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Monday, June 30, 2014
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sarvasya cāhaṁ hṛdi sanniviṣṭo mattaḥ smṛtirjñānamapohanaṁ ca
vedaiśca sarvairahameva vedyo vedāntakṛdvedavideva cāham
I am seated in the hearts of all beings; I am the source of memory, knowledge, also
their loss and am also the faculty to remove doubts etc. I am verily that which is to be
known by the Vedas; I am indeed the author and correct interpreter of Vedanta and I am
the knower of the Vedas.
In the preceding three verses, the Lord described His divine glories in the form
of His impact and activities but in this verse He describes Himself. It means that in
this verse there is His own description; ‘ādityagata’ (residing in the Sun), ‘candragata’
(residing in the Moon), ‘agnigata’ (residing in the Fire) or ‘vaiśvānaragata’ (residing as
the gastric fire)— are not God’s own description. Though at the root there is only one
Reality (Tattva), difference is only in the description.
At first, the expression ‘mamaivāṁśo jīvaloke’ proves that God is ‘ours’, while
here the expression ‘sarvasya cāhaṁ hṛdi sanniviṣṭah’ proves that God ‘resides in
us’. By accepting 'Lord as ours', naturally there would be love for Him and 'by accepting
that Since He resides in hearts of all', there is no need to go anywhere else to attain
Him. Due to the fact that He is residing in all, he is ever attained by all; therefore, no
aspirant should feel disappointed in attaining Him.
The Lord declares that the Vedas are several but in all of them, it is only He, Who is
to be known and He is also their knower. It means that everything is 'He'-- 'vāsudevah
From Gita Prabodhani in by Swami Ramsukhdasji
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Saturday, June 14, 2014
Vayu Rahasya: The Secret of Vayu
Written by David Frawley (Pandit Vamadeva)
Vayu, the Cosmic Power
Vayu is one of the key concepts of Vedic thought that has great importance in Yoga, Ayurveda and Vedanta. It has many profound implications both at a cosmic level and relative to our own individual lives. Indeed if one understands Vayu, one understands everything, including time, space and karma, life and death and one's own deeper Self.
Vayu is usually regarded as the element of air at a material level. This is a good place to begin a study of Vayu, but only the beginning of many correspondences. In Vedic thought, Vayu includes the concept of space or Akasha. Space in motion is air, while air at rest is ether. These are the two sides of Vayu, which is the unity of air and ether. Ether is the field in which Vayu as a force operates.
Modern science recognizes that the universe consists of a fabric of space filled with various types of channels, currents or wormholes that are filled with dynamic interchanges. This is a picture of the cosmic Vayu, which is not only space but the energy within it both potential and actual. One could say that potential energy is space while activated space is air. The universe itself is Vayu in its ethereal vibration.
However, Vayu is much more than the material or even subtle elements. Vayu is the power through which everything comes into manifestation and into which everything eventually returns. Vayu is not just the material element of air and space but the cosmic principle of energy and space that pervades body, life, mind and consciousness. The entire manifest universe arises from space and energy which is Vayu at an outer level. At an inner level, Vayu stands for the formless principle of air and space, the invisible Spirit or Brahman behind the visible world of the earth, water and fire elements, the realm of name and form. The famous Shantipath of the Taittiriya Upanishad declares this:
Namaste Vayo, tvam eva pratyaksham Brahmasi.
‘O, Vayu, you are the directly perceivable Brahman.'
Vayu often symbolizes the supreme deity, the spirit that is formless in nature yet full of power like the wind or air. Vayu as the creative or causal power is the power of Ishvara or the Cosmic Lord. Yet Vayu as the receptacle of all power and the ground of all existence can symbolize the Supreme Brahman as well. Vayu can indicate both Saguna and Nirguna Brahman. Vayu thus often means Spirit, not just the air as an element but the presence of being and consciousness that exists everywhere but cannot be seen anywhere. We find this idea of Spirit or air in many spiritual traditions throughout the world, and in the very term ‘spiritual'.
Vayu is the Kriya Shakti or universal power of action, from which all other powers emerge. It is the causal power that guides and directs things. The entire universe is a manifestation of Vayu, which is the hand of God that shapes all things. Yet the very nature of Brahman is like Vayu, which is beyond all limitations, appearances and divisions. So Vayu is more than action and ultimately connects to the formless, changeless reality that creates the entire universe without undergoing any modification itself.
