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## Action
### URL
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## Media
### Audio
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### Audio Subtitles
### Floorplan
### Image
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### Subtitle
panorama_9C64D4B0_8E3F_C072_41B0_284540DB5502.subtitle = Also known as Dhyana mandir or Pinchi temple, as it resembles a ‘Pinchi’ (or Picchi) - peacock feathers. The architecture incorporates the design of colourful peacock feathers on the exteriors - & is inspired by the peacock feather broom used by Jain monks to clear an area of insects or organisms to prevent any harm when they sit down. \
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This 81-ft tall singular design – which took 18 months to build & completed in 2014 - is recognized by 'Unique World Records' and was built in honour of the Digambar Jain saint, Shantisagarji Maharaj (1872-1955). The temple’s interior contains paintings depicting the significant events in the life of Acharya Shantisagar and also has his statue at the center. \
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Acharya Shantisagar, born in Belgavi, Karnataka dedicated his life to religious pursuits. He preached principles of Digamber religion across India, and was responsible for reviving traditional Digamber practices in North India. \
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After taking in the serene surroundings, we can proceed to the top of the hill – either by climbing the 400+ steps that can seen marked on the hill or by the road around the hill & along the Mydala lake. If you climb up, you'd first come across the Mahavir Samavasarna; if by road, you could either enter the temple complex via the main entrance or the Samavasarna by the side entrance.
panorama_901ED0E6_9E57_F6EA_41BC_E3B39CAB566D.subtitle = As we enter the premises of the basadi, we see Mahaveera Samavasarana. Samavasarna is the divine preaching hall of a Tirthankara, meaning refuge for all - (Sama=general; avasara = opportunity). This is the pavilion where everyone – gods, monks, commoners and even animals – gets the opportunity to listen to "Deshna". Deshna refers to the speech of a Tirthankara, believed to be in a language that can be understood by all creatures. \
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In the depiction of Samavasarna here, we can see Mahavira seated facing east under an artificial sal tree; with representations of him in the other 3 directions – so that everyone in the audience feels that the tirthankara is facing him. After he achieved kevala jnana (enlightenment), he sat under a Sal tree and conducted sermons and that aspect is depicted here. There are 4 wide roads leading upto the central platform, with a Manastambha(literally meaning a column of honour) on each side. In the circle closest to Mahavir, are seated his ganadharas or chief disciples who seek clarifications and consolidate the knowledge gained into the shastras. The lanchhan of Mahavira - the lion - are also shown in the circle. The first tier of the pedestal consists of depictions of Ashtamangal – 8 auspicious symbols & Pratiharya - 8 divine accompaniments. The second tier consists of depictions of 16 auspicious dreams that mothers of key Jain figures have ahead of their births. The 3rd tier consists of carvings of Nandyavarta – their elaborate swastika symbol.
panorama_6D8CED10_728B_C839_41CA_009D34CCC31C.subtitle = Based on recent fieldwork & research, it is now believed that this is the idol of Bhagwan Chandraprabha (Chandranathaswamy) installed by Machiyakka. He is depicted in a kayotsarga mudra (standing posture), with his yaksha Shyam to his right and yakshi, Jwalamalini (Jwalini) to his left. It is interesting to note that Jwalamalini (Jwala = Fire; malini = one who wears a garland) was one of the most widely invoked yakshinis in earlier times, and is described as the fire goddess. Some of her depictions show flames arising from her head. \
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The ceiling of this shrine is beautifully carved with the Ashtadikpalakas – with Bhagwan Parshwanath in the center. Ashtadikpalakas (Ashta = 8; dik = directions; palaka = rulers or guardians) are the deities who protect the eight directions, ensure orderliness of the universe and protect its occupants. \
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After visiting the main shrines, while heading back we can visit the ruins of an ancient temple near the foothills (near the parking lot), from where we also get scenic views of Mydala lake
panorama_CE6FB343_DF9A_6C84_41E2_5B364E664056.subtitle = On the northern side of the Samavasarna is the main temple complex, housing four similar looking shrines. The shrines date back to the 10th century – although they do not appear so on account of the many elaborate & intensive renovations over the years. \
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The first shrine is dedicated to all the 24 Tirthankaras, the 2nd & 3rd to Bhagwan Parshwanath and the 4th to Bhagwan Chandraprabha. There is a manasthamba in front of the Chandraprabha shrine. At the corner is a shrine dedicated to the Kshetrapala – or the protecting deity of the region. \
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Inscriptions found here indicate that Machiyakka constructed the temple in memory of her mother Chandavve – and accompanying Hoysala architecture indicate that the Chandraprabha idol was the one installed by her.
