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హేంజేరు సిద్దేశ్వరస్వామి దేవాలయం, హేమావతి, అమరాపురం మండలం, శ్రీ సత్యసాయి జిల్లా, ఆంధ్రప్రదేశ్.

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Navakotamma Temple

Since time immemorial, many women have circumambulated the Navakotamma temple to provide abundant breast milk to their children during infancy. On the right side of the foreground of Sri Siddeswaraswamy Temple is the Navakotamma Temple nestled among the pine trees growing like a cow.

According to local folklore, Navakotamma is Siddeswara Swamy’s younger sister. When Navakotamma reached puberty, they tried to get married. Navakotamma could not be convinced after seeing many relationships.

The enraged elder brother warned that he would give it to the servant on the way, “Brother! Do you look at me like this?” Duhkhintu said that she tried to commit suicide by jumping into the pond next to the temple, after which Brahmakapali clans built the Navakotamma temple in front of the pond and worshiped her regularly.

They are worshiped as Goddess Varalakshmi and offerings are also made to childless and childless women.

AD The book covers the coinage and history of the powerful dynasty that ruled their territory from 735 to 1052. This dynasty occupied a vast area of land in Karnataka and to some extent in Andhra Pradesh covering about 1/3 of modern day Karnataka. and the state of Tamil Nadu. The dynasty ruled for a little over 300 years, initially as vassals of the Pallavas, Badami Chalukyas, Gangus and Rashtrakutas and later of the Kalyani Chalukyas. At times, they were independent for a brief period that is still worth mentioning. Nolamablige-1000 is their entire territory. During their dominion, they ruled Nolambavadi—32,000 people.

Nolamba coins

At the height of their rule, Nolambavadi—32,000, Kolar, Avani, Begur, Aralagupi, Nonavinakere, Ayapamangalam, Chikkamadure, Baraguru, Nandi and Shivaram—within modern Karnataka state, Hemavati, capital now in Andhra Pradesh. Dharmapuri and Mahendramangalam in Tamil Nadu state. The Nolambs are remarkable for having around 250 clear epigraphs and outstanding architecture in the form of temples. The study is mainly based on more than two hundred and fifty epigraphs. This book describes 100+ unique gold coins issued by dynasties and vassals. The book contains 46 color plates with high resolution images. It also published 70 types of gold coins which were not published for the first time. This book covers every modern Nolumba coin counterfeit in the market. Both coins and epigraphs are brought together to support each other and the illustrations bring the history and numismatics to life in this work. Details of life, land, culture, art, administration, coins, metrology etc. are also in depth.

Traditional dynastic art studies have unfairly assumed that the art associated with minor dynasties originated from the more dominant and centralized dynasties of the region. This approach falsely assumes that artistic essence can be attributed to specific dynasties, just as it assumes an immutable centralized bureaucracy governing regional politics. This general understanding of Nolambavadi is constrained by traditional studies that do not challenge prevailing notions of South Indian politics and art, thereby perpetuating a reductive historical narrative that simplifies regional complexities and often ignores the human agencies responsible for the temples.

It is proposed that in a given region, including a peripheral region like Nolambavadi, defined by the prevailing sociopolitical conditions of the relevant period, a relatively autonomous art form developed while incorporating artistic elements from neighboring regions. A vast body of knowledge, including modes of artistic representation and iconography, was available to artisans and bounded by political boundaries.
This indicates that it is not restricted.

Artistic forms and ideas from different directions may interact with a complex array of agents, including the king as patron, temple officials and priests, merchants or material suppliers, and especially artisans and their interactions with each other and with other artisan families. Together, art is created and recreated, taking into account the demands and conditions of a particular time and place. However, at times, some images competed rather than shared, especially when they represented political power. Artisans and other involved agencies select which artistic elements are required based on the specific needs of a given monument.

In Hemavati

Famous Shiva Temples

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Siddeshwara Swamy Temple

During Chaitram and Vaisakh months, it is wonderful to see the sunlight touching the 5.8 feet tall Siddeshwara Swamy during the dusk.

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Doddeswara Swamy Temple

Sri Doddeswara Swamy Temple has Saiva Purana stories as well as Vishnava Purana stories engraved in them. Opposite the largest Nandi temple.

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Chela Bhairava Swamy Temple

It is believed that if jaggery is offered in the temple of Sri Chelabhairavaswamy, the Swami will protect their house from snakes, scorpions and any other poisonous insects.

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Malleswara Swamy Temple

In the Malleswara Swamy temple, the lingam shines brightly with the rays of the morning sun. It is on the left side of Doddeswara temple.

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Virupaksheswara Temple

The temple is famous for its sculpture. This temple is on the right side of Doddeswara Swamy temple. In the mandapa opposite to Shivalinga, Nandi's hand makes a sound.

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Navakotamma Temple

People here worship Navakotamma as the younger sister of Lord Siddeshwara. People here perform puja to Navakotamma to get children.

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