Lord Gomateshwara At Shravanbelagola

We left Belur early in the morning and started our return journey to Bangaluru via Shravanbelagola. Yes, the well known Jain Teerth was in our itinerary of the last day of the trip.

We reached there at about quarter to nine. Most of the shops were not open but the streets were full of sounds of waking morning. The tea shops and small eateries were ready with breakfast options.

We knew that to reach the magnificent monolith of Bahubali, atop Vindhyagiri hills, we needed to climb about 620 stairs and we were a bit apprehensive about that. I mean it is quite a flight and I was thinking whether I would be able to traverse that height easily. But all my apprehensions proved to be futile; we could reach the top without much difficulty.  It was morning time and that too in the month of December hence climbing bare footed was no problem at all rather the soft warmth of the rock gave a comforting feeling to soles. There is no shade over the steps hence morning is the best time to scale the hill. The steps are quite rudimentary and are cut on the rock with metal rods running along the steps.

walking towards main gate, in the background are the pond and Chandragiri hills.

We reached the main gate and sat there to rest for few minutes. The view of the town below was mesmerizing. The pond, Belagola shone like an emerald stud midst the surrounding structures. Chandragiri hills across beckoned to its arms to explore more of history and the breeze were soothing and exhilarating. Whenever I climb a hill to visit any Buddhist cave, a sacred Jain shrine or a Hindu temple, I thank my ancestors who built these sacred places at a point which is high and not easily accessible. The feeling which I have after reaching there is beyond words. Atop there I feel detached from all the worldly tentacles of day to day routine, a serene calm dawns upon me and I feel my mind purified enough to surrender to the divine powers with all the humility.

The view from the top.

Mesmerizing view of the pond and birds.

After walking further the first structure we came across was Vadegal Basadi. This is a trikuta Jain chaitalaya having shrines of three Jain teerthankaras. The dimly lit chaitalaya was cool and quiet. The idols of three thirathankaras Adinath, Shantinath and Neminath are made of shining black stone and they sparkled with all their serenity even in the semi dark of the hall. This chaitalaya too is said to be erected in 10^th century by the military commander Chavundaraya.

inside vadegal basadi.

Outside vadegal vasidi. Ah! the bliss of breeze and peace.

front exterior of vadegal vasidi. To feel the wind was such a liberating experience.

Walking towards main enclosure from Vadegal Basidi.

Walking a bit more towards the enclosure around Gomateshwara we found the Tyagada Khamba, a beautifully carved pillar with reliefs of creepers and flowers. It is said that the pavilion which supports the pillar presently was erected on much later date while the erection of the pillar is attributed to the times of Chavundaraya only. The inscription put up by the archeological department was faded hence could not gather much detail about it but read somewhere that this was the pavilion where commander Chavndaraya used to distribute gifts to poor.

The Tyagada Khamba

Another remarkable structure on the way to reach the main enclosure around Gomateshwara is this big rock. The rock is on the side of the way leading to main shrine. Intricately carved rows of tiny figures make the rock a valuable monument in itself. Captivated by the beauty I marvelled whether it was a planned work in total scheme of things or some passionate sculptor found this rock to be a perfect canvas to carve his art. I was inclined to go for the second option and was happy to imagine the times when people, nature and arts survived in harmony.

The Rock

Entering the enclosure we straight way headed to have darshana of the magnificent monolith. To have a close up view of colossal statue is awe inspiring. Standing erect under the open sky more than 58 ft high monolith carved out of single granite rock spells the concept of inner strength, the courage, the power possesssed when one is at peace with oneself. It reflects serenity, calm, and reliquishment without any anger or rage. I mean it’s an experience to feel. Words miserably fall short in capturing the massive impact the world’s highest free standing monolith has on you. This massive monolithic statue of Lord Gomateshwara aka Bahubali aptly conveys the enriching principles and ideals lived by him.