panorama_93F5A162_9E39_17EA_41E1_190CC96718AE.subtitle = The first shrine does not house a specific deity, but depicts all the 24 Jain Tirthankaras. \
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Tirthankara, a Prakrit word, is used specifically for the one who has conquered all his instincts and has no worldly desires, and having ended his cycle of birth and death by attaining Kevala gnan (enlightenment), acts as a supreme spiritual guide and teacher of the righteous path to others. Tirtha is a fordable passage across samsara - the cycle of life & death. Tirthankara translates to "one who builds a bridge" symbolizing their role in guiding followers to cross the bridge from samsara towards moksha (spiritual enlightenment & liberation). \
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According to Jain cosmology, the wheel of time is in 2 halves – ascending & descending – each being graced by 24 Tirthankaras. In the present cycle - said to be the descending half - Rishabhanatha was the first, while Mahavira (599 BC – 527 BC) was the 24th & the last Tirthankara. All teachings of the Tirthankaras are aligned; they would have differing emphasis in different eras, but without any contradictions, with the main principles of Jainism being: \
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Ahimsa (Non-violence) \
Satya (Truthfullness) \
Asteya (No stealing) \
Aparigraha (Detachment from material pleasures, non-possession) \
Brahmacharya (Chastity) \
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Most of the Tirthankaras are depicted in their enlightened phase or in a state of nirvana (bliss); and are either in a Padmasana/Ardh-padmasana (seated cross-legged posture) or Karyotsarg mudra (standing posture). They hence appear to be similar – but can usually be distinguished by their unique lanchhan (emblem) embellishing the statue. \
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A notification about the donors for the renovations of these shrines can be seen at the bottom. \
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We now visit the next shrine dedicated to Bhagwan Parshwanatha
panorama_D2D5CE60_C9B3_FF91_41E7_11E01BBAEE62.subtitle = The first thing that catches our eyes is a colossal statue even before we enter the lawns at the foothills. This 21 feet (6.4 metres) monolithic statue on a large lotus pedestal, inaugurated in 2011, is that of Bhagwan Chandraprabha, the 8th Jain Tirthankara – also known as Chandranatha. At the center of his chest, we can observe the Shrivatsa – the auspicious mark symbolizing the attainment of the highest knowledge – a common feature of the Jain iconography of Tirthankaras. The lanchhan - which, like an emblem, is the distinguishing & identifying feature of a Tirthankara statue - of Chandraprabha is Shashi– the crescent moon. This can be seen just below the feet, adorning the pedestal. He is shown standing on a lotus throne, which symbolizes purity, detachment and spiritual awakening – just as a lotus emerging from muddy waters remains unstained. \
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Close to the feet of the statue, are depictions of his associated Yaksha & Yakshini – the attendant male and female celestial beings – Shyam & Jwalamalini (or Jwalini). They serve and protect him on his spiritual journey, and are depicted in graceful poses, symbolizing divine guardianship and protection. \
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Below the statue is a unique sculpture of a cow suckling a tiger cub and a tiger feeding a young calf - symbolic of the harmony among all living beings. \
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After marvelling at the statue, we proceed to the Guru mandir, through the gateway & lawns on the right.
