Lepakshi, Virabhadraswamy Temple
Historical background
The small town of Lepakshi in the region known as Rayalaseema, Royal Realm, in south-western Andhra Pradesh, is famous for its temple dedicated to Virabhadra. The monument extends over a rocky outcrop known as Kurmsaila, or Tortoise Hill, a name deriving from its shape which recalls the shell of a tortoise. This uneven terrain had an impact on the layout of the temple, which incorporates several huge natural boulders and seven small shrines dedicated to various deities. No epigraphs are available recording the foundation date of the temple. Local legends attribute its origin to the mythical sage Agastya, and a small shrine dedicated to him is in the inner precincts of the complex. The temple dates back to before the 16th century, but was expanded to its present dimensions during the Vijayanagara period. Tradition credits the construction of the present monument to Virapanna, the governor of Penukonda, and his brother Viranna, representatives of the Vijayanagara emperor Achyutaraya (r. 1530-42). Grants dating from 1531 to 1538 inscribed on the enclosure walls and onto the adjacent bedrock suggest a concentrated period of building activity. It may be assumed that Virapanna and Viranna were responsible for bringing the seven shrines scattered on Kurmasaila into one coordinated architectural complex, and that the outstanding ceiling paintings, the only surviving murals of the Vijayanagara period, date from these years.
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The main temple is entered from the north through a pair of gateways with uncompleted brick towers. The inner gateway leads directly into a grandly-scaled natyamandapa (‘dance hall’). This open structure has 70 majestic granite columns carved with nearly human-size deities, celestial musicians and dancers. They carry a ceiling almost 4 metres high above the floor. At its centre a corbelled dome with elaborate carvings reaches a height of c. 6.4 metres. Steps on the south side of the natyamandapa ascend to a narrow columned verandah that runs around three sides of the outer walls of the inner part of the temple. The ceilings of the natyamandapa and verandah just noticed are covered with fine paintings.
The inner part of the Virabhadra temple comprises a spacious, but poorly lit mahamandapa (‘great hall’), off which open a number of shrines. The central space of the hall is adorned with a single painted composition of Virabhadra (c. 7.6 x 4.2 m), the deity worshipped in the sanctuary at the far end of the hall. Other paintings, now damaged are seen on the ceilings over the side bays of the hall, on the walls and ceiling of the passageway running around three sides of the Virabhadra sanctuary, in the Shayanagara (bedroom of the deities), and in the subsidiary shrine known as the Raghunathalaya.
The subjects depicted are mostly devotional, drawn from the popular epics, the Periya Puranam and other texts. They include also depictions of Virapanna and Viranna, the temple donors, together with their retinues, thereby offering an invaluable visual record of courtly life during Vijayanagara times.
Date: First half of the 16th century
Description: Shiva and a group of women; The god’s lower left hand extended towards them seems to hold a begging bowl. Possibly, this sequence of scenes may illustrate Shiva as Bhikshatana visiting the rishis of the Daruka forest and seducing their wives.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, north bay east end
Date: First half of the 16th century
Description: Shiva and a group of women; The god’s lower left hand extended towards them seems to hold a begging bowl. Possibly, this sequence of scenes may illustrate Shiva as Bhikshatana visiting the rishis of the Daruka forest and seducing their wives.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, north bay, east end
Date: First half of the 16th century
Description: Sharabha, a fantastic hybrid, fierce creature; An aspect assumed by Shiva in order to punish Narasimha for having disembowelled Hiranyakashipu.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, ceiling panel on a beam supporting the corbelled roof (W)
Date: First half of the 16th century
Description: The central figure is Virabhadra seated together with Shiva on his right. Shiva is recognizable by his matted hair. He holds the trishula and sword in the right hands, and damaru – almost vanished but for a fragment- in the upper left hand. Both Virabhadra and Shiva are shown watching an animated dance performance by Bhringi whose face, headgear and floating robes have survived.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, ceiling panel on a beam supporting the corbelled roof (S)
Date: First half of the 16th century
Description: Virapanna, governor of Penukonda, worships Virabhadra.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, ceiling panel on a beam supporting the corbelled roof (S)
Date: First half of the 16th century
Description: Virapanna, governor of Penukonda, worships Virabhadra.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, ceiling panel on a beam supporting the corbelled roof (S)
Date: First half of the 16th century
Description: Detail of decorative pattern on the northern beam of the colonnaded verandahbeneath the Dakshinamurti image.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Colonnaded verandah, north beam
Date: First half of the 16th century
Description: Aspects of Shiva: Lingodbhavamurti (?). Instead of the shaft of the linga opening to reveal the figure of Shiva, the god is here depicted emerging out of its top. To the right of Shiva is a rishi with elaborately piled dreadlocks welcoming a figure accompanied by a diminutive male courtly figure wearing a conical cap. Another rishi is shown worshipping Shiva, together with a young attendant. Four rishis stand in respectful attitude on the deity’s left.The one nearest to the linga seems to be walking away.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Colonnaded verandah, northern bay
Date: First half of the 16th century
Description: Aspects of Shiva; Shiva kills the asura Andhaka. Flanked by five rishis on one side and six on the other, Shiva tramples on Andhaka, while transfixing him with the trident. Dakshinamurti (Shiva as supreme teacher); Flanked by eight sages, five on the left, and three on the right, Shiva sits under the trees atop Mount Kailasa, depicted here as a pile of rocks. The face of the Ganga is visible among Shiva’s dreadlocks, while the crescent moon rests on the side of his head.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Colonnaded verandah, north bay
Date: First half of the 16th century
Description: Aspects of Shiva; Shiva kills the asura Andhaka; Flanked by rishis, Shiva tramples on Andhaka, while transfixing the demon with the trident.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Colonnaded verandah, north bay
Date: First half of the 16th century
Description: Aspects of Shiva; Dakshinamurti (Shiva as the supreme teacher). Flanked by eight sages, five on the left, and three on the right, Shiva sits under the trees atop Mount Kailasa, depicted here as a pile of rocks. The face of the Ganga is visible among Shiva’s dreadlocks, while the crescent moon rests on the side of his head. The sage Narada is prominently shown on the right of the god.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Colonnaded verandah, north bay
Date: First half of the 16th century
Description: Aspects of Shiva; Chandeshanugrahamurti; Shiva, shown in three-quarter profile, faces a devotee generally identified with Chandesha. Near the deity is a diminutive gana blowing a long trumpet. Shiva holds in the lower right hand the axe that he bestows on Chandesha.
Bhikashatanamurti; Accompanied by a gana carrying a large container on his head, and a leaping deer, Shiva walks through the Daruka forest, suggested by two trees. In the lower left hand Shiva holds a capacious bowl, in which one of the two richly attired rishipatnis, on the right, pours a ladle of rice. The end piece of her white sari is shown slipping from her shoulder to reveal her breast and abdomen. Two rishis witness the scene.
Hariharamurti. This composite figure stands straight, framed by two trees. The right half of the body. i. e.Shiva, is fair complexioned, with a crown of dreadlocks. The left half of the body, which is dark-complexioned, is Vishnu.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Colonnaded verandah, north bay
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