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Chapter 4

ARTISTS, ARTIST’S MOVEMENTS AND STYLES

The spread of stone art activity is closely related to the movements of the
artists particularly in search of patronage. The assessment of such movements
is easier to make when the products of art are in large numbers. Such a
situation allows for identification of style-inclinations of artists, individual or
collective. Chalukya art has this advantage of subjecting art products to a closer
scrutiny. The identity of the artists’ groups is possible to trace also when the
works of art or their environs are signed by artists. One of the most significant
aspects of the art activity of Chalukya period is the fact that a good number of
artists are known by name. Sometimes an artist claims to be the disciple of a
particular artist-teacher. An intensive study of the artists’ names, and the
language and script in which such names are recorded is sometimes very
revealing about their geographical or linguistic identity. The names of artists
begin to appear right in Badami which in present scholar’s opinion represents
the earliest phase of Chalukya art activity. Alampur, Sondur and Aihole
provide instances of artists of the second phase. Pattadakal provides examples
of artists of the last and ultimate phase of the Chalukya regime. In the present
chapter it is proposed to examine the names of artists linguistically and trace
their identity with respect to guilds and their works.

Badami

There are numerous short inscriptions in the vicinity of North Fort area
and the caves at Badami which can be identified as names or epithets of
craftsmen. Aychasvami-kalkutti has inscribed his name over the façade of
Cave I. (Fig. 4.1). Vachya has signed over the façade of Cave II. (Fig. 4.2).
Aju-Acharasiddhi (Fig. 4.3) and Kolimanchi (Fig. 4.4) have inscribed their
names on the boulder of Vaishnava Cave III. A list of names of the artists
noticed in the vicinity of the caves at Badami is appended (Appendices 4.1) at
the end at the work. Similarly the texts and summaries of inscriptions of
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important craftsmen from Badami, Alampur, Aihole and Pattadakal are also
appended (Appendices 4.2). Here we will restrict ourselves to pass certain
observations on their names. Barring a few instances all the signatures of the
craftsmen are in the Kannada-Telugu script assigned to 6th and early 7th
century. The remaining few are specially restricted to the vicinity between
Cave I and Cave II and they are in siddhamatrika characters of 6th and 7th
century. These inscriptions record the names in Sanskrit, while the remaining
use the old Kannada language. It may be noted that the inscriptions in
siddhamatrika characters in Chalukya region are always used for recording in
Sanskrit, while the Kannada-Telugu script is used both for recording in
Kannada and in Sanskrit language. (Padigar 1988). Certain interesting
suffixes are noticed in the names recorded in Kannada-Telugu script. These are
as follows:

• Kalkutti, as in Aychasvami- Kalkutti

• Svami or Sami, as in Gangosvami, Aychasami, Marutisami
• Manchi, as in Kolimanchi, Aryamanchi, Singamanchi
• Ka, as in Gottaka
• Kke, as in Nelavarkke
• Oja, as in Duttuja(Duttoja)
• Kereya, as in Alagereya
• Chandra, as in Bhamachandra, Bharatachandra
• Aya, as in Sakulaaya (aya,arya)
• Chatta, as in Arya –chatta(chatta,chhatra, disciple)
• Arike, as in Marike, Harike
• Ovaja, as in Bijaya- Ovaja (upadhyaya ,Ovaja,Oja)
• Ereya, as in Devereya
• Amma, as in Vijamma
• KeKesi Aja,
• Ruvari
• Dasa
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Many of these can be easily identified as indicative of craftsmen e.g.,

kalkutti= stone worker, oja=sculptor, ovaja= sculptor etc.

From contextual evidence the names ending with manchican be

identified as names of architects/craftsmen. An inscription on Malegitti
Sivalaya records Aryamanchi Upadhyaya as its architect (ICB No. 417). (Fig.
4.5) Nearby on a rock in front of the temple Singamanchi’s name is also
recorded (Padigar, 2012: 43). In view of this, it may be inferred that manchi
suffixed names occurring in the environs of the caves were also names of
craftsmen or architects (Padigar 1988: 399-400).

