Heritage: Journal of Multidisciplinary Studies in Archaeology 8.2 , 2020
The Virupaksha temple at Pattadakal, Dist. Bagalkot, Karnataka and the Kailasa cave temple from E... more The Virupaksha temple at Pattadakal, Dist. Bagalkot, Karnataka and the Kailasa cave temple from Ellora, Dist. Aurangabad, Maharashtra are two distinct architectural traditions belonging to the Early Badami Chalukaya and Rashtrakuta dynasty respectively. They both resemble not only in the architectural plan but also in the iconographic programme. The story of influence in architectural and iconographic idioms commences on the basis of epigraphical evidence from the Kailāsanātha temple at Kāñchipuram constructed under the royal patronage of the Pallavas which further reaches to the Virūpākṣa temple at Pattadakal. Both temples are dedicated to Siva, which exhibit the visual imagery representing the faiths such as Saivism, Vaisnavism and Saktism. Among this wholesome iconographic programme, while looking for the icon of Nataraja, the Virupaksha temple contains about eleven images, while the Kailasa cave temple comprises a total of twelve images, which are placed all over the temple unit. As a comparative study, most of the Nataraja images can be compared on the basis of their art historical features, icon's attributes, hand gestures, leg postures, their mounts, associated secondary images, positions over temple parts, their symbolism and myth behind that particular icon. Particularly, the first set for the comparison is two images over the exterior wall, an image over Nandimandapa and the pillar image sculpted in the Virupaksha temple with the images in the Kailasa cave temple which are over the ceiling and back wall of garbhagriha. The next set of comparisons is the image on the exterior wall of the Virupaksha temple and the image on the northern lower wall of the Nandi mandapa in the Kailasa cave temple. Another set will be the image over the prakara wall of the Virupaksha temple and the image carved in the cloister walk/ sculptural gallery in the Kailasa cave temple. Apart from this, there are a few images showing different features over both the temples.
A rock-cut cave complex is situated at Tirupparaṅgun̤ r̤ am in the Madurai district of Tamil Nadu... more A rock-cut cave complex is situated at Tirupparaṅgun̤ r̤ am in the Madurai district of Tamil Nadu with various cultural phases and religious affiliations. The cave structure, which belongs to the Pāṇdya regnant, contains Tamil Brahmi inscriptions and sculptural activity. The implicated inscription is on one of the pillars of the cave. It is in the ancient Vaṭṭeluttu characters of the Tamil language which records the additional building of the shrines of goddesses, Durgādevī and Jyeṣṭhā, patronised by Nakkaṅ Korrī, who was a lawful wife of Chāttaṅ Ganapati, the Mahāsāmanta of the Pāṇdya king, Ko-Ma r̤ aṇ Chaḍaiyan. This record is a significant reference to the excavation of the Jyeṣṭhāī's shrine to study her worship in the third quarter of the 8th century CE. Goddess Jyeṣṭhā is the elder sister of Lakṣmī with very opposite characteristics, such as misfortune, inauspiciousness, and poverty. In the context of the cave, a shrine of Jyeṣṭhā is to the northwest , adjacent to the Mahāmaṇḍapa. She has typical iconographic features, which were recorded earlier by many scholars. The content, as mentioned earlier regarding the Nakkaṅ Korrī as a lawful wife, i.e., Dharma Patnī and her patronage, can be looked at in the context of Dr. Julia Leslie's argument on seniormost wife/ Jyeṣṭha Patni and her duties. The argument is based on the 18th-century text, Srīdharmapaddhatī, which connects the concept of a senior wife with ordained ways of worshipping the Goddess Jyeṣṭhā. So, the present research paper elucidates the connection between the available content of the inscription, the icon of Jyeṣṭhā in the cave, and the importance of her worship through elder and responsible wife in the context of the aforementioned arguments.
