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{{short description|6th-8th century Hindu and Jain cave temples in Karnataka, India}}
{{good article}}
{{Use Indian English|date=December 2015}}
{{Use dmy dates|date=April 2016}}
{{Infobox Cave
| name             = Badami Temple
| photo            = Vishnu image inside cave number 3 in Badami.jpg
| photo_caption    = [[Vishnu]] image in Badami cave 3
| coordinates      = {{coord|15|55|06|N|75|41|3|E|format=dms|display=inline,title}}
| discovery        = 6th Century
| map              = India Karnataka#India
| relief           = yes
| geology          = Sandstone
|  
| language         = [[Kannada language|Kannada]] Local People also speak Hindi
|features          = UNESCO world heritage site candidate<ref name=unescobct2004 />
}}

The '''Badami cave temples''' are a complex of [[Buddhist]], [[Hinduism|Hindu]] and [[Jainism|Jain]] cave temples located in [[Badami]], a town in the [[Bagalkot district]] in northern part of [[Karnataka, India]]. The caves are important examples of [[Indian rock-cut architecture]], especially [[Badami Chalukya architecture]], and the earliest date from the 6th century. Badami is a modern name and was previously known as "Vataapi", the capital of the early [[Chalukya dynasty]], which ruled much of Karnataka from the 6th to the 8th century. Badami is situated on the west bank of a man-made lake ringed by an earthen wall with stone steps; it is surrounded on the north and south by forts built  during Early Chalukya and  in later times.

The Badami cave temples represent some of the earliest known examples of [[Hindu temple]]s in the Deccan region. They along with the temples in [[Aihole]] transformed the Mallaprabha River valley into a cradle of temple architecture that influenced the components of later Hindu temples elsewhere in India.

The 4 caves are all in the escarpment of the hill in soft Badami [[sandstone]] formation, to the south-east of the town. In Cave 1, among various sculptures of Hindu divinities and themes, a prominent carving is of the dancing [[Shiva]] as [[Nataraja]]. Cave 2 is mostly similar to Cave 1 in terms of its layout and dimensions, featuring Hindu subjects of which the  Hari Hara, Ardhanari shiva, Mahishamardini, Dwi Bahu Ganesha and Skanda in a separate antichamber on extended cave at western side-next to  great Nataraja sculpture. Cave 2 has premier images of [[relief]] of [[Vishnu]] as [[Trivikrama]] is the largest. The largest cave is Cave 3, featuring Vishnu as Ananta seated on coiled serpent, Varaha with Bhudevi, Harihara, Narasimha in standing posture, great image of Trivikrama and Virata Vishnu. The cave has fine carvings exhibiting matured stage of Karnataka ancient art. Cave 4 is dedicated to revered figures of Jainism. Around the lake, Badami has additional caves of which one may be a [[Buddhist]] cave.  Another Cave like gallery known as Arali Tirtha has around twenty seven carvings.

== Geography ==
The Badami cave temples are located in the town of [[Badami]] in the north-central part of [[Karnataka]], India. The temples are about {{convert|88|mi}} east of [[Belagavi]] (IATA Code: IXT), and {{convert|87|mi}} northwest of [[Hampi]]. The [[Malaprabha river|Malaprabha River]] is {{convert|3|mi}} away. The cave temples are {{convert|14|mi}} from the UNESCO world heritage site [[Pattadakal]] and {{convert|22|mi}} from [[Aihole]] – another site with over a hundred ancient and early medieval era Hindu, Jain and Buddhist monuments.{{Sfn|Michell|2017|pp=12-17, 78, 108}}

[[File:6th - 7th century Badami cave temples layout exterior annotated.jpg|left|thumb|Caves on the cliff above Agastya Lake]]
Badami, also referred to as ''Vatapi'', ''Vatapipura'', ''Vatapinagari'' and ''Agastya Tirtha'' in historical texts,{{Sfn|Fergusson|1880|p=405}} the capital of [[Chalukya dynasty]] in the 6th century, is at the exit point of a ravine between two steep mountain cliffs. Four cave temples in the [[escarpment]] of the hill to the south-east of the town were carved into the cliff's monolithic stone face. The escarpment is above a man-made lake called [[Agastya]] Teertha, created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple.{{Sfn|Fergusson|1880|pp=405–406}}<ref name=History>{{cite web|url=http://www.art-and-archaeology.com/india/badami/baplan.html|title=Badami around the Tank: Western Chalukya Monuments|access-date=21 October 2015|publisher=Art-and-archaeology.com, Princeton University}}</ref> The largest and highest cave is Cave 3, which is further to the east on the northern face of the hill.<ref>Jessica Frazier (2015), The Bloomsbury Companion to Hindu Studies, Bloomsbury Academic, {{ISBN|978-1-4725-1151-5}}, pages&nbsp;279–280</ref> The fourth cave, Cave 4, is a few steps down further east.{{Sfn|Fergusson|1880|p=405}}<ref name=Madan>{{cite book|title=India through the ages|url=https://archive.org/details/indiathroughages00mada|last=Gopal|first=Madan|year= 1990| page=[https://archive.org/details/indiathroughages00mada/page/174 174]|editor=K.S. Gautam|publisher=Publication Division, Ministry of Information and Broadcasting, Government of India}}</ref>{{Sfn|Michell|2014|p=36–50}}

== History ==
[[File:6th century Kannada inscription in cave temple number 3 at Badami.jpg|thumb|Epigraphy in the Kannada language ({{circa|578}}) dating the carving of Cave{{nbsp}}3]]
The cave temples, numbered 1 to 4 in the order of their creation, in the town of Badami{{snds}}the capital city of the [[Chalukya dynasty|Chalukya kingdom]] (also known as Early Chalukyas<ref name=History />){{snds}}are dated from the late 6th century onwards. The exact dating is known only for Cave 3, which is a temple dedicated to Vishnu. An inscription found here records the dedication of the shrine by [[Mangalesha]] in ''Saka 500'' (solar calendar, 578/579{{nbsp}}CE).{{Sfn|Fergusson|1880|p=409}} The inscription, written in the old [[Kannada language]],{{Sfn|Fergusson|1880|p=405}}{{Sfn|Michell|2014|p=50}} has enabled the dating of these rock cave temples to the 6th century.{{Sfn|Fergusson|1880|p=405}}{{Sfn|Michell|2014|p=38–50}}{{Sfn|Burgess|1880|p=406}}  This makes the cave the oldest firmly-dated Hindu cave temple in India.<ref>[https://www.smithsonianmag.com/travel/remarkable-cave-temples-architecture-nagara-dravidian-southern-india-deccan-chalukya-180957971/ "The Remarkable Cave Temples of Southern India", by George Michell, [http://www.smithsonianmag.com/travel/remarkable-cave-temples-architecture-nagara-dravidian-southern-india-deccan-chalukya-180957971/#EaqgVrLTF0xemeuk.99 Smithsonian]</ref>

