Pmchakuta basadi Front view - Panchakuta basadi

Interior of Panchakuta basadi Sule basadi CHAPTER HI

ART AND ARCHITECTURE OF HUMACHA TEMPLES.

Humacha is even today famous for the temples of Padmavati and Parsvanatha.

There are some Jaina temples complexes which speak about die past glory of foe site.

These temples are not only old but also have some 22 inscriptions. These inscriptions belong to the period of 8th to 15th century. Humacha was foe capital town of Santara

Dynasty. The rulers and their queens built these Jaina temples because Santara rulers were

followers of Jaina religion.

Even every year number of Jaina pilgrims visit these temples. Some portions of foe

Padmavati temple is newly built some years ago and remaining temples are old. But for the

student history and Epigraphy these old temples are very useful to reconstruct foe history ofHumacha.

Again these temples have possessed some architectural features. Therefore in this

chapter attempt has been made to study art and architecture ofHumacha temples.

THE ROLE OF TEMPLES IN ANCIENT PERIOD.

The temples of Padmavati, Parsvanatha and other temples Humacha’s were

important centres of Jaina religious worship since 8th century onwards. It was at these

Jaina temples that the people listened to the reading ofAngas and Agamas and other Jaina

scriptures and made their votive offerings to the deity.

They were also important as educational agencies. For in them arrangements were

made to impart education to the young. Sometimes advanced education also found place,

62 within their precincts. Finally the temples sheltered many Jaina ascetics who were given food and raiment free of charge.1

The temple staff generally consisted of the Bhattaraka, the remsiga (the flute player) the ravalavata, goldsmiths the pergade (manager), the courtesans, the drummer and the stone mason.

The temples were supported by the endowments of kings and nobles. Similarly the rich and benevolent citizens purchased lands and gave them to the god to provide for the ordinary expenses. The temples were also maintained by charging the worshippers with visiting fees, and from the toll levied on merchants and fanners. In some temples the various expenses were met by the different castes. Thus the washermen and the Kottalis of the village of Gama in the Shikarpur taluqua agreed among themselves that they should contribute one pana per family to provide lamp oil and sandal for the god Vinayaka. In other villages it was the oilman who made over to the temple authorities.

From a social point of view the temples served a very useful purpose. The temples, though they were of great use to the temple, being the religious and educational centres.2

SPECIAL FEATURES OF SANTARA ARCHITECTURE

The extent buildings shows that the early Santara temples consisted of a Vimana

(Sondum budding proper) of the Brahmacchanda (Square) class with a Mahamandapa

(closed hall) in front, broader and also larger than the Vimarta. The ground plan of the

Vimana is not differentiated into bhadra-offseXs and Kama - angles.

' Moraes George, M.: The Kadamba Kula, (Bombay-1931) p.250. 2 Ibid, 251.

63 In elevation, the temple has either the Padabandha, or the pratibanadha, but not infrequently the Kapotabanda class of adhisthana (base), where the Kandhara ( recessed moulding), unlike the buildings of the lower Dravidadesa, shows galapadas (neck- pilasters) also in positions lying between the post-points of the pada (wall-pilaster) of the

Vimana. The wall-pilasters are invariably of the Brahmabanta type, but the Lasuna (Vase formed member) is shorter, and in shape vaguely recalling the so-called bell-capitals of the early Indian architecture. The inverted Lasuna is separated from the upper opposite one by a broader, intervening belt, a significant feature occurring also in the context of the later style under the Chalukyas ofKalyana.3

The superstructure, wherever present, is dvitala and crowned by a square sikhara.

The grhapinadi (wall of the upper storey) generally has the ornamental enrichment of

Salapanjara at the Bhadra’s and Kapotqpanjara’s at the Kama section. The doorframe of the Mahamandapa was elegantly carved in the more richly ornamented temples. In the interior of the Mahamandapa are found four pillars forming foe nave, some times beautifully ornamented as in the Bogara and the Guddada-basti. Unlike the temples of lower Dravidadesa, but the like the Jaina cave IV at Badami (ca. early 7th century) and some Rastrakutas buildings, the nave pillars, in two examples are of the Brahmakanta order, in case of the Guddada-basti, they are of the compound class.

A free standing Makara-torana resting on a pair of pillars was set up as a rule, at some distance in front of the doorway of the mandapa, the earlier buildings however have

3 Shah U P. &. Dhaky, M.A. (Ed ): Aspects of Jaina Art and Architecture: (1975: Ahmedabad): Article of Dhaky M.A. entitled “Santara Architecture”, p.186.

64 lost this feature, other wise inferable from the fragment of the surviving torana pediment and what is preserved in later temples such as the Pancakuta-basadi.4

The following is the detail description of each temple located at Humacha.

PARSVANATHA BASTI

(Period of Jinadattaraya; Early 9th century.)

In the precincts of the temples of Parsvanatha and Padmavati are stated a large number of sculptures and architectures discarded from ancient Jaina foundations of differing dates within the town. As the most ancient going by style judgment. They may reasonably be placed in the period of Jinadattaraya, for they seem, in site’s context, not only relatively archaic but also very weather-worn are neither heavily adorned nor are the ornaments very detailed. They moreover, possess traces of schematism - characteristic of the relatively earlier art of the Dravidadesa,5 6

The later Santara inscriptions credit Jinadattaraya with the foundation of

Lokkiyabbe Jina-geha' which was a temple sacred to Parsvanatha with Padmavati as the tutelary deity. Lokhiyabbe or Jakkiyabbe Padmavati was also the patron goddess of the

Santaras and the presiding deity of the city of Pombulcca, to her, Santara inscription time and again reverentially refer. A ceiling piece containing the zoomorphic figure of the serpent king and a few sculptures assignable to the probable time of

Jinadattaraya are the only relics of earlier art and architecture surviving in Humacha.*

4 Shah U.P. & Dhakey Op.Cit. p.186-87. s Dhaky M. A.: Santara Sculpture, (Article) Journal of the Indian Society of Oriental Art, New series, Vol, IV: (1971-72, Calcutta), p.83. 6 Dhaky M.A., Op.Cit. p.83.

65 PARSVANATHA:

Dharanendra Yaksa and Yaksi: Parsvapandita, a Kannada poet, composed the

Parsvanathapuranam in the early art of the 13th century. According to this work, Parsva was bom to king Asvasena and queen Brhamadatta. Parsva’s parents are named Visvasena and Brhamadevi in the Cavundarayapuranam and as Visvasena and Brahmila in the sastra-Sarasamuccaya- Tiku. This blue-coloured is endowed with the congnizance of a snake and the services of Yaksa Dharandendra and Yaksi Padmavati7

He describes Dharanendra as die leader of the Nagas and as destroyer of the

Upasargar created by Kamatha. He also gives an elaborate picture of how Dharamendra, the lord of the nether emerged out of earth and spread his enormous hood over the meditating Parsva and how his consort Padmavati held an umbrella to protect her husband in turn.

This description helps us understand some of the reliefs found in early caves and mediaeval temples particularly in Karnataka and in western India.**

This temple is two storied and there are three Jaina idols of Adinath, Parswanath on upper side.

1 Shah U.P. & Dliaky M.A.: Aspects of Jaina Art and Architecture: p.39. * Ibid. p.39.

66 THE FEATURES OF THE PARSVANATHA-BASTHI.

Parsvanatha temple is on the right of Padmavati’s temple. This made of stone has a beautiful idol of Lord Parsvanatha Tirthankara inside it.

The first temple of the early series is the southerly oriented dvitala temple of

Parsvanath. The width of the Vimana is only 7 feet 9 inches and of the mandapa 14 feet 8

1/2 inches. It has most of the characteristics of Bogara basti excepting the decorative enrichment. The wall plasters show some departure from the usual design, since it drops the upper lasuna member and retains only the bell-shaped member which is decorated with

leaf-motif, a feature anticipating later Karnataka temples. The nasikas of the Kutas and

Salas possess in lieu of human heads, just lotus flowers in full bloom, which completely fill the gadha. The grhapindi and the Sikhara (now covered by a tiled roof) resembles those of the Bogara-basti.

