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“Before we wrote our stories on paper, we carved them into stone.
Temples are those pages that refused to burn, tear, or fade with time“

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Introduction: Temples That Read Like Storybooks

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Over the last few years, I’ve been travelling through north Karnataka—Gadag, Lakkundi, Gokak, Hubli–Dharwad, Annigeri, Degaon, Amaragol, Unkal—looking closely at the old Chalukyan temples tucked into these remote places.

At first, they seem like regular villages or small‑town temples. Spend some time, though, and they turn into stone storybooks. Walls quietly retell the Ramayana and Mahabharata, pillars and door‑frames hint at how people lived and what they believed, and inscriptions record donations, land grants, and even local quarrels—everyday history carved in situ.

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What is striking is how connected these sites are. Annigeri’s Amruteshwara, Gadag’s Trikuteshwara and Veeranarayana, Lakkundi’s Kasivisvesvara and Brahma Jinalaya, Unkal’s Chandramoulishwara, Amaragol’s Banashankari, Degaon’s Kamala Narayana—once you start comparing them, they feel like members of an extended family. Similar designs show up repeatedly: lathe‑turned pillars, door‑frame designs, experiments with Nagara‑like and Dravida‑like towers, and clever variations in mandapa layout. It’s as if the same sthapatis and shilpis were carrying ideas from one town to the next and refining them on the way.

This belt of north Karnataka is therefore not a side note but a major laboratory of the Western Chalukya school. Many elements later seen in Hoysala and Vijayanagara temples were first tried out here. Unfortunately, many of these structures are now encroached upon, damaged, or “repaired” insensitively. This blog is my attempt to read, record, and connect what survives, so that these wonders can be brought to the world and possibly encourage them to explore.

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Western Chalukya Architecture

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The Kalyani (Western) Chalukyas shaped regional temple styles by turning the Deccan into a design laboratory that linked north, south, and local traditions. Their workshops in the Tungabhadra–Gadag–Lakkundi belt took earlier Dravida forms and reworked them into Karnata‑Dravida / Vesara: lower but intricate shikharas, lathe‑turned pillars, dense yet ordered wall‑bands, and experimental temple plans like dvikuta, trikuta, and sandhara. This “Gadag style” then spread outward—to Hoysala builders in southern Karnataka, Kakatiya architects in present‑day Telangana–Andhra, and later even Vijayanagara craftsmen—so that many “later” South Indian temple forms are actually refinements of ideas first tested under the Kalyani Chalukyas.

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Our Temple Trail

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This blog covers the northern Karnataka temple trail we covered in December 2025. Dharwad was our base, and being near Hubballi, it was convenient for out-station members to reach. It took me to remote regions that one had not even heard about. But it was wonderful to discover hidden gems in the remotest places, often in the middle of nowhere. The journey was greatly enriched by the learned company I travelled with, especially the company of renowned Art Historian Prof RH Kulkarni, who accompanied us. His vast knowledge kept all of us enthralled throughout the trip.

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Hooli

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Hooli is one of the oldest villages in Belgaum District, known for the famous Panchaligeswara and Trikuteshwara temples. The village is rich in history, featuring a ruined fort atop a hill and numerous temples. Hooli’s documented origins date back to the 7th century CE, as evidenced by the Badami Chalukya inscriptions. It was previously ruled by the Rattas of Saundatti and the Patwardhans of Ramdurg. Most of the temples exhibit Chalukya architecture and were originally Jain Bastis or Basadis, indicating a period of Chalukya rule. The name “Hooli” is a corrupted form of “PooValli,” which means a flowery ear ornament. In ancient times, the village was also known as Mahishpatinagar.

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The village is situated at the base of a sprawling range of sandstone hills, which are surrounded by fertile black soil plains. The hills lack prominent peaks and are generally flat-topped. During the rainy season, several streams cascade down the hills in spectacular waterfalls. These hills collect rainwater and release it gradually through streams that used to flow year-round in earlier times. Scattered between the village and the hilltop are the ruins of approximately ten other temples and shrines, along with a fort. The Hooli Lake, which is historically significant, is fed by a stream known as Shivakashi. Several wells and temples encircle the lake. Among all the ancient temples, daily rituals are now conducted in only a few.

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Panchalingeshwara Temple, Hooli

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The Pancalingesvara Temple is a Kalyani Chalukya temple from the early 12th century. Originally, the temple was Jain, and is therefore an example of reuse. Originally a training centre, it was so large that groups of people lived within it, including scholars and saints of the Kalamukha faith. The temple is constructed of local red sandstone, veined with orange and pink colours.

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The five lingas (panch = five)

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The temple walls and pillars are plain, with no decorative art as such. It has a sloping canopy, which is required because of heavy rainfall. Though the walls are plain and simple, the shikharas are complex and artistic. Also, the stone used for the shikharas is different; the darker stone is harder compared to sandstone. 

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The elaborately carved latas (bands) on the doorways

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With its five vimanas, the temple is an extraordinary monument, characterised by an internal plan that makes it unique, with its mandapa open at the entrance. The Panchalingeshwara temple comprises five garbhagrihas, sukhanasi, a navaranga, and an open mukhamandapa. The temple is east-facing; two sanctums are north- and south-facing, and the remaining three are east-facing.

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The worked columns and elaborately carved shikharas

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In the last hall, while there are five portals, there are three sanctuaries, because the main one is undulating in length, as in the Jain tradition, and, despite having three entrances, it is a single long rectangular cell, as is used in the Jain tradition, which housed the long horizontal pittha for the 24 statues of the Tirthankaras, while now it houses three lingas. 

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Broken sculptures in the site museum: (Clockwise from Left) Varaha avatar; Dakshinamurti; Kartikeye astride his vahana; and below, the Saptamatrikas (Brahmani, Maheshwari, Kaumari, Vaishnavi, Varahi, Indrani and Chaumanda; flanked by Virabhadra and Ganesh on either side)

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In a mandapa in the courtyard, there is a small museum where the archaeological remains found in the vicinity are displayed.  

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Ruined Temples of Hooli

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According to the local chronicles, there existed 100 temples in the village, and each temple had its own well. Today, we can find only about 10-11 ancient temples, out of which two are maintained (covered above), and the rest are left in ruins. These temples also follow the Kalyan Chalukya style.

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A beautifully carved temple, in ruins, deep inside thick undergrowth

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There are several other known temples which are in a ruined state, viz. Agastyeshwara Temple, Andhakeshwara Temple, Bhavnisankara Temple, Kalmeshwara Temple, Kashi Vishwanatha Temple, Madaneshwara Temple, Suryanarayana Temple, Tarkeshwara Temple, Hooli Sangameshwar Ajjanavaru Temple, and Beerdevar Temple are not in good condition. However, an Acharya and local people still worship at a few of these temples.

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Another temple in ruins, inhabited by bats. Amazing carvings continue to enthral visitors

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The once proud fort on the hill has now been reduced to rubble.

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Shirasangi

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Shirasangi is a village in Belagavi District, and it is well known for the famous Shri Kalikadevi temple and the Shirsangi Fort. The temple of Shri Kalika Devi in Sirsangi is of prehistoric significance as its name is mentioned in many ancient scriptures. 

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Kalikamba Temple, Shirasangi

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The name of the place is mentioned as Rishishringapura, Pirishingi, or Hirishingi in two records from the same place, dated 1148 of Jagadekamalla and another dated 1186 of Someshwara IV. It was a noted commercial centre.