Similarly, names ending with suffixes svami or samican also be related

to artists. Above the facade of the Cave I is the signature of Aychasvami-
kalkutti. In this, kalkutti denotes stone worker. Hence Aychasvami has to be
identified as a craftsman. So, this can be extended to all the names ending with
svami or sami listed here. In siddhamatrika inscriptions between Cave I and
Cave II Gangosvami’s name is recorded. Perhaps the suffixes suggested in the
list above belong to the names of artists and craftsmen of distinct guilds.

On the basis of the distribution of manchi suffixed names in the Deccan,

it has been argued (Padigar 1988:400) that the craftsman bearing these names
probably hailed from the region of Andhra. Similar names have been
encountered in Ellesvaram in Andhrain a quarry site of the Chalukya times.
Hence, one guild of craftsman probably came from that region.

Similarly, it is also argued (Ibid.) that those names of craftsman written

in Siddhamatrika character suggest artist-craftsmen of northern Deccan.
Inscriptions written in this script are rare in the Chalukya dominion. The
earliest Siddhamatrika inscription of some length in this part of the Chalukya
territory belongs to Alampur and is dated in the reign of Vijayaditya (ICB No
105). There is a bi-script inscription in Sankrit found at Pattadakal on a stone
pillar which is dated in the reign of Kirtivarma II (ICB No. 140).

The use of Siddhamatrika script almost invariably suggests connections

with northern Deccan or northern India. For instance, Jnanasivacharya a Saiva
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ascetic of Pasupata stock hailing from a region called Mrigathanikaharaon the

northern bank of Ganga was responsible for setting up the trisula pillar at
Pattadakal.(Ibid). The fact that the same record has been engraved twice on the
same pillar but in two different scripts namely Kannada-Telugu on the one
hand and Siddhamatrika on the other also indicates that the latter was a less
known script in the Chalukya heartland. Thus the occurrence of names of
craftsmen in Siddhamatrika script in Badami which are of the pre Vijayaditya
times and presumably of pre 630 date, should also be viewed as significant.
Considering the fact that, stylistically the sculptures in Cave II at Badami
particularly conform to those found in early Brahmanical Caves in Ellora and
Elephanta both in concept and execution, it may be argued that at least one
group of artists at Badami were from to northern Maharashtra region. (Padigar
1988).

As late as the 9th century the author of Kavirajamarga, a Kannada work

on poetics, proudly states that Kannada speaking region stretched right from
the Godavari in the north to the Kaveri in the south:

Kaveriyindam-a Godavarivaram-irdanadadaKannadadol
Bhavisidajanapadamvasudhavalaya-vilina-visada-vishaya-visesham ||

He further states that within that the region between the towns of Kisuvolal
(=Pattadakal, Bagalakot Dist.), Kopana (=Koppal, Koppal Dist.), Purigere
(=Lakshmesvar, Gadag Dist.) and Okumda (=Okkunda, Belgaum Dist.) was the
land of pure Kannada:

AdarolagamKisuvolalavidita-maha-Kopana-nagaradaPuligereya

Sadabhistutam-app-OkumdadanaduvananadenadeKannadadetirul ||

The distribution of Kannada inscriptions of later Chalukyas also attests

the fact that Kannada was the spoken language in the heart of Maharashtra. The
occurrence of Kannada names of the artist craftsmen in large number perhaps
owes to the fact that many of the craftsmen belonged to Kannada speaking area
of Karnataka and Maharashtra.
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Two principal styles of sculptural art are distinctly discernible in Badami

Caves. It suffices here to state that Cave I sculptures stand out distinct from
Cave II sculptures in the style, ethos and decorative detail. As such they are
representatives of two distinct schools and guilds. The presence of large
number of names of craftsmen also suggests that the activity was hectic and the
execution of the cave architectural activity pertaining to the first two caves may
have been completed within a few decades from the inception of Chalukya
authority, say before the end of 6th century.

It was pointed out above that artists’ names are also found in the north
fort area of Badami where Polekesi I completed the fortification in 543. Some
names occurring in this area repeat in the vicinity of the caves. It has been
suggested that inscription of 543 was engraved by a craftsman who had the
epithet Tatvartthan, which also occurs in north fort area as Koli-tatvartthan.
(Padigar 1988). This person may be same as Kolimanchi whose name occurs
repeatedly in both the areas of Badami,viz., north fort and caves. Probably he
was the principal architect of the fort and later on extended his activities to the
excavation of caves and construction of the temples with his guild.

