6/15/2021 Badami cave temples - Wikipedia

Coordinates: 15°55′06″N 75°41′3″E

Badami cave temples

The Badami cave temples are a complex of Hindu and Jain
cave temples located in Badami, a town in the Bagalkot district in Badami cave temples
northern part of Karnataka, India. The caves are important
examples of Indian rock-cut architecture, especially Badami
Chalukya architecture, and the earliest date from the 6th century.
Badami was previously known as Vataapi Badami, the capital of
the early Chalukya dynasty, which ruled much of Karnataka from
the 6th to the 8th century. Badami is situated on the west bank of
a man-made lake ringed by an earthen wall with stone steps; it is
surrounded on the north and south by forts built in later times.

The Badami cave temples represent some of the earliest known

examples of Hindu temples in the Deccan region. They along with
the temples in Aihole transformed the Malaprabha River valley
into a cradle of temple architecture that influenced the
components of later Hindu temples elsewhere in India.

Caves 1 to 4 are in the escarpment of the hill in soft Badami

sandstone formation, to the south-east of the town. In Cave 1,
among various sculptures of Hindu divinities and themes, a
prominent carving is of the Tandava-dancing Shiva as Nataraja. Vishnu image in Badami cave 3
Cave 2 is mostly similar to Cave 1 in terms of its layout and
dimensions, featuring Hindu subjects of which the relief of
Vishnu as Trivikrama is the largest. The largest cave is Cave 3,
featuring Vishnu-relate, and it is also the most intricately carved
cave in the complex. Cave 4 is dedicated to revered figures of
Jainism. Around the lake, Badami has additional caves of which
one may be a Buddhist cave. Another cave was discovered in
2015, about 500 metres (1,600 ft) from the four main caves, with
27 Hindu carvings.

Contents
Geography
History
Temple caves
Cave 1 Show map of Karnataka
Cave 2 Show map of India
Cave 3 Show all
Cave 4 Coordinates 15°55′06″N 75°41′3″E
Other caves Discovery 6th Century
See also Geology Sandstone

https://en.wikipedia.org/wiki/Badami_cave_temples 1/13
6/15/2021 Badami cave temples - Wikipedia

References Entrances Six caves

Bibliography Difficulty Easy
External links Features UNESCO world heritage
site candidate[1]

Geography
The Badami cave temples are located in the town of Badami in the north-central part of Karnataka,
India. The temples are about 88 miles (142  km) east of Belagavi (IATA Code: IXT), and 87 miles
(140 km) northwest of Hampi. The Malaprabha River is 3 miles (4.8 km) away. The cave temples are 14
miles (23  km) from the UNESCO world heritage site Pattadakal and 22 miles (35  km) from Aihole –
another site with over a hundred ancient and early medieval era Hindu, Jain and Buddhist
monuments.[2]

Badami, also referred to as Vatapi, Vatapipura, Vatapinagari and

Agastya Tirtha in historical texts,[3] the capital of Chalukya dynasty
in the 6th century, is at the exit point of a ravine between two steep
mountain cliffs. Four cave temples in the escarpment of the hill to
the south-east of the town were carved into the cliff's monolithic
stone face. The escarpment is above a man-made lake called Agastya
Teertha, created by an earthen dam faced with stone steps. To the
west end of this cliff, at its lowest point, is the first cave temple.[4][5]
The largest and highest cave is Cave 3, which is further to the east on
Caves on the cliff above Agastya the northern face of the hill.[6] The fourth cave, Cave 4, is a few steps
Lake down further east.[3][7][8]

History
The cave temples, numbered 1 to 4 in the order of their creation, in
the town of Badami – the capital city of the Chalukya kingdom (also
known as Early Chalukyas[5]) – are dated from the late 6th century
onwards. The exact dating is known only for Cave 3, which is a
temple dedicated to Vishnu. An inscription found here records the
dedication of the shrine by Mangalesha in Saka 500 (solar calendar,
578/579  CE).[9] The inscription, written in the old Kannada
language,[3][10] has enabled the dating of these rock cave temples to
the 6th century.[3][11][12] This makes the cave the oldest firmly-dated Epigraphy in the Kannada language
Hindu cave temple in India.[13] (c. 578) dating the carving of Cave 3

The Badami Caves complex is part of a UNESCO-designated World

Heritage Site candidate under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal"
in the Malaprabha river valley, considered a cradle of temple architecture that formed the model for later
Hindu temples in the region.[7][1] The artwork in Caves 1 and 2 exhibit the northern Deccan style of the
6th and 7th centuries, while those in Cave 3 simultaneously represent two ancient Indian artistic
traditions; the northern Nagara and the southern Dravida styles.[14][15] Cave 3 also shows icons and
reliefs in the so-called Vesara style, a fusion of ideas from the two styles, as well as some of the earliest
surviving historical examples in Karnataka of yantra-chakra motifs (geometric symbolism) and colored
fresco paintings.[16][17][18] The first three caves feature sculptures of Hindu icons and legends focusing
on Shiva and Vishnu,[19] while Cave 4 features Jain icons and themes.[20]
https://en.wikipedia.org/wiki/Badami_cave_temples 2/13
6/15/2021 Badami cave temples - Wikipedia

