CHALUKYA

ARCHITECTURE
GROUP 1
Abhinav Pandey
Abhishek
Aditi Mishra
Akash Yadav
Akshat Singh
Kashvi Nigam
Khagesh Kumar Pal
LOCATION
IT IS SPREAD MOJORILY IN THREE REGION
1) AIHOLE
2) BADAMI
3) PATTADAKAL
TIMELINE
CHALUKYAN DYNASTY
450-750 A.D

AIHOLE BADAMI PATTADAKAL

Ladhkan Cave I Mallikarjuna

Durga temple Cave II Virupaksha

Cave III Papanrnath

Cave IV
INTRODUCTION TO THE CHALUKYAN
ARCHITECTURE
The Chalukyas were a prominent South Indian dynasty that governed
several regions of India from the 5th to the 8th century. Their
architectural legacy is celebrated for its distinctive features and
contributions to the rich tapestry of Indian architecture.
 Geographical Spread: Chalukyan architecture primarily developed in
the Deccan region of India, encompassing parts of present-day
Karnataka, Andhra Pradesh, and Maharashtra. It also influenced
architecture in other parts of India, including Gujarat and Rajasthan.
 Two Main Styles: Chalukyan architecture is often classified into two
primary styles:
i. Dravidian Style: This style is characterized by pyramid-like towers
known as vimanas, elaborate sculptures, and intricately carved
pillars. It is reminiscent of the architectural styles prevalent in South
India.
ii. Nagara Style: The Nagara style is marked by its curvilinear towers
(shikhara) and ornate ornamentation. This style is more commonly
associated with North Indian temple architecture.
 ARCHITECTURAL CHARACTERISTICS
 Chalukya temple pillars are monolithic shafts whose height controls the height of mantapa
and temples.
 Chalukya architects avoided using mortar. It permits light to enter the interior section of the
temples.
 The vestibules were decorated with artificial lights, which reduced obscurity while also
evoking magical sensations.
 The entryway panels of chalukya temples are ornamented with pilasters, moulded lintels,
and cornice tops.
 Chhajja is a double curving projective eave that is commonly found in chalukyan temples.
Muktesvara temple is one example.
 Cornice is utilised in chalukya temples to direct rainfall or to protect from burning heat.
 Soapstone projections in wall sculptures are a frequent characteristic of chalukya temples.
 ARCHITECTURAL CHARACTERISTICS
 The Chalukya temples are mostly dedicated to Hindu deities such as Durga, Shiva, and
Vishnu.
 Chalukya architecture includes both cave temples and constructed temples.
 For architectural design, Chalukya architects employed the stellate plan or the northern
stepped diamond layout.
 The ornamental pillars of western Chalukya architecture are also known as gadag style
of architecture.
 The Karnata Dravida architectural tradition, begun by the Chalukya of Badami, evolved
under the direction of Hoysala.
 Hoysala artists followed the fragmented decorating of walls with projection and recesses.
 Chalukya architecture is also known as the forerunner of Hoysala art.
CONSTRUCTION FEATURES
 Rock-cut architecture: The Chalukyas were skilled in carving out
entire structures from solid rock. They would select a suitable rock
face and carve out various chambers, halls, and sanctuaries within it.
The famous cave temples at Badami and Aihole are excellent
examples of rock-cut architecture.
 Structural temples: The Chalukyas also built structural temples using
stone blocks. These temples were constructed by stacking individual
stone blocks on top of each other without the use of mortar or cement.
The blocks were meticulously carved to fit together perfectly, creating
a stable and durable structure. The temples at Pattadakal and
Mahakuta are notable examples of structural temples.
 Intricate carvings: Chalukyan architecture is characterized by its
intricate and detailed carvings. Skilled artisans would carve intricate
designs, sculptures, and reliefs on the walls, pillars, and ceilings of the
temples. These carvings often depicted mythological stories, deities,
celestial beings, and scenes from everyday life.
CONSTRUCTION FEATURES
 Bracket figures: One unique feature of Chalukyan architecture is the
use of bracket figures or corbels. These are decorative stone brackets
that project out from the walls of the temple to support the
overhanging eaves of the roof. Bracket figures are often intricately
carved and depict various mythical creatures or divine beings.
 Towered entrance gateways: Chalukyan temples often featured tall
and ornate entrance gateways known as gopurams or toranas. These
gateways were constructed with multiple tiers and were adorned with
intricate carvings and sculptures. They served as grand entrances to the
temple complex.
 Shikhara: The superstructure or tower above the main sanctum
sanctorum of Chalukyan temples is called the shikhara. The shikhara is
usually pyramid-shaped and is constructed with layered stone blocks.
It is often adorned with intricate carvings and decorative elements.
SOCIAL AND RELIGIOUS CHARACTERISTICS
 Temples were central to Chalukya society, serving as hubs of religious, cultural, and social activities.