The four pillars in the Mahamandapa are unadorned, but otherwise similar to their

counterparts in the Bogara-basti, including the taranga - potika (bracket-capital). There

is, moreover, a ceiling of "asta-dikpalas' with a Yaksa figure in the central quadrant.

Ceiling of this type became commoner half a century later in the other styles in Karnataka,

notably those of Nolambavadi and Gangavadt9

PADMAVATI AS A YAKSI OF PARSVANATH:

Parsvanatha was 23rd Jaina Thirthankara and his worship was most popular in

northern as well as south India prior to . There are 24 Jaina Thirathankaras and

9 U P. Shah & M A. Dhaky: Op.Cit., p. 189.

67 every Thirthankara had Yaksa and Yaksni. Humacha is abode of Padmavati who was

Yaksi of Parsvanatha. Therefore it is not wrong to give some detail account of here.

However, the worship of Padmavati was and has been very popular in Karnataka.

Along with , she seems to have asserted her importance soon after the first couple of centuries of the Christian era. We may venture to suggest here that the earliest temples of Padmavati may have been erected in Karnataka and her separate images carved and enshrined in them. In a recently found inscription of Kadamba Ravivarma (c. 485-519) at

Gudnapur near Banavasi (Karwar District) a grant is registered for the temple of

Padmavati at Kalli gramam Padmavatyalyasya. As Kadamba Ravivarma is believed to have ruled from the last fifteen years of the 5th century.10 We may presume that the temple for Padmavati had attained importance to receive grant by the king on the occasion when the latter established Kama-Jinalaya. We may further presume that this temple may have existed at least in the beginning of the 5th century. However, the popularity enjoyed by the Yaksi and the number of temples built for her are bome out by the references made by Nemicandra.

The images of Padmavati high reliefs and miniature ones by the side of her lord are found in considerable number in Karnataka and in some Jina centres like Humacha, her influence is far greater than that of her lord.n

10 Shah U P. A Dhaky M.A. (Ed.) Aspects of Jaina Art and Architecture: Articles: Setter. S. The classical Kannada literature & the Jaina Iconography, p.40 " Ibid., p.40.

68 PADMAVATI - A JAINA DEITY.

Among the secondary deities of the Jaina pantheon chosen for individual adoration as an independent goddess, Padmavati, the of Parsvanatha, stands foremost, being the most popular and widely invoked goddess in Karnataka. Though her cult might date from an earlier age12 she frequently figures in the epigraphical sources all over

Karnataka, roughly from the period of the 10th century A.D. A large number of minor ruling families, such as the Silaharas and the Raltas, and many a high official of the state, of the Jaina persuasion became votaries of this goddess and took pride in styling themselves the favourites devotees of the deity, having adopted the title, Padmavati devi - labdhasvara-prasada, in their prasasti. This title is met with more frequently and prominently in the Parasasti. This title is met with more frequently and prominently in the prasasits of these dignitaries, notices in the inscriptions of the 11th to the 13th centuries

A.D. In many parts of Karnataka. Thus this furnishes an indication in regard to the extent of popularity and the prevalence of the Yakshi cult in Karnataka.13

A well known early instance of a family of subordinate chiefs, who adopted

Padmavati as their tutelary goddess, are the Santaras, and how this took place is

mysteriously narrated in the inscriptions furnishing their early history.

Jinadatta, a prince of a ruling family of North India, we are told, came to the south

with an image of Padmavati. The goddess blessed him with the power of transmuting iron

into gold, and through her grace he founded the town of Pombuchchapura, which became

13 Ep. Cam, Vo!., VII. Sh.4. Dcsi. P.B.: in South India: (Sholapur, 1957) p. 171.

69 the capital of his kingdom. The goddess, it seems, chosen her residence in a Lokki tree of

the locality and therefore, came to be called Lafckiyabbe. These events may be referred to

the 9th century A.D., though the epigraphs describing them are dated in the ll-12th

century A.D.14

FEATURES OF THE PADMAVATI TEMPLE:

There is the ancient manastambha which is having 50 feet height before the

Padmavati temple. This manastambha is having die statues of the Yaksa and

Thirlhankara. The door of the garbhagruha is made of silver. The two beautiful images of

goddess Padmavati are held on each side of the door of the garbhagauha. There is

another Sabhamandapa which is larger than first. There are two Dwarapalikas which are

having 6 feet height held on the outer wall o the entrance door. These statues of Dwara

Palikas is made up of wood. Kirtimukha and Vadhaka Vrunda are also seen on the sides

of these statues. There is also an ancient Dhvajastambha made up of a stone in front of

the Padmavati temple. There is a Lokkyi-tree beyond the Padmavati temple. This tree is

also in blossom condition throughout the year. There is also a statue of Jinadattaraya who

is sitting on the horse, and this statue is holding on the right ride of the Padmavati temples

backside. There are also the seven hooded serpent images are present on each ride of the

temple. The temple is also protected by constructing a big wall. The Padmavati mandhir is

situated close to the Parsvanatha basadi. These two temples are having the great space

ground for pracBcshina. There are also so many monuments lying on the ride of the

protection wall. In recent years about 32-35 years back the famous philanthropist of

14 Rice B.L.: Ep. Cam. Vol. VIII, Na, 35,48, and Compare Mysore and Coorg from inscriptions,: (London, 1909)

70 Vainad in Kerala late Jinachandru, who had also been a member of the Loksabha, did die

renovation of the temple.15

SRI PADMAVATHI TEMPLE AT HUMACHA:

This is the temple of the main deity of the Sri Kshetra Humacha. It is believed that

the idol of mother Padmavati was installed thirteen hundred years, before king

Jinadattaraya. An inscription of S. 991 A.D. 1077 of Nanni Santara in die Panchakuta basadi at Humacha terms the dynasty as ‘Santara’ and besides giving a legendary account

of the early dynasties, recalls the family history covering about two centuries and a half, beginning as it does with Jinadatta, claimed to be scion of Ugra-Vamsa who, through the

grace of Yakkiabbe (Yaksi Padmavati) obtained the kingdom of Santalige - 1000 and

founded the town called Pombulccapura.

The Yaksi, as the mythical account in the inscriptions goes on to say, came to live

in the Lokki tree at Pombulcca and secondarily named Lokkuyabbe (or Nokkiyabbe) on

that account. The essence of the myth is that Jinadatta founded the temple of Padmavati in

Pombulcca.16

But the Kumsi inscription does mention Pombulcca, the construction of

Lokkiyabbe Jina-geha (apparently by Jinadataraya) and next to the grant of village

Kumbsepura or Kumbasika for the lustral ceremony of the Tina.17 Now this Jinadattaraya

cannot be other than the Jinadattaraya who is claimed to be die founder of the Santara

dynasty and who, for that matter preceded Jayakesi. The tradition linking Jinadattaraya,

15 Rajamat Jain & Lasmichandra Jain: Bharat Ki Digambara Jaina : Vol. V. Bombay, 1988, p.127. 16 Rice B.L.: Op.Cit. Vol. VIII No. 35. 17 E.C. Vol. VII, Shimoga, No. 114.

71 Lokkiya-basadi and Pombulcca is so strong that it is mentioned in more than one Santara inscription, for example, of S.984/1062 A.D. of Vira Santara’s time on the pillar of the hall of Parsvanatha temple.

“Very strong as the Santara tradition is, it may not be wrong, and what is more, there is archaeological evidence supporting the existence of a temple connected with the cult of Parsva or Padmavati, assignable to about the earlier half of the 9th century, which, very plausibly, was the Lokkiya or the Nokkiyabasadi oft-referred to in the inscriptions.1*

ARCHITECTURE AND SCULPTURE OF PADMAVATI:

Parsvapandit, a Kannada poet, mentions the four arms of this Kunkuma-coXomsA

Yaksi instead of mentioning the attributed held in them he merely compares the four arms to the four purusarthas. Nemichandra, in his Lilavati-punmam, describes her as one endowed with four arms, attributed with Pasa, (.Purina-pasa - floral noose). Phala (hema- phala = golden fruit), Vajra-ankusa (thunder-bolt - goad or goad made of diamond or goad as hard as the diamonds and Padma (Kuttkuma Padma = red lotus.)19

These early Scriptures as archaeological documents attesting to the antiquity of the site as also the historically valid claims of the later inscriptions in regard to the foundation of Yakshi Padmavati.