Temple caves
The Badami cave temples are carved out of soft Badami sandstone on a hill cliff.[11] The plan of each of
the four caves (1 to 4) includes an entrance with a verandah (mukha mantapa) supported by stone
columns and brackets, a distinctive feature of these caves, leading to a columned mantapa, or main hall
(also maha mantapa), and then to the small, square shrine (sanctum sanctorum, garbha ghriya) cut
deep inside the cave.[21] The cave temples are linked by a stepped path with intermediate terraces
overlooking the town and lake. The cave temples are labelled 1–4 in their ascending series; this
numbering does not reflect the sequence of excavation.[22]

The architecture includes structures built in the Nagara and Dravidian styles, which is the first and most
persistent architectural idiom to be adopted by the early chalukyas.[22]

Cave 1

Cave 1 is about 59 feet (18 m) above ground level on the north-west

part of the hill. Access is through a series of steps that depict
carvings of dwarfish ganas in different postures as if they hold the
cave floor.[23] The verandah, with an inner measurement of 70 feet
(21  m) by 65 feet (20  m), has five columns sculpted with reliefs of
flower garlands, foliage and jewelry.[24][25]

The cave portrays the Tandava-dancing Shiva as Nataraja on the

rock face to the right of entrance.[24][26][19] The image, 5 feet (1.5 m)
Entrance to Cave 1
tall, has 18 arms in a form that expresses the dance positions
arranged in a geometric pattern, which Alice Boner  –  a Swiss art
historian and Indologist, states is a time division symbolizing the
cosmic wheel.[19] The eighteen arms express Natya mudras
(symbolic hand gestures),[27] with some holding objects such as
drums, a flame torch, a serpent, a trident and an axe.[25] Shiva has
his son Ganesha and the bull Nandi by his side. Adjoining the
Nataraja, the wall depicts the goddess Durga of Shaktism tradition
slaying the buffalo-demon Mahishasura.[25]

On the left of the entrance is a two-handed Shaiva dvarapala who

holds a trident, and below him is a bull-elephant fused image where
they share a head; seen from left it is an elephant and from right a
bull.[25] Once inside the veranda, the cave presents a carved
sculpture of Harihara, a 7.75-foot (2.36 m) high sculpture of a fused
image that is half-Shiva and half-Vishnu. He is flanked on respective
sides with the goddesses Parvati and Lakshmi.[26][25] To the right,
toward the end of the wall, is a relief sculpture of Ardhanarishvara, a
fused image of Shiva and his consort Parvati. Next to the half that
represents Parvati is an attendant carrying a tray of jewels. Next to Nataraja or Dancing Shiva in Cave 1
the Ardhanarishvara half that represents Shiva is Nandi the bull, and
skeletal Bhringi, a devotee of Shiva.[28][25]

Inside this cave, the sons of Shiva, Ganesha and Kartikeya, the god of war and family deity of the
Chalukya dynasty, are seen in one of the carved sculptures on the walls of the cave, with Kartikeya riding
a peacock.[23][24] The roof of the cave has five carved panels with the central panel depicting the
https://en.wikipedia.org/wiki/Badami_cave_temples 3/13
6/15/2021 Badami cave temples - Wikipedia

Nagaraja, with flying couples on both sides.[25] The head and bust are well formed and project from the
centre of the coil. In another compartment a bas-relief 2.5 feet (0.76  m) in diameter has carvings of a
male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The
succeeding panel has carvings of two small figures and the panel at the end is carved with lotuses.[29]

All the figures are adorned with carved ornaments and surrounded by borders with reliefs of animals
and birds. The lotus design is a common theme. On the ceiling are images of the Vidyadhara couples as
well as couples in courtship and erotic Mithuna scenes. Through a cleft in the back wall of the cave is a
square sanctuary with more carved images. In the mantapa is a seated Nandi facing the garbha ghriya
(sacrum sanctum) containing a Shiva linga.[24][25]

Cave 2

Left: Vishnu as Varaha rescuing Earth as Bhudevi. Right: Trivikrama stepping Vishnu, Vamana avatar legend and
ancient Indian musical instruments carved below.

