ECHOES FROM THE PAST

Abstract Indian architecture has a great significance and more in the history of architecture and structure. This paper will deal with the ideology and design and structural element of chalukyan s temple architecture. The period comprises 6th to 8th centuries.it is an analytical study on the aspects of the continuity of myths, symbols and images of with respect to architecture. Paper also talks about the parallelism and development of forms in early Indian art.

1.

INTRODUCTION

The modern village of Badami is identified with ancient vatapi established by pulkeshine I in the middle of the sixth century . It is likely that the walls thrown across the gap between the two gigantic outcrops of red sand stones, creating an artificial tank.chalykyas in middle of the sixth century occupied and town quickly grew up to the west of the tank . four excavations in the cliffs beneath the south fort constitute one of the most important series of rock cut temples in deccan. Lower (I) begin dedicated to shiva ,the next two (II and III) are Vishnu temples and the highest (IV)is jain . the structure belongs to the early western chalukyan period are the three shivalaya temples (upper ,lower and malegitti ) in the north fort hill ,the dated jambulinga temple , and the bhutanatha temple standing at the eastern side of the tank .other temples ,walls ,gateways and fortification in the villages and to north of the belong mostly to later periods. I. CAVE I

A small cell in the back wall is approached through a hall divided by columns, raised floor strips and beams into transverse aisles. The outer aisle is treated as an open porch, divided from the other aisles by triple entrance created by columns with fluted cushion capitals. Carved panels at the ends of the outer aisle, also within and adjacent to the minor shrine to the right of the entrance, clearly proclaim the Shiva dedication of the temple. The columns are carved with complexly engraved ornaments and jeweled garlands, integrated by a flowing foliation.

II. CAVE II Repeats the scheme of cave I .images of Vishnu are carved at the ends of the outer aisle and the overhang of the sheer cliff face. Ceiling panels in the outer aisle incorporate swastika and fish wheel motifs. III. CAVE III The increase in the scale of the hall (from four to six columns width )the dates inscription on panels indicates a royal foundation to this cave .in all its details , from principle sculptures to the plinth reliefs and columns brackets , this cave -temple is decorated with most refined carving. The depictions of Vishnu s incarnations are framed by exquisitely molded columns of different types, some with unusually faceted shafts. The brackets of the outer columns are fashioned in the resemblance of the fabulous animals or amorous couples beneath trees. On the inside of overhanging. IV. UPPER SHISVALAYA TEMPLE Thought now partly ruined ,this temple is remarkable for its imposing super structure which , due to the prominent situation of the building , effectively dominates the town beneath. The temple originally incorporated a square sanctuary, passageways on three sides and columned hall in a rectangle of walls. There is small porch to the east. In many respects temple displays early evidence of the southern style .the walls are rhythmically divides by pilasters and surmounted by parapet . roof above the sanctuary reproduces some these features and is crowned by a large square to dome roof form.wall panels illustrating Krishna scenes , an early appearance of this theme in indian temple art. The friezes of imps on the temple base are copies of those in cave temples. The temple possibly belongs to the early part of the seventh century. V. MALEGITTI SHIVALAYA TEMPLE Perched dramatically on a gigantic sandstone .there is no passageways ,the temple being clearly divided into tree units sanctury .square columned hall and entrance porch. Richly carved based friezes of imps and mythical animals, characteristic of southern style.

VI. BHUTANATHA TEMPLE Building is copy of malegitti shivalaya temple though the super-structure here is of the square to-dome form. No carved decoration ,well defined parapet ,emphasizing the empty niches in the walls beneath ,suggests as early sixth century date for this temple. VII. JAMBULINGA TEMPLE

2. ARCHITECTURAL IMPORTANCE