Lepakshi Temple – Part 10: The Hanging Pillar and Mythological Narratives in the Natya Mandapa

By Indian Columbus - November 07, 2025

After marvelling at the rhythmic elegance of the Natya Mandapa, we now move to one of the most enigmatic features of the Lepakshi Veerabhadra Temple, the Hanging Pillar and the array of rich mythological bas-reliefs that adorn the Natya Mandapa.

The Hanging Pillar: An Enigma in Stone

Among the seventy or so monolithic pillars inside the temple, one stands apart, quite literally. Known simply as the Hanging Pillar, this slender column near the eastern edge of the Natya Mandapa doesn’t rest on the ground. Instead, it hovers just slightly above it, with a narrow gap that allows thin objects, like a piece of cloth or paper to pass from one side to the other.

It’s not a modern trick. This gravity-defying feature has puzzled engineers, archaeologists, and travellers for centuries. According to local guides, during the British era, an engineer curious to understand the construction technique tried to shift the pillar, inadvertently dislodging it slightly from its original position. His attempt yielded no answers, but the pillar remains tilted to this day, as though stubbornly retaining its secrets.

There are many theories around this pillar. Some suggest it may have been designed deliberately to demonstrate the skill of the Vijayanagara artisans, who perhaps wanted to showcase that their mastery extended beyond aesthetic beauty into engineering excellence. Others propose structural settling, seismic activity, or simply an unfinished or flawed execution. But none of these theories have been proven conclusively.

What remains undeniable is this: the Hanging Pillar draws gasps from every visitor. Whether you’re watching a tour guide slide a twig or a scarf under it, or trying it yourself, it’s impossible not to be awed by the precision, daring, and mystery of its construction.

Stone as Storyteller: Bas-Reliefs of the Natya Mandapa

The Natya Mandapais not just a performance space in name. Its walls and pillars turn into a narrative gallery, each surface carved with episodes from the Puranas, epics, and regional lore.

Let us pause at a few of these remarkable stories, immortalized in granite:

Arjuna and Shiva – The Battle for Pasupata Astra

In one dramatic panel, we see Arjuna, the great Pandava warrior, in battle with a hunter, who is none other than Shiva in disguise. The episode captures the moment where both Arjuna and Shiva claim to have killed a wild boar, and a fierce fight ensues. Arjuna’s penance and courage are rewarded when Shiva, pleased with his devotion, grants him the powerful Pasupata Astra. The sculptor freezes this mythical duel in a compact frame, where tension, valor, and eventual divine grace are etched with precision.

Ravana’s Penance for the Atma Linga

Another powerful scene depicts the Rakshasa king Ravana in deep penance. Bent low with arms raised in supplication, he is seen worshipping Shiva, seeking the mighty Atma Linga. This episode is rarely seen in sculpture, and here it is carved with dramatic intensity: Ravana's devotion, the austerity of his tapas, and Shiva’s poised compassion are all rendered in expressive high relief.

Manu Neethi Chola – Justice Above All

In a lesser-known but morally resonant narrative, we encounter Manu Neethi Chola, the legendary king who upheld justice even at great personal cost. The sculpture recalls the episode where the king’s own son kills a calf under his chariot, and the grieving cow rings the royal bell of justice. In response, the king delivers justice by executing his own son. The stone relief presents this poignant moment as a visual parable of dharmic responsibility and selfless rule.

Bhikshatana and Annapoorna – The Divine Exchange

There is also a graceful composition of Bhikshatana, the wandering mendicant form of Shiva, receiving alms from Annapoorna, the goddess of nourishment.

Each of these bas-reliefs is compact yet dense with detail, miniature sanctums of storytelling carved onto the pillars and panels. They transform the Natya Mandapa from a stage of performance to a canvas of epics, myths, and moral codes.

In this part of our journey through Lepakshi, we encountered two dimensions of wonder: the technical marvel of the Hanging Pillar, and the narrative depth of the temple’s storytelling tradition through sculpture. Both remind us that the artisans of the Vijayanagara period were not only builders but also thinkers: engineers, poets, and philosophers working in stone.

Happy travelling.

This is the part 10 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

Part 8 - Ardha Mandapa

Part 9 - The Sculptures of Natya Mandapa