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One mentions that a saint by the name of Vrushya Shrunga was involved in penance in Vrushya Shrunga Tapovan, which is currently the place where the temple of Shri Kalika Devi is located. However, demons like Narundasur (Naragunda), Bettasura (Betasur) and Nalundasur (Navalagund) disturbed his meditation. Thereafter, the goddesses Chikkumbasura (Chikkumbi) and Hirekumbasura (Hirekumbi) killed these demons, heeding the pleas of the ascetic Vrushya Shrunga. The goddesses later settled down here, and hence the temple of Shri Kalika Devi came into being. 

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There are two small hills at the edge of the village. One has a cave known as Maunappanagavi. The hill is called Kalluru Gudda, where “kallu” means stone in Kannada and “Ooru” means town. Inside the hill, there is a cave that holds about 200 people. After that, there is a six-meter-long path that leads to a small water-filled pit.

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As per the studies conducted by the Department of Archaeology, the temple of Shri Kalika Devi in Sirsangi might have been constructed during the first century. The temple architecture belongs to the Traditional Dravidian–Karnataka Dravidian architecture influenced Shakti shrine. However, the present structure bears later medieval (mainly Kalyani Chalukya / Western Chalukya) inflexions. The temple sits at the foot of small hillocks in a rural setting, with a compact garbhagriha and a relatively large mantapa in front, typical of early‑medieval Shakti shrines in northern Karnataka.

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Inscriptions of Jagadekamalla III (1148 CE) and Someshwara IV (1186 CE) point to Western Chalukya‑period maintenance or expansion, implying features such as a cap‑like superstructure and carved stone frames to the doorway.

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The sanctum houses a tall stone image of Kalika Devi (Kalikamba), about 6–9 feet high, carved from a single slab of dark yellow–brown sandstone/Saligrama, emphasising her fierce, transformative aspect. Her iconography shows multiple arms holding a sword, trident, axe, damaru, snake, shield, and a drinking vessel, underlining her roles as war‑goddess, destroyer of demons, and bestower of boons.

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The architecture is rustic yet monumental: low‑rising, integrally tied to the two hillocks and caves (Maunappanagavi, Siddeshwaragavi), which together create a powerful, almost “forest‑kshetra” atmosphere rather than a purely urban‑mandapa style.

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The sculptural program turns the site into a multi‑layered Shakta–Shaiva sanctuary, where the fierce Kalika image is framed by a pan‑Hindu retinue of deities and guardians, making Shirasangi a distinct regional node in the Shri‑Kshetra–Kolhapur–Pandharpur–Saundatti Shakti axis.

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Beautiful sculptures of (L) Shiva Parvati, with Kartikeya and Ganesha (R) Surya Bhagawan in all his glory. His seven horses can be seen below, implying him as the power that drives light, time and cosmic order – the 7 chandas of Vedic hymns, the 7 colours in light, and the 7 days in a week. Each horse is named after one of the seven chandas

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There are three brass idols displayed in the compound, which depict the trio of goddesses central to the Shirasangi Kalikamba Temple complex, seated in a row on raised platforms under ornate canopies with garlands, lamps, and banana leaves.

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Three deities are displayed in the compound, behind the main shrine. These are (L) Kalikamba Devi – the main deity; (C) the male deity is Vishwakarma, and (R) is a rare Panchmukhi Saraswati. This completes the knowledge–creation–power triad

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Ugadi is one of the major festivals celebrated here by the Vishwakarmas of this region. The Vishwakarma Samaj Vikas Samsthe organises religious and cultural programmes on Amavasya (no-moon night). Devotees offer wheat grown in their fields to the goddess. 

A notable festival is the five‑day Palanquin (Pallaki) festival of Kalamma at Bannimantapa during Ugadi, attracting around 15,000 devotees.

A popular ritual is Tulaa Bhara Seva, where devotees offer items like jaggery, wheat, rice, and coconuts equivalent to their weight as a vow‑fulfilment offering.​

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Gokak 

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Gokak or Gōkāka is a taluka headquarters in the Belagavi district of Karnataka. It is located around 70 km from Belagavi at the confluence of the Ghataprabha and Markandeya rivers. Gokak city is the second biggest town in the district of Belagavi after Belagavi city. It is surrounded on one side by a hill range, and on the other by a vast plain of black soil. The Ghataprabha River starts in the north of the city. It drops 167 ft to create the Gokak Falls before moving through the city. Since the colonial era, a hydroelectric station under the waterfall was used to power Gokak Mills, one of the erstwhile largest manufacturers and exporters of yarn in India.

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Gokak is a place of philosophical and historical significance. According to the Puranas, Gokak was a part of Kuntala Country, the land of hunting tribes. Many emperors ruled the Gokak area in history. The Shatavahanas ruled from 327 BC to 229 CE. The Western Chalukyas ruled from 550 CE to 610 CE. After them, the Rashtrakutas and Kalyana Chalukyas took over. The Rattas, who were minor kings under the Rashtrakutas, ruled Gokak Province from 850 CE to 1250 CE. In 1818 CE, the British captured Gokak after defeating the Peshwas. Gokak city became a municipality in 1853 CE. It is the second-oldest municipality in Karnataka State.

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A hydroelectric power plant was set up in Gokak Falls in 1887. The first hydroelectricity was generated here in Gokak Falls in the whole of the Asian continent. This was created to supply power to the Forbes Gokak Spinning Mill, which is now owned by Gokak Textiles Limited from the Shapoorji Pallonji Group. The mill was set up in 1887 and was one of the biggest makers and exporters of yarn in India. Forbes is one of the oldest companies in India and has been listed on the Bombay Stock Exchange since 1919. The mills partially shut down in 2019 due to labour and other disputes. 

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The Gokak Textile Mills factory premises

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Mahalingeshwara Temple, Gokak

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Mahalingeshwara Temple, also called Tarakeshwar Temple in an old inscription found inside, was built in the 11th century. It belongs to the reign of Ratta Kartaveerya III, dating back to 1153 CE. The temple is dedicated to Shiva. It is situated at Gokak Falls. It has been built in the Kalyani Chalukyan architectural style. It has a large courtyard, an ardhamandapa, a big open front courtyard (mukhamantapa), and a garbhagriha with a beautifully carved shrine.

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The setting near Gokak Falls gave the temple a tirtha‑like character: the powerful Ghataprabha cataract and the rocky gorge were seen as auspicious, and the Mahalingeshwara shrine became one of the oldest Śaiva nodes in the Gokak‑Saundatti‑Belagavi axis. 

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Sage‑worship and the Ganga‑descent legend

• One story says that Sage Gautama did hard penance here for Shiva Mahalingeshwara. He wanted to bring sacred waters like the Ganga to earth to erase a sin. The flowing Ghataprabha at Gokak Falls is linked to this blessing.
• Carvings of Shiva, Nandi, and other gods on the temple walls and pillars are often seen by locals as showing this sage-worship. The appearance of Shiva as Mahakuteshwara / Mahalingeshwara is a result of the penance.

