The Veerabhadra Temple in Lepakshi stands as a testament to the awe inspiring architectural brilliance of the Vijayanagara Empire. Located in the Anantapur district of Andhra Pradesh, this temple holds deep historical, cultural, and religious significance. Built during the 15th century, the temple complex serves as a sanctuary dedicated to Veerabhadra, a fierce manifestation of Shiva.
The Veerabhadra Temple in Lepakshi exhibits a unique blend of architectural finesse, intricate carvings, and vibrant frescoes. This sacred temple not only captivates devotees and art enthusiasts but also enthralls historians and scholars alike, offering a window into the opulence and artistic prowess of the Vijayanagara Dynasty.
In this post, we will delve into the historical background of the temple, unravel its architectural features, and examine the symbolism and artistic expressions infused within its walls. Through our journey, we aim to unravel the multifaceted significance of the Veerabhadra Temple in Lepakshi and its enduring legacy as a treasure trove of Vijayanagara architecture.
History of the Temple
There is a well known legend associated with this temple, which goes as follows : During the reign of Acyutaraya, the emperor of Vijayanagar, a man named Virupanna held the position of treasurer and was the leader of the local merchant guild. One day, he discovered the presence of a Veerabhadra murthi at the site and was inspired to construct a temple there. To fund the temple's construction, he utilized the tribute that was meant for the king. Virupanna had almost completed the construction and was overseeing the final touches on the kalyanamantapa (marriage hall) when the king returned and discovered that his treasury was empty. Out of anger, the king ordered Virupanna to be blinded. Loyal to the king, Virupanna carried out the order immediately by using his own hands. As a lasting reminder of this tragic event, two dark stains can still be seen on the west wall of the southern entrance of the inner enclosure, which are believed to be the marks left by Virupanna's eyes as he forcefully struck them against the wall. Sadly, Virupanna did not survive long after this incident, and as a result, the kalyanamantapa remained unfinished.
Virupanna, was a devout worshipper of Virabhadra, showed great devotion by making numerous offerings to the deity. Unfortunately, there are no inscriptions indicating the exact date of the temple's construction. However, the earliest dated inscription discovered in the temple dates back to 1533 CE. According to local tradition, Virupanna is credited with building the temple, and even today, people identify three figures in the temple's paintings as representations of him. Virupanna was a significant benefactor of several temples in the Rayalaseema region, further supporting the belief that he constructed the Virabhadra temple in Lepakshi. Based on available evidence, it is reasonable to infer that the temple was built around 1530 CE., during Virupanna's time as a subordinate officer under Acyutaraya. It is unnecessary to give credence to the legendary account that he was ordered to be blinded by king Acyutaraya, as there are inscriptions documenting his charitable contributions as late as 1538 CE., confirming his existence beyond that date.
Description of the Temple
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| Temple Plan |
1) North Gopura
2) Eastern Entrance
3) Western Entrance
4) Pillared Mantapa
5) A Mantapam
6) Balipeetha
6) Balipeetha
7) Dwajasthamba
8) Second Gopura
9) Southern Entrance
10) Mantapam
11) Boulder
12) Kalyanamantapam
12) Kalyanamantapam
13) A Mantapam
14) Mantapam
15) Anjaneya Shrine
16) Natyamantapa
17) Pillared Mantapam
17) Pillared Mantapam
18) Boulder
19) Mukhamantapa of Veerabhadra
20) Pradakshina
21) Antarala of Veerabhara Shrine
21) Antarala of Veerabhara Shrine
22) Garbhagriha of Veerabhadra
23) Papavinasheswara Shrine
24) Ganesh Shrine
24) Ganesh Shrine
25) Sayanagara
26) Parvathi Shrine
27) Ramalinga Shrine
28) Bhadrakali Shrine
29) Hanumalinga Shrine
29) Hanumalinga Shrine
30) Mukhamantapa of Vishnu Shrine
31) Antarala of Vishnu Shrine
32) Garbhagriha of Vishnu Shrine
32) Garbhagriha of Vishnu Shrine
In order to understand some of the architectural terms that will be used in this article, I suggest readers to read one of my other articles to get acquainted with terms. It can be read HERE
The temple is located on a hill called Kurmasaila, which is south of the village and faces northward. To reach the temple, there is a short set of steps from the base of the hill. The temple is enclosed within two walls and has two layers of protective enclosures. These walls, called prakaras, are constructed using large stone blocks. Within the first enclosure, there are three entrances: one in the north (identified as No. 1 on the plan), another in the east (identified as No. 2 on the plan), and a third in the west (identified as No. 3 on the plan). However, the entrances in the east and west are currently closed. The northern entrance is topped with a gopura, a towering structure that marks the entrance to the temple.
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| North Gopura |
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| North Gopura |
The primary entrance to the temple is located in the north. It is the main gateway for accessing the temple premises. Before entering the temple through this entrance, there is a mantapa (hall) divided into two sections, one on each side of the passage, with a door in the middle. Each section has a pillar at the front adorned with a Cola capital. There is a similar mantapa at the rear side of the gopura (tower). However, the brick structure of the gopura is in a deteriorated state, and there is only one level remaining, which includes the kuta, panjara and Sala series.