There are two surviving temples in dilapidated condition within the north
fort. Both the temples are in southern style and designated as Upper Sivalaya
and Lower Sivalaya with respect to their location in the fort. The Upper
Sivalaya carries the signature of a craftsman named Vijaya, while the Lower
Sivalaya that of Sarvadasa. Though conforming to southern architectural style,
there are certain features particularly the decorated frames which show that the
artists were already influenced to some extent by northern traditions. The
dvarapalas of Lower Sivalaya, now fixed to an entrance gate within the fort
just before Lower Sivalaya, bring to mind northern stylistic features as also
iconographic tradition such as prominent depiction of ayaudha-purusha.
Upper Sivalaya was dedicated to god Vishnu. It is known that Chalukya rulers
up to Polekesi II were devotees of Vishnu. Thus Upper Sivalaya cannot be later
than Polekesi I’s reign. On the other hand the temple is located on the summit
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of the north fort, thus dominating the surroundings both from above and below.
It was certainly meant for royal use as suggested by its sandhara plan as well
as its location within the fort. Its door frame does not carry Garuda-nagasakha
scheme which was a regular feature of Chalukya temples from around 625.
Thus the temple appears to date from pre 600 time. Similar is the case with
Lower Sivalaya. Its archaic features including the decorated door frame point
to this fact. Its dedication is not certain. But most probably it was a non-
Vaishnava temple. Its original plan was sandhara. Taking these things in to
account, it would be appropriate to infer that the craftsmen whose names are
found in north fort vicinity apart from their participation in fort construction
were also participants in the construction of these temples.

Alampur

Alampur is a well-known site famous for the Navabrahma group of

temples. A majority of temples here are in northern style. Some of those
temples carry short inscriptions on their walls which seem to refer to architects
or their epithets. The Kumarabrahma temple carries on its porch pillar an
inscription referring to an anonymous person by his epithet Maccharippora-
Mahesvara (ICB.No.426), meaning a Mahesvara (Siva) to envious rivals (in his
profession). This inscription occurs clearly in association with the name of the
artist Srikanthacharya found engraved on the wall to the right of the door of
Arkabrahma temple (ICB.No429). Srikanthacharya is mentioned in the
inscription on the wall of Svargabrahma temple also (ICB.No.432). Thus it may
be observed that on all these temples Srikanthacharya has worked. Perhaps he
is the principal architect of these temples. In association with Arkabrahma
temple there are two more names, one of Maradi (ICB.No.427) and another of
Trailokyahamsa(ICB.No.430). The latter is in Siddhamatrika characters and
may well be an epithet.

Likewise, on Svarga Brahma temple there are names of Vapeya (ICB.

No.433) and Vyala-simha Gurava (ICB.No.434). But whether these could be
names of craftsmen cannot be ascertained. On the Tarakabrahma temple there
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are two names of scribes viz., Chabbideva and Sirankuranta. They could also
be artists. All these inscriptions except those in Siddhamatrika characters are in
Kannada script and language of 7th century.

Aihole

Aihole also has names of some craftsmen engraved on monuments. In

point of chronology those found on the Buddhist storied structure on the north
side of the Meguti hill have to be considered first. These are found on the
various pillars of the structure. The pillars of the ground storey mention Bisata
twice (ICB. No 171,173), Bina-amma twice (ICB.No174), Vagyamanta once
(ICB.No172) and Kokile once (ICB.No174). Similarly names of Gunapriya and
Citradhipa and Sripati (ICB.No175) are inscribed in a cavern at the approach to
the first storey of the structure. Marappa (ICB No.176) and Binjadi-Ovaja
(ICB.No177) are mentioned on the pillars of the first storey of the structure. It
should be pointed out here that an architect named Narasobba who made the
Huccappayya-gudi claims that he was the disciple of Binjadi (ICB.No180).
Among the early temples of Nagara style at Aihole is the Huchchimalli-gudi.
On the beam of the porch of the temple is the signature of the Krichunga
(ICB.No168). He was probably the sculptor of Kartikeya image on the ceiling.
On the west face of the gudhamandapa wall temple is engraved the name of
Kanchana (ICB.No169).

