#photography# travelogues#India #Karnataka#Belur#temples#chennakeshavatempl#heritagetemples#hoyasala dynasty#art#architecture

Whenever we visit Bengaluru, our weekends are spent in meeting near and dear
ones and come Monday we are off to some nearby destination for two to three
days trip. So this time when our son asked on Sunday, “Which place you people
plan to go?” The answer was ready, “Belur.” Chennakeshava was calling this time.
The pictures we had seen of the intricate carvings and marvellous expressions on
walls of the temple had created such a deep longing to be there that our hearts as
if ached with the magnitude of the emotion.
On Monday morning sharp at 7 A.M. our cab left Bengaluru and after about a 5-
hour comfortable ride we reached Belur. We stopped for breakfast at an Udipi in
the mid. The generous size soft Idlis, piping hot Sambhar, coconut chutney and
delicious vadas in neat surroundings made Udipi a place worth stopping. We
reached Belur at about 12 or so. We checked in at Mayur Vellapuri, Karnataka
Tourism department guest house.  Though the guest house is located on a busy
road of the main market but once you enter the gate greenery there welcomes
you with arms outstretched. After taking bath we walked to the temple. Yes, the
temple is hardly at a distance of 500 meters from Mayura Vellapuri.
The moment I stood in front of the grand, imposing golden Gopuram, resplendent
in soft afternoon sun light my heart was filled with gratitude. And a calm, peaceful
joy started spreading within me. The top of the Gopuram shimmered under
sunrays reflecting as If His calm benevolent smile and I felt His boundless grace
being showered on me.
The present structure of five storey Gopuram was rebuilt in 1397 by Gunda, a
general of Harihara 2 as the earlier one was destroyed during an invasion by
Ganga Salar, an officer of Tughalakas. Top of the gopuram has two horn like
structures at both the ends. It is said these represent horns of cow. Cow is a holy
figure for Hindus and these horns are to represent holiness. In between are five
Kalash. Kalash too holds a religious significance and number five also has a special
significance–Panchboota, five elements, earth, water, air, fire, and space,
Panchamrut, Panchendriyas. Nothing in a temple complex and structure is
without a deep significance. Temple architectural art is a deep Sadhana.

The majestic gopuram

As I crossed the gopuram the vastness of wide, open to sky compound took me in
its outstretched arms. The vastness, the expanse cut you off from the humbug of
outside world and instigates you to initiate the journey with a new outlook,
deeper devotion.

In the center of this spacious courtyard on a raised platform sits the main shrine
of Chennakeshava, a star shaped homogenous unit. There are many smaller
shrines and colonnades in the compound.

Main temple


To the south of the main keshava temple there is the Kappe Chennigaraya temple
and a small temple of Goddess Soumyanayaki, a form of Goddess Laxami. At the
time we visited besides the main shrine this was the only shrine where pooja was
being conducted. Rest all shrines were closed.

kappe chennigaraya temple
Somyanayaki devi temple


To the west of the main temple is the Viranarayana temple with large reliefs on
the outer walls. All these reliefs are dedicated to various gods and goddesses. This
temple too is dated to 12 th  century.
There are two stambhas, pillars in the courtyard. One pillar is of Garuda and
another one Deep stambha. The Garuda pillar was erected during Vijaynagar
empire wile the one with lamp is inscribed to Hoysala period. The lamp post pillar
is also known as gravity pillar. It is told that it stands without foundation. Near
Garuda stambh sits Garuda, the vahana of Vishnu with folded hands facing the
entrance to main shrine.

Deep stambha, also known as gravity pillar.
Garuda stambha and Garuda idol


Besides these on one side of the compound there is a long corridor running upto
the step pond near the gopuram. Many inscription plaques and other idols,
figures are cemented to the wall of this corridor. I think it has been done to
preserve and maintain the precious heritage pieces which must have been found
in the premises. This is just my own conjecture.

The corridor


The pond which must have been perhaps once used by pilgrims and devotees is
not accessible to public now but its presence there makes those bygone times
more alive to imagination.

The pond


This is just an overview of Chennakeshva complex, the real journey I shall carry
forward in my next post.
This archiectural and sculpture wonder built by Hoyasala king Vishnuvardhana in
1117 is an ode to art on stone. I will try to take you on a trip around but words
can never describe what this specimen of master craftsmanship has to offer. Still I
cannot resist myself from reliving my experiences and memories of the time spent
in the company of those exemplary art pieces created by the artists of Hoyasala period.

The mesmerizing grandeur that eloquently talks about our rich heritage.

All the pictures @ Sunder Iyer