Groups of temples in Aihole

The prominent temple groups at Aihole are the Kontigudi group and the Galaganatha group of temples, although historians have divided all the temples into 22 groups.

A group of three temples is referred to as the Kontigudi group of temples. One of these is the Lad Khan temple (The oldest temple at Aihole is the Lad khan temple dating back to thefifth century), named after a mendicant that lived in this temple in the 19th century, another the Huchiappayyagudi temple and the Huchiappayya math.

Important temples at Aihole

1. Durga temple complex(13 Temples)
2. Lad Khan Temple
3. Ambigera Gudi complex
4. Mallikarjuna temple complex
5. Chikki temple
6. Rachi temple
7. Eniyar temples complex
8. Hucchimalli temple complex
9. Ravanaphadi rock-cut temple
10. Buddhist temple, Meguti temple
11. Hucchappayya Math Complex
12. Kunti temples complex
13. Charantimath complex
14. Tryambakesvara group
15. Gauri temple
16. Jaina temples in the village
17. Rock-cut Jain Basadi
18. Ramlingesvara Temple Complex
19. Galaganatha Temple Complex

   Durga temple

The Durga temple in Aihole The temple was built between the 7th and the 8th century by the dynasty of the Chalukyas.The architecture of the temple is predominantly Dravida with Nagara style also is used in certain areas.The Durga Temple is considered a unique and magnificent temple of the Chalukyan period.

The origin of the name is not the Durga goddess, but a fortress, maybe an enclosure which surrounded the temple or it was a part of fortification, probably of Maratha rulers.

It is not known to which deity the temple was dedicated as the representations of Vishnu are as numerous as those of Shiva. The most original feature of the temple is a peristyle delimiting an ambulatory around the temple itself and whose walls are covered with sculptures of different gods or goddesses.

Two staircases provide access to the porch at the entrance of the temple itself. The sober and square pillars are decorated with characters around the porch and the entrance to the peristyle. The parapet is carved with niches and small animals. The porch gives access to rooms with pillars to get into the heart of the shrine.

The plan of the temple is oblong and apsidal. It means that the corridor with pillars between the porch and the heart of the shrine encompasses the heart of shrine and allows to run the parikrama .This apse gives outward through openings between the pillars.

The shape of the temple, in Indian traditional architecture, is known as Gajaprasta which means the resemblance to the back of an elephant. The temple's unusual apsidal form is thought to imitate the earlier Buddhist chaitya halls, but later studies established that apsidal design in Indian architecture is pan-Indian tradition, which was in practice even before Buddhist architecture. The heart of the shrine (garba griha) is surmounted by a tower which announces the future higher towers sikharas and vimanas.

     Lad Khan Temple

The Lad Khan Temple, dedicated to Shiva, is a one of the oldest temples in Aihole. It was built in the 5^th century by the Chalukyas. It is located to the south of the Durga Temple. The temple is named after a muslim prince who turned this temple into his residence for a short period.

The temple consists of a garba griha with mantapa in front of it. The mukha mandapa is situated in front of the sanctum and consists of a set of 12 carved pillars. The sabha mandapa leads to the maha mandapa and the pillars are arranged to form two concentric squares. The walls have floral patterns on them and the windows have lattice work done in the northern style. Facing the sanctum, a second smaller sanctum is situated above the center of the hall whose outer walls have many carved images.

Originally dedicated to Vishnu, now the main shrine houses a Shiva Linga with a Nandi. The temple was built in a Panchayatana style, indicating a very early experiment in temple construction. The special feature of this temple is that it starts with a rectangular structure and ends with a square structure. Based on a wooden construction design , the square and rectangular plan has a steep roof, which is an adaptation of wooden styles in stone.

The maha mantapa is open to exterior by large windows between the pillars. The roof above the maha mantapa shows a turret as a first version of the futures towers sikharas and vimanas.

   Chakra gudi Temple

Chakra Gudi is a little further to the south from Ladkhan group is Chakragudi with a hall and sanctum. Its tower is in rekhanagara style. Its period is about the 9th century.

