UNESCO Selection: Sri Veerabhadra Temple and Monolithic Nandi

Tentative List Submission for consideration as World Heritage Site by UNESCO WHC

Sri Veerabhadra Temple and Monolithic Bull (Nandi) Lepakshi, Anantapuramu District, Andhra Pradesh (India) The Vijayanagara art tradition gleaned through Lepakshi Sculpture and Paintings

Tentative list Submission for consideration as World Heritage Site by UNESCO – World Heritage Convention

Archaeological Survey of India (ASI) (Under Ministry of Culture, Government of India)

Sri Veerabhadra Temple and Monolithic Bull at Lepakshi, Andhra Pradesh, India

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Tentative List Submission for consideration as World Heritage Site by UNESCO WHC Compilation, Layout M/s.Kshetra, Hyderabad as Consulted with stakeholders in February and March 2017, (Revised) Tentative list Nomination Submission for consideration as World Heritage Site by UNESCO – World Heritage Convention of the Property Sri Veerabhadra Temple and Monolithic Bull (Nandi) Lepakshi, Anantapuramu District, Andhra Pradesh (India) (The Vijayanagara art tradition gleaned through Lepakshi Sculpture and Paintings)

Prepared by (On appointment by the Director of Archaeology and Museums, Government of Andhra Pradesh)

GSV Suryanarayana Murthy Conservation ARCHITECT, KSHETRA, 2-2-1074/5A, 528, Alekhya Radha sadan Apts. 6No. Rd. Jn, Opp. Maharana function hall, Amberpet, Hyderabad, Telangana State (India), Ph: +91-9849347322 E-mail: archprofsurya@gmail.com

In consultation with

Archaeological Survey of India (ASI), Amaravati Circle, Andhra Pradesh And Directorate of Archaeology and Museums (DAM), Government of Andhra Pradesh

Sri Veerabhadra Temple and Monolithic Bull at Lepakshi, Andhra Pradesh, India

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Tentative List Submission Format State party: India

Date of Submission: Proposed to be sent by September, 2017

Submission prepared by: In consultation with Archaeological Survey of India (ASI), Amaravati Circle and Directorate of Archaeology and Museums (DAM), Government of Andhra Pradesh (A.P) Name:

GSV Suryanarayana Murthy, Conservation Architect, M/s. Kshetra, Hyderabad

E-mail:

Address:

1) E-mail of ASI, Amaravati Circle

: circlehyd.asi@gmail.com

2) E-mail of DAM, Government of A.P

: dam.ap@gmail.com

3) E-mail of Preparer

: archprofsurya@gmail.com

Superintending Archaeologist, Archaeological survey of India, Amaravati Circle Kendriya Sadan, III Floor, II Block, Sultan Bazar, Hyderabad- 500 095, Telangana, India Ph: +91-40-24651012(T-f), +91-40-24658124 E-Mail: circlehyd.asi@gmail.com

Director,

Department of Archaeology and Museums,

Vasudha Shelters, 1st floor, Gollapudi,

Vijayawada – 521225, Andhra Pradesh, India

Phone: +91-866-2410986, +91-9441733 Fax: +91-866-2410986 Local office: The Conservation Assistant, Archaeological Survey of India, D.No. 13/646, 1st Floor, Near Railway Station Road, Anantapuramu – 515001; Phone: 08554- 245848 Email: scaanantapur@gmail.com Institution:

Archaeological Survey of India, Janpath, New Delhi- 110001, Under Ministry of Culture, Government of India Telephone:+91-11-23013574, +91-11-23015954, Fax: +91-11- 23019487 E-mail: directorgeneralasi@gmail.com

Tentative List Submission for consideration as World Heritage Site by UNESCO WHC Name of property:

Sri Veerabhadra Temple and Monolithic Bull (Nandi), Lepakshi, Anantapuramu District, Andhra Pradesh (India) (The Vijayanagara art tradition gleaned through Lepakshi Sculpture and Paintings)

State, Province or Region: India, Andhra Pradesh, Anantapuramu District, Latitude and Longitude, or UTM coordinates: 1) 13D 48M 06.6 S – N and 77D 36M 33.9 S – E -Sri Veerabhadra Temple 2) 13D 48M 11.4 S – N and 77D 36M 44.6 S – E -Monolithic Bull (Nandi)

Description: Location and Context: Sri Veerabhadra temple, also known as Lepakshi Temple is located in Lepakshi Village, named after a main shrine dedicated to Veerabhadra (the fiery incarnation of Lord Shiva). From the inscriptions engraved on the prakara walls of the temple, the village is variably called as Lepaksha, Lepakshi and Lepakshipura. The literal meaning of the word is- Lepa+ Akshi- an embalmed eye or a painted eye. Due to several stories signifying the meaning of the name of the village, it is difficult to understand its origin.

