The Bugga Ramalingeshwara Temple: A Jewel of Vijayanagara Architecture

Bugga Ramalingeshwara Temple Gopura details

The Bugga Ramlingeshwara Swamy Temple at Tadipatri, Andhra. The temple represents the zenith of Vijayanagara architecture. The gopuras feature exquisite sculptures and carvings very unique to this temple.

The Ramalingeshwara temple in Tadipatri, Andhra is located on the banks of the Pennar river. The temple is dedicated to Shiva, Parvati and Rama.

Brief history of the temple. An inscription found at the temple mentions that the temple was constructed during the reign of Vira Narasihma Raya (elder brother of Krishnadevaraya). The construction was over seen by Saluva Timmayamgaru who was a mahapradhana.

This is the entrance gopura of the temple facing west. Its Adisthana is in 2 sections. The lower section contains from bottom upwards upana, patta, padma gala cut into compartments by short bhittipada (pilasters)

The upper section has a broad patta, tripatta, gala. The wall is decorated with a projection containing 2 pilasters, recess with kumbhapanjaras. The Kapota(cornice) above the wall is slightly projecting and contains Simhalalata design

The west Gopura, in front of the Ramalingeshwara shrine, features two-tiered adhisthana, wall motifs of kumbhapanjara and brickwork superstructure with a single tala, showing architectural variety

Rama & Parvathi shrine

Shrines of Rama and Parvati lie south of the main Ramalingeshwara shrine. They share a mukha mantapa with carved pillars and lotus ceilings, housing images of Rama, Lakshmana, and Sita.

Parvati Shrine Adhisthana

Bhuta Ganas

Devakoshta

Miniature Vimana

The Parvati shrine consists of a garbhagriha and antarala, standing on an upapitha and adhisthana. The base features intricate decorations, including hamsas, kinnaras, kapotabanda and simhalalata gables.

Paada details

Bhitti details

The outer walls are richly adorned with pilasters, niches, and vimanas with Nagara shikhara. The pilasters have Vijayanagara capitals & the cornice features projecting simhalalata gables. The shikhara follows the Vesara style with kuta, panjara and sala series

Ramalingeshwara shrine

The Ramalingesvara Shrine consists of a mukhamantapa with porches and three entrances, an antarala, and a garbhagriha, built on an adhisthana with intricate decorations, including kumbhapanjaras and Vijayanagara-style pilasters with simhalalata gables

Adhistana details

The adhisthana features upana, patta, adhapadma, gala, kumuda, gala with simha/kubja, vitana patta, gala, urdhva-padma and alingapattika

Pillar details

The Parvati shrine's pillars, in Vijayanagara style, feature ornate capitals with floral motifs, paired with niches and kumbhapanjaras, creating a rhythmic pattern. The pillars blend with the simhalalata gables and cornice above.

Gana

Bhakta

Gana

Hunteress

In conclusion, the Bugga Ramalingeshwara Temple is a prime example of Vijayanagara architecture, rooted in the principles of shilpashastra (science of sculpture and architecture). The temple features a dvitala vimana (two-tiered tower) over the garbhagriha (sanctum sanctorum), topped with a kalasha (finial), symbolizing divinity. The vimana (tower) follows the Dravida style with its kutas (square shrines) and salas (rectangular halls), arranged in rhythmic symmetry along the prasad (temple superstructure).

The adhisthana (temple base), with mouldings like upana (plinth), jagati (moulded platform), tripatta kumuda (three-folded moulding), kandhara (wall cornice), and prati (projecting band), forms a solid foundation for the temple. The bhitti (wall section) is adorned with karnakutas (corner shrines), kudyastambhas (pillar projections), and devakoshtas (niches for deities) with finely carved deities, adding depth and sacred significance. Vahanas (divine vehicles) in the bhadra (central) niches further enhance the divine aura.