Near the Jaina cave there are a few inscriptions recording names of
craftsmen. Two of these are found on the cliff to the north of the Jaina cave.
The first of them mentions the quarry of craftsmen Narasobba (ICB.No179).
The second contains a string of praise (ICB.No180) of Narasobba who is
described as the disciple of Binjadi, sporting in creating temples, adept in silpa
text, a Sun in character, a creator of forms (sculptures) and an expert in
maintaining proportions in his creations. The inscription is above an engraved
outline of a cave marked on the cliff for excavating. But the project never took
off. It may be added that the temple of Huchchappayya-gudi was the product of
Narasobba’s effort (Fig. 4.8). These records of Narasobba testify to fact that the
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cave architecture at Aihole continued even after the establishment of structural

architecture.

To the left of Jaina cave on the cliff, there is a two line inscription
mentioning Utuna with Pallasvami as alias (ICB.No181). He was probably the
craftsman of the Jaina cave. There are other inscriptions recording his name in
the vicinity. The temple called Huccappayya-gudi in nagara style records
names of two craftsmen. The first of these is on the north face of a pillar in the
porch. It records the eulogy of Narasobba stating that he was an expert in
building temples never surpassed by another before nor would he be surpassed
in future (ICB.No152). He was obviously the architect of the temple. He is also
to be identified with Narasobba whose praise is inscribed on a cliff near Jaina
Cave (ICB.No179).

The other artist was Ganasobba.He is described as an expert in creating

images (ICB.No153). The name Ganasobba suggests that he was related by
blood to Narasobba probably as younger brother. Thus this temple can be
considered as a joint project of Narasobba and Ganasobba brothers.

The next important monument to reveal the names of craftsmen is the

Durga temple. On the gateway of this temple there is a short inscription
mentioning Savitara (Savitr), the son of Pirireyta (ICB.No.160). But it can
neither be established nor totally set aside as being the name of a craftsmen. On
the southern side of the adhishthana, a record mentions Jinalaya (ICB.No.
161). (Fig. 4.6). There can be no doubt as to his identity as a craftsmen. His
name is found inscribed also on the Parvati temple at Sandur (ICB.No. 424,
425). One of them is above a Siva image, while another is on a pilaster beside a
staff-bearing capped Dvarapala. This evidence shows that the two temples,
namely, the Durga temple at Aihole and the Parvati temple at Sandur, are
worked on by the same group of artists. A third inscription associated with
Durga Temple is that of Mudyasili. The short epigraph is engraved below the
Ramayana narratives on the adhishthana of inner porch. It implies that these
carvings were executed by Mudyasili. However the epigraph describes
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Mudyasili as a cupid to wives and as such it is difficult to ascertain whether

Mudyasili is an epithet or a proper name. The Pattadakal inscription of
RevadiOvaja describes him as Silemuddaramarma. It is possible that
Silemudda and Mudyasili were epithets borne by stone craftsmen.

The last epigraph to be referred in connection with Durga temple at

Aiholeis found on the pillar on the exterior pillar of the northern side of the
porch. It is engraved on the east face of the pillar and reads in Sanskrit as
Surendrapadah.(Fig. 4.7). Unlike the inscriptions mentioned earlier, which are
in Kannada script, this inscription is in Siddhamatrika characters. This feature
clearly establishes the northern provenance of Surendrapada. It is interesting to
note that some of the sculptures in the Durga temple exhibit northern features.

Pattadakal

Stone structural activities at Pattadakal appear to have become prolific

from the time of Vijayaditya. The site became a centre of monuments of both
nagara and dravida styles. Ambitious temple projects were taken up and by the
end of Kirtivarma II’s reign large temples like Sangamesvara, Virupaksa,
Mallikarjuna and Papanatha were completed. Some of the temple constructions
were executed as joint projects in which expert architects joined hands to
effectively complete a project. A good number of inscriptions found on the
monuments here speak of architects and sculptors. Almost two to three
generations of craftsmen were active here.

Sangamesvara temple inscription states that two pillars were sponsored

by Bhodamma who belonged to the Vijayesvara temple and that the pillars
were made by artisan Paka (ICB No. 199). This name recalls the above referred
to Sankaragudda inscription mentioning Papaka. But interestingly these records
are indifferently engraved and appear to date from a period later than the
vimana of the temple. This suggests that the large open mandapa was
completed after the main vimana had been completed and the deity installed.