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Intricate carvings adorn the shikhara

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Demon‑slaying and “Naga‑bana” association

• Another story says the temple is linked to Shiva’s victory over a demon (often called Bali-like or asura). This site is seen as a place where the god helped protect the area. Some local tales mention a “Naga bana” (serpent-arrow or serpent-protected area) near the temple, connecting snake carvings or niches to this protective tale.
• The nearby small shrines (like Durga and Shanmukha) have lively carvings of gods and goddesses. These are often seen as reminders of stories where demons are defeated. They also show Shiva’s power over asuras and nagas.

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Annigeri

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Annigeri is a taluk in Dharwad district, located 20 km west of Gadag. The town’s antiquity can be traced to its history dating to the era of Pulakeshin-II (609–642 CE) and Kirtivarma-II (746–753 CE) of the Badami Chalukya Dynasty. It is also associated with Krishna-II (878–914 CE) of the Rashtrakuta Dynasty. Annigeri is the birthplace of Adikavi Pampa (902–955 CE). Annigeri also boasted of five Brahmapuris in the bygone era. Therefore, the town has a recorded history of over 1400 years.

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It was an important political and cultural centre during the Chalukya, the Seuna Yadava, the Hoysala and the Western Kalachuri rule. Annigeri was also the last capital and the headquarters of the Belvola-300 Province during the rule of Someshwara-IV (1184–1200 CE), after King Bijjala-II of the Western Kalachuri Dynasty captured Basavakalyana (the original capital of the Western Chalukyas). 

But this control of the Western Chalukyas over Annigeri was short-lived. Soon after the death of Somesvara IV, in 1190 CE, his empire was divided between his feudatories, and Annigeri came under the Suena or the Yadavas of Devagiri. However, Annigeri continued to be the capital of the Belavala region under the Suenas. It became the point of contention between the Suenas and the Hoysalas. For some time, during the rule of  Ballala (1173-1220 CE) of the Hoysala dynasty, Annigeri passed over to them in 1197 CE. However, soon it was back with the Suenas under King Kannara (1247-1261 CE).

After the Suenas, there is evidence that Annigeri passed to the Vijayanagara rulers. An inscription of Muhammad Shah of the Adil Shahi dynasty suggests that the region came under their control during the seventeenth century CE.

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Amruteshwara Temple, Annigeri

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The large Amruteshwar Temple was constructed in 1050 CE and showcases the Kalyani Chalukyas style. It is the first temple to use soapstone. The ekakuta, east-facing temple, remains active. This temple is attributed to the legendary sculptor Amarashilpi Jakanacharya. It also features black stones in the Western Chalukyan style. This temple served as a prototype for later, more elaborate structures. 

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The temple entrance is on the south. At the end of the entrance mandapa, there are two interesting images. One is the five-headed Naga Devata, and the other is the unique pillar called “usulkhamba”, which is a unique feature of this temple. This pillar cures back pain. A person with a back ailment has to rest their back and slowly rub it against the pillar to cure it.

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The frame, carved from black stone, is one of the most delicate and detailed doorframes seen in any temple. The entire frame is carved out of a single stone. The frame is housed by a thick pillar on the outside, with the frame comprising nine layers. Each layer is carved inside-out to give a 3D effect. The most amazing are the third, fourth, sixth, seventh and eighth layers. They are carved inside-out; one can pass their fingers through the carvings.

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The base of the doorframe is equally stunning. Each panel of the base carries images of dancers, and on the other side, they are a mirror image.

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The figures at the base of the doorframe are a mirror image of each other

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The carvings on the walls are not elaborate like most Chalukyan temples, but the roof panels are spectacular. It has figurines of Gods, Goddesses, dancers and even erotic sculptures. 

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A closer view of the bands of dancers, swans, elephants, motifs, etc, of different entrance doorways

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There are four entrances. The main entrance is from the east, followed by an entrance on either side of the mukha mandapa, and a southern entrance which leads into the navaranga mandapa. The southern entrance has a profusely carved doorway with a large sculpture of Ganesh on the roof. Why this iconography?

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The doorway of the mukha mandapa, which leads into the navaranga, is exquisitely carved. The world has its history written on clay tablets and books, but we have ours carved on stone.

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The antarala (ante chamber) has a simple doorway with a strip of jalandharas on either side. The antechamber leads to the garbhagriha, which is adorned by Lord Amruteshwara. The deity has been mentioned as a “Swayambhu”, meaning “self-originated”.

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The navaranga can also be accessed from an entrance on the southern side. This entrance has a porch with a canopy and parapet walls. The navaranga mandapa has a passage surrounding it and a square platform with a pillar on each corner. There are Naga Devatas on the left side and a pedestal with three lingas to the right against the western wall of the navaranga mandapa.

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As per Vastu Shastra, the south and south-eastern sides are considered inauspicious. Hence, if any structure has a southern entrance, the negative energies can be eliminated by placing the image of Ganesha (since Ganesha is “Vigna Harata”) at the entrance.

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The entire temple is supported by 76 pillars. The eastern entrance is presently closed. It leads into the mukha mandapa, which is a pillared hall. The mukha mandapa has 32 pillars.

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The vimana stands above the garbhagriha. The entire exterior of the vimana is highly carved with motifs and figurines of the signature yali and deities.

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The shikhara is covered with intricate carvings

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There are three small shrines in the complex. One of them is an independent structure, while the other two are built into the enclosure wall.

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Gadag

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Gadaga-Betageri is a city municipal council in Gadag district. Kanaginahal of Gadag is the birthplace of the first co-operative society in Asia. The temples of Veera Narayana and Trikuteshwara are places of religious and historic importance here. As per a tradition mentioned in the Dharwad Gazetteer, it is said that Gadag was set up as a Maha-agrahara by Janamejaya in the Mahabharata epoch. 

The Gadag style of Architecture, marked by ornate pillars with intricate sculptures, originated during the period of the Western Chalukya (or Kalyani Chalukyas) King Someswara I, and it flourished for a period of 150 years (from 1050 CE to 1200 CE) during which period some 50 temples were built. Some examples being: the Trikuteshwara temple complex at Gadag, the Kasivisvesvara temple, Lakkundi, the Amriteshwara temple at Annigeri, etc.

Gadag immediately brings to mind Naranappa, the renowned 15th century poet popularly known as Kumara Vyasa, the author of Karnata Bharata Kathamanjari. It is the classic Mahabharata in Kannada. He composed his work sitting before Lord Veera Narayana, his chosen deity. Legend has it that in this temple, at a particular pillar in the hall, Kumara Vyasa composed the epic after receiving divine inspiration from his deity. 

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Veeranarayana Temple, Gadag

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Veeranarayana Temple was built around the early 12th century by the Hoysalas. The temple was completely renovated in the 14th century by the kings of the Vijayanagara Empire. Priests in the temple are Madhva Brahmins. 

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The temple is attributed to Hoysala King Vishnuvardhana (formerly Bittideva) (c.1108–1152 CE), dated to 1117 CE, in the period when he was converting from Jainism to Vaishnavism under the influence of Ramanujacharya. Under King Vishnuvardhana, the northern extent of the empire was up to Lakkundi.

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It is one of the Pancha‑Narayana (five Narayana) temples built by Vishnuvardhana under Ramanuja’s spiritual guidance. The five temples are the Chennakeshava Temple at Belur, Cheluvanarayana Temple at Melkote, Nambinarayana Temple at Tondanur, Veeranarayana Temple at Gadag and Kirtinarayana Temple at Talakad.

