We had a vague idea about the cave before clambering up 60 and odd steps. And we were in for a pleasant surprise. Third cave is by far the largest, grandest, and the most ornated caves among all four. Carved out of a rugged sandstone cliff the temple is dedicated to Lord Vishnu.
After the death of his brother King Kirtivarman, Mangalesha succeseded the throne. He was just a king regent until his nephew, Pulakeshi II could come off age. During his reign of 12 years he commissioned to built the temple. He wanted it to be better than Cave 2, which was built by his brother Kirtivarman.
On the left wall is the large carving of Lord Vishnu sitting atop a coiled serpent. The fived-headed Adishesha provides an umbrella-like shelter to Mahavishnu. Vishnu's vehicle Garuda and wife Lakshmi are seen sitting along with him. It is said Chalukya kings followed similar posture to sit on the throne. Just nearby lies the huge image of Varaha and Bhudevi.
The most unique is the laughing Vijaya Narasimha's statue after slaying the demon Hiranyakashipu. Combined with human body and lion face, the Narasimha we have seen so far is that of ferocious and wild. So this must be the only statue depicting Narasimha in a lighter mood. Standing tall he holds lotus flower in one hand. He is decorated with necklace, armlet, and waist belt. Prahlada and Human faced Garuda are standing besides him.
Harihara and Vamana-Trivikrama statues are present here too. It is assumed the entire cave is painted in murals, unfortunately only traces of that can be seen here and there. Every inch of the cave is carved.
The front row of pillars have bracket figurines of loving divine couples like Shiva-Parvati, Kama-Rati, Naga-Nagini. Our guide showed a sculpture of a man pulling back the hair of a lady who was puking. And he told she was intoxicated by alcohol and women drinking these days are nothing new. Whether it is true or just a way to humor us, only he knows.
Closely on the heels of cave 1 comes cave 2 after climbing 60 and odd steps. Known for strength and rigidity the bright red sandstones are testament to timelessness.
The front edge of the platform is decorated with images of pot-bellied dwarfs in various poses. The veranda is supported by four pillars. Top of each pillar is carved with a bracket in the shape of a yali, a mythical lion-like creature. The door keepers of Vaikunta Jaya and Vijaya's statues stand tall at the entrance to the porch.
On the right wall is the sculpture of Trivikrama. This is the fifth incarnation of Lord Vishnu. Bali Chakravarthi, grandson of Prahlada and great grandson of Hiranyakashipu had the power to defeat Indra, king of gods. He was the ultimate authority over three worlds, heaven, earth, and netherworld. He attained this merit from a great deal of penance. Unsecured by this gods pleaded with Lord Vishnu for protection; hence he descended as dwarf, Vamana. During a yajna, Vamana approached him and Bali promised him a boon. So, he asked for small strip of land three feet measured by his feet. Despite warnings from Sage Shukracharya Bali agreed to oblige and the dwarf then changed his size to that of a giant or Trivikrama. He stepped over heaven in his first stride, and the netherworld with the second. Bali offered his head as a third place for Vamana to keep his foot. Pleased by Bali's devotion Vishnu made him the ruler of Netherworld, granting him immortality. Being Prahlada's grandson also worked in favor of Bali.
On the left wall of the porch is the figure of Varaha, third incarnation of Lord Vishnu. Hiranyaksha, brother of Hiranyakashipu abducted Bhudevi (Mother Earth) captivating her in netherworld. Vishnu in order to protect Bhudevi takes the form of wild boar. He rigged the earth with hoofs, entering seas. He carried Bhudevi with his massive tusks to the surface. A battle ensued between two and in the end Hiranyaksha was slayed by Varaha. Infact Varaha was the symbolic emblem of Chalukya Empire, which was later adapted by Vijayanagar dynasty.