Historical Overview and development: The significance of the place dates back to the great Indian epic Ramayana. It is believed that the bird Jatayu, wounded by the king of Lanka, Ravana, fell here after a battle against the king who was carrying away Sita, the wife of Rama, the king of Ayodhya. When Rama reached the spot, he saw the bird and said compassionately to him, “Le Pakshi” — meaning “Arise, bird” in Telugu.

The discovery of Ashokan Rock Edicts at Yerragudi in same district as Lepakshi and other sites as Siddhapur, Jatinga Rameshwaram, and Brahmagiri in the adjacent districts indicates that this region was under Mauryan Rule in 3rd Century BC. From them it came under Satavahans, Chutus, Gangas, Chalyukas of Badami and the Nolambas respectively. The Nolambas were in possession of it till the 10th century CE. From the Nolambas, it passed to the Chalukyas of Kalyani and then to the Hoysalas who ruled till the first quarter of the 13th century CE. In 1346 CE, Harihara constructed a fort at Penugonda and made Lepakshi his second capital marking the start of the Vijayanagara rule over the town.

The development of the temple complex can be classified under three broad phases ranging from 1100 to 1800 A.D based on the structural details and components. The first phase falls between 1100-1350 A.D, during which important architectural features such as pillars, pilasters, niches contains features of Late Chola, Pandya, and Hoyasala or even early Vijayanagara periods.

In the next period, major structural activity is taken in date from 1350 to 1600 A.D representing the period of true Vijayanagara Architecture. During this period, the place was developed into a large complex by adding several shrines and mandapas and multi-pillared mandapas.

The last period falls in between 1600 to 1800 A.D during which no important structure has come except some minor shrines.

Sri Veerabhadra Temple and Monolithic Bull at Lepakshi, Andhra Pradesh, India

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During the Vijayanagara period, Lepakshi temple had its gradual development in the reign of king Achyutaraya (1529-42 CE) and bears witness to Vijayanagara period at an important stage of its evolution.

The direct evidence in the form of inscriptions does not provide any evidence about the early history of temple.

Components of temple complex: The temple complex along with its concentric enclosure walls or prakara is situated on a low granite tortoise shaped hill known as Kurmasaila. The structures were built at three different levels or contours of the hill; each group was enclosed by three prakaras i.e. Inner, middle and the outer prakara built during three different phases. It is believed that there were seven enclosure walls similar to that of Hampi, Vijayanagara capital, since the number is considered as sacred.

The temple is built in trikuta style, initially with two shrines- Veerabhadra and Papanaseswara sharing a common platform and a pillared maha-mandapa. The third shrine was added on west of the same platform together forms a part of inner prakara, which is dedicated to Raghunatha. A huge granite boulder has been incorporated as a part of enclosure wall. Natya-mandapa is attached to the Maha-mandapa common to these three shrines. This is the most ornate structure of the temple. Its roof is painted with panels of murals depicting scenes from Mahabharata, Ramayana and other Pauranic legends.

The second enclosure wall encloses kalyana-mandapa, bali pitha, vahana-mandapa and homa mandapa.

This enclosure covers almost the eighth times of the area covered by the innermost prakara and has two entrances, one on north and one on south.

To the south of the main shrine within the inner prakara there is a huge monolithic sculpture of Ganesa linga worshipped by spider and an elephant in a small mandapa with two pillars known as Ganesa Mandapa.

The temple complex was further extended by construction of water cistern, Somavara mandapa, Yaga mandapa, Uyala mandapa which is enclosed by the third prakara. This third enclosure covers two and a half times the area covered by the second prakara. The third prakara has three entrances, one on north, one at east and one at west.

Sculptures: Monolithic Bull (Nandi): The gigantic bull is a grand cut out sculpture of a huge granitic rock. This monolithic sculpture is a unique example of its kind. It faces west and is looking towards the mentioned Naga-linga located at Sri Veerabhadra temple.

On the eastern face of a granite boulder in second enclosure, a basaltic siva linga canopied by a monolithic sculpture of seven hooded Naga.