As for artistic significance, their abraded appearance permits only a bare discerning such as for instance, that the partly sarvatrubhuti may in original condition have been a finely formed rather lively figure with slightly elongate but vivid face, his medium-tall

18 E.C. Vol. VIII. No. 47. and Dhaky M.A. Op.CiL p.79. 19 U.P. Shah & Dhaky M.A. (Ed.) Aspects of Jaina Art and Architecture: Article of Sattcr S. P.39.

72 Koranda-crown seeming like a huge conch-top, adding dignity to his lovely head.

Moreover, have been a figure very youthful, rather heavy in a quieter way, sparsely ornamented yet not austere, opulent induced but not over grave.20

The image which is worshipped in a modem minor shrine built in the south-west comer of the temples precincts. The schematic emphasis of die torso legs relates it to the former figures. But unlike those figures, it reflects a sense of robustness and possesses physiognomy that is tranquil but tribal, suggested by a prominence, controlled though, of the strongly emphasized eyes and brows, just as by the somewhat inflated nostrils and the splayed, broadened upper lip pressing the lower, full & lightly over hanging one.21 In Jaina iconography, the corn-bearers are customarily provided as attendants to none but the

Jina. Their inclusion in a Yakshi’s image as her attendants is rather an unusual case, a distinction as it were, as seems to indicate the status the esteem in which she must have been held in the Digambara church of southern India of that time. The Yaksi image is at present under worship in a sanctuary inside the matha mentioned earlier.22

FEATURES OF THE PADMAVATI:

The figure of the Jakkiyabbe Padmavati is also as noble, and her hara having more number of pendants, as precious as, if not more than the Yaksa’s. Her Karanda crown

with a diamond broach on the front and festooning pearly strings coming down as they do

from the broach’s crest, and the golden ribbon at the base, go well with glory of the

goddess. The lotus buds she holds are even more shapely than that of the Yaksa. The

20 Dhaky M.A. Op.Cit. 83. 11 Ibid. p.84. 22 Ibid. p.85.

73 noose and the goad held in the upper arms are equally fine. The broad, ribbed anklets of silver look pretty just as is the jewel-studded Keyura. The face, some what squarish is sober and eloquent in a quieter way.23

But it is the gorgeous torana - pearly studded convolving rope issuing from the makara’s mouth pulled open by Vidyadharas, - where each convolution entering into and again emerging out from graasamakara broach of superb workmanship, and then proceeding at a second convolution helped by flying Vidyadharas in between to end into the centralised gold makara - broach which is of true magnificence. The high relief of the convolutes, the work-in-round of the constituent elements, and the perfect rhythm of their march to their destination - the apex-make and provide a seating which truly radiates the splendour of the tutelary deity of the Santaras and the presiding goddess of the city of

Pombulcea. The torana clearly reminds of the torana motif on the walls of the contemporary and earlier Calukyan temples in Kuntaldesha, but this example is exceptionally gorgeous just as of high quality, done with an aim to produce richness that becomes incomparable, with no sign of bravado or excesses.24

CONTRIBUTION OF VIKRAMA SANTARA PERIOD I (898-920)

Now much is known concerning the art and architecture of the immediate descendants of Jinadattarya, though a few sculptures, may fall into that dark phase. But the curtain is lifted in the late 9th century, in the period of Vikrama Santara I whose

2J Dhakey M.A. “Santara Sculpture ” Journal series, Vol. IV (1971-72), p.93. 24 Ibid. p.93.

74 known dates are from 898 to the early years of the next century, though he may have begun his career some years before the date and ended perhaps around 920.

Important Santara temples appear to have been built almost exclusively under the royal patronage. They fall into two broad phases, early and late. The earlier buildings, excepting one, apparently date from Vikrama Santara’s time.25 Tolapurusha Vikramaditya

- Santara (on the date specified) had a stone basadi made for Mcmi-Siddhanta-Bhattaraka of the Kondakundanvqya, and made grants for it.

Vikrama Santara’s own inscription of S. 819/897 A.D., refers to his founding a

Jaina basadi for the recluse Moni-Siddhanta Bhattaraka of the Kondakundanavaya.26

Vikrama Santara himself founded a stone temple on the hill behind Humacha town in S.

819/ A.D. 898, a notice to the effect being once recorded on a wall of this very which, till its recent demolition, was known as Guddada-Basti and was sacred to Bahubali. Two other buildings in Humacha also seem to date from his time the precise origins of which are namely the sule basti and Bagara Basti, are otherwise in the same general style.27

There are two inscriptions relating to Vikarama Santara, one from Barur (whose date could be found 890) which refers to a Santara as King, a feudatory of Prithvivllabha

Kannarddeva Rastrakuta Krisna II: 880-915)28 The other one from Salur of a Santara officer Candinga and dated to 902-3 referring as it does to Vikramaditya Santara and his overlord Rastrakuta Krisna II.29 After Jinadatta and many others had ruled there, there

25 Shah U.P. & Dhaky M.A. Op.Cil. p.I85. 26 Rice B.L. E.C. VIII No. 60. 27 Rice B.L. Vol. VII, Sk. 45b, also Ramesh and Katti, The Origin and Early History of Samaras of Santaiigc 1000, p.35. 28 Ibid Sk No. 284, Also Ramesh K.V. and Kitti M.N. p.30. 29 Rice. B.L. Vol. VIII. Nr. 35.

75 arose Srikesi and Jayakesi. To Srikesi and his queen was born a son Ranakesi. After him many having ruled, there was Hiranyagarbbha who made the Mahadatta, slew or put to flight all the neighbouring kings, and with the Sula river on the south, Tavanasi on the west, and Bandige on the north as its boundaries, formed the Santalige Thousand nad into a separate kingdom - being known as Kanduhacharya, Dana-Vinoda, Vikarama Santara.

The Humacha inscription of Vikrama Santara’s time call him Tolapurusa referring to his ceremony. The inscription 1077 from Humacha, earlier cited, credits him with the performance of sacrifice and many donations which won for him the laudatory epithets,

Danavinoda and Kandukacarya30

Vikrama Santara seems to be a powerful king who consolidated Santara power and ushered in peaceful period which resulted as we are to notice here, in the flourishing of the Santara idiom of Karnataka art and architecture.

The style of the period of Vikarama Santara, however, differs from that of

Jinadatta, and although the course of its evolution cannot be firmly traced, it would appear that the pillar in its broad features, shows affiliation to both the early and late Rastrakut types. Santara idiom would now appear to be a high quality provincial variation of the

Rastrakuta style with some links as in adhisthana types, to the temples of lower

Dravidadesa and later temples in Kerala. It also contains the seeds of the Kostha-Panjara and other formal decorative devices which later on became viable in the period of the

Calukyas of Kalyana.31

30 Shah U.P. & Dhaky M.A. Op.Cit. 185 Articles “The origin and early history of the Santaras of Santalige 1000, the Quarterly journal of the Mythic Society, LVII, (Bangalore - 2,1966-67.) 31 Dhaky M.A. Op.Cit. p.190.

76 GUDDADA BASTI

The Sanctuary of Bahubali atop the hill was built, as earlier said, in 898 by

Vikrama Santara for Mauni-Siddhanta Bhtaraka, a pontiff of the Kondakundanvaya of the

Southern Dtgambara church.32 The original temple had been very recently pulled down to give place to a cement concrete structure. From the remains of the dismantled temple still spread over the site, it is clear that in style, plan and dimensions it was somewhat similar to the Bogara-basti.

The adhisthana was of the Kapotabaruiha class. The Mrsraka pillars that were once in the hall show a plain cubical base, the shaft immediately above being decorated with a pattern consisting of elongated overlapping petals with frilled edges. Next come two necking courses, a jewelled string and a cable moulding followed by a bell shaped member, the lower part of which consists of a grasakin kanika (lion with bell and chin) and the upper part either of a manibanda or a scroll band. Next follows the malasthana and lasuna decorated all round with a series of petalled ornaments. Altogether, they seem to be rather rare type of decorated pillars just as perhaps some of the most beautiful in all

Karnataka. Fragments of the Pancasakha doorframe indicate that it possessed patra, bahya an ratnasakhas the other two being left plain.33

SULE BASTI:

In Kannada, Sule means Prostitute. It is said that the temple might have built by some prostitute. Therefore it is called Sule-basti.

