Heritage study by Ar. Prateek Siddeshwar Honwadmath

HERITAGE

DOCUMENTATION

NAME :- Prateek S Honwadmath VTU NO:-2BL19AT020 Subject:- Elective iv College:-B.L.D.E.A’S CET Vijayapur.

The United Nations Educational, Scientific and Cultural Organization (UNESCO[1] French: Organisation des Nations unies pour l’éducation, la science et la culture) is a specialised agency of the United Nations (UN) aimed at promoting world peace and security through international cooperation in education, the sciences, and culture.[2][3] It has 193 member states and 11 associate members,[4] as well as partners in the nongovernmental, intergovernmental, and private sector.[5] Headquartered at the World Heritage Centre in Paris, France, UNESCO has 53 regional field offices[6] and 199 national commissions[7] that facilitate its global mandate.

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Abbreviation UNESCO Formation 16 November 1945; 75 years ago Type United Nations specialised agency Legal status Active Headquarters World Heritage Centre Paris, France Head Director-General Audrey Azoulay Parent organization United Nations Economic and Social Council

UNESCO was founded in 1945 as the successor to the League of Nations’ International Committee on Intellectual Cooperation.[8] Its constitution establishes the agency’s goals, governing structure, and operating framework.[9] UNESCO’s founding mission, which was shaped by the Second World War, is to advance peace, sustainable development and human rights by facilitating collaboration and dialogue among nations.[9] It pursues this objective through five major program areas: education, natural sciences, social/human sciences, culture and communication/ information. UNESCO sponsors projects that improve literacy, provide technical training and education, advance science, protect independent media and press freedom, preserve regional and cultural history, and promote cultural diversity. As a focal point for world culture and science, UNESCO’s activities have broadened over the years; it assists in the translation and dissemination of world literature, helps establish and secure World Heritage Sites of cultural and natural importance, works to bridge the worldwide digital divide, and creates inclusive knowledge societies through information and communication.[10] UNESCO has launched several initiatives and global movements, such as Education For All, to further advance its core objectives. UNESCO is governed by the General Conference, composed

The Archaeological Survey of India (ASI) is an Indian government agency attached to the Ministry of Culture that is responsible for archaeological research and the conservation and preservation of cultural monuments in the country. It was founded in 1861 by Alexander Cunningham who also became its first Director-General. History ASI was founded in 1861 by Alexander Cunningham who also became its first Director-General. The first systematic research into the subcontinent’s history was conducted by the Asiatic Society, which was founded by the British Indologist William Jones on 15 January 1784. Based in Calcutta, the society promoted the study of ancient Sanskrit and Persian texts and published an annual journal titled Asiatic Researches. Notable among its early members was Charles Wilkins who published the first English translation of the Bhagavad Gita in 1785 with the patronage of the then Governor-General of Bengal, Warren Hastings. However, the most important of the society’s achievements was the decipherment of the Brahmi script by James Prinsep in 1837. This successful decipherment inaugurated the asset. • • • • • • • • • • • •

Logo of the Archeological Survey of India Abbreviation ASI Formation 1861 Founder Alexander Cunningham Type Governmental organization Headquarters 24-Tilak Marg, New Delhi Region served India Official language English Hindi Director General V. Vidyavathi, IAS Parent organisation Ministry of Culture Budget (2021-22) 1,042.63 crore (US$150 million)[1]

Formation of the ASI Sir Alexander Cunningham Armed with the knowledge of Brahmi, Alexander Cunningham, a protégé of James Prinsep, carried out a detailed survey of the Buddhist monuments which lasted for over half a century. Inspired by early amateur archaeologists like the Italian military officer, Jean-Baptiste Ventura, Cunningham excavated stupas along the width, the length and breadth of India. While Cunningham funded many of his early excavations himself, in the long run, he realised the need for a permanent body to oversee archaeological excavations and the conservation of Indian monuments and used his stature and influence in India to lobby for

Intangible heritage

Intangible heritage consists of nonphysical intellectual wealth, such as folklore, customs, beliefs, traditions, knowledge, and language. Intangible cultural heritage is considered by member states of UNESCO in relation to the tangible World Heritage focusing on intangible aspects of culture. In 2001, UNESCO made a survey among States and NGOs to try to agree on a definition, and the Convention for the Safeguarding of Intangible Cultural Heritage was drafted in 2003 for its protection and promotion.

