Cave Temples of Andhra

6& ceo

. 2)

BBVULEDD Y

of HistOffy
Univeisiif
WPATI - 17

1988
 : 1988

: 1000

"Bd. **O .1; d^O. .C .

Devi Reddy Subramanyam Reddy, M. A; M.Phil,

: fib.

Price : Rs.

o
11.26-10.

ro

. 24201.
S^Oo-godflbo
 Contents
(Foreword)
( Acknowledgement)

(Preface)
&& (List of mips, figures, plans)

1. 3edSCTtf

2.

3.
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10

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2.

3.

4.

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(References)
Foreword

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 Preface

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 List of Illustrations

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"/////&
DISTRIBUTOR OF
TEMPLE -BUILDING EFFORTS
tOO iOO 00300 400 5OO
KlLO*fTR$

- 1

/ '^"iLs Au
MAHARA5HJRA

IMU)OCALINGAM|

iMAGAgJUMAKONDAI 9

t
3 rapurv;
\^ A
ICHEZA^LA
i^*"" ' UNDAVALLT1

B E N G A L

AUAMTWJR ANDHRA PRADESH

CUDOAPAH SHOWING
EARLY CENTRES
OF
TEMPLE ARCHITECTURE

SCALE. 1 7OAAILE5

. 2 Sf*S s-So
So^es
 (Jupiter's siderial period with
reference to the sun)
(renewed^ritually)

.
914

s $ojcfe>05

(Cut-in or
scooped), (Cut-out or

i3-6* CP
g a).
 "

,
Q o_ ro \&p) o

. In his "Invitation to Indian Architecture" K. V. Soundara Rajan says: "Here

are two one for Universal humanism which was the guiding light of
facets of Indian art

Gautama, theBuddha and universal divine immanence which causes and orders the
phenomenal world, which is the substratum faith of Hinduism, and these together unfold
a complementary but evocative
psyche of the Indian mind in its relationship with the
material world around and the paradise dwelt in beyond, by Gods in their empyrian. The
organisation of Buddhist art by influential tradesmen and that of Hindu art by roya|
dynasties of kings is a dichotomy of Indian art spectrum but was drawing from the same
aesthetic ideafs ami the craft poof. The same craftsmen in medieval times placed their
genius add ingenuity at the hands of even Islamic rulers to enrich magnificent edifices to
own religious presentations, tt only shows how the mind and hand of the artist
suit their

cannot be held captive in the cage of time, and would find

self-expression to suit any
environment with a spiritual plank to enthuse them.
They were less concerned with
material possession, riches, and could
pedigree subvert any political power by the
persuasive eloquence of their art modulations and bring glory to the land, in the
eventuaHty, and immortality for themselves. Long after the kings are gone, it is the artists
afld craftsmen who live for
ever, to recervertheir mead of tribute from the entire world."

"The study of Indian religious art is attractive because one is at ease at once
with its many splendoured formulations; one finds its study a stint in liberal education
of the arts, crafts and thought of the land; and one stimulated by
is its naturally exultant
stature and stamina, tts majestic layout, wrth a little
understanding, can yet be facile;
its formal elaboration, with a modicum of analysis, can still be rational. It is indeed an
exercise in exactitude, in symmetry, in organised and disciplined exhuberance."
elegance
{K. V, Seundara Rajan : Invitation to Indian Architecture, New
1984, Delhi, Arnold
Heinemann Publishers, pp. 27, 13).

coQ, **e>fl*S>
S
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(substantial)

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"
K. V. fc. tftfoff Before brick couldbe replaced
~ S5A fcto .
,.
^tfo^a.
in favour of rock-cut architec-
entiHy by stone, the vogue had changed again transiently

that the rock-cut enterprise is not only mare awe-inspmng,

ture primarily due to the fact
fervour of whole commun.ties
in
but also inevitably committsd tha labours and religious
in ethical and religious harmony
". *-'
the task, and produced far-reaching results
8,$
trt&^aoSa "the first of which (Kailasa temple)
is by any standard an exceptional
effort on a challenging medium (stone) ". s*!> q*S

"SsrocJiP>co.
' '
'
diiodO SsTod^peo. sSjo^5"5*D
L&d&5"*a jjSasHfibo

(magnificience) ^8d^3 ^a^c^sio (extravagence)

S'S) sSbOeS^ "S57od3b S'tocro^ e&tfcs(&, ^esg^ (quality)

C3

&>&&&&> (coarseness) s$}8cJiD s'^^^ (rigidity)