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The temple overall reflects multiple architectural idioms – Chalukyas of Kalyani, Hoysala and Vijayanagara. The entrance mahadwara and gopura are in the Vijayanagara style. This leads to a garuda stambha in the courtyard and the 20-pillar ranga mantapa, which are in Hoysala style. Among them, the four central pillars have relief sculptures of Dashavatara and other gods and goddesses. Legend has it that Kumara Vyasa used to sit leaning against the south-eastern pillar of these four and compose his poetry.

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The beautiful pillar carvings in the open mandapa

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The inner mantapa is in the Chalukya style. This is why scholars often describe the temple as a transition piece between Kalyani‑Chalukya and mature Hoysala work.

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The prime deity Veeranarayana is depicted in a standing position, holding the attributes shanka, chakra, gadha, and padma in his four hands. The attire of the deity is worn as a veera kaccha (warrior style), giving the appearance of being “ready for battle”. He is flanked by his consort, Lakshmi and companion Garuda, the eagle.

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In the courtyard of this temple, there are other small temples of gods and goddesses like the Laxmi-Narasimha temple, Sarpeshwara temple and others. 

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Trikuteshwara Temple, Gadag

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The Trikuteshwara (Trikuteshwar) Temple in Gadag is a Western Chalukya (Kalyani Chalukya) Śaiva temple, built roughly in the 11th–12th century CE. It is not a Hoysala‑period foundation like the nearby Veeranarayana Temple.

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Who built it and when

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The temple dates to the rule of the Kalyani (Western) Chalukyas, commonly placed between about 1050 and 1200 CE, when Gadag was a major centre of temple‑building, with nearly 50 temples said to have been built in the region.

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Tradition credits the great architect Amara Shilpi Jakanachari with the temple’s design, and the style is firmly described as Chalukyan with Dravida‑articulated elements, later enhanced with some 12th‑century decorative additions.

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Details of carvings on the doorway

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This temple was originally situated within the fort; now, the temple lies well within the city among the present habitation areas. Very few vestiges of the fort now exist.  There are two main temples and a tank inside the complex. Altogether, this complex can be termed the trikuta style, comprising the main Trikuteshvara temple and Sarasvati temple.

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(Above) Trikuteshvara (the Lord of Three Mountains); (Below) Gajalakshmi adorns the entrance lintel

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Three phases of development have been identified for this complex. In the first phase, the main vimana of Trikuteshvara temple with its sukanasi (roof above vestibule) and a closed mandapa with two entrances, one on the east and another on the south, were constructed. The second phase introduced the west-facing vimana with its sukanasi and a big open mandapa, converting the whole composition into a dvikuta shrine, as the Sarasvati temple with its open mandapa (hall). This open mandapa was connected to the main shrine through the eastern doorway of the closed mandapa. The third and the last phase introduced the north-facing Sarasvati temple which, though standing apart, is axially aligned to the main structure, thus transforming the whole complex into a trikuta shrine. 

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The external facade of the vimana is opulently carved with sculptures depicting gods and semi-gods. The sculptures are small, however, full of energy and craftsmanship. The southern doorway of the closed mandapa is provided with a porch, which is a later addition. The eastern doorway, now joined with the open mandapa, has Gajalakshmi on its lintel. The antarala doorway is a simple structure with perforated screens on either side. The Gajalakshmi is present on its lintel, and above it are shown Brahma, Vishnu and Shiva. The sanctum has three Shiva-lingas set upon a single peetha. This is probably the reason why the god is referred to as Trikuteshvara (the Lord of Three Mountains). Reference of Trilinga region should be made here as the three lingas surrounding this region were on the three different mountains, Kaleshvara, Srisailam and Bheemshvara.  These three mountains also constitute the Trikuteshvara concept of Shiva.

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Beautiful murtis of (L) Shiva, and (R) Ganesha

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Trikuteshvara Temple was a centre of the Kalamukha sect. Its main priest, Siddhanti-Chandrabhushana-Pandita, was a teacher from the Kalamukha lineage. His teacher, Vidhyabharana was probably the same who is mentioned in the inscriptions found at Balligave. 

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The main shrine of the Trikuteshvara temple can be dated between 1000 and 1050 CE. The earliest inscription referring to Trikuteshavara is dated 1037 CE.

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Inclined slabs that serve as balcony seats are decorated with figurative panels and are overhung by steeply angled eaves. Inside the hall, the columns have figures arranged in shallow niches. The east sanctorum has three lingas; the one to the south is dedicated to the goddess Saraswati.

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Saraswati Temple, Gadag

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The Saraswati sculpture is widely regarded as one of the most exquisite in India, and connoisseurs of Chalukyan sculpture often single it out for its refined drapery, quiet elegance, and high‑polish finish.

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Stylistic qualities that make it special

• The figure is carved in dark grey Chalukyan stone with a smooth, almost lustrous surface, typical of the late‑Western‑Chalukya phase, which gives the goddess a serene, luminous quality.
• The drapery and ornamentation are rendered with great restraint: the sari folds fall in soft, rhythmic lines, the jewellery is suggested rather than being overt, and the facial expression is calm and meditative.
• The shrine’s setting—with polished lathe‑turned pillars and carved balcony‑slabs—frames the Saraswati image as a centrepiece of a scholarly space, visually reinforcing her association with learning and refinement. 

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The pillars of the Saraswati shrine within the Trikuteshwara Temple complex are among the most refined examples of Western (Kalyani) Chalukya stone‑work in Gadag, combining structural clarity with dense, scholar‑like ornamentation.

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The mandapa is supported on four full-length pillars and fourteen half-pillars. Four pillars supporting the central ceiling are in one pattern, and the remaining are executed in pairs. The central ceiling is worth noticing as it reflects the wooden construction techniques. The ceiling has ribs crossing and re-crossing each other. Lotus pendants hang at the intersections.

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The central four pillars have a base similar to the basements seen on temples of this period. These are square, recessing to an octagon and then to a round shape near the capital. The facets of the square and octagonal sections are decorated with miniature carvings, which, however, are much defaced and deteriorated. The facets on the octagonal sections have images of the ashta-dikpalas among others.

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Minute workmanship on the pillars

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Henry Cousens mentions that the two pillars standing on either side of the entrance are the most elaborately worked of all, and there are, perhaps, no other pillar throughout the whole extent of Chalukyan handicraft left to us which are equal to these for the crowded abundance of minute work which covers their surfaces. The ornaments consist of repetitions of miniature shrines, tiny pilasters, panels containing Lilliputian gods, goddesses and attendants, rampant lions, and a host of other details.

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The antarala is an open space without a doorway. The garbhagriha doorway is elaborately carved with five bands running around its three sides. The dedicatory block over the lintel has the traditional Gajalakshmi. Inside the garbhagriha is placed a broken image of Saraswati. The image is quite large in size and resting above a pedestal, which has two heads on either side. All her hands are broken.

By the side of the Saraswati Temple is another temple dedicated to three Devis — Saraswathi, Gayathri and Sharada. The statues are in a new, though the temple is in old architecture.

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Lakkundi

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Lakkundi, also referred to as Lokkugundi, was a major city before the 14th century; now a village in the Gadag District. By the 10th century, it was already a major economic and commercial centre, hosting mint operations for South India. It was mentioned in Kannada and Sanskrit inscriptions and texts. By the 12th century, many Hindu and Jain temples had been consecrated here, along with public infrastructure such as stepwells and water reservoirs. Among the major temples are the Brahma Jinalaya (the oldest) and Kasivisesvara (the most sophisticated and ornate). As its importance and wealth grew, Lakkundi became one of the capitals of the Hoysala Empire.

