Anyone who is acquainted with the idea of India, will also be familiar with the great north-south divide. It encompasses ethnicity, language, culture and in a deeply religious nation, temple architecture. Yet, in a narrow strip atop the Deccan plateau, one gets to witness a marriage of sorts in the latter that is completely unique to the subcontinent.

Pattadakal, a UNESCO-listed 7th-8th Century World Heritage Site displays this north-south eclectic mix at its finest. The enclosed part of the site is made up of eight temples—three of which are models, one a ‘project work,’ and four designed as full-fledged functional places of worship.

The Virupaksha Temple in the last group, with its sophisticated amalgamation of north and south elements, has been in continuous use since its consecration in 740 CE. It was commissioned by Lokamahadevi, a powerful Chalukya Queen, to commemorate her husband’s victory over the Pallava kings of the South.

If you have been wondering about my terminology, it is because Pattadakal, along with Aihole, were akin to a ‘laboratory’ where architects and artisans under royal decree experimented with temple architecture.

How about a corridor through which the local populace could circumambulate the holy sanctum which was otherwise out of bounds? A Nandi to mark the temple site? Perhaps a kalash finale atop the roof symbolising the meeting of heaven and earth? This investigational process, carried out over a couple of centuries culminated in Pattadakal’s most sophisticated edifices. Where the north and south architectural styles, till then side by side in platonic comradery, also merged in a hybrid blend for a while.

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