There are two most renowned architects who completed the

Lokesvaratemple and perhaps the Mallikarjuna temple jointly. (Muddi 2011).
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They were Gunda-Anivaritacharai and Sarvasiddhi-Achari. There are three

inscriptions which refer to these personalities. Inscription of Gunda-
Anivaritachari found on the northern flank of the entrance of the pratoli (gate
house) (Fig. 4.9) states that Vikramadityahonoured architect Gunda-
Anivaritachari the maker of the temple of the queen by anointing him three
times and conferring on him the title tribhuvanachari. In addition, the family
taxes on the expert craftsmen of the region (vishaya) were exempted, except
the sinners.

The second inscription found on the southern flank of the entrance

pratoli(Fig. 4.10) states that Vikramaditya who had conquered Kanchi thrice,
after thrice anointing the architect who made the Lokesvara temple of
Lokamahadevi, announced a string of eulogy of Sarvasiddhi-Achari who had
saved the family taxes on expert architects of the region. The architect is
described as refuge of excellent character; expert in making sculptures and
buildings; excellent in speech; a crest jewel (in making) of buildings, seats, and
cots and the architect of southern side (of monuments).

Another inscription is on the southern side of west face of Nandi-

mandapa of Virupaksha temple. (Fig. 4.11). It states that Sarvasiddhi-Acharya
is the architect (sutradhari) of the southern side.

The first two inscriptions mentioned above imply the state honours
conferred by Vikramaditya II to two great architects who successfully
completed the ambitious project of Virupaksha and Mallikarjuna temples.
(Muddi 2011).

A number of artists participated in this grand project. Some of them

have recorded their names on the temple. The ceiling sculpture depicting Surya
(Fig. 4.13) in the east porch of Virupaksha temple was executed by
Devaputra(Fig. 4.12) who was the disciple of Sakkaresivadi. It is not known if
this Sakkaresivadi was a sage associated with the Lokesvara temple. Devaputra
describes himself as belonging to Aditya-griha, that is, the temple of God
Aditya. It is not clear if this Aditya temple represents the east porch of the
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Virupaksha temple or a separate temple dedicated to Sun God. In case it is the

east porch, then it is likely that the execution of the work on the whole of east
porch was carried out under the supervision of Devaputra.

An inscription above the dvarapala image (Figs. 4. 15 and 4.16) on the

right side of south porch of Virupaksha temple records the name of its sculptor
(ICB No.191). It states that Baladeva the son of Duggi-Achari made this image.
(Fig. 4.14). It also gives a eulogy of Baladeva, but its meaning is not clear. It
may be assumed that Baladeva’s father Duggi-Achari was also working on this
temple. An image of Siva on the northern wall of Virupaksha temple bears an
epigraph above it. It states that Pullappa made the image.(Fig. 4.17). This artist
is described as nirmanadeva, probably meaning Visvakarma the divine
architect. Another image of Siva on the south wall of Virupaksha temple
carries an inscription below it, which states that Cemgamma made that image
(ICB No.190). (Fig. 4.18). Surprisingly no inscription recording artist’s name is
noticeable on the Mallikarjuna temple sponsored by Trilokya-Mahadevi, the
younger queen.

Another name of sculptor is that of Revadi Ovajja (ICB No. 208). He

has engraved his name on the southern side of the east face of Papanatha
temple. The inscription describes him as the grandson of or more meaningfully
the ‘essence’ of Silemudda and disciple of Sarvasiddhi-Acharya. He made the
southern side of the temple. Obviously Sarvasiddhi-Acharya mentioned here is
identical with the principal architect who supervised the southern side of
Virupaksha temple successfully and received state honours for the
achievement. This inscription also hints at the fact that architects were
executing temple projects jointly and excelled in executing certain parts of the
temple. It is noteworthy here that the few episodes of Ramayana carved on the
southern wall of Virupaksha temple have been elaborately developed on south
side of the Papanatha temple into a detailed narration of Ramayana by Revadi-
ovajja.
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On the Papanatha temple there are a couple of fragmentary inscriptions

recording names of artists. One of them is found above the dvarapala image in
the porch and states that Baladeva made that image. This is obviously the same
person as the one who carved the dvarapala image of south porch of
Virupaksha temple. It is possible that Baladeva was an expert in carving
dvarapala images artistically. Such images come out from the pillar almost
completely in three dimensions and may need special skill. Baladeva’s name
also occurs on the southern wall of the Papanatha temple. He seems to have
made some of the Ramayana sculptures on the wall. Likewise siddhamatrika
inscription beside the Nataraja image in the southern ghanadvara also records
his name (ICB, No.210, 213, 214 and 216). Here he is referred here as
Baladeva-Acharya or Baladeva-Arya.