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In the 14th century, the city was targeted by Islamic Sultanates as they sought to plunder and establish political dominance over the South Indian Hindu kingdoms. The village of Lakkundi contains over 50 temple ruins, many of which are in poor condition and inhabited by bats. Lakkundi is an important centre for the study of Kalyana Chalukya era Hindu architecture, known as the “Lakkundi school” of architects and craftsmen.  

As of January 2026, excavation at the Kote Veerabhadraswamy Temple in Lakkundi has revealed Neolithic-era artefacts pushing its antiquity to prehistoric times. 

Lakkundi is located in a region with many major temple groups from the Kalachuris, Chalukyas, Yadavas-Seunas, Hoysalas, and Vijayanagara eras. Though Lakkundi was an established town in the second half of the 1st millennium, its growth and wealth came after 973 CE when Taila II, a Chalukya of Vatapi descent and appointed chieftain in 965 CE, organized a successful revolt against Karkka II of the Rashtrakuta dynasty. In regional texts, the reign that followed is called Cālukya (Later Chalukyas, Kalyani Chalukyas, or Chalukyas of Kalyana), to distinguish them from the Calukya (Early Chalukyas). Western Chalukya architecture, also known as Kalyani Chalukya or Later Chalukya architecture and broadly classified under the Vesara Style, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of modern central Karnataka, during the 11th and 12th centuries.  

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The Western Chalukya art evolved in two phases, the first lasting approximately a quarter of a century and the second from the beginning of the 11th century until the end of Western Chalukya rule in 1186 CE. The mature and latter phase reached its peak at Lakkundi (Lokigundi), a principal seat of the imperial court. From the mid-11th century, the artisans from the Lakkundi school moved south of the Tungabhadra River. Sometimes called the Gadag style of architecture, Western Chalukya architecture is considered a precursor to the Hoysala architecture of southern Karnataka.

Despite its Jain prominence, Lakkundi also played a role in the 12th-century Virashaiva (Lingayat) Bhakti movement. It provided refuge to Sharanas (devotee-saints) such as Ajaganna and Muktayakka, who propagated the egalitarian teachings of Basaveshwara. This highlights Lakkundi’s function as a space of religious dialogue and reformist spirituality. 

Lakkundi was also known for its “Tankashale” (mint), suggesting that it was not only a religious centre but also an economically prosperous urban settlement. Inscriptions compare it to Amaravati, the celestial city of Indra, reflecting its perceived grandeur. 

Lakkundi stands as a shining example of medieval India’s cultural richness and religious harmony, where Shaivism, Vaishnavism, Jainism, and the Bhakti tradition flourished side by side. Its magnificent temples, Jain basadis, and intricately carved stepwells reflect both spiritual devotion and architectural excellence. This layered heritage highlights Lakkundi’s importance as a major centre of faith, art, and social reform in the Deccan.

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Brahma Jinalaya (Basadi), Lakkundi

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This temple is dedicated to the greatest of the Jain Tirthankara, Mahavira. There is also a beautiful idol of Brahma in this temple. The Brahma Jinalaya was built in 1007 CE by Attimabbe, wife of Nagadeva, who served as general under both Taila II and Satyashraya Irivabedanga (c.997-1008 CE). The temple represents the second phase of the Kalyani Chalukya art. She was a generous patron of the arts and was given the title ‘Daanachintamani’. Her generosity and virtues are repeatedly praised in inscriptions. The Ajithanatha Purana, as referred to in the inscription of Irive Bedanga, records details of Attimabbe’s construction of the Brahma Jinalaya and the associated donations, reflecting the religious merit and artistic prestige she bestowed upon Lakkundi.

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This is the oldest Jain temple in Lakkundi. It is built of Chloritic Schist, a building material that made for easier and more delicate carvings. This stone became the standard in later Hoysala architecture. One of the most conspicuous features of the Western Chalukya temples is the decrease in the size of masonry and the resulting decrease in the overall height of the temples compared to those built by the Badami Chalukyas at Pattadakal. This was a result of a shift in the basic building material, from sandstone to the more workable soapstone (Chloritic Shist). In the coming decades, this transformation led Vesara architecture towards increased ornamentation and articulation.

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The temple illustrates the “Later Chalukya architecture, mainstream Lakkundi school of mid-11th century with late 11th century superstructure (shikhara)”.  The east-facing temple is an ekakuta shrine connected to a closed mantapa hall via a vestibule (sukanasi or ardhamantapa) that is connected to another open mantapa. The temple is notable for its reliefs depicting Jaina artwork, statues of the Tirthankaras and the two Hindu statues of Brahma and Saraswati inside its inner mandapa.

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The temple style represents the transition phase between the Early Chalukya and Late Chalukya styles. It has a garbhagriha, an antarala, a closed navaranga mandapa, and an open pillared mukha-mandapa. Over the garbhagriha is the five-storeyed nirandhara vimana with a square griva and shikhara. It is classified as Vesara because each tier is encrusted with motifs that make the tower more “curvilinear”.  The overall structure, with its well-proportioned tiers and finial (amalaka, kalasha) give the superstructure a “majestic” look. Above the cornice are circular niches, each of which holds the image of a Jain saint (Jaina) in relief, with a kirtimukha decoration above.

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Polished pillars in the temple in the open mandapa (left), and in the navaranga mandapa (right)

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The walls of the shrine have pilasters, with the spaces between them containing, in relief, pavilions and miniature decorative towers (aedicula) on slender half pilasters. Some miniature towers have niches below them. The open mandapa is supported by 32 pillars and pilasters.

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Overall, the decorative ornamentation of the temple is taken to a new level compared to earlier temples.

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The garbhagriha houses a 3-foot sculpture of Vardhamana Mahavira, made of black polished stone. 

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The statue of the Chaturmukh Brahma in this temple is captivating. He is depicted standing, with four faces. The faces are polished and form a darker contrast to the rest of the idol. At his feet are his consorts, Savitri and Gayatri.

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The temple was ruined and mutilated during or after the wars of the 13^th century. It was rediscovered by British archaeologists led by Henry Cousens in “deserted, filthy condition, occupied by a colony of bats” with a beheaded Mahavira statue outside. Now cleaned and restored, the Jain temple of Lakkundi is one of many historic Chalukya-era Jain and Hindu temples in Lakkundi. The Archaeological Survey of India has listed this basadi in the list of “Must See” Indian Heritage.

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Kasivisvesvara Temple, Lakkundi

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The Kasivisvesvara Temple is also referred to as the Kavatalesvara, Kashivishveshvara or Kashi Vishvanatha temple.

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The Kasivisvesvara temple is one of the best illustrations of the fully developed Kalyana Chalukya style of Hindu architecture. The Kasivisvesvara temple is generally dated between the early 11th-century to about mid 12th-century. It is suggested that the temple has two periods of construction. First completed in the 11th century, then a partial destruction by the Cholas, followed by reconstruction sometime in the 12th-century.

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Kasivivesvara temple is one of the most ornate temples in the Karnataka region. The beams of the temple contain inscriptions that are dated to 1087 CE, which implies that the temple has undergone various modifications from every era of rulers, from Cholas to Chalukyas. 