The Badami Caves complex is part of a [[UNESCO]]-designated [[World Heritage Site]] candidate under the title "Evolution of Temple Architecture{{snds}}Aihole-Badami-Pattadakal" in the Malaprabha river valley, considered a cradle of temple architecture that formed the model for later Hindu temples in the region.<ref name="Madan" /><ref name=unescobct2004>{{cite web|url=https://whc.unesco.org/en/tentativelists/5972/|title= Evolution of Temple Architecture – Aihole-Badami- Pattadakal|year=2004|access-date=21 October 2015|publisher= UNESCO}}</ref> The artwork in Caves 1 and 2 exhibit the northern Deccan style of the 6th and 7th centuries, while those in Cave 3 simultaneously represent two ancient Indian artistic traditions; the northern [[Nagara architecture|Nagara]] and the southern [[Dravidian architecture|Dravida]] styles.<ref name=jcharle /><ref>Jill Tilden (1997), First Under Heaven: The Art of Asia, Hali Publishers, {{ISBN|978-1-898113-35-5}}, pages&nbsp;31–32</ref> Cave 3 also shows icons and reliefs in the so-called ''[[Vesara]]'' style, a fusion of ideas from the two styles, as well as some of the earliest surviving historical examples in Karnataka of [[yantra]]-chakra motifs (geometric symbolism) and colored fresco paintings.<ref>Kapila Vatsyayan and Bettina Bäumer (1992), Kalātattvakośa: A Lexicon of Fundamental Concepts of the Indian Arts, Motilal Banarsidass, {{ISBN|978-81-208-1044-0}}, pages&nbsp;79–84</ref><ref name=stellakramrischpaint /><ref>James C Harle (1994), ''The Art and Architecture of the Indian Subcontinent'', Yale University Press, {{ISBN|978-0-300-06217-5}}, pages 361, 166</ref> The first three caves feature sculptures of Hindu icons and legends focusing on [[Shiva]] and [[Vishnu]],<ref name=aliceboner>Alice Boner (1990), Principles of Composition in Hindu Sculpture: Cave Temple Period, Motilal Banarsidass, {{ISBN|978-81-208-0705-1}}, pages&nbsp;89–95, 115–124, 174–184</ref> while Cave 4 features Jain icons and themes.<ref name=aaacave4 />

== Temple caves ==
The Badami cave temples are carved out of soft Badami [[sandstone]] on a hill cliff.{{Sfn|Michell|2014|p=38–50}} The plan of each of the four caves (1 to 4) includes an entrance with a verandah (''mukha mantapa'') supported by stone columns and [[bracket (architecture)|brackets]], a distinctive feature of these caves, leading to a columned [[mantapa]], or main hall (also ''maha mantapa''), and then to the small, square shrine ([[sanctum sanctorum]], ''garbha ghriya'') cut deep inside the cave.{{Sfn|Thapar|2012|p=45}} The cave temples are linked by a stepped path with intermediate terraces overlooking the town and lake. The cave temples are labelled 1–4 in their ascending series; this numbering does not reflect the sequence of excavation.{{Sfn|Michell|2014|p=37}}

The architecture includes structures built in the [[Nagara architecture|Nagara]] and [[Dravidian architecture|Dravidian styles]], which is the first and most persistent architectural idiom to be adopted by the [[chalukyas|early chalukyas]].{{Sfn|Michell|2014|p=37}}

=== Cave 1 ===
[[File:Badami.JPG|thumb|Entrance to Cave{{nbsp}}1]]
[[File:Temple troglodytique dédié à Shiva (Badami, Inde) (14146091479).jpg|thumb|[[Nataraja]] or Dancing Shiva in Cave{{nbsp}}1]]
Cave 1 is about {{Convert|59|ft}} above ground level on the north-west part of the hill. Access is through a series of steps that depict carvings of dwarfish [[gana]]s in different postures as if they hold the cave floor.{{Sfn|Fergusson|1880|p=413}} The verandah, with an inner measurement of {{Convert|70|ft}} by {{Convert|65| ft}}, has five columns sculpted with reliefs of flower garlands, foliage and jewelry.{{Sfn|Michell|2014|p=37–38}}{{Sfn|Michell|2017|pp=46-47}}

'''Nataraja Carving'''

The cave portrays the [[Tandava]]-dancing Shiva as [[Nataraja]] on the rock face to the right of entrance and also part of Gandharveda.{{Sfn|Michell|2014|p=37–38}}{{Sfn|Fergusson|1880|p=414}}<ref name="aliceboner" /> The image, {{Convert|5|ft}} tall, has 18 arms (9 in left and 9 on right) in a form that expresses the dance position (about 9x9=81 combinations in total) arranged in a geometric pattern, which [[Alice Boner]]{{snds}}a [[Switzerland|Swiss]] art historian and [[Indologist]], states is a time division symbolizing the cosmic wheel.<ref name="aliceboner" /> The eighteen arms express Natya [[mudra]]s (symbolic hand gestures),<ref>Fred Kleiner (2009), Gardner's Art through the Ages: Non-Western Perspectives, Wadsworth Publishing, {{ISBN|978-0-495-57367-8}}, page 21</ref> with some holding objects such as drums, a flame torch, a serpent, a trident and an axe.{{Sfn|Michell|2017|pp=46-47}} Shiva has his son [[Ganesha]] and the bull [[Nandi (bull)|Nandi]] by his side. Adjoining the Nataraja, the wall depicts the goddess [[Durga]] of [[Shaktism]] tradition slaying the buffalo-demon [[Mahishasura]].{{Sfn|Michell|2017|pp=46-47}} The sculptors had excellent knowledge of the natya mudras of Bharatanatya (a very popular classical dance in southern part of India), because there is no chance to correct any errors and it has to be perfectly carved at the first place otherwise the entire cave has to be abandoned.