North Gopuram
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| Base of the North entrance Gopura |
The main entrance to the temple is located in the north and is adorned with a gopura (entrance tower). The base of the gopura, called the upapitha, is composed of several elements arranged from bottom to top. These elements include upana, a wide patta, a gala, which is divided into compartments with elephant figures, another patta with decorative scrolls, a padma (lotus), a gala molding with ribbon-like cuttings, a broad gala with short pilasters and kumbhapanjaras (ornamental pillars), and a cornice embellished with bead garlands and simhlalata (lion-shaped) gables. Connecting the padma and the ribbon like cuttings, there are figures of women (madanikas) depicted in a dancing pose.
The adhisthana (platform) of the gopura also consists of various components from bottom to top. These include upana, adah-padma, patta, tripatta, gala, a projecting patta with scroll decoration, another gala, urdhvapadma, and alinganapattika.
The front wall of the gopura is decorated with three pilasters, a pilaster surmounted by panjara (an architectural element resembling a window), and three additional pilasters. On the back wall, there are two pilasters, a kumbhapanjara, a pilaster sala-koshta pilaster, and another kumbhapanjara.
The superstructure of the gopura is constructed with bricks and consists of a single tier (tala). It includes kuta, panjara, with a stucco figure positioned in front of it, kuta, panjara, sala with three stucco figures, panjara and kuta.
The verticals of the doorway (dwara) have a makara at the base and decorative scroll patterns above. Another vertical of the doorway showcases a woman (Ganga) standing under a creeper at the base, and a vertical row of circles containing figures of dancers and musicians.
In front of this gopura, there are the dhvajastambha (flag pillar) and the Balipitha (sacred pedestal for offerings).
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| Ganga standing on Makara |
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| Dwarapalaka |
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| Dwarapalaka |
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| Dwajasthambha |
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| Bali Peetha |
There is a mantapa (marked as No. 5 on the plan) located in the south-western corner of the outer enclosure, facing the north. This mantapa has three extensions towards the south, east, and west, each of which has a platform. Inside the mantapa, there are forty pillars, classified into two types: (a) pillars with yalı brackets and Vijayanagara capitals, and (b) pillars with Chola capitals. Unfortunately, the paintings on the ceiling of the mantapa have suffered significant damage due to water seepage.
The inner enclosure is surrounded by four stone walls, some of which have collapsed in various places. There are two entrances to this enclosure: one in the north (marked as No. 8 on the plan) and the other in the south (marked as No. 9 on the plan)
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| Mandapa 5 |
Naga Linga
There is a large rock (marked as No. 11 on the plan) positioned with its east side displaying intricate carvings. Adjacent to this rock, there is a well-decorated elevated platform called vedi. A set of stairs on the east side leads up to the vedi. Atop the vedi, there is a massive serpent with three coils and seven hoods. In the center of the third coil, there is a panivatta, and above it rests a granite linga. The linga is safeguarded by the seven hoods of the serpent. On the north side of the rock, there is a large stone statue of seated Ganapathi.
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| Boulder (No 11 on the plan) |
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| Shiva Linga under the 7 hooded Sarpa |
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| Seated Ganapathi |
The above form of Ganapthi is what is known as Asinamurthi (seated form). He holds a Parasu (axe) in the upper right hand, an Ankusha (elephant goad) in the upper left. The front arms hold a broken tusk & a modaka sweet respectively. He wears a Kiritamukuta, keyuras, yagnopavita, naga-udarabhanda. His mount, a mouse is seen on the pedestal below.
Kalyanamantapa
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| Kalyanamantapam |
The specific details portrayed on the pillar depicting the marriage ceremony are as follows: Shiva stands alongside Parvati, with Parvati positioned to his left. Shiva's lower left hand is extended to receive Parvati's right hand. He holds a parasu (axe) in his upper right hand, a mrga (antelope) in his upper left hand, and keeps his lower right hand in the abhaya mudra (gesture of fearlessness). Shiva adorns a jatamakuta (crown made of matted hair), cakrakundalas (earrings), graiveyakas (necklaces), yajnopavita (sacred thread), purnoruka (waistband), and manjiras (anklets).
Parvati stands gracefully in a dvibhanga pose, offering her right hand to Shiva while holding a long garland of flowers in her left hand. She wears a beautifully crafted karandamakuta (ornate crown), cakrakundalas, three graiveyakas, a girdle, purnoruka, and manjiras. To the right of Shiva stands a sage with both hands raised in a gesture of respect. On the left side of Parvati, there is a female attendant.
Another face of the same pillar depicts Brahma seated, performing homa (ritualistic fire offering). Brahma is depicted with three heads adorned with kiritamakutas (ornamental crowns) and four hands. Additionally, the pillar showcases a five-headed god with ten hands. This deity holds a cakra (discus), arrow, ankusa (elephant goad), and damaru (small drum) in the upper right hands, and samkha (conch shell), bow, trisula (trident), and parasu (battle-axe) in the upper left hands. The lower right hand is raised in the abhaya mudra, while the lower left hand is extended in the varada mudra (gesture of granting boons). The deity wears a kiritamakuta, makarakundalas, three graiveyakas, a rudrakshamala (necklace made of holy beads), yajnopavita, channavira (a type of necklace), a girdle, purnoruka, and manjiras.
