved mantapa complete with its own ornate superstructure. Here, the shrines of Saraswati and Chandrashekhara feature vaulted shikharas, while the shrine dedicated to Shiva stands out with a domical, octagonal shikhara. ​ \ \ ​Next: The ornate south porch. panorama_CB7892AE_D963_A4A7_41E2_A9ABF5870C67.subtitle = This Mahadwara—the grand gateway to the temple—was unearthed during the excavations in 1925. Its sheer scale, along with the massive base in front — possibly the remains of a Garuda Stambha—offer a glimpse into the grandeur of the temple in its prime.​ \ \ The structure reflects the same stylistic elements as the main temple. All the sides are very similar - adorned with pilasters and miniature towered canopies at their ends—echoing the temple’s architectural language. Simhamukhas —lion-faced motifs —adorn the structure. A decorative frieze of paired lion faces runs along the edge of the roof, adding to its visual drama.​ \ \ Before you climb onto the platform, take a moment to admire the beautifully carved "Hasti-Hasta"—the elegant elephant-shaped side railings – with the one on the left relatively well preserved. ​ \ \ Next: Main temple ​ panorama_7F216144_6B6D_B2B4_41C2_2DE957EA33DE.subtitle = This sacred water tank, known as the Gokarna Tirtha or Pushkarni, is square-shaped tank measuring ~150' on each side. Fine granite steps on all sides lead to the serene waters. Designed for religious bathing and purification, it is a significant site as devotees start their Panchalinga darshana pilgrimage by having a bath here first.​ \ \ There is a very small, 14th century shrine dedicated to Gokarneshwara – associated with Lord Shiva of the Mahabaleshwara temple in Gokarna town. It is believed that the temple was built to commemorate the conquest of \ Gokarna by the Vijayanagaras. \ \ ​ \ \ ​Next: Let's visit the Shri Keerthi Narayana temple. panorama_78588690_6B6D_5FAC_41C9_C329EFBF3449.subtitle = This small Panchalingeshwara temple is located around 6 kms from Vaidyanatheshwara temple, in Vijayapura which once formed a part of Talakadu itself.​ \ \ ​Arkeshwara refers to Lord Shiva as the Lord of the Sun or the Lord worshipped by the Sun (Arka = Sun or rays & Ishwara = Lord). On the auspicious day of Ratha Sapthami, celebrated as the birth of the Sun god & the beginning of spring, the rays of the rising sun directly \ illuminate the Shiva Linga here through the doorway – regarded as the worshipping of the Linga. ​ \ \ ​The temple here seems to be a Ganga Monument, considering the pillars which show Ganga workmanship. There are also two pillars belonging to the Chola period and one pillar made of black stone belonging to the Hoysala period. \ \ Next: We'll take a look around the courtyard before visiting the main temple. ​ panorama_BC47A3F1_A7F6_72E9_41C2_0E5AE034E7D4.subtitle = Tucked away on the north-west side of the temple stands a small shrine dedicated to Chandikeshwara also known as Chandesha - one of the 63 Nayanar saints celebrated in the Tamil Shaivite Bhakti tradition.​ \ \ ​He is depicted in a seating position with an axe over his \ shoulders. He is considered to be in deep penance; and regarded as the guardian of the household, as well as the protector of the temple. ​ \ \ ​He's also considered to be the record keeper of those who visit the temple. Hence a tradition of some visitors to snap their fingers in front of the deity, to remind him to mark their presence. Some also rub their hands in front of him, to show that they are not taking away \ anything from the temple. ​ \ \ ​Note the two small pillars supporting the shrine’s \ structure - they resemble the Ganga architectural style. On the bitti nearby, do not miss the unique monkey carving.​ \ \ ​Next: We take a look at the carvings on the North bitti. panorama_8B2B01CD_9ABB_8A05_4190_A5D43BDA2E3C.subtitle = We now move to the imposing mantapa, believed to have been added after 1633 CE, around the time the adjacent Panchalingeshwara shrines were built.​ \ \ It is supported by 20 tall granite pillars of Vijayanagar style: each one is monolithic, with elegant octagonal shafts connecting cuboidal mouldings that are \ broader & larger at the base to provide structural stability. The mouldings feature a wide assortment of unique carvings – which can be regarded as intricate considering the hard granite stone on which they are chiselled. The spotlights on your screen further detail some of the interesting ones. As you move to the southern side of the mantapa, look out for a beautifully carved relief of Goddess Chamundeshwari.​ panorama_F822EFAA_EB79_60A8_41E9_B167F69D470F.subtitle = We're able to get a good view of the vimana (spire) & bitti (wall) from the side of the temple. These are relatively modest, compared to other elaborate and intricate Hoysala temples such as those in Halebid or Somnathpura – \ likely because of the use of hard granite stone. Some of their interesting aspects are further elaborated in the spotlights. ​ \ \ You would have seen numerous inscriptions engraved at several places in the temple - on the cornices, pillars and walls – both in the interiors & exteriors. \ These record the grants and endowments that the temple received. One of them mentions a shrine to Goddess Lakshmi in the north-west corner of the \ temple – which probably was damaged by sand. Subsequently, the image of \ the goddess was shifted into the navaranga. ​ \ \ After a pradakshina (circumambulation), we visit the small shrine near the mahadwara dedicated to Lord Anjaneya (Hanuman). ​ \ \ Next: We proceed along the road, by the side of Gokarneshwara Teertha, to \ Shri Chowdeshwari Amma temple. panorama_09FD118A_1EB1_489C_41BE_529F3EDC01FC.subtitle = We’ll begin our journey at the Vaidyeshwara and Keerthinarayana temples \ — the largest, grandest, and most well-known among Talakadu’s sacred temples. Both are easily accessible by road and offer a magnificent \ introduction to the region’s spiritual and architectural heritage.​ \ \ From there, we’ll start at the Chowdeshwari Amma Temple and walk along a scenic 3 km sandy trail that connects the Maraleshwara and \ Pataleshwara temples, before looping back to Vaidyeshwara via the Veerabhadraswamy temple. ​ \ \ If you prefer to explore in a different order, simply select the temple you wish to visit using the map or carousel in this guided tour.​ \ \ Two other Panchalingeshwara shrines — Shri Arkeshwaraswamy and Shri \ Mallikarjunaswamy temples — lie about 6 km from Vaidyeshwara. Do note \ that the Mallikarjunaswamy temple is currently undergoing extensive renovation (as of July 2025), and access may be limited. It’s best to check in advance before planning your visit. panorama_F8FE1987_E89F_A158_41E8_CC1E1AE043B4.subtitle = ​This temple stands apart from most other major Hoysala temples—primarily \ because it is constructed using a combination of granite and brick. Unlike the typical Hoysala temples carved almost entirely in soft soapstone with intricate \ carvings (think of Halebid, Belur or Somnathpura), the use of hard granite here has resulted in minimal exterior ornamentation. This has allowed the temple to be comparatively taller than the others though. ​ \ \ Soapstone has been used selectively—only for the four lathe-turned pillars in the navaranga (inner hall) and the temple’s main deity.​ \ \ Architecturally, the temple follows a single-vimana, ekakuta design—meaning it \ has one garbagriha (sanctum) and one tower above it. The entire temple is built on a jagati – a 4 feet high platform that adds elevation & elegance. \ ​ \ Next: Entrance to the shrine ### Title photo_D59EE363_C772_B43C_41D6_5B1CF2AA7699.label = 00 Timeline video_E1416E3B_C60E_DCE7_41D3_BD5FBEB457AC.label = 01 Talakadu Intro video_E1F300BB_C602_A5E7_41BB_430ABB08AD7A.label = 02 Tale of two brothers video_E1EF4BFF_C602_BB5E_41A7_B779AC89EA59.label = 03 History of Talakadu video_E1D48A6D_C60D_E563_41DB_B86AEE562A20.label = 04 Alamelamma’s Curse video_E1C55E46_C60E_7CA1_41D6_6108D20C8133.label = 05 Talakadu’s sands panorama_2761282E_36B8_D6E5_41B8_43F2FDE933E3.label = A01-Vaidyeshwara panorama_24CD3E85_36B8_4BA7_41B9_A0C8F512D568.label = A02-East Porch panorama_E00DF756_F375_5E7D_41CA_FAE3854A4389.label = A03-Interiors panorama_7BCDDCBD_689B_0162_41C1_91C71DB59749.label = A04-East Porch panorama_F81D4056_EA52_713F_41E8_8CC9861C5B70.label = A05-South East Bitti panorama_6A50E43A_7B04_2B67_41C1_9A519C2B7125.label = A06-South East Bitti 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Goddess Durga with 8 arms, depicted in relief in black stone, slaying the asura