The mukha-mandapa (entrance hall) is supported by elaborately carved stambhas (pillars), including kashtha-stambhas (wooden pillars) and andolitaka-stambhas (oscillating pillars), depicting vyalas (mythical lion-like creatures), makaras (mythical aquatic creatures), and other mythical beings as guardians. The rangamandapa (main hall), designed for rituals, features asanas (seats) and vedikas (sacrificial platforms), with pushpakoshtas (floral niches) and malastambhas (garlanded pillars) richly carved with floral patterns.

The kalyana-mandapa (wedding hall), used for divine ceremonies, is held up by alinda (balcony-like) pillars and features kritya-hasta (gesture of action) corbels that elegantly transition into the padmaposhaka (lotus moulding). The ceilings, or uparitala (upper tier), often have nasikabanda (arched) motifs and panjara (lattice) carvings that frame divine figures.

The pranala (water spout) emerging from the garbhagriha has a simhamukha (lion-faced) spout to drain abhisheka (ritual bathing) water, combining function with beauty. The hara (parapet) on the vimana, composed of karnakuta (corner pavilions), panjara (arched recesses), and sala (oblong structures) elements, creates a layered effect leading up to the amalaka (stone disc) and stupi (finial) atop the shikhara (spire).

The temple’s detailed elements, from devakoshta (deity niche) reliefs to prastara (entablature) designs, showcase not just artistic skill but deep spiritual symbolism. Bugga Ramalingeshwara Temple stands as a testament to Vijayanagara architecture, reflecting a blend of devotion, artistry, and architectural precision in every shilpa (sculpture) and vastu (design) aspect.

Myself at the temple

Exploring the Kirtinarayana Temple at Talakadu

Kirtinarayana Temple, excavated from under the sands in 1912

The Kirtinarayana temple is built in Hoysala style using granite. An inscription dates it to 1117 CE under Hoysala emperor Vishnuvardhana. Talakadu used to be the capital of the Gangas. 

Jagati 

Tradition says Kirtinarayana temple is one of five Vaishnava shrines founded by Vishnuvardhana after conquering Gangavadi. The temple faces east and stands on around 4 feet high upapitha platform. The vimana above features a large sabhamandapa or rangamandapa with open spaces

Jagati

The jagati closely follows the temple plan, providing a 6-8 feet space for pradakshina. Its moldings include vapra plinth, padma, kandhara with patta band and the kapotapali complex. Coaxial with the rangamandapa nave are three broad stairways with hastihasta banisters.

Adhistana

The vimana has bhadra, pratiratha, karna divisions. The adhisthana is prettily molded but unlike most hoysala temples lacks any figural carvings. Karna walls have niches with dravidakutas. Pratirathas have brahmakanta-bhadraka wall pilasters. Central niches have dravidakutas

Kakshasana

The hall's rear walls resemble a gudhamandapa. Rangamandapa starts at the western end of its side porches (parsvacatuskis) with three porches at bhadra points. Along the rangamandapa periphery runs a kakshasana with dry floral motifs

Srikara Pillar

Paada

The outer walls lack figural carvings of vyala busts or makara heads but have elegantly molded adhisthanas. The decorative treatment of the walls and niches, including the kutastambhas in the salilantaras and toranas in shallow relief

Mahadwara

In the Navaranga of the temple, 3 Vijayanagara period images of Alvars sit in padmasana. Nammalvar with a book, Pillai Lokacharya with hands in yoga mudra and Vedanta Desikar. A Lakshmi image is seated in padmasana with abhaya and padma mudra. I didn't photograph the interior

The murthi of Kirtinarayana in the garbhagriha stands on a Garuda peeta, about 10 feet tall. He is depicted in samabhanga posture, holding a shankha, padma, gada, and chakra in four hands. The prabhavali features the ten avataras of Vishnu. Didn't photograph the murthi

The sukhanasi doorway is a later addition to the temple. It features a stucco image of Anantashayana above the lintel. Inside the sukhanasi are two large oil bowls and images of Tirumangai Alvar and seated Narasimha. Didn't photograph it.

The Kirtinarayana temple at Talkaḍu stands as a remarkable testament to the architectural ingenuity and artistic sophistication of early Hoysala craftsmanship. Despite the challenges posed by its use of granite, the temple's design reflects a profound understanding of spatial dynamics and aesthetic proportions. From its grand vimana and intricately adorned rangamantapa to its unique columnar forms and detailed ceiling decorations, the temple embodies the transitional nature of Hoysala architecture. 