 Intricate carvings and sculptures depicted deities, mythological scenes, and everyday life, reflecting the
religious devotion and artistic skills of the era.
 The architectural style prioritized symmetry, precision, and balance, mirroring the societal emphasis on
order and harmony.
 Temples often featured mandapas (pillared halls) for gatherings and rituals, reinforcing community
cohesion and religious practices.
 The prominent use of rock-cut caves for religious sanctuaries exemplified the Chalukya's affinity for
natural elements in their spiritual beliefs.
 Elaborate stepped wells (pushkarnis) demonstrated a commitment to water conservation and provided
spaces for ritualistic bathing, reflecting cultural and religious significance.
 The Badami, Aihole, and Pattadakal temple complexes are prime examples of Chalukya architecture,
showcasing the integration of social and religious beliefs in their structural designs.
AIHOLE TEMPLE’s
LADKHAN TEMPLE
 LadKhan is the oldest temple of the period
 Plan – 50ft square
 3 sides walled, two sides of which have perforated stone grilles
 4th side on east-open pillared porch projecting outwards
 Entered through a 12 pillared portico in an expansion of the 9ft
square plan
 Interior consists of a 16 pillared hall like a pillared pavilion
 2 square groups of columns, one within the other thus providing a
double aisle.
 An axial stairway gives access to the 12 pillared vestibule
 Inclined to permit run off
 Carried on pillars and corbels in imitation of a wood frame
structure
LADKHAN TEMPLE
 Nandi-Bull in the central bay at the Far end is the Cella within the
square
 Can be clearly seen that the Statue of Nandi was added at a later date.
 Deviation from a temple-Santhagara- meeting hall was the original
purpose.
 Open to outside so that people could look inside.
 Later on the opening between the pilasters was filled with masonry
shutting off light, thus introduction of perforated windows.
 Seating inside was eliminated, but retained in the portico
 Stone battens between the roofing stones helped to make it water
tight
 Primitive roofing technique which gave way to successive layers of
horizontal corbelling
LADKHAN TEMPLE
 The holy shrine was introduced at the end for the deity.
 Plain square shaft pillars existed
 Bracket capital, neck and wave mouldings
 Handsome jali whose perforations compose geometrical motifs and
relief structures
 Kudu friezes in upper part of the temple base and around sides of roof
– celestial city
 On the roof a little square aedicule has the reliefs of the 3 divinities-
Vishnu, Surya, Devi
 Roof-Joints-covered all along by another stone
 Disproportionate structures
 Wasteful materials used unnecessarily Roofing:
 Roofed with huge slabs of stone laid almost flat
LADKHAN TEMPLE
DURGA TEMPLE
 It is an imporovement over the Ladhkhan Temple.
 Derived from the Budhist Chaitya halls.
 The temple derives its name from Durgadagudi meaning 'temple near
the fort'.
 Dedicated to Vishnu.
 Standing on a high platform with a 'rekhanagara' type of Shikhara, it is
the most elaborately decorated monument in Aihole.
 The Durga Temple at Aihole is one of the most celebrated and
intriguing ancient Hindu temples.
 It has a unique tapered-oblong plan.
 It has a high molded adisthana and a tower - curvilinear shikhara.
 A pillared corridor runs around the temple, enveloping the shrine, the
mukhamandapa and the sabhamandapa.
 All through the temple, there are beautiful carvings.
DURGA TEMPLE
 60ft x 36ft main structure
 24ft deep portico on eastern front
 total 84ft x 36ft
 Raised on a plinth
 Total height-30ft
 Over the apse- Shikara- Pyramidical roof
 Passage all round formed by a colonnade verandah terminating
the portico
 2 flights of steps lead to the portico.
 Inside the portico- a pillared vestibule having the entrance
doorway
 Interior hall 44ft long
 Divided by two rows of 4 pillars into a nave and two aisles
 Aisles continue round the cella-processional passage
 Light through the stone grills- side ofthe square
 Circular apse
 Stone grills- each filled with elegantcarved pattern
 Roof at nave is higher than aisles
BADAMI TEMPLE
CAVE 1: Magnificent temple dedicated to Shiva
 Dated to approximately to 550 CE, Cave — 1is the first of the
four rock-cut caves in the Badami hills. Itis aMantapa style
temple dedicated to Shiva. Visitors first enter the courtyard of the
temple through a flight ofsteps and then
 The garbhagriha (sanctum sanctorum) is a small chamber housing
the Shivalinga that was carved out of the stone at the rear-side of
the cave. take another fligh
 The facade shows the pillars of the mukhamantapa and the
staircase leading to it. Inside themukhamantapa and
sabhamantapat of steps to enter the temple.
NATARAJA PERFORMING TANDAVA NRITYA
 Carved into the right side extension, this large-size sculptural
relief depicts Nataraja (Dancing King).
 A form of Shiva, performing the Tandava Nritya, a vigorous
cosmic dance of creation, preservation, and destruction.