Lord Bahubali

The story of life of Bahubali goes like this – Bahubali and Bharata were the sons of first jain Tiranthakara Rishabhnatha. They were the descendants of famous Ikshavaku dynasty of Ayodhya, the dynasty to which Lord Rama belong. Rishabhnatha was king of Ayodhya but he reliquished his kingdom to become a Jain monk. He handed over his kingdom to his sons. Bharata got Ayodhya and Bahubali got Asmaka, comprising southern part of India. However Bahubali challanged his elder brother to a fight to claim his supramacy. Both of them were great warriors but ultimately Bahubali defeated his elder brother Bharata, But the fight and the materialistic concerns goading him to have this fight with his own elder brother somehow disgusted him. He was full of remorse to be a cause of insult to his brother. He renounced not only the kingdom but cut himself from all worldly and materialistic ties and started performing penance. He is said to be in the posture of Kayotsarga, standing immobile, oblvious to one’s own body. During the period of penance many creepers grew on his body and ant hills too developed around him. The creepers are carved on the statue too. The feeling of absolute peace which is achieved after renunciation is aptly displayed on the countenance of the statue.

The courtyard from three sides is surrounded by covered verandah .Statues of many Jain Tirthankaras are installed in the verandah.

Sitting quietly in the verandah, looking at the tall statue of Lord Gomateshwara fills heart with unexplicable peace.

The Vindhyagiri hills has a lot to offer. The outer walls also have many beautiful carvings. There are other Basadis too.

The gigantic statue was specially made to fulfill the wish of Kalala Devi, mother of a 10^th century military commandar, Chavundaraya of Ganga dynasty. Every 12 year Mahamastakabhishekam festival, in which the statue is anointed with milk, curd, ghee, coconut water, saffron water, flower petals, turmeric, sandalwood powder and this grand jain festival is being continued since 981 A.D. It appears mahamastakabhishekam was initiated during the time of Chavundaraya.

We can Darshana of lord Bahubali from about 30 ft away.

All the pictures by Sunder Iyer.

 

Mythological stories at Chennakeshava -1, Mahishasurmardini

Many mythological stories, episodes are engraved on the exterior walls of the temple. Most of us are aware of those stories. We would have seen them depicted in different art forms at some or other time. Besides the fineness of the art what I enjoyed most about the depiction there, is the way the artists have let their imagination take shape of their own.

Mahishasur Mardini

The story of annihilation of Mahishasur by Goddess Durga is well known. Mahishasur was born out of union of a Mahish (buffalo) and an Asur i.e. demon (did our people at that time conceptualized about mutation between two different species? Well, let us leave the question for another time.) Another remarkable feature about our mythology is that here the Asuras, the bad and negative forces have been depicted to be very strong willed and capable in performing arduous and difficult penance to get boons of various kinds. For getting the boons most of them worshipped Brahma or Shiva. Though both of them were on the side of Suras [ Devtas], i.e. those representing good forces, they never shied away from granting boons to Asuras if the arduous penances were done rigorously. Good deeds deserve reward, is the message here, I think.

So like many other powerful Asuras in our mythological stories Mahishasur also got boon by appeasing Brahma. He asked for a boon that no one other than a woman could kill him. In fact he first asked for a boon of immortality but Brahma said this boon could not be granted as every living organism has to die at some or other time, hence Mahishasur asked for the above boon and thought him to be as good as immortal. He was very powerful, strong and capable of changing many forms. Obviously he thought a woman could never overpower him. Well as the story goes after acquiring the boon Mahishasur started his reign of terror. He conquered Bhooloka, i.e. earth and then set Devaloka as his target.

Now Devas approached Brahma for seeking help as they knew all of them together also could not do any harm to Mahishasur. Finally all the three entities of Trinity came together and created a woman by vesting best of their powers. She was manifestation of Shakti. At some places I have read that this manifestation of Shakti had ten hands while others describe her as having eight hands. However in this particular sculpture, the sculptor has depicted her as having ten hands. So, Vishnu gave Her His Sudarshan Chakra, Shiva His Trishul, Brahmna His Kamandal, Indra His Vajra, thunderbolt and other Devatas too gave Her their weapons.