Furthermore, the same pillar depicts Ganapati standing in a dvibhanga pose. Ganapati holds an ankusa (elephant goad) in the upper right hand, a pasa (noose) in the upper left hand, while the lower right hand is in the kataka mudra (gesture of protection) and the lower left hand rests on the kati (waist). Ganapati, with an elephant's face, wears a kiritamakuta.
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| Shiva Parvathi wedding |
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| Brahma & Vishnu |
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| Ganesha |
In the kalyanamantapa are also intricately carved dikpalakas (guardians of the directions) positioned exactly as they should be. The following details describe the carvings of each deity on the pillars:
Indra stands upright with four hands in a balanced posture known as samabhanga. He holds a vajra (thunderbolt) in both his upper right and upper left hands. His lower right hand is extended in the abhaya mudra (gesture of fearlessness), and the lower left hand is in the varada mudra (gesture of granting boons). Indra adorns a kiritamakuta (ornate crown), three graiveyakas (necklaces), keyuras (armlets), channavira (a type of necklace), udarabandha (waistband), a girdle, purnoruka (waistband), and padavalayas (anklets). The carving of Indra's mount, the elephant, can be seen below.
Agni stands in a graceful dvibhanga pose and has two faces and four hands. He holds a parasu (axe) in his upper right hand and a sruk (ladle) in his upper left hand. His lower right hand is extended in the abhaya mudra, and the lower left hand is in the varada mudra. Agni wears kiritamakutas (ornamental crowns), graiveyakas (necklaces), a girdle with pearl hangings, a garland reaching his knees, purnoruka, manjiras (anklets), and padavalayas (foot ornaments). His vehicle, the ram, is depicted below.
Yama stands in a dvibhanga pose and has four hands. He holds a danda (staff) in his upper right hand and a pasa (noose) in his upper left hand. His lower right hand is extended in the abhaya mudra, while the lower left hand is in the varada mudra. Yama is adorned with a kiritamakuta, kundalas (earrings) resembling bunches of grapes, three graiveyakas, a girdle with a simhalalata buckle, purnoruka, padavalayas, and manjiras. His mount, the buffalo, is depicted below.
Varuna stands in a dvibhanga pose and has four hands. He holds a lotus in his upper right hand and a noose in his upper left hand. His lower right hand is extended in the abhaya mudra, while the lower left hand is in the varada mudra. Varuna is adorned with kirtṭamakuta (ornamental crown), makarakundalas, three graive yakas, yajnopavita (sacred thread), channavitra (a type of necklace), a girdle with a simhalalata buckle, a long hara (necklace) reaching below his knees, purnoruka, manjiras, and padavalayas. The carving of Varuna's vehicle, the makara (crocodile), can be seen below.
Vayu stands in a dvibhanga pose and has four hands. He holds an ankusa (elephant goad) in his upper right hand and a flag in his upper left hand. His lower right hand is extended in the abhaya mudra, while the lower left hand is in the varada mudra. Vayu is adorned with a kiritamakuta, kundalas resembling bunches of grapes, three graive yakas, channavira, udarabandha (waistband), a girdle with pearl hangings, a garland, purnoruka, and manjiras. The carving of Vayu's vehicle, the deer, can be seen below.
Kubera stands in a dvibhanga pose and holds a spear in his upper right hand and a sword in his upper left hand. His lower right hand is extended in the abhaya mudra, while the lower left hand is in the varada mudra. Kubera is adorned with customary ornaments. The carving of Kubera's vehicle, the horse, can be seen below.
Ishana stands in a dvibhanga pose, holding a serpent in his upper right hand and a trisula (trident) in his upper left hand. His lower right hand is extended in the abhaya mudra, while the lower left hand is in the varada mudra. Ishana has three eyes and wears a kiritamakuta, makarakundalas, three graiveyakas, udarabandha, channavira, a girdle, a long garland, purṇōruka, and manjiras. The carving of Ishana's mount, the Nandi (bull), can be seen.
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| Indra |
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| Agni |
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| Yama |
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| Varuna |
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| Vayu |
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| Kubera (on the left) |
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| Ishana |
Hanuman Mantapa
This particular shrine is located a short distance towards the southeast of the Kalyanamantapa. It is oriented towards the east and comprises the garbhagrha and a small mantapa in front of it. The walls of the mantapa are simple and unadorned, while the roof is flat. Within the mantapa, there are two rows of three pillars each. Inside the garbhagrha, there is a standing image of Anjaneya, with hands folded together in the anjali mudra.
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| Hanuman |
The main shrine of Veerabhadra
(Mukhamantapa)
Within the western wing of the pradakṣiṇa, which encircles the garbhagrha and antarala of the Virabhadra shrine, there are three additional shrines facing the east. These shrines are known as the Ramalinga shrine, Bhadrakali shrine, and Hanumalinga shrine. In the northeast corner of the mukhamantapa, there is a vedi (raised platform) featuring the Navagrahas.