panorama_91DF5B7D_9E37_0BDE_41D4_B5314E7E8BBD.subtitle = The second shrine is dedicated to Bhagwan Shri Parshwanath, the 23rd Tirthankara. He is the spiritual successor of the 22nd Tirthankar Bhagwan Neminath. He was born around 8th century BCE, approx. 300 years before Bhagwan Mahavira, as the son of King Ashwasena & Queen Vamadevi of Varanasi of the Ikshvaku dynasty and was named Parshvakumar. He renounced worldly pleasures at the age of 30, and through penance and meditation achieved keval gnan (enlightenment) shortly. He preached for 70 years thereafter, and is venerated for his teachings on non-violence and moral integrity. He attained moksha (salvation) at the age of 100, at Sammed Shikarji in present day Jharkhand. \
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Shri Parshwanath is shown here in kayotsarga (standing) posture. Dharnendra and Padmavati – the Jain snake god & goddess - are his yaksha & yakshi (attendant spirits) depicted in the accompanying panel. We also observe a 7 headed serpent in the background providing a shield over his head, fanned out like an umbrella. His lanchhan – emblem or distinguishing feature of his depictions - is also a snake, carved on his pedestal. \
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Interestingly, the 7th Tirthankara, Bhagwan Suparshwanath is also often depicted with a hooded serpent – the difference being that he usually is depicted as shielded by a 5-headed snake; whereas Parshwanatha is depicted as shielded by a serpent with 7 or more heads.
panorama_901A4D1F_9E49_0F59_41D0_C358DFEBE28B.subtitle = The third shrine is also dedicated to Bhagwan Shri Parshwanath, the 23rd Tirthankara. However, unlike the 2nd shrine, he is shown here in the Padmasana (seated) posture on a pedestal Also, while the 2nd shrine depicted him with a black stone idol, the deity here is in white with a golden aura behind him. Here too, he is depicted as shielded by the hood of a 7 headed serpent. He is flanked by his yaksha, Dharanendra dev on his right and yakshi, Padmavati devi on his left. \
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An interesting feature to observe is the golden bhamandal – the halo behind the deity's head. It is a representation of the powerful aura emanating from the tirthankara, owing to his omniscience and spirituality. All the deities in these shrines are shown with the bhamandal.
panorama_9003924D_9E57_353E_41D0_4552A8D0C853.subtitle = This is the view that greets you if you've taken the road to reach the Basadi - as Jain temples are known in Karnataka. Recent fieldwork & research by Dr Paramshiva Murthy revealed additional details about the Basadi. \
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An inscription dating back to 1160 AD found here mentions that the hilltop temples were built by Machiyakka , the wife of Dandanayaka Ereyanga – Commander in Chief of the Hoysala King Narasimha I. Known for her devout Jain beliefs, Machaiyakka contributed to Jainism's prominence during the Hoysala period. She is said to have constructed both the basadi and a lake nearby called Padmavathi kere . \
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It is now believed that the small lake at the foothills of the hillock (adjacent to the current parking area) is the Padmavathi kere built by Machiyakka. Other inscriptions indicate the Mydala lake to belong to 9th century AD, and that a village nearby was called Mayindapolal built in memory of Nolamba king Mahendraraja I. \
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The ruins of an ancient temple can be seen from here as well - to the North of the Basadi – which we can visit at the end. The abandoned temple & other carvings of Parshwanath found here are believed to have been the reasons for this place being called Divya Tirtha, as mentioned in inscriptions – much before the construction of the basadi by Machiyakka. \
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We will walk up the slopes and first visit the Mahavir Samavasarna. \
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Reference: https://www.jainheritagecentres.com/jainism/jain-epigraphy/mandaragiris-jain-heritage-rediscovered/ \
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Fieldwork & research led by Dr D V Paramshiva Murthy (Tumkur Univ.)
panorama_D2CC3BF1_C9B2_0473_41E0_75601C0D73DE.subtitle = To the north of the basadi, near a huge boulder (adjacent to the parking area), we see the ruins of an abandoned temple. This temple is adjacent to a small pond, that is believed to have been built by Machiyakka for the basadi, and named Padmavathi kere. (lake) \
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We can see broken pieces and remains of pillars, lintel (i.e. the supporting beams) and manastambha of an ancient temple. A chipped & eroded statue of an elephant that may have been part of an entrance is also seen here. On the boulder is a large engraving that appears to be of a tirthankara in the padmasana posture, seated under a tree, with other embellishments in the background. Unfortunately, the engraving is in very poor condition, being chipped & eroded away by nature or miscreants. Research by Dr Paramshivam Murthy & team of Tumkur Univ. opined that this temple is from 10th century AD, and is that of Bhagwan Parshwanath. \
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The Mydala (Maidala) kere forms a very scenic setting for the basadi & ancient ruins. Soak in the tranquility and peaceful surrounds. \
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We hope you enjoyed your visit and our augmented guide. Please do take some time to share your feedback & suggestions via a short survey by clicking on the Exit button. \
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Thank you & Safe travels!