When the final battle between Devi and Mahishasur took place it is said that the Asura took form of buffalo. When Devi overpowered this mighty beast and cut its head, the Asura in human form started to emerge, but Durga’s lion pounced upon him and pinned him to the ground and at that moment Durga raised the trident, piercing his chest and slayed him. This exact moment has been sculpted by the artist to the precision — the buffalo, the asura coming out of it in human form, pinned by lion to the ground and Durga with the trident piercing his chest. All other hands of Devi are armed with different weapons. Just pay a little attention to the expressions of Devi and the lion. Devi’s expression clearly reflects the emotion of executing the final act for accomplishing a task, while lion is kind of in a joyful mood, satisfied with himself for pinning down asura to the ground, happy for being of assistance to goddess. Whatever it might be but creating emotions on stones! These Hoyasala sculptors did wonders and we compare a deadpan face with stony expression.

Picture@Sunder Iyer

 

Shilabalikas at chennakeshava

Besides inscriptions the sculptures, the carvings on and around Chennakeshva temple too act like historical documents reflecting upon not only art and culture aspect but also the norms and ways of social life of that time. I feel the Shilabalikas of Chennakeshava are a powerful statement about the way the women of that period led their life. They pampered themselves, they pursued their interests be it dance or instrument playing or hunting. They appear to celebrate being woman and I think placing of these women as brackets supporting the roof, connecting it to walls too is a powerful statement about their importance and place in social structure, specially as a supporting force, an adhesive entity. Let me introduce you to as many as I can.

1 –Let us start with Darpan Sundari, the most famous shilabalika, as she is also the emblem figure of Karnataka tourism department. She is on the left side of the main entrance door. The Sunadari is engrossed in looking at her image in a mirror in her hand. Look, even the mirror is carved with minute details like the handle and frame etc. Head to toe decked up with fine ornaments, hairstyle, her posture, movement of jwellery and clothes in synchronisation with her posture, the grace and beauty reflected is simply mesmerizing.

There are two women figures on one side and one on other side of Darpan Sundari towards the lower side of the sculpture. It is interprted that these are the assistants, maids of Darpan Sundari. One of the figures is carrying a monkey in her lap and is the smallest among the three, while the woman on other side appears to be looking at tall standing Darpan sundari. The deatais of ornaments of these smaller figures, their dress and hairstyle too are chiseled with precision and is almost similar to that of main figure.

Darpan Sundari

2- This one has a Damaru in hand and is dancing. Look at the foot above ground, the tribhanga mudra posture. I have read a drum dance; a traditional folk dance called Dollu Kunitha, ows its origin to a tribal community, kuruba Gowda of Karnataka. It was performed as a ritual while worshipping Shiva. Is the lady performing Dollu Kunitha? Her facial expression, eyes half closed, that smile playing on her lips clearly spell that she is enjoying a blissful mental state. Isn’t it astonishing that these craftsmen brought out the emotions too so perfectly on stones?

3 – This Shilabalika is remarkable for its hairdo. Look at the stylist bun. The turns and twirls of hair are so distinguinshigly clear.Hairstyles of these Shilabalikas, each and everyone come as a remarkable fashion statement. No two hairstyles are exactly same. Focus at the monkey pulling the saree of the maiden. She is looking at the monkey a bit annoyed or that could be an indulgent smile,and she is trying to shoo the monkey off with a stick in her raised hand.Is it really a monkey only or the sculptor created it as a symbol. This Shilabalika is attired in a way different than other shilabalikas. I feel the artist wanted to convey much more than what is apparently seen here.

4 – Shuk Bhasini is another quite popular shilabalika. She has a parrot on her hand and her lips are carved in a way that she appears to say something, that slight protrusion of her lips. She is talking to her pet parrot.Minute detailings in these sculptures is mind blowing. Shuk Bhasini too is accompanied by three small figures with similar hairdos and jwellery etc.

5- I am not very clear what this Shiabalika is holding in her hand but the expression of this one and one of the smaller figures reflects as if they are in a kind of indolent mood. The rings in her fingers, the head jewelry, everything is carved meticulously.