(demon) with a buffalo form - Mahishasura - with her trishul (trident). Her left leg is pinning down the shape shifting asura, while she wrestles him down by his horn with her left hand. Her weapons that can be clearly seen here, in her right hands from the top are: Vishnu's Sudarshan chakra (discus), Yama's khadaga (sword), Vayu's baan (arrows) and Shiva's trishul (trident). In her left, from the top, she holds Varuna's shankha (conch), Vishwakarma's dhal (shield) and Vayu's dhanush (bow). Her vahana (mount),the simha (lion), can be seen in the background. ​
Mahishasura (Mahisha = buffalo; asura = demon), through his penance obtained a boon from Brahma, that he could only be killed by a woman. He misused his powers & strength to attack humans and gods and create havoc. To save them, the Trimurti – Brahma, Vishnu and Shiva – concentrated their energies to create Goddess Durga. Blessed with their collective powers and weapons gifted by various gods, she fought and vanquished the seemingly invincible evil. Goddess Durga thus came to be worshipped as Mahishasura Mardhini — the Slayer of Mahishasura, symbolizing the triumph of good over evil.​
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Goddess Durga depicted slaying the asura (demon) with a buffalo form - Mahishasura - with her trident. Her left leg is pinning down the shape shifting asura; her moun t, the lion, can be seen in the background. ​
Mahishasura, through intense penance, earned a boon from Brahma that he could only be killed by a woman. Drunk with power, he unleashed chaos upon earth and heaven alike. In response, the Trimurti – Brahma, Vishnu and Shiva – combined their energies to create Durga, endowing her with their weapons and essence.
Durga’s victory over Mahishasura is celebrated as the ultimate symbol of the triumph of good over evil, earning her the title Mahishasura Mardhini – the Slayer of Mahishasura.
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(Repetition of the description provided earlier)​
Lord Shiva as the divine beggar is depicted here with his kapala (skull) begging bowl; petting his pet deer that is playfully leaping up at him; and with a dwarf attendant beggar, carrying another bowl, accompanying him. His rear hands are carrying a kankala danda (skeleton stick) and a trishul (trident). Note his stance, indicating him walking. Unlike the naked depictions of his form of Bhikshatana murti, this form is clothed. His vahana - Nandi, the bull - is seen at the base. ​
Shiva was repentant after he severed Brahma's 5th head to punish him for his
arrogance & dishonesty. To atone for this sin, he wandered the world as a beggar with Brahma's skull as his begging bowl. He finally obtained redemption after bathing in the holy Ganges at Kashi (Varanasi)
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A very interesting depiction that appears to be that of a well adorned processional elephant, mounted by a turban bearing rider carrying some type of broad sword. ​
Dasara festivities were held by the Vijayanagara kings as early as the 14th-
15th Century. As this mantapa was built in 1633 CE, it is possible that this
depiction refers to an early version of the famous "Jamboo savaari" or
elephant procession; with the rider carrying the "pattada katti" or royal
sword. ​
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A very unique depiction of the cow, Kamadhenu, with its head depicted artistically in two different positions. One head is bowing to a Shiva Linga, appearing to lick & bathe it, while the other is turned lovingly towards another linga and performing abhisheka (bathing it) with its milk.
The divine Kamadhenu is described as the mother of all cows, with powers to fulfil wishes and is considered to represent abundance, prosperity and purity – a symbol of spiritual blessings. Her milk is revered to have purifying qualities. ​
There are 2 other depictions of Kamadhenu in this temple – one with it's head in 3 different positions! ​
Above this is a depiction of Purnakumbha, with simhamukhas also adorning it. The purnakumbha with overflowing vines & flowers represents prosperity. The addition of simhamukhas, that represent strength & protection, signify the protection of prosperity.
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Lord Shiva as the divine beggar is depicted here with his kapala (skull) begging bowl; petting his pet deer (some legends also refer to it as a dog) that is playfully leaping up at him; and with a dwarf attendant beggar, carrying another bowl, accompanying him. His rear hands are carrying a kankala danda (skeleton stick) and a trishul (trident).
Note his stance, indicating him walking.
Unlike the naked depictions of his form of Bhikshatana murti, this form is clothed. His vahana (vehicle) - Nandi, the bull - is seen at the base. ​
Shiva was repentant after he severed Brahma's 5th head to punish him for his
arrogance & dishonesty. To atone for this sin, he wandered the world as a beggar with Brahma's skull as his begging bowl. He finally obtained redemption after bathing in the holy Ganges at Kashi (Varanasi).
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Lord Shiva emerging from the Linga, and striking Yama, the God of Death, with his foot and trishul (trident), in order to protect his devotee. Markandeya appears to be hugging the Linga, while Yama seems to have his hands extended holding his pasa (noose). An antelope can be seen in Shiva's left hand, but the other attributes aren't clear. ​
​Markandeya was a young sage, born to the pious couple Mrikandu and Marudvati, who were granted a son destined to live only sixteen years. A devoted worshipper of Lord Shiva, Markandeya spent his early years in deep prayer. On the day Yama came to claim him, Markandeya clung to the Shiva Linga, refusing to let go. Yama cast his noose, which accidentally fell around the Linga too. Enraged, Shiva manifested from the Linga, struck down Yama, and blessed Markandeya with eternal life. ​
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One of the 63 Nayanars, he is depicted in a seating position with an axe over his shoulders. He is considered to be in deep penance; and regarded as the guardian of the household, as well as the protector of the temple. ​
He's also considered to be the record keeper of those who visit the temple. Hence a tradition of some visitors to snap their fingers in front of the deity, to remind him to mark their presence. Some also rub their hands in front of him, to show that they are not taking away anything from the temple. ​
As a child, he was a devout follower of Shiva and used to create thousands of lingams to meditate on him. This used to irritate his parents, and when one day his father accidentally stepped on and broke a lingam, a furious Chandikesha cut off his father's leg. Much affected and impressed with his devotion, Shiva manifested and restored his father's leg and granted him the boon of a permanent place with him.