Ellora, also known as Verul, Elura, Elapura encases a group of rock-cut caves located in the Aura... more Ellora, also known as Verul, Elura, Elapura encases a group of rock-cut caves located in the Aurangabad district of Maharahstra. Among this group, the Cave no. 16 named as Kailasa cave or Rangamahal is the magnum opus of the Rashtrakuta dynasty, carved during the rule of the Rashtrakuta monarch Krsna I (757-772 CE), which is unique monument of monolithic rock-cut temple tradition. The Kailasa rockcut temple is within an enclosure/ Prakara wall which is termed as Gopuram (a great gateway) as essential element of Dravidian style of temple architecture. The Gopuram with an attached screen-walls flanked on the north and south sides, with full of sculptural panels. Among the whole screen-wall, majority panels are of Dikpalas/guardians of the directions on either sides. In general, dikpalas or also called as "Lokapalas" are the deities of eight quarters/directions namely Indra of
Heritage: Journal of Multidisciplinary Studies in Archaeology 8.2 , 2020
The Virupaksha temple at Pattadakal, Dist. Bagalkot, Karnataka and the Kailasa cave temple from E... more The Virupaksha temple at Pattadakal, Dist. Bagalkot, Karnataka and the Kailasa cave temple from Ellora, Dist. Aurangabad, Maharashtra are two distinct architectural traditions belonging to the Early Badami Chalukaya and Rashtrakuta dynasty respectively. They both resemble not only in the architectural plan but also in the iconographic programme. The story of influence in architectural and iconographic idioms commences on the basis of epigraphical evidence from the Kailāsanātha temple at Kāñchipuram constructed under the royal patronage of the Pallavas which further reaches to the Virūpākṣa temple at Pattadakal. Both temples are dedicated to Siva, which exhibit the visual imagery representing the faiths such as Saivism, Vaisnavism and Saktism. Among this wholesome iconographic programme, while looking for the icon of Nataraja, the Virupaksha temple contains about eleven images, while the Kailasa cave temple comprises a total of twelve images, which are placed all over the temple unit. As a comparative study, most of the Nataraja images can be compared on the basis of their art historical features, icon's attributes, hand gestures, leg postures, their mounts, associated secondary images, positions over temple parts, their symbolism and myth behind that particular icon. Particularly, the first set for the comparison is two images over the exterior wall, an image over Nandimandapa and the pillar image sculpted in the Virupaksha temple with the images in the Kailasa cave temple which are over the ceiling and back wall of garbhagriha. The next set of comparisons is the image on the exterior wall of the Virupaksha temple and the image on the northern lower wall of the Nandi mandapa in the Kailasa cave temple. Another set will be the image over the prakara wall of the Virupaksha temple and the image carved in the cloister walk/ sculptural gallery in the Kailasa cave temple. Apart from this, there are a few images showing different features over both the temples.
A rock-cut cave complex is situated at Tirupparaṅgun̤ r̤ am in the Madurai district of Tamil Nadu... more A rock-cut cave complex is situated at Tirupparaṅgun̤ r̤ am in the Madurai district of Tamil Nadu with various cultural phases and religious affiliations. The cave structure, which belongs to the Pāṇdya regnant, contains Tamil Brahmi inscriptions and sculptural activity. The implicated inscription is on one of the pillars of the cave. It is in the ancient Vaṭṭeluttu characters of the Tamil language which records the additional building of the shrines of goddesses, Durgādevī and Jyeṣṭhā, patronised by Nakkaṅ Korrī, who was a lawful wife of Chāttaṅ Ganapati, the Mahāsāmanta of the Pāṇdya king, Ko-Ma r̤ aṇ Chaḍaiyan. This record is a significant reference to the excavation of the Jyeṣṭhāī's shrine to study her worship in the third quarter of the 8th century CE. Goddess Jyeṣṭhā is the elder sister of Lakṣmī with very opposite characteristics, such as misfortune, inauspiciousness, and poverty. In the context of the cave, a shrine of Jyeṣṭhā is to the northwest , adjacent to the Mahāmaṇḍapa. She has typical iconographic features, which were recorded earlier by many scholars. The content, as mentioned earlier regarding the Nakkaṅ Korrī as a lawful wife, i.e., Dharma Patnī and her patronage, can be looked at in the context of Dr. Julia Leslie's argument on seniormost wife/ Jyeṣṭha Patni and her duties. The argument is based on the 18th-century text, Srīdharmapaddhatī, which connects the concept of a senior wife with ordained ways of worshipping the Goddess Jyeṣṭhā. So, the present research paper elucidates the connection between the available content of the inscription, the icon of Jyeṣṭhā in the cave, and the importance of her worship through elder and responsible wife in the context of the aforementioned arguments.
Ellora, also known as Verul, Elura, Elapura encases a group of rock-cut caves located in the Aura... more Ellora, also known as Verul, Elura, Elapura encases a group of rock-cut caves located in the Aurangabad district of Maharahstra. Among this group, the Cave no. 16 named as Kailasa cave or Rangamahal is the magnum opus of the Rashtrakuta dynasty, carved during the rule of the Rashtrakuta monarch Krsna I (757-772 CE), which is unique monument of monolithic rock-cut temple tradition. The Kailasa rockcut temple is within an enclosure/ Prakara wall which is termed as Gopuram (a great gateway) as essential element of Dravidian style of temple architecture. The Gopuram with an attached screen-walls flanked on the north and south sides, with full of sculptural panels. Among the whole screen-wall, majority panels are of Dikpalas/guardians of the directions on either sides. In general, dikpalas or also called as "Lokapalas" are the deities of eight quarters/directions namely Indra of
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