The Convention for the Safeguarding of the Intangible Cultural Heritage defines the intangible cultural heritage as the practices, representations, expressions, as well as the knowledge and skills (including instruments, objects, artifacts, cultural spaces), that communities, groups and, in some cases, individuals recognise as part of their cultural heritage. It is sometimes called living cultural heritage, and is manifested inter alia in the following domains:[5] Oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; Performing arts; Social practices, rituals and festive events; Knowledge and practices concerning nature and the universe; Traditional craftsmanship

U N E S C O established its Lists of Intangible Cultural Heritage with the aim of ensuring better protection of important intangible cultural heritages worldwide and the awareness of their significance. This list is published by the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage, the members of which are elected by State Parties meeting in a General Assembly.[2] Through a compendium of the different oral and intangible treasures of humankind worldwide, the programme aims to draw attention to the importance of safeguarding intangible heritage, which UNESCO has identified as an essential component and as a repository of cultural diversity and of creative expression. The list was established in 2008 when the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage took effect. As of 2010 the programme compiles two lists. The longer, Representative List of the Intangible Cultural Heritage of Humanity, comprises cultural “practices and expressions [that] help demonstrate the diversity of this heritage and raise awareness about its importance.” The shorter, List of Intangible Cultural Heritage in Need of Urgent Safeguarding, is composed of those cultural elements that concerned communities and countries consider to require urgent measures to keep them alive. In 2013, four elements were inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, which helps States Parties mobilize international cooperation and assistance to ensure the transmission of this heritage with the participation of the concerned communities. The Urgent Safeguarding List now numbers 35 elements. The Committee[which?] also inscribed 25 elements on the Representative List of the Intangible Cultural Heritage of Humanity, which serves to raise awareness of intangible heritage and provide recognition to communities’ traditions and know-how that reflect their cultural diversity. The List does not attribute or recognize any standard of excellence

or exclusivity. The list totaled 508 elements corresponding to 122 countries as of 2018. Elements inscribed in the lists are deemed significant bastions of humanity’s intangible heritage, the highest honor for intangible heritage in the world stage. Intangible Cultural Heritage Classifications The UNESCO’s Convention for safeguarding of Intangible Cultural Heritage (ICH) classifies cultures and traditions into 5 broad domains. These are: Oral traditions & expressions (including ancient languages) Performing arts Social practices, rituals, & festivals Knowledge & practices concerning nature & the universe Traditional craftsmanship Lists of intangible cultural heritage A total of 13 Intangible cultural heritage (ICH) elements from India have been inscribed till date on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. * Kutiyattam, Sanskrit theatre * Tradition vedic chanting * Ramlila,the traditional performance of Ramayana * Ramayana religious festival and ritual theatre of the Garhwal Himalayas,India * Chan dance * Kalbelia folk songs and dances of Rajasthan * Mudiyettu, ritual theatre and dance drama of Kerala * Buddhist chanting of lord: recitation of sacred Buddhist texts in the trans- Himalayan Ladakh region, Jammu and Kash mir,India * Sankirtana,ritual singing, drumming and dancing of Manipur * Traditional brass and copper craft of utensil making among the Thatheras of jandiala Guru, Punjab, India * Youga

Tangible heritage

The term tangible heritage refers in general to all the material traces such as archaeological sites, historical monuments, artifacts, and objects that are significant to a community, a nation, or/and humanity. The term is often used to distinguish such heritage elements from “intangible heritage,” recognized by UNESCO in 2003, to refer to practices, representations, expressions, knowledge skills, as well as instruments, objects, artifacts, and cultural spaces associated therewith of living communities. The term “intangible heritage” replaced what was referred to in an earlier UNESCO document in 1989 as traditional culture and folklore. The designation of an intangible category of heritage led to the distinction of varieties of “material” archaeological and historical elements of heritage – “tangible heritage.”