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Quite a vivid & graphic depiction of a turning point in Adi Shankaracharya's life! Young Shankaracharya is depicted as praying to Shiva – a Shiva Linga is depicted on the side – as a crocodile attempts to swallow him. ​
Quite devout as a child, Shankaracharya wanted to become a sanyasi – but his mother was against it. Once while bathing in a river, he was seized by a crocodile. Realizing his futile situation, he pleaded for his mother's permission to become a sanyasi – so that he could at least die as one. She reluctantly agreed. As he chanted the mantras (prayers), the crocodile released him from its clutches.
Shankaracharya then continued with his learning, wrote several books & commentaries, established mathas across India and is widely considered to have reinvigorated Hinduism in India.
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Shiva's devotee, Kannappa, shown plucking out his eye with his arrow; with his foot on the Shiva Linga. ​
Thinna, a hunter living around the present-day Kalahasti region of Andhra Pradesh, chanced upon a Shiva Linga in the forest, and was deeply attracted to it. Unversed in rituals, he adopted his own method of worship and devotion – such as offering meat & carrying water in his mouth to bathe the Linga.
One day he saw the Linga bleeding from one eye, which did not cease despite his various attempts. He finally plucked out one of his own eyes and placed it on the Linga. When the other eye then started bleeding, without hesitation he started to sacrifice his second eye – when he realized he would become blind. He put his foot on the Linga to mark the position to place the eye.
Pleased with his deep devotion, Lord Shiva manifested to restore his eyesight and bless him with mukti (realization). Thinna thereafter become known as Kannappa Nayanar (Kannu≈eye in many South Indian languages; appa≈respectful address; Nayanar≈ Group of 63 saints devoted to Shiva)​
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The episode from Draupadi's swayamvar in Mahabharata, where Arjuna raises his bow to strike at the rotating fish's eye, while looking at its reflection in a bowl of water near his feet. ​
The challenge was to lift & string a powerful bow, shoot an arrow through the eye of a fish, mounted on a rotating wheel suspended from the ceiling, by only looking at its reflection in a bowl of water. Arjuna, who was in exile with his Pandava brothers disguised as Brahmans, stepped forward when all others at the swayamvara failed to complete the challenge. He effortlessly shoots the fish' eye, winning the hand of Draupadi.
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This depiction is likely to be that of Mohini, the female form of Vishnu, considering the other deities alongside. With flowers & creepers wrapped around her, the dance pose with her hand placed on the head is suggestive of Vishnu taking the form of Mohini to charm the evil asura (demon), Bhasmasura, into killing himself. ​
​Bhasmasura performs intense penance to please Shiva, who grants him the deadly power to turn anyone to ashes by touching their head. Drunk with power, & wanting to be the most powerful, Bhasmasura tries to use it on Shiva, who seeks Vishnu’s help.
Vishnu transforms into the enchanting Mohini, who beguiles Bhasmasura. Smitten, he asks to marry her. Mohini agrees—on one condition: he must match her every dance move. During the dance, she touches her head. Bhasmasura copies her—and instantly
turns himself to ashes!
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This fiery manifestation of Shiva is depicted here with 3 fiery eyes 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, whose head can be seen near its base. To his right, Daksha is portrayed with his goat’s head and hands folded. ​
Prajapati Daksha, son of Brahma, grew hostile towards Shiva after a perceived slight and because Shiva had severed one of Brahma’s heads. His daughter Sati, in love with Shiva, married him against Daksha’s wishes. Offended, Daksha held a grand yagna excluding Shiva and Sati. Thinking it a mistake, Sati attended, only to witness Shiva being insulted. Devastated, she leapt into the fire. Furious, Shiva created Veerabhadra and Mahakali, who destroyed the yagna and decapitated Daksha. Relenting to pleas of Brahma & Vishnu, Shiva revived Daksha – but with a goat’s head. Daksha repented & became the lord's devotee. Sati was reborn as Parvati, reuniting with Shiva.
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This is likely a depiction of Akka Mahadevi, a prominent saint and poet of the 12th century. Born in Udutadi (known today as Udugani) in Shimoga district of Karnataka, she is famous for her 430 short poems, called Vachanas in Kannada, composed in praise of Lord Shiva and contribution to Kannada literature. ​
She was devoted to Chenna Mallikarjuna, an epithet for Lord Shiva in her hometown, and considered herself betrothed to him. She's said to have rejected a wedding proposal from the king; thereafter she renounced all material possessions, including clothes, and travelled as a digambara (naked) saint. Legend has it that her devotion caused her tresses to cover her body, and she is typically depicted covered with her long hair. She came to be addressed by prominent philosophers and saints of her times as Akka Mahadevi: Akka = Elder Sister, Maha = Great, Devi = Goddess/Lady
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​(Repetition from an earlier depiction)
A graphic depiction of a turning point in Adi Shankaracharya's life!
Young Shankaracharya is depicted as praying to Shiva – a Shiva Linga is
depicted on the side – as a crocodile attempts to swallow him. ​
Quite devout as a child, Shankaracharya wanted to become a sanyasi – but his
parents were against it. Once while bathing in a river, he was seized by a
crocodile. Realizing his futile situation, he pleaded for his mother's permission
to become a sanyasi – so that he could at least die as one. She reluctantly
agreed, and as he chanted the mantras (prayers), the crocodile released him
from its clutches. Shankaracharya then continued with his learning, wrote
several books & commentaries, established mathas across India and is widely considered to have reinvigorated Hinduism in India.
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​​Hastihasta refers to the railings by the side of the sopana (stairway). ​
Here it is sculpted in the form of a fierce yali - a mythical lion. From the open mouth of the yali emerges an elongated, rolled form resembling a tongue ending in a spiral. However, it’s more than just a
tongue - it can also be interpreted as the lion’s roar, frozen in stone!
This dramatic feature also serves a practical purpose: it doubles as a handrail and guardrail - blending imagination, symbolism, and function in one striking design.
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A beautiful depiction of Shiva as Nataraja, the Cosmic Dancer performing the Ananda Tandava, that signifies the creation, preservation, and destruction of the universe. While not very intricate, many of the key features are noticeable in his iconic pose with 4 hands and 1 leg raised. His rear hands carry the damroo (kettle drum, signifying the primordial sound of creation) and agni (fire, signifying destruction). His front, right hand is in Abhaya mudra (upright palm, signifiying blessings) while his left is in Gaja-hasta mudra (downward & inverted palm, resembling elephant's trunk, signifying power to remove obstacles). His jata (hair) is flowing – signifying the flow of holy Ganges through his matted hair. His third eye on the forehead signifies enlightenment & power to destroy ignorance. The dwarf-like figure being trampled by his right foot represents Apasmara Purusha – a demon who symbolizes ignorance and ego.