DWARAPALA WITH SHIVA-PARVATI AND VRISHABHA-KUNJARA

 Carved into the left-side extension, this relief depicts the
dwarapala (door-keeper) of Shiva.
 As you can see, the dwarapala is holding a trishula (trident)
with his right hand. Carved below the dwarapala is
Vrishabha- Kunjara (Bull-Elephant)

MUKHAMANTAPA — RICHLY DECORATED PORCH

 As mentioned, the mukhamantapa is the front porch of the
cave temple. It is ornate with beautifully carved reliefs on
the lateral walls and the ceiling, which are described below.
ARDHANARISHVARA — FUSION OF SHIVA AND PARVATI
 Carved into the right-side wall of the mukhamantapa, this
narrative sculptural relief depicts the story of Ardhanarisvara,
a manifestation of Shiva as half man and half woman.

HARIHARA — FUSION OF SHIVA AND VISHNU

 This beautifully carved sculptural relief depicting Harihara is

on the left lateral wall of the mukhamantapa.

GARBHAGRIHA WITH SHIVALINGA

 At the far end is the entrance to the garbhagriha and flight of
steps leading to it.
 The Shivalinga is not installed as a separate unit but carved
out of the rock when the garbhagriha was built.
CAVE-2: A rock-cut cave temple dedicated to Vishnu

 Cave — 2 is at a higher elevation than Cave — 1, and the approach to

Cave — 2 is through a flight of steps situated on the left side of the
Cave — 1 entrance. As you can see from the image, the access to the
temple is through a staircase from the courtyard.

 Cave-2 is comparable in size Racade.ana atranice and similar in design

to Cave —1, but unlike Cave — 1, it is dedicated to Vishnu. Just like
Cave — 1, it has a garbhagriha in the rear, sabhamantapa in the
middle, and an open mukhamantapa in front.
VARAHAVATARA, THE THIRD AVATAR OF VISHNU
 The image shows a sculptural relief depicting the story of Varahavatara,
the third of the ten avatars of Vishnu, carved on the left sidewall of the
mukhamantapa (verandah). Varaha in Sanskrit means wild boar.

VAMANAVATARA, THE FOURTH AVATAR OF

VISHNU
 The image shows the sculptural relief depicting the story of
Vamanavatara, the fourth of the ten avatars of Vishnu, carved into
the right side wall of the mukhamantapa.