'''Mahisasura Mardini Carving'''

On the right side of the Nataraja carving is a carving of [[Mahishasura|Mahishasura mardini]] with Chaturbhuja (Chatur means 4, Bhuja means hands). The sculpture depicts the killing of the demon Mahishasura by Durga. Mahishasura was the son of Mahisi and great grandson of Bhahmarishi Kashyapa.

On the left of the entrance is a two-handed Shaiva [[dvarapala]] who holds a trident, and below him is a bull-elephant fused image where they share a head; seen from left it is an elephant and from right a bull.{{Sfn|Michell|2017|pp=46-47}}

'''Harihara Carving'''

Inside the veranda, the cave presents a carved sculpture of [[Harihara]], a {{Convert|7.75|ft|adj=on}} high sculpture of a fused image that is half-Shiva and half-[[Vishnu]]. He is flanked by the goddesses [[Parvati]] and [[Lakshmi]] on each side.{{Sfn|Fergusson|1880|p=414}}{{Sfn|Michell|2017|pp=46-47}}

'''Ardhanareshwara Carving'''

To the right, toward the end of the wall, is a relief sculpture of [[Ardhanarishvara]], a fused image of Shiva and his consort Parvati. One half of the image has Shiva with a moon on his mukuta (head), snakes in his hands, earrings and next to the half that represents Parvati is an attendant carrying a tray of jewels. Next to the Ardhanarishvara half that represents Shiva is Nandi the bull, and skeletal [[Bhringi]], a devotee of Shiva.{{Sfn|Fergusson|1880|pp=414-415}}{{Sfn|Michell|2017|pp=46-47}} The Bhringi sadhu carvings shows the advance knowledge of anatomy for the whole body which includes the Skulls, Ribs, bones on hands and legs.

The carvings of Ardhanareshwara and Harihara were carefully built with a vision by the Chalukya kings delivering message to the Chalukya citizens about the equal rights for men and women in the society and need to mutually respect each other. There is no great male and no great female.

Inside this cave, the sons of Shiva, Ganesha and [[Kartikeya]], the god of war and family deity of the Chalukya dynasty, are seen in one of the carved sculptures on the walls of the cave, with Kartikeya riding a peacock.{{Sfn|Fergusson|1880|p=413}}{{Sfn|Michell|2014|p=37–38}} The roof of the cave has five carved panels with the central panel depicting the [[Nagaraja]], with flying couples on both sides.{{Sfn|Michell|2017|pp=46-47}} The head and bust are well formed and project from the centre of the coil. In another compartment a bas-relief {{Convert|2.5|ft}} in diameter has carvings of a male and female; the male is [[Yaksha]] carrying a sword and the female is [[Apsara]] with a flying veil. The succeeding panel has carvings of two small figures and the panel at the end is carved with lotuses.{{Sfn|Fergusson|1880|p=416}}

All the figures are adorned with carved ornaments and surrounded by borders with reliefs of animals and birds. The lotus design is a common theme. On the ceiling are images of the [[Vidyadhara]] couples as well as couples in courtship and erotic [[Mithuna]] scenes. Through a cleft in the back wall of the cave is a square sanctuary with more carved images. In the mantapa is a seated Nandi facing the ''garbha ghruha'' (sacrum sanctum) containing a [[Lingam|Shiva linga]].{{Sfn|Michell|2014|p=37–38}}{{Sfn|Michell|2017|pp=46-47}}

=== Cave 2 ===
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| image1 =  Badami Cave 2 si05-1588.jpg
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| image2 =  7th century Trivikrama, Vishnu avatar Vamana legend in Cave 2, Badami Hindu cave temple Karnataka.jpg 
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| footer = Left: Vishnu as [[Varaha]] rescuing Earth as [[Bhudevi]]. Right:  [[Trivikrama]] stepping Vishnu, [[Vamana]] avatar legend and ancient Indian musical instruments carved below.
}}
Cave 2 is above and to the east of Cave{{nbsp}}1 and faces north. It was created in late 6th or early 7th century. It is smaller than Cave{{nbsp}}1, somewhat similar in terms of its floor plan, but it is dedicated primarily to Vishnu.{{sfn|Michell|2017|pp=44-48}} Cave{{nbsp}}2 is reached by climbing 64 steps from the first cave. The cave entrance is a verandah divided by four square pillars with ends as half pillars, all carved out of the monolithic stone face. The pillars have decorative carvings with frieze of ''ganas'' (mythical dwarfs) with various facial expressions. On the two sides of the entrance are standing ''dvarapalas'' (guardians) holding flowers, not weapons.{{sfn|Michell|2017|pp=44-48}}{{Sfn|Michell|2014|p=38–50}} Like Cave{{nbsp}}1, Cave 2 art reflects Hindu theology and arts.{{Sfn|Michell|2014|p=38–50}}{{sfn|Michell|2017|pp=44-48}}<ref>Gary Tarr (1970), [https://www.jstor.org/stable/4629258 Chronology and Development of the Chāḷukya Cave Temples], Ars Orientalis, The Smithsonian Institution and Department of the History of Art, University of Michigan, Vol. 8, pp. 155-184</ref>

