The Ancient Ruins: Badami Caves

Visit to Badami Caves and Hampi was unticked in our bucket list for quite some time. Finally, the planning for the trip began. After taking feedback from friends and relatives who had already visited these places and some googling, it was understood that engaging a proper guide for both the locations was more important than arranging for the hotel accommodations or travel bookings. Our tentative dates for the travel were in the mid of January 2025 and we engaged guides for Badami as well as Hampi sometime in October 2024. This was followed by our flight booking to Hubballi and arrangement of vehicle for pickup from the Airport on arrival till our last day of the trip for the drop off to the Airport at Hubballi.

Group of eight of us left Mumbai as planned. Our first halt was at Badami. A place in Bagalkot district in Northen part of Karnataka.  The caves are important, as the cave temples are in rock cut architecture in line with those at Bodhgaya, Ajanta, Ellora and Bhaja caves near Pune. We were to stay at Hotel Badami Court, which was very close (less than 2 kms) to the location. We asked our guide Shri. Chandru Kategari to be at the hotel by 1:30 pm. We reached Badami Caves to witness marvels in the stone, along with him by 2 pm. 

Badami Caves are cave temples carved from sedimentary rock, sandstone, which is Badami (Badam - Almond) in colour hence the name. These are not live temples but are declared as monuments by the Government. Warning: Do not remove your shoes or carry water bottles or any eatables in your hand as the place is frequented with monkeys. Monkeys are not harmful but will try to snatch water bottles, food items or shoes.  

The original name of the place was Vatapi, capital of Chalukya Dynasty (from 6^th to 8^th century), ruling most of the Karnataka. There are four caves, three of them are dedicated to Shiva and Vishnu while one is devoted to Jainism. The exact period of these temples is not known but the third cave has epigraphy in the Kannada language indicating that the third cave was the last cave to be carved and it was in c. 578. The place was crowded as devotees attending the festival of Shri Banashankari Devi in Badami were also visiting the caves. These caves are located on the banks of man-made lake Agastya, it has a wall (dam) around it built using the stone, cut out during the carvings of the caves. Malprabha river flows close by (3kms).

The first cave, numbered as 1 is dedicated to Shiva.  In plan, it comprises of an open porch and a pillared hall with a sanctuary cut into its rear wall. On the right-hand side after climbing few steps Shiva statue in dancing pose (Nataraj) is seen. Shiva is doing a happy dance, Sandhya Tandava (Rudra Tandava is generally known but there are many other Tandava dance forms like Lalit Tandava, Anand Tandava, Uma Tandava etc.) 

The craftsman, sculptor (or the artist conceptualizing the carving) had in depth knowledge of Bharatnatyam, which was composed by Bharat Muni 2000 years ago. The carving has 18 hands, 9 on each side, which is very rare. 18 hands together form 81 mudras (considering the permutation-combination) though, basic mudras in Bharatnatyam are seemingly 55 only. On the right of the carving Nandi (Shiva’s transport) is seen, and on his left is the carving of dancing Ganesh and the accompanying Tandu (as mythology goes Brahma created Naty Veda and asked Bharata to spread it. Tandu was Bharata’s son) playing “Tripushkar Vadya” instrument with three faces. This is remarkable as dance cannot exist independent of music. The top portion of the carving is damaged due to lightning. 

On the opposite wall you come across beautiful sculpture of Harihar, half Shiva and half Vishnu. Notice crescent of moon on the right side of the head indicating him to be Shiva. On the right of the sculpture there is Nandi (Transport of Shiva) and Parvati and on the left side there is Garuda (Transport of Vishnu), followed by Laxmi. On top you can see Apsara and Gandharva. They are flying, indicated by the clouds around them (note there are no wings like angels). Below the statue you will notice friezes of Ganas (dwarfs) carved on their pedestals. They are seen dancing or playing instruments.

To the right of the Harihar there is Dwarpalaka, doorman with trident in his hand, indicating him to be Shiva guard. 

Right below the guard, mirror image of the above carving is seen (this was also seen in other part of the temple). If right side of the figure is covered, one can see Elephant and the other half appears to be the Bull. Whether this figure had any significance or it was show of skill is not known.