Vayu sets everything in motion at a cosmic level, which is his play or dance. Vayu governs all cosmic forces, movements and actions, including the movement of the stars and galaxies, the gravitational network underlying the universe, electro-magnetic forces, and the forces that govern subatomic particles. Everything exists in Vayu, which is the field of space as energized by air. Vayu is the very field of our existence as well as the basis of our expression. Air, water and earth are but different densifications of the energy of Vayu, different degrees of its many currents.
Vayu is also the connecting principle that links everything together in the universe. From it mind, speech and intelligence arise and allow communication and interchange on all levels. Vayu creates various channels, currents, worm holes, nadis or orifices in its movement. These pervade all of space on many levels and dimensions. They can be found in every object in nature and in the bodies of all creatures that consists of various channel systems. Indeed all the channels within us, the nervous, respiratory and circulatory systems, including the Sushumna nadi are aspects of Vayu.
Deities that Connect to Vayu
In the Rig Veda and the Vedas in general, it is the deities of the sphere of Vayu that predominate like Indra, the foremost of the Vedic Gods, Rudra, Brihaspati, and the Maruts. Indra is often called Vayu and Vata. Indra is behind all the other Vedic deities including Agni, Surya and Soma, the principles of Fire, Sun and Moon that can only operate under the guiding power of Vayu.
Vayu though by nature invisible is not devoid of light but is in fact the matrix of all forms of light. Vayu holds the power of lightning or vidyut that sets all other forms of light in motion, just as the atmospheric lightning starts fire on Earth. As the power of lightning, Vayu is called Indra, the supreme Vedic deity who governs the power of perception and the higher prana.
In yogic thought like the Brihat Yoga Yajnavalykya Smriti (IIX.6) it is said that Ishvara is Vayu and the soul or Jiva is Agni. Yoga consists of expanding our individual fire to merge into the cosmic air. Vayu everywhere is the Ishvara or ruling principle, causing everything to move.
Other Upanishadic vidyas (ways of knowledge) like the samvarga vidya of the Chandogya Upanishad identify Vayu as Brahman and the supreme resort of all. Such teachings are not identifying Brahman with the air element but using the air element as a symbol for Brahman as the supreme formless energy, power and presence.
Vayu is also said to be the Sutra, the thread that links everything together in the Upanishads. It is the subtle or energy body that links all physical forms in a network of forces through the chakras that it creates in its movement. The cosmic
Vayu in turn takes us eventually back to the Self that is the ultimate presence that ties all things together.
Vayu is the Shakti or cosmic power that electrifies everything and without which everything is inert. Vayu manifests from the power of the Purusha as the energy inherent in consciousness, which is the power of prana or life itself. The lightning force of Vayu creates life in creatures but also sustains all processes in the universe. As such all the Devis or forms of Shakti are connected to Vayu, particularly Kali who represents the Vidyut Shakti and the Yoga Shakti that takes us back to Brahman.
This primal lightning of Vayu is the source of sound, which is the energy vibrating in space, the thunder that arises from it. This primal sound is Pranava, the Divine Word or OM, which also sets in motion the underlying cosmic intelligence that structures the worlds. As the principle of sound or vibration, Vayu is called Rudra (Shiva), through which speech and language arises. Vayu as primal sound is Pranava or OM, which is the sound of Shiva's drum.
Vayu at rest serves to create the ground of space. Vayu in motion creates the movement of time, which is the vibration of cosmic sound. The movement of time is the movement of cosmic prana. This power of time or Kala is the main force of Vayu through which everything moves and changes. Time like Vayu is responsible for the birth, growth, decay and death of all creatures and for the beginning, middle and end of all processes.
Kala or time in turn is connected with karma or action, which is the effect of Vayu. Vayu carries and distributes all the karmas of living beings and the worlds or lokas in which they reside. Vayu holds the cosmic prana or life-force from which our individualized prana and our Vata, the biological air humor comes into manifestation. Vayu is the cosmic breath, which enters into the individual as the individual power of breath.