33 Dr. Jyothi Prasad Jain: Pramukha Ihilhasika Jaina Purusha Aura Mahilaye. p. 171. ” Dhaky M. A. (Ed.) Op.Cit. pp. 188-189.

77 The oldest of the four extent early buildings at Humacha is very probably the Sule- basti. It is also the largest, being about 17 feet in width. The Adhisihana is of the general

Kapotabandha class. On the Kama part of the wall is carved a Panjara-Kostha framed niche and dormer with a very shallow sit-niche, which is also found at the Bhadra. While this feature is reminiscent of panyan buildings, the mahara torana crowning the niche characteristically present in the buildings of lower Dravidadesa does not apparently find a place in the Santara wall scheme. The bosses of the nasika dormers of the panjara kostha as well as of the kapota of the prasiara are unfinished. The temple has lost its mahamandapa. The superstructure over the viman seems never to have been built, or if at all, in perishable materials such as timber, brick and plaster.34

In front of this sule basti there are two inscriptions and one small temple without sikhar. There is a idol of seated (Padmasana) Mahaveer.

Bogara Basti and Sule basti were built in the Vikarama period.

BOGARA BASTI.

The building immediately following the Sule-basti in time is the Bogara basti. Of late it has been saddled with unsightly additions but the older fabric is still intact. Judging

from the elegant proportions as well as the high quality of workmanship, it must rank

among the most beautiful temples of this period in all Kamatakdesa.

The Vimama possesses an unusual variety of adhisihana, probably of the

Praiihandha class and the wall is relieved by Brahmakanta pilasters very similar to those

M Dhaky M.A. Op.Cit. p.187.

78 of the Sule basti though a little less archaic. Above the uttara (architrave) of the prastara

(entablature) is a figural bund compounded of three different varieties of malas, namely the hamsamala (gander-belt), the bhutamala (goblin-belt) and the Vyalamala (gryphon- belt). The Kpota of the prastara bears alpanasrs (smaller dormers) which are placed co­ axially with the wall pilasters. The mukhapatti of each alpanasi shows a crisply cut, unusually rich and very elegant vine ornament, and the gadha (cavity) harbours a seated

Jina figure.

The chain of decorative elements above the prastara consists of elegantly shaped kutas (temple aediculae) at the comers and a sata (aediculae of wagon vault shrine) in the middle. The mukhapatti’s (circumscribing fillets) of the nasi-s of the Kuta-s and the Salas and those applied over the Kapota of the harantara - recess are very richly carved and in form and manner different from those found in any other style of south India. The nasika dormer in each case is crowned by a simhasrota, lion head. A Jina head peeps out from the gadha of the sala, a Kinnari - head from that of the Kuta and a Vyala figure from that of the hara.

The upper storey is formed by a grahpindi with a bhadra-projection which is enriched with a salahostha while the karna bears a storied Rapotapanjara. The latter feature is special to this style, and has a bearing on the development of file wall surface of

Kamatak temples built during the subsequent period of the Chalukyas of Kalyana.

The Sikhara is now partially concealed by an ugly modem chamber with tiled roof, its mahanasi-s contain seated Jina figures. The curvature as well as the proportions of the

79 Sikhara also differ from contemporary examples in lower Dravidadesa but is beautiful and blend with the lower structure.3’

A short antarala connects the Vimana with the mahamandapa which is about 20 feet 5 inches wide. It is outwardly a simple structure with an adhisthana of the padabanda variety possessing a pile of triplicated alinga and antarita courses between the tripatta kumuda and the prati. The doorway has no guardian figures, and the surround consists of only two sakha-jambs, the outer one decorated with a deeply undercut scroll. Two images apparently of Sankhanidhi and Padmanidhi are carved above and not below the jomb.

The shafts of the four free standing Brahma kanta pillars inside the hall are enriched with ornamental detail of a very superior king. There is, first, just above the cubical base, a vertically shot scroll-band, as is found in the wall-plasters of the later

Dravidian temple of Nagaral of the period of the Badami Calukyas (ca late 7th century) and also the Rastrakuta monolith, the Kailasa at Etlora (ca. second half of the 8th century.)36

The rich exuberance and the crisp carving of the applied ornament is in keeping

with the usually high standard of decorative work maintained in Karnataka at all times,

early or late. The engaged pillars are also carved in the same spirit of richness, though the

pattern is slightly varied. The belt of grassmukha-s and undulating creepers is here

replaced by one with standing nude Jaina figures (Parsvanatha and Bahubali) and an

exquisite mattibandha respectively. The lion throne inside the garbhagrha is as old as the

JS Dhaky M.A. Op.Cit. pp. 187-88. 36 Ibid, p.188.

80 temple, but the image seems to be a recent replacement. This temple belonged to 11th century and there is three feet height image of Lord Mahaveer. Again the .idols of

Parswanath Cahndraprabhu etc. are also located in this temple which were belonging to

10th and 11th century. Old Kannada inscriptions are available on die wall of the temple in open space there the images of Yaksa, Yaksi, Siddayika Kusmadinin devi and hoods of serpents.

SCULPTURE - VIKARAMA SANTARA PERIOD.

According to the Dhakey “The dating I have based, first on the relatively later style of this set compared to the two earlier groups. But earlier than that of the sculptures of the middle phase, and second, on account of the parallelism in style, somewhat remote and vague though, between these pieces and the sculptures in die Colanadu in the Tamil country, of the last quarter of the 9th century as reflected in die art of the Irrukuvels of

Kodumbalur, Colas of Thanjavr and the Palluvettaraiyars of Pallurur. The scare figure sculpture decorative - that is present on the extant temples of this period in Humacha also lends support to this dating.”37

We may begin with the pair of standing Kayotsarga images of Jina Parsvanatha, placed in the forehall of the temple of Parsvanatha, the latter tqday is town’s holy of the holiest. The older parts of the present temple seem to date only from around the third quarter of the 11th century, akin as they are in style (pillars particularly) to those of the buildings of the middle phase of the Chalukays of Kalyana. Nveftheless, the prerent structure very possibly stands on the site of the original foundation of Padmavati, replaced

37 Dhaky M.A.: Santara Sculpture, pp.85-86.

81 some time before 1062 by Vira Santara II. But something seems to have foregone that date, in the time of Vikrama Santara in the late 9th century. The Kayotsarga Jain pair in

♦ question seems to have been added to and may have been placed in the antarala

(vestibule) or the mandapa, hall, of the bygone temple of Jinadattaraya.

The two images are almost identical in conception, differing in some minor details and quality, they are of great interest, iconographically, just as for the art of some of the subsidiary figures in the surround of the central larger icon in each case.

Each one of die two represents the Tina in the moment of a very important episode of his life, that of the upsarga or tirade of fomentations inflicted on him by the evil spirit

Sam vara, who, in his previous existence, was Parsva’s adversary, ascetic Kamalha or

Katha. The drama of the episode has not been frequently portrayed graphically, rarer still with an elaboration such as this.38

The sky-clad stands on a lotus base upheld by two handsome nagas in human form. Behind the lithe-bodied Tina is Nagendra spreading his ample seven hoods over the

Jina’s head to form a canopy sheltering the Jina against the attacking hosts of the devil

Kamatha. An obliquely laid parasol with pearl-festoons decorating its border and a large lotus knob at the apex is seen above the great cobra and ultimately implied to be and is above the Jina’s head as a mark of his greatness. On the right and left of the Jina is portrayed the narrative of Kamatha’s Upsarga to Parsva. A charging bull, a leaping lion a demon shooting a dart, above whom is one other demon menacingly balancing a huge

38 Dhaky M.A.: Santara Sculpture, p.86.

82 boulder, - the target of all being the Jina - form the part of the scene depicted on foe right of the Jina.

To Jina’s left, Kamatha’s fiiiy has taken the form of a rushing tiger, a maddened elephant, a demon whose right hand treacherously ends in a dagger and foe left one busy releasing a venomous serpent, and, above him, a Kumbhanda - monster mastering a heavy mace over the shoulder before imparting foe blow. At the Stele’s lower aid are seen

Dharanendra (standing on the right) and his consort (to foe left, ) foe latter holding the shaft of the Parasol, passing as it does behind foe coils of foe cobra-god. In foe stele he is shown kneeling and bowing to Jina with humility, his consort on foe opposite side half- knelt in alidhasana, is shown raising her right hand in praise of foe Jina.