The History, Architecture and Sculpture of the Hoysala built Chennakeshava Temple at Somanathapura (PART II)

Chennakeshava Temple, Somanathpura

Continuing from where we left off in Part I, which can be read HERE

THE RAMAYANA PANELS

The Kapotabandha (frieze) of the temple contains scenes from the Ramayana, Bhagavata purana & Mahabharata. I've tried to decipher some of them. It starts with a scene from the Ramayana. It shows King Dasharatha seated in his royal court

Dasharatha seated in his court

Dasharatha on the advice of rishis performing Putrakameshti yaga for the sake of bearing children

The birth of Shri Rama

Namakarana of the children. Sumitra is seen holding twins Lakshmana & Shatrughna. Next to her is Kaikeyi holding Bharatha followed by Kausalya with Rama on her lap. Dasharatha is seated next to her

Babies are rocked in cradles

Babies learn to crawl

Now a little grown up, the 4 brothers are given martial training

Rama and Lakshmana accompany Rishi Vishwamitra to the forest

Rama kills Tataka rakshashi who would often harass rishis performing yajnas

Rishis resume performing Yajna as Rama and Lakshmana keep watch

Yajna attacked again by Tataka's son Maricha. He is defeated by Rama

Vishvamithra takes Rama & Lakshmana to Janaka's palace in Mithila

Rama lifts & breaks the Pinaka bow of Shiva, followed by Sita garlanding Rama

Panels depicting marriages of Rama with Sita & Lakshmana with Urmila

Newly wed Rama & Lakshmana travelling back to Ayodhya from Mithila in a chariot. They are stopped and challenged by Parashurama

Rama, Sita, Lakshmana & Urmila being welcomed in Ayodhya

Dasharatha and his 4 sons seated in durbar. On the bottom right side of the panel, Mallitama, the sculptor has left his signature in Kannada

This panel depicts the exile of Rama. He along with Lakshmana & Sita are taken away in a chariot by Sumantra

Rama, Lakshmana & Sita enter the forest and are received by the Rishis

Viradha, the rakshasa who tries to attack Sita is killed by Rama

This panel shows Lakshmana chopping off Surpanaki's nose. She is seen standing with her hands folded. In the next scene, Rama fights rakshasa brothers Khara and Dushana

Rama chases and kills Maricha who is in the form of a golden deer

Ravana abducts Sita. Following scene shows Jatayu fighting Ravana

Ravana kills Jatayu in battle. Sugreeva sees Sita's jewels

The Ramayana panel ends here with the meeting of Hanuman with Rama & Lakshmana

THE BHAGAVATA PANELS

The next set of panels depict the events surrounding Krishna's birth & childhood

The Bhagavata purana panels commence with Vishnu resting on Adishesha

This panel shows the durbar of Vishnu & Lakshmi

Devaki-Vasudeva's marriage procession. Kamsa is the charioteer.

Panel depicts Vasudeva exiting Kamsa's prison in Mathura. A prison guard is seen behind a door sleeping on the job. Vasudeva is seen crossing the Yamuna river holding the just born Krishna in his arms

Vasudeva arrives at Gokula. Panels depict him exchanging the new born Krishna with the girl baby (Yogamaya) of Yashoda

Two panels showing Krishna being handed over to Gopi at Gokula & Kamsa dreaming of Krishna's escape from Mathura

News of Krishna's escape being confirmed to Kamsa by prison guards

Panels depicting Krishna being brought up in Gokula, rocked in a swing, fed milk by Yashoda