In yogic thought, Vata is also prana or the cosmic life energy that manifests from Akasha or cosmic space. Prana is Vayu as the guiding force of life and intelligence in the universe. All the deities of prana like Indra, Shiva and Kali relate to Vayu as well. Vayu holds the pranas of all living beings in its energy network that links them all together in the web of life. The soul is a portion of Vayu that has entered into the body with the help of fire or Agni.
We connect to Vayu and prana through the breathing process. Pranayama allows us to work with and develop our connection with the cosmic prana. The purpose of pranayama is not just to bring in more air or give us power over the breathing process but to link us up to the unlimited energy of the cosmic Vayu. This occurs when we unite the dualistic energies of prana and mind so that our awareness can enter into the unitary force of Vayu.
The great prana mantras of Hamsa and So'ham are the vibrations of prana, the nature sound of the breath that is the presence of Vayu resonating within us. Yet at a higher level prana mirrors Sat or pure existence at a deeper level. Hamsa and So'ham are the sounds of Aham or the Divine Self. When the prana enters into the Sushumna, the individual prana connects to the cosmic Vayu, which allows our awareness to ascend and expand into Brahman.
Vayu and Vata Dosha
Vayu becomes Vata or the biological air humor in the embodied creature, which is the basis of both health and disease. Vata when calm gives health, while when agitated causes disease. Vata is the biological principle of movement, energy, change in location, velocity and creation of equilibrium, which sustains the organic network of forces within us down to an autonomic level. Vata moves Pitta and Kapha, the biological fire and water humors, just as air moves fire and water, creating the vibrations that sustain them, allowing digestion to occur and our tissues to be built up and energized.
Vata dosha is the main life-energy (pranic force) behind health and disease in body and mind. It is air or Vayu as a psycho-physical principle. The body as a material entity adds a factor of doshas, meaning entropy or decay, to Vayu as a cosmic force. Vayu must eventually seek to leave the body and return back to its formless nature, which means that everything that is born must die by the same power of breath.
One must master Vayu in order to master any of the forces in the universe, in the body or in the mind. All healing occurs through the power of Vayu and its Pranic manifestation. By connecting to the cosmic Vayu we can bring in the cosmic prana. That is the key to all higher healing. In Yoga, the higher prana or cosmic Vayu takes us into the realm of immortality by removing our attachment to the body and giving us back our freedom as formless awareness.
Vayu relates not only to prana but also to the mind, which is often described as difficult to control like the wind. Prana reflects more the air aspect of Vayu, while the mind reflects the ether aspect of Vayu. Vayu creates all the wonderful synapses in the brain through which our human intelligence can function. Vayu is the key to the mind and how it works. Our emotional psychology is the atmosphere created by the Vayu within us and its storms. Through Vayu all psychological problems can be resolved.
Cosmic Forms of Vayu
In the Earth or at a mineral level, Vayu is responsible for plate tectonics, for earthquakes, for Earth currents and the gases held beneath the ground. When this Vayu beneath the ground moves, all living beings quiver in fear, even human beings.
In the biosphere, Vayu is the life-wind which carries pollen, dust, prana and is the home of airy creatures like birds. This benefic Vayu keeps our bodies and mind clean and energized by its purifying flow.
In the atmosphere, Vayu is the force behind the weather, the clouds, the rains and the seasons. Vayu is the dominant force of the Atmosphere, just as Agni is on Earth. The Atmosphere is dominated by Vayu as air, clouds or gases in motion. Everything we see in the Atmosphere is a form of Vayu, even the wind that has no form. The weather is mainly a force of Vayu. That is why exposure to the elements and changes of seasons mainly serves to increase Vata dosha. Meteorology is a study of Vayu. The main atmospheric forms of Vayu include rainstorms, hurricanes, typhoons and tornadoes, that dominate our weather patterns.
Vayu is responsible for directional influences, such as are described in Vastu Shastra, which is an important consideration for clinics, hospitals and treatment rooms. The different directional influences are special types of Vayus, the winds from different directions.
Vayu at the level of the solar system is responsible for the movement and revolution of the planets. The Sun itself has its solar wind or solar Vayu, its electromagnetic forces that hold the solar system together. The stars are gaseous forms of fire, sustained and generated by the powerful cosmic Vayu. At the level of the galaxy, Vayu is responsible for the movement and revolution of the stars. The galaxies themselves are smoke clouds created by the Cosmic Vayu. Vayu governs the creation and equilibrium of the universe as a whole, yet stands beyond the universe as well.