There is also considerable difference in foe expressivity of foe central Jina figure in each stele. In the first stele the cobra as well as the Jina seems to be aware of what is going on about. Sentiments registering pain on Jina’s adolescent face, and fright beaming in eyes and strain (due possibly to the shower of weapons, appearance of foe horrendous goblins and their terrifying cry) crystallised on cobra’s seven faces rather defeat foe central idea of the legend. The Nagendra with seven hoods expanded in the second stele is, by contrast, very composed, confident as he seems of his power to protect.39

CAGISANTARA 933-934.

Vikrama Santara was succeeded by his son Cagi Santara by queen Laksmidevi. If

Cagi Santara of the three Soratur inscriptions dated to 933-34, of the time of Suvarn

39 Dhaky M.A. Pp.Cit. pp.86-87.

83 rnrsa (Rastrakuta Govinda IV: 930-934/35) is the same as Cagi Santara of Humacha

inscription, which it seems to be, then one more point is also cleared. In about 920 A.D.

Santara king, whose name is not given, was defeated in a battle with the Nolambas, and

slain and beheaded by the Ganga prince, the son of Prithvipati (920).4® After Vikrama

Santara his son Cagi Santara ruled for some years. The events which followed next seem

to have sent Santaras temporary obscurity.41

Cagi is credited by Humacha inscription of 1077 to have built the reservoir Cagi-

Samudra.42

PALIYAKKAN-BASTI: 950 A.D.

The Parsvabasti is possibly the Pali Yakkan-basti founded by Paliyakkun according

to an inscription of the mid 10th century built in its wall. Its style is a little more advanced

than both the bogara and the Guddata-basadi, and a date in die first half of the 10th

century, rather than the last quarter of the ninth seems most likely. Original Paliyakkan- basti in A.D. 950, which is about the date of the inscription and thus the date of

foundation of this temple. There is, however no evidence suggesting rebuilding. The shrine

is too small and severe to be a royal foundation, if the builder is assumed to have had royal

connections.43

40 Rice B.L. Mysore and Coorg: p.139. 41 Dhaky M.A. Encyclcapcda of Indian temple architecture S.I. p.282. 42 Rice B.L. Ep.Cam. No. 35. 4J Dhaky M.A. Op.Cit. p.189.

84 DATE ABOUT 950 A.D.

Be it well when the fierce supporter of the faith (or, the great Ugra, firm in the faith), possessed of valour, champion over foreign kings, was ruling, (on the date specified), apparently Paliyakka, Tolapurusha - Santara’s wife, on the death of her mother, erected a stone basadi called the Paliyaleka basadi, the various grants were made for it.44

VIRA SANTARA (1062 A.D.)

After Gagi Santara, the dynasty though surviving, passed for over a century into political limbo. The names of the princes who followed in succession are known from the inscriptions of the date after A.D. 1050, but they pass over in silence on their activities and status. The events that followed Cagi Santara’s death in a battle in (A.D. 940 had at some point soon after sent the Santaras into an obscure living.)45

The direct control of the Santara’s land then onward implied by Chalukya feudatories ruling from Banavasi. There was for example, one Brahmartasa, a Vassal of

Calukya Taila n (973-997 A.D.) governing Vanavasi - 12000 but also SantaIige-1000.4*

The disastrous invasion of Cola Rajaraja on Kuntaladesa in time of Chalukya Satyasraya

(A.D. 997-1008), and then there is Kundamarasa, a feudatory of Chalukya Vikramaditya

V (1008-1014 A.D.) who claims to be ruling over Santalige besides the Vanavasi

province.47 The Santaras may still be there in Humacha or thereabouts, paying tribute to

44 Rice Lewis B. E.C. Vol. Vlll, 1904: Bangalore Na. 45 p.146. 45 Dhaky M.A. Op.CiL p.282. 46 Mujumdhar R.C.“The struggle for empire” (History and culture of Indian people, Vol. V., (Second Ed. 1966) p. 163. 41 Ibid. p.I65.

85 the Calukya emperors through the emperors bigger vassals stationed at Vanavasi. But family1 s real eclipse may have come when a certain Bijjarasa (with his brother Gonaraja),

the feudatory of Jayasimha II (1015-1043) who seems to have been put directly in charge of Santalige, claiming as he does to be “enjoying Santalige-nadm 1042.”48

Subsequently the occupation of the Santana kingdom by two Calukyan princes

Bijjaras and Gonaraja - brought about the eclipse of the dynasty from about the third quarter of the 10th century to around A.D. 1060.40 From gloom, dishonour, and inaction,

Vira Santara II lifted the dynasty up for he seemed to have freed Santalige-nad from the usurpers and restored it to its former glory.50

When did Vira Santara come in full possession of his ancestral princedom is not easy to say. It may be before 1060, because, in that year, “the Santana’s ministers had become involved with the ‘Hoysala’s hostile force’ near the southern border of the Santara kingdom.51 This fresh lustre is reflected from the Santara records that now not only begin to appear in number but also vocal on dynasty’s achievements. The surviving sculpture

and architecture of that time in the capital town Humacha further attest to the dynasty’s

revived glory. For instance, Vira Santara rebuilt the ancient family shrine of Jakkiyabbe

Padmavati in Humacha, to which his consort Cagaladevi added a torana in 1062 A.D.

More temples were to be found in this period in Humacha.

48 Dhaky M.A. Op.Cit. p.81 (Santara Sculpture) 49 Dhaky M.A. Op.Cit. p.190 (Santara Architecture) 50 Ibid, p.190. 51 Duncan J. Dent M., The Hoyasalas, (Madras, 1957), p.25.

86 ARCHITECTURAL FEATURES:

The extent buildings of the period have been planned as unbayed rectangles laid out longitudinally along either the east-west or the north-south axis. The exterior is avowedly severe, with an early Calukya Upapita - like but very plain, Mancabanda adhisthana having a Jagatt, wide Kandhara, and simple Kapotapalrka, the walls not relieved by any architectural device not even the usual wall shafts, in feet no exterior decoration whatsoever. The columnar interiors, however, and even the Jina sculptures within the sanctuaries are notable - some exceptionally handsome, some glorious more for the ancillary elements than their physical look.52

The style of this period is quite different from the style of Vikarama Santara time.

It shows strong affiliation with the imperial style of the Chalukyas of Kalayana, but the buildings are such simpler and austere in contra-distinction with the Chalukyan. To that extent they are disappointing.

Today there are two temples in the Parsvanatha temple group, the lager one is that of Jina Parsvanatha and the other, smaller, is of Padmavati, die latter having a very small image of he Yaksi which does not seem to be very ancient. The original temple of

Jinadattraya must have been on die site of the sanctuary of Parsvanatha which is traditional held the most sacred. It has termed ‘Lokkiyabbe-Jinageha ’ in the inscriptions which also implies that it primarily was the temple to Jina, which in the context of Yaksi

Padmavati has to be of Parsvanatha, with Jakkiyabbe Padmavathi figuring prominently beside the Jina. The present structure, by tradition and by virtue of its sculptured

52 Dhaky M.A. Op.Cit. pp.282-83.

87 association, in this very temple. It is a substitution by Vim Santara, as said earlier, in the

year before 1062, very probably for the original (and perhaps desecrated temple of

Jinadattaraya.53

ADDITIONS TO PARSVANATHA AND PADMAVATI TEMPLES DURING THE

PERIOD OF VIRA SANTARA (1062 A.D.)

Traditionally the most ancient, the most sacred and hence principal Jaina temple in

Humacha ensemble is this temple “Lokkiyabbe-Jinageha” in the inscriptions. The building

seems a replacement in Vira Santara’s time of the earlier edifice of Jinadattaraya (9th

century A.D. ) and maybe of a date little anterior to A.D. 1062.

