Ramalingeshwara Group of Temples at Avani – Part 3

The Ramalingeshwara Shrine

In the previous part of this series, we moved closer to the Ramalingeshwara group of temples at Avani and observed the setting of the temple complex. We looked at the entrance structure, the tall deepastambha, the waterbodies around the temple, the Naga icons near the kalyani and the way Avani Betta rises behind this sacred landscape.

In this part, let us enter the complex and begin with the main shrine, the Ramalingeshwara shrine.

The Ramalingeshwara shrine is the most important shrine in this group of temples. On plan, it consists of a garbhagriha, an antarala and a navaranga. The arrangement is simple but deeply meaningful. The garbhagriha forms the sacred core. The antarala acts as the connecting space. The navaranga becomes the hall where one pauses, observes and prepares to move towards the sanctum.

The Ramalingeshwara Linga inside the sanctum is made of dark stone. It is said to be smaller than the Lakshmanalingeshwara Linga in the same complex. 

The shrine faces east. In front of the sanctum sits Nandi, looking towards Ramalingeshwara. What makes the arrangement visually interesting is not only the main Nandi but also the smaller Nandis placed near it. 

Behind the three Nandis, on the rear wall of the navaranga, there is an interesting group of dark stone icons. At the lower level, the central figure is Surya, flanked by two rishis standing in anjali posture. Above them is a framed relief panel showing a dancing girl. What makes this panel fascinating is the way her movement is captured almost like a stone animation. The same dancer appears in three different positions, suggesting successive moments of a dance sequence. 

The sanctum doorway is framed by heavy stone jambs. The surrounding doorway has carvings, though many of them are darkened due to age, oil, soot and continued worship.

The Navaranga and its Pillars

The navaranga of the Ramalingeshwara shrine is one of the most interesting parts of the structure. The pillars are not plain structural supports. They are designed as tall, multi-tiered sculptural pillars, with each face carrying a different set of carvings. They rise in stages, with moulded bases, shaft sections, projecting blocks and sculptural panels. 

The brackets and upper portions of the pillars also deserve attention. They carry heavy stone beams, but the transition from pillar to ceiling is handled through sculpted forms. 

In the navaranga, there is a south facing shrine for the Goddess Sita Parvatamma. She is found with four arms and in the standing posture.

The ceiling of the navaranga is made of large stone slabs. Some ceiling panels have lotus-like medallions. These are not very elaborate when compared with later Vijayanagara mandapas, but they are elegant and restrained. The ornamentation does not overwhelm the space.

Around the interior walls are many sculptural panels. Some are placed within small frames. Some are fixed to the walls as individual icons. 

The Outer Walls of the Shrine

The exterior of the Ramalingeshwara shrine is more readable than the interior. The walls are divided into clear architectural sections using pilasters, niches and miniature shrine motifs.

The adhisthana has multiple mouldings. These mouldings are decorated with motifs such as kirtimukhas and lions. 

Above the base, the walls have pilasters. Between these pilasters are niches and sculptural panels. 

Some of the sculptures that adorn the outer walls tare Sankha Nidhi and Padma Nidhi, Gaja Samhara Murti, Urdhva Tandava Murti, Vishnu, dancing girls and saintly figures. Some are placed within niches, while others appear as part of the wall composition. Together, they make the exterior of the shrine highly engaging, inviting us to pause at every section and observe the details closely.

Sculptures Near the Entrance to the Shrine

The entrance area of the Ramalingeshwara shrine is also rich in detail. On either side of the steps and platform, sculpted balustrades are seen. One of them carries a horse motif. The curved stone form of the balustrade, along with the animal carving, creates a graceful transition from the outer space to the inner mandapa.

The entrance mandapa pillars are equally fascinating. They are filled with carvings such as Vishnu seated on Sesha, Krishna playing the flute while cows listen to him, Ganesha, Vishnu, Vishnu lifted by Garuda, Uma Sahita Ishvara, a bull rider, horse riders and Shasta. These pillars are not merely structural supports. Each face carries a different sculptural theme, turning the mandapa into a compact gallery of stone carvings.

A Shrine of Many Layers

The Ramalingeshwara shrine is not grand in height. Its beauty lies in proportion, stonework and accumulated detail.

In the next part, we shall continue our exploration of the Ramalingeshwara group of temples and look at the other shrines in the complex.

Happy travelling.

My previous episodes:

Part 1

Part 2