Ta n g i b e l

heritage

The term ‘cultural heritage’ has changed content considerably in recent decades, partially owing to the instruments developed by UNESCO. Cultural heritage does not end at monuments and collections of objects. It also includes traditions or living expressions inherited from our ancestors and passed on to our descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts. While fragile, intangible cultural heritage is an important factor in maintaining cultural diversity in the face of growing globalization. An understanding of the intangible cultural heritage of different communities helps with intercultural dialogue, and encourages mutual respect for other ways of life. Imortance Our heritage – physical and non-physical – is an important part of who we are and what we identify with, as individuals and communities. This cultural identity relies on the memory of communities and individuals: it is key to identity, well-being, decisions and actions. Tangible heritage sites in India Natural (7) • Great Himalayan National Park Conservation Area (2014) • Kaziranga National Park (1985) • Keoladeo National Park (1985) • Manas Wildlife Sanctuary (1985) • Nanda Devi and Valley of Flowers National Parks (1988,2005) • Sundarbans National Park (1987) • Western Ghats (2012) Mixed (1) • Khangchendzonga National Park (2016)

Cultural (30) • Agra Fort (1983) • Ajanta Caves (1983) • Archaeological Site of Nalanda Mahavihara at Nalanda, Bihar (2016) • Buddhist Monuments at Sanchi (1989) • Champaner-Pavagadh Archaeological Park (2004) • Chhatrapati Shivaji Terminus (formerly Victoria Terminus) (2004) • Churches and Convents of Goa (1986) • Elephanta Caves (1987) • Ellora Caves (1983) • Fatehpur Sikri (1986) • Great Living Chola Temples (1987,2004) • Group of Monuments at Hampi (1986) • Group of Monuments at Mahabalipuram (1984) • Group of Monuments at Pattadakal (1987) • Hill Forts of Rajasthan (2013) • Historic City of Ahmadabad (2017) • Humayun’s Tomb, Delhi (1993) • Jaipur City, Rajasthan (2019) • Khajuraho Group of Monuments (1986) • Mahabodhi Temple Complex at Bodh Gaya (2002) • Mountain Railways of India (1999,2005,2008) • Qutb Minar and its Monuments, Delhi (1993) • Rani-ki-Vav (the Queen’s Stepwell) at Patan, Gujarat (2014) • Red Fort Complex (2007) • Rock Shelters of Bhimbetka (2003) • Sun Temple, Konârak (1984) • Taj Mahal (1983) • The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement (2016) • The Jantar Mantar, Jaipur (2010) • Victorian Gothic and Art Deco Ensembles of Mumbai (2018)

LOCATION

• Lakkundi is a small village in Gadag district of Karnataka. population of the village was 3263 in 1881. 2011 census stands at 11,960. • It is said to be a maha-agrahara settlement consisting one thousand mahajanas during 11th & 12th century. • Lakkundi, earlier known as Lokki-gundi, was a main city during the reign of Kalyani Chalukyas. Most of the temples found here were built by them. • In the later period of the Western Chalukyas, the Kalachuris ruled over this region as their feudatories. After the Western Chalukyas, the region came under the Suenas (Yadavas of Devagiri).

Lakkundi

• They patronize various Shiva temples here. During the Western Chalukya times, Lakkundi has a royal-mint as evident from its inscription. A part of earnings from the mint was donated to the temples here. • In 1192 CE, the great Hoysala king Ballala II established himself at Lakkundi as his capital. According to a tradition, between 1187 and 1192 Lakkundi was the scene of a battle between Ballala II and Jaitugi, the son of Suena king Bhillama. • In this battle, Jaitugi is said to have worsted. Since then the region was under the able rule of the Hoysala kings. • Though no VIjayanagara inscription is found here, however it can be said with certainty that the region was under their rule as that dynasty was ruling over whole of south India at some point of time. It would have come under the rule of Hyder Ali and Tipu Sultan and ultimately to the British.

Lakkundi is a place with treasure of 50 temples, 101 stepped wells (called Kalyani or Pushkarni) and 29 inscriptions, spread over the period of the later chalukyas, kalachuris, seuna and the hoysalas.

