The Ravanphadi Cave Temple at Aihole is a unique rock-cut shrine in Badami Chalukya art and architecture. Nested in a large rock boulder, it has an entrance hall, garbhagriha and side chambers. The monument has been the subject of study and debate for many scholars since the last century. Situated on the northeastern corner of the village of Aihole (Aryapura) in Hunagund taluk of Karnataka’s Bagalkot district, the cave temple faces the western direction with a large open space in the front.
Aihole is situated on the banks of the Malaprabha river and has over 120 monuments dating back to the 6th-10th century CE. It has been praised as the “laboratory of Indian architecture” by many scholars. True to its name, the village has temples with varied styles. Aihole has a local myth associated with Parashurama, who is believed to have washed his axe in the river after defeating the Kshatriyas. The antiquity of the place goes back to pre-historic and Megalithic times. Even today, Megalithic dolmens may be seen atop the Meguti hill in the village.
The importance of the Ravanphadi rock-cut shrine lies in its unique style and homogenous sculptural groups. Its large entrance, which directly leads to the hall, is flanked by the figures of Shankha Nidhi and Padma Nidhi in seated postures. Two dwarapalas dressed like Yavanas are found on either side. The main hall is created like a sculptural gallery. It has two side shrines with a central open hall. The sculptures are: Ardhanari Siva, Sapta Matrika along with the Siva family (in the side shrine), dwarapalas, Harihara and Gangavatarana. The side walls of the garbhagriha has Varaha with Bhudevi and Durga Mahishamardini. The other side shrine is incomplete. Scholars have varied views regarding the date of this cave temple. However, it may be ascribed to 550-75 CE based on the style and features of the sculptures.
Among the sculptures at Ravanphadi, a few have been depicted possibly for the first time in entire peninsular India. The Matrika group carved along with the Siva-Nataraja family is a unique narration. Usually, Matrika sculptures are carved with Ganesha and Siva as Vinadhara, and even Veerabhadra and Bhairava in later periods. Here, the artist has visualised a new sculptural composition depicting the entire Siva family. The sculptures are carved on the C-shaped wall of the upavarnaka (side shrine). All the images in this group are poised in dance postures. Siva as Nataraja has 10 arms that are circularly spread, creating a cosmic feel. Parvati is carved on his left while there are small figures of Ganesha on Siva’s right and Skandha on the other side. The Matrika sculptures in their beautifully poised postures are carved in order. They are: Brahmani, Maheshwari, Kaumari and Vaishnavi to the right of the Siva family, and Varahi, Indrani and Chamunda to the left. The sculptures have slender physiognomy, with long kiritas and are standing with beautifully glanced hand gestures. One can notice that though the images have no vehicles (vahanas), they are easily identifiable as they are set in sequential order; their iconographical and physiological details help in identification. Their overall depiction make them unique in the Matrika genre.
Varaha and Durga Mahishamardini are also noteworthy sculptural examples. They are carved on side walls of the garbhagriha. Varaha is depicted as carrying a seated Bhudevi on his left elbow, her feet supported by his other hand. His right hand rests on her waist while the upper right has the chakra. Interestingly, the shankha is carved right behind Bhudevi. In the sculpture of Durga Mahishamardini, the composition of Devi gives a new dimension to the subject. Her left knee is deeply bent and pressed into the neck of demon Mahisha, while his face is held in Devi’s left hand and bent upward. In her circularly spread arms, Devi holds various attributes. She is victoriously standing and subduing the demon; her vahana, the lion, is anxiously looking at the demon. The Siva linga is carved with the peetha in the garbhagriha in stone in situ.
Another unique depiction of sculpture in this cave temple is the Gangavatarana episode. Gangavatarana or Bhagiratha’s penance has been a popular subject employed in delineation of sculptures by the artists of peninsular India. The Ravanphadi cave temple example of the theme is special in its composition and mode of depiction. The story of Bhagiratha has been narrated vividly in Puranic lore and Padma Purana has an elaborate narration. The descent of River Ganga and the related story of the penance is the subject. The Gangavatarana in Ravanphadi is depicted synoptically.
The theme is artistically carved in a limited space of the wall. Siva, as the protagonist, is standing in samabhanga, while on his right side, the figure of Bhagiratha with his emaciated physique is standing in the penance posture. Parvati, carved on Siva’s left, is in a rhythmic posture. The most interesting and unique aspect of the sculptural narration is the mode of release of Ganga. Siva as Gangadhara, with both hands, holds the hair locks and is releasing Ganga (water) drop by drop. On the upper register of the sculpture, three female figures are shown as emerging and bowing down to the Siva. They may be identified as River Goddesses.
The Ravanphadi cave temple, with its simple spatial arrangement and interesting sculptures, transforms lore into visual narration with unique features. The beautiful Badami Chalukya images serve as the precursors to many later sculptures.
R H Kulkarni
(rhkulkarniarthistory@gmail.com)
Professor, Dept of Art History, College of Fine Arts, Karnataka Chitrakala Parishath