The largest relief in Cave 2 depicts the legend of Vishnu in his [[Trivikrama]] form, taking one of the [[Vishnu#Trivikrama: The Three Steps of Vishnu|three steps]]. Below the raised step is a frieze showing the legend of [[Vamana]] dwarf avatar of Vishnu, before he morphs into the Trivikrama form.{{Sfn|Michell|2014|p=38–50}} Another major relief shows the legend of Vishnu in his [[Varaha]] (a boar) avatar rescuing goddess earth ([[Bhudevi]]) from the depths of cosmic ocean, with a penitent multi-headed snake (''[[Nāga]]'') below.{{Sfn|Michell|2014|p=38–50}}{{sfn|Michell|2017|pp=47-48}} Like other major ''[[murti]]'' (statue) in this and other Badami caves, the Varaha artwork is set in a circle and symmetrically laid out; according to Alice Boner, the panel is an upright rectangle whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle".<ref name=aliceboner /> The walls and ceiling have traces of colored paint, suggesting the cave used to have fresco paintings.{{Sfn|Michell|2014|p=38–50}}

Inside the temple are friezes showing stories from Hindu texts such as the ''[[Bhagavata Purana]]''.<ref name=aliceboner /><ref>Archana Verma (2012), Temple Imagery from Early Mediaeval Peninsular India, Ashgate, {{ISBN|978-1-4094-3029-2}}, pages&nbsp;89–93</ref> These show the legend of cosmic ocean churning (''[[Samudra manthan|Samudra Manthan]]'') and Krishna's birth and flute playing indicating the theological and cultural significance of these in 7th century India. The ceiling and door head carvings show [[Gajalakshmi]], the [[swastika]] symbols, flying couples, Brahma, Vishnu asleep on Shesha and others.{{Sfn|Michell|2014|p=38–50}}{{sfn|Michell|2017|pp=44-48}}<ref name="Boner1990p89">{{cite book|author=Alice Boner|title=Principles of Composition in Hindu Sculpture: Cave Temple Period |url=https://books.google.com/books?id=doQLZ21CGScC |year=1990| publisher=Motilal Banarsidass |isbn=978-81-208-0705-1| pages=89–95, 120–124}}</ref>

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame. The end bays have a flying couple and Vishnu on [[Garuda]].{{Sfn|Michell|2014|p=38–50}} The main hall in the cave is {{Convert|33.33|ft}} wide, {{Convert|23.583|ft}} deep, and {{Convert|11.33| ft}} high and is supported by eight square pillars in two rows. The roof of this hall has panels filled with bas-relief carvings.{{Sfn|Fergusson|1880|p=412}} The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of the 6th and 7th century similar to that found in [[Ellora Caves]].<ref name=jcharle>JC Harle (1972), Aspects of Indian Art, BRILL Academic, {{ISBN|978-90-04-03625-3}}, page 68</ref>

=== Cave 3 ===
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| image2 = 6th century amorous couple on pillar top looking below in Cave 3, Badami Hindu cave temple Karnataka 1.jpg
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| footer = Left: Vishnu seated on serpent Sesha in Cave 3; Right: An amorous couple
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[[File:Lord Vishnu - Badami.jpg|thumb]]
Cave 3 is earliest dated [[Hindu temple]] in the Deccan region. It is dedicated to Vishnu; it is the largest cave in the complex. It has intricately carved friezes and giant figures of Trivikrama, Anantasayana, Vasudeva, Varaha, [[Harihara]] and [[Narasimha]].{{Sfn|Michell|2014|p=38–50}} Cave{{nbsp}}3's primary theme is [[Vaishnavite]], though it also shows [[Harihara]] on its southern wall{{snds}}<ref>VK Subramanian (2003), Art Shrines of Ancient India, Abhinav, {{ISBN|978-81-7017-431-8}}, page 47</ref> half Vishnu and half Shiva shown fused as one, making the cave important to [[Shaivism]] studies.{{Sfn|Michell|2014|p=50}}<ref>TA Gopinatha Rao (1993), Elements of Hindu iconography, Vol 2, Motilal Banarsidass, {{ISBN|978-81-208-0877-5}}, pages&nbsp;334–335</ref>

Facing north, Cave 3 is 60 steps from Cave{{nbsp}}2 at a higher level. Cave{{nbsp}}3's verandah is {{Convert|70|ft}} in length with an interior width of {{Convert|65|ft}}; it has been sculpted {{Convert|48|ft}} deep into the mountain; an added square shrine at the end extends the cave {{Convert|12|ft}} further inside.{{Sfn|Fergusson|1880|p=406}} The verandah itself is {{Convert|7|ft}} wide and has four free-standing, carved pillars separating it from the hall. The cave is {{Convert|15|ft}} high; it is supported by six pillars, each measuring {{Convert|2.5|sqft}}.{{Sfn|Fergusson|1880|pp=406–407}} Each column and pilaster is carved with wide, deep bases crowned with capitals that are partly hidden by brackets on three sides. Each bracket, except for one, has carvings of human figures standing under foliage in different postures, of male and female mythological characters, and an attendant figure of a dwarf. A moulded cornice in the facia, with a [[Dado (architecture)|dado]] of blocks below it (generally {{Convert|7|ft}} long), has about thirty compartments carved with two dwarves called ''[[ganas]]''.{{Sfn|Fergusson|1880|pp=406–407}}

[[File:Plan of 6th century Badami Cave 3 Hindu temple, annotated.jpg|thumb|right|Layout of Cave 3 temple; 1: Vishnu; 2: Trivikrama; 3: Vishnu on sesha; 4: Vishnu avatar Varaha rescuing earth; 5: Harihara (half Shiva, half Vishnu); 6: Vishnu avatar Narasimha standing; 7: Garbha ghriya (sacrum sanctum); Blue O: ceiling carvings of Vedic and Puranic Hindu gods and goddesses.{{sfn|Michell|2017|p=49}}<ref>George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, {{ISBN|978-0-226-53230-1}}, pages&nbsp;98–100</ref>]]
Cave 3 also shows fresco paintings on the ceiling, some of which are faded and broken. These are among the earliest known surviving evidence of fresco painting in Indian art.<ref name=stellakramrischpaint>Stella Kramrisch (1936), Paintings at Badami, Journal of the Indian Society of Oriental Art, Vol 4, Number 1, pages&nbsp;57–61</ref> The Hindu god Brahma is seen on [[Hamsa (bird)|Hamsa]] vahana in one of the murals. [[Kalyanasundara|The wedding of Shiva and Parvati]], attended by various Hindu deities is the theme of another.<ref>Stella Kramrisch and Barbara Stoler Miller (1983), Exploring India's Sacred Art: Selected Writings of Stella Kramrisch, Motilal Banarsidass, {{ISBN|978-0-8122-7856-9}}, pages&nbsp;306–308</ref>
[[File:Ceiling Cave3 badami.jpg|thumb|Ceiling in the Cave-3 with images of Swasthika on two ends with a [[Matsya]] avatara of Vishnu in the middle]]