"The temples of Andhra Pradesh, from their adolescence to decay,

were constantly subjected to influence of architectural and art impulses from the centre of
early art endeavour and were thus, to a certain extent, amalgams in structural mode. The
elegance of the nagara sikhara profile and its typical wall decorative motifs as from
:
Central India, the stamina of the Dedfeam, clarify* of* {(found plan and sumptuous yet suave
figure sculpture as from Aitoli, the almost effimrnate grace of the Orissan art and archi-
teetwaf trends* the prodigious industry and craft superiority of the later Chalukyan
temples of the Deccan and Karnataka, majestic stature and solid strength of the
the
southern Dravidian temple forms and profiles, all seeped into the Andhra mould, and
enlarged mass appeat'and enriched the artistic vision. The innate acumen of the Andhra
its

craftsmen who had had all tinbrokien tradition of art endeavour right from the time of the
Imperial Satavahaeas,and whose Canvas had an enviable with of geographical horizan
enveloping the western and the eastern seas, and the Ganga and the Pennar plains,
responded to their adventitious central location for receivingand harmonising these
traditions of their near and distant neighbours. In sum, the sweeping panorama of the
 Andhra Pradesh from the early historic upto early medieval times
architectural creations of
was composite to a large extent and electric to the core. The fertile plains of the
Godavari and the Krishna had this spirit of assimilation operating in spheres religious as
"
well as temporal (K. V. Soundara Rajan).

E3

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Dr. B. Rajehdra Prasad says:

> ,- *-.

"The date Temples can be fixed with the help of Inscriptions.

of this Rock-cut
The Inscriptiorral label recording 'Brahmiswara Vishnu' found between tempies 1 and 2
*

in Pallava grantha characters is ascribed to 8th centary. Another insertion on the

Southern end* -near templet, records ihat LcScama, tfoe^datjgfoter of a Prmce Rajaporeri
an4 granddaughter of G^^ndaporari caused the emfttemotthe shrine. This is dated to
9th century A. D. The styllsttd an^ly^ ^t the temples suggest that the -eaye temples
No. 1 and 2, belong to the first half of 8th century A. D., while the rest of the shrine have

been excavated during 7oO to 850 A. D."

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|J^S)"Sd&^Go t c^^ ^!)^^, Atf^eaotf* RP/tefl ^p^, ^dcSSpo), ^O^ES^X) ^otoc

While writing about Bhairavamurti T. N. Srmivasansays : "Siva as the protector

of the world is represented as a vary fierce image with protruding eyes,, and there will be
ji ,j ,

long curved teeth in the mouth protruding out from the upper lip. He be represented
will
with strange ornaments like garlands of snakes and skulls and even in the head-dress skulls
will be shown. There are as many ars sixty four types of Bhairava Murtis, most of them
having. ghastly appearance^** :*,.-,,
Siva temples outside the main^hrfne but
'

Shairava is Worshipped in many hje is

an important deity with village communities for whom small shrines are dedicated in
the localities where they live/' ....

3
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(23.

400.600

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(12,

Sreenivasan writes about Hariharamurthi (Sankranarayana) thus: ''This

T. N. is

also a combination image of Siva and Vishnu, as described in the Vamana Purana. As in

case of Ardhanareesvaramurthi, the two halves have characteristics of Vishnu and Siva.

Usually the image has four arms caFrytng Chakra on one side and Mazhu on the other side.
The lower arms ate in abhaya and varada poses. The famous temple at Saakaranarayana-
koil is dedicated to this form of Siva and so also that at Harihar in Mysore".
23
(12,

e-^dS ^c&^^<ba. SX>A>?S

108
 24

a-fio

"S^^pSli 5^Sx

torw. S^^: ^^Sb w 3S> toS'O "3"?S>.

"
In brief ttie essential
significance of Siva's dance is threefold.

Firstly, H is the image of Mis rhytlmic activity as the source of all movement
withrn the cosmds which is represented by the ecH^lins &foh or Prabhavali.
* #
'
*
t .,

-Secondly, the purpose of His dance is to release the countless stekifs of men
from the snare of illusion Maya.

Thirdly, the place of His dance -

Chidambaram, the centre of the universe is
within everyone's heart

brief the dance that Siva makes is believed to symbolise* the action of cosmic
energy in creating,
preserving ami destroying the visible universe.
"

-(2
^o&. 8
noose, Kttledruni t , S^*D. .Os-lv (fire, bell). Uc5S). 3*6
.^eTaoAtt,. -(d^ea-orfSS (16 ,

ISOA AJftfic&So g^ 3&a>

OflcJoo&&), 'oO^^otf^. (4 8 rttA
L^^a^ 5H6jCA
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 25

108

etf 80^00 atfootfcfcoSS Stecra ckrodft

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(sand stoae)
-

|S.

