Indian Columbus

After exploring the ceiling murals, painted corridors and sculpted legends of the Ardha Mandapa, the next phase of the journey through the Lepakshi Veerabhadra Temple leads into the Ranga Mandapa , a space where stone comes alive in rhythm, grace, and divinity . This hall not only connects the outer structures to the inner sanctum, but also serves as a stage where divine episodes, mythological characters and architectural marvels converge in breathtaking stonework. A Forest of Pillars and Stories The Ranga Mandapa is supported by an impressive arrangement of around 70 monolithic pillars , each standing approximately 15 feet tall . The entrance is located on the northern side , leading visitors into a forest of exquisitely carved columns, many of which are elevated on ornate pedestals and designed in varied formats: those with Vyala brackets  and a few with dual Vyala brackets set at right angles . Several pillars feature large sculptural figures emerging from the shafts, while o...

Following the ceiling murals of the Ardha Mandapa explored in an earlier part of this series, attention now shifts to the architectural and sculptural details of this transitional space within the Veerabhadra Temple. The Ardha Mandapa not only serves as a structural connector between the Maha Mandapa and the Garbha Griha, but it also presents some of the finest sculptural compositions found within the temple complex. At the eastern entrance to the Ardha Mandapa stand two imposing dwarapalakas (guardian figures).  Towards the eastern end of the Ardha Mandapa , attached to a massive granite boulder, lies the small shrine dedicated to Papanasheshvara , a form of Shiva. What makes this area truly remarkable is the presence of a large rock-cut relief of Bhikshatanamurti , sculpted directly on the back face of the boulder. In addition to the narrative ceiling and the Bhikshatana panel, the Ardha Mandapa features two prominent freestanding sculptures placed along the inner corridor...

Following the vivid ceiling murals of the Ardha Mandapa and the painted narratives spread across other shrines and corridors, the focus now shifts to the Natya Mandapa , the dance pavilion of the Lepakshi Veerabhadra Temple. Far more than a stage for performance, the Natya Mandapa is a theatre of visual storytelling, where mythology, legend, royal memory, and cosmic drama unfold in sequential panels across its ornate ceiling. The Manu Needhi Cholan Panel Occupying the entrance ceiling of the Natya Mandapa is one of the largest continuous murals in the temple , measuring approximately 18.5 metres by 2 metres . This sprawling panel depicts the famous Manu Needhi Cholan episode , a legendary story of justice associated with the Chola king at Thiruvarur . According to the legend, the prince, while driving a horse cart, accidentally crushed a calf under its wheels. The grieving mother cow walked straight to the palace gates and rang the royal bell of justice. Upon enquiry, King Manu N...

After exploring the celebrated ceiling paintings of the Ardha Mandapa in the previous part of this series, attention now turns to other painted spaces within the Lepakshi Veerabhadra Temple. Scattered across subsidiary shrines, corridors, and ceilings, these murals extend the visual narrative of the temple and reveal the richness of Vijayanagara imagination beyond the main hall. A Treasure of Color and Faith Within the sacred precincts of Lepakshi lies a remarkable pictorial archive that chronicles both divine mythology and courtly refinement. The murals, executed during the reign of Achyutaraya (16th century CE) under the patronage of the temple builders Virupanna Nayaka and Viranna , represent one of the most accomplished phases of Vijayanagara painting. They combine devotion and artistic mastery in equal measure, blending mythic storytelling with minute ornamental detail. Though centuries of exposure and occasional retouching have altered their surface, the paintings continue t...

After exploring the origin of Lepakshi, the sprawling temple layout, and the majestic Veerabhadra and other deities in the previous parts of this series, we now turn our gaze upward...towards one of the most remarkable aspects of the temple: the ceiling paintings of the Ardha Mandapa. Among the many wonders of the Lepakshi temple, the ceiling paintings of the Ardha Mandapa stand out as one of the most significant contributions to Vijayanagara art. These murals not only exemplify the religious fervour of the 16th century but also offer a rich visual record of themes drawn from Shaiva traditions, epics, and courtly life. The murals were first recorded in 1912–13 by A. H. Longhurst , who noted their presence but lamented the lack of preservation. In subsequent decades, the paintings suffered deterioration due to leakage, dampness, and neglect. Despite the fading, they remain a critical artistic repository. Art historian C. Sivaramamurti considered them among the most important examples ...

After exploring the origin of Lepakshi, the sprawling temple layout, and the majestic Veerabhadra in the previous parts of this series, we now step further into the inner layers of the temple complex, where several spiritually significant shrines reside. While Veerabhadra is the presiding deity, these additional shrines reflect the architectural depth, religious syncretism, and artistic intricacy of the Vijayanagara period. Ranganatha Shrine (Vishnu Shrine) To the east of the main Mukhamandapa of Veerabhadra’s shrine lies a compact but richly detailed shrine dedicated to Vishnu, identified as Ranganatha in a 16th-century inscription (Saka 1459 / CE 1537). This shrine is directly accessible through a doorway in the west wall of the mukhamandapa. Within the shrine stands an image of Vishnu, flanked by two consorts. The shrine follows the Nagara style of architecture , with a Dvitala Vimana. Papavinasesvara Shrine Tucked inside the same enclosure and facing west is the Papavinasesvara Sh...