Veerabhadra Temple, Lepakshi

The temple has been built on the southern side of Lepakshi town, on a low altitude hillock of a large exposure of granite rock, which is in the shape of a tortoise, and hence known as Kurma Saila. It is away from Bangalore. The approach from the National Highway NH7 to Hyderabad that takes a branch road at the Karnataka-Andhra Pradesh border leading to Lepakshi, away. Another route to reach the temple is taking a route from Hindupur. It is situated from Penukonda, located in Anantapur district of Andhra Pradesh. == History ==

The temple was built in 1530 AD (1540 AD is also mentioned) by Virupanna Wadiyar and Viranna Wadiyar, both brothers who were Pallava kings served as Governors under the Vijayanagar Empire during the reign of King Achyuta Deva Raya, at Penukonda who were native to Karnataka. They belonged to pallavas. They were followers of Shaivism and Vaishnavism. The temple consists of only Kannada inscriptions. The cost of building the temple was defrayed by the government. According to Skanda Purana, the temple is one of the divyakshetras, an important pilgrimage site of Lord Shiva. == Architecture ==

and Vishnu on pillars in the manadapa The temple is of the Vijayanagara architectural style. Figurines of the goddesses Ganga and Yamuna flank the entrance to the sanctum. The exterior columns of this hall are built over a decorated plinth; the decorations are in the form of blocks of carved images of horses and soldiers. The columns are slim and have features of colonnettes carved with eaves, overhanging in a curved shape. The open space in the middle part of the hall is defined by large columns or piers which have carvings of triple figures. In the columns in the northeastern part of the hall, there are images of Natesha flanked by Brahma and a drummer. In an adjoining column there are figurines of nymphs in dancing postures, flanked by a drummer and cymbalist. The column at the southwest part of the hall has an image of Parvathi, Shiva's consort, flanked by female attendants. There are also carvings of divinities such as Bhringi with three legs and Bhikshatana carved in a dancing posture; this is in the northwestern part of the hall. The ceiling of the hall is fully covered with mural paintings depicting the scenes from the epics, the Mahabharata, the Ramayana, and the Puranas along with the life sketches of the benefactors of the temple. The paintings in each bay on the ceiling of the main mandapa, the antarala and other shrines, depict the grandeur of Vijayanagara pictorial art. They are painted over an initial plaster layer of lime mortar. The colour scheme consists of vegetable and mineral colours of yellow, ochre, black, blue and green blended with lime water; the background is generally painted in red colour. Apart from figures of gods and goddesses, in the presence of the devotees arranged in rows, the frescoes also depict the incarnations of Vishnu. The paintings are in striking compositions where the particular emphasis is on the period costumes and facial expressions. The fresco in the ceiling of ardha mantapa (ante chamber), which is said to be Asia's largest, measures . It has frescoes of the 14 avatars of Lord Shiva as: Yogadakshinamurti, Chandes Anugraha Murthy, Bhikshatana, Harihara, Ardhanarishwara, Kalyanasundara, Tripurantaka, Nataraja, Gouriprasadaka, Lingodbhava, Andhakasurasmahara and so forth. The presiding deity deified in the sanctum sanctorum is a near life-size image of Veerabhadra, fully armed and decorated with skulls. There is a cave chamber in the sanctum where sage Agasthya is said to have lived when he installed the image of the Linga here. The ceiling in the sanctum above the deity has paintings of the builders of the temple, Virupanna and Viranna, regally dressed and crowned with headgear similar to those adorning the Krishnadevaraya's bronze statue in Tirupati. They are depicted, with their entourage, in a state of reverential prayer, being offered sacred ashes of their family deity. Within the temple complex, on the eastern wing, there is a separate chamber with Shiva and his consort Parvathi carved on a boulder. In another shrine chamber there is an image of Lord Vishnu. Within the temple precincts, to its eastern side, there is huge boulder of granite stone which has carving of coiled multi-hooded serpent providing an umbrella cover over a Linga. The apparently "hanging pillar" is yet another attraction in the temple. There is a gap between the base of the pillar and ground through which cloth and paper can be passed, as the pillar is slightly dislodged and touching the ground only on one side. A huge granite Nandi (bull), in height and in length, bedecked with garlands and bells, carved out of a single block stone, is located about from the temple, which faces the statue of the serpent in the precincts of the temple. File:Front side of Veerabhadra Temple, Lepakshi.jpg|Front Side View of Veerabhadra Temple, Lepakshi File:North Side View , Veerabhadra Temple, Lepakshi.jpg|North Side View of the temple File:Brihngi , the three legged dance Teacher , Veerabhadra Temple, Lepakshi.jpg|The Dance Teacher File:Veerabhadra Temple giant footprint of hanuman.jpg|Giant footprint inside the temple premises. It is said to be of that of Sita or Hanuman. == Mural paintings ==