The western chalukyas map

The Three Chalukyas There were three distinct but related Chalukya dynasties. • Badami Chalukyas: The earliest Chalukyas with their capital at Badami (Vatapi) in Karnataka. They ruled from mid-6th They declined after the death of their greatest king, Pulakesin II in 642 AD. • Eastern Chalukyas: Emerged after the death of Pulakesin II in Eastern Deccan with capital at Vengi. They ruled till the 11th century. • Western Chalukyas: Descendants of the Badami Chalukyas, they emerged in the late 10th century and ruled from Kalyani (modern-day Basavakanlyan). • •

• At various points in time, Lakkundi was ruled by different dynasties :– • • • •

The western chalukyas Kalachuris (12th century CE) Seunas (Yadavas of Devagiri – 12th to 14th century CE) Hoysalas (10th to 14th century CE)

But the temples here reflect the architecture mainly of the Western Chalukyas, whose capital was at Kalyani (present-day Basavakalyan in Karnataka).

•

The Western Chalukya Empire ruled most of the western Deccan, South India, between the 10th and 12th centuries. This Kannadiga dynasty is sometimes called the Kalyani Chalukya after its regal capital at Kalyani, today’s Basavakalyan in the modern Bidar District of Karnataka state, and alternatively the Later Chalukya from its theoretical relationship to the 6th-century Chalukya dynasty of Badami. The dynasty is called Western Chalukyas to differentiate from the contemporaneous Eastern Chalukyas of Vengi, a separate dynasty. Prior to the rise of these Chalukyas, the Rashtrakuta empire of Manyakheta controlled most of Deccan and Central India for over two centuries. In 973, seeing confusion in the Rashtrakuta empire after a successful invasion of their capital by the ruler of the Paramara dynasty of Malwa, Tailapa II, a feudatory of the Rashtrakuta Dynasty ruling from Bijapur region defeated his overlords and made Manyakheta his capital. The dynasty quickly rose to power and grew into an empire under Someshvara I who moved the capital to Kalyani.For over a century, the two empires of Southern India, the Western Chalukyas and the Chola dynasty of Tanjore fought many fierce wars to control the fertile region of Vengi.

• During these conflicts, the Eastern Chalukyas of Vengi, distant cousins of the Western Chalukyas but related to the Cholas by marriage took sides with the Cholas further complicating the situation. During the rule of Vikramaditya VI, in the late 11th and early • 12th centuries, the Western Chalukyas convincingly contended with the Cholas and reached a peak ruling territories that spread over most of the Deccan, between the Narmada River in the north and Kaveri River in the south. His exploits were not limited to the south for even as a prince, during the rule of Someshvara I, he had led successful military campaigns as far east as The Western Chalukyas developed an architectural style known today as a transitional style, an architectural link between the style of the early Chalukya dynasty and that of the later Hoysala empire. modern Bihar and Bengal. • xxDuring this period the other major ruling families of the Deccan, the Hoysalas, the Seuna Yadavas of Devagiri, the Kakatiya dynasty and the Southern • Kalachuris of Kalyani, were subordinates of the Western Chalukyas and gained their independence only when the power of the Chalukya waned during the later half of the 12th century. • Most of its monuments are in the districts bordering the Tungabhadra River in central Karnataka. • Well known examples are the Kasivisvesvara Temple at Lakkundi • The Mallikarjuna Temple at Kuruvatti, the Kallesvara Temple at Bagali and • The Mahadeva Temple at Itagi. • This was an important period in the development of fine arts in Southern India, especially in literature as the Western Chalukya kings encouraged writers in the native language Kannada, and Sanskrit. • Kalachuris of Kalyani, were subordinates of the Western Chalukyas and gained their independence only when the power of the Chalukya waned during the later half of the 12th centu

