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Panchakuta Basadi (or Panchakoota Basadi) is located in the Kambadahalli village of the Mandya district, Karnataka state, in southwestern India. It is one of the finest examples of South Indian Dravidian architecture of the Western Ganga variety, related to the Jain faith and iconography.〔Sarma (1992), p. 152〕〔Archaeological Survey of India, Bangalore circle, Mandya district〕 According to the historian K.R. Srinivasan, the temple complex, which was built by the kings of the Western Ganga Dynasty is assignable to the period 900-1000 CE. The historian Sarma however assigns an earlier date of 8th century, based on traces of early Pallava-Pandya and Chalukya-Pallava influences.〔Sarma (1992), p. 161〕 Kambadahalli (whose name in the Kannada language literally translates to "village with pillar") which is located 18 km from the famous Jain heritage town of Shravanabelagola, on the Mandya-Shravanabelagola highway, gets its name from the ''Brahmadeva'' pillar (''Manasthambha'') erected in front of the temple complex.〔 From inscriptions, it is known that the temple complex has been renovated during later centuries, including the during the rule of the Hoysala Empire. The monument is protected by the Archaeological Survey of India as a "national monument". Srinivasan describes it as a "landmark in South India architecture".〔〔 ==Temple plan and iconography== The temple was built in two phases. In the first phase, three shrines were constructed (''trikutachala'', three shrines each with a superstructure). The central shrine faces north, one shrine faces west and the other face east. The central shrine has a square superstructure (''Shikhara'') called ''Brahmachhanda girva-shikhara''. The west and east facing shrines have superstructures called the ''Rudrachhanda griva-shikhara'' and ''Vishnuchhanda griva-shikhara'' respectively.〔 The design of the superstructures speaks of the artistic taste of the builders. They are three-dimensional, with the first tier (''tala'') measuring a third of the total height of the tower, and the second tier measuring one half the height of the first.〔 Each of the three shrines have individual vestibules (or half hall or ''ardhamantapa'') which open to a large common open hall called the ''mahamantapa'' or ''navaranga'', whose ceiling is supported by four ornate central pillars. At the entrance to the shrines (''bilpitha'') are the guardians to the "eight directions"(''ashtadikpalaka''; ''ashta'' - "eight", ''dik'' - "directions", ''palaka'' - "keeper") with their consorts and vehicles (''vahana'')〔〔 The entire complex is oriented towards the impressive ''Brahmadeva'' pillar and faces north. The main central shrine houses the image of Adhinatha, an early Jain ''tirthankara'' (Jain saint). The west (right) and east (left) facing shrines have the images of later day ''tirthankara''s, Shantinatha and Neminatha respectively. The images appear to be of well-polished steatite material and could be later day replacements.〔 According to Robert J Del Bonto who conducted research at the site, the two shrines that form the later day additions are a twin construction, are lateral (face each other), have individual vestibule and a closed ''mantapa'' (hall) and open into a common open pillared porch (open ''mantapa''). The art critic M.H. Dhaky calls them as "Shantinatha Basadi" and regards them a good example of the "terminal" stage in Western Ganga art.〔Sarma (1992), p. 166〕 The temple exhibits fine sculptures of Jain ''Yakshas'' (male benevolent spirits) and ''Yakshi''s (their female counterparts) of the Western Ganga and Hoysala periods.〔 According to the art critic and historian S. Settar, generally, ''Brahmadeva'' pillars found in front of ancient Jain temples do not house sculptures of the ''Brahma Yaksha'' or the god Brahma, rather they find their origins in the ''Manasthambha'' (''sthambha'' ''lit'', "pillar") and have images of the ''Sarvanubhuti Yaksha''. The base of this pillar is square and exhibits looped garland decorations, and at the top supports a two handed seated image of east facing Siddhayika.〔Sarma (1992), p. 167〕〔Settar in Shah (1987), p. 19〕 The overall composition of the temple, according to Sarma, is one of "clarity in structure and function" without any emphasis on over decoration.〔 Image:Mantapa (hall) in Panchakuta Basadi at Kambadahalli.jpg|''Mantapa'' (hall), Panchakuta Basadi, Kambadahalli File:A typical Dravidian shrine in the Panchakuta Basadi at Kambadahalli.jpg|A typical Dravidian style shrine at Panchakuta Basadi, Kambadahalli File:Excavated Jaina sculptures in Panchakuta Basadi at Kambadahalli.JPG|Excavated Jain sculptures from the 9th-10th century at Panchakuta Basadi, Kambadahalli File:Moulding reliefs depicting horse men in the Panchakuta Basadi at Kambadahalli.JPG|Bas-relief depicting horse men at Panchakuta Basadi, Kambadahalli File:Moulding reliefs depicting lions in the Panchakuta Basadi at Kambadahalli.JPG|Bas-relief depicting lions at Panchakuta Basadi, Kambadahalli Image:Ceiling sculpture in Panchakuta Basadi at Kambadahalli.jpg|Ceiling sculpture, Panchakuta Basadi, Kambadahalli Image:Ceiling sculpture1 in Panchakuta Basadi at Kambadahalli.jpg|Ceiling sculpture,Panchakuta Basadi, Kambadahalli Image:Ceiling sculpture5 in Panchakuta Basadi at Kambadahalli.jpg|Ceiling sculpture, Panchakuta Basadi, Kambadahalli Image:Ceiling sculpture4 in Panchakuta Basadi at Kambadahalli.jpg|Ceiling sculpture, Panchakuta Basadi, Kambadahalli Image:Ceiling sculpture2 in Panchakuta Basadi at Kambadahalli.jpg|Ceiling sculpture, Panchakuta Basadi, Kambadahalli Image:Ceiling sculpture3 in Panchakuta Basadi at Kambadahalli.jpg|Ceiling sculpture, Panchakuta Basadi, Kambadahalli 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Panchakuta Basadi, Kambadahalli」の詳細全文を読む スポンサード リンク
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