MAZE OF SWASTIKA PATTERNS

 The image shows a pattern consisting of swastikas carved on the ceiling
of the mukhamantapa. it is situated above a beam carved with the
Samudra Manthana story and next to the Matsya Chakra relief (not
visible).
CAVE 3:A rock-cut cave temple dedicated to Vishnu

 Cave 3 is dedicated to Vishnu; it is the largest andmost intricately

carved cave in the complex.
 It has well carved, giant figures of Trivikrama,Anantasayana,
Paravasudeva, Bhuvaraha(Varaha), Harihara and Narasimha.
 Cave 3's temple's verandah is 70 feet (21 m) inlength with an
interior width of 65 feet (20 m); it hasbeen sculpted 48 feet (15
m) deep into themountain; an added square shrine at the
endextends the cave 12 feet (3.7 m) further inside.
 Each column and pilaster is carved with wide, deepbases
crowned with capitals that are partly hiddenby brackets on three
sides.
 Cave 3 also shows fresco paintings on the ceiling, some of which are
faded, broken and unclear.
 These are among the earliest known surviving evidence of fresco
painting in Indian art.
 The Hindu god Brahma is seen in one of the murals; the wedding of
Shiva and Parvati, attended by various Hindu deities, is the theme of
another.
 There is a lotus medallion on the floor underneath the mural of the
four-armed Brahma. The sculpture is well preserved, and a large
number of Vishnu's reliefs including standing Vishnu with eight arms.
 The roof of the front aisle has panels with murals in the centre of
male and female figurines flying in the clouds.
CAVE 4:A rock-cut cave temple dedicated to Jain
 Located to the east of Cave 3, Cave 4 is situated higher than the
other caves.
 It is dedicated to revered figures of Jainism and is the most-
recently constructed of the caves. Like the other caves, it features
detailed carvings and a diverse range of motifs.
 On the back part of this, Mahavira is represented sitting o a lion
throne; this figure is flanked by bas-reliefs of attendants with
chauri (fans), sardulas and makara's
 The end walls have Parshvanath about 7.5 feet (2.3 m) tall with
his head decorated with a multi-headed cobra representing
protection and reverence.
BHUTANATHA GROUP OF TEMPLES
 Bhootnath group of temples Bhootnatha Temple is the group of temples
located to the east of Agastya Lake and near popular Badami Caves in the
town Badami of Bagalkot district of Karnataka.
 These temples are dedicated to the deity of Lord Shiva, here worshipped as
Bhootnatha the lord of Soul.The temple is built in southern Indian style
Dravidian architecture.
 The temple from bottom to top is in the square shape.
 Inside the temple there is a garbhagudi, where the Shiva Linga is present.
 There is also a Shobha Mantapa. The walls and the pillars have the various
carvings images of the scenes of Mahabharata and Ramayana. The temple is
near the bank of the Lake.
 The idols like Nandi, Linga, Narasimha Avatar, Hiranya Kashyap are also
carved on the walls of the temple.
 The temple is made up of sandstones. The Bhutanatha Group of Temples –
Architecture
BHUTANATHA GROUP OF TEMPLES
 The Bhutanatha TempleThe temple on the east side of the Agasthya
Tirtha is the famous Bhutanatha temple, built in the style of the early
Eastern Chalukyas.
 The style is a blend of North Indian and early South Indian temple
architecture.
 This temple seems to have been built in two stages. The inner hall
and the shrine reflect the style of the Eastern Badami Chalukyas,
while the outer hall represents the style of the Kalyani Chalukyas of
the west.
 The inner hall has massive pillars and the bays are decorated with
lotus designs.
 On one side of the doorway of the shrine stands Goddess Ganga,
riding the makara, while on the other side is river Yamuna.
 She is depicted as riding the tortoise. The Shiva Linga in the shrine is
believed to be of a later date, put in by the Lingayats.
PATTADAKAL TEMPLE’s
 MALLIKARJUNA
Dravidian Architecture: Mallikarjuna Temples typically follow the
Dravidian architectural style, which is characterized by pyramid-like
towers (gopurams), pillared halls, and intricate sculptures on the temple
walls.
Gopuram: The entrance to a Mallikarjuna Temple often features a
towering gopuram adorned with colorful sculptures of deities, mythological
scenes, and intricate patterns. These gopurams serve as gateways to the
temple complex.
Mandapas: The temple complex includes various mandapas or pillared
halls. These halls are used for religious ceremonies, gatherings, and
sometimes as resting places for pilgrims. The pillars are often intricately
carved with decorative motifs.
Garbhagriha (Sanctum Sanctorum): The innermost sanctum of the
temple houses the main deity, Lord Mallikarjuna (a form of Lord Shiva).
Devotees offer prayers and perform rituals in front of the sanctum. It is a
sacred and highly revered part of the temple.
MALLIKARJUNA