The mural paintings of the Veerabhadra Temple rank among the most important surviving examples of Vijayanagara pictorial art. They were commissioned in the 16th century under Virupanna wadiyar and Viranna wadiyar during the reign of Achyuta Deva Raya and cover the ceilings of the mahamandapa, the mukha mandapa, the antarala, and several subsidiary shrines. The panels follow the bayed columns of the mandapas, verandahs, and corridors in elongated strips, ranging in length from around 5 metres to as much as 25 metres. Technique The painters worked on a prepared ground of sandy clay from nearby riverbeds, mixed with red ochre and lime powder blended with liquid molasses, applied directly over the granite surfaces.{{cite web sketched in red ochre, then filled with colour and outlined with fine black strokes. The background is almost always red ochre. Figures are rendered in black, white, yellow, various shades of grey, and occasional blue-green, using vegetable and mineral pigments mixed with lime water. The figures are slender and elegant, with significant attention given to the depiction of clothing, hairstyles, headgear, and jewellery, including the pleats of dhotis, sarees, and tunics. The eyes of figures are drawn in a pronounced elongated almond shape that is characteristic of the Vijayanagara school. Subject matter The ceiling of the mukha mandapa carries narrative scenes from the Ramayana, the Mahabharata, and the Puranas. Among the episodes shown are the wedding of Shiva and Parvati with Brahma officiating, Ravana lifting Mount Kailash, the swayamvara of Draupadi, the Kiratarjuna episode in which Arjuna encounters Shiva disguised as a hunter, the story of Manu Needhi Cholan, and Shiva and Parvati playing a board game. slaying Hiranyakashipu at the Veerabhadra Temple, Lepakshi, Andhra Pradesh, India. The mahamandapa ceiling is organised around a large central composition of Veerabhadra flanked by Viranna and his wife, spread across thirteen panels each divided into sub-panels. The borders around this central group are filled with mythical creatures, celestial figures, devotees, dancers, and musicians. The natya mandapa pillars carry figures of Brahma, Nataraja, the apsara Rambha in a dancing posture, Bhikshatana, and the three-legged sage Bhringi. The ardha mandapa ceiling, measuring approximately , carries fourteen forms of Shiva including Dakshinamurthy, Bhikshatana, Harihara, Ardhanarishvara, Tripurantaka, Nataraja, and Lingodbhava. The ceiling of the sanctum shows the temple's patrons, Virupanna and Viranna, in an act of worship, dressed in court robes and headgear comparable to that on the bronze statue of Krishnadevaraya at Tirupati. The largest single figure in the temple is the fresco of Veerabhadra on the ceiling before the main sanctum. It measures roughly and is considered the largest single-figure fresco in Asia. Costumes and cultural context The paintings are one of the more detailed visual records of dress and ornament in 16th-century Deccan court culture. Male courtiers in the natyamandapa appear in white tunics with tall conical caps known as kabayi and kullayi, garments that carry visible Islamic influence absorbed into Vijayanagara court dress. The figures across the murals show careful attention to the pleats of dhotis, sarees, and tunics, as well as to jewellery and headgear, and the Vijayanagara influence on human figures is particularly visible in the detailing of faces and clothing. These depictions match accounts left by Persian, Chinese, Portuguese, and Italian travellers of the period, making the murals a cross-referenced source for the material culture of the Vijayanagara elite.{{cite book |last=Dallapiccola animals, and foliage running through the compositions are considered an early precedent for the Kalamkari textile tradition and continue to appear as prints on sarees, woodcut block prints, and home decor products. Some panels were retouched in later periods, though the original figures have kept their posture and general composition. Erosion over the centuries has been attributed to environmental factors including cobwebs, moss, insect nests, and the soot from camphor lamps used during worship. Many panels remain in good condition. File:Attendants mural Lepakshi Veerabhadra Temple Vijayanagara painting.jpg|Mural depicting a blue-skinned deity with attendants, Veerabhadra Temple, Lepakshi. File:Krishna or Vishnu mural Lepakshi temple Vijayanagara painting.jpg|Mural depicting Krishna or Vishnu with attendants, Veerabhadra Temple, Lepakshi. File:Wall mural likey of vishnu.jpg|Wall mural depicting a four-armed deity, likely Vishnu, Veerabhadra Temple, Lepakshi. == References ==