Cave 2 is above and to the east of Cave 1 and faces north. It was created in late 6th or early 7th century. It
is smaller than Cave  1, somewhat similar in terms of its floor plan, but it is dedicated primarily to
Vishnu.[30] Cave 2 is reached by climbing 64 steps from the first cave. The cave entrance is a verandah
divided by four square pillars with ends as half pillars, all carved out of the monolithic stone face. The
pillars have decorative carvings with frieze of ganas (mythical dwarfs) with various facial expressions.
On the two sides of the entrance are standing dvarapalas (guardians) holding flowers, not
weapons.[30][11] Like Cave 1, Cave 2 art reflects Hindu theology and arts.[11][30][31]

The largest relief in Cave 2 depicts the legend of Vishnu in his Trivikrama form, taking one of the three
steps. Below the raised step is a frieze showing the legend of Vamana dwarf avatar of Vishnu, before he
morphs into the Trivikrama form.[11] Another major relief shows the legend of Vishnu in his Varaha (a
boar) avatar rescuing goddess earth (Bhudevi) from the depths of cosmic ocean, with a penitent multi-
headed snake (Nāga) below.[11][32] Like other major murti (statue) in this and other Badami caves, the
Varaha artwork is set in a circle and symmetrically laid out; according to Alice Boner, the panel is an
upright rectangle whose "height is equal to the octopartite directing circle and sides are aligned to
essential geometric ratios, in this case to the second vertical chord of the circle".[19] The walls and ceiling
have traces of colored paint, suggesting the cave used to have fresco paintings.[11]

Inside the temple are friezes showing stories from Hindu texts such as the Bhagavata Purana.[19][33]
These show the legend of cosmic ocean churning (Samudra Manthan) and Krishna's birth and flute
playing indicating the theological and cultural significance of these in 7th century India. The ceiling and

https://en.wikipedia.org/wiki/Badami_cave_temples 4/13
6/15/2021 Badami cave temples - Wikipedia

door head carvings show Gajalakshmi, the swastika symbols, flying couples, Brahma, Vishnu asleep on
Shesha and others.[11][30][34]

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame. The end bays have a
flying couple and Vishnu on Garuda.[11] The main hall in the cave is 33.33 feet (10.16 m) wide, 23.583
feet (7.188 m) deep, and 11.33 feet (3.45 m) high and is supported by eight square pillars in two rows.
The roof of this hall has panels filled with bas-relief carvings.[35] The sculptures of Cave 2, like Cave 1,
are of the northern Deccan style of the 6th and 7th century similar to that found in Ellora Caves.[14]

Cave 3

Cave 3 is earliest dated Hindu

temple in the Deccan region. It is
dedicated to Vishnu; it is the largest
cave in the complex. It has
intricately carved friezes and giant
figures of Trivikrama,
Anantasayana, Vasudeva, Varaha,
Harihara and Narasimha.[11]
Cave  3's primary theme is
Vaishnavite, though it also shows
Harihara on its southern wall –  [36]
half Vishnu and half Shiva shown
fused as one, making the cave Left: Vishnu seated on serpent Sesha in Cave 3; Right: An amorous couple
important to Shaivism
studies.[10][37]

Facing north, Cave 3 is 60 steps from Cave 2 at a higher level. Cave  3's verandah is 70 feet (21  m) in
length with an interior width of 65 feet (20  m); it has been sculpted 48 feet (15  m) deep into the
mountain; an added square shrine at the end extends the cave 12 feet (3.7  m) further inside.[38] The
verandah itself is 7 feet (2.1 m) wide and has four free-standing, carved pillars separating it from the hall.
The cave is 15 feet (4.6  m) high; it is supported by six pillars, each measuring 2.5 square feet
(0.23 m2).[39] Each column and pilaster is carved with wide, deep bases crowned with capitals that are
partly hidden by brackets on three sides. Each bracket, except for one, has carvings of human figures
standing under foliage in different postures, of male and female mythological characters, and an
attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally 7
feet (2.1 m) long), has about thirty compartments carved with two dwarves called ganas.[39]

Cave 3 also shows fresco paintings on the ceiling, some of which are faded and broken. These are among
the earliest known surviving evidence of fresco painting in Indian art.[17] The Hindu god Brahma is seen
on Hamsa vahana in one of the murals. The wedding of Shiva and Parvati, attended by various Hindu
deities is the theme of another.[42]

There is a lotus medallion on the floor underneath the ceiling mural of Brahma. The ceiling has reliefs of
many Vedic gods and goddesses such as Agni, Indra and Varuna.[43] The cave artworks, in some cases,
show the artists signatures, as well as a major inscription. This and other epigraphical evidence suggests
that the cave temple was inaugurated on the "full moon day, 1 November 578".[44] The roof of the
verandah has seven panels created by cross beams; each is painted in circular compartments with
images of deities including Shiva, Vishnu, Indra, Brahma and Kama, with smaller images of Dikpalas
(cardinal guardians) at the corners.[45]
https://en.wikipedia.org/wiki/Badami_cave_temples 5/13
6/15/2021 Badami cave temples - Wikipedia