 

The same cave holds sculpture of Ardhnarishvara, that is half part is Shiva and other half is Parvati. Skeletal Bhringi Rishi is also seen in the sculpture to the right of Shiva after Nandi and maid with jewel box is standing next to Parvati on the left. The sculpture of skeletal Bhringi Rishi shows, how well human anatomy was known then to the artist who carved the sculpture. 

The story is very interesting. He was ardent devotee of Shiva. As the custom goes all the devotees who offered their homage to Shiva also offered their veneration to Parvati. But Bhringi was an exception. He did not want even to circumambulate Shiva with Parvati. To make Bhringi understand that Shiva and Parvati are not two separate entities, Shiva manifested as Ardhnarishwara. Shiva is on the right and Parvati to the left. But the Rishi took form of Bhring (Bumbalbee) and tried to bore through Ardhnarishwara body. After his attempt Parvati cursed him and he lost all his flesh and blood (which supposedly mother gives her child) reducing him to a skeletal form. The skeletal Bhringi shows that human anatomy was well understood by the artist. In sculpture he is seen bowing to Ardhnarishwara.  Veena (possibly Rudra Veena), partially broken is also seen being played by left hand of Parvati and right of Shiva. Apart from the story, it appears that the Chalukyas were emphasising in gender equality and their equal roles in life.  Veena is indicative of co-ordination of both the parties (hands) to play it in tune (Svara), else it will be discordant note (Apswara).

As one moves from verandah (Mukh Mandapa) to hall inside (Sabha Mandapa) one reaches the Garbha Gruha or sanctum sanctorum, Ling (Shiva ling) is visible in the dark. Square Shivling Pitha is clearly visible with erosion marks on the ling itself due to regular worship.

The second cave, numbered 2, which closely followed cave-1, was excavated for the God Vishnu in 6^th century CE. In plan, it is like cave-1 with a sanctuary cut into its rear wall.

Two doormen are seen on the left and right of the cave. Interestingly both are apparently standing as if in a meditating posture. They are not scary as usual to keep intruders away.

 

Major sculptures in the porch include panels of Vamana-Trivikrama to the right. In this sculpture extraordinary detailing is seen. It depicts the story of Mahabali who was the King of Patala and had conquered the Earth (Bhuloka) and was about to take Swarglok as well. All the lesser Gods reached out to Vishnu and Vishnu by taking Vaman avatar (seen in the bottom with umbrella in the hand) went to Mahabali. Mahabali was giving “Dan” (donation) and asked Vaman to ask for anything he needed. Vaman asked for space covered by his 3 steps. Mahabali offered him “Dan.” Vaman grew and became Trivikrama, with first step he covered Patal, in second step he covered Bhulok and asked Mahabali where he could keep his 3^rd step. Mahabali offered his head, bowing down, as he had no other space he could offer. Vaman-Trivikram placed his foot (seen raised in the relief) and placed it on the head of Mahabali pushing Mahabali permanently in Patal to rule there. As requested by King Mahabali, he is worshiped one day on the Earth (Bali Pratipada in Diwali). Seen in the sculpture next to Vamana are Shukrachary Rakshas Guru with Kamandalu and Mrugjin on his shoulder (may have to zoom out to see the details), Mahbali, his Wife Vidhya Vali and son Namusi (holding right leg of Trivikrama) and soldiers with swords in their hands.   

Bhu-Varaha to the left, this is 3^rd Avatar of Vishnu when the Earth (Bhu Devi) was to be rescued from the sea. Bhu devi is seen in the left hand of Varah and below him is Shesh Nag (King of Nagas) with his wives Vasanta and Vasantini with Apsara and Gandharva flying on the top. Vishnu in this avatar killed demon Hiranyaksha to free Bhu Devi who was younger brother of Hiranyakashipu (killed by Vishnu in Narsihma avatar).

Both the sculptures have friezes of Ganas (dwarfs) carved on their pedestals. Beams carry continuous friezes of episodes from Purana- of Samudra-Manthana and Krishna's exploits. The ceiling panel features á central Matsya-chakra (fish-wheel) flanked by svastika patterns.

Ceiling is adorned with Bramha, Vishnu and other Pauranic (mythological) figures. The prominent one is Shesh nag with body partly of snake. 