I did NOT photograph the garbagriha of any deities. Here are some photos of some intricately carved pillars from the Mukhamantapa.
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| Gajasurasamharamurthi |
In this depiction, Shiva is shown dancing in the Bhujangalalita pose. His right leg is firmly placed on the head of an elephant, while his left leg is bent and raised above the knee of the other leg. The elephant's skin is arranged in such a way that it forms a radiant backdrop (prabha) to the image of Shiva. Emerging from the elephant's mouth is an asura (Gajasura) in human form, holding a sword in the right hand and a shield in the left.
Shiva is depicted with six hands. The upper right hands hold the elephant's skin and a damaru (a small drum), while the upper left hands hold the elephant's skin and flames. His lower right hand is extended in the abhaya mudra (gesture of fearlessness), and the lower left hand is in the karihasta mudra (gesture of blessing). Lord Shiva is depicted with three eyes and adorns a jatamakuta (a crown made of matted hair), with the jatas (matted hair) spreading to the sides. He wears serpent earrings (sarpakundalas), necklaces (graiveyakas), a sacred thread (yajnopavita), a girdle, and a full-length robe (purnoruka).
I have written a detailed post on manifestations of Shiva that can be read HERE
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| Nrittamurthi Shiva |
In a dynamic display of the Catura pose, Shiva is depicted dancing on the prostrate body of Apasmarapurusha. In his hands, Shiva holds various objects: a long object in the upper right hand, a flame in the upper left hand, a battle-axe (parasu) in the lower right hand, and another long object in the lower left hand. With his three eyes, Lord Shiva exudes a powerful presence. He is adorned with a jatamakuta (crown made of matted hair), makarakundalas (serpent earrings), graivyakas (necklaces), a sacred thread (yajnopavita), a waistband (Channavira), a girdle embellished with pearl hangings, a garland that drapes down to his knees, a full-length robe (purnoruka), and ankle bells (manjiras).
The entrance to the mukhamantapa is located in the northern direction. Inside the mukhamantapa, there are twenty-two pillars, each falling into one of the following types: (a) a pillar with a single projecting pillaret, (b) a pillar with a yali bracket, (c) a pillar with two yali brackets placed side by side, and (d) a pillar with a large sculpture carved on a projection of the shaft. All these pillars feature Vijayanagara-style capitals.
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| Yali Pillar |
The base (adhisthana) of the garbhagrha and antarala consists of layers arranged from bottom to top: upana, broad paṭṭa padma, patta, another broad patta, gala, tripatta, gala, patta, and alingapattika. The walls of the garbhagirha and antarala are plain, with occasional traces of painting. The vimana (tower) has two talas (levels) adorned with the panjara, and kūṭa architectural elements. Above the second tala, there is a step with a nandi (sacred bull) depicted in each of the four corners. The Shikhara (spire) of the vimana is round and follows the Vesara architectural style. Inside the garbhagrha, there is an impressive image of Veerabhadra.
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| The Vimana seen from outside |
Ramalinga shrine is situated at the south-western corner of the pradaksina which surrounds the garbhagrha and antarala of the Virabhadra shrine. The entrance of this shrine is in the south-west corner of the pradaksina wall. The shrine faces the east and has only the garbhagrha with a linga on a vedi.
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| Entrance to Ramalinga Shrine |
The Hanumalinga shrine is located at the southwest corner of the pradaksina path that surrounds the garbhagrha and antarala (vestibule) of the Veerabhadra shrine. The entrance to this shrine is situated in the southwest corner of the pradaksina wall. Facing the east, the shrine consists solely of the garbhagriha, which houses a linga (symbol of Lord Shiva) placed on a vedi (pedestal). Above the roof is a four faced Nagara Shikhara.
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| Hanumalinga shrine |
To the right of the entrance of the antarala, there is a minature shrine comprising a garbhagrha with plain walls. On the roof, there is a Nagara style Shikara with four faces. Inside the shrine, there is an image of Ganapati.
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| Miniature Ganesha Shrine |
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| Navagraha |
Natyamantapa
The natyamantapa is located directly behind the north gopura of the second enclosure and has dimensions of eighty feet east-west and forty-five feet north-south. It is adorned with seventy pillars, with the twelve central pillars creating a courtyard-like space. These pillars showcase various designs: (a) some have a single pillaret protruding,
(b) others have two pillarets projecting,
(c) some feature three pillarets projecting,
(d) certain pillars exhibit kuṭa, panjara, sala, panjara, and kuṭa designs all over, and
(e) a few pillars display life-size deity figures carved on a projection of the shaft.
These pillars are intricately adorned with accurate carvings of Dattatreya, Brahma, Tumburu, Narada, Rambha, and Nataraja. Each pillar is topped with a Vijayanagara capital. The central court formed by the twelve pillars has a grand lotus ceiling with multiple petals, enclosed within a square, with a hanging bud at its center. The ceiling of the natyamantapa is divided into several sections by beams supported by the pillars, and these sections contain paintings.