The roof of the front aisle has panels

with murals in the centre of male and
female figurines flying in the clouds;
the male figure is yaksha holding a
sword and a shield. Decoration of
lotus blooms are also seen on the
panels. The roof of the hall is divided
into nine panels slightly above the
level of the ceiling. The central panel
here depicts a deva mounted on a
ram – conjectured to be Agni. Images
of Brahma and Varuna are also Layout of Cave 3 temple; 1: Vishnu;
painted on the central panels; the 2: Trivikrama; 3: Vishnu on sesha; 4:
floating figures are seen in the Vishnu avatar Varaha rescuing
remaining panels.[35] earth; 5: Harihara (half Shiva, half
Vishnu); 6: Vishnu avatar
Artwork shows a collapsing
The sculpture in Cave 3 is well Narasimha standing; 7: Garbha
sorrowful woman being
preserved. Vishnu is presented in ghriya (sacrum sanctum); Blue O:
helped.
various avatars and forms, such as a ceiling carvings of Vedic and
standing Vishnu with eight arms; Puranic Hindu gods and
Vishnu seated on the hooded serpent goddesses.[40][41]
Shesha on the eastern side of the veranda; Vishnu as standing
Narasimha (man-lion avatar); Vishnu as Varaha (man-boar avatar)
rescuing earth; Harihara (half Shiva, half Vishnu and their equivalence); and Trivikrama-Vamana
avatars.[19][43] The back wall has carvings of Vidhyadharas. The cave shows many Kama scenes in pillar
brackets, where a woman and a man are in courtship or mithuna (erotic) embrace.[46][47]

Aspects of the culture, cosmetics and clothing in the 6th century is visible in the art sculpted in this cave,
showing a sophisticated tradition.[48][49]

Cave 4

Located immediately next to and east of Cave 3,

Cave 4 floor is situated about 10 feet lower and
is the smallest of the four. It is dedicated to
Tirthankaras, the revered figures of Jainism. It
was constructed after the first three, sponsored
by Hindu kings in later part of the 7th-
century.[50] Some scholars state this cave may
have been created in the 8th  century.[51] Some
embellishments were likely added in later
centuries until about the 11th or 12th
century.[52]

Like the other caves, Cave 4 features detailed

carvings and a diverse range of motifs.[20][52] Tirthankara Parshvanatha Bahubali in Jain Cave 4
The cave has a five-bayed entrance with four
square columns  – each with brackets and
capitals. To the back of this verandah is a hall with two standalone and two joined pillars. The first aisle

https://en.wikipedia.org/wiki/Badami_cave_temples 6/13
6/15/2021 Badami cave temples - Wikipedia

is a verandah 31 feet (9.4 m) long by 6.5 feet (2.0 m) wide, extending to 16 feet (4.9 m) deep. From the
hall, steps lead to the sanctum sanctorum, which is 25.5 feet (7.8 m) wide extends to a depth of 6 feet
(1.8 m).[53]

Inside the cave are major carvings of Bahubali, Parshvanatha and Mahavira with symbolic display of
other Tirthankaras. Bahubali is standing in Kayotsarga meditating posture with vines wrapped around
his leg, his classic iconography. Parshvanatha is shown with the five-headed cobra hood.[52] Mahavira is
represented sitting on a lion throne,[54][53] whose identifying markers are not visibly and is identified by
some scholars simply as a "seated Jina".[52] This figure is flanked by bas-reliefs of attendants with chauri
(fans), sardulas and makara's heads. Other carvings include Indrabhuti Gautama covered by four
snakes, Brahmi and Sundari.[51][53] In the sanctum is an image of Mahavira resting on a pedestal
containing a 12th-century Kannada inscription marking the death of one Jakkave. Twenty-four small
Jaina Tirthankara images are engraved on the inner pillars and walls. In addition there are idols of
Yakshas, Yakshis and Padmavati.[51]

The artistic work, the icons to represents ideas and the motifs in Badami Cave 4, states Lisa Owens,
resembles those of nearby Aihole Jain caves and much farther north Ellora Caves Jain caves in northern
Maharashtra.[50]

Other caves

Left: The controversial cave along the Agastya lake on the opposite side of the four numbered caves; Right: Vaishnava
iconography.

Other than the numbered caves, Badami is home to many other cave monuments and medieval era
temples.[55] On the other side of the lake, near the Bhutanatha temple, is a 7th-8th century Chalukya
period cave of small dimensions. Inside, there is a carved statue seated over a sculpted throne with
reliefs showing people holding chauris (fans), a Pipal tree,[56] elephants, and lions in an attacking pose.
On one side of the statue is a chakra, on the other a conch shell. The statue wears abundant jewelry and a
thread over its chest. The face of this statue is damaged and missing its face.[57][58]

There are several theories as to who the statue represents. One theory holds that it is a relief of the
Buddha in a sitting posture.[58] According to this theory, those holding the chauris are Bodhisattvas
flanking the Buddha. According to George Michell, the halo, the Pipal tree, and cloak-like dress suggests
that this was originally a Buddha statue.[56] The shrine, states this theory, was converted to Hindu
worship in recent times.[58][59] According to B.V. Shetti – archaeologist and curator of Prince of Wales
Museum of Western India,[60] the cave was not converted but from the start represented a tribute to
Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu (ninth avatar of Vishnu). This theory is
supported by the chakra, conch and jewelry included in its iconography. The style suggests it was likely
carved in or before the 8th century.[57]

https://en.wikipedia.org/wiki/Badami_cave_temples 7/13
6/15/2021 Badami cave temples - Wikipedia