The temple, east facing, is a plain oblong structure divided into three chambers the garbhagrha, the first closed hall, and the second closed hall. Inside die sanctuary are the

beautiful sculptures of Jina Parsva, Yaksi Padmavati (locally called Lokkiyabbe, the

dweller of the Lokki tree), and Yaksi Sarvambhuti (converted into Dharendra). A cross

lintel inside this garbhagrha has been supported by two simple but ancient looking pillars,

perhaps the remainders of the ancient building of Jinadatta’s time.

Flanking the doorway, the fore-hall has a pair of standing figures of Jina

Parsvanatha with a surrounding narrative of the “Upsargci’ or tormentations inflicted on

the Jina by die dark powers of the demon Sambara. The second hall has Srikara pillars in

the nave, elaborated moulded, shaped and ornamented with muktajala, manipattika, and

SJ Dhaky M.A. Op.Cit p.191.

88 Vasantapatti. The second pretty hall, judging from the style of pillars, may have been added in the early 12th century A.D.

To this latter hail was added a mukha-mcmdapa in the Vijaynagar style 15th century A.D. A torana had been set up at some spot in front of this temple by Cagaladevi in A.D. 1062, a fragment showing makara vomiting the Vandanamalrka (whose loops shelter Jain figures in Kuta-niches, now staked in the precincts of the Parsvanatha temple might be a part of this particular torana.54

The shrine faces east. The adhisthana is Chalukyan having a wide Kandhara - recess but the basal and top mouldings are fewer and devoid of ornamentations.35

The sculpture, sparse though now - remaining of the time of Vira Santara, for certain reflects a second best movement of flowering in the history of Santara art. The

11th century was a glorious time in Karnataka as revealed by the art particular of the time of the Chalukya emperor Ahavamalla Somesvara I (1042-1068 A.D.) Vira Santara was his contemporary (and also his subordinate), and the Santara art of his time was a part of the greater movement that surged up and swelled in the Chalukyan empire.

The inscription of 1062 on the Parsvanatha temple pillar credits him with the building of the temple of his family deity Lokkiyabbe, which undoubtedly is the present sanctuary of Parsvanatha. The cult image inside the sanctum is of Jina Parsvanatha. By

Jina’s right is Yaksa Sarvahna converted at a later stage into Dharanendra by placing a

54 Dhaky M.A. Op.Cit. p.283. 55 Dhaky M.A. Op.Cit. p.I91.

89 slab with a shallowly, carved torana and the triple cobra-hood symbolic of the Nagendra behind the head.

On the right is Yaksi Padmavati or Lokkiyabbe as the Humacha inscriptions - affectionately address her since Jinadatta’s original fan is no more to be found in Humacha today, it is very likely that Vira Santara replace it by a new building, the present temple of

Parsvanatha. Not only that, the images in the sanctuary are also, by style, of his period, and by implication, replacements of the original.56

SCULPTURE:

The image of Parsvanatha in the main basadi which today is the principal object of worship in Humacha town and a traditionally revered one, is one of best Jaina sculptures in the Karnataka country. The Jina in Padmasam seems in perfect equilibrium attuned by a complete control over senses. Against the massive, ample shoulders, the Jina’s handsome head looks a trifle smaller but still harmonising with the body and the surroundings. The stretched eyebrows and the eyes that are thickly marked but not overemphasized as in some of the earlier sculptures of the site and in some Ganga sculptures, are still not out spoken to ruin the beauty of the face.

The face is quietly pleasant, the inner blissfulness taking form of a very imperceptible but delicate smile. The seven hoods of the Nagendra seem to spread like the interior of a corrugated basket, with central larger head controlling the movement total and of other heads, as a flying-fox does to the folds of this expanded wings. The image

56 Rice B.L. Epigraphica Camatica, Vol. VIII, Nagar, 47 (1062 A D.)

90 exudes an aroma not only of refinement but also sophistication of a subtler kind.57 The

Yaksa Sarvanubhutt, converted lately into Dharanedra, is one of the best figures of the

deity from south. The affluence of Kubera is fully reflected in his ornaments, the

bejewelled torque with seven pendants and the Keyura done in high relief are examples of

a first class designing in goldsmithy. The lotus in the right arm and the citron in the left are

held with grace and also done in good taste. There is a sense of ease in Yaksa’s posture, just as awareness of his being in presence of the Jina whose compassion and calm he

shares.58

There is another inscription which runs as follows:

“When, (with usual Chalukya titles), Trialokyamalla - was engaged in ruling

the kingdom of the world as far as the four oceans:

Trailokyamall Vira-Santara-Deva, having freed the Santalige Thousand from those

who had no claim to it, making them powerless, and being free from all troubles, was in

the own capital (rajadhani) of his line, Pomburchcha, ruling in peace and wisdom, (on the

date specified), in Pomburchcha, the celebrated city of Ms line, where Jinadatta, when he

obtained the favour of the goddess, terrified by the power of Ms arm the son of a demon,

he made many Jina temples, Vira-Bhupalaka. It is the mountain of the gods, or Kuberagiri,

or the lofty story - mountain, - comparing with these, did he with a mind of faith cause to

rise up with great glory the Nokkiyabbe Jina temple, so that all the world praised it - the

king whose title was the omniscient.”59

57 Dhaky M.A. Op.cit. p.92. 58 Dhaky M.A. Op.Cit. pp.92-93. 59 Rice B.L.: Ep. Cam Vol. VIII, Nagar 47, (1062 A.D.) pp.150-151.

91 The third inscription dated 1062 A.D. furnishing die following important information:

“The beloved of that Vira-Santara’s mind and eyes was Chagala-Devi. Numerous verses in her praise it, - In front of the basadi of Nokkiyabbe, die family - goddess of her husband Vira-Santara, she had a ‘makara-torana ’ made. And in Balligave she had a temple made called Chagesvara, and making gifts of virgins to many Brahmans, she performed the Mahadana, and giving gold and baskets to the crowd of eulogists and dependents of a much as they asked, was distinguished for her liberality. (And) that

Chagala-Devi’s mother Arasikabbe (also) rose to feme. (And) die Sarwa-pradhanam of

Samara’s house, Brahmadhiraja Kalidasa was distinguished.”60

The above inscription indicates how royal ladies were influenced by Jain religion and donated lands to temples.

TRITHADA-BASTI

. In the same year (S. 984) or slightly earlier, village headsman and burgher - and probably tradesman named Pattana-Svami-Nokkaya-Setti built Pattana-Swami Jinalaya

(also called Tirthada Basti) in 1065 in Humacha. He donated to the newly founded temple, the village Kukkudavali he was in possession of and the king too donated Molahere to the

Setti’s temple.61 The tradesman also built five reservoirs, namely Santagere, Molakere,

Pattanasvamigere, Kukkadavallikere and Talevindegere.

60 Rice B.L. E C. VIII Na. 47 dated 1062 A.D., p.151. and Rao Hayavadana C, Mysore Gazctter, Vol. V. (Bangalore, 1930), p.784. 61 Rice. B.L. Ep. Cam. Vol. VII. No. 58

92 BHUJABALA-SANTARA JINALAYA - S. 987/1065.

Vira Santara was succeeded by Taila II alias Bhujabala Santara who founded

‘Bhujabala Santara Jinalaya’ in Humacha in the sake year 987 A.D. 1065.“ He also made some donations to the Tirthada-basadi of Pattana-swami as stated in an undated inscription engraved on a mahastambha before the sulebasadi

PANCHAKUTA BASADI.

This is one of the oldest basadi in Humacha. It is in front of Dharmasala. This is a complex of five temples, therefore it is termed as Panchukuta basadi which belonged to

10th and 11th century A.D. This temple was built by black stones. In this temple complex there are two images of goddess Padmavati which are nine feet in height. A fine mdhastambha - images of Yakshis Padmavati and Kushmandini.