There is a lotus medallion on the floor underneath the ceiling mural of Brahma. The ceiling has reliefs of many Vedic gods and goddesses such as Agni, Indra and Varuna.{{sfn|Michell|2017|pp=48-50}} The cave artworks, in some cases, show the artists signatures, as well as a major inscription. This and other epigraphical evidence suggests that the cave temple was inaugurated on the "full moon day, 1 November 578".{{sfn|Michell|2017|p=53}} The roof of the verandah has seven panels created by cross beams; each is painted in circular compartments with images of deities including Shiva, Vishnu, [[Indra]], Brahma and [[Kamadeva|Kama]], with smaller images of [[Guardians of the directions|Dikpalas]] (cardinal guardians) at the corners.{{Sfn|Fergusson|1880|p=411}}

[[File:6th century Vishnu lifting a collapsing woman on pillar top looking below in Cave 3, Badami Hindu cave temple Karnataka 1.jpg|thumb|left|upright=0.8|Artwork shows a collapsing sorrowful woman being helped.]]
The roof of the front aisle has panels with murals in the centre of male and female figurines flying in the clouds; the male figure is [[yaksha]] holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof of the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a [[Deva (Hinduism)|deva]] mounted on a ram{{snds}}conjectured to be [[Agni]]. Images of Brahma and [[Varuna]] are also painted on the central panels; the floating figures are seen in the remaining panels.{{Sfn|Fergusson|1880|p=412}}

The sculpture in Cave 3 is well preserved. Vishnu is presented in various avatars and forms, such as a standing Vishnu with eight arms; Vishnu seated on the hooded serpent Shesha on the eastern side of the veranda; Vishnu as standing Narasimha (man-lion avatar); Vishnu as Varaha (man-boar avatar) rescuing earth; Harihara (half Shiva, half Vishnu and their equivalence); and Trivikrama-Vamana avatars.<ref name=aliceboner />{{sfn|Michell|2017|pp=48-50}} The back wall has carvings of [[Vidyadhara|Vidhyadharas]]. The cave shows many ''[[Kama]]'' scenes in pillar brackets, where a woman and a man are in courtship or ''[[mithuna]]'' (erotic) embrace.<ref>Albertina Nugteren (2005), Belief, Bounty, And Beauty: Rituals Around Sacred Trees in India, BRILL, {{ISBN|978-90-04-14601-3}}, pages&nbsp;132–133</ref><ref name="Singh2008p629">{{cite book|author=Upinder Singh|title=A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century|url=https://books.google.com/books?id=Pq2iCwAAQBAJ&pg=PA628|year=2008|publisher=Pearson Education|isbn=978-81-317-1677-9|pages=628–629}}</ref>

Aspects of the culture, cosmetics and clothing in the 6th&nbsp;century is visible in the art sculpted in this cave, showing a sophisticated tradition.{{Sfn|Michell|2014|p=45-55}}<ref name="Meister1986p32">{{cite book|author=Michael W. Meister|title=Encyclopaedia of Indian temple architecture|url=https://books.google.com/books?id=DRY3AQAAIAAJ|year=1986|publisher=American Institute of Indian Studies|isbn=978-0-8122-7992-4|pages=32–36}}</ref>

=== Cave 4 ===
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| image1 =  Relief of Jain Tirthankara Parshvanath in the Badami cave temple no.4.jpg 
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| caption1 = Tirthankara [[Parshvanatha]]
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| caption2 = [[Bahubali]] in Jain Cave 4
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Located immediately next to and east of Cave{{nbsp}}3, Cave{{nbsp}}4 floor is situated about 10 feet lower and is the smallest of the four. It is dedicated to [[Tirthankara]]s, the revered figures of [[Jainism]]. It was constructed after the first three, sponsored by [[Hindu king]]s in later part of the 7th-century.<ref name="Owen2012p6">{{cite book|author=Lisa Owen|title=Carving Devotion in the Jain Caves at Ellora|url=https://books.google.com/books?id=MUszAQAAQBAJ |year=2012|publisher=BRILL Academic|isbn=978-90-04-20630-4|pages=6, 45–56}}</ref> Some scholars state this cave may have been created in the 8th{{nbsp}}century.{{Sfn|Michell|2014|p=60-61}} Some embellishments were likely added in later centuries until about the 11th or 12th century.{{Sfn|Michell|2017|pp=53-54}}

Like the other caves, Cave 4 features detailed carvings and a diverse range of motifs.<ref name=aaacave4>{{cite web|url=http://www.art-and-archaeology.com/india/badami/cave403.html|title=Cave 4, Badami: Jain Tirthankarasaccess|date=21 October 2015|publisher=art-and-archaeology.com, Princeton University}}</ref>{{Sfn|Michell|2017|pp=53-54}} The cave has a five-bayed entrance with four square columns{{spaced ndash}}each with brackets and capitals. To the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah {{Convert|31| ft}} long by {{Convert|6.5| ft}} wide, extending to {{Convert|16|ft}} deep. From the hall, steps lead to the [[sanctum sanctorum]], which is {{Convert|25.5| ft}} wide extends to a depth of {{Convert|6|ft}}.{{Sfn|Fergusson|1880|p=491}}

