Lepakshi Temple – Part 8: Sculptural Grandeur of the Ardha Mandapa

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, each commanding attention for their artistic detail and narrative depth.

This sculptural composition from the Ardha Mandapa of the Lepakshi Veerabhadra Temple presents a powerful and sequential visual narration of the Kala Samhara Murti legend, carved with remarkable depth and dynamism. The lower half of the image showcases a fully three-dimensional sculpture of Shiva, while the upper portion, carved in bas-relief, captures the contextual scene leading up to Shiva’s fierce intervention.

In the bas-relief panel above, to the left, the young sage Markandeya is seen clinging tightly to a Shiva Linga, his body shown in a posture of surrender and desperation. His small frame, youthful face, and upward-looking gaze express fear and absolute devotion. Opposite him is Yama, shown hurling his noose toward the Linga. His stance is aggressive, and his extended arm heightens the tension of the moment. 

Emerging from this narrative relief, the main sculpture dominates the lower and central space: a monumental Kala Samhara Murti, Shiva in his most fearsome form. Shiva’s body is depicted in a dramatic twist, legs wide apart and bent in movement, weight shifting through the hips, giving the sculpture a spiral rhythm. Shiva is shown with four arms, the primary right leg lifted and pressing down over Yama’s head while the left leg firmly subdues his body beneath. With one pair of hands he grasps and drives the long trident downward, its tip piercing Yama, while the other pair holds attributes that enhance the sense of divine aggression. His expression is fiercely concentrated: wide eyes, sharply arched brows, and flaring hair radiate controlled fury and cosmic power in the act of protecting his devotee.

Yama, shown at the bottom of the sculpture, is carved in a defeated pose; his face tilted upward with an expression of pain and astonishment, arms bent, and one knee collapsing. 

Together, the bas-relief and three-dimensional sculpture form a seamless narrative progression: from the moment of Markandeya’s plea, to Yama’s aggression, to the manifestation of Shiva as Kala Samhara, and finally the cosmic act of protection and destruction. This multi-layered sculptural ensemble captures both emotional intensity and narrative clarity, making it one of the most dramatic and theologically rich depictions of the Kala Samhara legend in South Indian temple architecture.

There is another equally fascinating sculpture from the Ardha Mandapa that depicts Shiva as Andhakasura Samhara Murti,a four-armed figure with a tall jaṭā-makuṭa (matted-hair crown), broad chest, yajñopavīta across the torso, and heavy necklaces, armlets and waist-ornaments. The body twists dynamically; the right leg is grounded while the left leg is lifted and presses on the Asura's head. 

The Ardha Mandapa in Lepakshi is a space where stone, story, and sanctity converge. Every surface, from the base mouldings to the ceilings, is imbued with iconographic intention. 

While often overshadowed by the grand murals of the Maha Mandapa and Natya Mandapa, the Ardha Mandapa at Lepakshi stands as a sculptural gallery in its own right. With its blend of dynamic imagery, transitional architecture, and divine narratives carved in granite, this space reinforces the Vijayanagara vision of a temple not merely as a structure, but as a living universe of gods and stories.

Happy travelling.

This is the part 8 of my series on Lepakshi Temple. You can read the previous part from the below link:

Part 1 - Lepakshi Temple

Part 2 - Layout of Lepakshi Temple

Part 3 - The Presiding Deity Veerabhadra

Part 4 - The Other Shrines and Deities

Part 5 - The Ceiling Paintings of Veerabhadra's Ardha Mandapa

Part 6 - Murals Beyond the Ardha Mandapa 

Part 7 - Paintings of the Natya Mandapa