panorama_0BF911BC_16F3_3A49_419F_A07A63A5B066.subtitle = Welcome to Mandaragiri Hills. \
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Also known as Basadi betta (Basadi = Jain temple; betta = hill), this is an important Digamber Jain pilgrimage centre, nestled in the rocky terrains of Tumkuru district, embraced by tranquil water bodies– the large Mydala (or Maidalada) kere (=lake, in Kannada) to the north and a small lake to its east. \
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There are three key places to visit in the vicinity: the modern Chandranatha Tirthankara statue & the unique Guru mandir at the foothills, and the group of ancient Jain temples - the basadi - at the top of the imposing monolithic hillock. \
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We will start our visit at the temple complex at the foothills with the imposing Tirthankara statue
### Title
video_10305FAA_0E78_41AD_41A7_7642C4D25075.label = 01. Welcome pano (Mandaragiri hills)
video_17976161_0E78_5EDF_419A_05B65DFB0B55.label = 02.- Chandraprabha statue
video_17818576_0E78_C6A5_4183_32842FEF3163.label = 03.Guru mandir
video_1784EB53_0E88_C2E3_41A1_94FF94BD6655.label = 03a Basadi entrance
video_17A498DE_0E87_CFE5_41A5_262A6BDCC703.label = 04.Mahaveeraswamy samavasarana
video_179AED5B_0E78_46E3_418C_DDD776F4AD35.label = 05.maintemplecomplex
video_179D43E8_0E88_41AD_4141_923F29C9B2F8.label = 06. 1st Shrine
video_0CD5BD8A_1156_8839_4186_23E9C6F56862.label = 07. Second shrine - Sri Parshwanatha
video_17E2A5DB_0E78_41E3_4145_4991B0076BF5.label = 08. third shrine - Sri Parshwanatha swami
video_09BA3E7C_178E_DB29_41AF_BF8F00FA9CF7.label = 09. Fourth Shrine - Sri Chandraprabha
video_179CD823_0E78_CEA3_4185_96ADC84940DE.label = 10. temple ruins
photo_C9E6A108_DFFD_AC84_41E4_69127759C4D6.label = 14 24 Tirthankaras
photo_BC15482E_AE92_6141_41CB_C45E151EC220.label = 15 Ashtadikpalaks
photo_F8846AF8_E1A3_C1B9_41E9_0368EFF78E2C.label = 16 16 Auspicious Dreams
photo_CE8A8472_D0EB_09C4_41D9_239646CFB70E.label = 19 Ashtamangal
photo_C8E61AD4_DA9D_BD8C_41A5_D4E0FC8028BB.label = 19a Nandavarta
photo_BD6174BD_AE8E_A143_41E4_94E747FA5062.label = 21 Pinchi
map_6A6A7E56_78C9_E8E5_41C1_FF5E55EE0593.label = 22 Map
photo_5142A5A8_779E_12D0_41C9_FC92DF7C8632.label = 23 HelpScreen
panorama_9003924D_9E57_353E_41D0_4552A8D0C853.label = Basadi Entrance
panorama_6D8CED10_728B_C839_41CA_009D34CCC31C.label = Bhagavan Chandraprabha
panorama_901A4D1F_9E49_0F59_41D0_C358DFEBE28B.label = Bhagavan Parshwanatha
panorama_91DF5B7D_9E37_0BDE_41D4_B5314E7E8BBD.label = Bhagavan Parshwanatha
panorama_D2D5CE60_C9B3_FF91_41E7_11E01BBAEE62.label = Bhagwan Chandraprabha
panorama_9C64D4B0_8E3F_C072_41B0_284540DB5502.label = Guru Mandir
photo_D17E8302_C98E_0591_41E6_5651F80A5E65.label = HelpScreen
panorama_901ED0E6_9E57_F6EA_41BC_E3B39CAB566D.label = Mahavir Samavasarna
panorama_CE6FB343_DF9A_6C84_41E2_5B364E664056.label = Main temple complex
panorama_D2CC3BF1_C9B2_0473_41E0_75601C0D73DE.label = Ruins
panorama_93F5A162_9E39_17EA_41E1_190CC96718AE.label = Tirthankaras Shrine
panorama_0BF911BC_16F3_3A49_419F_A07A63A5B066.label = Welcome
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### Video Subtitles
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### Body