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The temple is a dvikuta shrine and has two sanctums facing each other and sharing a common mandapa. The larger sanctum is dedicated to Shiva and faces east, the other is dedicated to Surya and faces the west. It is notable not only for the three-dimensional miniature reliefs and fine details of its artwork, but the temple is also notable for integrating all three major styles of Hindu temple architecture – the Nagara, the Vesara and the Dravida. This is evidenced by the fact that the pilasters are decorated with miniature aedicules from North Indian Hindu temples, namely the Sekhari-Nagara and Bhumija-Nagara.

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(L) Gajāsamhāra – the killing of Gajasur (R) Rāvaṇānugraha – when Ravana tried to lift Mount Kailash and Shiv and parviti sitting atop

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The larger shrine has a three-storey (tritala) vimana with beautifully rendered wall-pilasters. The upabhadra parts of the outer walls are equally innovative. Along with decorative elements drawn from themes of nature, they are filled with narrative scenes from the scriptures. In particular, elephant-themed legends from the Mahabharata, the Ramayana and the Shiva Purana are depicted, for instance, the Gajantaka, the Kailasaharana and the Tarakasura-vadha legends.

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The rangamandapa in the Shiva temple is square and supported by beautiful lathe-carved pillars that appear to have been polished and assembled. The smoothness and symmetry achieved in the massive stone pillars, states Cousens, is one expected with a pillar made of ivory or silver.

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The sanctum door of the Surya shrine has an intricately carved panchasakha; the lalita-bimba shows Surya. 

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The twin‑shrine arrangement (Shiva + Surya) and the manner in which the mandapa connects both without crowding the doorways make it an important design aspect in the evolution of Vesara hall‑planning in the Deccan.

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The details carved on the shikhara

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Manikeshvara Temple, Lakkundi

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The Manikeshvara Temple is an east-facing trikuta living temple located at Lakkundi. This Temple is attributed to the Western Chalukyas of Kalyan in the 12th Century. It is best known today for its exquisite stone work and the big stepwell (Musukina Bhavi) in front of it, forming a combined sacred water–shrine ensemble. A damaged 12th century inscription on a pillar in the temple records that a bhoga‑maṇḍapa built on a well was constructed by the “teacher Kriyāśakti‑paṇḍita.” Kriyāśakti‑paṇḍita appears in inscriptions as a learned teacher and patron closely involved with temple facilities, rather than as a ruling king. The honorific “paṇḍita” indicates a scholar‑teacher, probably attached to the local religious–intellectual establishment.

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Assigned to the mature Western Chalukya phase, the low, compact temple has a richly moulded basement, lathe‑turned “bell” pillars and pierced stone jālī windows that soften the interior light. Though the temple follows the trikutachala plan, likely for the Trimurti, opening into a common closed mandapa and an entrance porch supported by four pillars, presently only one shrine houses a Śiva liṅga.

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The temple was closed by the time we reached, so we could only see the place from the outside.

The original śikhara is lost, but surviving wall courses, pilasters and miniature aedicules show the same refined, geometric detailing seen in other Lakkundi monuments like Kāsivīśveśvara.

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Musukina Bhavi is a deep, multi‑storeyed stepwell with stone beams and columns on terraces, its full architecture partly hidden during our visit because the well was filled with water. It is reported to be about 30 feet deep. Lakkundi was once famed for “101 bavis”; among the few excavated today, Musukina Bhavi beside Manikeshvara is regarded as one of the most elaborate and technically sophisticated.

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The temple, a large stepwell and a Bhoga Mandapa indicate that a large number of ascetics and perhaps a Patashala existed at this location. The Bhoga Mandapa is not traceable, nor are any other structures except for the step well and the temple.

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Nannesvara Temple, Lakkundi

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The Nanneshwara (Nannesvara) temple at Lakkundi is an 11th century Western Chalukya shrine, regarded as one of the earliest and finest examples of the “imperial” Lakkundi school of architecture. Its design consists of an intricate exterior koshta‑pañjaras (shrine‑like wall niches), richly carved doorframes and a three‑storeyed śikhara in the Lakkundi mode. The temple is contemporary with or slightly earlier than the nearby Kāsivīśveśvara temple.

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The temple is dedicated to Śiva with a single liṅga in the garbhagṛha, yet is also locally remembered as a “Sun temple” because of its orientation and imagery.

The temple sits on a raised jagati and comprises a garbhagṛha, antarāla, navaraṅga/mahā‑maṇḍapa and an open mukhamaṇḍapa, whose 16 lathe‑turned, highly polished pillars form a central elevated ranga‑maṇḍapa. It is seen as an important transitional monument, combining Deccan Dravida forms with northern Śekharī‑Nagara motifs that later reach a more elaborate expression at Kāsivīśveśvara.

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Halasi

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Halasi is a town in Khanapur Taluk, Belgaum District in Karnataka. It is near Kittur, a town historically famous for Rani Chennamma, who took on the British with great success. As recorded in inscriptions, the town’s ancient name was Palāśikā. A centre of the early Kadamba Dynasty (c. 500), it was the second capital of the Goa Kadambas (980-1025 CE). The town is notable for a series of medieval temples. 

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The Kadamba dynasty was established by Mayura Sharma in the 4th century CE after rebelling against the Pallavas amid Samudragupta’s invasions. The Kadambas initially ruled from Banavasi but made Halasi their second capital. They pioneered Kannada independence and temple architecture, blending local granite and laterite styles. The Kadamba kings extended patronage to Jainism, Shaivism and Vaishnavism. As such, there are temples dedicated to Shiva and Vishnu, and there were also many Jain Basadis existing here. The Kadambas’ rule in Halasi ended through fragmentation and subjugation by rising powers around the 13th century.

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Varaha Narasimha Temple, Halasi

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According to a folklore associated with the Varaha Narasimha Temple, the Pandavas built this temple overnight during their exile and worshipped Vishnu here.

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The existing temple is dated to the mid‑late 12th century, though the site and cult are older; the complex continued to receive patronage into the later Kadamba reigns. A stone inscription of 1169 CE (Kali 4369) records that the shrine of Narasimha and its temple were established at Halasi by a devotee called Mātāyogi, while the Goa Kadamba king Permādi / Shivachitta (Shivachitta Deva) granted a village to support its rites.

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A second inscription, dated 1171–72 CE, belongs to Kadamba king Vijayāditya II, confirming further land grants, and another record notes that the Bhu‑Varaha sanctum and standing Varaha image were installed slightly later, in 1186–87 CE, by Jayakesi III (Vijayaditya III).

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Together, the inscriptions and plan show that the Halasi Varaha Narasimha temple was not the work of a single ruler, but a Kadamba royal project developed over at least two reigns, with ascetic patron Mātāyogi as the initial founder of the Narasimha shrine and successive kings endowing and enlarging it.

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Its construction is ascribed to the renowned Amarashilpi Jakanachari. Jakanachari was a legendary 11th-12th century sculptor and architect from Karnataka, celebrated for his mastery of crafting intricate stone temples during the Kalyani Chalukya and Hoysala periods. Born in Kaidala (originally Kridapura), Jakanachari gained fame for sculptures like those at Belur’s Chennakesava Temple. A famous tale recounts him severing his right hand after his son, Dankanachari, exposed a flaw in one of his sculptures—a frog inside a cavity—leading to divine restoration after building a temple in his village. The flawed Belur idol was thereafter called “Kappe Channigaraya” (Frog Lord). 

