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: Vishnu avataras; Vishnu as Vamana. On the left, fragments of two figures, very probably rishis.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Raghunathalaya, ceiling
Date: First half of the 16th century
Description: Lakshmi-Narayana flanked by rishis.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Raghunathalaya, ceiling
Date: First half of the 16th century
Description: Vishnu avataras; Parashurama; On the left, fragment of the face of a rishi.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Raghunathalaya, ceiling
Date: First half of the 16th century
Description: A guard leans on his staff outside a building in which a seated figure, possibly Kausalya, converses with two female attendants. Four ladies stand in attendance.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay top row
Date: First half of the 16th century
Description: A hall in which the putrakameshti yajna (ritual in order to obtain a son) is taking place. Dasharatha and his three queens face Rishyashringa who officiates along a number of rishis.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay, top row
Date: First half of the 16th century
Description: The rishis perform the putrakameshti yajna (ritual to obtain a son).
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay, top row
Date: First half of the 16th century
Description: King Dasharatha divides the payasa among his three queens. A pregnant queen in her apartment.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay, middle row
Date: First half of the 16th century
Description: Though partly disappeared, this may depict Rishyashringa handing the vessel containing the payasa (sweetmeat) to Vasishtha.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay, middle row
Date: First half of the 16th century
Description: The queens and their children in a building, with a guard leaning on a staff at the entrance.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay, bottom row
Date: First half of the 16th century
Description: The four princes armed with bows and arrows stand near Dasharatha, who is seated together with a group of ascetics.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay, bottom row
Date: First half of the 16th century
Description: Vishvamitra, Rama and Lakshmana depart for the forest. The rest of the panel has disappeared.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, west porch ceiling, central bay, bottom row
Date: First half of the 16th century
Description: Shiva and Parvati playing chess. Shiva has just made a move on the board, his hands are still on the piece. Parvati raises her hand emphatically, as if objecting to his move. Behind her are two attendants, Narada and other rishis. On Shiva’s side are Andhikaranandi
three rishis, and a young devotee clad in a loincloth.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, third bay from the west, south end
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