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htmlText_53770294_73AA_36F7_41C9_DE55418ADE6B.html =
htmlText_8BB2C909_9814_D2B2_41DA_B491F8940D65.html = CREDITS
Research
Pathika Technologies team
Key References include
Mysore Archaeological Department Reports
Tumkur Gazettes
Epigraphia Carnatica
https://jainknowledge.com/
https://www.jainheritagecentres.com
https://encyclopediaofjainism.com
https://www.jainsamaj.org
https://www.storiesbyarpit.com
Voice
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<<Repetition - As also seen at the statue of Chandraprabha>>
Chandraprabha is the 8th Tirthankara of Jainism. Tirthankaras are revered as spiritual leaders who attain enlightenment and guide others towards liberation.
Chandraprabha was born to King Mahasena and Queen Lakshmana Devi at Chandrapuri, near Varanasi, of the Ikshvaku dynasty. He was born with a very fair complexion, and hence was named Chandraprabha (Chandra = moon; Prabha = glow). He was however indifferent to the pleasures and riches he was born to, and after a short reign as king renounced the throne. He became an ascetic and after just 3 months of austere practices attained keval-gnan (absolute knowledge). After achieving enlightenment, Chandraprabha guided lakhs of others on the path of righteousness and spiritual fulfillment through his teachings. He is celebrated for his teachings on meditation and self-awareness.
Nandyavarta (or Nandavarta) is one of the 8 Ashtamangal or auspicious symbols. It is an elaborate swastika with four arms having nine turns/corners each. These symbolize nine types of material, mental, physical and spiritual wealth & treasures in mythology. The symbol is used for meditation, and is often drawn with rice before prayers.
It is interesting to contrast this manastambha to the more recent structure at the Samavasarna. There are only 2 tiers to the pedestal here, and most of the embellishments have eroded. It has a depiction of Chandraprabha at the base of the stambha, as well as seated Tirthankaras facing all 4 directions within the mantapa at the top. The majestic monolithic pillar transforms from a square shape at the base, to an octagonal shape in the middle to a fluted end supporting the mantapa.
Jain texts highlight 16 auspicious dreams experienced by mothers of significant Jain figures at conception, symbolizing the child's virtues. These dreams are often depicted as decorative elements in Jain temple architecture.
The pedestals of the manastambha here around the Samavasarna are adorned with intricate carvings of animals & birds. The stambha has carvings of tirthankaras in the 4 directions at the base in the kayotsarga (standing) posture. We can see it embellished with carvings of Nandyavarta (complex swastika) and kalasha (holy pitcher) - which are part of the Jain Ashtamangalas (8 auspicious symbols), and other decorations all around. The mantapa on top also has idols of Tirthankaras, but in padmasana posture.
It is interesting to compare these recent decorative manastambhas to the one inside the main temple complex which while majestic, is less elaborate.
Chandraprabha is the 8th Tirthankara of Jainism. Tirthankaras are revered as spiritual leaders who attain enlightenment and guide others towards liberation.