Brackets supporting the cornice resemble lions known as Kirti Mukhas, elephants, humans emerging from the mouths of makaras and aquatic creatures. There are reliefs of Gods Brahma, Vishnu, Durga, Kartikeya, Lakulisha etc., decorative medallions with Vidyadhara couples and foliations on pillar-faces. The sanctuary doorframe carries on its architrave models of northern-style temple-towers.

The sculpture-style is homogeneous and recalls that of sculptures in the 8th-century Brahmanical caves at Elephanta and Ellora. Craftsmen "Vachya', 'Buru' and 'Duttoja' have signed their names over the facade of the cave.

Cave-3 was created in 578 CE by Chalukya Mangalesha, in the reign of his step-brother Kirtivarma-I for the God Maha-Vishnu. Like the two earlier caves, its plan comprises of an open verandah and a pillared-hall with a sanctuary cut into its rear wall. Being the largest and most ornate of all the Chalukya caves, it is executed on an ambitious scale. The cave has a stone structural enclosure. A Sanskrit inscription carved beside the great Varaha relief in the verandah, details its dedication date and gift of village Lanjisvara (Nandikesvara) by Mangalesha.

The temple's verandah accommodates major super-human size figural compositions: eight-armed Vishnu, Ashtabhuja (with eight hands) Vishnu.  Vishnu seated on Ananta and Bhu-Varaha (present in cave-1 as well) on the left side and Harihara the right. The Bhu-Varaha sculpture is seen on more than one occasion because Varaha was royal symbol of Chalukyas and it was carried on the coins (Gadyana).

It is rare site to see Vishnu seating on Ananta. Generally Vishnu is seen supine on Ananta. 

,

The statue is depicting Chalukya Kings,  sitting in this posture. Pulkeshi-II is usually depicted in this fashion.

Majestically standing Narasimha and Vamana-Trivikrama on the right, Narsimha presents itself in different style. The relief of Narsimha is in Tribhanga posture and is termed by locals as Vijay Narsimha (after killing Hiranyakashipu). Instead of Shankha and Chakra human figures are seen in his hands. They are called as Ayudh Purush. On top you see Vidyadhar couple flying with clouds around.

Side faces of beams carry narrative friezes of episodes from Mahabharata and Puranas: Samudra-Manthana (churning of the ocean), Krishna's exploits and Parijata-Harana.  

The verandah ceiling bears medallion-reliefs of Vishnu (centre), Shiva, Indra, Varuna, Bramha and Yama. The front row of verandah pillars has bracket-figures of loving divine couples, like Siva-Parvati, Kama-Rati, Naga-Nagini, etc and nayikas in moods under trees. The hall’s ceiling bears reliefs of brahma at the centre surrounded by Indra(East), Varuna (West), Kubera (North-East) and Kartikeya (South). An image of Vishnu's vehicle Garuda, is carved on verandah's eave by artist Nelavalke.   The whole cave was beautifully painted and a fragment surviving beside the Garuda relief depicts a royal couple witnessing dance, testifying to the quality of painting.

 Fresco in Ajanta caves

Fresco in Cave-3 Badami                                         

One can notice the similarities between colours, shape of the eyes and faces and different ear rings in each ear. 

The image of Maha-Vishnu is missing from the sanctuary. The craftsmen Kolimanchi, Singimanchi, Aju-acharasiddhi, etc., have signed on the sides of the facade.

Cave-4 is a Jaina cave-temple, the smallest among all the cave-temples at Badami and datable to early 7™ century CE, same period as of the cave 1. This is the top-most cave temple and all in all, one must climb 187 steps to reach this cave.

Its verandah walls accommodate relief sculptures (in clockwise direction) of Adinath (Rishabhdeva) first of the 24 Tirthankaras of Jainism. Carved on the left are seen 12 Tirthankaras around Bahubali. Bahubali (Gommatesvara) is one of the 100 sons of Rishabhdeva- Adinath, the first Tirthankar). Realising the futility of the material world after competing with his brother for the throne, he took to penance for 12 years standing, meditating in the forest. Creepers grew around him. Standard iconography of Bahubali shows him naked and creepers growing around his legs. Seen in the next relief is Parsvanatha who lived in 877 BCE and attained Moksha on Mount Summeta (in present-day Madhuban in the State of Jharkhand). Also seen in the relief are his two sisters Brahmi (seemingly Brahmi script started with her) and Sundari. Parsvanatha is  seen in penance in Koyatsarg (Standing) position overcoming the obstacles of his demonic enemy Kamatha (demon). The relief shows Kamatha on the top trying to interrupt and same Kamatha has given up, surrendered and is seen worshiping Parshwanath on the left of the statue. On the right of the statue is seen Padmavati holding diamond umbrella.

