The Ancient Ruins: Aihole

Aihole also known as Aivalli or Aryapura. Aihole and Pattadakal are major archaeological sites with more than 200 temples (80 at Pattadakal and 120 at Aihole). They are spread along the banks of river Malaprabha. Both centres are important for Chalukya monuments. Aihole has historical significance and has been rightly called as a cradle of Hindu architecture.

As we reached Aihole we came across Jain Basadi (Basti) a rock cut temple, which apparently is older than rock cut temples at Badami. It is a small temple with few steps to reach the main entrance. The place is known as Basadi and it is away from the village area as Jain monks travelling through the region used to stay here (Basti) for the night or use the place for meditation.

On entering the temple, one can see the statue of Mahavira in the front and Gomateshwara or Bahubali with his two sisters Brahmi and Sundari on the side.

Ceiling is decorated with swastikas and lotus flowers. One can see mythological creatures, with crocodile-like body, dragon face with wings and paws. Kinnara and Kinnari are also seen on the ceiling. The carving is done by the artist lying on his back on the scaffoldings. One wonders how artists protected their eyes from falling dust when designs were being carved in the ceiling stones. It was told to us that they used transparent leaves to cover their eyes and faces. 

Our guide Shri. Chandru Kategari informed us that around 500 meters from this Jain Basadi,

there is prehistoric (1500 BCE) burial ground having 42 Dolmen on same hillock where Jain Basadi, cave temple is located. He said climb is small but rough and the added attraction was rock paintings which were dated more than 15000 years back though not as old as Bimbetka cave paintings in Madhya Pradesh, India. We decided to have a look. Our good guide offered to guide us and lead the climb. We followed. It was worth the effort.

As we reached the top, spread on the plateau were dolmen all around us, though not as big as the one we saw in the morning. Barring one or two most of them were in broken condition. May be the earlier one was burial of some important person and these were not so important. Another major difference was the earlier one used granite while these were in sandstone, locally available. From the top we could see the sandstone quarry, which was used years before for erecting temples at Aihole and possibly at Pattadakal as well. There were some large stones which had a line of holes, indicating attempt to slice them in two and for some reason given up.  On some of the stones we saw quite a few markings in multiple rows made using chisel and hammer, which we were informed that it was an attendance sheet for the artist who worked on the temple. Similar markings were seen in cave temples at Badami as well.

We started walking towards main group of temples. On the way there are houses and people living next to temples. At some places temple wall is common to the house, narrow roads, animals around. People are using temple compounds as their back yards. No wonder Aihole is not presently an UNESCO Heritage Site, though on tentative list. All the villages will have to be relocated and temple area cleared. The efforts have already begun and the area we are approaching is clean with gardens and amenities for visiting tourists.  

We came across Chakra Gudi Temple. It is a Shiva temple. The temple is in Rekhanagar Prasad style of architecture with its beautiful Shikhar in intact condition.

Next to the temple there is a Pushkarni (sacred water tank). There were number of Pushkarnis around the complex. This one is in very good conditions with properly carved steps. The water seems to be green as it is not in use. In earlier days Pushkarni were used as a immediate water source for the temple though the river is close by.

Next, we came to temple with funny name Lad Khan Temple. This hall type temple probably obtains its name from a person called Lad Khan who used to reside here.

Apparently, he was accountant or holding some similar post and was using this place as his office cum house. Perhaps it was a structure for socio-religious performance later turned into a shiva temple. It comprises of a large pillared porch and a larger square pillared hall with large lattice screens around and a small rectangular sanctum at the rear. The Nandi occupying the center of the hall is probably a later placement.

The sanctum now contains a Linga but originally may have enshrined some other deity. The roof is flat at the center and sloping on all four sides in two stages. Over the central part is an upper flat roofed sanctum reached by a stone ladder in the porch. The exterior of this sanctum carries images of Surya (West), Vishnu (South) and Ardhanarishwara (North).

The porch is provided with Kakshasana or back-rest seat. On the porch pillars are depicted high relief sculptures of Ganga, Yamuna and Mithuna and a low relief carving of the Chalukya royal insignia of Varaha. Although earlier assigned to 450 CE, recent scholarship dates this curious secular-looking monument to 7^th -8^th century CE.

The Nandi Mandapam seems to be the latter addition. The hall and seating arrangements appears to be like sabhamandapm where merchants and other people may have been interacting with the authorities.

Then comes the unique piece of architecture called as Durga Temple. 

This was a temple originally dedicated to the sun god Aditya. An inscription of Vikramaditya -II's time (c.733-744 CE) found on its gateway informs that it was built by one Komarasinga. The present name "Durga Temple" may owe to its location near the fort wall (i.e. Durg-Fort). It is apsidal in plan with its back resembling the hind part of an elephant (Gajaprishtkara). Interiorly it comprises of a semicircular sanctum placed within a pillared hall with an apsidal end and a square porch. The whole is placed within an apsidal: in the form of or resembling a large semicircular or polygonal recess, arched or with a domed roof that ended larger cage-like structure standing on a high pedestal, the temple has a fallen Rekha Nagara superstructure. The Amalaka is seen lying on the ground broken and little away from the main building. The temple is entered through flights of steps from the south and the north known as Pratoli (entrance or a gate). There are several interesting high relief sculptures occupying the pillars and niches, some of loving couples and some of gods. 

The Circular path         Shiva leaning on Nandi (Vyghradharini Saumyarupi Shiva)          

                    

  Varah Avatara                                                                  Mahishasurmardini

Significant ones are Ashvamukhi yakshi, Surya chiding Chhaya, Narasimha, Ardhanari, Shiva leaning on Nandi, Vishnu riding Garuda, Varaha, Mahishamardini and Harihara. Some samples are cited above. This gives a fair idea how beautiful it must have been when it was live and in use.

Got one interesting story about the original name of now city of Mysuru. It was originally the place with old name Mahishasurmardinipura, which was converted as Mysuru by British (Mahishmandalpura, Mahishapura, Mahishpura- Mysuru). 

Harihara

Some of these are in Malwa style. There are also depictions of Ramayana episodes on the pedestal of the porch. The temple's interest lies in the resemblance of its plan to the Buddhist chaitya halls of western India. Although it was assigned in 5^th century earlier, recent scholarship strongly believes that it is a structure built in 7^th -8^th century CE. 

As you go inside you see the ceiling supported by trunks of two elephants. Ceiling is decorated with the Matsya chakra and Swastika chakra. Next to it towards garbhagriha one can see Shseshanag with flower basket in one hand and flower garland in other hand. 

The entrance door of the sanctum sanctorum (Garbhagriha) is decorated with 5 frames. On top of the door frame, we can see Garuda holding Nagas, trying to get away, in his both  hands. First frame (the one close to the entrance) is Naga, followed by Valli (Lata) then comes Stambh (Pillar), followed by Mithuna and completed by Bahya (External frame) again a Valli(Lata). At the bottom of the frames we can see carved ladies these are Goddesses Ganga, Yamuna, Sarswati etc. It is symbolic that when you cross these river goddesses you have taken holy bath before entering the shrine.  

This was the last temple we were to visit and end our day in Aihole. We had late lunch and yes before that we bought famous Karnataka sweet Kardantu from shop called Vijay Kardantu, large chain across at least Bagalokt district. 

Next was 3 hours journey to Hospet, or its official name Hosapete, means "new market" and is a city in Karnataka, India, known for its proximity to the UNESCO World Heritage site of Hampi. Hampi, our last and most coveted destination.