Badami, Aihole, Pattadakal

Title: Badami, Aihole, Pattadakal

Author: George Michell

Publisher: Jaico Books, 2014 (First published 2011)

ISBN: 978-81-8495-600-9

Pages: 144

The state of Karnataka in India renowned internationally for the excellent architecture and sculpture of its ancient temples located at Badami, Aihole, Pattadakal, Hampi, Belur and Halebid. These are only the major attractions and there are numerous minor installations crisscrossing the breadth and width of the state. A visit to the sites offers immense opportunities to the traveler to absorb the spirit and essence of the artistic merit portrayed in stone. This requires guidance from professionals, but sadly, the local support one may manage to avail is woefully inadequate and error some to be of any practical use. Jaico guidebooks on such heritage sites come in handy in these situations and this one is the definitive guidebook on Badami, Aihole and Pattadakal in North Karnataka. The author, George Michell trained as an architect in Melbourne, Australia and then obtained a PhD in Indian Archeology. He has carried out research at numerous historical sites and monuments in India. Many books have been authored and co-authored by him in association with other experts. The superb photographs reproduced in fine quality paper were taken by Surendra Kumar, who works partly as a photographer specializing in panoramic topographic views. This book would be of great help to anyone planning to visit the places mentioned.

Michell establishes the historical background in the first chapter in a succinct way. In line with the nice, handy format of the book, the history is also condensed, but without losing any of the finer points. It is said that engravings in Badami constitute some of the earliest known inscriptions in the Deccan. While Michell says thus, we wonder why Ashoka’s inscriptions in the form of rock and pillar edicts are not in the reckoning. Badami came under the sway of Early Chalukyas in the 6^th century CE. The earliest temples of this era were constructed in rock-cut pattern; sculptors chipped away the unwanted portions of a solid monolith. The next stage was construction using stones in the modern way. Architects constructed buildings from specially fashioned stone slabs as in the modern fashion. Both these styles are visible in the temple towns of Badami and Aihole. Another crucial branch in the evolutionary line of Indian temple architecture is the divergence between the South and North Indian tower styles, called the Dravida and Nagara respectively. All three sanctuaries provide examples of temples in both styles. It seems that ancient Badami was a great melting pot of cultures and the two competing, yet equally elegant styles competed for royal patronage here. In the same vein, it may be thought that the Dravida style captivated the imagination of Chalukya and Rashtrakuta rulers, as we see no representation of the Nagara tower in the later monuments. We are yet to encounter such a syncretistic ancient city in North India where a similar competition ended in the adoption of Nagara architecture.

The religious structures mentioned in the book were constructed between the 6^th and 12^th centuries CE. True to India’s assimilative tradition, we see shrines dedicated to Hindu, Jain and Buddhist pantheon here. In this regard, those times were model abodes of religious tolerance where the temples of these three sister religions shared the same compound and most probably, the same devotees too! Compare this to the indescribable acts of intolerance we see around us today where armed hoodlums gun down innocent school children in cold blood. However, unmistakable signs of violence displayed towards Jain and Buddhist shrines among the monuments stop us from painting a too idealistic picture. When we see acts of mutilation on all three types of temples, the assailant must be Muslim, as the area came under the reign of Adil Shahi dynasty of Bijapur in the 16^th century. On the other hand, we see specific instances of vandalism on Jain and Buddhist temples and idols. The perpetrator in this case must surely be Hindu! But the author does not make any guess in this regard. He simply records his observation and moves over to the next item with the studied disregard of a diehard professional well versed in his art.

This book is an unavoidable companion to anyone planning to visit the architectural treasure house of Badami, Aihole and Pattadakal. Michell’s narration includes the serial order in which a visitor should move around the monuments, and the things they must look for. If the article of interest is located in a poorly illuminated niche, he indicates that a torch light would be required. The colour photographs accompanying the text are excellent in composure and truly do its job in bringing out the detail faithfully to the reader. The book is graced with a glossary, which is mandatory as the author has used many terms related to architecture and mythology, without pausing to explain it in mid-text. A good index and suggestions for further reading completes the list. Treat this book as a guide to the places mentioned, and it does a perfect job. It is also intended to be carried by the visitor, since the pages are of good quality paper having enough thickness to stand the travails of walking.

The book is highly recommended.

Rating: 4 Star