Somewhat unfinished, it consists of an open verandah and an oblong antechamber with a sanctuary piercing into its rear wall. The sanctuary doorframe depicts Kama as the door-guardian. On the rear wall of the sanctuary is the relief sculpture of a sermon-delivering tirthankara, probably Mahavira (early 6^th Century BCE) with halo behind. Mahavira is seated on a lion-throne under a chaitya-tree and triple-umbrella known as Mukkode. Mukkode, by some is considered as indicative of emperorship by other as Trilokas. Three umbrellas are also interpreted as the three jewels in Jainism viz. Samyak Darshana (Right perception or self-realisation), Samyak Jnana (Right knowledge) and Samyak Charitra (Right character). On both sides he is attended by chauri-bearers’ men. Vidyadhara couple is offering flowers on the top and divine drums (Dev Dundubhi) are beating by themselves. There are several smaller and larger figures of tirthankaras in the antechamber. The small lady, seated beside a tirthankara, carved at the right side of the entrance to the cave is Jakkave. A pious votary who attained salvation according to the Jaina vow is called Sallekhana. Kolimanchi is among the craftsmen who have signed on the boulder of the cave. The cave was originally accessed from the East side and separated from cave-3 by a stone wall. This stone wall apparently was opened during 16^th Century by Vijaynagar (Hampi Kings). It is interesting to note that Cave-1 and 4 where carved simultaneously during the same period by Chalukya. Jainism had reached Karnataka during 330 BCE and was recognised and respected by Chalukyas, hence the cave at the top most point of the hill.

After climbing down around 187 steps from Cave 4 back to the entrance of the cave temple, we had quick snacks and water and decided to go around Agastya Lake to reach Bhoothnath group of temples.   

Agastya Lake, is man made and a dam is built around it. It was built using the stone, cut while carving the cave temples. It is a beautiful walk around the lake leading to the Bhoothnath group of temples built in 7th to 12th century. On the way one comes across houses and villages.

Even before one starts walking on the path, we come across two Islamic structures one is Markaz Jumma, an 18^th Century doomed tomb an evidence of Muslim rule. It also has tomb of Malik Abdul Aziz first Governor appointed by Adilsha. Going further we came across Archaeological Museum. The Archaeological Museum was established in the year 1982 and houses 181 antiquities, including sculptures, decorated architectural members and inscriptions found in and around Badami. We were tired after climbing the cave temples and chose to skip the Museum and moved on to Bhoothnath temple.  

The name comes from the mythology that Shiva killed demon called Bhoot at this site. It is worth noticing that no binding material is used while errecting the temple. The temple structure is simple and can be identified in three different sections. Adhishtan (plinth or base), Bhitti (walls) and Shikhar (top). This temple can be said to be in Dravidian style. Walls are plain without carvings and Shikhar is also simple. The walls have square and rectangular sections following one another. They are known as Bhadra and Subhadra. On top of them rising as Shikhar one sees square and rectangle, their number reducing (lantern roof) as we go up. The last is known as Vimana. Typical of Dravidian style of architecture. This is combined work of Badami Chalukya (6^th Century) and Kalyani Chalukya (around 11^th Century). The distinguishing factor is introduction of Jali on windows and round shaped pillars. Bhoothanath is Shiva temple. As you approach garbh griha, one sees two statues at the base of the door frame one on the left and another on the right of the door frame. These are sculptures of river goddesses. The left is Ganga and the right is Yamuna. Yamuna is seen on turtle and Ganga on crocodile. There is assistant seen with umbrella indicting that these are  goddesses. As a custom one has to wash his feet before entering the temple. This requirement is fulfilled as you symbolically cross these rivers. The Shivalinga is new and undated though the stone used is same. Dwarpalakas are seen and are not in Chalukya style, as informed, they were distorted by another architect (artist) from Vajrayan panth from Pallavas (Mahabalipuram, Kanchi).

At the southeastern end of Bhoothnath group is a cave shrine, in which there are rock-cut relief sculptures, the prominent one being of Vishnu. 