• Most of its monuments are in the districts bordering the Tungabhadra River in central Karnataka. • Well known examples are the Kasivisvesvara Temple at Lakkundi, the Mallikarjuna Temple at Kuruvatti, the Kallesvara Temple at Bagali and the Mahadeva Temple at Itagi. • This was an important period in the development of fine arts in Southern India, especially in literature as the Western Chalukya kings encouraged writers in the native language Kannada, and Sanskrit. Administration and Society • The Chalukyas had great maritime power. • They also had a well-organised army. • Though the Chalukya kings were Hindus, they were tolerant of Buddhism and Jainism. • Saw great developments in Kannada and Telugu literature. Sanskrit along with the local languages thrived. An inscription dated 7th century mentions Sanskrit as the language of the elite whereas Kannada was the language of the masses. • • •

• • •

Art and Architecture They built cave temples depicting both religious and zsecular themes. The temples had beautiful mural paintings also. The temples under the Chalukyas are a good example of the Vesara style of architecture. This is also called the Deccan style or Karnataka Dravida or Chalukyan style. It is a combination of Dravida and Nagara styles. Aihole temples: Ladh Khan temple (Surya Temple), Durga temple, Huchimalligudi temple, Jain temple at Meguti by Ravikirti. There are 70 temples in Aihole.Badami temples Pattadakkal: is a UNESCO World Heritage site. There are ten temples here – 4 in Nagar style and 6 in Dravida style. Virupaksha temple and Sangameshwara Temple are in Dravida style. Papanatha temple is in Nagara style.

• The town of Lakkundi was known as Lokkigundi in medieval times, the town was of considerable importance during the 11-12th century A.D. Western Chalukya rule. • The Brahma Jinalaya was built in 1007 CE[2] by Attimabbe, wife of Nagadeva, who served as general under both Taila II and Satyashraya Irivabedanga (997-1008 A.D.). • Satyasraya Irivabedanga had the title ‘Sarvavarnadharmadhanu’ – meaning bow that respects all religions, without discrimination. • The temple represents the second phase of Kalyani Chalukyas art. • It is said that Attimabbe donated 1,500 jewel-studded statues of thirthankaras and 1,000 copies of the manuscript of Ponna’s ‘Santipurana’ written on palm-leaves book. • With the waning of their power, in 1191 A.D., the noted Hoysala empire king Veera Ballala II made this town an important garrison.

• Attimabbe was born in 950 AD to Feudatory Mallapa of chalukya king Tailapa II and ponnamayya. She was born at punganur of Chittoor district in Andhra pradesh. • Mallapa was a devout adherent to Jainism and he was an impressive personality in imperial court of Tailapa II. Attimabbe’s Father Mallapa belonged to “Vajiivamsa “of Kondniya gotra and known as Dandnayaka title bestowed by Tailapa II. • Attimabbe was married to Nagadeva in 965 AD. Nagadeva’s Father was Dhallapa ; Chief minister and general in chalukyan court. • Dhallapa is also mentioned in Lakkundi inscription as a brave, highly learned, intelligent, proficient and valiant in war. It also credits to triumph over Vengi, Malwa, Konkan and Tigules. Nagadeva was elder son of Dhallapa and had same qualities as father had.

In 12th century, Chaturmukh Bharma was installed by villagers giving the temple the name Brahma Jinalaya. • He was also devout to Jainism and considered a bright star Historical records note that there were 5 Jain temples in of “Vajjivamsa”. the region but only this temple survives. • Victory of Gujarat and Vengi is credited to Nagadeva as described in lakkundi Inscription. Lakkundi inscription describes • Lakkundi is a place of antiquarian interest with as many as 50 Attimabbe as wife of Nagadeva, daughter of Mallapa and temples, 101 stepped wells (called Kalyani or Pushkarni) and Daughter in law of Dhallpa. Attimabbe was mother of Padu29 inscriptions, spread over the period of the later Chalukyas, vala Tailap or Anniga.[2] Her noteworthy achievements are Kalachuris, Seuna and the Hoysalas. A great center of Kalyani mentioned below. Chalukyas art, there are several temples of note here. Among them the Kasivisvesvara temple, Lakkundi is the most ornate She caused the construction of and elaborately furnished. • 1500 Jain Shrines[3] in her life and in addition one more at • There is also the Brahma Jinalaya, a Jain temple, the largest and oldest shrine at Lakkundi. There is sculpture gallery (Museum) maintained by the ASI (Archaeological Survey of India). • Lakkundi also has a Darga of Zindeshah Wali.