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A benevolent manifestation of Lord Shiva as a Supreme teacher. He's depicted here with a coiled sarpa (serpent) and Agni (fire) in his rear hands. His front right hand in abhaya mudra holds a japa mala (rosary) & left hand in dana mudra holds the scriptures. He's considered to be seated under a banyan tree, likely signified by the leaves above him. The flowing lines near his matted hair represent Ganga, and symbolizes the interconnectedness of knowledge and source of life. ​
Dakshinamurthy is traditionally installed on the Southern side of a temple and
facing South. A shrine dedicated to him is located a bit further along the Southern wall - with different attributes. There are 2 additional depictions on opposite sides of this pillar though, that
are facing the East & West directions.
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A decorative element of a single hooded serpent, twisted in a square maze. There's another Nagabandhana on the adjoining pillar - a maze created with 2 entwined serpents facing each other. On another pillar, you can see the 3rd image of entwined serpents, with a lotus flower at the center – called Pinnal Nagam, symbolizing purity & enlightenment. ​
Often decorative elements of pillars or walls, they are considered to be protective charms guarding sacred spaces. When placed on doors, they're regarded as protecting the sacred treasures and to ward off evil influences. ​
When found under trees, usually the entwined serpents represent Naga & Nagini, and the union of male & female energies and symbolize fertility. ​​
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A depiction of Purnakumbha, with simhamukhas also adorning it. The
purnakumbha with overflowing vines & flowers represents prosperity. The addition of simhamukhas, that represent strength & courage, signify protection of prosperity.
The half-human and half-tiger rishi, Vyaghrapada, is shown at the base. He was a devoted follower of Lord Shiva. Each day, he offered the finest flowers to Shiva—so pure that not even honeybees had touched them. In his search, he often climbed trees and walked through thorny paths, injuring his feet on rough surfaces. Moved by his unwavering devotion, Shiva granted him a divine boon—the strong, agile legs of a tiger, enabling him to gather offerings without pain and continue his worship with ease.​
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A depiction of Ayyanar flanked by his consorts Poorna & Pushkala. Widely worshipped as a grama devata (village guardian) in Tamil Nadu and other parts of South India, to protect villages from evil and disasters. Poorna (typically on his right), represents fulfillment and abundance, while Pushkala stands for nourishment and growth. Together, the trio are regarded to bring peace, prosperity & harmony to the villages. ​
Ayyanar is considered to be the son of Shiva and Vishnu (in his Mohini form), and is thus identified with Lord Ayyappa.
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A depiction of Lord Shiva, along with his vahana Nandi. In his left rear hand, he is holding his mighty bow, the Pinaka, crafted by the divine architect, Vishwakarma. In his right rear hand he's holding the legendary powerful arrow – Pashupatastra - that is said to be more powerful than the Brahmastra and having the potential to annihilate entire realms.
His front hands are in Abhaya mudra (open palm upwards, symbolizing protection and bliss) & Dana or Varada mudra (open palm downwards, representing generosity and granting boons).
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A fine relief depiction of the entrance of a temple. Note the multi-storeyed Dravidian style gopuram (temple gateway),
with pilasters (flattened columns) towering above the columns flanking the entrance. ​
Ganga and Yamuna are depicted as dwarapalikas on either side of the entrance. They are shown standing on a
Makara (a mythical hybrid sea creature). There are 2 additional dwarapalas, holding trishul (trident) & damroo (kettle
drum), likely to be Nandi & Mahakala.
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A grand depiction of the God of War - also popular as Kumara, Skanda, Muruga or Subrahmanya – among his 108 names, the son of Shiva & Parvati, and brother of Ganesha. He is shown here with 3 heads (his other 3 are hidden) and 6 pairs of hands, carrying a variety of weapons, with the front pair in abhaya and dana mudras. He is shown seated on Paravani (his peacock vahana), with fine plumage and carrying a snake in it's beak. The deities standing on each side are likely his consorts, Valli and Devasena.
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A serene depiction of the Goddess of Knowledge, Learning & Arts. A hamsa (swan) is shown alongside as the vahana, but the veena, which is typically associated with her is not present here. We can also see her hands holding a shankha (conch) & what appears to be an ankusha (elephant goad). Her front right hand is in Abhaya mudra, while her left in Dana mudra holds a manuscript with inscriptions on it.
Archaeologists have deciphered it to be 4 Kannada characters that read Sa Ra Sva Ti, which are similar to other 14th century inscriptions. Assuming these were originally carved, this is an additional clue that the temple structure belongs to the late Hoysala or early Vijayanagar period, and not the Chola period.
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A striking and unique depiction of Lord Ganesha shows him riding his mooshika
(mouse) vahana—not as the typical small, meek creature, but as a majestic, fully
harnessed mount. Though it resembles a horse in posture and grandeur, the
smooth tail, paws, and ears reveal its true identity! ​
This is a depiction of Vijaya Ganapati or Durbar Ganapati - one of his 32 forms – carrying an ankusha (elephant goad), broken tusk & a pasa (noose) in 3 of his 4 arms.
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Also known as Ayyappan, Dharmasastha or Manikandan, he is a deity of truth & righteousness. He is depicted here, under ugra-narasimha, in his yogapattasana posture - legs crossed and a yoga-patta (band) across the knees to support the legs and back. ​
It is interesting to note the blackened pilaster below him that stands out – this is because his devotees burn camphor
here, before visiting Sabarimala. ​
He is considered to be the son of Lord Shiva and Mohini, the female form of Lord Vishnu. This union was brought
about to defeat the demoness Mahishi, who had been granted a boon that she could only be killed by a child born of
Shiva and Vishnu. ​
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Another depiction of Lord Shiva, most likely Chandrashekhara. Whlle the typical crescent moon isn't clearly visible, the other key features of his iconography are present.
He is shown standing erect, with 4 hands. The parashu (battle axe) in his rear right hand signifies his strength & power to destroy demons. He holds a leaping antelope (deer) in his rear left hand emphasizing his role as Lord of Animals; it's also said to symbolize his control over his mind and animalistic spirits. His front hands are in Abhaya mudra (open palm upwards, symbolizing
protection and bliss) & Dana or Varada Mudra (open palm downwards, representing generosity and granting
boons). He's depicted with elaborate ornamentation including the earrings – Patrakundala (leaf-shaped earrings, resembling palm leaves) and Makarakundala (earrings in the shape of the mythical hybrid creature Makara)
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At the center of the garbhagriha, on a Garuda pedestal, stands a grand image of Narayana (Lord Vishnu) in samabhanga pose (symmetrical, standing posture). Carved out of saligrama stone, the imposing deity stands ~10 feet tall. In typical Hoysala style, he is depicted as chaturbhuja (with 4 hands) holding the following attributes: ​
Sudarshana Chakra (in his front, left hand): His serrated-edge discus that destroys enemies; also symbolizes time​
Panchajanya Shankha (front, right): His conch that produces the primordial sound of creation; Represents the five elements that are the basis of all cosmic creation​
Padma (rear, right): His Lotus represents purity, dharma, and cosmic order, emerging from impure waters towards the sun.​
Kaumodaki Gada (rear, left): His mace that embodies strength and is one of his oldest weapons.​
Behind the figure, the prabhavali (halo) features carvings of the ten avatars of Vishnu. ​
His consorts, Sridevi (on his right) and Bhudevi (on his left) are depicted near his feet. Sridevi, a manifestation of Goddess Lakshmi, represents wealth and prosperity, as well as the intangible aspects of abundance. Bhudevi represents Earth & fertility – tangible aspects of resources. Together, they represent the harmony and balance of material prosperity and spiritual well-being, complementing Lord Vishnu's role as the Preserver of the Universe.
