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The Aalayas of Andhra Pradesh
Index Author
Invocation Introduction
Simhachalam Bhadrachalam
Annavaram Ryali
Mandapalli Draksharamam
Vijayawada Mangalagiri
Amaravathi Srikalahasti
Tirupati Lepakshi
Ahobalam Alampur
Mantralya Srisailam
Antarvedi Panagallu
Yadagiri Gudimallam
Basara Kotappakonda
Kaleswaram Ontimitta
Arasavilli Pithapuram
Major Sections
Temples Of India
Lord Siva To Be Adored The Devalayas Of Karnataka
Palani Dhandhayudhapani The Kovils Of Kerala
The Temples of North-West India Temples For The Triple Sects
Mata Kanakadurga of Vijayawada The Legend Of Mata Kanyaka Parameswari
The Temples Of North-East India Mantralya Mahakshetra
The Aalayas of Andhra Pradesh The Mandirs Of Maharastra
Mighty Atoms For Tiny Tots Lord Siva Of Sri Kalahasthi
Bhagawan Vithoba Of Pandharpur Bizarre Beliefs And Odd Traditions
Asoka Priyadarsin The Mother Of Melmaruvathur And Her Miracles
Vishnu Mayam Jagat Sarvam Sakti Mayam
The Temples Of Tamilnadu Hindu Ethos In Capsules - Vol I

Hindu Ethos In Capsules - Vol II

Hullo Tirupathi !
Uthuthshta Govinda Cum Jo Jo Mukunda The Miracles Of Gods For The Debacles Of Humans
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The oddity that strikes the on-lookers first is the construction of temples in groups. And they are on either side of the river Tungabhadra. Viewed from the architectural or sculptural points of view , these groups have many strange characteristics. Close scrutiny reveals that they are built altogether on a new pattern - bearing striking resemblances with North Indian and West Indian models. The exterior, though resembles Orissa temples, like the curvilinear towers, decorated with a net work of miniature architectural devices like amalakas etc, they have totally a different architectural model of their own. They have close affinity with the rock-cut temples of Western India. The Navabrahma Alayas are square shaped and share many common features with the rock-cut temples, like the carving on pillars and the interior decoration. Though many temples of this state -Andhra Pradesh are built on the Dravidian style of architecture, here it is conspicuous by absence, and moreover they are reminiscent of the classical Gupta art. As observed, this kshetra is a class in itself- every thing is odd, yet auspicious and unearthly in sanctity. Nothing absurd or awkward ever gleams into sight. It is the glory of this Hemalapura, and that accounts for its novelty - best among many firsts it embodies.

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