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: On the left: three rishis pay homage to Shiva and Parvati enthroned. On the right, two attendants. Floating on clouds on the sky are two gandharvas.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Mahamandapa, central ceiling above the large Virabhadra image
Date: First half of the 16th century
Description: From right to left: Vyasa, with another ascetic standing behind him, offer advice to Yudhishthira. On the extreme right, behind the king stand his brothers Nakula, Sahadeva and Bhima. The next scene, on the left: Yudhisthtira, behind whom are his three brothers, speaks to Arjuna, who, bow slung on his right shoulder and hands respectfully folded, stands before him.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, west bay
Date: First half of the 16th century
Description: From right to left: Vyasa, with another ascetic standing behind him, offer advice to Yudhishthira. On the extreme right, behind the king stand his brothers Nakula, Sahadeva and Bhima. The next scene, on the left: Yudhisththira, behind whom are his three brothers, speaks to Arjuna, who, bow slung on his right shoulder and hands respectfully folded, stands before him. Arjuna begins his journey to Indrakila hill in the Himalayas; On his way he meets two cowherds and their cows.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, west bay
Date: First half of the 16th century
Description: Arjuna reaches a small Shiva temple perched on Indrakila hill and devoutly bows before the linga and resumes his journey. Accompanied by a gana, Bhairava appears before Arjuna who pays homage to him. The next section is almost completely lost. It probably depicted the progress of Arjuna in the Himalayas and the beginning of his penance. The two female figures on the left may well be the apsaras sent by Indra to seduce Arjuna and to test his steadfastness.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, west bay
Description: On the extreme left: Indra seated on a throne, behind which stand some attendants, now vanished. Opposite him is the rishi Narada.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, north end of the west bay
Date: First half of the 16th century
Description: Indra, flanked by three attendants, listens attentively to the report of Narada, standing on the left.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, north bay, west end
Date: First half of the 16th century
Description: A sequence of scenes has disappeared. The narrative resumes when Indra in his divine form appears before Arjuna and encourages him to propitiate Shiva in order to obtain the magic weapon, the pashupata astra, that will ensure his victory over the Kauravas. Arjuna prostrates himself before Indra, and then walks into the forest to resume his penance.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, north bay, east end
Date: First half of the 16th century
Description: Concerned by the intensity of Arjuna’s penance, the rishis report to Shiva. On the right are the ascetics, one of whom looks back at Arjuna performing penance; On the left is Parvati; Behind her are a sage, followed by a dancing figure carrying a vina, locally identified as Bhringi.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall east bay, north end
Date: First half of the 16th century
Description: From right: Parvati, a rishi; Bhringi; Adhikaranandi and Brahma. The next scene depicts Siva and Parvati riding on Nandi, being worshipped by a sage. The divine couple and a host of ganas, are on their way to the forest where Arjuna is performing his penance (extreme left). Flames emanate from him and snakes slither along his body.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, east bay
Date: First half of the 16th century
Description: From right: Arjuna sits in deep meditation, flames emanate from his body and his hair stands on end.
Shiva and Parvati accompanied by their retinue, all in the guise of kiratas (hunters), walk through the forest. Before them appears a boar, Muka, destined to be killed by Arjuna. Shiva and Parvati sit on a nearby hillock looking on, while the wild boar, baring his sharp tusks runs, through the forest, almost landing on a group of sages who flee in panic.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, east bay south end
Date: First half of the 16th century
Description: Arjuna performing tapas in the forest. In the next discoloured scenes it is just possible to make out how he shoots the boar, while a pack of dogs jump on the carcass. On the left Shiva, in the guise of a kirata, aims at the boar at the same time as Arjuna.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, south bay, east end
Date: First half of the 16th century
Description: A fight ensues, between Arjuna and the kirata, on whose bag the boar is. The person lying on the ground with a headgear made of leaves must be Shiva in the guise of a hunter. Behind Arjuna is the fragment of a figure, probably Parvati. Eventually, Arjuna sees the third eye of Shiva and realising the identity of his opponent begs for pardon.
In the concluding tableau Shiva and Parvati appear in their divine form, riding on Nandi, along with the ganas. They bless Arjuna who prostrates himself before them.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, south bay, west end
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