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Carved on a canopy in Nagari script, the inscription "Vaidya Lingaya Namah Madhava" offers a tantalizing clue to the
temple's origins. This dedication - "Salutations to Vaidya-Linga, Madhava," points to two compelling candidates from history's pages, separated by a century of time and shifting dynasties.
One, a Hoysala officer named Madhava from 1260 CE, son of Perumala Danayaka.
The other, from 1360 CE, is the renowned Vijayanagar officer Madhavamantri, a Talakad native credited with building a nearby dam.
The temple's architecture suggests Madhavamantri probably had the greater influence in its construction.​
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Description
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Dwarapalas typically emulate and represent the grandeur of the presiding
deity. Here, observe the fierce expression of these majestic warriors - featuring wide eyes, raised eyebrows, matted hair, thick moustaches and a slightly aggressive stance. Notice the more ferocious form of Mahakala – with fangs! It is to intimidate those with negative intentions from entering the temple, while the slight smile is indicative of a welcome to those with pure intentions. ​
They are adorned with intricate jewellery, including crowns, earrings, bracelets and necklaces. Their front hands hold a gada (mace) in one hand & the other in abhaya mudra. Observe their rear hands: each one carries a khatvanga – a skull-impaled trident. In the other, they hold a damroo (two headed, kettle drum) - one with a serpent coiled around it; another with a skull-garland.
Can you spot the animal camouflaged in each dwarapala? Click the spotlight for the answer. ​
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Facing south, this humble shrine is of Dakshinamurthy. Seen within a prabhavalli topped by a Keerthimukha,
Dakshinamurthy is seen seated in a yogic posture with his right leg raised, a damaru in his left upper hand and
probable trishul in his right hand. The other attributes are difficult to discern. His open jata (hair) and wide eyes
symbolize fierceness. Interestingly, there is a depiction of a lizard at the base of the idol. During the Vijayanagara period, many animal and reptile depictions have been associated with Shiva in his many forms.
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From a very young age, Vicharasarman was deeply devoted to Lord Shiva. He spent his days shaping countless Shiva Lingas out of sand, losing himself in meditation and prayer. His parents, however, grew frustrated — he would neglect his duties of watching over the cows, absorbed completely in his worship.​
One day, in anger, his father stepped on and broke one of the sand lingas. Overcome with fury at what he saw as an insult to his beloved Lord, Vicharasarman struck his father and severed his leg. In that intense moment of devotion, Lord Shiva himself appeared — moved by the boy’s unwavering faith. With divine grace, Shiva restored the father’s leg and blessed Vicharasarman with a place by his side forever, giving him the name Chandikesha, the eternal guardian of
Shiva’s wealth and temples.
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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. ​
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He is depicted in Samabhanga (standing posture), holding a blooming lotus flower in each of his hands. The lotus blooms under the morning sun, and is thus closely with him; they also symbolize purity, enlightenment, and the creative force of nature. ​
His consorts, Usha & Pratyusha, flanking him are depicted with bows & arrows – that they use to remove darkness, symbolizing the defeat of evil & ignorance. Usha, the goddess of Dawn, represents the first light of day and new beginnings, bringing vitality and hope. Pratyusha, the goddess of Dusk, represents the last rays of sunlight before dusk, symbolizing time for rest, reflection & preparation for the
following day. They are also regarded as manifestations of Lord Surya's divine
powers. ​
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Kinnaras holding a veena. ​
Kinnaras are celestial beings or demi-gods with hybrid forms – half human, half animal such as a horse or swan. They are artistically gifted, and associated with dance, music and love. They are regarded to live in the Himalayas, watching and looking after the well being of humans.
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Lord Shiva, as adi-guru or para-guru (Supreme teacher) of yoga, music and spiritual knowledge is seated here with a calm & serene demeanour. ​
His rear right arm holds a sarpa (serpent) - symbolizing his tantric knowledge and control over maya (illusion). The leaping antelope emphasizes his role as Lord of Animals, and evokes connection to nature and teaching in harmony. His front right hand in Jnana mudra, holding a japa mala (rosary) symbolizes knowledge & wisdom. The kamandala (water vessel), in his left, represents divine knowledge that he imparts to his disciples – represented by 2 sages seated at his feet. Interestingly, unlike most depictions, here his left foot is shown extended while the right is folded. ​
Dakshinamurthy literally means one who is facing South (Dakshina = South; murthy = idol or face); this form is traditionally installed on the southern side of the temple, and facing south. This is so, as he is seated in the Himalayas & gazes at his disciples located to his South. Another belief is that of his 5 faces or aspects, the South facing one represents wisdom & intelligence – represented by this form. ​
Another interpretation is that the name is rooted in ‘Dakshinya’ - meaning compassion in Sanskrit – emphasizing his role as a kind and benevolent teacher.​
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On the north-east corner, under the kapota (eaves), is a finely sculpted five hooded serpent, with 2 solid, interlocking rings dangling from its neck – all carved from a single rock! Note how the rings are seamless - another captivating testament to the skill of the artisans. It is said to have 5 such rings a few decades ago – but apparently were damaged. The chain was likely used to hang a lamp in the evenings; it's position thoughtfully selected possibly to also illuminate the epitaph just below it. ​
The moniker, as it is popularly known here, is a combination of Naga = Serpent; Kundala = rings; Chola=the dynasty that constructed the temple.
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One of the 3 depictions in this temple of the holy cow, Kamadhenu. This beautifully carved relief shows it with its head in 3 different positions - likely symbolising her different powers of granting material wealth, nourishment and spiritual fulfilment.
In one position, she is bathing a linga by licking it clean. In another, she lovingly
gazes at a linga, performing abhisheka (bathing) with her milk. In the 3rd pose, she stands tall with head held high, in a protective and watchful stance, guarding the sacred space. ​
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Swans are known for their lifelong pairing. This beautiful carving of 2 hamsas (swans) with their necks intertwined thus symbolizes love and commitment, besides being a decorative element.
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Take a closer look at some of the fascinating carvings that line the base. You’ll notice several hybrid creatures that blend the elegant body of a hamsa (swan) with the heads of various animals. There's the fierce lion, the mighty elephant, the powerful tiger, and even the mythical makara, a legendary sea creature.​
In addition to being decorative flourishes, they’re also symbolic. Each animal represents a unique virtue.
The hamsa stands for purity and wisdom; the lion for courage and regal power; the elephant, revered across Indian traditions, conveys strength and intelligence. Together, these hybrid creatures celebrate the blending of qualities — a visual reminder of the ideal harmony of strength, grace and
wisdom.
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The 2 dwarapalas seen here are likely to be Herambha & Bhringi – who are identified as Shiva's dwarapalas in the southern direction. They bear trishul (trident) & damroo (kettle drum) in their rear hands and a gada (mace) in their front. Note their stance with legs
curled around their gadas – unlike the eastern dwarapalas who're standing cross legged. They also seem more welcoming, with a slight smile on their lips.
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The Panchanana or Panchabrahma are the five faces of Lord Shiva, corresponding to his 5 cosmic roles - in creation, destruction, preservation, concealing & revealing graces. The Panchavaktra (the one with 5 faces) form of Lord Shiva is revered as the supreme being governing the cyclical processes of the universe.