Another theory found in colonial-era texts such as one by John Murray – a missionary in British India
and Jainism scholar,[61] states the main image carved in Cave 5 is that of a Jaina figure.[62] According to
a third theory, by Henry Cousens and A. Sundara – archaeologists, and supported by local legends, the
statue is of an ancient king; in a photograph of the statue taken before its face was damaged, the figure
lacked the Ushnisha lump that typically goes with Buddha's image.[57] The statue has several unusual,
non-Buddha ornaments such as rings for fingers, a necklace, and a chest-band; it wears a Hindu
Yajnopavita thread and its head is stylistically closer to a Jina head than a Buddha's head.[57] These
features suggest the statue may be of a king represented with features of various traditions.[57] According
to Carol Radcliffe Bolon  –  Assistant Curator at the Smithsonian Freer Gallery of Art, the date and
identity of the main statue in Cave 5 remains enigmatic.[63]

Close to the controversial cave are other monuments. One of them is

a small shrine consisting of a 7th-century rock carving of
Anantashayana Vishnu, or reclining Vishnu with Lakshmi and
Garuda in namaste posture. Vishnu is shown restarting the cosmic
cycle by giving birth to all of existence. Above the reclining carved
relief are the ten avatars of Vishnu – Matsya, Kurma, Varaha,
Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and
Kalki. Between the Narasimha and Vamana is shown relief of
Brahma cord connected to Vishnu's navel. To the left of the relief is
A small cave rock carving of
depicted the Trinity – Vishnu, Shiva, and Brahma, while to the right
Anantashayana Vishnu. is a human couple and a mother cow with a calf feeding.[56][64]

In 2013, Manjunath Sullolli – Assistant Director of Bagalkot district

working for the state government of Karnataka, reported the
discovery of another cave with 27 rock carvings, about 500 metres (1,600 ft) from the four main caves.
Water gushes from this newly discovered cave year round. It depicts Vishnu and other Hindu deities,
and features an inscription in the Devanagari script. The dating of these carvings is unknown.[65][66]

See also
Aihole
Badami Chalukya Architecture
Indian rock-cut architecture
Ellora Caves
Kanheri Caves
Kappe Arabhatta
Karla Caves
List of India cave temples
Mahakuta group of temples
Nellitheertha Cave Temple
Pattadakal
Pandavleni Caves
Sirpur Group of Monuments
Undavalli caves
Varaha Cave Temple

References
https://en.wikipedia.org/wiki/Badami_cave_temples 8/13
6/15/2021 Badami cave temples - Wikipedia

1. "Evolution of Temple Architecture – Aihole-Badami- Pattadakal" (https://whc.unesco.org/en/tentativeli

sts/5972/). UNESCO. 2004. Retrieved 21 October 2015.
2. Michell 2017, pp. 12-17, 78, 108.
3. Fergusson 1880, p. 405.
4. Fergusson 1880, pp. 405–406.
5. "Badami around the Tank: Western Chalukya Monuments" (http://www.art-and-archaeology.com/indi
a/badami/baplan.html). Art-and-archaeology.com, Princeton University. Retrieved 21 October 2015.
6. Jessica Frazier (2015), The Bloomsbury Companion to Hindu Studies, Bloomsbury Academic,
ISBN 978-1-4725-1151-5, pages 279–280
7. Gopal, Madan (1990). K.S. Gautam (ed.). India through the ages (https://archive.org/details/indiathro
ughages00mada). Publication Division, Ministry of Information and Broadcasting, Government of
India. p. 174 (https://archive.org/details/indiathroughages00mada/page/174).
8. Michell 2014, p. 36–50.
9. Fergusson 1880, p. 409.
10. Michell 2014, p. 50.
11. Michell 2014, p. 38–50.
12. Burgess 1880, p. 406.
13. "The Remarkable Cave Temples of Southern India", by George Michell,
[http://www.smithsonianmag.com/travel/remarkable-cave-temples-architecture-nagara-dravidian-
southern-india-deccan-chalukya-180957971/#EaqgVrLTF0xemeuk.99 Smithsonian (https://www.smit
hsonianmag.com/travel/remarkable-cave-temples-architecture-nagara-dravidian-southern-india-decc
an-chalukya-180957971/)
14. JC Harle (1972), Aspects of Indian Art, BRILL Academic, ISBN 978-90-04-03625-3, page 68
15. Jill Tilden (1997), First Under Heaven: The Art of Asia, Hali Publishers, ISBN 978-1-898113-35-5,
pages 31–32
16. Kapila Vatsyayan and Bettina Bäumer (1992), Kalātattvakośa: A Lexicon of Fundamental Concepts
of the Indian Arts, Motilal Banarsidass, ISBN 978-81-208-1044-0, pages 79–84
17. Stella Kramrisch (1936), Paintings at Badami, Journal of the Indian Society of Oriental Art, Vol 4,
Number 1, pages 57–61
18. James C Harle (1994), The Art and Architecture of the Indian Subcontinent, Yale University Press,
ISBN 978-0-300-06217-5, pages 361, 166
19. Alice Boner (1990), Principles of Composition in Hindu Sculpture: Cave Temple Period, Motilal
Banarsidass, ISBN 978-81-208-0705-1, pages 89–95, 115–124, 174–184
20. "Cave 4, Badami: Jain Tirthankarasaccess" (http://www.art-and-archaeology.com/india/badami/cave4
03.html). art-and-archaeology.com, Princeton University. 21 October 2015.
21. Thapar 2012, p. 45.
22. Michell 2014, p. 37.
23. Fergusson 1880, p. 413.
24. Michell 2014, p. 37–38.
25. Michell 2017, pp. 46-47.
26. Fergusson 1880, p. 414.
27. Fred Kleiner (2009), Gardner's Art through the Ages: Non-Western Perspectives, Wadsworth
Publishing, ISBN 978-0-495-57367-8, page 21
28. Fergusson 1880, pp. 414-415.
29. Fergusson 1880, p. 416.
30. Michell 2017, pp. 44-48.