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| Nataraja |
In this depiction, Shiva is depicted standing with his right leg slightly bent, resting on the body of Apasmarapurusha, while his left leg is swung across to the right in the Bujangalalita pose. The deity holds a damaru (a small drum) in the upper right hand and flames in the upper left hand. Unfortunately, the two lower hands are broken. Shiva is adorned with a jatamakuta (a crown made of matted hair) with the jatas (matted locks) flowing to the sides. His right and left ears are decorated with naga (serpent) and patra kundalas (leaf-shaped earrings). He also wears graiveyakas (necklaces), keyuras (armlets), a girdle, and a kapalamala (garland of skulls) that reaches below the knees. Additionally, he wears purnoruka (an anklet or ornament for the feet).
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| Bhikshatanamurthi |
In this depiction as Bhikshatana, Shiva is portrayed standing in a graceful posture known as tribhanga, with a slight bend in his neck, torso, and leg. He has four hands, with the upper right hand holding a damaru (a small drum), and the upper left hand carrying a mayurapincha (peacock feather) placed horizontally on the shoulders. With the lower right hand, he is seen feeding a mrga (deer), and the lower left hand holds a kapala (skull cup). Shiva adorns a jatamakuta (crown made of matted hair), with his jatas (matted locks) spreading to the sides, and the sacred Ganga river is depicted flowing through the jatamakuta. Vibhuti marks, symbolic of sacred ash, are displayed on his forehead. He possesses three eyes and is adorned with makara and cakra kundalas (earrings), keyuras (armlets), three graiveyakas (necklaces), a garland of beads, a girdle with pearl hangings, a kapalamala (garland of skulls) that reaches below the knees, purnoruka (an anklet or ornament for the feet), manjiras (ankle bells), and padavalayas (foot ornaments). Positioned to the bottom left of Shiva is a Gana carrying a begging bowl on his head, which contains rice. Adjacent to the Gana, a woman is depicted holding a spoon in her right hand, ladling rice into the Gana's begging bowl. Her hair is meticulously arranged in a bun shape behind her head.
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| Shiva without Apasamarapurusha |
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| Dattatreya |
Dattatreya is the combined form of Brahma, Vishnu, and Shiva. Dattatreya typically portrays him as a sage or yogi with a unique appearance. He is depicted with three faces. The central face is that of Brahma, while the right face represents Vishnu, and the left face represents Shiva. Dattatreya is depicted with six arms, representing his multifaceted nature. Each hand holds various symbolic objects. The lower right hand typically holds a conch shell (shankha), symbolizing the divine sound and the call to spiritual awakening. The lower left hand holds a spinning discus (chakra), representing divine protection and the cyclical nature of life. The upper right hand holds a trident (trishula), associated with Shiva and symbolizing control over the three gunas (modes of nature). The upper left hand holds a begging bowl (kamandalu) or a rosary (japa mala), symbolizing simplicity, detachment, and spiritual practice.Dattatreya is often depicted wearing the sacred thread (yajnopavita) across his chest. He may also be adorned with various ornaments, including earrings, necklaces, and armlets. His body may be covered in sacred ash (vibhuti)
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| Brahma |
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| Narada |
Narada is depicted with a Mahati (musical instrument) in his hands, symbolizing his deep connection to Sangeeta.
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| Tumburu |
Tumburu is a Gandharva, a celestial musician who like sage Narada sings in praise of Maha Vishnu.
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| Rambha |
Rambha is an Apsara. She is typically depicted as a beautiful young woman with a slender and graceful figure. She is adorned with exquisite attire, including flowing garments that accentuate her feminine charm. Rambha is often depicted wearing ornate jewelry, such as necklaces, bracelets, and earrings, symbolizing her status as a celestial being. Rambha is often depicted in various graceful postures, such as dancing or engaging in leisurely activities.
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| Saraswati |
Saraswati, depicted in the image above, is portrayed with four arms, each holding a different item: a Lotus bud (Kamala), a string of beads (Akshamala), a musical instrument called Veena, and a book (Pustaka). She stands in the Samabhanga pose. According to the Anshumadbhedagama, the earrings (Kundalas) worn by Saraswathi should be crafted from rubies, while the Purva karanagama, another religious text, suggests they should be made of pearls. In the Suta samhita of the Skandapurana, Saraswati is described as a female figure with a jatamakuta (a crown made of intertwined hair) on her head, which contains a crescent moon.
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| Gandharvas playing various percussive instruments |
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| Krishna dancing on Kaliya |
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| Ceiling of the Natyamantapa |
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The pillars discovered in the temples of Vijayanagara exhibit a notable diversity in their shapes. Additionally, there are pillars featuring a substantial sculpture of a deity carved onto their shaft. This particular style of pillar can be observed in the Natyamantapa. In the Natyamantapa, there is another prevalent type of pillar embellished with a yali bracket. These pillars, which are curved and feature yali brackets, can be found in great quantities. Additionally, there are pillars distinguished by rows of kutas and salas, completely covering their shafts. At the base of these pillars, there are lions standing with their forepaws raised and mouths wide open. Above the lion's head, the upper section of the pillar displays intricate elements including padmabandha, tadi, kumbha, iddal, and expanded phalaka.