They also correspond to 5 directions, elements, senses, energies & colours. ​​
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The Panchanana or Panchabrahma are the five faces of Lord Shiva, corresponding to his 5 cosmic roles - in creation, destruction, preservation, concealing & revealing graces. The Panchavaktra (the one with 5 faces) form of Lord Shiva is revered as the supreme being governing the cyclical processes of the universe.
They also correspond to 5 directions, elements, senses, energies & colours. ​​
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The God of Creation is shown with four arms—the front in abhaya and
varada mudras, while the rear attributes are indistinct. He wears a crown,
sports a beard, and has a sacred thread across his chest. He is seated on
his vahana (vehicle) - the hamsa (swan) - which is elaborately carved and
embodies grace and wisdom.
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The four central pillars of the navaranga are classic Hoysala style — round, lathe-turned, and made of polished soapstone. Other pillars around the hall come in different shapes, including eight-pointed stars, sixteen-pointed forms with shallow fluting, octagons, and indented squares.​
A unique feature of this temple is the presence of extra support pillars inside the doorway areas, adding about ten more pillars than usual. These were likely added to support beams or repair damage over time. Most of the pillars follow the Hoysala style, except two near the north doorway that are cube-shaped. ​
For example, near the Lakshmi shrine, different granite pieces have been used to create single beam lengths. Near the east doorway, the pillars seem to hold up cracked beams. ​
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The front sides of the kakshasana (seating platform) are ornamented with a row of turrets – which, along with the pilasters above them, are outlined in carvings rather than fully sculpted. Unlike other temples, the panels feature simple floral designs
instead of intricate mythological figures. These rough, diamond shaped floral designs are a feature generally seen in Hoysala temples.
Look closely and adjacent to the entrance, you can spot the outline of a dancer & a musician on the panels!
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The front sides of the kakshasana (seating platform) are ornamented with a row of turrets – which, along with the pilasters above them, are outlined in carvings rather than fully sculpted. Unlike other temples, the panels feature simple floral designs
instead of intricate mythological figures. These rough, diamond shaped floral designs are a feature generally seen in Hoysala temples. Look closely and adjacent to the entrance, you can spot the outline of a dancer & a musician on the panels.
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The navaranga has 6 granite pillars, that resemble the Hoysala style with a variety of carvings of simhas, saints & deities. ​
There are two sukhanasis, with the doorway of the inner one finely decorated – similar to the entrance of the temple.
There are 12 intricate ceilings – do note the central one which is the most impressive, resembling the Hoysala style. Observe the rows of seated figures in the octagonal ceiling – these include various forms of Lord Shiva and his attendants. ​
Interestingly, it is said that there is a secret passage through the walls from the small shrines in the north wall of the navaranga to the sukhanasi ! ​
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The torso of the Dwarapalas at the Vaidhyanatheshwara Temple is
carved in a striking and symbolic manner, resembling the face of
Nandi, the sacred bull & mount of Lord Shiva.
The round shape & folds of the stomach is artfully designed to resemble Nandi’s mouth. The chest areas are cleverly sculpted to represent Nandi's eyes, while
their necklaces & jewellery form the ornamentation of Nandi's head. ​
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The typical exterior of a Dravidian temple is a masterful composition of forms and details, where every
element contributes to its grandeur.
At the base lies the adhisthana —a solid, moulded plinth richly adorned with carvings—serving as the very foundation of the temple.​
Rising above this ornate pedestal is the bitti, or the main wall section, forming the sacred body of the structure. It is here that the mantapas (halls) and the garbhagriha (sanctum) take shape, defining the temple’s spiritual and architectural core.​
Above the bitti, the structure transitions into the roof elements—first the kapota or projecting eaves, followed by the hara, a parapet-like band that encircles the upper edge.
Resting atop all these layers is the crowning glory: the shikhara, a majestic stepped-pyramidal superstructure that completes the temple’s silhouette against the sky.​
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This intriguing relief depicts four monkeys with bodies symmetrically radiating
outwards – but a single, common face — showcasing both skill and imagination
in a compact design.
It may have layered meanings - possibly representing unity of thought, shared destiny, or an idea that all beings are reflections of one essence.
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This is a pilgrimage held when a new moon falls on a Monday in the Hindu calendar month of Karthika (around Nov–Dec) with the sun in Scorpio—an event that may occur once every 4 to 14 years – when paying obeisance to all the 5 forms of Lord Shiva is considered to be the most auspicious. The previous ones were held in 2013 & 2020, and the next one will take place in 2033. ​
Traditionally, pilgrims begin their Panchalinga Darshana by bathing in the Gokarnatirtha. Without changing their wet clothes, they first offer prayers at the Gokarneshwara and Chandikadevi shrines. They then visit the Vaidyeshwara Temple, seeking permission to worship the remaining four lingas. Next, they take ritual baths at different points along the Kaveri River — in the north, east, south, and west flows— and visit the four corresponding shrines: Arkeswara, Pataleshwara, Maraleshwara and Mallikarjuna, returning to Vaidyeshwara after each visit. ​
The entire ~30-kilometre pilgrimage is meant to be completed on foot, in just one day - a feat of both faith and endurance.​
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This is likely to be a depiction of Lord Vishnu as Suryanarayana, the Sun God. He's often depicted with lotus flowers in both hands, as is the case here. His consorts depicted alongside are Usha & Pratyusha – associated with the first and last rays of the day, that is, dawn and twilight respectively. ​
Vishnu's mount, Garuda – the King of Birds - is depicted with finely etched wings, kneeling near his feet; he is flanked by attendants carrying whisks.
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Tucked away in the North east corner of the temple complex, is a small, west-facing shrine. It is supported by two Vijayanagara style pillars: On the left, we see carvings of Bhairava and Chandikesha, while seated Simhas (lions) adorn the right one. ​
The deity in the shrine is the Sarvasama Linga. This Shiva linga - literally meaning 'All Equal' - is a manusha linga - celebrated as a creation of human hands.
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Yoga Narasimha is a form of Lord Vishnu's fourth avatar, Narasimha,
that he manifested to slay the evil Hiranyakashipu. ​
Unlike the more aggressive and fierce depiction of the hybrid human-
lion Narasimha, this form emphasizes meditation, peace, and self-
discipline. Venerated as the god of Yoga, he is shown here sitting with a
yoga patta (belt) across his knees, flanked by 2 lions. His rear hands
hold his shankha and chakra, while the front hands rest passively in a
yogic pose.
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​"Hastihasta" in Sanskrit literally means "elephant’s trunk" (Hasti = elephant, Hasta = hand). In temple architecture,
the term refers to the decorative railings flanking the sopana (stairways). While often shaped like elephants, these railings may feature a variety of artistic forms. Besides their visual appeal, they also serve a practical purpose—as handrails or guardrails. ​
This particular sculpture features a majestic elephant, richly adorned, with its trunk elegantly curving and rolling
at the tip. Look closely, and you’ll see a human figure being tossed about & about to be trampled —a powerful symbol of strength, dominance, and heroic valour. Such motifs were commonly used in temples to celebrate the might of kings or deities, emphasizing their power to protect, conquer, and overcome evil.​
Do note the Yali hastihasta when climbing upto the main shrine inside.
