Architectural Terms in the Epigraphs of the Panchalingeshwar Temple at Huli

The Panchalingesvara temple at Huli (Saundatti Taluk, Belgaum District, Karnataka ) is a temple of Dravida form with an unusual plan 1 . It has a long rectangular garbhagriha, with its longer axis running north-south, which opens into a similar common gudhamandapa through three doorways. This garbhagriha is long enough to carry three superstructures in a line (PI. 1). There are two additional garbhagrihas connected to and flanking the gudhamandapa on the north and the south sides. These also carry a superstructure each. The gudhamandapa opens into a large open pillared agramandapa on the east. The temple now enshrines five lingas, three in a row in the principal garbhagriha and one each in the remaining two. Hence its current name Panchalingesvara. But in the inscription on one of its garbhagriha doorframes the temple is called Manikyatirtha (i.e., Manikyatirtha Basadi) and there are clear enough other indications (such as the seated jina figures under trichhatra on the lalatabimbas) to the effect that it was a Jaina temple originally. Going by the dated inscription on one of the doorframes (1220 A.D., see Inscription No. 4 below) and other features, the temple should be ascribed to the beginning of the thirteenth century A.D.

Paramara Bhoja (11 th century A.D.)) dedicates two separate chapters in his Samarangana-sutradhara, one for a description of five principal types of pithas (adhisthana) employed for Dravida temples and the other for a description of the Dravida prasadas from a single bhumi to twelve bhumis '(storeys) 3 .This work and the Aparajitaprichchha appear to preserve to some extent aspects of the Deccan architectural • Email: editor@ijfmr.com

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Volume 5, Issue 6, November-December 2023 2 tradition of the medieval times.These works probably derived information from an earlier anonymous text now lost to us.Therefore, the terminology employed in the Samarangcma-sutradhara may reflect the one that was in vogue in the Deccan about that time.It is in this context that significance accrues to some inscriptions on the Panchalingesvara temple at Huli.The five principal Dravida pithas (i.e., adhisthanas) are named by Samarangana-sutradhara as Padabandha, Vedibandha, Sribandha, Pratikrama, and Kshurakabandha.It distinguishes between them essentially in terms of the total number of vertical divisions, the corresponding proportion of membermouldings and the number of mouldings.The principal mouldings enlisted include khuraka, padmapatrika, kanika, kumuda, kanika (or karnika), makara, makarapattika, kapota with nasikas, padmapatrika and vedi.Lately, while examining the epigraphs of Huli in situ, curious references to the terms kapota, makaravattige and sakhe came to this author's notice.From the vastu manuals these are known to be architectural terms with specific connotations.The texts, translations, and significance of these inscriptions are considered below.
No. 1 This inscription (Pl. 3) is engraved on the kapota moulding of the east side adhisthana of the north garbhagriha, 4  The significance of the record lies in the fact that it helps by its location the correct identification of the kapota moulding of the adhisthana.
No. 2 This inscription (Pl.2) is on the adhisthana moulding consisting of a series of projections above the kapota moulding on the south side of the Panchalingesvara temple at Huli.The epigraph is in Kannada characters and language of c. 13th century AD 5 .

Significance
The short inscription is significant in view of the fact that it helps identify the exact member of the adhisthana represented by the term makarapattika of the texts.Literally makarapattika means a band of makaras.But the moulding in question consists only of a series of projections and cross-pattern projections without carved details.This feature is common in most temples of Dravida form in Karnataka during the period from the Rashtrakutas to the Hoysalas.It repeats also over the kapota component of every bhumi of the Dravida temple form.It will be of interest to note that in some temples of that form in Karnataka this particular band of series of projections over the kapota component of the adhisthana as well as over the kapota in each bhumi is finished in the form of makara faces (PI.4).This explains why this particular band, whether finished or un-finished, is called makarapattika in the Samarangana-sutradhara.This work however incorrectly places the makarapattika between kapota and kumuda mouldings.In Karnataka Dravida temples the makarapattika is invariably placed over the kapota moulding.

Translation
Somayya, the son of Bosyana, and Bammaya and Malisetti (a dealer in cotton) of Daravada (=Dharwad, Dharwad Dist.), Balayya, Basavisetti, Nemisetti, Ballisetti etc. of Dodavada (=Dodawad in Bailhongal Taluk, Belgaum Dist.), and other bhavya-janas, who were the disciples of Sri Prabhachamdra-siddhantadeva, caused to be made this dvara-sakha of Manikyatirtha (Basadi) at Huli on Budhavara Amavase in the month of Ashadha in Vikrama-samvatsara, Saka 1142.(=Wednesday, 9th June, 1220 A.D.).The work was done by (sculptor) Rajoja of Kuruvanur (probably = Kuruvinakoppa in Saundatti Taluk of Belgaum Dist.).Significance The inscription No. 3 is on a doorframe which consists of five plain bands (sakhas) one of which is stambha-sakha.But the epigraph in question refers to two dvara-sakhas only.This suggests that the whole doorframe is being implied by the term dvara-sakha as used in the inscription.Clearly, the inscription is referring to two separate doorframes.Similarly, the inscription No. 4 refers to a dvarasakha in singular, though the doorframe consists of five bands (sakhas), confirming that the whole doorframe is implied by the term dvara-sakha.It may be recalled that the principal garbhagriha of the Panchalingesvara temple is rectangular on plan, with three doorways in a line provided from the east side.And the inscriptions under reference are found on the lintels of the first and third of these doorways.The central doorway is not inscribed.Apparently the second dvara-sakha of the inscription (No. 3) on the first doorway refers to the central doorframe itself.In both the inscriptions under consideration, therefore, the doorframe as a whole is implied by the term dvara-sakha.The doorframes in question are plain but well-executed.However, they are made of softer schist in contrast to other portions of the temple which are of sandstone.Inscriptions on the Panchalingesvara temple at Huli thus help us in the identification of medieval terminology for certain components of Dravida temple architecture as practiced in Karnataka.These terms can now be applied appropriately without hesitation that has long lingered in the art historical studies pertaining to Karnataka. 8 in 13th century Kannada characters.Text 1. @Kapota-taramattavisuddhi8[I I*] Translation "The kapota moulding level finished, 8." Significance