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| Natyamantapa Pillars |
Kiratarjuniya
Kiratarjuniya, is an ancient Sanskrit epic poem composed by Bharavi. It is considered one of the most celebrated works in classical Indian literature. The poem narrates the story of Arjuna, and his encounter with Shiva in the form of a Kirata (hunter). The outer walls of the Mukamantapa describe this episode in great detail.
The narrative commences on the far right side of the western wall of the mukhamantapa. The initial segment depicts the visit of sage Vyasa to the Pandava brothers during their exile in the Dvaitavana forest. Vyasa is seated on a raised platform, engaging in conversation with Dharmaraja, who is positioned on the same platform, facing him. Behind Dharmaraja, Bhima, Arjuna, Nakula, and Sahadeva stand in a line, attentively listening to the discussion. Bhima eagerly stands with his club resting on his left shoulder. Arjuna, positioned behind Bhima, clasps his hands in prayer (anjali), while the gandiva bow rests upon his shoulder. Nakula and Sahadeva stand behind them.
Vyasa, positioned with his left hand bent and firmly resting on his thigh, while his right hand raised in tarjani gesture, appears to encourage and reassure the Pandava brothers through a proposal. According to Bharavi, Vyasa assures the Pandavas that he has come specifically to bestow upon them a vidya, known as Indramantra, which will grant them the fulfillment of their desires. Vyasa imparts the mantra to Arjuna and advises him to perform tapas (austerities) and please Indra on the Indrakila hill, which will be guided by a guhyaka (yaksha).
In the following section, Arjuna stands on the left side, bidding farewell to Dharmaraja (Yudhishthira), who extends his raised hand while imparting parting advice and principles to Arjuna. Equipped with bows, arrows, a sword, and necessary armor (kavaca), Arjuna follows the guhyaka who leads him towards Indrakila, situated in the Himalayas. Below picture describes this scene in detail.
Upon reaching the Indrakila hill, Arjuna commenced rigorous austerities. Towards the far right, Arjuna is depicted marching with determination, his gandiva bow resting on his left shoulder. In front of him stands a shrine with a linga installed within, which he approaches. The subsequent scene portrays Arjuna on the left side, reverently worshipping the linga.
With his right hand, he waves an incense burner before the linga, while holding an akşamala (prayer beads) in his left hand. The bow remains resting on his left shoulder, and he adorns a kiritamakuta (a crown) and garland.Following Vyasa's advice to live the life of a sage and devote himself to meditation, prayer, and purification rituals, Arjuna performs puja (worship) to the Siva linga, believing it to be in accordance with Vyasa's guidance.
In the subsequent panel, Arjuna is portrayed engaged in intense penance beside a tree. He stands on his right leg, with the left leg bent and raised above the right knee. His hands are raised high above. His hair is depicted as long and flowing, forming matted locks. The gandiva bow and quiver are positioned between the tree and Arjuna. While Arjuna remains immersed in his penance, two apsaras (celestial nymphs) are shown dancing on the left side, attempting to entice him with their charms.
The story goes that upon learning of Arjuna's penance, Indra sent the apsaras to test him. However, their alluring advances are met with Arjuna's indifference, resulting in their ultimate defeat. The Apsaras return back to Indra to report their unsuccessful attempt. Below picture describes this scene in detail.
Upon receiving the news of the Apasaras defeat, Indra assumes the guise of an old muni (sage) and approaches Arjuna. In the subsequent panel, Arjuna is depicted in the same pose as before, positioned between two trees. His matted locks flow to the sides, and he adorns armlets, wristlets, a girdle, and an uttariya (upper garment) around his waist.
His bow and quiver of arrows rest on the ground to his right, leaning against the tree. The presence of ball-like structures arranged in a hill-like formation beneath Arjuna's legs likely signifies the Indrakila hill, the location of his penance. The tree reappears, with Arjuna on the right and Indra disguised as an old muni on the left. The old muni carries an umbrella in his right hand, while his outstretched left hand suggests he is delivering a significant upadesha on Moksha.
In the subsequent panel, Indra appears before Arjuna in his true form, with four hands. His upper hands hold the vajra (thunderbolt) and Shakti (divine energy). Indra keeps his lower right hand in the abhaya mudra (fearlessness gesture) and lets his lower left hand hang loosely. He wears a kiritamakuta (crown), graiveyakas (necklaces), and purnoruka (lower garment). Arjuna stands before Indra with his hands clasped in anjali (palms together), attentively listening to Indra's advice. Arjuna also wears a kiritamakuta, a long garland, and has his bow hanging from his left shoulder. Below picture describes this scene in detail.
Subsequently, Arjuna is depicted engaged in a heated argument with the Kirata (Shiva), while Mukasura, disguised as a boar, stands behind them. In the following stage, both Arjuna and the Kirata, each holding a bow, stand on opposite sides of the dead boar, which has turned upside down with two arrows embedded in its body.