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Inside the dvikuta temple, two garbhagriha chambers face each other. In the right one is the deity Śrī Viṣṇu in a sitting posture. The deities of Sūryanarāyaṇa and Mahālakṣmī are just behind the main deity. There is a 2-foot-high Udbhava (Bala) Narasimha murti that is supposed to be Swayambhu also inside this garbhagriha. 

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The chamber on the left has the 5-foot murti of Bhūvāraha, Vishnu’s Varaha avatar, where he carries Bhoodevi on his tusk. This was installed in 1186-87 by Vijayaditya III. Bhūvāraha has one foot on Adishesha and the other on a tortoise. 

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Other features of the temple include a 50-foot shikhara, navaranga with an inverted lotus ceiling, slanting roof balconies, and minimal adornments.

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A small shrine has a beautiful Radha Krishna murti. The earring depicts a lion, the Kadamba dynasty logo

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Beside the main temple are smaller temples dedicated to Ganesha, Shiva and Vitthala. One statue of Radha Krishna can also be seen in a smaller shrine.  

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A yearly fair is held at the temple on the full moon of Ashvin. On the full-moon day of Kārttika or Kartik Purnima, the palanquin of Varāha Narasiṃha is carried in procession to the temple of Rāmeśvara.  

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Degaon

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Degaon was known as Devagrama in the bygone era and later as Degamve during the British Regime.

This area has been governed by several dynasties, viz. the Kadambas of Banavasi, the Chalukyas of Badami, the Rashtrakutas of Manyakheta, the Western Chalukyas, the Hoysalas, the Vijayanagara Dynasty, the Muhammadans and the British. It remained predominantly under the rule of the Kadambas of Goa from their capital at Chandrapura (present Chandor, now in Goa). It is believed that this town was founded by Chandraditya, son of King Pulakeshin-II. 

An inscription records the grant of the village of Degaon (then Devagrama or Degamve) as perpetual agrahara to Brahmins, tying the temple’s foundation to a royal land‑endowment and scholarly‑institutional activity in the region.

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Kamala Narayana Temple, Degaon

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Kamala Narayana Temple is at Degaon in Belgaum District, Karnataka. The temple was built by the Kadamba dynasty. Kamal Narayan Temple was constructed by Tippoja, the chief architect of Kamala Devi, the Queen of the Kadamba king Sivachitta Permadi, the 6^th king of the Kadambas of Goa, in the 12th century. This temple was built in 1174 CE, and the principal deity is Narayana.

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The entire hall stands on a set of about 40 pillars, while 10 pillars support the sloping canopy of the roof. There are no lathe-turned, rounded pillars in this temple. However, the pillars have finely carved and polished patterns, which look like a stencil pasted on the pillar. Each pillar has massive capitals on which the thick beams of the temple rest.

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The temple is a trikuta shrine, rectangular in plan, with three sanctums facing east, and a pillared mantapa running north–south in front of the shrines, rather than the more common east–west hall‑axis. Each sanctum has a garbhagriha and sukanasi (vestibule), with door frames richly carved with lata‑type motifs and surrounded by ornamental stone windows; some descriptions note that these windows are “more ornamental than in any other Kadamba temple.”

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The entire length of the parapet wall has the standard carvings of pillars topped with a mini vimana but the figurines are unique. Some panels which carry images of dancers, musicians and a man fighting an elephant, Narasimha and Varaha avatars

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From the external structure, it can be seen that the central sanctum is a part of the main structure, whereas the first and the third sanctums are separate chambers. This indicates that initially there was only one sanctum, and the remaining two were later additions. 

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The first (southern) shrine has a statue of Narayana. The second (central) shrine has a statue of Lakshmi Narayana, with the Goddess Lakshmi seated on his lap. The third (northern) shrine has a statue of Queen Kamala Devi, with her attendants on either side. 

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Based on the emblems on the doorway lintels depicting Mahakali, Lakshmi and a peacock, it is surmised that the three shrines initially housed Mahakali, Lakshmi, and Saraswati, with the current Narayana‑centred arrangement being a later re‑configuration.

The doorway is carved out of three massive soap stones, which form the doorframes and the lintel. The frames have only external carving with a beautiful pillar in the centre of both the left and right side frames. All three sanctums have identical doorways, having a single line of jalandhara.

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The most attractive part is the massive lintel, which is very elaborately carved with inverted lotus buds and the central emblem. Interestingly, the central emblem carries an image of a fully blossomed lotus and not the traditional Gajalakshmi or Ganapathi.

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The top of the lintel is an absolute beauty. It has a platform on which there are five mini equidistant vimanas. The outer vimanas and the inner vimanas are mirror images with a unique vimana in the centre. A unique feature is the motif of the Yali carved in between each of the vimanas.

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The external carvings on the outer parapet walls resemble the typical Western Chalukyan style. The bottom of the panel depicted pillars with the images of Yali in between. The top layer is also interesting. In most temples the top portion depicts images of dancers, musicians and erotic images; but in this temple they carry different images. 

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The pillars have finely carved and polished patterns, appearing like a stencil pasted on the pillar. The pillars have massive capitals on which the thick beams of the temple rest

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The entire length of the parapet wall has the standard carvings of pillars topped with a mini vimana but the figurines are unique. Some panels which carry images of dancers, musicians and a man fighting an elephant, Narasimha and Varaha avatars.

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Elaborately carved panels adorn the ceiling

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Among many figurines, there is one interesting one of a woman writing on a stone slab. The posture, proportions of the image and the attire are awesome and precise. The exterior walls of both chambers housing the sanctums, and the walls of the north, south, and western sides, are fully carved with geometric patterns.

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The deities (L) Lakshmi Narayana in the central garbhagriha, and (R) Queen Kamala Devi in the northern garbhagriha

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There is another interesting figurine of a large slab with images of two serpents intertwined with each other. These are the images of Naga Devata and Naga Devi carved on the south-western end of the wall. The male Nagadeva is depicted with five heads, and the Nagini has a single head. 

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The interior roof of the temple has an exquisitely carved gigantic lotus in an inverted form. 

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Amaragol

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Few people have heard of the Banashankari temple of Amargol, and even fewer visit the temple, even though it is just 12 km from Dharwad and 16 km from Hubli. 

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Banashankari Temple, Amaragol

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A stone inscription found in the temple precinct mentions that this temple dates to the 11th or 12th century. The inscription is in Hale Kannada (Old Kannada), dated 1120 CE. The inscription mentions that it was sanctioned by Mahapradhana Saudhore Jakkarasa and was originally built for Keshava and Bhairava. Over time, the temple shifted its primary worship to Banashankari, and the site is now understood as a medieval Śaiva‑Vaishnava complex that later consolidated into a goddess‑centred shrine, reflecting the fluid devotional landscape of the Western Chalukya period.

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The temple is one of the many creations of the great sculptor Amarashilpi Jaknacharya and his son Dankanacharya.

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Each pillar has been carved exquisitely, and is unique

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The temple is carved from sandstone and granite. It stands on a raised sandstone platform. It is a dvikuta shrine; one that faces east houses a mutilated image of Bhairava installed on a pedestal, and the one facing south has a Shivalinga. Both the garbhagrihas have their respective antharala (small antechamber between the garbhagriha and the mandapa) and ardhamandapas (intermediary space between the temple exterior and the garbhagriha). There are two richly carved entrances leading to a common navaranga.