Panel showing Krishna killing Putana rakshasi

People of Gokula traveling to Nanda's house to meet Krishna

Krishna kicking the cart & thereby killing Sakatasura

Krishna uproots the Arjuna tree, liberating Nalakubara & Manigriva

Krishna kills Bakasura, a rakshasa in form of a crane

Krishna stealing butter

People of Gokula migrating to Vrindavana

Krishna grants Vishvaroopa darshana to cowherds

Krishna plays in the groves on the banks of the Yamuna river

Krishna wrestles with Chanura, Mushtika & other wrestlers

Krishna dancing on Kaliya's hood after subduing him

Balarama kills Dhenukasura, the asura in form of a donkey

Krishna kills Gardabhasura, a donkey shaped asura with the tail of a horse

Krishna kills Aghasura, who assumes the form of a Python

Krishna lifting the Govardhana mountain. Indra is seen praying to him

Indra seen seated on his vahana, Airavata coronates Krishna. Indra gives the name "Govinda" to Krishna on this occasion

Panels depicting Krishna's Rasakrida with Gopis

Krishna kills asura Vyoma

Scenes depicting Krishna's arrival at Mathura

Panel depicting killing of the elephant Kuvalayapida by Krishna

Panels depicting scenes from the wrestling arena. It shows many prominent wrestlers like Chanura, Mushtika, Kuta, Sala ,Tosala & others

Krishna & Balarama wrestle and defeat Kamsa's wrestlers as spectators seated in the gallery watch on

Chanura & Mushtika are killed by Balarama & Krishna

Panels depicting the final battle with Kamsa. The last panel shows Krishna dragging Kamsa by his hair & killing him

Krishna killing Kamsa

The following panels show Krishna proceeding towards the prison where his biological parents Devaki & Vasudeva are held in captivity. He goes on to free them

Krishna reinstates his grandfather Ugrasena as the ruler of Mathura. The Bhagavata panels end here with a depiction of Ugrasena's durbar

THE MAHABHARATHA PANELS

The following panels depict episodes from the Mahabharata. Seen here is Dhritarashtra's durbar

Bhima displaying his immense strength by shaking a tree resulting in the Kauravas falling down from it

Pandavas & Kauravas receive martial training

Pandavas & Kauravas take to battlefield on their chariots

Dhritarashtra intervenes to prevent the war

Elders like Bhishma & Drona advice against war

Pandavas survive the assassination attempt at Lakshagriha. Carving of burning flames can clearly be seen

Pandavas escaping Lakshagriha to the forests via a secret passage

Pandavas in the forest

Hidimbi meets Bhima in Kamyakavana forest. Her brother Hidamba furious with her fights Bhima & is killed in the battle

Hidmbi gives birth to Ghatotkacha who is seen in a cradle suspended from a tree

Pandavas travelling to Ekachakrapura

Bhima carrying a cart full of food for Bakasura. Next panel shows Bhima killing Bakasura

Pandavas arrive at Drupada's kingdom in Panchala where they stay at a potter's house. The potter can be seen working with his wheel in the left

Scenes from Draupadi's swayamvara. Arjuna hits the golden fish eye with his bow & arrow. The fish can also be seen in this panel. Next panel shows Draupadi garlanding Arjuna

Duryodhana, Karna & other Kauravas attack Draupadi & Arjuna. A battle is fought on chariots. They are all defeated by Arjuna

Pandavas return to Hastinapura with Draupadi

A great sabha is held in Hastinapura where the Kauravas on the advice of Shakuni coerce the Pandavas into playing the game of dice

Krishna advises Arjuna to build a new capital by clearing a forest known as Khandava

On the advice of Krishna; Arjuna burns down the Khandava forest

This panel describes the episode of Kiratarjuniya. Arjuna performs a series of penance to obtain the Pashupatastra of Shiva. This weapon would make him nearly invincible. Shiva assumes the form of a Kirata (hunter) to test Arjuna's abilities

Sanjaya narrating the events of Kurukshetra war to Dhritarashtra

Bhima fights & kills Dushasana

War scenes

Karna, seated in yogic posture is appointed as the Senapathi of the Kaurava forces

More war scenes. We can clearly see apart from elephants & horses, camels were used in the Kurukshetra war

The Mahabharata panels conclude with this particular panel showing the victorious Pandavas in a seated posture under a canopy

