The real identity: Qila Warangal

As I began my usual sunday sojourn, I wanted to go to this nameless temple that has been haunting me since a year. Situated in the heart of the city of Warangal's very famous 'Qila Warangal' area is, 'Sahasralinga Ganapatiswaralayam' known by the name, a blatant misnomer, 'Venkateswara Gudi'. After entering the road that leads to the fort, you see this architectural splendour situated amidst lush green fields very near to the entrance of the East Fort. Except for few local people who live in & around the temple precincts, barely do anyone know that such an exemplary work of art in stone exists. Many eminent art scholars, art historians & archeologists have visited this place, but have failed to give this wonder its due identity.

The Temple

This wrongly called 'Venkateswara Gudi' is in fact the much celebrated 'Sahasralinga Ganapatiswaralayam', constructed during the reign of the Kakatiya king Ganapati Deva (1199-1262 A.D) who is considered to be the greatest among all the Kakatiyan rulers. A large number of temples sprang up all over the empire during the reign of this great king. It was he who completed the fortification in mud & stone. This temple lies very close to the grandest of all Kakatiyan structures, the massive, 'Svayambhu' temple complex enclosed by the world famous 'Keerthithoranas', also commissioned by King Ganapati Deva himself. As per a 1

4th century inscription of King Prataparudra in the temple, many grants were made to the temple's priests Aghora Shivacharya and others for the 'dhoopa', 'deepa', 'naivedyam' of the main deity.

The temple is a characteristic Kakatiyan 'Ekakutalayam', or a single shrine dedicated to Lord Shiva as 'Ganapatiswara' meaning 'The lord of Ganapati'. It was a common practice in those times to associate the reigning King's name with the main presiding deity of the temple. It was a way to immortalise one's name & association with God.

As we enter the temple, we come across ramshackled door jambs with 'Poorna Kumbhas' thrown onto one side, suggesting the conversion of a pre-existing Jain temple into a Hindu shaivite temple during the reign of the Kakatiyas & once again in the 15th century AD, during the reign of the Padmanayaka dynasty into a vaishnva one. The overall layout of the temple suggests that it has been modified & remodelled many a times according to the religious inclination of the dynasty in power. The 'Adhishtanam' or base of the temple is buried in the ground. There are two porches on the either sides of the entrance of the temple. The temple consists of a Rangamandapam/ central hall, an Ardha Mandapam / ante chamber and a Garbha Griha/ Sanctum Sanctorum. A spacious, 'Ranga mandapam' with 4 massive granite pillars welcomes us warmly into the temple. The perfectly round dance floor or Natya Vedika in the Ranga mandapam is made of polished black granite, a typical feature of most of the Kakatiyan temples. Four big central pillars in the Ranga mandapam are a mix of both black and pink granite. Kakatiyan architecture is unique in this aspect of using pink granite, which was also used quite genorously in the Svayambhu temple complex.

Crossing the Ranga mandapam, one is awestruck at the first glance by the highly ornate doorways of both the Antaralayam and the Garbhagriha. Intricately carved floral scrolls & patterns adorn either sides of the doorway leading into the Antaralayam & seven miniature shikharas adorn its lintel as well. We see rows of lions, elephants, dancers, beautiful maidens, kakatiyan swans etc… on the either sides of the doorways of both the Antaralayam and the Garbhagriha. Graceful Chamaravahinis, female Dwarapalas and destroyed male Saiva Dwarapalas adorn each side of the door jamb of the Garbhagriha. The 'Lalaata bimbam' or the lord adorning the center of the lintel is Lord Ganapati, which is very atypically. The sculptural style & patterns are very distinct in this temple as they reflect a beautiful amalgamation of both the Western chalukyan and Kakatiyan styles of art & architecture. The characteristic 'Gaja Kesari' motif of the Kakatiyas, is found in rows of vertical columns on the either sides of the door jambs of the Garbhagriha.'Raya Gaja Kesari', which means, 'Lion to the elephant like enemies', also happens to be the title of the Kakatiya king Ganapati Deva. Kirtimukha/Face of glory, a ferocious yet auspicious form of Lord Shiva, of the western chalukyan style adorns either sides of the door jambs of the Garbha Griha.

Lastly, we enter into the Garbha Griha of the temple that houses a massive & intact yet ramshackled Panavattam/pedestal of the shiva lingam which is now missing.

The outerwalls of the temple are subtly decorated with Shiva Lingas, male & female dancers etc., in the lines of the Ghanpur group of temples. The kalamukha ascetic carved on the back wall of the temple could be Aghora Shivacharya, the chief priest of the temple as per a 14th century inscription in the temple. May be this simplicity was followed to not disturb the spiritual serenity of the surroundings.

An appeal

Any heritage structure or a temple of historical importance should be preserved at all costs by the state government. Sadly, this once glorious temple is deserted of all its former glory. Rather than spending crores of rupees on temples under the Endowment wing, the state government should take measures to renovate or atleast preserve such religious & heritage structures that echo the splendour of the yester years. Thanks to the state Epigraphy & archeology department which has deciphered the inscription in the temple, without which the temple's identity would have been lost.

- Dr Hindola Gudiboina, a dentist by profession and an archeology and history enthusiast, and an amateur photographer by passion