The next importance notice concerning the Santara chiefs and their religious deeds from the inscription in the Panchakuta basadi, the one of 1077 we have already noted the latter inscriptions further says that when Nanni Santara (brother of Bhujabala) was ruling queen Cattaladevi, sister of queen Vira-Mahadevi (die consort of Vira Santara and mother of Bhujabala, Nanni and two more sons) - who was daughter of Arumuli Ganga and wife of the king of Kanchi, and who was then living in Pombulaca - founded a Jaina temple named ‘ Urvi-tilaka-Jinalaya ’ also called *Pancakuta-Jina-mandira’ in the town in memory of her parents Arumulideva alias Rakkas - Permandi Ganga and Gayabbarasi, and sister Viraladevi (Vira Mahadevi) and Rajadityadeva. She also got one artificial lake

62 Rice. B.L. Ep. Cam. Vol. VII. Na.59. p.57. 6J Ibid, p.57

93 excavated. For the worship and maintenance and reparation, a village was donated to the temple Nanni Santara, conjointly with his brothers. Oddamarasa and Bommadeva

{Varmadeva) and Cattaladevi. One other inscriptions of 1077 on a pillar to the south of the torana refers to the laying of the foundation stone of the Panca-basti, when Bhujabala donated a village and his brothers - Nanni Santara, Vikrama in (iOdduga or Oddamurasa) also granted a village and some land.64 One more inscription from the self same basadi and of the same date refers to further donations by the same members of the royal family.63

And finally an inscription on the manastambha in front of the Pancakuta basadi eulogizes the royal descendants ofViradeva, and Cattaladevi, sister of Viradeva’s wife.66

Then there is an inscription of Vikrama Santara III, of the sake year 1025 / A.D.

1103 from Danasale, referring to a donation of a village to the Panca-basadi of

Pombutcca by Bhujabala Santara Nanni Santara III and of the laying Down of foundation stone of a basadi in Andanur in front of the Panca-basadi there in memory of Virabbarasi.

And finally we may take not of an inscription of Sake 1199 / A.D. 1147 of Pampadevi and

Srivallabha alias Vikrama Santara IV on the pillar of the hall of the Pancakuta basadi

which refers to the setting up of an image of Sasandevata in the basadi and the extension

of the basadi’s northern pattasala 67

M Rice. B.L. Ep. Cam. Vol. VIII. Na.46. 65 Ibid. No. 40. 66 Ibid. No. 39. 67 DhakeM.A. Op.Cit. p82.

94 FEATURES OF THE PANCAKUTA-BASADI OF NANNISANTARA H 1077.

The Pancakuta-ftas// founded about seventeen years after the rebuilding of the last- noted temple, is also a rectangular structure but the longer axis lies with a north-west direction.

The temple, as earlier stated, was founded by the royal lady Cattaladevi in A.D.

1077 for the merits of her parents. The rectangular Vimana, like the Parsvanatha temple, is virtually featureless and this might have been the stylistic intentions for this period in this locale, in accordance perhaps with some liturgical injunctions of the Dravide Samgha. The longer axis of the temple is laid along north west and the rectangle is divided into two halves, the first one containing five cells in file containing five Jinas with Parsvanatha in the central cells, the other four possibly are Rsabha, Shantinatha, Aristanemi, and

Vardhamana.6*

The second longer half of the rectangle represents a pillared pattasata-haH which perhaps uses some late tenth-century pillars alongwith more simple chiselled makeshift types. The Pancakuta doorways surround of each cell is ornamented in the manner of

Chalukyan doorframes. The doorways of the gurbhagrhas of five Sancta are of the usual

Karnataka type of this period, though somewhat less exuberant. The central square of the hall supports a compartmented Asta-Dikpala ceiling with a figure of some dancing Yaksa

(of ) in the central or ninth quadrant.

** Dhaky M.A. Op.Cit. p.283.

95 To this great rectangular whole is attached at the east a pillared Mukhamandapa into which open three ornate doors of the Pattasala. The northern doorway has six sakhas

- bahya (Padmapatra) Mala-, Stambha-, amara or gandharva-, valli-, and ratna.69

As its pedyas occur a set of five figures which include naga (nagini at a corresponding opposite position), pratiharas, and camara-dharini or Padma-dharini. The wall pilasters flanking the door-frame harbours larger panels with a set of dvarapalas which are 9 feet high. The central doorframe curiously, had been less carefully wrought, but by way of compensation, has huge life-size detached door-guardians (probably Parsva

Yaksa and Dharmendra), inclining at (and hence masking) the flanking wall-pilasters. The southern doorway resembles the northern, but differs in a few details and rendition, there is, here, of instance, a Vyalasakha in lieu of bhutasakha and the form of the creeper and its detailing are prosaic.

The mukhamandapa or mukhasala (which is a rangamandapa seriousness) has columns that represent Srikara, citrakhanda, Bhadraka, and Visnukanta varieties, all ornament, but the last two at least are elegant in shape. Excepting the four Srikara of the nave, the rest are all slim, a -torana is applied at the entry pair, above the hastihasta - stairway.70

PATTASALA.

In the Pattasala have been place an image of Yaksa Dharaendra, a Sasanadevi, and the Srutadevata a Sarasvati which appear to have been executed in the same style as

69 Dhaky M.A. Op.Cit. p.283. 70 Dhaky M.A. Op.Cit. p.284.

96 the two large dvarapalas at the central door of the Pattasala. At least one of the three can be dated to A.D. 1147, set up in that year by Pampadevi, sister of Viknuna Santara IV. A scion of the Santara clan. Jagadeva had for some years worked as the “durgapald’ (master of the keep) of Anahillapatale in the early years of Chalukya Jayasimbadeva Siddharaja of

Gujarat71

SCULPTURES; PERIOD OF NANNI SANTARA 1077 A.D.

The art of Vira Santara’s successors, his Bhujabala and Nanni Santara strikes of somewhat different note. But this again is in keeping with the fashions of the time of the

Chalukyan monarch Somesvara n (1068 -1077) and his brother Vikramaditya VI (1078 -

1126), in whose times the imperial art went ‘baroque’ in spirit and form.

The Pancakuta-basadi at Humacha, in its five cells, shelters fire seated Jina images, three of which still have their accessories in position. Each Jina figure sits on a simhasana with an impressive throne-back terminating at each end by a Uyala and a splendid makara over whose back the water deities ride. Then there is a triple umbrella, and a caitya tree behind the umbrella. Again behind the throne, on either side, stands a fly- whisk bearer.

The weight of the golden torque and the pectoral, both of good workmanship, seems felt on the cauri bearer’s chests, but they otherwise are in tune with the remaining ornaments, all together creating an impression of very baroque richness.

71 Dhaky M.A. Op.Cit. p.192.

97 The grouping of the elements - throne, umbrella, caitya tree in case of Parsva Jina figure, in all cases are hardened, seem as though made of solid metal. The surround, however, co-operated in forming a balanced composition, the Jinas, it must be admitted, look very impressive on the site, in their setting.72

DIFFERENCES BETWEEN THE TORANAS:

There are besides the figure sculptures, fragments of at least three different toranas of differing workmanship and dates in this collection, and one is stylistically the oldest among them. From a later torana still in position in the Pancakuta-basadi, which possesses the formal details though not the idiom of what the earlier examples must have been, it is possible to visualize what the older toranas were like, and how they were positioned.

A Santara torana consisted of two rather plain pillars and equally simple lintel, over which rested its significant ornament part. The latter is composed of a tiny figure of

Sarvanubhuti at each extremity, (encased in a tilakabose in site’s later examples), then a makara with wide open mouth and having a floriate tail and ornaments in the neck and over the torso, the creature managed by an udadi-kumara i.e., son of the ocean god -

Varuna or the Indian Poseidon.73

In the centre came the auspicious symbol of the torana, namely, Gajalaksmi - canopied by an undulating arch issuing from the aforesaid makaras confronting each other. The piece illustrated here shows two thirds of the torana ornaments of a torana that probably stood before the Candraprabha-basadi, the remaining third with the Contra

12 Dhaky M.A, Op.Cit. p.94. 73 Dhaky M.A. Op.Cit. p.90

98 makara is also there on the site. The makara is as expressive as it is ornate. The floriate tail is particularly effective, blending as it does with the florid scales on the body’s profile.

The torema - arch emitting from the makara is lost.74

PERIOD OF VUCRAMA SANTARAIV.

The only evidence of the ait of this phase is the image of Sasanddevata retup in the hall of the Pancakuta-basadi by Pampadevi, king’s sister, but that only shows that the

art had reached its finale in point of desiccation that had started in Nanni Santara’s time.