   Gowdara Gudi Temple

Gaudara gudi, very close to the Ladkhan temple, built on the lines of Ladkhan temple.It is standing on high molded base.An outer wall contains 16 pillars.Between them, stone slabs are fixed to serve as walls. An 8th-century inscription here refers to this as Bhagavati temple.To the north of the Jaina temples is the Gowri temple.It is in Kalyana Chalukya style assignable to the 12th century.

  Suryanarayana Gudi

Suryanarayana temple has a 0.6 m high statue of Surya along with his consorts Usha and Sandhya being drawn by horses.The temple dates from the 7th or 8th century, has a four pillared inner sanctum and a nagara style tower over it. Suryanarayana Gudi is located to the north-east of Ladkhan temple.It has a four pillared inner hall and in the sanctum,two feet tall idol of Surya. Over the sanctum is a rekhanagara tower.This has been assigned to the 7th −8th centuries.

 Rachi Gudi

Rachi Gudi, situated to the west of Aihole Village, is a Shiva temple constructed around the 11th century AD. There are three cells facing three directions. Small images of Nataraja, Ganapathi and Vishnu are depicted on the external walls of the temple.

Huchchappayyana Matha

Huchappayya Matha is towards west of the village is this matha, and closely is a temple. This temple includes a hall, and a sanctum. On the ceiling are the trimurti figures. Here is an inscription of 1067 A.D.

 Halabasappana Gudi

Halabasappana Gudi is to the west of the village. It is a small structure with a sanctum and a hall. At the entrance, on the door frame are engraved the idols of Ganga and Yamuna.

Badigera gudi 

Badigera gudi is to the west of Chakragudi is Badigeragudi temple which was originally a Surya temple, which has a porch, hall and a cell shrine and over it a rekhanagara tower.The temple belongs to the 9th century.

 Ambigeara Gudi group

In opposite of Durga temple group the ambigara gudi is built in 10th century in built on a high platform with the inner celing of the mantapa engraved with lotus carving.the temple has a Nagara style shikara and is the two Temple in this complex.it has got its name from the ambiga community people who used to living this complex.

Chikki Gudi group

Chikkigudi Group is at a short distance to the north of the Ambigeragudi are a group of temples among which Chikkigudi is the biggest with a front hall,a mantapa and a cell shrine.This is supposed to be a 7th-century structure.

Huchchimalli group

Huchimalli (gudi) temple at Aihole, built in the 7th century shows an evolution in the temple plan, as it shows an ardhamantapa or an ante-chamber annexed to the main shrine. Huchimalli Group Of Temples, to the north of the village behind the travelers’ bungalow is this beautiful temple. The sanctum here has a pradakshinapatha and its external walls contain lattices. The sanctum has a northern style rekhanagara tower. It is in this temple the shukanasa or the vestibule was introduced for the first time. A little away in front is another dilapidated temple. Another small temple to the north of Huchimalligudi is assigned to the 11th century.

   Mallikarjuna Temple complex

 Charanthimatha Group of temples

Charanthimatha Group of temples, very close to the Kontigudi group, to the north east is group of Jaina temples. In course of time they came under the control of one Charantimatha and hence the present name. The chief among these is trikutachala, and a hall connects the three shrines with a portico in front.It is about 11th −12th century A.D. built in the Kalyana Chalukya style. There is a twin basadi with one porch serving both, with each housing 12 Tirthankars. An inscription here records the date of construction as 1120 A.D.

Galaganatha group of Temple

Galaganatha group temples is one of nearly thirty temples on the bank of the Malaprabha River.The main shrine of the Galaganatha temple enshrining Shiva – Galaganatha has a curvilinear shikhara, and has images of Ganga and Yamuna at the entrance to this shrine. Galaganatha group of temples, further south of Huchappaiah temple is this group of about 38 small shrines in which the shrine of Galaganatha is intact,and most of the others are in ruins.The Galaganatha shrine has a hall, interior passage and sanctum. Its tower is rekhanagara.The temple has been assigned to the 8th century. There is another 10th century trikutachala temple found in this group.