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​Pranalas are channels used to drain the abhisheka teertha – water, milk, turmeric water or other offerings poured over the deities in the sanctum. Along with this functionality, these stone channels are often artistically styled and decorated – with various artworks - commonly including makaras (mythical sea creatures), kirtimukhas or simha mukhas (lion face). ​
Here we see mrinalika pranala – where the mouth is in the form of a lotus bud – a form that was quite popular in
Vijayanagara temples. The sides at the start of the pranala here are also decorated with lotus blossoms.
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​Another depiction of the cow, Kamadhenu, licking a linga and nourishing it with its milk – symbolizing abhisheka (bathing) of the linga. ​
The other artistic depictions in this temple show the cow artistically with heads
in 2 and 3 different positions.
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​Literally meaning a sacrificial altar (bali=sacrifice; pitham=seat), it is used to place all ritual offerings to the deity. It
often looks like a cup with a lotus base, placed upside down on a stone platform. ​
One of the key symbolism & purpose is to remind devotees to surrender their egos, desires and bad thoughts before
entering the temple. It is considered to be a seat where the deity resides, and at times there are footprints represented on it. ​
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​The PanchaNarayana temples in Karnataka are a group of five temples dedicated to Lord Vishnu, established during the 12th century by the Vaishnava saint, Swami Ramanujacharya, with the support of the Hoysala King Vishnuvardhana. ​
As per legend, in the course of a war, Lord Indra was afflicted with the sin of Brahma hatya (killing a brahmin). He prayed to Lord Vishnu, who asked him to install five murtis in five different places to redeem himself.​
The temples were later built by Vishnuvardhan at these places, and became popular as the Panchanarayana kshetra of Karnataka. These temples are: ​
• Sri Nambi Narayana (Thondanur) ​
• Sri Cheluvanarayana (Melukote)​
• Sri Veeranarayana (Gadag)​
• Sri Keerthi Narayana (Talakadu)​
• Sri Vijaya Narayana or Chennakeshava (Belur)​
Note: There are some opinions that Sri Sowmya Narayana at Nagamangala is a Panchanarayana temple, instead of the one at Melukote. ​
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​The deity - the same as the famous Chamundeshwari Temple of Mysore - is
considered to be another manifestation of Goddess Durga. She is depicted here
with eight arms, riding her vahana, the lion - in a dynamic pose & ready to strike. Except the prominent trishul (trident), her other weapons & attributes are not clearly discernable. ​
​Features of this fine relief image such as her crown, posture & lion's short mane
lead archaeologists to believe that this sculpture belongs to the early Ganga period – making it older than the rest of the shrines. ​
The fierce goddess Kali materialized from the forehead of Goddess
Durga during her war with asura (demon) kings Shumbha & Nishumbha, and killed their asura generals Chanda & Munda. A delighted Durga hence named her Chamunda. She is also considered to have helped Lord Shiva fight & kill the
asura Andaka.
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​The striking form of four-armed Lord Ganesha, with his consort Shakti seated on his left lap. One of his 32 forms, this is considered to represent the element of Akasha (Space), and worshipped to gain control over the senses, focus & clarity. He's regarded as the protector of households. ​
He's finely ornamented, wearing a ratna mukuta (jewelled crown). In his left hand
he carries a sugarcane bow (signifies control over desires; also represents love & fertility as an attribute of Kamadeva), while the right is in Abhaya mudra (signifies divine protection & bliss). In his rear right, he holds an ankusha (goad; signifies guiding & directing one's actions and thoughts); while the rear left holds a pasa (noose; symbolizing restraint over negative desires & attachments to achieve spiritual progress). Encircling his waist is Vasuki, the serpent – a symbol of harnessed cosmic energy and protection. His vahana, the mouse - Mooshika, adorns the base of his pedestal. ​
Shakti devi, his consort, is the embodiment of divine feminine energy. Together, their union reflects a cosmic balance and represents the complete & powerful nature of Lord Ganesh in removing obstacles and bestowing blessings. ​
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​The temple is built atop a jagati —a raised platform, nearly 4 feet high - following the contours of the temple. A
characteristic feature of Hoysala temples, it adds elevation and elegance. It also serves an important purpose –
it doubles as the pradakshina patha (circumambulation path) around the typically compact garbhagriha (sanctum). ​
​You’ll also notice three sopanas (stairways) that lead up to the platform—from the north, east, and south. The north and east ones still have their hastahasti (handrails) of yalis (mythical lions) — with the northern ones being more intricate. ​
​The stairways lead to the 3 doorways of the navaranga (inner hall). Each doorway seems to have originally supported twin towers with a mantapa above -structures that may have been lost or damaged over time, likely due to the shifting sands.
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​The temple is built atop a jagati —a raised platform, nearly 4 feet high - following the contours of the temple. A
characteristic feature of Hoysala temples, it adds elevation and elegance. It also serves an important purpose –
it doubles as the pradakshina patha (circumambulation path) around the typically compact garbhagriha (sanctum). ​
​You’ll also notice three sopanas (stairways) that lead up to the platform—from the north, east, and south. The north and east ones still have their hastahasti (handrails) of yalis (mythical lions) — with the northern ones being more intricate. ​
​The stairways lead to the 3 doorways of the navaranga (inner hall). Each doorway seems to have originally supported twin towers with a mantapa above -structures that may have been lost or damaged over time, likely due to the shifting sands.
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​There are 3 very interesting images across the pillars of the mantapa, which show images of a strong figure with standing hair. The first image shows the squatting figure lifting a large, bell shaped object; the second – lifting 2 boulders with his arms & another on his head; the third – lifting an oblong heavy object overhead. ​
While the 3 figures are similar in features & depictions, it is not clear who they refer to. Given the other depictions in the temple of Arjuna's prowess in archery, these images depicting strength could possibly represent Bhima. ​
Bhima was renowned for his prowess, said to match a 1000 elephants! He's known to have single-handedly cleared rocks & obstacles in the paths of the Pandavas during their wanderings in exile. He's also said to have placed a huge boulder across river Saraswati, in Uttarakhand, to help Draupadi cross it – known today as Bhima pul (or Bhima's bridge).
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​There are a couple of additional depictions of Kannappa Nayanar on the pillars in the mantapa. ​
(Repetition of description)​
Thinna, a hunter from the forests near present-day Kalahasti in Andhra Pradesh, once discovered a Shiva Linga and began worshipping it in his own heartfelt way — offering meat from his hunts and water carried in his mouth.​
One day, seeing the Linga bleeding from an eye, he tried everything to stop it. In a supreme act of devotion, he plucked out his own eye and placed it on the Linga. When the other eye began to bleed, he prepared to sacrifice his own second eye. He is shown marking the spot with his foot so he wouldn’t miss, after being blinded.
Moved by his pure, selfless devotion, Lord Shiva appeared, restored his sight, and blessed him with mukti (spiritual liberation). From then on, Thinna was revered as Kannappa Nayanar — the devoted saint who offered his eyes to the Lord.​
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​This is the second of three panels in this temple depicting Arjuna winning
Draupadi at her swayamvar. At the base of the pillar, Arjuna is shown with his
bow raised, beside a bowl of water. The middle moulding of the pillar shows a wheel, that carries a fish pierced by his arrow.​
At Draupadi's swayamvar, suitors had to shoot the eye of a rotating fish
suspended from the ceiling—using only its reflection in a water bowl. While all
others failed, Arjuna, disguised as a Brahmin, stepped forward and completed the challenge with ease, winning Draupadi’s hand.