It is cave temple with Anantshayana. Vishnu is seen with Shridevi massaging his leg and Bhudevi near the head and Garuda standing in attention. The cave is small and one has to bend down to enter. From the naval of Vishnu one can see lotus with Brahma. With the help of Brahma, Vishnu took Dashavatar (ten incarnations). Those are carved on both sides of Brahma starting with Matsya (fish) and ending with Kalki (yet to come) seen with the horse.

Carved on the left of this relief (not seen in the picture), wall is decorated with temple with Shikhar and Trimurti (Vishnu, Mahesh and Brahma). Below them their transport is seen Garuda is complete, while others are not complete. 

After meanigful long day, we returned back to Badami Court Hotel for the night. next day we planned to Aihole and Pattadakal to see some more temples.  

 More in the next Blog.

 

The Alchemy of Pain

 

I came across a collection of poems, a book called “The Alchemy of Pain” by Reia N. “Alchemy” as the dictionary meaning goes is “a form of chemistry in the Middle Ages, which involved trying to discover how to change ordinary metals into gold”. The name itself is so intriguing that I was wondering, what “pain” has got to do with Alchemy? What pain can turn into or rather what pain can lead to? Whether an alchemist from Middle Ages is trying to take raw negative energy of pain (an ordinary metal) and alchemizing it into confident positive (gold) existence?
I must read the book!

Believe me I have never written about a book or reviewed any till date, but after reading this collection, or I may say, it is kind of memoirs of the pain & healing, I have to express, have to say something.

Who should read this collection? Everyone who can relate, connect, everyone who will not just acknowledge (sympathise) but honour, everyone who will not just be a spectator, but will rejoice & celebrate the win.

Readers, take my advice, read the book from “Dedication.” The poet makes it very clear that it is chronicle of her journey, her own unfiltered experience of suffering, healing & ultimately, transformation.

The moment I started the journey, holding author’s hand, the process of transmutation from nobody to somebody, from pain to recovery, to healing, from slavery to freedom, was unravelled for me.

The first step, one of the most crucial steps, the realisation of the bindings, chains. It is expressed in such an apt words:
….
“I hear the haunting echoes,
Of chains that clasp & gleam”

Then the resolve, rising from the deep within, to strain against the bindings, to break free :

“Yet within the soul’s cavern,
A spark ignites, unseen,
A whisper of defiance,
A vow to break the seam.”

and finally the success!!

“The chains that once confined me,
Now scattered at my feet “
….
The fight, the war, is far from over, rather it has just started. The mind is tied down for so long that it is unable to fathom what freedom is. All the courage & strength is used to break free but What’s next? She puts it simply

“It’s the hush after a scream,
Words trapped deep within,”
……

Filled with uncertainty, the whole truth is yet to dawn on her, for her to say something, she is unable to find the word to break the silence, which followed. The gap was not empty but filled with crisscrossed thoughts, sad memories of the past suffering, mind was crowded. As if after a long illness, we kind of forget, how to walk.
Then with realisation of truth, that chains are broken, as if there was illumination of thousand bulbs at a time, she becomes aware of her youth, her voice and long sought freedom. In her words:

“For the weight of silence heavy as stone,
Is shattered by the truth,
In the breaking, I’ve finally known,
My freedom, my voice, my youth”

Then,
“I take each echo gently,
And let it find its place,”
……

Despite all, it is not easy to move forward, memories of the past trauma keep coming back. The challenge was to face them without any self-pity or being miserable. All the sufferings, trauma of past has a role to play in shaping the present, has appropriate place in one’s life and it must be accepted gracefully, gently. Then only, one can be at peace with the past, and move forward confidently.
What comes next is a beautiful metaphor, “Shattered mirrors”. When in fear and pain one seeks help, support, and in the process unknowingly starts looking at oneself through the eyes of others, like a second hander. Every image that is seen is distorted and never close to reality. Like multiple images seen in pieces of broken glass, every image is yours, but none of them is you. Even if you put all of them together still it is not you. You are the one, who is standing and facing the world or the broken mirror. Realisation of this reality will take you miles ahead and kindle the spark within. The process of becoming whole, becoming one had begun:
….
“That in accepting all of me,
I have found deeper glow”
The inner strength, power to survive or the spirit will manifest itself only when put to ultimate test. Imagine you are in maze of tunnels with no light, absolute dark and you are looking for the light at the end of any of the tunnels. You know not, which way to go but with iron-will you keep going till the shade of black turns to grey and you realise you are there. The poet describes the moment nicely:

“I learnt even in the blackest hour,
That there is within me a hidden power,
To navigate the darkest maze,
And Walk into the Sun’s bright blaze”

It is obvious for everyone to show their best to others and hide behind facade of fake appearance. Scars and wounds are covered so deep and to such an extent that the fake appearance starts appearing real. It is captured in amazingly simple words:

…..
“They live beneath, where no one sees,
Amongst the roots of ancient trees”

Remembering the sordid past is like revisiting it, reliving the pain and suffering. Despite knowing it we tend to hold on to the sore wound too long, taking it deeper and making it more painful. Being uncertain about the future. In the bargain we stay put and don’t move, contradicting the principal characteristics of life, the mobility, to keep moving. Stagnant is over and dead. We feel guilty in letting go. Let go is not forgetting but not remembering, recalling, not reliving. Having faith in future, to move on. The poet puts it so nicely :

“The power lies in open hands,
In trusting life’s unfolding plans,
A strength that rises, pure and true,
In letting go, I found my new.”

The scars are red and not yet pale. Tears have barely dried and fears are still scratching the mind. Ankles can still feel the chill of bare metal. Shackles of doubt are twisting the mind. Shadows of past are looming dark. It takes time for the success to sink in, an effort to convince without conviction. It takes time to relearn to breathe a fresh. Time is the solution. In Reia’s words:

“Unshackled with time, from the fears that bound,
I move with ease, I’m safe, I’m sound!”
….

However tattered or battered you are, phoenix must rise through the rubble of war. The flight through adversity, finding the strength from within. The process once started has to conclude logically and emotionally as well. From dark to light. In her words, again worded beautifully:

….
“With wings of resilience, I take flight,
Through clouds of sorrow, into light!”

All along, what we have talked about is an internal battle, struggle internal to an individual, there may or may not be any overt signs, as all is happening in the mind. The process of healing, recovery is painfully slow and brings about subtle changes from within. Though very subtle they are profound. Resultant changes are apparent by way of ease with which one was facing the present, which was missing earlier, erstwhile challenges are no more challenging. The silence engulfing earlier was less of calm and more of storm. Post the subtle, profound changes the calm, peace rises from within and the individual can feel the radiance, glow in every part of his being. In her words:

“And though the world may never see,
These quite shifts inside of me,
I feel the weight I use to hold,
Grow lighter, as I become bold”

In majority of cases individuals try to get out of the storm, cyclone and get mercilessly turned and twisted by the storm. In my view author has travelled exactly in reverse direction, towards the eye of the cyclone. As the phrase goes "it is quite in the eye of the storm" she literally experienced it. She reached the “eye”, the soul, the spirit, which is always free and can never be tied, bound. The bondage is physical, in this context even the mind is physical, but the realisation of the same is very difficult. The turbulence is in peripheral, external layers of the mind. The poet seems to have gone deep inside pealing layers after layers of her mind till she reached her true self, the inner wisdom, the ever-free self, the bundle of throbbing happiness, rest is easy.

As rightly said by the poet, this collection is truly a testament to the resilience of the human spirit, where pain is not merely endured, but transformed into deeper self-understanding or enlightenment. It is a story of personal evolution, helping to become a more whole or integrated person in the end.

I will stop here and leave it to the readers to explore for themselves.
The book “The Alchemy of Pain” by Reai N. is available on Amazon / the E-book publishing store as Paper back as well as e-Book.

Link is as under

Amazon at: https://www.amazon.in/dp/9363302156/ref=sr11?crid=LQ235IKCLXL2&dib=eyJ2IjoiMSJ9.kBfK-CKUelZoaCS9mxosA.5IsZ0WyCr1YA4tbstBywdqNlDERzfp78EShZYmZH9JQ&dibtag=se&keywords=9789363302150&qid=1729047754&sprefix=9789363301146%2Caps%2C484&sr=8-1

 

E book version at: https://ebooks.bookleafpub.com/product-page/the-alchemy-of-pain-an-anthology-of-wounds-to-wisdom