Chandraprabha was born to King Mahasena and Queen Lakshmana Devi at Chandrapuri, near Varanasi, of the Ikshvaku dynasty. He was born with a very fair complexion, and hence was named Chandraprabha (Chandra = moon; Prabha = glow). He was however indifferent to the pleasures and riches he was born to, and after a short reign as king renounced the throne. He became an ascetic and after just 3 months of austere practices attained keval-gnan (absolute knowledge). After achieving enlightenment, Chandraprabha guided lakhs of others on the path of righteousness and spiritual fulfillment through his teachings. He is celebrated for his teachings on meditation and self-awareness.
Mahavira - born as Prince Vardhamana in the early 6th century BCE to King Siddhartha and Queen Trishala of the Ikshvaku Dynasty in Vaishali (modern Bihar) - chose a life of simplicity and detachment despite his royal lineage. His parents, devout followers of Parshvanatha, encouraged him to marry Yashoda, with whom he had a daughter, Priyadarshana. However, at the age of 30, driven by a deeper calling, he renounced his royal life to seek spiritual enlightenment.
For 12 years, he lived as an ascetic, enduring rigorous penance and deep meditation, eventually attaining Keval Gnan (supreme knowledge). As the 24th and last Tirthankara of this era, Mahavira spent the next 30 years spreading his teachings in local languages, encouraging participation by people across all social standings. He emphasized that the path to moksha (liberation) was through Samyak Darshana (right faith), Samyak Jnana (right knowledge), and Samyak Charitra (right conduct). His teachings were compiled into the 12 Agamas, forming the foundation of Jain philosophy and reviving the Jain order.
Mahavira attained nirvana at the age of 72 in Pawapuri, Bihar, around 500 BCE. He is usually depicted in a sitting or standing meditative pose. His lanchhan (emblem) is a lion.
Pinchi (or Pichhi) is a peacock feather broom used by Jain monks, as a tool of compassion and symbolizes their adherence to non-violence. Any area that a monk is likely to use – for sitting or any activities – would be gently swept with the broom, made of naturally shed peacock feathers. This is done to clear the area of any living organisms, so that they are not inadvertently harmed. Peacock feathers are used so that they don't even cause injuries to the small organisms in the act of sweeping.
Ashtadikpalakas (Ashta = 8; dik = directions; palaka = rulers or guardians) are the deities who protect the eight directions, ensure orderliness of the universe and protect its occupants.
They are often represented on the walls & ceilings of temples, with variations in depictions - such as different vahanas, and without consorts.
At some places, there can also be representations of Dasa dikapalaka (10 Guardians) - where Brahma & Vishnu are included in the Zenith & Nadir directions (away & towards gravity)
The term Manastambha translates to "Column of Honour," derived from the Sanskrit words Mana (pride, eminence, or ego) and Stambha (pillar). These majestic pillars symbolize faith, spiritual commitment and humility, believed to have been constructed by Lord Indra at the four entrances to a Samavasarana (divine assembly). For this reason, they are also called Indradhwajas. With their intricate designs and towering presence, they celebrate the spiritual achievements of the Tirthankaras while reminding visitors to shed their ego and embrace equality before entering Jain temples.
Typically placed in front of Jain temples or statues, Manastambhas are unique features representing the Samavasarana. Their height, often 12 times that of the main deity, and their structure reflect profound symbolism. The base typically features three steps, representing the foundation of spiritual growth: Samyak Darshana (right faith), Samyak Jnana (right knowledge), and Samyak Charitra (right conduct). The pillar itself, square or octagonal, stands as a metaphor for strength and stability on life’s journey. At the top, a mantapa houses Tirthankaras facing four directions, symbolizing devotion and adherence to their teachings. The shikhara and kalasha crowning the structure represent enlightenment.
Manastambhas are richly adorned with religious motifs, including the Ashtamangala (8 auspicious symbols) and Pratiharyas (8 divine accompaniments granted by the Gods to a tirthankara, such as their golden seat, their bhamandal (aura), chhatras (divine umbrellas), making them not only architectural marvels but also profound spiritual reminders.
There is a fascinating legend of Parshwanath and his yaksha & yakshi, the snake god Dharanendra and Padmavati.