Trimbakeshwar Temple Complex

Triyambakeshvara Group,it is close to the Charantimatha,towards north-east are the Triyambakeshwara group of temples,two of which are trikutachalas,assigned to the 12th century.Nearby is Maddinagudi. There is a beautiful idol of nataraja in the mantapa,this is an 11th-century AD temple. Group of Jainagudis:To the north of Triyambakeshvara lie some jaina basadis called as Jainanarayana or Yoginarayana of the Kalyana Chalukya style trikutachala structures (11th century).The Parshvanatha idol in the central shrine remains.There are three other shrines here.

 Gauri temple

 Ravanaphadi rock-cut Temple

The first true gem of Chalukyan architecture is rock-cut temple devoted to Shiva.Ravana Phadi is built in 550 AD and is one of the oldest structures in Aihole.It has been carved in sandstone outcrop and has been preserved comparatively well.

Unlike many other rock-cut temples in India, Ravana Phadi has large plain field in the front of outcrop and architects have used this with success.Entrance in the cave opens to the southwest. Cave itself stands on high platform and can be reached by a flight of steps.

In the front of entrance in the temple there stands huge, monolithic pillar with a square base. Closer to the entrance is sculpture of Nandi - bull which Shiva rides. Bull is seated on platform and is facing the cave.

On both sides from entrance there are located two smaller, free-standing pillared halls, adding much effect to the magnificent architecture of entrance in temple.

Entrance in the cave is adorned with two columns adorned with stone carvings. Both sides of entrance are decorated with reliefs of fat-bellied deities. Possibly these are depictions of Kubera, guardian of wealth.

After entering the cave one reaches the rectangular main hall - mandapa, which is even larger than halls in Badami Cave Temples which were created simultaneously with Ravana Phadi.Ceiling of this hall is adorned with huge, intricately carved lotus flower. Ceiling contains also remnants of paintings. One of side walls is adorned with Ardhanari - strange embodymewnt of Shiva where he is half man, half women. Ardhanari stands with trident in hand.

On opposite wall there is carving with Shiva, standing under three heads of Ganges - this is allusion to the descent of Ganges from heaven to earth. Shiva is accompanied by Parvati and Bhagiratha. Here is visible also Vishnu with snake and other deities.Mantapa is flanked by two side chambers. To the left one can ascend steps and reach one of them - very narrow chamber with large, impressive relief of Shiva as Nataraja with ten arms. Shiva holds a snake above his head and on the neck. Nataraja is accompanied by Ganesh and Parvati and seven Matrikas . Ganesh is shown with two hands - as it is common in archaic depictions of this deity.Chamber to the right has no carvings - there is fissure in the roof and possibly due to this the adonrment of this chamber did not take place.

Further, after mandapa there follows a flight of steps and small chamber with exquisite carvings on side walls. They show Durga slaying the buffalo-like demon-king Mahishasura. Her trident has pierced the demon who is kneeling on the ground.

Opposite wall is adorned with a relief depicting Vishnu in his Varaha incarnation. On his arm is sitting goddess-Earth - his wife Bhūmī. Ceiling of this chamber has three large circles carved with Vishnu and Garuda, a lotus and Indra on his mount. Beams are carved with flying apsaras.

Three entrances are leading into the main shrine -cella - where is located lingam - Shivalinga.

Interesting feature of this temple is carving of Bhringi - a saint who appealed to finish with eating. He is shown as a malnourished man praying to Lord Shiva.

Jyotirlinga of group Temple

Jyothirlinga Group, at a short distance to the south-west of Ravalaphadi is the group of temples called Jothirlinga group.Two small temples here are flat roofed and in front of them are Nandimantapas.The remaining temples have a sanctum,shukanasa and a front hall in each of the temples. Two of the temples have Kadambanagara towers. Two of the temples have inscriptions of the Kalyana Chalukya period. The rest of the temples now dilapidated are of about the 8th to 10th centuries.