Lakkundi celebrated as Brahma Jinalaya. • She caused 1500 Jina images [4] to be made and gifted them along with Gold bells and lamp of daily worship of Lord Jina. • She caused 1000 copies of Shantipurana[5] to be made on palm leaves and distributed them to Jina preachers and scholars as “Shastra Daan”.

THE ARCHITECTURE IN LAKKUNDI The temple art of Lakkundi reached its peak during the 11th and 12th century CE and exhibits the unique Vesara style of architecture, • which is a combination of the Nagara style (North Indian) and Dravidian style (South Indian). • The temples here are built from greenish-blue chloritic schist or soapstone and mark the transition from the use of sandstone to soapstone. Vesara style of architecture vesara is one of a number of terms for a distinct stylistic tradition of Indian Hindu temple architecture primarily used in the Deccan, parts of North India and Central India, between the Vindhyas and the river Krishna (VK Agnihotri, Indian History, p. B-34). The two other prominent modes or styles are the Dravida or Dravidian of South India and the Nagara of North India. Vesara is a combination of features from these two temple styles, and its own original characteristics.[1] The term was used by ancient writers, but possibly not with the same meaning as in modern usage. For this and other reasons, it is avoided by some writers, such as Adam Hardy. Alternative terms for the whole time span of the tradition, from the 7th to the 13th century CE, include Karnata Dravida (Hardy’s choice),[3] ‘Central Indian temple architecture style’, ‘Deccan architecture’, or for shorter periods, terms referring to local dynasties, such as “Chalukyan architecture”, or more precisely Early Chalukya or Badami Chalukya architecture and Later or Western Chalukya architecture, and Hoysala architecture (see the more detailed articles on these).

Among those who do use “vesara”, there is some disagreement as to what periods to use it for. Such disagreements are very largely restricted to matters of nomenclature: whether the term is useful, and if so, what it should cover, in particular whether the Early as well as the Later Chalukya is included in “Vesara”. There is general agreement about most aspects of the actual surviving buildings. Vesara Architecture features * Deccan region (Between the vindhyas and Krishna river) * Mixture of two styles hybrid style. It was developed both regionally and dynastically * Ground plan: increasingly complex,including start like plan * The shape of the tower was parametrically but height was reduced (miniature Vimanas) * Multiple shrine are present side by side * Squared hall * Sanctum Garbhagriha * Goupurams may not be present * A water tank may or may not be present * Cmpound wall may or may not be present. Examples * Badami temple * Durga temple (Aihole) * Virupaksh temple (Pattadakal) * Keshava temple (Somnathpur) From above observation it can be seen that, vesara temple architecture, besides its own features, Is mixture of Dravidian and nagara temple architecture

BRAMHA JAINALAYA LAKKUNDI

The Archaeological recognized

survey of India (ASI)

11 temples and one step well under its jurisdiction. Mainly • Kashi Vishveshwara • Brahma Jinalaya • Nanneshwara, Kumbareshwara Mallikarjuna • Virupaksha • Laxmi Narayana Virbhadraveshwara • Nagannatha • Manikeshwara and Muskukina Bavi (step well) and a small Jain temple Brahma Jinalaya • District: Gadag • Town: Lakkundi • Temples: Brahma Jinalaya • Brahma Jinalaya – Overview:• This temple is dedicated to the greatest of the Jain Thirthankaras, Mahavira. There is also a beautiful idol of Lord Brahma in this temple. • The Brahma Jinalaya is located in Lakkundi village in Gadag district, Karnataka. • The Brahma Jinalaya is a Jain Basadi in Lakkundi village. Lakkundi is famous for its many ancient temples and monuments dating from the Later Chalukya period. Many inscriptions were discovered here covering the Chalukya, Kalachurya and Hoysala periods. • Among the many different temples and monuments here is the remarkable Brahma Jinalaya, the oldest Jain Basadi in Lakkundi.