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​This large and eye-catching sculpture is a half-completed & further eroded one of
Karthikeya riding his vahana, the peacock Paravani. He is shown here with 3 heads
(his other 3 are hidden) and 6 pairs of hands,carrying a variety of weapons, with the front pair in abhaya and dana mudras. This was probably relocated here from
elsewhere in the premises for conservation purposes.
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​​A very stylised form of Vyala or Yali —which are mythical lion-like creatures, and a distinctive feature of Vijayanagara architecture. These powerful figures, often seen on pillars and doorways, combine elements of lions, elephants, and sometimes serpents, embodying a fusion of ferocity and grace. Symbolically, they represent valour,
strength, and protection, echoing the might and dominance of the Vijayanagara empire. Their presence in temples and palaces served not just decorative purposes, but also conveyed a sense of divine guardianship and imperial authority.​
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​​Lord Krishna shown dancing on the hood of the serpent, Kaliya, while holding it by its tail. ​
One of the most iconic tales in the Bhagavatam tells of Krishna confronting the deadly serpent Kaliya, who had poisoned the Yamuna, killing cattle and wildlife. Krishna leapt into the river and wrestled the beast, leaving the villagers in shock. Then, in a dazzling display, he danced atop Kaliya’s hoods until the serpent, battered and bleeding, begged for mercy. Joined by his pleading wives, Kaliya contended that he was simply following his nature. Moved, Krishna spared him—on the condition that he and his family leave the Yamuna forever.
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​​Revered as a manifestation of Goddess Durga, there are many legends surrounding Goddess Chowdeshwari Amma, rooted in the landscapes of Andhra Pradesh. ​
One tale tells how she chose Nandavaram as her divine home. King
Nandana of the Chandravanshi dynasty, blessed with the Dattatreya mantra and sacred Padukas (wooden sandals) that let him travel instantly, used them to travel & bathe in the Ganges before dawn. When his queen Shashirekha joined him one night, her ritual impurity broke the Padukas’ power, leaving them
stranded. Seeking help to return, the king promised land to Brahmins
performing a Chandi Homa, but later broke his promise. In response, the
Brahmins invoked Goddess Chowdeshwari, who appeared in her tejo
roopam (divine form) and later transformed into an idol at Nandavaram. She commanded 500 Brahmin families to remain and serve her — marking the
birth of the temple that stands today. Worshipped as an incarnation of Durga
or Chamundi, she is also widely regarded as grama devata (village deity). ​
She is also considered to be the kula devi (family deity) of the Devanga community – who are traditionally associated with silk & cotton weaving. Emerging from Goddess Shakti to protect their ancestor Sage Devala from evil, she subsequently granted him a boon that made him & his successors experts in weaving clothes.
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​​The bitti (wall) around the garbagriha and antarala are plain – with no elaborate and artistic sculptural work like in other Hoysala temples (eg. In Halebid or Somnathpura). It consists of squarish,
indented pilasters – with the intervening spaces ornamented with rows of different sized turrets (towers or canopies) in a repetitive pattern. The large turrets are supported by 2 squarish pillars. The smaller ones, supported by just 1 pillar, are placed under simhalatas - serpentine toranas (creepers) crowned by
simhamukhas (lion faces).
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​​The vimana (tower over garbagriha), though renovated in recent times,
traces its origins to the Vijayanagara period—renowned for blending earlier
South Indian styles with its own distinctive flair. Here, the base made of
stone offers strength and durability, while the pyramidal tower of 5 talas
(tiers or storeys) is built from brick. It reflects a typical Vijayanagara approach: using lighter materials for superstructures without compromising grandeur. ​
Several stucco figures featuring the vimanadevatas, simhamukhas and
Nandi can be seen on the vimana. It also features shālas and kūṭas
(rectangular and square shaped elements), crowned by a metal kalaśa
that rises prominently above the sanctum at 25-feet. ​
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​​The main tower over the garbagriha is a large brick structure, nearly 50 feet
high, with 5 talas (tiers or storeys) and with a square-base. It resembles Dravidian structures built during the Hoysala period. The bricks used are similar to those in the parapet, suggesting they are from the same time. While the tower may be an original Hoysala structure, the style of the niches and parapet indicates that some parts might have been added later. The small niches (On the griva - neck of the vimana), below the dome shaped shikhara contain miniature sculptures of
forms of Vishnu, including Yoga Narasimha, Lakshmi Narasimha and Lakshmi Narayana.
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​​You’ll notice three sopanas (stairways) that lead up to the platform—from the north, east, and south. The north and east ones still have their hastihasta (handrails) of yalis (mythical lions) — with the northern ones being more intricately carved. ​
​The stairways lead to the 3 doorways of the navaranga (inner hall). Each doorway seems to have originally supported twin towers with a mantapa above - structures that may have been lost or damaged over time, likely due to the shifting sands.
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This fearsome deity is a powerful manifestation of Lord Shiva. He's depicted here in a seated position with 4 arms, holding his Trishul (trident), khadaga (sword), damroo (kettle drum) and kapala (skull) (finer details of which have eroded). His wild & matted hair is standing on end - almost flame-like - to add ferocity to his image. His vahana (vehicle) is a dog, depicted at the base of his pedestal. ​


In a contest between Vishnu & Brahma, the latter falsely claimed to have identified the farthest end of the pillar of light manifested by Shiva. Bhairava originated from between the brows of a furious Shiva, to punish Brahma for his dishonesty and arrogance. To teach him a lesson, Bhairava severed the 5th head of Brahma; and stopped only when
Vishnu & Brahma pleaded for forgiveness.
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​​Hastihasta refers to the railings by the side of the sopana (stairway). ​


Here it is sculpted in the form of a fierce yali - a mythical lion. From the open mouth of the yali emerges an elongated, rolled form resembling a tongue ending in a spiral. However, it’s more than just a
tongue - it can also be interpreted as the lion’s roar, frozen in stone!


This dramatic feature also serves a practical purpose: it doubles as a handrail and guardrail - blending imagination, symbolism, and function in one striking design.
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These rough, diamond shaped floral designs are a featuregenerally seen in Hoysala temples. Look closely and adjacent to the entrance, you can spot the outlineof a dancer & a musician on the panels.These are ornamented with a row of turrets – which, along with the pilasters above them, are outlined incarvings rather than fully sculpted. Unlike other temples, the panels feature simple floral designsinstead of intricate mythological figures. These rough, diamond shaped floral designs are a featuregenerally seen in Hoysala temples. Look closely and adjacent to the entrance, you can spot the outlineof a dancer & a musician on the panels.These are ornamented with a row of turrets – which, along with the pilasters above them, are outlined incarvings rather than fully sculpted. Unlike other temples, the panels feature simple floral designsinstead of intricate mythological figures. These rough, diamond shaped floral designs are a featuregenerally seen in Hoysala temples. 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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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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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## Tour ### Description ### Title tour.name = Talakadu