Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. Ravi korisettar VS Wakankar Archaeological Research Institute, Bhopal Prof. Shrinivas V. Padigar Karnataka University, Dharwad. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Art & Architecture of India Module Name/Title Cave Architecture in Karnataka Module Id I C / A&AI / 12 Pre requisites Indian Architecture/Chalukya Monuments Objectives Cave architecture forms an essential component of development of religious architecture in India. It had meteoric presence in Karnataka between6thand 8th Centuries CE under theChalukyas of Badami. This chapter will focus on the background and various aspects of cave monuments of Karnataka of that period located in Badami and Aihole. Keywords Cave architecture/Karnataka/Chalukyas of Badami/Badami/Aihole E-text (Quadrant-I): 1. Introduction Although western India in general had a long tradition of Buddhist cave architecture beginning from 2nd Century BCE, the entry of cave architecture into Karnataka was delayed until the advent of the Chalukyas of Badami in the 6th Century CE. The region around Badami in Bagalkot district of Karnataka is rich in sandstone-quartzite hillsrising at places to considerable heights.But these were not exploited for architecture early. This was probably because Buddhism was not strong enough here and the Hindus and Jainas had not yet taken to cave-architecture.The interest of the earlier dynasties of Karnataka like that of the Kadambas was restricted to richer agricultural belts around their homeland, the eastern extensions of Western Ghats and its contiguous areas on the east side rather than the drier plains further eastwards.It would appear that they had failed to grasp the potentialities of the region around Bagalkot, drained by the river Krishna and its tributaries both from the economic and strategic perspectives. It was left to the Chalukyas to take advantage the situation. Under their patronage, the architects created the first cave monuments of Karnataka in Badami and Aihole. 2. Political Background The Chalukyadynasty which made the Malaprabha valley its political base emerged almost from nowhere as it were!In 543 CE Polekesi I (543-566), also known by his epithet Vallabhesvara, fortified the rock hill at Badami and performed the asvamedha (horse sacrifice) and other Vedic and Puranic rituals legitimating his independent authority. Within decades, campaigns of his successors Kirtivarma I (566-592) and Managalesa(592-610) helpedthe Chalukyas to take control of a large stretch of land of the Deccanand Konkan from the Western to Eastern seas. Polekesi II (610-642) further expanded it to the river Narmada in the north by defeating Harshavardhana and to the river Kaveriin the south by defeating the Pallavas of Kanchi. After a brief set back at the hands of the PallavaNarasimhavarman, they reestablished their political hegemony under Vikramaditya I (654-71). This ruler was followed by Vinayaditya (671-696), Vijayaditya (696-733) and Vikramaditya II (793-744) and the Chalukyascontinued as the masters of the land south of Narmada until Kirtivarma II, the last ruler, was overthrown by the Rashtrakutas in 757 CE. The importance of the Chalukya rule of over 200 years (543-757) lies in the fact that they not only nurtured the regional language and culture but also built up a strong tradition of stone architecture which held its spell in the Deccan for centuries to come. The Chalukya architects were well versed in creating both rock-cut architecture and built or structural 2 architecture. Our concern in the present module will be the cave architecture examples produced during the reign period of the Chalukyas of Badami. 3. The Rock Medium Before we begin considering the Cave architecture of the Chalukyas, it would be worthwhile to know a few things about the stone medium the architects were dealing with. The rock formations around Badamibelong to a class known as sedimentary rocks, formed under water. They comprise of an earlier rock described as Kaladgi series overlain by the later Badami series. Both fall in the Proterozoic Era of earth’s history (older than 542 million years) when no form of life had come into existence yet. Badami’s yellowish red sandstone series have outcrops standing to considerable heights which can be seen briskly in Badami and its neigbhourhood.It is these outcrops that provided the environment and raw material for the architects. The Badami sandstones have a layered structure but are compact. Craftsmen used iron shafts or heavy chisels with lenticular sectioned tips and heavy hammers to cut the rock. The rocks at Aihole do not rise to as much height as the ones at Badami. They are somewhat fragile too. The impact of this difference in the structure