KATĀÑJANA

Kaṭāñjana also called Pakṣaśila - is a balustrade i.e. vertical slab generally decorated placed adjacent on either sides of Sopāna (staircase) of a temple.

Yali Kaṭāñjana at Veerabadra Temple, Lepakshi built by Veeranna & Virupanna Nayaka, Governors of Penukonda under Achyuta Devaraya of Vijayanagara dynasty in 1530 AD. 

These Balustrades (hand railings) are entirely made of a one single stone, decorated by a Vyāla or an elephant on the outer face. They may be simple in their carving or ornate- with various divine or mythical themes.

Kaṭāñjana (balustrade-partially ruined) on either side of Sopana (staircase) at 15CE Vijayanagara era Bhimeśvara Temple at Pushpagiri, Kadapa, Andhra Pradesh

When a balustrade has an elephant carving, it is called an Hastihasta (हस्तिहस्त). They are usually seen in Shaivite shrines. Often the elephant is carved in a full length, but sometimes only the fore part of the animal is carved. 

Hastihasta- only forepart of Elephant carved at 15 CE Vijayanagara era Bhimeśvara Temple at Pushpagiri, Kadapa, Andhra Pradesh

The trunks of the vyāla or the elephant are carved usually lengthy and the trunk portion forms the undulating coping for the balustrade. The tip of the trunk is finally turned upwards spirally, to look like a volute at the bottom of the staircase. 

The outer portion or the exposed portion of the balustrade is generally decorated with various divine, demi-divine and mythical themes. Normally, these two slabs (balustrades) will be identical in their theme and composition. 

Identical Hastihasta on either sides at 15 CE Vijayanagara era Bhimeśvara Temple at Pushpagiri, Kadapa, Andhra Pradesh

The purpose & meaning behind carving of elephants on the balustrades can be interpreted from the compositions of 18th century musical composer Muttusvāmi Dīkṣitar. In his compositions, he mentions about Chaitrōtsava to God Shiva in the presence of the four fold army- Caturaṅgabala (चतुरङ्गबल).

1) Ratha- Charioteers
2) Gaja- Elephantry
3) Turaga- Cavalry
4) Padāti samyuta- Infantry

Śivapurāṇa also mentions Chaitrōtsava in the presence of Caturaṅgabala.

Therefore, it is presumed that the elephant in war scene on the balustrade symbolically represents the four-fold army, which is to be present at the time of worship of the god.

Below is an interesting image of a Hastihasta Kaṭāñjana seen at vandalised Swayambu Shiva Temple in the ruins of Warangal Fort of Kakatiyas at Warangal, Telangana. Fortified by Kakatiya sovereign Ganapati Deva in 12th CE, this Shiva temple was constructed by the female Sovereign Rani Rudramma the daughter & successor of Ganapati Deva.
This Kaṭāñjana displays a Soldier & a Mahout sitting on a Vāru (a war- elephant) which is crushing a man by its trunk.

Usually balustrades are made up of a single stone. Sometimes, stone bricks are arranged one above the other, plastered with lime mortar to get the required size and shape, 

Hastihasta Kaṭāñjana made out of single stone seen at vandalised Swayambu Shiva Temple in the ruins of Warangal Fort of Kakatiyas at Warangal, Telangana

Kaṭāñjana made of several blocks of rocks plastered with lime mortar at 5CE Vijayanagara era Bhimeśvara Temple at Pushpagiri, Kadapa, Andhra Pradesh

Yali or Vyāla- are mythical creatures having composite features of various animals- lion, horse, serpent, crocodile etc. They are believed to act as guardians and shield a temple from threats both physically & spiritually. Hence, extensively used in temple architecture. 

Vyāla Kaṭāñjanas on Sopāna (Staircase) stop the evil influences from entering the temple. 

Vyāla Kaṭāñjana at Bugga Ramalingeswara Temple, Tadipatri, Ananthapur district, Andhra Pradesh built by Pemmasani Ramalinga Nayudu I a chieftain of Gutti-Gandikota under Krishna Deva Raya of Vijayanagara in 1490-1509 AD.

Vyāla on Kaṭāñjana is usually looking backwards. Its long & heavy undulating tongue, curls backwards like a volute, forms the coping for the balustrade.

Yali or Vyāla Kaṭāñjana at 16CE Narasimha Swamy Temple at Penna Ahobilam, Ananthapur district, Andhra Pradesh built by Vijayanagara King Sada Sivaraya. Yali's protuding tongue from head turned backwards to be noted.

Vyālas are represented on the balustrades moving towards the temple, with their head turned backwards. But the elephants are never depicted like the vyālas. 

The elephants are carved facing the same direction as that of the temple. Therefore, it may be even interpreted as though they are drawing forward the chariot of the god, i.e., the temple itself.

The reason for carving the vyālas moving in the opposite direction and the elephants in the front direction is also probably due to the fact that physically the elephants are not able to turn their head backwards as the vyālas do. 

Elephants depicted moving forward as if dragging a chariot- at 15CE Vijayanagara era Bhimeśvara Temple at Pushpagiri, Kadapa, Andhra Pradesh

War Elephant (Varu) depicted moving forwards seen at Ruins of Swayambu Shiva Temple, at Warangal Fort of Kakatiyas, Warangal, Telangana. 

Ruins of Sopāna(staircase) with Kaṭāñjana (Balustrades) on either side- at vandalized Swayambu Shiva Temple, Warangal Fort of Kakatiyas (also in ruins), Warangal, Telangana.