Within the temple the inner northern wall of the mandapa carries two
inscriptions referring to Benakutti (ICB.No.217) and Chemgamma(ICB.
No.218). Benakutti is described as a vimala-guna i.e., ‘of pure character’.
Chemgamma was a sculptor referred to earlier in connection with the
Virupaksha temple.

Recently in the locality called Sankaragudda a few kmaway from

Pattadakal, short inscriptions have been noticed. Some records register names
and epithets of craftsmen. One of these refers to Papaka Anjuva as parama-
mahesvarai.e., ‘devout worshipper of Mahesvara’. The quarry where he was
working is called the kani (quarry) of dharmasamghata (ICB. No 447). Other
birudas found nearby mentioned Matiraga, Vira-Vidyadhara, Charucha,
Gunapriya and Nidhipurusha (ICB. Nos. 448-452).

The Pattadakal Mallikarjuna temple inscription records the name of

Badi, probably the craftsman who made the pillar and its sculpture (ICB No.
203).

The foregoing study of names of artists leads us to several interesting

observations. First of all, the variety in names of craftsmen and the use of two
scripts viz. Kannada and siddhamatrika implies the presence of craftsmen from
 199

different groups, schools and region. As indicated also by the sculptural style
and preferences in structural monuments different craftsmen from different
groups and regions were active in the nuclear region of the Chalukyas.

In the case of Badami the names are curious and mostly of Kannada
affiliation. In view of the fact that as late 9th century the author of
Kavirajmarga mentions the region between Kaveri and Godavari as the land of
Kannada speakers, it is understandable that these artists hailed from some parts
of this and some particularly from Guntur (Vijayawada) region of Andhra
Pradesh.

Therefore, a majority of artists participating in the art activity in Badami

may be considered to have inclination to Deccan Dravida traditions. This
explains the preference for Dravidian temple forms at Badami as seen in Cave
III, Upper Shivalaya, Lower Shivalaya and Malegitti Shivalaya.

Artisits’ names from Aihole are few but interesting. We have

indications of successions of craftsmen from teacher to disciple in Binjadi and
Narasobba. Narasobba’s temple has characteristics that assign it to 8th century.
The fact that Narasobba built in the north Indian style on the one hand and
demarcated a project of excavating cave which never materialized indicate that
cave tradition had not died out in Chalukya region. The names of artists found
in Aihole stand out distinctly from those of Badami. Not a single manchi
ending name is found here. This clearly suggests that artists groups working in
Aihole were different from Badami.

Alampur seems to be the region where for the first time typical latina
temple greatly corresponding to northern tradition was erected on a large scale.
Barring the Tarakabrahma temple, all the temples at Alampur are puritan
northern rekha or Latina temples. It is possible that the Aihole northern style
temples are inspired from Alampur.

The well-known artist or architect at Alampur was Srikanthacharya.

The very name is interesting because of his association with Srikantha a name
of Siva perhaps indicating strong religious attachment of the artists to
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Mahesvara Saiva Sect. His epithet “Mahesvara to the jealous” seems to play a
pun on the word ‘Mahesvara’. Alampur activity was inspired by the
Mahesvara sect of the Sivacharyas who hailed from elsewhere, most probably
from the north.

By the time Pattadakal became nodal to Chalukya artistic activities for a

second time Dravida tradition with some transformation had become dominant
in Chalukya nuclear region.

Its seems on the grounds of epigraphy, Kannada artists like Sarvasiddhi,

Gunda, Pullappa, Baladeva and the like preferred basically South Indian temple
form as seen in Sangamesvara, Virupaksha and Mallikarjuna temples which
were major projects of closing decades of Chalukya reign. However, projects
like Galaganatha and Papanatha also indicate a contemporary presence of
rekhanagara temple form. But barring Galaganatha no other
rekhanagara/Latina temple at Pattadakal can be regarded as puritan
rekhanagara. It is noteworthy that Chalukya artists carried this Dravida
temple form as far north as Ellora, as seen in the great Kailasa monolith of
early Rastrakuata period.

*****