• Temple area of temple 835sqm • Total area 2559sqm • The town of Lakkundi was known as Lokkigundi in medieval times, the town was of considerable importance during the 11-12th century A.D. Western Chalukya rule. The Brahma Jinalaya was built in 1007 CE by Attimabbe, wife of Nagadeva, who served as general under both Taila II and Satyashraya Irivabedanga (997-1008 A.D.). this town an important garrison.

Brahma Jinalaya – Architecture

• Brahma Jinalaya stands as the testimony of the high rank in the Karnataka temple Architecture.

• The Brahma Jinalaya, a Jain Basadi, was built by Queen Attimabbe, the wife of a Chalukya Chieftain. She was a generous • Brahma Jinalaya was built by queen Danachintamani Attipatron of arts and was given the title ‘Daanachintamani’. This mabbe is the largest of many Jain temples in Lakkundi. is the oldest of the Jain temples in Lakkundi. It is built of Chloritic Schist, a building material that made for easier and more • This Basadi is dedicated to Adinatha, the most revered saint delicate carvings. Built on a square plan, it has a 5 storied Viof Jainism. mana. It has a mukha mandapa and an open pillared hall. • This Basadi is perhaps one of the earliest examples of temples • The Garbagudi or sanctum houses the idol of Vardhamana in this area built of a kind of fine textured chloritic schist as disMahavira. The statue of Brahma Deva in this temple is captinct from the hitherto used sandstone of this region. tivating. He is depicted standing, with 4 faces. The faces are polished and form a darker contrast to the rest of the idol. At • The new material, because of its less thick quarry sizes and his feet are his consorts, Savitri and Gayatri tractability, reacted on the workmanship, with the result that the masonry courses became reduced in size and the carv• This east facing temple is the oldest Jain temple at Lakkundi. ings more delicate and highly finished. • • • • • • •

The temple consists of a garbha-grha Antarala nava-ranga open mandapa mukha-mandapa Balustrade entrance flanked the mukha-mandapa.

• The temple, perhaps built in the latter half of the 11th century, has a five-storeyed vimana, square on plan from the base to the shikhara, and had originally a closed square navaranga in front, though an open mandapawas added in front later on. • Basadi has a well fastened Mukha mantapa and open hall with central pillars decorated with beautiful carving.

• The open mandapa is supported on twenty-eight pillars. As • The Garbagudi holds the idol of Neminatha Tirthankara. observed in other Western Chalukya period temples, we do not find slanted-backrest seating like arrangement in this • The central bay of the navaranga is a larger square than the open mandapa. peripheral eight around it. • Navaranga has four pillars in center to support the ceiling above the central stage.

• The second storey, as in the Jain temple at Pattadakal, is functional and has an antarala-mantapa in front over the vestibule of the lower storey. This raises the total height of the vimana considerably.

PLAN OF BRAHAM JINALAYA LAKKUND

Garbhagriha Antarala Ranga Mandapa also called as Navagraha mandapa

Saba Mandapa or Muka Mandapa

Enty

Antarala doorway has Gaja-lakshmi on its lalata-bimba. The garbha-grha doorway has an image of Mahavira on its lalata-bimba.The garbha-grha is a square sanctuary and it houses a Mahavira image standing above a simha-pedestal. On his left is shown yakshi Padmavati and on his left is a yaksha. The sanctum of the temple has a plaque of Mahavira in a sitting posture on the lintel of the entrance door, which also has decorative elements. The deity in the sanctum of the temple is a black, stone Jain deity of Neminatha flanked by a yaksha and a yakshi. This is an active temple and regular worship of the deity is performed here. There is a small alloy-built golden miniature idol replicating the main deity, which is primarily worshipped instead of the main deity. Interestingly, the original deity was that of Mahavira, whose headless statue is now outside the Brahma Jinalaya and in front of another adjacent temple.