Sculpture work with different themes from hindu mythology, pauranic beliefs and traditions and flora and fauna are engraved on the different components such as pillars, ceiling of mandapas contribute to the aesthetic value of the temple. Exquisite examples of monolithic sculptures like Naga-siva-linga, Ganesa represents the creative masterpieces of that time.

Tentative List Submission for consideration as World Heritage Site by UNESCO WHC Paintings: The support and help of Vijayanagara kings, Krishna Devaray and Achyutarya created notable development in the field of art. The painting style of the Vijayanagara Period forms the root of painting style developed in Deccan India. The technique used is known as Fresco-secco or painting in lime medium on plaster.

The fresco paintings on the walls and ceilings of mandapas and pradakshinapatha depict illustrations from Ramayana and Mahabharata, gods and legendary stories like Parvathi’s marriage, Kiratarjuniyam, different manifestations of Siva, Draupadi svayamvaram and Virupanna and his brothers worshipping Veerabhadra. After the downfall of Vijayanagara Empire, the paintings remained unattended for long period resulting in destruction of the paintings.

Inscriptions: About 20 inscriptions are engraved on prakara walls and majority of these belong to the reign of Achyutaraya Maharaya (1539-42 CE). These inscriptions throw light on the historical evolution of the temple complex and donations in each period. The inscriptions are grouped into three phases.

Water Cistern: It is situated at the western side of the prakara adjacent to Uyala mandapa. It is a deep pit excavated into natural rock in an oblong shape. Similar cistern is also available at Hampi.

Sri Veerabhadra Temple and Monolithic Bull at Lepakshi, Andhra Pradesh, India

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Justification of Outstanding Universal Value (OUV): (Preliminary identification of the values of the property which merit inscription on the World Heritage List) Sri Veerabhadra temple stands as a model of art, architecture and culture of Vijayanagara Period. The temple preserves important examples of Vijayanagara sculptures and paintings, and is a unique example continuity of traditions of Kakatiya and Hoyasala combining it with local customs. The temple bears witness to the only surviving fresco paintings of mid Vijayanagara Period. The fresco paintings like Kiritarjuniyam, Girija Kalyana, and ShivaParvati marriage illustrate various narratives from the pauranas and epics contribute to the field of art and ethnology. The technique of Vijayanagara paintings formed a base for the art of fresco paintings continued by the successor and other dynasties of South India. Carved out of granite boulders, the monolithic sculptures like Naga-siva-linga and monolithic bull (Nandi) together establishes the link to the textual renderings of pauranic traditions and evolution of sculptural renderings in India. The temple complex constitutes of multi-pillared mandapas and gopuram which contributes to the architectural and aesthetic value of the temple. The property is therefore significant for the cultural, religious as well as architecture and artistic values of intended period.

Criteria met: (Please tick the box corresponding to the proposed criteria and justify the use of each below)

(i) (ii)

(iii)

(i), (ii) and (vi)

(iv)

(v)

(vi)

(vii)

(viii)

(ix)

(x)

i) to represent a masterpiece of human creative genius; Sri Veerabhadra temple constitutes the principle examples of Vijayanagara paintings.

The figurative documentation of customs and traditions through pauranic stories and the Mahabharata and Ramayana epics in the sculptures and paintings are invaluable historical evidences and are of cultural significance. With the use of fresco-secco technique the temple is a masterpiece of creative effort reflecting cultural practices of the time and place of its creation.

The representation of characters of each scene has a circular curvature corresponding to the center differentiating from the other scene. The emphasis on protruding second eye of the characters is of stylistic significance in the paintings of the temple.

The architectural and ornamental elements such as sculptural works; pillars of natya-mandapas elaborately carved with the figures of musicians, gods and goddess, dancers embrace a remarkable concentration of skill of 16th Century artists and crafts workers. The sculptures of the temple are carved out of granite boulder like monolithic bull (Nandi) and Naga-siva linga are equally significant for the use of material and its scale. The property thus bears a witness to human artistic and creative endeavor. ii) to exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design; Sri Veerabhadra temple exhibits the interchange of human values and socio-cultural traditions

Tentative List Submission for consideration as World Heritage Site by UNESCO WHC from 11th century Chalukyan period to 15th century early Vijayanagara period. The influences of these periods are reflected in the layout of temple complex, ornamental elements and material selection. The mid-Vijayanagara period was a period of development in the scale of temple complex with addition of gopuras and large multi-pillared mandapas. The additions made of the sculptors and artists of that period contributed to active exchange of knowledge among artists of that time and region in general. The fresco-paintings of this period in turn set new standards of practice, which was later followed by the successors like the Nayakas and the other ruling dynasties in South India. vi) to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance. (The Committee considers that this criterion should preferably be used in conjunction with other criteria); Sri Veerabhadra temple can be tangibly associated with the traditions and works of historical value which represents the political and social culture of Vijayanagara period.