Control of Vayu
Even our modern technology rests upon certain outer powers of Vayu like electricity, combustion engines and jet propulsion. This power over Vayu allows us to run various equipment and to accomplish actions with speed, power and efficiency. The mass media itself is another power of Vayu with its currents of communication through the atmosphere driven by radio waves. Yet though modern man has more control over the outer Vayu through technology, he has even less control over his inner Vayu or mind and prana. This is because he is disturbed by the outer Vayu, which is often connected to inorganic energies that can derange or short circuit the human nervous system. The modern person through computers and the media is addicted to an outer form of Vayu that distracts us from connecting to the higher Vayu within.
Controlling Vayu is one of the most difficult of all things but it is the basis of Yoga Sadhana. It proceeds through purifying and calming body, speech, senses mind and prana. However there is a trick. Only Vayu can control Vayu. The human ego cannot control Vayu but in fact is under the rule of many different forms of Vayu. Only the cosmic Vayu can control our individual Vayu and the prana and mind that are ruled by it. This cosmic Vayu is rooted in the Atman, the inner Self. By rooting our awareness in the Atman we connect to the cosmic Vayu and have the power to master all things.
The Atman stands at the center of all the currents and forces of Vayu, which are but its outer expressions. If we hold to that center than all the powers of the universe must revolve around us. Nothing in the world will be able to disturb us, just as the axis of a wheel cannot be disturbed by the movement of its periphery. The Self is the Vayu behind Vayu, the source of all energy, power and prana, hidden in the cavern of the heart. From the Self in heart radiate all energies and powers. The Self is the link between all beings and all worlds. Resting in our own being we can hold all power without trying to do anything at all. These are but a few secrets of Vayu Rahasya, the Secret of Vayu.
Friday, June 13, 2014
Gayatri Devi is an incarnation of Saraswati Devi, consort of Lord Brahma, symbolising the "shakti" (strength) and "dev" (quality) of Knowledge, Purity and Virtue. Saraswati Devi is held to be the patronness of the Arts, being a poet and musician, as well as skillful composer. In the form of Gayatri Devi, with the blessings of Lord Brahma, she is believed to have given the four Vedas to mankind.
Gayatri is depicted seated on a lotus. She is depicted with five faces representing the pancha pranas /pancha vayus(five lives/winds): prana, apana,vyana, udana, samana, of the five principles/ elements (pancha tatwas) earth, water, air, fire, sky (prithvi, jala, vayu, teja, aakasha). She has 10 hands carrying the five ayudhas: shankha; chakra, kamala, varada, abhaya, kasha, ankusha, ujjwala utensil, rudrakshi mala.
THE SIGNIFICANCE OF GAYATRI MANTRA
Describing about the qualities of an ideal brahmin, Sage Pulastya said--- Once, Narad had asked Lord Brahma as to who was worthy of receiving Vishnu's blessings. Lord Brahma had told Narad that Lord Vishnu showered his blessings on those who engaged themselves in the service of brahmins. A brahmin should be virtuous and well versed in all the scriptures. A brahmin who does not observe the rituals as mentioned in the Vedas, brings disgrace to his ancestors. An ideal brahmin is respectful towards his parents, teachers and treats his guests with due honour. He never aspires for women other than his wife and chants the sacred Gayatri mantra everyday.
Goddess Gayatri is said to have manifested in the lineage of Sankhyayan. She is of fair complexion and fire is the symbolical expression of her mouth. Lord Brahma dwells on her forehead, Lord Vishnu in her heart and Lord Rudra has his abode in her braided hair. The Gayatri mantra consists of 24 letters and each of them is related with a specific deity. There is a mention of Gayatri mantra, which consists of 18 letters. It begins with the word 'agni' and ends with 'swaha'.
The mantra is as follows---OM AGNERVAKPUNSI YAJURDEDIN JUSHTA SOMAM PIBA SWAHA.