MINOR TEMPLES AND PLACES OF HUMACHA:

KSHETRAPALA TEMPLE

This temple is in the southern comer of the outer perimeter of the Parsvanath

temple. The temple is about IS feet high and 10x10 lb approximately. It is built up of

stone bricks.75

ASHOK BASAD1:

This basti is in the centre of the garden situated in the south comer of the Sri

matha. Here the image of Jina is in Padmasana. This basati is from the ancient period.7*

CHILDERNS BASTI

This is built with small pieces of rocks. It has the idol of Swami Parshvanath 4 feet

high and seven hooded serpent is present on the head.77 this basti is situated in the

14 DhakyMA. Op.Cit.p.90. 75 Shripati Joycss B.D. Op.Cit. p.10. 76 Ibid p. 10. 77 Ibid p. 11.

99 dharmashala. Yaksa and Yakasis and also Chavaradhari are present. The Kshetrapala also present in the outer side of the mandira.

DHARAMASHALA:

There are two dharamashalas present in the premises of the temple. One is old dharamashala and second is new dharamashala. Old dharamashala is of one floor in which thirty rooms are present. Some rooms are large and some are small. The rooms are attached with all the facilities. There is also a suit near to this dharamashala for the V.I.P. and donators. The Padmamba Prodhashala (adult-school) is present behind this dharamashala in which seventh standard to eleventh standard school is going on.

The new dharamashala was constructed before the old dharamashala and it is having third floors. This shala is having thirty-six rooms in which some are having four beds and all facilities. There is great space between the Parsvanatha basadi and dharamashala. These space is covered with tiles. The Humbuja Jaina matha is situated.78

JAINA MATHA

The Jaina matha of Humacha is an ancient matha. This matha was established by

Nandi Sangha of Kundkundanukya. The Acarya Samanthabhadra, vidhyanandi,

Vishalakirti and Muni Namichandra were the main acaryas of this matha. The

Bhattarakas of this matha is called as “Bhattarakas Devendrakirti Mahaswamiji” In the premises of the matha is the mess (Bhojanalaya) for the devotees. In this matha

Neminatha basadi is there. The statue of Lord Neminatha is made up of white marble.

1g Rajamal (Dr.) & Jain Laxmichandra: Op.Cit. p.125.

100 Two Dwarapalas of five feet made up of the entrance door of the matha. In this matha small images of the lord Parsvanatha and other Thirthankaras, Padmavati, Saraswati are present. In this basadi the statue of Lord Chandra Prabhu 1 ft. high in the position of

Khaddagasan. This statue made up of eight elements (Ashtradhatu). In this ancient madia the wood pillars of 18 feet are present. The palate reign is also made up of wood on which a small and beautiful design is present. On the first floor of die matha the Bhattaraka

Mahaswamiji is living i.e., the nivas of the Mahaswamiji. The office of the matha is working in the ground floor of the matha. This matha control 36 Jaina temples and S

Tirthas Humacha, Varangal, Kunadadri, Karkal etc. The Mahaswamiji of this matha is well educated and foreign returned.

The seat of the Jain Guru’s here has come in succession from ancient times. The

Guru’s of this seat (“peetd”) are called Sri Devendrakirti. The present ruling Guru ascended the seat on 29/10/71 (the 10th day of the bright half, in the month of Aswin of

Samvathsar, Virochi.)19

THE HOUSE OF RATHA:

The house of ratha behind and near to the Mahavira Bhavan and it is having one

floor. In this ratha bhavan there is a ratha of 15 ft. high and made up of wood. Also

there is another ratha which is made up of silver and 10 ft. in height. During the time of

rathotsava i.e., in the black half of the month of Phalgun in Mulanakshtra, this festival

takes place for 6 days. Padmavati has so many Vahanas like lion, serpent, elephant, etc.

and during the time of viserjana, a small chariety is used, which is made up of silver. In

79 Rajamal (Dr.) & Jain Laxmichandra: Op.Cit. p. 124.

101 this connection special pujas, prayers, celebrations, Sarvodaya religious conferences literary conferences etc. are arranged for 5 days.

MAHAVIRA BHAVAN

This is in the front of the Srimath. This is the huge temple in which idol of Lord

Mahavira is installed here. The idol is of white marble and 4 feet in height. This statue is situated on Kamalasam. This bhavan has one floor. In this bhavan there is a large library in which so many religious bools are present. Hindi, English, Tamil, Marathi, and

Kannada, Granthas are collected in this library. The special peculiarity of this

Siddhantkirti Grcmthamala (library) is that “the 1500 and more Tadapattri and Bhutja pattri grantha are collected here. In this bhavan the preaching is going on in the evening, and preached by some monks or Bhattaraka Swamiji. There is also a Dharama patashala for the children and adults. In this Bhavan some pupils are studying the Jainism. The

students are welcome for the study.80

KUMUDVAT1TIRTHA (HUMACHA, KUNDA)

This holy lake is at a distance of about 3 kilometers from the Padmavathi temple.

Here the water drops down in a continuous stream. There is always a rush of devotees

here for. the holy bath.81

To the southwest of the village, a little inside the hilly woods, is this elegant but

partially damaged, square Kunda or step-well. Its upper as well as lower inner facings

show a series of panels displaying frill blown lotuses and diamond shaped floral motifs

*° Shripati Jqyess B.D. Op.Cit. p.125. *' Ibid,. P-II.

102 between the galapadas. At the central points of each of the three sides of the Kunda descend a stairway flanked at the lower end by totemic elephant pairs. At the fourth side is a pranala-conduit through which is conducted a very thin stream of water to collect at the central pool. Five steps continue all around the lower reaches and are pierced only by the three descending stairways, each flanked by a pair of she elephants. It is difficult to date the Kunda, arguably though it could be of a date somewhere in the early years of resurgence of the Santara power, probably built in the sixties of the 1 Ith century.82

The stream of cold water fells in this Kunda without fail for 24 hours. It is the birth place of Kumudvati river. It is unknown that from which place die stream comes because on this stream there is a hill of soil. As it is the birth place of the river is called as a Tirtha.

The fresh water from this place should brought everyday for die Abhishek of the goddess

Padmavathi by the elephant. The people of this village also brought the water from this

Kunda.

There is a stone board on the pillar which shows some serpents. Among these serpents, some serpents are congruents and twined with each other. There is symbol of

Mesha (Bakari or sheep) present on the lower part of the board pillar it means that there was a Jina-mandira in the premises of this Kunda. A small lake also present near to the

Kunda*3

82 Sripathi Joyess B.D.: Op.Cit. p.11. M Rajamal (Dr.) Jain & Laxmicandra Jain: Op.Cit p.I29.

103 MOTITALAB

Moti talab is situate on the left side and near to the pancakuta basadi. Tins talab is constructed by King Jinadattraya. The inscription of 1077 indicates that “the mother of king Goggiga Santara alias Nanni Santara reconstructed this moti - talab. The length of this talab is about one kilometer and breadth is about 500 to 2000 feet approximately. The depth of this talab varies from 5 feet to 100 feet approximately. The water level decreases j in summer and increases in rainy season but in summer as it may decreases it should not be dry. The numerous lotus are present in this talab. The great mother had created pearls in this pond to test king Jinadattraya. Hence it is called the pearl pond or Moti talab™

THE PALACE OF SANTARA

The palace of the Santara king was constructed by the king Jinadattaraya. The whole palace was made up of wood. This palace was near to the backside of Pancakuta- basadi and Paddamamba high school. After some years unfortunately this wooden palace had burnt out. Now-a-days if we dig some soil on this place we will get the carbonised rice and some mud bricks and pieces of tiles. At the time of construction of the

Puddamamba high school some statues of were found and are in good condition. The palace and the Humacha city was bounded by a big wall of which the monuments are seen today around the Humacha city.85

Thus the present Humacha town has the following important Jain temples:

(1) Parshwanath basadi.

84 Rajamal (Dr.) & Laxmichandra Jain Op.CiL p. 128. *5 Ibid, p.129.

104 (2) Padmavati temple.

(3) Gudada basadi.

(4) Sule basti.

(5) Bogarbasdi

(6) Paliyakke basadi.

(7) Tirthada basadi.

(8) Bujabala Santara Jinalaya basadi.

(9) Pancha Kuta basadi

and other minor important places. These Jain temples are cultural heritage of

Karnataka and many Jain devotees used to visit these temples every year regularly.

105