Ramalinga Temple group

Ramalinga group of temples, group lies to the south of Yeniar shrines.Chief shrine among this group is Ramalinga.In this trikutachala shrine two cells have Shivalinga and the third,the image of Parvati.Period of this trikutachala is about the 11th century A.D. Facing westward, the shrine has two Kadambanagara towers.

 Kunti temples complex

Kontigudi group of temples, situated in about the middle of the bazaar are four temples. The first among them has the Trimurthy idols on the ceiling of the mantapa.These temples are assignable to the 7th century with various adjuncts being added during later centuries. Only one among them is dilapidated, and is of about the 10th century.

 Meguti Basadi

 It was most impressive Basadi in Aihole.The Meguti Jain Temple is prominently located on top of the highest hill in Aihole and was built in the year 634 AD.From a historic standpoint the inscription dating the monument is found on the eastem outer wall of the temple and records its construction by Ravikeerti, who was a commander and minister under the famous Chalukya King Pulkeshi II.Meguti Temple is the only dated monument in Aihole, provides an important evidence of the early development of the Dravidian style of Architecture.On1y two of the original sculptures have survived;a large seated idol of Lord Mahavira & a partly mutilated but still convincingly beautiful goddess Ambika.

The Meguti temple,situated on the hillock, is built on an elevated platform. It has two sanctums a court hall and a portico.A stone ladder carved out at the portico provides access to the roof. This flight of stairs leads to another shrine on the roof, directly above the main shrine.From the roof, one can have a panoramic view of the hundred temples of Aihole.A pillared corridor runs around the temple,enveloping the shrine.Its beautiful motifs and richly carved images on stone reflect the earliest development of Jain a art and architecture.

 Two story Buddhist Chaitya

  In This Buddhist Chaitya influence by  Mahayana Bubbhist in western Chalukyan period.and it was is located on top of the hillock in Aihole ,It was built around the 5^th century and is 25 feet high.

*Group of Yeniar Shrines, a little further away to the south, along the river bank are this group of eight temples, usually with a porch, hall and a cella, all of about 12th century

*Jain cave temple at the entrance of the Aihole (from Pattadakal/Badami) on the banks of Mallaprabha river it is similar to Ravana Phadi cave, there are inscriptions on rock in old Kannada near the cave.

Aihole

Aihoḷe is one of the most notable places in the history of art of Karnataka.Aihoḷe was known as Ayyavoḷe andAryapura in its inscriptions. It was a prominent city of the Chalukya Dynasty. A place known by the name Morera Angadigalu near the Meguti hillocks has a large number of cists of pre-historic period. The place was an agraharam. The village has 125 temples divided into 22 groups by the archaeological department. Aihoḷe has been described as one of the cradles of temple architecture. Of late some brick structures of pre-Chalukyan times have also been excavated. It must have been a great ancient city, a commercial centre as well, with the federation of trade guilds having its headquarters here.In the 17th century, Aurangzeb annexed the Deccan and made it a part of the Mughal Empire and Aihole, as a part of that region, came under the Mughal rule.The early Chalukya dynasty was ousted by its own district officers, the Rashtrakutas in AD 757. Later on, Aihole became a part of the Bahmani and other local Muslim dynasties.

Early inscriptions call this town Aryapura and Arya-vole. According to mythology Aihole is the place where Parashurama washed his axe after killing the Kshatriyas.Aihole has historical significance and is called as cradle of Hindu rock architecture Many temples and caves of historical importance can be found at Aihole.

Aihole was the first capital of the early Chalukyas. Here they built over 125 temples in various styles and is said to be a laboratory of experiments in rock cut architecture.Pulakesi I, one of the greatest rulers of this dynasty, moved the capital to Badami nearby.Badami was then known as Vatapi. It is from these temples that the Chalukyas gained their experience and went on to build the great temples of Pattadakal. The first phase of temple building in Aihole dates back to the 6th century A.D, the second phase up to the 12th century A.D. Some temples were even built as early as the 5th century A.D

In Aihole dominant religion was Shaivism of the Pashpata-Kalamukha school. Other currents and religions are also present, Buddhist and Jaina.

