The Navabrahma group of temples present a distinctly early Chalukyan style developed regionally with contacts from the early art Tungabhadra while the Papanasi group of temples are located about 2km. southwards from the town. The standing ones are datable to mid-Seventh Century C.E., the earliest known inscription was of the times of Vikramaditya-I (654-681 C.E.) which refers to the installation of a linga in the Mahadevayatana of the Arka-Brahma temple. The Jogulamba, main Goddess of the place, is regarded as one among the 18-Saktis of India. The temple activity went right up to 16th century C.E. at this place. The Sthalapurana reveals the story of a Rasasiddha who came from Banaras with blessings of Jogulamba, caused these edifices to Brahmesvara. Alampur was in fact a fortified temple city, like Pattadakal, with a gate-way at the west (niravadya Prakara). It is a sacred kshetra and tirthasthana today with stepped ghats along the river Tungabhadra, an Uttaravahini here. All the nine temples are dedicated to Siva but called with the prefix Brahma. Thus they bear the name Kumara-Brahma (the earliest), Arka-Brahma, Vira-Brahma, Bala-Brahma, Svarga-Brahma, Garuda-Brahma, Visva-Brahma, Padma-Brahma and Taraka-Brahma. Besides, a plethora of minor shrines and mandapas of later date; votive monolithic rock-cut shrine models with linga or deities inset are noteworthy. Bala-Brahma complex is continuously under worship right from 702 C.E. and elaborated in later periods to suit the ritual needs. The Sivaratri utsvavas, and car festivals in particular, attract large number of pilgrims from all over Andhra and Telangana states. The temples on plan are closer to the rock-cut chaitya caves of Western India. The sanctum placed at the end of a rectangular pillar hall, which has a central nave and side aisles formed by the rows of pillars and the passage covered with sloppy roofs. The Svarga-Brahma and Kumara-Brahma temples have, in addition, a pillared porch (mukha-chatushki) included in the ground plan like the Ajanta and Sanchi examples. The square sanctums have the pradakshina arrangement around. The Padma-Brahma temple partly ruined is the largest among the Alampur group and is similar on plan to the Visva-Brahma, though its sikhara is ruined. The sikhara elevations are distinctly northern, having a curvilinear form outwardly (rekhanagara prasada) with three to four bhumis, each distinguished by corner (karna) amalakas. The lata (creeper) decor of the central offset closely recalls Aihole. The Sukanasi (ante-fix) over the antarala is integrally connected with the tower, except in the case of Kumara-Brahma which has a flat roof. The chaitya-mukha-patti contains an elaborate dancing figure of Siva. The top members of the sikhara are a flat skandha (shoulder course) and pidhanaphalaka (plank closing the supersturcture) with Nandis at the corner, a prominent griva (neck) and amalaka topped by kalasa and stupi. The Taraka-Brahma temple is a lone example containing a sikhara of the southern order (stepped pyramidal) with, however, a prominent sukanasi over the antarala having the Natya Siva in the Chandra sala front

on which again are typical Western Chalukyan. The door frames of the sanctum and closed mandapa entrances have intricately designed dvara-sakhas with Ganga-Yamuna or Nandi, Mahakala and chauri-bearers, the lalata has Gandharva couple or a flying Garuda. The sculptured setting on the kati (wall) exterior, both over the sanctum and correspondingly on the mandapa, is very harmonious. The various niches (khattakas) for deities, lattice windows (jala-vatayanas), stone screens (bhadravalokanas) and wall recesses filled with figural and floral designs particularly of ghata-pallava class of pillars with mithuna panels recall the Gupta ones. The unique kudyastambhas (engaged columnation) tend to be very decorative. The Gandharva, Vidyadhara figures with luxurious padmadala, hamsa and mayura, add considerable elegance to the wall faces.

Iconography: The Svarga and Visva-Brahma temples show richly carved exteriors and especially forms of Siva Vyakhyana-Dakshinamurti, Gangadhara, dancing Siva in lalita pose over the facade, Lingodbhava, Tripurantakamurti, Bhikshatana and Gandavatarana are noteworthy examples of early Chalukyan style, etc. The Ramayana scenes in Visva-Brahma, the Mahabharata and Mithuna depictions on the exteriors are unique. In Bala-Brahma the Saptamatris are full-fledged images, bare-bodied upto the breast as in Nolamba style. Umasahita-Vrishabha-rudhamurti, Tandava-Siva in square frames over the ceiling, Chamunda figure with pretastana is among the unique examples. The horned dvarapalas at the Svarga-Brahma and Padma-Brahma recall Vishnukundi ones from coastal Andhra. In the Site Museum here we have a fine piece of an eight-armed Nataraja dancing on apasmara and Renuka or nude goddess with lotus head. In the Visva-Brahma temple Dakshinamurti in utkutikasana, Trivikrama and the banked boyish Kartikeya with mayuradhvaja are among the finest examples.