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.