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Both sanctum door‑frames are heavily ornamented, with multiple vertical śākhās carrying dense floral scrolls, repetitive patterns and miniature gods and goddesses, rather than plain mouldings. At the centre of the lintel (lālāṭa‑bimba) over each doorway sits Gaja‑Lakṣmī, now broken in one doorway. Above the Gaja‑Lakṣmī are five tiny aedicules/miniature niches holding more deities, continuing the sense that the door itself is a small temple façade protecting the garbhagriha.

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The Banashankari shrine is described as having a Nagara‑articulated superstructure (with a stepped‑diamond‑style profile), whereas the Shiva shrine is more Dravida‑like; this blend of Nagara and Dravida design in one small complex is a hallmark of mature Western‑Chalukya “Vesara” experimentation, akin to the Kasivisvesvara‑type temples.

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The navaranga mandapa has eight four‑sided, polished sandstone pillars. The pillars of the navaranga have reliefs of Vishnu, Nataraja, Ganapati, Bhairava, Bhairavi, Siva, Varaha, Ugranarasimha, Baitali, Surya, etc. One pillar with the carving of Goddess Saraswati has her name inscribed on the stone just below her feet. Probably one of the only instances where the name of a deity has been inscribed.  

The door-frame is heavily decorated with fine sculptures of floral art and mystical creatures. Gajalakshmi adorns the lintel. 

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The outer wall‑plinth, pilasters, and devakoshtakas carry a variety of gods and auspicious motifs, while the pillar bases are especially notable for their multi‑faced deity‑images (Brahma, Vishnu, Shiva, Ganesha, Bhairava, Bhairavi, etc.), indicating a broadly inclusive Śaiva‑Vaishnava‑Tantric ambience.

There are small mini gopuras all around the temple in the typical Nagara style. However, the external walls have been badly damaged. 

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Unakal

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Unkal was historically named as Unukal and Unukallu. Unkal is noted as a spiritual site linked to Lingayat saints. Channabasavanna, the nephew of Basavanna, visited Unkal Lake on his way to Ulavi and stayed there for several days; this led to the construction of the Shri Channabasava Temple.

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Chandramoulishwara Temple, Unakal

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The Chandramauleshwara Temple, sometimes referred to as the Candramauḷĩśvara or Chandramouleshwara temple, is an 11th century Shiva temple with Chalukyan architecture in Unkal (Hubballi).

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The temple is a remarkable building that illustrates the sandhara plan, with a square garbhagriha that can be accessed from the four cardinal directions.  This open-from-all-sides plan features four moulded walls, each with decorative doors. The doorjambs are decorated with pancha shakhas (five concentric bands of fine carvings), but the artisans made each door unique. 

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The torana above the eastern entrance lintel is the most interesting of this Temple. It is elaborately carved with Yali on either side of the three ventilators in the middle. The jalandhara (stone carved mesh) is placed on either side of the doorframe pillars. The jalandharas comprise a set of 12 figurines on each side. Each circular emblem comprises either a female dancer or a musician. Their costumes, jewellery, and instruments are carved to perfection. 

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The temple is unique in that it has four entrances, one each opening towards a cardinal direction. These are the other three entrances, each with a different design

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This entrance jalandhara is different from the other entrances. Each has a different design.

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The temple includes a pradakshina patha for circumambulation. It also has an antarala and a sarvatobhadra-style mukhamandapa.

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Detailing on the carved doorframes

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All the entrances into the garbhghriha are monolithic, having five layers. All layers are carved in step fashion, which gives the entire frame a 3D effect. The entrance frames have figurines of Yakshas carved at their base.

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The Shivalinga seen from two directions

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The outer walls of major temples incorporate architectural and decorative details, but to accommodate four entrances, the temple integrates ardha-mandapas that function as antaralas. The original temple had mukhamandapas on the north and south sides for pilgrims to gather, but they are now lost, and only their mutilated and damaged sections can be traced. The details in and above the mancabandha adhistana are elegant, with a band of flowers, then alternating horse-elephant rajasena, above which are the vedikas with miniature but beautiful musicians, then gandharas framed between aedicules, topped with wood/jewel-like detail kaksasana carvings.

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Originally, the temple housed the image of the Chaturmukha linga at the centre so that devotees could see one face of Shiva from any direction. However, at some point, this was moved, and it is now installed on the western side of the temple. One possible explanation was offered by Henry Cousens after his survey of this site. The temple likely suffered destruction after the 13th century and went into disuse. The “very dilapidated” temple was later appropriated by Lingayats who moved the Chaturmukha linga and replaced it with a plain linga they preferred.

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The exterior walls are covered with beautifully embellished deities, like Vishnu, Shiva, Saraswati, etc

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A unique event occurs on “Yugadi” (Hindu New Year festival); the sun’s first rays pass through the openings on the torana and fall directly on the Chaturmukha linga. 

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The outer walls of the temple have niches framed with pilasters. These depict a galaxy of deities and stories from the scriptures from all the major traditions within Hinduism: Brahma, avatars of Vishnu, and various forms of Siva. Of particular note are the Nataraja, Narasimha, dancing Ganesha, Sarasvati and Mahishasurmardini. Another notable feature here is that two of the four lalitabimbas into the sanctum have Gajalakshmi, while two have Sarasvati. 

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Shiva reliefs on the roof

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The roof is also decorated with reliefs of deities, such as Urga Narasimha, Manmatha, and Ganesha.

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Conclusion

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Travelling through these temples across north Karnataka, it’s hard not to feel that the stones are still narrating their stories. Every site—Gadag, Lakkundi, Annigeri, Shirasangi, Unkal, Amaragol, Degaon and the rest—shows how deeply our ancestors tied together faith, daily life and hard science. The same walls that tell stories from the epics also hide careful geometry, clever load‑bearing tricks, water management, and precise proportions laid down in shilpa‑shastra.

Different dynasties kept this tradition alive by constantly experimenting: Badami and Kalyani Chalukyas trying out Vesara forms, Hoysalas pushing carving to the limit, Kadambas and others adding their own twists. Temple design was never frozen; it was a living, shared project passed from one generation of sthapatis to the next.

Above all stand the legendary shilpis. With basic tools and no modern machinery (that we know of), they turned hard stone into latticed windows, star‑shaped plans, and expressive icons that still amaze people a thousand years later. If this journey has shown anything, it is that these temples are not just relics to be ticked off a bucket list—they are proof of how sophisticated, inventive and confident ancient Indian knowledge systems really were, and how urgently they deserve to be understood and cared for.

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And finally, a word about the Kalyani Chalukyas. The Chalukyas sit at a turning point in Indian temple history. They created the Vesara or “Deccan” style, blending Nagara and Dravida ideas: curving yet stepped towers, dense horizontal mouldings, and finely turned pillars. They experimented with lathe-turned pillars and with soapstone. Experiments at Lakkundi, Gadag, Annigeri, and other sites produced plans and details that early Hoysala, Kakatiya, and later Vijayanagara builders picked up and took to greater heights. Much of what feels “typical” in later South and Deccan temples is really Chalukyan design DNA carried forward.

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A list of all my blog posts can be seen at the link below:

List of My Photo-Blogs/Travelogues

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Note: All photographs displayed above with watermarks are my exclusive property and copyright; their use is prohibited without explicit consent, in writing.

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