https://en.wikipedia.org/wiki/Badami_cave_temples 9/13
6/15/2021 Badami cave temples - Wikipedia

31. Gary Tarr (1970), Chronology and Development of the Chāḷukya Cave Temples (https://www.jstor.or
g/stable/4629258), Ars Orientalis, The Smithsonian Institution and Department of the History of Art,
University of Michigan, Vol. 8, pp. 155-184
32. Michell 2017, pp. 47-48.
33. Archana Verma (2012), Temple Imagery from Early Mediaeval Peninsular India, Ashgate, ISBN 978-
1-4094-3029-2, pages 89–93
34. Alice Boner (1990). Principles of Composition in Hindu Sculpture: Cave Temple Period (https://book
s.google.com/books?id=doQLZ21CGScC). Motilal Banarsidass. pp. 89–95, 120–124. ISBN 978-81-
208-0705-1.
35. Fergusson 1880, p. 412.
36. VK Subramanian (2003), Art Shrines of Ancient India, Abhinav, ISBN 978-81-7017-431-8, page 47
37. TA Gopinatha Rao (1993), Elements of Hindu iconography, Vol 2, Motilal Banarsidass, ISBN 978-81-
208-0877-5, pages 334–335
38. Fergusson 1880, p. 406.
39. Fergusson 1880, pp. 406–407.
40. Michell 2017, p. 49.
41. George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms, University of
Chicago Press, ISBN 978-0-226-53230-1, pages 98–100
42. Stella Kramrisch and Barbara Stoler Miller (1983), Exploring India's Sacred Art: Selected Writings of
Stella Kramrisch, Motilal Banarsidass, ISBN 978-0-8122-7856-9, pages 306–308
43. Michell 2017, pp. 48-50.
44. Michell 2017, p. 53.
45. Fergusson 1880, p. 411.
46. Albertina Nugteren (2005), Belief, Bounty, And Beauty: Rituals Around Sacred Trees in India, BRILL,
ISBN 978-90-04-14601-3, pages 132–133
47. Upinder Singh (2008). A History of Ancient and Early Medieval India: From the Stone Age to the 12th
Century (https://books.google.com/books?id=Pq2iCwAAQBAJ&pg=PA628). Pearson Education.
pp. 628–629. ISBN 978-81-317-1677-9.
48. Michell 2014, p. 45-55.
49. Michael W. Meister (1986). Encyclopaedia of Indian temple architecture (https://books.google.com/b
ooks?id=DRY3AQAAIAAJ). American Institute of Indian Studies. pp. 32–36. ISBN 978-0-8122-7992-
4.
50. Lisa Owen (2012). Carving Devotion in the Jain Caves at Ellora (https://books.google.com/books?id=
MUszAQAAQBAJ). BRILL Academic. pp. 6, 45–56. ISBN 978-90-04-20630-4.
51. Michell 2014, p. 60-61.
52. Michell 2017, pp. 53-54.
53. Fergusson 1880, p. 491.
54. Michell 2014, p. 60.
55. Michell 2017, pp. 55-74.
56. Michell 2017, p. 61.
57. Shetti, BV (1995). "An image of Buddhavatara of Visnu at Badami" (https://web.archive.org/web/201
60304040043/http://www.jainlibrary.org/elib_master/article/250000_article_english/Image_of_Buddha
vatara_of_Visnu_at_Badami_269008_std.pdf) (PDF). Nirgrantha. 1 (2): 87–91. Archived from the
original (http://www.jainlibrary.org/elib_master/article/250000_article_english/Image_of_Buddhavatar
a_of_Visnu_at_Badami_269008_std.pdf) (PDF) on 4 March 2016. Retrieved 23 October 2015.
58. "Small Buddhist Cave:Badami, Image 2" (http://www.art-and-archaeology.com/india/badami/bucave0
2.html). art-and-archaeology.com, Princeton University. Retrieved 22 October 2015.