A person, who chants the mantra for 100 times, becomes liberated from gravest of sin. The various deities related with the twenty-four letters of Gayatri Mantra are as under-
1st letter ---- Agni
2nd letter ---- Vayu
3rd letter ---- Surya
4th letter ---- Aakash
5th letter ---- Yamraj
6th letter ---- Varun
7th letter ---- Vrihaspati
8th letter ---- Parjanya
9th letter ---- Indra
10th letter ---- Gandharva
11th letter ---- Poosha
12th letter ---- Mitra
13th letter ---- Twashta
14th letter ---- Vasu
15th letter ---- Marudganas
16th letter ---- Soma
17th letter ---- Angira
18th letter ---- Vishwadeva
19th letter ---- Ashwini kumar
20th letter ---- Prajapati
21st letter ---- All the deities
22nd letter ---- Rudra
23rd letter ---- Brahma
24th letter ---- Vishnu
A devotee should then perform the ritual of 'nyas' by mentally establishing different words of the Gayatri mantra in the various parts of his body as given below --
OM BHUH --- in the heart,
OM BHUVAH --- in the head,
OM SWAH --- in the top-knot (Shikha),
OM TATSAVITURVARENYAM --- in the whole body,
OM BHARGODEVASYA DHIMAHI --- in both the eyes
OM DHIYO YO NAH PRACHODAYAT --- in both the hands.
Regular chanting of Gayatri mantra bestowes similar virtues attained by the study of all the four vedas. A brahmin who does not know Gayatri mantra is considered to be worse than a shudra. Anybody who chants Gayatri mantra attains salvation.
Aihoḷe is a temple complex in the Bagalkot district of Karnataka, India and located at a distance of 510 km fromBangalore. It is known for Chalukyan architecture with about 125 stone temples dating from 6th Century C.E. and is a popular tourist spot in North Karnataka. It lies to the east of Pattadakal, along the Malaprabha River, while Badami is to the west of both. With its collection of architectural structures, Aihoḷe has the potential to be included as a UNESCO World heritage site
Aihoḷe was known as Ayyavoḷe and Aryapura in its inscriptions. It was established in 450 C.E. as first capital of Chalukya kings and has about 125 stone temples, some which were constructed as experimental structures by artisans of Chalukyan period. A place known by the name Morera Angadigalu near the Meguti hillocks has a large number of cists of pre-historic period. The place was an agraharam. Aihoḷe has been described as one of the cradles of temple architecture. Some brick structures of pre-Chalukyan times have also been excavated.
According to mythology Aihole is the place where Parashurama washed his axe after killing the Kshatriyas. Aihole has historical significance and is called as cradle of Hindu rock architecture (Cradle of Indian architecture).
Pulakesi I, one of the greatest rulers of this dynasty, moved the capital to Badami nearby. Badami was then known as Vatapi. It is from these temples that the Chalukyas gained their experience and went on to build the great temples of Pattadakal. The first phase of temple building in Aihole dates back to the 6th century CE, the second phase up to the 12th century CE.
Important temples at Aihole
Durga temple complex
Lad Khan Temple
Ambigera Gudi complex
Mallikarjuna temple complex
Eniyar temples complex
Hucchimalli temple complex
Ravanaphadi rock-cut temple
Buddhist temple, Meguti temple
Hucchappayya Math Complex
Kunti temples complex
Jaina temples in the village
Rock-cut Jain Basadi
Ramlingesvara Temple Complex
Galaganatha Temple Complex
The famous Badami Chalukyas King Pulakeshi II (610–642 A.D.) was a follower of Vaishnavism. The inscription of Ravikirti, his court poet, is a eulogy of the Pulakeshi II and is available at the Meguti temple. It is dated 634 CE and is written in Sanskrit language and old Kannada script. The Aihole inscription describes the achievements of Pulakeshi II and his victory against King Harshavardhana. Aihole inscription ofPulakesin II mentioned as akrantatma-balonnatim Pallavanam patim, that means the Pallavas had attempted to nip in the bud the rise of theBadami Chalukyas. The conflict of the two powers before the campaign of Pulakesin II against the Pallavas. Inscription which prepared byPulakeshi II (634 AD) found in the Jain Temple at Aihole, that all the scholars have relied on this inscription related to Mahabharata War andKaliyuga. . In the Aihole inscription referred that Mangalesha's (Paramabhagavat) victory over the Kalachuris and the conquest ofRevatidvipa. According to the Aihole inscription of Pulakeshin II, a civil war between Mangalesha and Pulakeshin II, due to Mangalesa's attempt to secure the succession for his own son, which was the end of Mangalesha's reign. In inscription of Amoghavarsha I found at Aihole, mentioned about his new administration (navarajyam geyye).