The name Brahma jainalaya came from the past history i.e. the different tradition people living the place Lakkundi or loki lundi had a religious qurials between Jains and brahmins as the temple dedicated to Neminatha(one Jain tirthankara) and allowed to worship only to Jains so the Brahmin people where unhappy by the temple and also by the Jain people so when this issue reached its peak the brahmin people damaged the main murti the Jain tirthankara).in the above image shows the damaged murti of which is kept out side the temple. The ruling king of western chalukyaks at that time given the decision to the people that the worshiping of brahma and also the Jain (i.e. tirthankara) both should happen in one temple so by this dissention the installation of a standing caturmuka brahma was happened and the murti of Mahaveer wa. From that time the temple named as Brahma jainalya

• The cathurmuka brahma was installed after the justices made by the ruling king, • The worship of cathurmuka brahma can be seen more in northern part of the India more,but this is the only temple in southern India in which we can find the worship of caturmuka brahma • The beautiful craftsmanship of the four faces of murti can be observed.At the left side of the chaturmukha bramha the anothe murti of can Padmavati also be seen.

The Chaturmukha Bramha (4 faces)

• The Basti is Built with Schist (Sichists from a group of medium-grade metamorphic rocks with prevalence of minerals such as micas, chlorite,talc,hornblende,graphite and others) and hence the sculpting became easier than working with sandstone.The design thus carved are delicate with finess. • Basti haas a secure Mukha Mantapa/facinf hall and a huge open hall propped by polished pillars each designed and cut in the Garbagruha/Santucm sanctorum is the idol of Bhagavan Vardhaamana Mahavira Tirthankara,Which is 4 feet tall. The door way panel of the gaarbagruha is grand and carved to perfection. • Antarala doorway has Gaja-lakshmi on its lalata-bimba. The garbha-grha doorway has an image of Mahavira on its lalata-bimba. The garbha-grha is a square sanctuary and it houses a Mahavira image standing above a simha-pedestal. On his left is shown yakshi Padmavati and on his left is a yaksha.

Lakkundi Jain temple Door • The door way located in the saba mandapa is huge and gives way towards ranga mandapa (Dance hall) just before the antarala • The frame of the door is highly carved with different floral pattern and also god and goddess. • At the top center of the door fram small miniature goddes of

• The temple consist of two main mandapas i.e. saba mandapa or facing mandapa, Ranga mandapa (dance hall). • The saba mandapa was constructed after few years den the main temple complex • The temple is one story structure (G+1) in the upper floor consist of prayer hall which is locke now and not allowed to public. • The side by the main temple another samll temple is also located which also now locked and not alllowed to public. • The main Saba mndapa is suppourted with huge elobrated coloums and highly carved. which enhance the over all temple look. • The temple is constructed on huge plinth. And has the stair way to the Saba mandapa with long risers. • The saba mandapa has the tipical western chalukya architecture sloping roof. • The temple complex does not consist of any coumpound. • The one of the stricking features of this temple is highly polished and carvings of columns. The columns are polished in such a way that if any one stand in front of the columns it mirrors the pitcture in front of it. total number of pillars 32 carved in bell shape. • The mandapas has carvings on top of selling also. • The inscriptions are written on the inside wall of the temple.

Temple Vimana The shikhara of this temple is very noteworthy. It is constructed in three stories topped with a crowning member. The first story is taller than the above two stories. It rises above the garbha-grha and provides a cavity for another smaller garbha-grha. It is topped with two stories of same design. The crowning member is square in shape and has a pot-finial above it. The whole scheme is executed in Dravidian style.The temple has single shrine (ekakuta vimana) connected to a closed mantapa hall via a vestibule (sukanasi or ardhamantapa) that is connected to another, open mantapa.This temple is famous for its architecture and considered one of the finest example of Western Chalukya architecture.The temple has a garbhagriha, an antarala and a closed navaranga, and an open pillared mandapa. Over the garbhagriha is raised a five storeyed nirandhara vimana with a square griva and sikhara. Above the cornice of these arched niches at regular intervals is a seated Jaina figure. The ceilings are plain and pillars are well decorated. The open mandapa is supported by 32 pillars and pilasters.

SKETCHES

The saba mndapa / Mukha mandapa

Door way to Navagraha mandapa

Columns in bell shape Their are mainly two types of columns in the temole complex which are highly carved and polished Neminatha The Chaturmukha Bramha

Images of

Jain temple Lakkundi