18 en

moustached mouth). ^"3^^

(cruel (hooked &^ nose),

D (ornamented head dress with cobra and deaths head)

^^^ ^^^ ^^L^- This is an as Pect (Siva) of creation with

feminine features and blissful softness which is enhanced by the pearls and flowers in the

hair and the lotus bud in the hand, tfcbfi tfpo o*A &$$&&

5 r? S*Qd&DS^&
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(ghea pot)

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(Views on the Cave-Temples of Bhairavakona)

While writing about the Bhairavakona eave temples K. R. Srinivasan obfeervfefr:

"
..... On eitherbank of Krishna .. .cave temples of Eastern Chalukyan authorship show
individualistic characters in their lay-out iconography and the scheme of the cella. They
partake in some
respects of the neighbouring Pallava modes, apart from their Parental
Chalukyan and northern inheritance. The remafkable feature of this series of cave-temples
is theoccurance of a rock-cut pedestal socket at the base of the rear wall of the cella

denoting the object of worship, whether it be the linga form of Siva, or a sculptured stele
bearing the image of other God inserted into the socket. In Bhairavakonda, the socket is

cut in a sunken recess on the wall over the pedestal to take in the linga, or image ---- the .

cave-temples of the Eastern Chalukyas . . . practically all the cave-temples are Saiva, or are
dedicated to other deities of the Saiva pantheon. The only exception is the aberrent
Undavalli cave-temples which is dedicated to Vishnu. The Nandi in Saiva cave-temples
is rock-cut as in the Pandyan examples farther south. In point of time the Akkanna-
 32

Madanna. . . cave at Vijayawada in its present form comes first. It Is ascribable to the

middle of the seventh centun/, and is closely followed by caves to iv of Mogalrajapuram, 1

the lower cave-tempfe at Vijayawada, the Undavatii and other caves in a series (p. 81). ..

ending with the Bhairavakonda group (are) datable to the middle of the eighth century.
The lost if not of direct Eastern Chalukyan vintage, can at best be of Telugu-Choda
-
authorship. ..."

The... dancing Siva and Harihara... The eight ca ve- tempi es. .. Tne first four
shrine excavations. and. . The second group,
. .
having an outeivmandapa with. . . pillars
. . .

and. . .
fully formed kopota with Kudus (are) as in the Mamall-style cave-temples. . The ,

pillars are. . .in. ., Chatukyan pattern as found in the cave-temples on the banks of

Krishna. ..some. . .are. . .in the Mamal la-style. . . Shrineentrances are plain. . . These mixed
characters and other features as also the presence of relief sculptures of Brahma and
Vishnu Mandapa, provision for a linga in the shrine, and the presence of other
in the

sculptures like Chendesa and Ganesa, and the rock-cut Nandi, would indicate their non-
Pallava origin and their date as being the middle of the eighth century.

S. K. Sarasvati observes : "... Paliava rulers. . . imbibed and carried on the

traditions of the earlier Vengi school. Mahendravarman Paliava (C. A. D 600 630)*. - . in

the south. .. excavated many cave shrines which seem to represent an innovation...
Mahandra proudly described his cave-temples as composed without bricks, mortar, metal
r ftmi>er (anishtakem asiidham alauham nirmapitam) in the Mandagapattu inscription."
Apain Sarasvati says:
''
The pafiavas inherited the less severe repertory of elegant and
attenuated forms of the later phase of Vengi style which fingered till the fourth century,
and possibly even later. But . . the pallava sculptors could not ignore entirely the rock-
cut idiom of tha (

eccan and the reliefs of Bhairavakonda, distinguished each by a heavy

-*

physiognomical form, bea the impress of the contemporary Deccanese tradition. The
contribution of the Vengi scfeoal, however, principally determined the character of the
" '"
Pallava style.

*
 33

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 REFERENCES

1 . A. Butterworth & Veiuigepal Chetty, A collection of Insctiptmn* on Copper plates

and stones in NeHor* District, Madras, 1 905.
2. Cf. A. H. Longhurst, Paflava Architecture, Memoirs of the Archaeological Survey of
India, fto. 17. Siitita, Wo. 33 & 40.
3. K. V. Sour>dara Rajan, AMfo&eetwe of $h* Earfy ttf/tffa iFafipfiw of A)d&f Pradesh,
Andfera Pradesh Government Archaeology Series No. 21 , Hyderabad, 1865.
k.

4. Journal of the Andhra Historical Research Society. Hyderabad, 1 985, Vol. XXXVitl,
Part 111.

5 . f. A,Goinatha ft*o, gfamffis of ftftHfu l&wography, Varanasf, 1 9?1 .

J*. K. S^tri, South Indian Images of Gods wn/eort*N*5, INflH 1974.

K, V. Sotmdara Rajan, Ttm Art of South Indim, TamUnrtu & Kwaia, OelH
1. 1978.

8. Shakti M* Gupta^ Legends Arowd Shiva* Bombay, 1979,

9. Roy C. Caven. A Concise History oftndfan AA New york, 1976.

10. K. V. Soundara Rajan, Invitation to Indian Architecture, New Delhi, 1984.

11. V. Kameswara ftao, Select Vifayanag** Tempte* of Rayatoseema, Hytfefabad* 1976,

The Lepakshi Temple, Tirupati, 1 982,
12. K. R. Sreenivasan, Temples of South India, Second edition. New Delhi, 1979.

T. N. Sreenivasan,A Hand Book of South Indian Images, Published by Tiiumala

13.
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of
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 58

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'

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