Early Chalukya style of architecture
Aihole, was the cradle of ancient Hindu temple architecture. It has more than 70 temples. The experimentation with different styles was undertaken by the artisans. The artisans worked on the rocks to create the earliest rock cut shrines. The artisans graduated to the full fledged Chalukya style of architecture.
The early Chalukyas inherited architectural styles largely from their neighbours to the north and south of their kingdom. Usage of curved towers decorated with blind arches came from northern India. Plastered walls with panel inserts are a southern Indian style. The usage of Deccan style is in their balcony seating, angled eaves and sloping roofs, and elaborately carved columns and ceilings (George Michell,1997). In short, they artistically brought together the prevailing styles in their neighbourhood to create the Chalukya style.
Typical features unique to Badami Chalukyas architecture include mortarless assembly, an emphasis on length rather than width or height, flat roofs, richly carved ceilings, and, sculpturally, an emphasis on relatively few major figures, which tend to be isolated from each other rather than arranged in crowded groups. The aesthetic sensibility of sculpture from this period also seems to retain a certain classical quality whose impulse does not carry over into later periods of Indian art (Susan Huntington, 1985)
The prominent temple groups at Aihole are the Kontigudi group and the Galaganatha group of temples, although historians have divided all the temples into 22 groups.
A group of three temples is referred to as the Kontigudi group of temples. One of these is the Lad Khan temple (The oldest temple at Aihole is the Lad khan temple dating back to the fifth century), named after a mendicant that lived in this temple in the 19th century, another the Huchiappayyagudi temple and the Huchiappayya math.
Durga temple or fortress temple is the best known of the Aihole temples and is very photogenic. It is apsidal in plan, along the lines of a Buddhist chaitya, a high moulded adisthana and a tower – curvilinear shikhara. A pillared corridor runs around the temple, enveloping the shrine, the mukhamantapa and the sabhamantapa. All through the temple, there are beautiful carvings. The temple appears to be of the late 7th or early 8th century.
Lad Khan Temple consists of a shrine with two mantapas in front of it. The shrine bears a Shiva lingam. The mukha mantapa in front of the sanctum has a set of 12 carved pillars. The sabhamantapa in front of the mukha mantapa has pillars arranged in such a manner as to form two concentric squares. There are also stone grids on the wall carrying floral designs. The temple is built in a Panchayat hall style, indicating a very early experiment in temple construction. The windows are filled with lattice style which is a north Indian style. The temple was built by the Chalukya kings in the 5th century. Ladkhan Temple is to the south of the Durga temple are the temples of this group. The Ladkhan temple, so named, as a general of the name had lived here, consists of a square mantapa, a mukha mantapa and the sanctum, built against the backwall. The west, south and north walls have beautifully carved stone lattices. On the lintel of the sanctum is a garuda image and in the shrine a Shivalinga. The central square has a flat roof. In the centre Nandi is installed, and just above Nandi, there is a damaged nagara shikhara, appearing to be a later addition. The period of this structure is about 450 A.D.
Ravana Phadi cave is one of the oldest rock cut temples in Aihole, is located south east of Hucchimalli temple. This temple dates back to the 6th century, with a rectangular shrine, with two mantapas. There is a Shivalinga in the inner room or sanctum sanctorum. This is a Shaivite cave temple with a sanctum larger than that of the Badami Cave Temples. The sanctum has a vestibule with a triple entrance and has carved pillars. The walls and sides of the temple are covered with large figures including dancing Shiva. Ravalphadi Vedic rock-cut shrine is the most famous of the three rock-cut shrines at Aihole, located to the south-east of Huchimalli group of temples, dedicated to Shiva. Assigned to the sixth century, this rock-cut shrine has a fine figure of Nataraja dancing, surrounded by Saptamatrikas, all engraved in bold relief and in elegant styles.