As seen in the picture, there are 6 layers of carvings around the temple in this order:
1) Elephant
2) Horse
3) Floral
4) Carvings from Bhagavata, Ramayana & Mahabharata
5) Small sculptures of various deities including 24 forms of Vishnu
6) Railing carvings of Prahlada

THE PRAHLADA PANELS

Panels showing Prahlada subjected to torture by soldiers on the instructions of Hiranyakashipu

Elephant let loose on Prahlada in order to stomp him to death

Prahlada set on fire

Prahlada threatened with beheading

Prahlada thrown into the sea . Fish & turtle carvings can be seen

Narasimha fights & slays Hiranyakashipu

Narasimha blesses Prahlada

Garuda

Bali requesting Shukra no to prevent his gift to Vamana

Bali gives daana to Vamana. Next to this panel is a small carving of Vishnu

TEMPLE INTERIOR

Lets have a look at the temple interior. The temple has 3 cells each housing a murthi of Venugopala ,Keshava & Janardhana.

The south garbhagriha houses a murthi of Venugopala. The doorway leading to south sukhanasi has a lintel featuring a carving of Venugopala. Above this is a carving of Lakshminarayana seated in suksana

Lakshminarayana & Venugopala

Jaya

Vijaya

The uttaranga portion of the garbhagriha doorway features a carving of a dancing form of Vishnu

Inside the garbhagriha stands this magnificent murthi of Venugopala. The height of the murthi including the pedestal must be around 7 feet. Here Krishna is represented as being fully ornamented. He stands crossing his legs and leans against a tamala tree

The torana features various carvings including that of these cows, who have lifted their heads up & intently listing to Krishna playing the flute

The torana has carvings of various rishis. Near its edges are carved the 10 avataras of Vishnu

The doorway leading to the west sukanasi has a lintel featuring a carving of a standing image of Keshava. Above this a carving of Gaja Lakshmi

West sukanasi ceiling

West garbhagriha doorway. On the lintel is an image of Lakshminarayana. Above this is an image of Vishnu seated in sukasana

Inside the garbhagriha is this replacement murthi of Keshava. In each of his 4 arms, he holds a Shanka Gada, Chakra & Pushpa. This is actually not the original murthi which was probably destroyed or smuggled away

Dwarapalaka

This is the doorway of the north sukanasi. On its lintel is an image of Janardhana. Above this is an image of Lakshmi-Narasimha

North sukanasi ceiling

The north garbhagriha doorway. It features images of a seated Lakshmi holding akshamala, chakra, shanka & kalasa. Above this is an image of Yoganarayana seated in yogasana posture

The garbagriha houses this brilliant image of Janardhana. Each of his 4 arms holds a chakra, shanka, gada & pushpa. He is flanked on either side by ayudhapurushas. The torana also features the dashavatara

Fluted column from the rangamantapa

Srikara column from the rangamantapa

Sabhamandaraka ceiling from the rangamantapa

Nabhicchanda ceiling from the rangamantapa

This smaller gudi in the rangamantapa originally housed a murthi of Ganesha. A miniature carving of Ganesha can be seen on the Lalatabimba. The ASI has now placed a murthi of Lakshminarayana inside the gudi. The original Ganesha was either destroyed or smuggled away

This gudi once housed a murthi of Mahishasuramardhini. Now its empty

TEMPLE EXTERIOR

East facade

South Vimana

West Vimana

North Vimana

The Vimanas are all built in the plan of a 16 pointed star in the shape of a lotus. On top of the Shikhara is a heavy round kalasa. Some of the carvings seen on the Vimanas are that of simhamukha, kirtimuka, makara, yaksha, gandharva etc

Adisthana & Jangha

North side Adisthana & Jangha

Urdhvajanga

Asanapatta & Kakshasana

Myself at the Temple

I would like to conclude this post by expressing my deepest gratitude to my Mother, who has been a constant source of support and encouragement. She has been instrumental in my journey to decipher these carvings. Her profound knowledge of the Puranas, Itihasa & Shastras not only inspired me, but also guided my understanding, making this endeavour all the more enriching. Thank you all for reading the post.