https://en.wikipedia.org/wiki/Badami_cave_temples 10/13
6/15/2021 Badami cave temples - Wikipedia

59. "Small Buddhist Cave:Badami" (http://www.art-and-archaeology.com/india/badami/bucave01.html).

art-and-archaeology.com, Princeton University. Retrieved 21 October 2015.
60. Carol Radcliffe Bolon (2010). Forms of the Goddess Lajj? Gaur? in Indian Art (https://books.google.c
om/books?id=MIZADNu6U-MC). Pennsylvania State University Press. p. xiii. ISBN 978-0-271-
04369-2. Retrieved 2 April 2016.
61. Numark, Mitch (2013). "The Scottish `Discovery' of Jainism in Nineteenth-Century Bombay". Journal
of Scottish Historical Studies. Edinburgh University Press. 33 (1): 20–51. doi:10.3366/jshs.2013.0061
(https://doi.org/10.3366%2Fjshs.2013.0061).
62. John Murray (1897), A Handbook for Travellers in India, Ceylon and Burma (https://books.google.co
m/books?id=Tr8XAAAAYAAJ&pg=PA314), p. 314, at Google Books
63. Carol E Radcliffe (1981), Early Chalukya sculpture, PhD Thesis awarded by New York University,
OCLC 7223956 (https://www.worldcat.org/oclc/7223956)
64. Sivanandini Duraiswamy (2004). The creative touches of the chisel (https://books.google.com/book
s?id=7cmfAAAAMAAJ). Vijitha. pp. 204–205. ISBN 978-955-8095-49-2.
65. "Badami's supremacy set in stone" (http://www.dnaindia.com/bangalore/report-badami-s-supremacy-
set-in-stone-1878155). DNA India. 22 August 2013.
66. "Natural cave shrine discovered" (http://www.newindianexpress.com/states/karnataka/Natural-cave-s
hrine-discovered/2013/06/10/article1628245.ece). Indian Express. June 2013.

Bibliography
Prasanna Kumar Acharya (2010). An Burgess, James (1880). The Cave Temples of
encyclopaedia of Hindu architecture (https://arc India (https://archive.org/details/cavetemplesofi
hive.org/stream/encyclopaediaofh07achauoft#p nd00ferguoft). W.H. Allen & Company. p. 405
age/n9/mode/2up). Oxford University Press (https://archive.org/details/cavetemplesofind00f
(Republished by Motilal Banarsidass). erguoft/page/405). Retrieved 2 April 2016.
ISBN 978-81-7536-534-6. A.K. Coomaraswamy; Michael W. Meister
Prasanna Kumar Acharya (1997). A Dictionary (1995). Essays in Architectural Theory (https://
of Hindu Architecture: Treating of Sanskrit books.google.com/books?id=5B1QAAAAMAA
Architectural Terms with Illustrative Quotations J). Indira Gandhi National Centre for the Arts.
(https://books.google.com/books?id=rbayQwA ISBN 978-0-19-563805-9.
ACAAJ). Oxford University Press (Reprinted in Dehejia, V. (1997). Indian Art. Phaidon:
1997 by Motilal Banarsidass). ISBN 978-81- London. ISBN 0-7148-3496-3.
7536-113-3. Fergusson, James (1880). The Caves Temples
Vinayak Bharne; Krupali Krusche (2014). of India (https://books.google.com/books?id=5Y
Rediscovering the Hindu Temple: The Sacred qEFKdU8FEC&pg=PA405). W. H. Allen.
Architecture and Urbanism of India (https://boo Retrieved 2 April 2016.
ks.google.com/books?id=CGukBgAAQBAJ). Adam Hardy (1995). Indian Temple
Cambridge Scholars Publishing. ISBN 978-1- Architecture: Form and Transformation (https://
4438-6734-4. books.google.com/books?id=aU0hCAS2-08C).
Alice Boner (1990). Principles of Composition Abhinav Publications. ISBN 978-81-7017-312-
in Hindu Sculpture: Cave Temple Period (http 0.
s://books.google.com/books?id=doQLZ21CGS Adam Hardy (2007). The Temple Architecture
cC). Motilal Banarsidass. ISBN 978-81-208- of India (https://books.google.com/books?id=of
0705-1. UVAQAAIAAJ). Wiley. ISBN 978-0470028278.
Alice Boner; Sadāśiva Rath Śarmā (2005).
Silpa Prakasa (https://books.google.com/book
s?id=itQUAAAAIAAJ). Brill Academic
(Reprinted by Motilal Banarsidass). ISBN 978-
8120820524.

https://en.wikipedia.org/wiki/Badami_cave_temples 11/13
6/15/2021 Badami cave temples - Wikipedia