Jyothirlinga Group, at a short distance to the south-west of Ravalaphadi is the group of temples called Jothirlinga group. Two small temples here are flat roofed and in front of them are Nandimantapas. The remaining temples have a sanctum, shukanasa and a front hall in each of the temples. Two of the temples have Kadambanagara towers. Two of the temples have inscriptions of the Kalyana Chalukya period. The rest of the temples now dilapidated are of about the 8th to 10th centuries.
Meguti Jain temple stands on a hillock. It is the only dated monument built in 634. The temple sits on a raised platform, and a flight of steps leads one to the mukhamantapa. The pillared mukhamantapa is a large one. A flight of stairs leads to another shrine on the roof, directly above the main shrine. From the roof, one can have a panoramic view of the plain with a hundred temples or so. The temple which was possibly never completed gives important evidence of early development in dravidian style of architecture. The dated inscription found on the outer wall of the temple records the construction of the temple by Ravikeerthi, a scholar in the court of emperorPulakeshi II. Meganagudi group of temples, there are several ancient temples on Megutigudda, a small hillock to the south-east of the village. A two-storeyed structure here has a natural cavern inside. The first floor includes a pillared hall, and at the wall behind it are three cells. The central room is the shrine cell, the second floor similarly has a verandah and a square cell behind. This is an ordinary structure and is assigned to the 5th century. The Meguti or the Meganagudi is a Jinalaya in the Dravidian style enclosed by a stone wall. It has a pillared hall in front, and antarala and the sanctum behind, with pradakshinapatha. On one of the outer walls is found the famous Aihole inscription dated 634 A.D. recording the construction of the Jinendra temple by Ravikeerti, who was a commander and minister of Pulikeshi II. The record makes a mention of Kalidasa and Bharavi and is composed in an ornate style in Samskrita by Ravikirti himself. To the south-east of Meguti is a small Jaina cave, which has a porch, a wall behind and a sanctum in the back which houses a five-foot tall-Bahubali figure and other Tirthankaras are also engraved in other parts against walls.
Enrute to Meguti temple on same hill top there is 6th century two storied Buddhist Cave temple, it is partly rock-cut structure
The pre historic period meghalithic site behind the Meguti temple, there are many dolmens, local people call it as Morera mane (Morera tatte), twenty dolmens present on top of the hill. each dolmen has three sides upright square slabs and large flat slab on top forms roof, front side upright slab had circular hole.
Galaganatha group temples is one of nearly thirty temples on the bank of the Malaprabha River. The main shrine of the Galaganatha temple enshrining Shiva – Galaganatha has a curvilinear shikhara, and has images of Ganga and Yamuna at the entrance to this shrine. Galaganatha group of temples, further south of Huchappaiah temple is this group of about 38 small shrines in which the shrine of Galaganatha is intact, and most of the others are in ruins. The Galaganatha shrine has a hall, interior passage and sanctum. Its tower is rekhanagara. The temple has been assigned to the 8th century. There is another 10th century trikutachala temple found in this group.
Suryanarayana temple has a 0.6 m high statue of Surya along with his consorts Usha and Sandhya being drawn by horses. The temple dates from the 7th or 8th century, has a four pillared inner sanctum and a nagara style tower over it. Suryanarayana Gudi is located to the north-east of Ladkhan temple. It has a four pillared inner hall and in the sanctum, two feet tall idol of Surya. Over the sanctum is a rekhanagara tower. This has been assigned to the 7th −8th centuries.
Chakra Gudi is a little further to the south from Ladkhan group is Chakragudi with a hall and sanctum. Its tower is in rekhanagara style. Its period is about the 9th century.
Badigera gudi is to the west of Chakragudi is Badigeragudi temple which was originally a Surya temple, which has a porch, hall and a cell shrine and over it a rekhanagara tower. The temple belongs to the 9th century.
Triyambakeshvara Group, it is close to the Charantimatha, towards north-east are the Triyambakeshwara group of temples, two of which are trikutachalas, assigned to the 12th century. Nearby is Maddinagudi. There is a beautiful idol of nataraja in the mantapa, this is an 11th-century AD temple. Group of Jainagudis: To the north of Triyambakeshvara lie some jaina basadis called as Jainanarayana or Yoginarayana of the Kalyana Chalukya style trikutachala structures (11th century). The Parshvanatha idol in the central shrine remains. There are three other shrines here.