A swasthika pattern of rare kind is carved on the ceiling in such a way that it is impossible to find out the starting or end point. The matsya chakra (sixteen fish spoke) adorns the ceiling panel is another focal point, Matsya yet another incarnation of Lord Vishnu. Story of Krishna's childhood exploits as well as Samudra Manthana are sculpted magnificently. The decorated pillars are equally beautiful. Decorative medallions with Vidhyadhara couples and foliations on pillar-faces. Notice board says craftsmen Vachya, Buru, and Duttoja have signed their names over the facade of the cave; however, the guide failed to tell about this and we couldn't find it on our own either. Architecture of cave 2 is that of Northern Deccan style.
The sculptural legacy left by the Chalukyan artisans later inspired many South Indian temple architecture.
Though Pattadakal bagged the coveted UNESCO World Heritage Site our heart is set on Badami cave temples. We tried to be as early as possible, but a huge crowd in school uniform was scattered all around the place. We were confident of them to be back in less than 15 minutes. Their teacher was arguing at the ticket counter about the slow process in issuing tickets. We witnessed a group of unruly youths forcefully trying to take a picture of a Russian lady with her kids when her husband was buying tickets. Before we could interfere the woman tactfully handled the situation. "Atithi Devo Bhavah" campaign by Amir Khan flashed in front of us for a second only to realize he is no longer the ambassador for that flagship program.
We were literally attacked by a monkey when we tried to get something from the car. Holding cameras, phones, and water bottle we did nothing to ward it off, but to scream. So, beware of monkeys! Always look around for them before getting in and out of your vehicle. Most importantly don't forget to shut all the windows because we watched monkeys getting into a bus snatching whatever they could get their hands on.
About 40 and odd steps lead to the entrance of cave. The first cave is the oldest of the four, dedicated to Lord Shiva, carved in 575 – 585 by Chalukya King Pulkeshi I. The entire red sandstone cliff was illuminating in the early morning winter sun. On the cliff wall to the right porch is a captivating image of Nataraja (Shiva) striking 81 dance poses (one for every combination of his 18 arms). Among other things he holds a snake, a musical instrument, and trident. Looks like Lord Ganesha is trying to follow his father's lead in dancing wherein musicians are playing "Tripura Vaadya" and Nandi sitting beside nodding silently at the performance.
Alongside is the chiseled statue of Godness Adishakti slaying Mahishasura (demon). At her right side is besitted Kartikeya on peacock, opposite to him is the idol of Ganapati without crown holding a Modaka (Ganesha's favourite dish) vessel. So, basically this corner houses the entire Shiva family.
On the right of the porch area is a huge figure of Ardhanarishvara. The right half of the figure shows features of Shiva, such as matted hair and a third eye, while the left half of the image has aspects of Parvati. Sage Bhringi who vowed to worship only Lord Shiva totally ignored Parvati. Angered by this disrespect Godess Parvati cursed the sage to lose everything he had gained through his mother. Hence the sage left with nothing but skeleton, and one could see him the sculpture as well.
On the opposite wall is a large image of Harihara; the right half represents Shiva and the left half Visnu. The Ardha Chandra, Kapala (pot), tiger skin is worn by Shiva while Vishnu wore decorated crown with ornaments tied in arms and a conch in hand. Goddess Parvati and Nandi as well as Goddess Lakshmi and Garuda stands beside respectively. It says a lot about the harmony between Shaivites and Vaishnavites of that time.
Couple of interesting sculptures on the ceiling could be easily missed if not accompanied by a guide. "On a first look you will see two children, up and down. Now take a closer look" he says covering parts with his hands showing us what needs to be looked. Voila! There are two more children in left and right. It depicts the four stages of childhood; sleeping, crawling, standing, and playfulness. We are stunned to say the least. Another idol consists of two animals, an elephant and a bull, but with one face. Showing a sculpture of Shiva and Parvati riding on a bull our guide joked couples going in high-end bikes of current age are nothing, they are just aping. We nodded our head in total agreement.
It should be noted that all the idols depicting the stories are carved exclusively in Mukha Mantapa (pillared veranda), not a single one in Sabha Mantapa (pillared hall) wherein small sanctum is devoid of Shivalinga.
The entire four caves are carved out of single sandstone cliff. We are just awed at the skill and intelligence of sculptors of that time.