The subsequent panel portrays Arjuna and the Kirata locked in a hand-to-hand combat. In the next scene, one figure is positioned above the other, indicating the conclusion of their wrestling match, while Parvati, dressed as a huntress, stands behind them, observing the conflict.
Parvati leans forward, seemingly focused on the back of the uppermost person in the pair. In this particular instance, the uppermost figure can be identified as Arjuna, and the person beneath him as the Kirata. Parvati, leaning forward, is attentively observing the mole that was said to be present on Arjuna's back. Below 2 pictures describe this scene in detail.
In the final panel, Shiva and Parvati are bestowing their divine presence upon Arjuna. Seated on a bull, Shiva and Parvati assume their positions. Shiva possesses four hands: the upper right hand holds a battle axe (parasu), the upper left hand holds a deer (mrga), the lower left hand hangs freely, and with his lower right hand, he presents the Pasupatastra (a powerful arrow) to Arjuna. Parvati, on the other hand, has two hands, holding a flower in her right hand while letting her left hand hang. Arjuna, now dressed as a prince, with his gandiva bow restored to him, receives the Pasupatastra from Shiva.
Beneath the entire panel depicting the Pashpatadanamurti (the story of Kiratarjuniya), there is a line of elephants. Above the panel, there is a continuous row of swans. Below picture describes this scene in detail.
The story of Bhakta Siriyala
On the wall of the mukhamantapa, the story of Siriyala unfolds in the following manner. Siriyala was an ardent devotee of Shiva. To test the depth of his devotion, Shiva disguised himself as an elderly bhikshu and visited Siriyala's house, seeking alms. The bhikshu was received with utmost reverence and offered food (Bhiksa) at Siriyala's home. However, Shiva made an unusual demand - he insisted on being served with the flesh of their own son, and he requested that the mother herself cook it. Despite the immense anguish the parents experienced, they felt bound by the strict rules of hospitality and reluctantly agreed to fulfill the demand. The mother held onto the head of their son, as a poignant reminder of their beloved child. But Shiva insisted that even the head be disposed of. Just as the meal was about to be served, Shiva instructed the parents to call out to their son. Miraculously, the boy appeared unharmed, thanks to the divine mercy of the god. At that moment, Shiva revealed himself to the family, granting them a divine darshana, and then vanished from sight.
The story commences on the eastern wall of the mukhamaṇṭapa, positioned immediately to the north of a large boulder. In the initial scene, several deities are depicted, including Shiva, Vishnu, Brahma, Nandi, Bhringi, and another divine figure. Starting from the left, the first figure is a deity seated in virasana posture. This deity possesses four hands, with the upper right hand holding a tanka and the upper left hand grasping a sword. The lower two hands are held in the gestures of abhaya and varada. Adorned with a kiritamakuta and various ornaments, the deity exudes a regal presence. Next to this figure is Brahma, also seated in virasana. Brahma features three heads adorned with kiritamakutas and possesses four hands. In the upper right hand, Brahma holds a large sacrificial ladle, while the upper left hand carries a kamandalu. The lower right hand is displayed in cinmudra gesture, and the lower left hand extends in the varada gesture of granting boons. Positioned to the left of Brahma is Vişņu, seated in virasana as well. Vishnu displays four hands, with the upper right hand holding a cakra (discus), the upper left hand holding a shankha (conch), the lower right hand forming the cinmudra, and the lower left hand extending in the varada gesture. Following Vishnu is Shiva, also seated in virasana. Shiva possesses four hands, with the upper right hand holding a mṛga (deer) and the upper left hand holding a damaru (drum). The two lower hands are raised, indicating engagement in a conversation with the other three deities. Positioned between Vishnu and Shiva stands Nandi. To the left of Shiva, there is a man stooping forward with hands joined in anjali gesture. Adjacent to this figure is Bhringi, depicted in a dancing posture, with three legs and two hands. Below picture describes this scene in detail.
The subsequent phase portrays Shiva's visit to Siriyala's house. It commences with the depiction of a tree. Following that, Shiva appears disguised as a sage, while Siriyala stands before him, joining his hands in the anjali gesture of reverence. Siriyala's wife stands behind him in the scene. In the subsequent scene, Siriyala sends someone to fetch his son who happens to be attending school at that time. The teacher is shown seated on a high pitha (platform), and Siriyala's son respectfully prostrates before the teacher, seeking permission to return home. Three other pupils can be seen standing nearby. The following scene depicts the messenger who came to bring Siriyala back, carrying the boy on his shoulders. Below picture describes this scene in detail.
In the subsequent phase, the boy is being bathed. In this scene, Siriyala is depicted with a sorrowful expression, and his wife, equally grief-stricken, is shown bathing the seated boy in a padmasana posture. Following that, the boy lies on the floor, while the mother holds him and the father proceeds to sever the head using a sword. In the next stage Siriyala's wife hides the severed head of the boy in a vessel.
The narrative progresses to the north wall, where three sages and Siriyala are standing facing each other. In the subsequent scene, the three sages are depicted as seated. Following that, the boy's severed head is placed in a mortar, and two women, positioned on either side, are shown vigorously pounding the head with pestles.