Badami Chalukya architecture

During450,the Chalukya style originated in Aihole and was perfected in Badami and Pattadakal. The Chalukya artists experimented with different styles, blended the Indo-Aryan Nagara and Dravidian styles, and evolved Chalukya style.The equals of the grand temples of South India do not find in North and Central India.The successive rulers contributed to the work of their predecessors.

Their style includes two types of monuments.

1)The rock cut halls (caves).

2)Structural temples.

Badami cave temples have rock cut halls with three basic features: pillared veranda, columned hall and a sanctum cut out deep into rock.

Early experiments in rock cut halls were attempted in Aihole where they built three cave temples, one each in Vedic, Buddhist and Jaina styles. Later they refined their style and cut out four marvellous cave temples at Badami.

One noteworthy feature of these cave temples is the running frieze of Ganas in various amusing postures caved in relief on each plinth.The outside verandas of the cave temples are rather plain, but the inner hall contains rich and prolific sculptural symbolism

Most of the temples built by the Chalukyas are concentrated in Badami, Ihole, Pattadakallu and Nagaralu. However, some classic examples are found also in Alampurapalli, Satyavolu and Mahanandi in Andhrapradesh. In all, there about 150 temples belonging to this period. About one hundred of them are found in Ihole alone. All of them are religious structures with the exception of the fort at Ihole.

These temples are usually built with light red and light yellow sand stones found abundantly in Bijapur district. Stone masonry which replaced brick made or wooden structures is the hall mark of this period. Naturally there was a huge scope for experimentation, of the trial and error variety. It is not for nothing that Aihole is called the cradle of Chalukyan architecture and sculpture.

 A majority of these temples are dedicated to Hindu Gods and Goddesses. There some Jaina and Bauddha caves and temples scattered around the kingdom.

The finest structural temples are located in Pattadakal.Of the ten temples in Pattadakal, six are in Dravidian style and four inRekhanagara style. The Virupaksha temple in many ways holds resemblance to the Kailasanatha temple in Kanchipuram which came into existence a few years earlier.

This is a fully inclusive temple,it has a central structure, nandi pavilion in front and has a walled enclosure that is entered by a gateway.The main sanctum has a Pradakshinapatha and mantapa. The mantapa is pillared and has perforated windows. The external wall surface is divided by pilasters into well-spaced ornamental niches filled with either sculptures or perforated windows. Art critic Percy Brown says about the sculptures that they flow into the architecture in a continuous stream. It is said that the Virupaskha temple is one of those monuments where the spirit of the men who built it, still lives.

Many centuries later,the serene art of the Badami Chalukya reappeared in the pillared architecture of the Vijayanagar Empire.Their caves include finely engraved sculptures of Harihara,Trivikrama,Mahisa Mardhini, Tandavamurthi,Paravasudeva,Nataraja,Varaha,Gomateshvara and others.Plenty of animal and foliage motifs are also included.

Some important sculptors of their time were Gundan Anivaritachari, Revadi Ovajja and Narasobba.

Gundan Anivaritachari: Gundan Anivaritachari was the chief architect of the Virupaksha temple, the most famous and center piece at world heritage temple complex at Pattadakal.According to inscriptions he held such titles as "Anikapuravastu Pitamaha" and "Tenkanadesiya Sutradhari"

The temple was built at the orders of Lokamahadevi, the senior queen of Vikramaditya II to commemorate his victory over the Pallavas. It has many features similar to the Kailasanatha temple of Kanchi.

Chalukya literature

Kannada language literature was prosperity during the reign of the Western Chalukya Empire.The Kannada literature from this period is usually categorised into the linguistic phase called Old-Kannada. It constituted the bulk of the Chalukya court's textual production and pertained mostly to writings relating to the socio-religious development of the Jain faith.Kannada literature written in the Sanskritic champu metre, composed of prose and verse, was popularised by the Chalukyan court poets.