Inside the cave are major carvings of [[Bahubali]], [[Parshvanatha]] and [[Mahavira]] with symbolic display of other Tirthankaras. Bahubali is standing in [[Kayotsarga]] meditating posture with vines wrapped around his leg, his classic iconography. Parshvanatha is shown with the five-headed cobra hood.{{Sfn|Michell|2017|pp=53-54}} Mahavira is represented sitting on a lion throne,{{Sfn|Michell|2014|p=60}}{{Sfn|Fergusson|1880|p=491}} whose identifying markers are not visibly and is identified by some scholars simply as a "seated Jina".{{Sfn|Michell|2017|pp=53-54}} This figure is flanked by bas-reliefs of attendants with ''chauri'' (fans), ''sardulas'' and [[Makara (Hindu mythology)|makara]]'s heads. Other carvings include [[Indrabhuti Gautama]] covered by four snakes, Brahmi and Sundari.{{Sfn|Michell|2014|p=60-61}}{{Sfn|Fergusson|1880|p=491}} In the sanctum is an image of Mahavira resting on a pedestal containing a 12th-century Kannada inscription marking the death of one Jakkave. Twenty-four small Jaina [[Tirthankara]] images are engraved on the inner pillars and walls. In addition there are idols of [[Yaksha]]s, [[Yakshi]]s and [[Padmavati (Jainism)|Padmavati]].{{Sfn|Michell|2014|p=60-61}}

The artistic work, the icons to represents ideas and the motifs in Badami Cave 4, states Lisa Owens, resembles those of nearby Aihole Jain caves and much farther north [[Ellora Caves]] Jain caves in northern [[Maharashtra]].<ref name="Owen2012p6"/>

=== Other caves ===
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| image1 =  Defaced Meditating Yogi in Cave, with both Buddha and Vishnu features 2, Badami monuments Karnataka.jpg
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| image2 =  Defaced Meditating Yogi in Cave, with both Buddha and Vishnu features 3 Annotated, Badami monuments Karnataka.jpg 
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| footer = Left: The controversial cave along the Agastya lake on the opposite side of the four numbered caves; Right: Vaishnava iconography.
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Other than the numbered caves, Badami is home to many other cave monuments and medieval era temples.{{sfn|Michell|2017|pp=55-74}} On the other side of the lake, near the Bhutanatha temple, is a 7th-8th century Chalukya period cave of small dimensions. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding ''chauris'' (fans), a Pipal tree,{{sfn|Michell|2017|p=61}} elephants, and lions in an attacking pose. On one side of the statue is a chakra, on the other a conch shell. The statue wears abundant jewelry and a thread over its chest. The face of this statue is damaged and missing its face.<ref name=bvshetti>{{Cite journal|last=Shetti|first=BV|url=http://www.jainlibrary.org/elib_master/article/250000_article_english/Image_of_Buddhavatara_of_Visnu_at_Badami_269008_std.pdf|title=An image of Buddhavatara of Visnu at Badami|journal=Nirgrantha|volume=1|number=2|year=1995|pages=87–91|access-date=23 October 2015|archive-date=4 March 2016|archive-url=https://web.archive.org/web/20160304040043/http://www.jainlibrary.org/elib_master/article/250000_article_english/Image_of_Buddhavatara_of_Visnu_at_Badami_269008_std.pdf|url-status=dead}}</ref><ref name=cave5>{{cite web|url=http://www.art-and-archaeology.com/india/badami/bucave02.html|title= Small Buddhist Cave:Badami, Image 2|access-date=22 October 2015|publisher=art-and-archaeology.com, Princeton University}}</ref>

There are several theories as to who the statue represents. One theory holds that it is a relief of the Buddha in a sitting posture.<ref name=cave5 /> This is supported by two ''chauri'' bearers who may be [[Bodhisattvas]] flanking the Buddha. According to George Michell, the halo, the Pipal tree, and cloak-like dress suggests that this was originally a Buddha statue.{{sfn|Michell|2017|p=61}} According to B.V. Shetti{{snds}}archaeologist and curator of Prince of Wales Museum of Western India,<ref>{{cite book|author=Carol Radcliffe Bolon|title=Forms of the Goddess Lajj? Gaur? in Indian Art|url=https://books.google.com/books?id=MIZADNu6U-MC|year=2010|publisher=Pennsylvania State University Press|isbn=978-0-271-04369-2|page=xiii|access-date=2 April 2016}}</ref> the cave was not converted but from the start represented a tribute to ''Mayamoha'' of the Hindu [[Puranas]], or ''Buddhavatara Vishnu'' (ninth avatar of Vishnu). This theory is supported by the [[Sudarshana Chakra|chakra]], [[Shankha|conch]] and jewelry included in its iconography. The style suggests it was likely carved in or before the 8th{{nbsp}}century.<ref name=bvshetti />

Another theory found in colonial-era texts such as one by John Murray{{snds}}a missionary in [[British India]] and Jainism scholar,<ref>{{cite journal | last=Numark | first=Mitch | title=The Scottish 'Discovery' of Jainism in Nineteenth-Century Bombay | journal=Journal of Scottish Historical Studies | publisher=Edinburgh University Press | volume=33 | issue=1 | year=2013 | pages=20–51 | doi=10.3366/jshs.2013.0061 }}</ref> states the main image carved in Cave{{nbsp}}5 is that of a Jaina figure.<ref>John Murray (1897), {{Google books|Tr8XAAAAYAAJ|A Handbook for Travellers in India, Ceylon and Burma|page=314}}</ref> According to a third theory, by Henry Cousens and A.{{nbsp}}Sundara{{snds}}archaeologists, and supported by local legends, the statue is of an ancient king; in a photograph of the statue taken before its face was damaged, the figure lacked the [[Ushnisha]] lump that typically goes with Buddha's image.<ref name=bvshetti /> The statue has several unusual, non-Buddha ornaments such as rings for fingers, a necklace, and a chest-band; it wears a Hindu [[Yajnopavita]] thread and its head is stylistically closer to a [[Arihant (Jainism)|Jina]] head than a Buddha's head.<ref name=bvshetti /> These features suggest the statue may be of a king represented with features of various traditions.<ref name=bvshetti /> According to Carol Radcliffe Bolon{{snds}}Assistant Curator at the Smithsonian Freer Gallery of Art, the date and identity of the main statue in Cave{{nbsp}}5 remains enigmatic.<ref>Carol E Radcliffe (1981), Early Chalukya sculpture, PhD Thesis awarded by New York University, {{oclc|7223956}}</ref>