Adam Hardy (2015). Theory and Practice of Michell, George l (2014). Temple Architecture
Temple Architecture in Medieval India: Bhoja's and Art of the Early Chalukyas: Badami,
Samarāṅgaṇasūtradhāra and the Bhojpur Line Mahakuta, Aihole, Pattadakal (https://books.go
Drawings (https://books.google.com/books?id= ogle.com/books?id=-1TroAEACAAJ). Niyogi
_oADrgEACAAJ). Indira Gandhi National Books. ISBN 978-93-83098-33-0.
Centre for the Arts. ISBN 978-93-81406-41-0. Michell, George (2017). Badami, Aihole,
Harle, J.C., The Art and Architecture of the Pattadakal (https://books.google.com/books?id
Indian Subcontinent, 2nd edn. 1994, Yale =zzTcoQEACAAJ). Jaico (Reprinted, Orig Year:
University Press Pelican History of Art, 2011). ISBN 978-81-8495-600-9.
ISBN 0300062176 Thapar, Bindia (2012). Introduction to Indian
Monica Juneja (2001). Architecture in Medieval Architecture (https://books.google.com/books?i
India: Forms, Contexts, Histories (https://book d=fpfTAgAAQBAJ). Tuttle Publishing.
s.google.com/books?id=7N7VAAAAMAAJ). ISBN 978-1-4629-0642-0.
Orient Blackswan. ISBN 978-8178242286. T. A. Gopinatha Rao (1993). Elements of Hindu
Stella Kramrisch (1976). The Hindu Temple iconography (https://books.google.com/books?i
Volume 1 (https://books.google.com/books?id= d=MJD-KresBwIC). Motilal Banarsidass.
NNcXrBlI9S0C). Motilal Banarsidass ISBN 978-81-208-0878-2.
(Reprinted 1946 Princeton University Press). Ajay J. Sinha (2000). Imagining Architects:
ISBN 978-81-208-0223-0. Creativity in the Religious Monuments of India
Stella Kramrisch (1979). The Hindu Temple (https://books.google.com/books?id=WvqLzaS
Volume 2 (https://books.google.com/books?id= UGi8C). University of Delaware Press.
8-aS52MgIkMC). Motilal Banarsidass ISBN 978-0-87413-684-5.
(Reprinted 1946 Princeton University Press). Burton Stein (1978). South Indian Temples (htt
ISBN 978-81-208-0224-7. ps://books.google.com/books?id=Hq5BngAAC
Michael W. Meister; Madhusudan Dhaky AAJ). Vikas. ISBN 978-0706904499.
(1986). Encyclopaedia of Indian temple Burton Stein (1989). The New Cambridge
architecture (https://books.google.com/books?i History of India: Vijayanagara (https://books.go
d=DRY3AQAAIAAJ). American Institute of ogle.com/books?id=OpxeaYQbGDMC).
Indian Studies. ISBN 978-0-8122-7992-4. Cambridge University Press. ISBN 978-0-521-
George Michell (1988). The Hindu Temple: An 26693-2.
Introduction to Its Meaning and Forms (https://b Burton Stein; David Arnold (2010). A History of
ooks.google.com/books?id=ajgImLs62gwC). India (https://books.google.com/books?id=QY4
University of Chicago Press. ISBN 978-0-226- zdTDwMAQC). John Wiley & Sons. ISBN 978-
53230-1. 1-4443-2351-1.
George Michell (2000). Hindu Art and Kapila Vatsyayan (1997). The Square and the
Architecture (https://archive.org/details/hinduart Circle of the Indian Arts (https://books.google.c
architec00mich). Thames & Hudson. om/books?id=vwLJc3pBzzUC&pg=PR10).
ISBN 978-0-500-20337-8. Abhinav Publications. ISBN 978-81-7017-362-
5.

External links
Cave Temples at Badami – Pictures (http://www.protomatter.com/india/pictures/badami/badami/)
Map of Cave Locations (http://www.art-and-archaeology.com/india/badami/baplan.html)
Badami caves field trip (http://users.clas.ufl.edu/vasu/traditions/chapter10/badami.htm), University of
Florida (2002)
Badami cave temple image archives (http://dla.library.upenn.edu/cocoon/dla/wheeler/search.html?fq
=geographical_area_facet%3A%22Badami%22%20AND%20geographical_area_facet%3A%22Bad
ami%20%28India%29%22&rows=100) Penn Libraries

https://en.wikipedia.org/wiki/Badami_cave_temples 12/13
6/15/2021 Badami cave temples - Wikipedia

Badami Cave Temples – four ancient rock cut temples|Wondermondo (http://www.wondermondo.co

m/Countries/As/India/Karnataka/Badami.htm)
Chronology and Development of the Chalukya Cave Temples (https://www.jstor.org/stable/4629258),
Gary Tarr (1970), Ars Orientalis, Vol. 8, pages 155–184

Retrieved from "https://en.wikipedia.org/w/index.php?title=Badami_cave_temples&oldid=1023630773"

This page was last edited on 17 May 2021, at 13:11 (UTC).

Text is available under the Creative Commons Attribution-ShareAlike License;

additional terms may apply. By using this site,
you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a
non-profit organization.

https://en.wikipedia.org/wiki/Badami_cave_temples 13/13