The earliest well-known writers belonging to the Shaiva faith are also from this period.Under the patronage of Kalachuri King Bijjala II,whose prime minister was the well-known Kannada poet and social reformer Basavanna, a native form of poetic literature called Vachana literature.

the Veerashaiva  religious movement in the mid-12th century, poets favoured the native tripadi.Vachanakaras not only court poets, noblemen, royalty, ascetics and saints who wrote in the marga (mainstream) style,but also by commoners and artisans, including cobblers, weavers, cowherds and shepherds who wrote in the desi (folk) style. These Vachana poets  revolutionised Kannada literature.rejecting traditional themes that eulogised kings and noblemen, and writing didactic poems that were closer to the spoken and sung form of the language. In addition to hundreds of male poets, over thirty female poets have been recorded, some of whom wrote along with their husbands.

A century before these political developments, the age of great Sanskrit and Prakrit epics and classics had come to an end. This productive period had made available a vast corpus of literature that could be expressed in the local language of Kannada.

Kannada, which had flourished both as a language of political discourse and literature in the Rashtrakuta court, found enthusiastic support from the Chalukya kings.

Kannada writings by Jain authors thus used impressive Sanskrit-derived verses interspersed with prose to extol the virtues of their patron kings, who were often compared to heroes from the Hindu epics.

While Adikavi Pampa  compared his patron, the feudatory Chalukya King Arikesari, to Pandava prince Arjuna, in Vikramarjuna Vijaya, his version of the Hindu epic Mahabharata, Ranna (983) found it suitable to compare his patron, King Satyasraya, to Pandava prince Bhima.

Lilavati Prabhandam, a novel written by Nemichandra (1170) on the topic of love, erotica, and of the victory of Kamadeva  over his arch-rival Shiva, is the first among such writings. It was followed by Kabbigara Kava  by Andayya, also a work depicting a war between Kamadeva and the god Shiva.

 Nagavarma II wrote his Kannada grammar Karnataka bhashabhushana ("Ornament of Karnataka language", 1042 or 1145). A milestone in the history of Kannada literature, it helped consolidate the language as competitor to established languages such as Sanskrit and Prakrit, bringing the local language within the realm of literary cosmopolitanism.Writing a Kannada grammar in Sanskrit language was essential to Nagavarma II, a subtle rebuttal to Sanskritic scholars of the day who may have considered Kannada a language of the common man and its grammar as underdeveloped.

 Adikavi Pampa and Sri Ponna. Ranna became the court poet of King Tailapa II and King Satyasraya. In his early days, he was also patronised by the well-known Ganga minister Chavundaraya.

Ranna is famous for writing Ajitha purana (993), which recounts the life of the second Jain tirthankar Ajitanatha. However, it is in his magnum opus, the work Sahasa Bhima Vijaya (also called Gada Yudda 982) that he reaches his zenith of poetic grace while describing the conflict between  Bhima and Duryodhana in his Jain version of the Hindu epic Mahabharata.

Another notable writer from the close of the 10th century, Nemichandra, wrote the Kaviraja kunjara and Lilavati (c. 990) with Prince Kavdarpa Deva of Jayantipura (Banavasi) and Princess Lilavati as the protagonists of the latter poem.Other writers whose works are now lost but have been praised by the Chalukya minister Durgasimha (1031) are Kavitavilasa (patronised by King Jayasimha II), Madiraja, Chadrabhatta, Kannamayya and Manasija.Other notable writers eulogised in the Kuppatur and Haveri inscriptions are Harivarma (1070) and Narayana Deva respectively.

Shridharacharya, a Jain Brahmin patronised by King Somesvara I (also called Ahvamalla or Trailokyamalla) showed his ability to write on scientific subjects in Jatakatilaka (1049), the earliest available writing on astrology in Kannada, citing the Sanskrit astronomer Aryabhata. His other work is the lostChandraprabha Charite, on belles-lettres.

