Carved sandstone spires and figure sculpture on a temple at Khajuraho.
A carved stone chariot wheel on the plinth of the Sun Temple at Konark.
The Taj Mahal in white marble, reflected in its watercourse at dawn.
Temple ruins among granite boulders in the landscape at Hampi.
Rock-cut monuments on the shore at Mahabalipuram.
Carved sandstone spires and figure sculpture on a temple at Khajuraho.
A carved stone chariot wheel on the plinth of the Sun Temple at Konark.
The Taj Mahal in white marble, reflected in its watercourse at dawn.
Temple ruins among granite boulders in the landscape at Hampi.
Rock-cut monuments on the shore at Mahabalipuram.

Group of Monuments at Pattadakal

Bagalkot district, Karnataka

Inscribed
1987
Period
7th–8th century CE
Property
Cultural
Sandstone temples of the Pattadakal group beside the Malaprabha river.
Basavaraj M · CC BY-SA 4.0 · Commons

Pattadakal is a group of eight major temples and a number of smaller shrines on the bank of the Malaprabha river in northern Karnataka. It served the Chalukyas of Badami as a ceremonial site, and the temples were built largely in the seventh and eighth centuries.

History

The Chalukyas ruled the Deccan from Badami, with Aihole and Pattadakal as associated centres. Pattadakal was used for royal coronations. The Virupaksha temple was built by Queen Lokamahadevi around 740 to mark a Chalukyan victory over the Pallavas, and its architects appear to have drawn directly on Pallava work at Kanchipuram.

Architecture

The interest of Pattadakal is that both principal Indian temple idioms appear together: four temples in the northern nagara style, with curved shikharas, and four in the southern dravida style, with stepped, storeyed vimanas. Virupaksha and Mallikarjuna are the largest of the southern group; Kashi Vishwanatha and Galaganatha represent the northern. The Jain temple sits slightly apart. Sculpture on the walls carries narrative sequences from the Ramayana, Mahabharata and Puranas.

Significance

Pattadakal is where the two great streams of Indian temple architecture can be compared directly, built by the same patrons within a short span. It is effectively a working laboratory of eighth-century architectural practice, preserved intact.

UNESCO recognition

Inscribed in 1987 under criteria (iii) and (iv) as an outstanding testimony to Chalukyan civilisation and an eclectic high point of temple architecture.

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