of the rock can be noticed in the cave monuments at both the places. When compared to the Pallava architects who worked on the igneous and harder granite, the Chalukya architects were dealing with a softer material. But these caves were originally painted as indicated by the remnants of paintings in Cave III at Badami and Ravalaphadi cave at Aihole. Sandstone rocks of Badami Unlike the earlier dynasties which preferred the earth and bricks for fortification, the Chalukyas chose to use stone. This required architects and craftsmen who were conversant with stone medium. It is no surprise that many of them flocked to the region of Badami anticipating patronage under a new found potential dynasty. Thus stone architecture was initiated with a full swing for the first time in Karnataka. 4. Cave Monuments of Badami There are four caves in the ‘South Fort’ area at Badami. They are numbered as Cave I (Saiva), Cave II (Vaishnava), Cave III (Vaishnava) and Cave IV (Jaina) serially from west to east. Their chronological sequence is a matter of dispute but normally they are considered as having succeeded one another in that order. Only one of them, viz. Cave III is dated by an inscription to 578 CE. Apart from these four ‘excavated’ caves, there is one ‘natural’ cave between Cave II and Cave III which was used by the Mahayana Buddhists. All the excavated caves have more or less similar plan the principal difference being in the size. They are created by removing unwanted rock from the living mass to produce convenient space inside. Each of them is cut into a huge boulder, and hence the size and depth of the cave is determined by the size of the boulder itself. The first three of them have a verandah (mukhamandapa), a hall (sabhamandapa) and a sanctum (garbhagriha) axially following one another from the front to the back. The pedestal (adhishthana) of all the first three caves is decorated with friezes of Ganas(naughty dwarfs)in various moods. 3 4.1 Cave I Badami Cave I and 18-armed Nataraja Cave I at Badami is dedicated to God Siva. It is at a relatively lower level than the remaining caves. In front of it is an L-shaped courtyard. In plan it conforms to the scheme consisting of a verandah, a hall and sanctum. However, there is a diminutive subsidiary cave excavated into the ‘L’ projection on west side which is dedicated to goddess Durga. Its pedestal has a panel of Ganas. The façade of the cave is not treated in its upper part. The boulder into which this cave was excavated ended in the right corner of the hall before the architect had expected it; hence it is not finished at that corner and a hole may be noticed there. The craftsmen have given importance to showing the structural components of a built temple by carving out the cornice, pillars, brackets and beams. The most attractive architectural components of this cave are the pillars of the veranda and hall. The pillars are square in section with small cut anglesin the upper part. Apart from the decorative features they carry relief images of gods and goddesses as also of Vidyadharas and imaginary animals. There are also bands of geese, pearl festoons etc. The cave has almost over life-size images of, Harihara with consorts Lakshmi and Parvati and Ardhanarisvara form of Siva. Each of these panels rest on a pedestal carved with a band of Ganas. The ceiling is flat except for the high relief sculpture mentioned ahead. A beautifullarge relief carving of Nagaraja adorns the central bay ceiling of the verandah. It is flanked by Vidyadhara couples. There are also images of a Saiva-dvarapala and an eighteen armed Nataraja accompanied by dancing Bala-Ganesa and drummer, considered to be one of the rarest images in India. In the subsidiary cave, the main carving is that of Durga- Mahishamardini. Its side walls have images of sons of Siva viz. Kartikeya riding peacock and seated two-armed Ganesha. In the sanctum is a rock-cut Siva-linga. Aychasvamikalkutti and Dronamma were among the artists who worked on this cave. The style of the sculptures exhibits uniformity, the images being open-eyed with well demarcated eyebrows and eye-lashes, a subtle smile predominating on their face. The Cave belongs in the 6th Century CE and probably dates from before 578 CE. 4.2 Cave II 4 Cave II, Dvarapala and Trivikrama Smaller than Cave I, this is dedicated to god Vishnu. The sanctum image however is missing. In plan it is simple and consists of a verandah, a hall and a sanctum. The pedestal depicts friezes of Ganas. The top of the façade is partially treated like a cornice. The arrangement of brackets of the hall pillars facilitates free flow of light on to the sanctum entrance. Above the façade there are signatures of artists such as Vachya and Duttoja who worked on this cave.