Tales of a temple-town

Located in the Mahbubnagar district of Andhra Pradesh, Alampur, also known as Hatampura during the reign of Badami Chanukahs (5-7th century AD), is home to some of the finest temples built by the Chalukyas. Situated close to each other, these shrines make for a memorable visit.

Sangameshwara Temple is the first to be seen on reaching the town. Built in honour of Shiva during the reign of Pulikeshi I, the temple is located at the confluence of Krishna and Tungabhadra rivers, thus deriving its name. However, during the construction of Shrisailam dam, the backwaters threatened to submerge the shrine, causing it to be relocated here. Built from red granite and following the Vesara architectural style, the temple is constructed atop a platform with a small mantapa housing the Nandi and a pillar located in front of it. A flight of steps leads to the main entrance guarded by dwarapalakas. Entering the antechamber, one gets a feeling of having travelled back in time. With sunrays entering through the beautifully sculpted window overhangs, the patterned shadows formed on the floor are a treat to the eyes. The pillars showcase designs, and some resemble rudrakshi beads. The sanctum sanctorum is located inside the antechamber at the far end, inside which the Linga is worshipped.

Carved in granite and bedecked with simple decorations, it is an excellent example of how true devotion should be — bereft of ostentation.

Temple ensemble

The outer architecture makes up for the opportunity lost in beautifying the interiors. The figurines of deities and mythical creatures around the walls speak volumes of the craftsmanship of yore. The sculptures of Harihara, Yamuna, Yama with Chitragupta, Mahishamardhini are some of them. A smaller shrine dedicated to the Sun can also be found. Another curious feature to be studied is the makara (crocodile) sculpted on the roof, which is depicted swallowing a woman. The female resembles a child, a grown woman, and an aged one, when viewed from different angles.

Having a curvilinear form with all faces converging to a truncated top, an intricate, rudrakshi-shaped amalaka (stone disk) placed atop forms the masterpiece of this architectural marvel. The platform on which the temple is situated is equally splendid with every inch of it covered with mythical depictions and designs.

The Navabrahma complex, located a little further, gets its name owing to the nine shrines dedicated to Shiva. However, the reason for being called Brahma remains unknown.

Most worshipped

Of these, Bala Brahma is the main shrine, where the Linga is worshipped. Being the largest, the layout consists of an outer pillared porch, inner hall, antechamber and sanctum sanctorum. Proceeding to the porch, an elegant Nandi catches our eyes. The antechamber has beautifully carved pillars, symmetrical in lathe work. The Linga adorns the sanctum sanctorum. The temple has an open corridor for circumambulation with figurines all around its walls and pillars. The shikhara, too, is curvilinear, though not artistic.

To the left of the shrine is the Garuda Brahma. The triangular relief work on the window makes for an interesting observation.

Behind the Garuda Brahma are the Swarga and Padma Brahmas. The Swarga Brahma is more beautiful of the two and is said to have been built by Chalukyan king Lokaditya Ela Arasa. This shrine is bedecked with rare designs, providing inspiration to modern artists. Many porch-like structures are built into the walls with their lintel overhangs exquisitely carved. Each face contains figurines like Trivikrama, Mahishamardhini, though many were desecrated during the 14th century Bahaman invasion. The shikhara remains intact.
The Padma Brahma located behind is relatively simple. Conspicuously missing a shikhara, it retains the same architecture and splendour as the others. With the door  locked, we were unable to see the interiors. Also, being slightly isolated by the presence of a cemetery, it is seldom visited by tourists.

Crossing a narrow gate behind Bala Brahma temple, one reaches the Taraka Brahma. Built modestly on a small platform, it is the smallest shrine. Although the structure is intact, the deity has been relocated inside the Bala Brahma compound as the temple is on the premises of a mosque.

The reason behind this occurrence is unknown. However, tourists are permitted to visit the temple.

Further ahead of the mosque, we encounter a gigantic doorway that seems to have been the main entrance in ancient times and houses depictions of the trimurthis on its ceiling. Badly maintained,  this grand gateway of yore has now been relegated to the status of a garbage dump.

Outside the Bala Brahma is Kumara Brahma. Being the oldest, it is devoid of ornate artwork. To its right are the remaining three, the Arka, Vira and Vishwa Brahmas.

Beyond temples

The Arka Brahma looks similar to Padma Brahma. The Vira Brahma is more ornate. The shikhara, however, is simple with minimal designs. Vishwa Brahma is the most refined of the three. With exquisitely sculpted exteriors, it is a masterpiece demonstrating what fine art should look like. Even its shikhara and amalaka are well sculpted with designs.

The last shrine in the complex is the Jogulamba Devi Temple. Believed to be a Shaktipeetha, the old shrine was destroyed in the invasion, causing the priests to hide the deity’s idol in the Bala Brahma complex where it was worshipped. Recently, a new shrine has been built and the idol consecrated. The temple, though having Dravidian architecture, is painted in red keeping in conformity with the others.

In addition to these, Alampur also houses an archaeological museum, the Suryanarayana (9th century AD) and Narasimha (14th century AD) temples. Guided by the locals, one can easily spot them a little further from the complex. Being close to the river, Alampur also doubles as a picnic spot.