[[File:Anantashayana Vishnu with Lakshmi, his avatars above him, a devotee couple with a cow and calf, Badami monuments Karnataka.jpg|thumb|left|A small cave rock carving of Anantashayana Vishnu.]]
Close to the controversial cave are other monuments. One of them is a small shrine consisting of a 7th-century rock carving of Anantashayana Vishnu, or reclining Vishnu with Lakshmi and Garuda in namaste posture. Vishnu is shown restarting the cosmic cycle by giving birth to all of existence. Above the reclining carved relief are the ten avatars of Vishnu – Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki. Between the Narasimha and Vamana is shown relief of Brahma cord connected to Vishnu's navel. To the left of the relief is depicted the Trinity – Vishnu, Shiva, and Brahma, while to the right is a human couple and a mother cow with a calf feeding.{{sfn|Michell|2017|p=61}}<ref>{{cite book|author=Sivanandini Duraiswamy|title=The creative touches of the chisel|url=https://books.google.com/books?id=7cmfAAAAMAAJ|year=2004|publisher=Vijitha|isbn=978-955-8095-49-2|pages=204–205}}</ref>

In 2013, Manjunath Sullolli{{snds}}Assistant Director of Bagalkot district working for the state government of Karnataka, reported the discovery of another cave with 27 rock carvings, about {{Convert|500|m}} from the four main caves. Water gushes from this newly discovered cave year round. It depicts Vishnu and other Hindu deities, and features an inscription in the [[Devanagari script]]. The dating of these carvings is unknown.<ref>{{cite web|url=http://www.dnaindia.com/bangalore/report-badami-s-supremacy-set-in-stone-1878155|title=Badami's supremacy set in stone|date=22 August 2013|publisher=DNA India}}</ref><ref>{{Cite news|url=http://www.newindianexpress.com/states/karnataka/Natural-cave-shrine-discovered/2013/06/10/article1628245.ece|archive-url=https://web.archive.org/web/20160204173401/http://www.newindianexpress.com/states/karnataka/Natural-cave-shrine-discovered/2013/06/10/article1628245.ece|url-status=dead|archive-date=4 February 2016|title= Natural cave shrine discovered|date=June 2013|newspaper=Indian Express}}</ref>

== In popular culture ==
Many scenes from web series '[[Rajeev Khandelwal|The secret of the Shiledars]]'  were shot at Badami caves complex.<ref>{{Cite web |last=ITINERARY |first=INDIA |date=2025-01-30 |title=The Secret Of The Shiledars Shooting Locations |url=https://india-itinerary.com/2025/01/30/the-secret-of-the-shiledars-shooting-locations/ |access-date=2025-02-04 |website=India-Itinerary - Itineraries for Independent travelers |language=en-US}}</ref>

== See also ==
{{colbegin|colwidth=30em}}
* [[Aihole]]
* [[Badami Chalukya Architecture]]
* [[Indian rock-cut architecture]]
* [[Ellora Caves]]
* [[Kanheri Caves]]
* [[Kappe Arabhatta]]
* [[Karla Caves]]
* [[List of colossal sculptures in situ]]
* [[List of India cave temples]]
* [[Mahakuta group of temples]]
* [[Nellitheertha Cave Temple]]
* [[Pattadakal]]
* [[Pandavleni Caves]]
* [[Sirpur Group of Monuments]]
* [[Undavalli caves]]
* [[Varaha Cave Temple]]
{{colend}}