Ambigera Gudi Group is situated to the west of the Durga temple outside the fort, there are three temples of this group. The biggest among them has a rekhanagara tower. It is supposed to be 10th century structure.
Chikkigudi Group is at a short distance to the north of the Ambigeragudi are a group of temples among which Chikkigudi is the biggest with a front hall, a mantapa and a cell shrine. This is supposed to be a 7th-century structure.
Huchimalli (gudi) temple at Aihole, built in the 7th century shows an evolution in the temple plan, as it shows an ardhamantapa or an ante-chamber annexed to the main shrine. Huchimalli Group Of Temples, to the north of the village behind the travelers’ bungalow is this beautiful temple. The sanctum here has a pradakshinapatha and its external walls contain lattices. The sanctum has a northern style rekhanagara tower. It is in this temple the shukanasa or the vestibule was introduced for the first time. A little away in front is another dilapidated temple. Another small temple to the north of Huchimalligudi is assigned to the 11th century.
Gaudara gudi, very close to the Ladkhan temple, built on the lines of Ladkhan temple. It is standing on high molded base. An outer wall contains 16 pillars. Between them, stone slabs are fixed to serve as walls. An 8th-century inscription here refers to this as Bhagavati temple. To the north of the Jaina temples is the Gowri temple. It is in Kalyana Chalukya style assignable to the 12th century.
Rachi gudi, lies to the west of the village. It is a trikutachala Shiva temple constructed in about 11th century. It stands on a high plinth, faces west and the three cells face three directions. On the external walls of the temple are small niches with Ganapathi, Nataraja and Vishnu images
Huchappayya Matha is towards west of the village is this matha, and closely is a temple. This temple includes a hall, and a sanctum. On the ceiling are the trimurti figures. Here is an inscription of 1067 A.D.
Halabasappana Gudi is to the west of the village. It is a small structure with a sanctum and a hall. At the entrance, on the door frame are engraved the idols of Ganga and Yamuna.
Halabasappana Gudi is to the west of the village. It is a small structure with a sanctum and a hall. At the entrance, on the door frame are engraved the idols of Ganga and Yamuna.
Kontigudi group of temples, situated in about the middle of the bazaar are four temples. The first among them has the Trimurthy idols on the ceiling of the mantapa. These temples are assignable to the 7th century with various adjuncts being added during later centuries. Only one among them is dilapidated, and is of about the 10th century.
Charanthimatha Group of temples, very close to the Kontigudi group, to the north east is group of Jaina temples. In course of time they came under the control of one Charantimatha and hence the present name. The chief among these is trikutachala, and a hall connects the three shrines with a portico in front. It is about 11th −12th century A.D., built in the Kalyana Chalukya style. There is a twin basadi with one porch serving both, with each housing 12 Tirthankars. An inscription here records the date of construction as 1120 A.D.
Huchappayya (gudi) temple has a curvilinear tower (shikhara) over the sanctum (unlike the Lad Khan temple). The interior of the temple has beautiful carvings. The Huchappayana Temple Located to the south of Aihole fort, on the way to the Malaprabha river, this Shiva temple has a mukhamantapa, a hall and the sanctum, adored with a Rekhanagara shikhara. There are several big square pillars in the porch and hall. Pillars of the porch have finely carved figures of couples, and on the ceiling a fine Nataraja image. Exterior walls of the sanctum have three niches with Narasimha. This temple was constructed in about 8th century A.D.
Group of Yeniar Shrines, a little further away to the south, along the river bank are this group of eight temples, usually with a porch, hall and a cella, all of about 12th century
Ramalinga group of temples, group lies to the south of Yeniar shrines. Chief shrine among this group is Ramalinga. In this trikutachala shrine two cells have Shivalinga and the third, the image of Parvati. Period of this trikutachala is about the 11th century A.D. Facing westward, the shrine has two Kadambanagara towers. The place has a small mosque. (Source: Karnataka State Gazetteer 1983)
Jain cave temple at the entrance of the Aihole (from Pattadakal/Badami) on the banks of Mallaprabha river it is similar to Ravana Phadi cave, there are inscriptions on rock in old Kannada near the cave.