On one of his walks, the young prince Parshvakumar encountered a monk named Kamath performing rituals with his sacrificial fire. Sensing the harm to living beings caused by burning wood, Parshwakumar urged Kamath to stop. However, Kamath ignored his plea and added a log to the fire. With his divine vision, Parshwakumar saw a snake couple trapped inside the log. He tried to save them, but though he pulled the burning wood out, it was too late—the snakes were mortally wounded. The disproval of his arguments and subsequent resentment by his followers caused Kamath to feel humiliated and enraged by Parshvakumar's interference.
The snake couple were reborn as Dharanendra & Padmavati, the snake god & godddess. Kamath pursued intense penance, and was reborn as Meghmali – the lord of rain.
Years later, after renouncing his royal life, Parshwakumar was meditating when Meghmali, fueled by past anger, unleashed a fierce storm. Soon the flood waters threatened to engulf the oblivious monk. Noticing this, Padmavati bloomed a lotus under the monk to lift him above the swirling waters. Dharnendra spread his hood over his head to shield him from the fierce rains, and severely admonished Meghmali, who realized his folly and sought forgiveness for his evil deeds.
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Naga Shrine
Nagas are semi-divine entities, half-human and half-serpent and are believed to reside in Patala (netherworld).
In Hindu iconography, they are typically depicted in three forms: as entirely human adorned with snakes from head to toe, as half-human, half-snake or as a serpent.
In India, they are worshipped as nature spirits. They are often associated with water bodies, wealth and treasures, and most importantly worshipped by women as a symbol of fertility.
Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
This is one of the three kalyanis in the temple: the other one is just behind the mantapa at the entrance, and the largest & main kalyani is to the north of the main temple complex, adjacent to the Vasanta mantapa.
The intricately carved Yali pillars can be seen near the entrance. Inside the mantapa there is a raised platform where the deity might have been placed for the ritualistic bath. All the pillars in the mantapa have carvings of deities, sages, animals, and scenes from daily lives of people, enhancing the beauty of the Mantapa.
This panel depicts Shiva Parvati along with Nandi in human form, and madanikas who seem to be welcoming them.
Beautifully carved birds can be seen on the upper part of the panel and ganas are depicted on the lower part.
Mahanavami dibba
The term "Dibba" in Telugu means a "mound," which essentially describes it as a raised platform. The King or elders would be seated on this platform, and it played a central role during festivals like Dasara and Mahanavami, serving as a stage for viewing grand processions.
This structure appears to be a smaller version of the Mahanavami Dibba in Hampi.
The Mahanavami Dibba in Hampi, built by the Vijayanagara rulers, is an important historical structure.
Located near the market area, this elevated platform is adorned with intricate carvings. What's intriguing about the dibba at Hampi is that there's a hidden door that leads to an underground tunnel connecting directly to the royal palace, likely for safe & convenient travel.
There are ornate engravings on the panels and walls behind the Umamaheshwara shrine. One of the panels depicts Saptarishis with the Trimurtis (Brahma, Vishnu, Shiva) and another panel depicts a set of deities.
This kalyani or water tank was constructed by the Vijayanagaras as a part of horizontal expansion. This is a specific feature of the Vijayanagaras.
This kalyani was mostly used for the ritualistic bathing of the temple deity. The water from here might have been carried to the Vasantha mantapa for the ritualistic bath.
The Kalyanis may have not just been of ritualistic importance but also as a part of social importance.
Research was conducted on the subterranean water flow and its points of discharge, with the aim of comprehending the strategic locations for the construction of Kalyanis.
This is the largest kalyani in the temple complex. The Kalyani has 20 steps, and a pillared porch on an elevated platform surrounding it, with doorways at four directions.
Initially the gopura on top was constructed from bricks but it did not stand the test of time. The ASI has rigorously & scientifically reconstructed the gopuras as they were, without any changes and to the same dimensions as before.
It is believed that the kalyani may also have been used by the devotees considering the entrance into the kalyani is directly from the outside of the temple complex. Also considering the architecture of the kalyani and the courtyard surrounding it, It may also have served as a resting space for devotees or a social space for the people of neighboring villages.
The second kalyani of the temple is just behind the mantapa at the entrance. The exact date of construction of this kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.
Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace.
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