The sculptures carved out on granite pillars have representations of dancers, musicians and deities are of universal significance for the study of different art forms of that period and is closely linked to the customs, rituals and living traditions of the Vijayanagara Period.

The fresco paintings and the monolithic sculptures display the ingenuity and skill of South Indian artist in general. This in particular conveys continuity of Indian tradition and contributes to the cultural diversity as carried from Hoyasala and Kakatiyas.

Statements of authenticity and/or integrity: Integrity The essential attributes and features of the temple that relate to its Outstanding Universal Value have remained intact and display integrity in form and material. These include fresco paintings, monolithic sculptures and carved pillars which forms the figurative documentation of religious and local customs and traditions of Vijayanagara Period. As an important religious property of the region, the temple is experiencing tourist influx, lack of management of which can be a threat to the property.

Authenticity The form and design; materials; functions; and location and setting contribute to the authenticity of the property. These attributes convey original values as the temple is functioning continuously for its original purpose. The property retains its spirit of place and the setting continues to contribute to its values. Some physical changes, primarily in the fresco paintings can be seen due to negligence and lack of maintenance for long period. The conservation practices for repairs and maintenance for the fresco-paintings are authentic in material and traditional methods.

Sri Veerabhadra Temple and Monolithic Bull at Lepakshi, Andhra Pradesh, India

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Comparison with other similar properties: (The comparison should outline similarities with other properties on the World Heritage List or not, and the reasons that make the property stand out) The establishment of the state of Vijayanagara in 14th century left a permanent impression of its existence in the fields of art, architecture, culture and literature. The 16th century Sri Veerabhadra temple is compared to other properties that reflect the influence of different periods on style of architecture, use of material, fresco paintings and sculptures.

Sri Veerabhadra temple can be compared to the fresco paintings of the caves of Ajanta. The fresco paintings of Ajanta caves from the 2nd and 1st century B.C depic the life of Buddha marked the beginning of fresco paintings in Indian classical art and have considerable artistic influence on the evolution of art and development of fresco paintings around the world.

The Virupaksha temple at Hampi houses fresco paintings which can be compared to the property for interchange of cultural and artistic values within the same period. What differentiates the fresco paintings at Sri Veerabhadra Temple is the fresco-secco technique used for the paintings, characterized by locally available earthen colors and representation of characters of each scene with a circular curvature corresponding to the center.

The Buddha sculpture protected by Naga-Muchalinda of ancient city of Gaya and LaksimiNarasimha monolithic bull at Hampi can be compared with the monolithic sculptures like Naga-siva linga, bull (Nandi) for its scale, unique craftsmanship and the use of material. The Vijayanagara artist proved their competency by carving sculptures on hard material like granite.

The combination of cultural influence of Cholas, Kakatiyas and Hoyasalas reflects in the tangible and intangible aspects of Vijayanagara Period. Sri Veerabhadra temple stands as an example for the Vijayanagara art and architecture which was late followed by the successors like the Nayakas and the other ruling dynasties in South India. The Great Living Chola temples are inscribed on World Heritage list under criteria (i) and (iii) considering the brilliant achievements in architecture, sculpture, painting and bronze casting. These temples are an exceptional testimony to the architecture and ideology of the Chola Empire and Tamil civilization in southern India. The same could be said about Sri Veerabhadra temple which contributes in interchange of human values and styles for the development within the region.

Tentative List Submission for consideration as World Heritage Site by UNESCO WHC

Sri Veerabhadra Temple and Monolithic Bull at Lepakshi, Andhra Pradesh, India

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Submitted by

Director Directorate of Archaeology and Museums (DAM), Government of Andhra Pradesh Vasudha Shelters, 1st floor, Gollapudi, Vijayawada – 521225, Andhra Pradesh, India Ph:+91-866-2410986,+91-9441733829 E-Mail: diraparch@gmail.com