Chavundaraya II, a Shaiva Brahmin by faith and a protege of King Jayasimha II, wrote Lokopakara (1025) in the champu metre. It is the earliest available encyclopaedia in the Kannada language, written at times with a poetic touch. It comprises twelve chapters and has found popularity in later references as well. The work is on various topics such as daily life, astronomy, astrology and forecasting of events based on the Indian calendar (panchanga phala), sculpture, construction of buildings (vastu vichara) and reservoirs (udakargala), omens, divination of water, preparation of medicine from herbs and plants (vrikshayurveda), general medicine (vaidya), perfumery, cookery and toxicology (vishavaidya). Mentioned in this book is the popular South Indian dish Idli and its preparation by soaking Urad dal (black gram) in butter milk, grinding it to a fine paste, and mixing with spices and the clear water of curd.

Durgasimha, the Sandhi Vigrahi (minister of war and peace) of King Jayasimha II wrote the well-known Panchatantra (1031) in champu style, basing it on Gunadhya's Paishachi language original Brihatkatha. This fable is the first adaptation of the original into a vernacular language of India. Containing sixty fables in all, thirteen of which are original, each is summarised by an ethical moral based on a Jain tenet. Durgasimha also authored the Karnataka Banachatantra, the earliest available commentary in the Kannada language, giving a brief commentary on all the Sanskrit verses he quoted in thePanchatantra. Around this time, Jayakirti (1000–1050), a Kannada language theorist, who considered the rules of prosody to be the same for Sanskrit and Kannada, wrote the Chandonusasana .

Shantinatha, patronised by King Somesvara II, wrote the poemSukumaracharita in 1068, Nagavarmacharya, a Brahmin Advaita saint of Balligavi, who was patronised by King Udayatidya, a vassal of Chalukya King Somesvara II, wrote Chandrachudamani sataka (1070) in the sataka (hundred-line verse) metre.In this centum of verses, where each ends with the term "Chandrachudamani" as another name of the god Shiva, the author treats on viragya(ethics of renunciation). Other writers whose works are considered lost but have been referenced in contemporary writings are Gunachandra and Gunavarma. Gunachandra, who was admired by King Somesvara II (also called Bhuvanaika Malla), wroteParsvabhyudaya and Maghanadisvara. Gunavarma, who earned the honorific Bhuvanaika Vira, a title befitting a warrior rather than a poet, is mentioned by grammarian Keshiraja  (1260) as the author of Harivamsa. His title identifies him with a Ganga prince called Udayaditya who was a minister and general under Chalukya King Somesvara II. Other writings ascribed to the author are Pushpadanta Purana and Devachandra Prabha Stotra.

The Veerashiava poet Harihara, one of the most prominent poets of the medieval era, established the ragale tradition with his biography of Basavanna (Basavaraja Devara ragale, 1160), the earliest available biography of the social reformer and of the Kannada language as well. His nephew Raghavanka established the shatpadi metre in his unique and original narration of the story of King Harishchandracalled Harishchandra Kavya (1200).Sisumayana is credited with introducing a new composition called sangatya (1232) in his allegorical poems Tripuradahana and Anjanacharita.

Noted Kannada poets and writers in Western Chalukya Empire (973-1200 A.D)
Ranna	982
Nemichandra	990
Manasija	10th
Chandrabhatta	10th
Madiraja	10th
Kavitavilasa	10th
Kannamayya	10th
Jayakirti	1000
Chandraraja	1025
Durgasimha	1031
Chavundaraya II	1025
Shridharacharya	1049
Nagavarma II	1042
Santinatha	1068
Gunachandra	1070
Nagavarmacharya	1070
Harivarma	1070
Narayana Deva	11th c.
Gunavarma	1070-1100
Nayasena	1112
Kondugoli Keshiraja	1120
Prince Kirtivarma	1125
Brahmashiva	1125
Karnaparya	1145
Jagaddala Somanatha	1150