== References ==

{{Reflist|30em}}

=== Bibliography ===
{{refbegin|2}}
*{{cite book|author=Prasanna Kumar Acharya|title=An encyclopaedia of Hindu architecture|year=2010|publisher=Oxford University Press (Republished by Motilal Banarsidass)|url= https://archive.org/stream/encyclopaediaofh07achauoft#page/n9/mode/2up | isbn=978-81-7536-534-6}}
*{{cite book|author=Prasanna Kumar Acharya|title=A Dictionary of Hindu Architecture: Treating of Sanskrit Architectural Terms with Illustrative Quotations |url=https://books.google.com/books?id=rbayQwAACAAJ|year=1997|publisher=Oxford University Press (Reprinted in 1997 by Motilal Banarsidass)|isbn=978-81-7536-113-3}}
*{{cite book|author1=Vinayak Bharne|author2=Krupali Krusche|title=Rediscovering the Hindu Temple: The Sacred Architecture and Urbanism of India|url=https://books.google.com/books?id=CGukBgAAQBAJ |year=2014|publisher=Cambridge Scholars Publishing|isbn=978-1-4438-6734-4}}
*{{cite book|author=Alice Boner|title=Principles of Composition in Hindu Sculpture: Cave Temple Period|url=https://books.google.com/books?id=doQLZ21CGScC|year=1990|publisher=Motilal Banarsidass  |isbn=978-81-208-0705-1}}
*{{cite book|author1=Alice Boner|author2=Sadāśiva Rath Śarmā|title=Silpa Prakasa |url=https://books.google.com/books?id=itQUAAAAIAAJ|year=2005|publisher=Brill Academic (Reprinted by Motilal Banarsidass)|isbn=978-8120820524}}
* {{cite book|last= Burgess |first=James |title=The Cave Temples of India|url=https://archive.org/details/cavetemplesofind00ferguoft|page= [https://archive.org/details/cavetemplesofind00ferguoft/page/405 405] |year=1880|publisher=W.H. Allen & Company|access-date=2 April 2016}}
*{{cite book|author1=A.K. Coomaraswamy|author2=Michael W. Meister|title=Essays in Architectural Theory|url=https://books.google.com/books?id=5B1QAAAAMAAJ|year=1995|publisher=Indira Gandhi National Centre for the Arts|isbn=978-0-19-563805-9}}
*Dehejia, V. (1997). ''Indian Art''. Phaidon: London. {{ISBN|0-7148-3496-3}}.
* {{cite book|last= Fergusson |first=James |title=The Caves Temples of India|url=https://books.google.com/books?id=5YqEFKdU8FEC&pg=PA405|year=1880|publisher=W. H. Allen|access-date=2 April 2016}}
*{{cite book|author=Adam Hardy|title=Indian Temple Architecture: Form and Transformation |url=https://books.google.com/books?id=aU0hCAS2-08C|year=1995|publisher=Abhinav Publications|isbn=978-81-7017-312-0}}
*{{cite book|author=Adam Hardy|title=The Temple Architecture of India|url=https://books.google.com/books?id=ofUVAQAAIAAJ |year=2007|publisher=Wiley|isbn=978-0470028278}}
*{{cite book|author=Adam Hardy|title=Theory and Practice of Temple Architecture in Medieval India: Bhoja's Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings|url=https://books.google.com/books?id=_oADrgEACAAJ|year=2015|publisher=Indira Gandhi National Centre for the Arts|isbn=978-93-81406-41-0}}
*Harle, J.C., ''The Art and Architecture of the Indian Subcontinent'', 2nd edn. 1994, Yale University Press Pelican History of Art, {{ISBN|0300062176}}
*{{cite book|author=Monica Juneja|title=Architecture in Medieval India: Forms, Contexts, Histories|url= https://books.google.com/books?id=7N7VAAAAMAAJ|year=2001|publisher=Orient Blackswan|isbn=978-8178242286}}
*{{cite book|author=Stella Kramrisch|title=The Hindu Temple Volume 1|url=https://books.google.com/books?id=NNcXrBlI9S0C|year= 1976|publisher=Motilal Banarsidass (Reprinted 1946 Princeton University Press)|isbn=978-81-208-0223-0}}
*{{cite book|author=Stella Kramrisch|title=The Hindu Temple Volume 2|url=https://books.google.com/books?id=8-aS52MgIkMC|year= 1979|publisher=Motilal Banarsidass (Reprinted 1946 Princeton University Press)|isbn=978-81-208-0224-7}}
*{{cite book|author1=Michael W. Meister|author2=Madhusudan Dhaky|title=Encyclopaedia of Indian temple architecture|url= https://books.google.com/books?id=DRY3AQAAIAAJ|year=1986|publisher=American Institute of Indian Studies|isbn=978-0-8122-7992-4}}
*{{cite book|author=George Michell|title=The Hindu Temple: An Introduction to Its Meaning and Forms|url= https://books.google.com/books?id=ajgImLs62gwC|year=1988|publisher=University of Chicago Press|isbn=978-0-226-53230-1}}
*{{cite book|author=George Michell|title=Hindu Art and Architecture|url=https://archive.org/details/hinduartarchitec00mich|url-access=registration|year=2000|publisher=Thames & Hudson|isbn=978-0-500-20337-8}}
* {{cite book|last=Michell|first=George l|title=Temple Architecture and Art of the Early Chalukyas: Badami, Mahakuta, Aihole, Pattadakal|url=https://books.google.com/books?id=-1TroAEACAAJ|year= 2014|publisher=Niyogi Books|isbn=978-93-83098-33-0}}
* {{cite book|last=Michell|first=George |title=Badami, Aihole, Pattadakal|url=https://books.google.com/books?id=zzTcoQEACAAJ |year= 2017|publisher= Jaico (Reprinted, Orig Year: 2011)|isbn= 978-81-8495-600-9}}
* {{cite book|last= Thapar |first=Bindia |title=Introduction to Indian Architecture|url=https://books.google.com/books?id=fpfTAgAAQBAJ|year= 2012| publisher= Tuttle Publishing|isbn=978-1-4629-0642-0}}
*{{cite book|author=T. A. Gopinatha Rao|title=Elements of Hindu iconography|url=https://books.google.com/books?id=MJD-KresBwIC |year=1993 |publisher=Motilal Banarsidass |isbn=978-81-208-0878-2}}
*{{cite book|author=Ajay J. Sinha|title=Imagining Architects: Creativity in the Religious Monuments of India|url=https://books.google.com/books?id=WvqLzaSUGi8C |year=2000|publisher=University of Delaware Press|isbn=978-0-87413-684-5}}
*{{cite book|title=South Indian Temples|author=Burton Stein|isbn=978-0706904499|publisher =Vikas|url= https://books.google.com/books?id=Hq5BngAACAAJ| year=1978}}
*{{cite book|author=Burton Stein|title=The New Cambridge History of India: Vijayanagara|url=https://books.google.com/books?id=OpxeaYQbGDMC|year=1989|publisher=Cambridge University Press|isbn=978-0-521-26693-2}}
*{{cite book|author1=Burton Stein|author2=David Arnold|title=A History of India|url=https://books.google.com/books?id=QY4zdTDwMAQC|year=2010|publisher=John Wiley & Sons|isbn=978-1-4443-2351-1}}
*{{cite book|author=Kapila Vatsyayan|title=The Square and the Circle of the Indian Arts|url=https://books.google.com/books?id=vwLJc3pBzzUC&pg=PR10|year=1997|publisher=Abhinav Publications|isbn=978-81-7017-362-5}}
{{refend}}

== External links ==

{{sister project links|collapsible=true|wikt=no|c=Category:Badami Cave Temples|d=Q825236|n=no|s=no|b =no|q=no|v=no|voy=no}}
* [https://www.jstor.org/stable/44240526 Article about Execution of the Paintings and their Sources], Donald Wilber (section on Badami cave temple paintings)
* [https://archive.org/details/JournalOfTheIndianSocietyOfOrientalAr/page/n67/mode/2up Article about Paintings at Badami], Stella Kramrisch
* [https://www.topworldimages.com/Badami_Cave_Temples.htm Compilation of photographs, videos and aerial images] 
* [http://www.wondermondo.com/Countries/As/India/Karnataka/Badami.htm Badami Cave Temples{{snds}}four ancient rock cut temples|Wondermondo]

{{Hindu temples in Karnataka}}
{{Jain temples}}
{{Bagalkot district}}
{{Indian Buddhist Caves}}
{{Jain Caves in India}}
{{Hindu inscriptions and arts|state=autocollapse}}
{{Authority control}}

[[Category:6th-century Hindu temples]]
[[Category:Architectural styles]]
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[[Category:Hindu temples in Badami]]
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[[Category:Jain temples in Karnataka]]
[[Category:Monuments and memorials in Karnataka]]
[[Category:7th-century Jain temples]]
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[[Category:Geography of Bagalkot district]]
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