In the subsequent scene, the mother of the boy is depicted serving food to a sage, who is none other than Siva in disguise. The sage then instructs Siriyala to call for his son, and when they do so, miraculously, the boy appears from outside. Once again, Siriyala is shown preparing to sever the head of the boy. However, pleased with Siriyala's unwavering devotion, Shiva bestows his divine presence upon them. Shiva and Parvati are seated on a bull, resembling the Vrishabharudamurthi form. The boy and his parents stand before them, with their hands clasped together in a gesture of reverence. Additionally, a gana can be seen blowing a bugle. Beneath this panel that illustrates the story, there is a row of elephants, while above it, there is a row of swans.
Ceiling Paintings
Most of the paintings have eroded & faded away due to bad maintenance. Some are even beyond recognition. Many ancient Hindu temples, which hold immense historical, cultural, and religious significance, suffer from a lack of regular upkeep. Basic repairs, such as fixing leaking roofs, damaged walls, or crumbling structures, are often ignored or delayed. As a result, these temples are left to deteriorate further, causing irreversible damage to their architectural grandeur and spiritual ambiance, especially paintings.
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| Veerabhadra granting Darshana |
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| Shiva granting Darshana |
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| Vishnu granting Darshana |
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| Sarabeshwara |
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| Veerabhadra |
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| Ardhanarishwara granting darshana |
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| Dakshinamurthi |
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| Tripurantakamurthi |
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| Ardhanarishwara |
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| Dakshinamurthi |
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| Lingodhbhava |
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| Shiva granting Darshana in Kailsa |
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| Vrushabharudamurthi |
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| Kiratarjuniya |
Inscriptions
Inscriptions etched on the outer walls of the Temple recording various grants made to the temple in old Kannada. One such inscription, dated in S. 1455 (1533 A. D.), documents the donation of three villages, namely Hampanahalli, Kancarlahalli, and Timmagondanahalli, to the Virabhadra shrine. These villages were collectively named Venkatadri-samudra in honor of Prince Kumara Venkatadri. In S. 1456 (1534 CE.), Acyutaraya gifted a village specifically for the worship of Veerabhadra.
Additionally, an inscription from S. 1456 (1534 A. D.) mentions the offering of tolls collected during a fair held in the hamlet of Viresvaradevarayapura belonging to Lepakshi. The tolls were dedicated to the three shrines of the temple, including oblations to be offered. This grant was facilitated by Virana-Nayaka, the brother of Virapannaya of Penugonda.
Further records indicate King Acyutaraya's act of weighing himself against pearls at Kanchi in S. 1455, followed by a donation known as Kanchanameru in S. 1456. Virupanna, in S. 1459 (1537 CE), purchased lands at Kalanuragrahara and gifted them to the temple of Veerabhadra. Acyutaraya also contributed by gifting two villages to the temple of Vireshvara in Lepakhi in the same year, in the presence of Vitthaleshvara on the banks of the Tungabhadra river in Hampi.
An inscription from S. 1459 records the sale of land to the three shrines within the temple by the mahajanas of the sarvamanya-agrahara village Kanchasamudram alias Pratapadevarayapura. The village was originally bestowed upon them as a free gift by Pratapadēva Maharaya during his generous contributions named Kamadhenu, Kalpavriksha, and Visvacakra, in the presence of god Virupaksha on the banks of the Tungabhadra river. The inscription also notes that Lepakshi was a village in the Sadalivente region, which belonged to Roda-nadu, a subdivision of the Penukonda-rajya.
Furthermore, an inscription from S. 1459 documents the donation of the tala-parigi channel by the Mahajanas of Nagaragere alias Krishnaraya-agrahara, a village in Roda-nadu, to the shrines of Papavinshadeva, Raghunathadeva, and Vireshwaradeva. Acyutaraya Mallapanna gifted the village of Nandicerla to god Virēša in S. 1459, while Virapannaya of Penugonda gifted the village of Sadashivapura, purchased from two brahmaṇas, to the temple in S. 1460 (1538 A. D.). Another village named Chikanandiceguvu, surnamed Devarayapura, was also gifted to the temple in S. 1460 by Virapannaya of Penugonde. The inscription further mentions that the temple of Vireshwara is situated on the Kurmasaila hill at Lepakṣipura.
Lastly, Acyutaraya gifted the village of Chaluvindla, surnamed Komara Venkatadrirayapura, to the temple of Papavinashanadeva.
Conclusion
In conclusion, the Veerabhadra Temple in Lepakshi stands as a remarkable testament to Bharat's rich architectural heritage and devotion to the divine. Its awe-inspiring beauty, intricate carvings, and historical significance make it a must-visit destination for those seeking a glimpse into the glorious past of our country. As visitors immerse themselves in its sacred ambiance, they are transported to an era of spiritual reverence and artistic brilliance. The Veerabhadra Temple remains a cherished symbol of our cultural legacy and a reminder of the enduring power of faith and creativity.
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| Myself at the Temple |
References
Elements of Hindu Iconography by TA Gopinath Rao
Select Vijayanagara Temples of Rayalseema by V. Kameshwara Rao