Shikhara: The shikhara is the superstructure or tower directly above the sanctum
sanctorum. It is usually pyramidal in shape and is often adorned with sculptures and
decorative elements.
Vimana: The vimana is a smaller tower or structure that is often found above the
sanctum sanctorum. It is an important architectural element in South Indian temples.
Courtyard: Mallikarjuna Temples typically have a spacious courtyard where
devotees can gather and
VIRUPAKSH TEMPLE
1.Dravidian Architecture: The temple is built in the Dravidian architectural
style, which is characterized by its pyramid-shaped towers (gopurams), pillared
halls, and intricate carvings.
2.Gopurams: The temple complex features several gopurams (ornate entrance
towers) that lead into the various courtyards of the temple. These gopurams are
tall and elaborately decorated with sculptures and reliefs depicting various deities
and mythological scenes.
3.Courtyards: The temple has multiple courtyards, each with its own
significance and purpose. These courtyards serve as spaces for religious
ceremonies, congregations, and cultural events.
4.Maha-Mandapa: This is the main pillared hall of the temple and serves as a
gathering space for devotees and pilgrims. It is characterized by its numerous
pillars with intricate carvings.
5.Vimana (Shikhara): The main sanctum of the temple is crowned with a
vimana, which is a tower-like structure that houses the main deity. The vimana is
usually ornate and highly decorated.
6.Sanctum (Garbhagriha): This is the innermost sanctified space of the temple
where the main deity, Lord Virupaksha (a form of Lord Shiva), is enshrined.
Devotees offer their prayers and offerings here.
PAPANATHA TEMPLE
 Papanatha TempleDedicated to Mukteswara according to inscriptions, this
modest temple seems to have been completed around 740 A.D.
 There seems to have been a change of intention during the course of
construction of this temple as can be known from its too narrow
circumambulatory path.
 floor slabs conceal the external moulding of the garbhagriha walls and the
buttress like projections of the north and south garbhagriha-walls into the
ardha-mandapa, both of which are unusual features.
 Facing the east, this temple has on plan a sanctum (garbhagriha )
surrounded by a circumambulatory path (pradakshinapatha) with
devakoshtha pavilions.
 its three walls, an ardha-mandpa, a sabha-mandapa and an entrance porch
(mukhamandapa) provided with kakshasana.
 Curiously, there is no Nandi-mandapa but an ornate image of Nandi is
housed in the eastern half of the sabha-mandapa.
 The temple is built on a plinth of five mouldings, embellished
with animal motifs, floral designs and kudus.
 The wall surfaces are relieved with niches (devakoshthas)
housing Saiva and Vaishnava deities and depicting episodes from
the Ramayana.
 These niches are topped by various designs of chaitya-arch
motifs and interspersed with perforated windows.
 The three devakoshtha pavilions house images of Siva in
different forms.
 A characteristic feature of the temple is its well-developed
rekha-nagara (northern) sikhara with an elaborately carved
Chaitya-arch enshrining Nataraja on the frontage of the sukanasa.
 The amalaka and kalasa are, however, missing.
 Pillars of the entrance porch bear Kinnara couples and engaged
columns have the figures of Dvarapalas.
 Lions and sardulas are carved at the corners above the entablature
and the ceiling panel depicts dancing Siva with Parvati and
musicians and flying figures.
 Pillars and pilasters of the other mandapas are relieved with medium-
sized graceful sculptures of damsels and couples (mithunas) in
playful moods.
 The central bay ceiling of the sabha-mandapa is adorned with panels
depicting Anantasayana surrounded by the Dikpalas, nagaraja and
Gajalakshmi from east to west.
 Here figures of rearing lions are cared projecting from above the
entablature.
 Central ceiling of the ardha-mandapa has relief sculpture of dancing
Siva in the company of Parvati and musicians. The western ceiling
here has figure of Nagaraja. Both the mandapas and the sanctum
have ornate doorframes.