The Pachala Someshwara temple
This temple is within the village of Panagal itself, but you can miss it unless you get very specific instructions indeed. On the main street past the central junction of the village is a modern temple. You have to make a right turn before that into a little lane to reach the old temple. Be very sure to ask many times as the contemporary concrete monstrosity is what you will be directed to by villagers who cannot fathom why you want to travel so far to see an old stone temple when they have a spanking new one at hand! There are no sign boards telling you when to turn as that would be too obvious and simple to do. Until you actually hit the gate you are sure that this cannot be the place as it is crowded and close. Then, the space magically clears up to reveal the temple and you are in a wide open enclosure which even has an Archeological Survey museum within!

The Pachala Someshwara temple is unusual in that the builders were never clear what they wanted to convey. It is actually a rectangular hall with a temple superstructure, row after row of pillars splitting the interior into aisles. At the moment (July 2004) the temple is undergoing extensive repair work but the pace of operations would give snails a superiority complex. The museum-in- charge was still on his 'lunch break' at four in the afternoon so that might explain things. There are three shrines dedicated to the big three of Hinduism, Brahma, Vishnu and Shiva, but in practical terms it is a purely Shiva temple. They have a literal Yupa Sthamba in place here, something I have never seen before. The uniqueness of the temple lies in its sculpture. In terms of density this temple should be the champion. The bizarre ambition of the sculptors was to represent every important myth of the Hindu tradition upon its walls pillars and ceilings and I think they achieved it. Everything is crammed tightly in place with a weird exuberance that you cannot but admire. Shiva stories, Vishnu stories, Skanda, Ganapati, Durga everybody is present and saving the world from the forces of evil. In the middle of all this minute detail they even carved a truly magnificent life-size Nandi. The Astha Digha Palikas are more conventionally represented here. It is a live temple, with regular worship, and the energy is palpable. The outside walls are decorated with abandon, in a style never before tried, as vertical lines of scrolls are interspersed with carvings of the gods. Everywhere there is Kirtimukha, laughing down at you. It is simply impossible to take it all in at one go. You have to section the temple off and then look carefully and in detail. So much is, not hidden, as much as veiled, and only patient observation will reveal the egoless effort of the artist.
I was reminded of the old verse:
"In the elder days of art
Builders wrought with greatest care
Each minute and unseen part
For the gods see everywhere."

There is a dancing Ganapati carved in an obscure corner, a spectacular little joke actually, as this now ubiquitous representation was then a sensational departure from tradition. There is a Vishnu, in the form of a great boar, frantically digging below his panel to find the origin of the great Pillar that is Shiva. There is the great hero of the Mahabharata, Bheema Karma Vrikodara, "The wolf-bellied Bheema of the terrible deeds", clubbing unfortunate elephants to death in battle. Quite a few of the images have been deliberately disfigured by what the guidebooks coyly refer to as 'vandals' - i.e. Muslim invaders from the north of India. And of course there are the Apsaras, little masterpieces in their own right and obviously the product of a talented artist working alone instead of part of a mass producing team.

The museum is worth a visit for the sculpture garden they have created. The interior of the museum is too preachy, determined to educate you, stylistic and historic continuity be damned. The sculpture garden however has some beautiful examples of Kakatiya art and they are artifacts with presence. Of special note are the seated Ganesha, a veritable rock of rocks, earth energy incarnate; a Bhairava, Shiva in his wildest and most bizarre form; a remarkably elegant Kirtimukha and the most beautiful piece of Nagini sculpture I have ever seen.

How to get there
By air
Hyderabad city is the closest airport.

By rail
Nalgonda is the nearest station at hand from where Panagal is very close by road. However, Hyderabad makes a better jumping off point.

By road
Panagal is surprisingly well served by an extremely good road from Hyderabad which is about 100 kms away. However, distances are deceptive as rapid urbanization means you are still in dense traffic well beyond city limits.
The best route out of Hyderabad is to take the airport road out of the city and proceed towards Tarnaka. The road signs are fairly simple to follow but fading and high overhead! From there you proceed to Uppal and take a right turn from the central square towards L.B. Nagar. A left turn from L.B. Nagar, you have to traverse the length of it, takes you towards Nalgonda town. It is helpful to note that you have to pass the Ramoji Film City which is becoming a tourist site. On the road there will be no indications about Panagal . Look out for signs indicating Suryapeth or alternatively Suriapet. [No two signs agree upon spelling.] Panagal is after Suryapeth and before Nalgonda. Ask and ask again.

The best people to make enquires from are auto rickshaw drivers and goods transporters. Other people may or may not be aware of Panagal , and politeness issues may find you hopelessly misdirected. Ask for Panagal Devalayam, as temples are called Devalayam in Andhra Pradesh. In Panagal Village itself, do not be discouraged by the populace's seeming incomprehension or ignorance. Somebody will ultimately guide you right. At both places they are liable to tell you the other temple does not exist! Ignore that and persist in asking for them.It is best if you have your own vehicle as local transportation is not frequent or adequate and is inevitably laidback.

Where to stay
There is supposed to be a local government rest house at Panagal . We could not locate it. Presumably they were on a lunch break too. Staying at Nalgonda is best if you are willing to rough it. About 10-12 kms before Panagal , on the left side of the road, is a restaurant of sorts in rusty orange with a vast parking area. It is unmistakable and it also offers dormitory accommodation. Be sure to take large amounts of mosquito repellant and personal toiletries. Panagal itself has no place to eat in, so carry food with you, or eat at this highway stop or eat heavily before setting off from Hyderabad. Menus in the interior are primarily decorative objects, so save time and ask what they have first.

Readers Contribution - Mr. Sugata Mitra, India
The easiest way to get to Panagal is to proceed towards Suryapet from Hyderabad and, on the way, take the second turn towards Nalgonda city after the town of Narkatpalli. Most importantly, I think I was able to find the reason for the shadow at the temple. If you sit in front of the lingam you will see two shadows of yourself on either side of the lingam, this is your first clue. Now, if you enter the room where the lingam is and look outward from behind the lingam, all will be clear. The light comes into the room from between two sets of pillars, forming two white patches of light on either side of the lingam. The "shadow" in the middle is just the space where no light falls. If you recall Youngs Double Slit experiment from school, that is like what the architects have achieved at the temple. The two virtual sources of light on the wall form an area of darkness in the middle that looks like a pillar.