6 – Here dance practice is going on. Instrument players are accompanying her. Look at the sole of one foot perfectly placed in a dance stance, not fully touching the ground.

7- Here too smaller figures are playing on instruments but the lead figure is not dancing rather singing and playing cymbals. Her feet are not in a dancing mudra, lips are a bit parted so this Shilabalika loves to sing. Music and song is in the air.

8- This one appears to stand waiting for some one. The most remarkable part of this shilabalika is her hair. Look closely at that big bun and then long, thick bunch of hair cascading down. Did you mark that the long hair is perfectly pruned in a straight line and the big bun is held with a long clasper?

9 – And here is another interesting depiction. The lady is standing on one foot. She definitely is not a dancer so to maintain her balance she needed to hold that creeper. Her assistant is putting toe ring on her one finger while in her free hand she has another toe ring ready. The joy of dressing up, getting ready is so apparent on her face.

10- Speciality of this Shilabalika is the artist’s attempt to craft a transparent dress on stone. Pay attention to the design of the dress at the back of the lady and on one of her leg and impressions on upper part of body.

11—This one appears to play an imaginary flute or is it a kite flying posture. I think she is playing flute and a sombre tune at that. Isn’t that what her expression tells?

12 – This Shilabalika appears to be quite confident in her own skin, assured of her power and beauty. Look at that smug expression on her face and what her assistant is trying to do? Is it a mirror in her hand? Is she trying to show it to her and she does not bother even to cast a glance on that side? Is this gesture too has another symbolical interpretation?

13 – This Madanika is playing Nag-veena. One end of Veena is snake shaped.musicians are accompanying her.

14—here comes the drummer. An all girls band? She holds the stick to beat the drum and did you notice her second hand? She holds the drum at place with another hand and has placed it under the ropes of drum. Loved that detail. Each and every rope of drum has been carved so nicely and clearly. These minute details reflecting the imaginative power of the artists are the signature stamps of the sculptors of Hoyasala period.

15 – one hand of this lady is damaged and she is holding something in her other hand. Due to the damage its not very clear what she is doing exactly. However when we pay attention to her assistants, we find that one assistant is giving a tumbler kind of pot to the lady. Is the assistant giving her something to drink and the other one, what that assistant is doing? Two kind of interpretation is done for this frame. Some believe that it is depiction of holi playing celebration as one assistant is filling colour in pichkari. Other interpretaion is that the assistant is someone well versed with medicines and is preparing some potion or a kind of medicine to relieve the lady of her pain or ache. The other assistant has brought water to her. Looking at the facial expression of the lady , I incline towards the second interpretation. Don’t you think that she gives an impression of being in pain. Her half open eyes , drooping eyelids too seem to indicate that.

16 – here comes another special one. She is squeezing her hair dry after coming out of her bath. She is not yet ready hence not decked up with jwellery and is putting on only the minimum of ornaments.

17 – Another one with Damru and kartal in hand.

18 – this group is all ready for hunting or war. Bows on their shoulders are clearly stating their intentions.

There are 38 Shailbalikas as bracket figures adorning the exterior of the temple. I have talked here about 18 of them. Each of these graceful Shilabalika or Madanika stands under intricately carved creepers, laden with fruits and few of them having birds and insects too. These Madanikas are epitome of feminine beauty, grace; symbol of fertility, peace, prosperity and harmony. The splendid workmanship of the master craftsmen of Hoyasala period is at their magical best while giving life to these richly ornamented beauties with shapely eyebrows, pointed nails, graceful postures and varied expressions.

All pictures @ Sunder Iyer

 

inside chennakeshva, belur

Main shrine in chennakeshava complex at Belur

I walked upto the steps leading to Jagati, the star shaped platform with 32 angles over which the temple stands. Even before one raises foot to climb on the first step the miniature temples on both the sides of step invite one to stop.

The entrance to Garbhgrah and a view of smaller temple outside

I too was tempted but after stopping for a fraction of second, looking up and around, I inhaled deeply and went directly inside. I decided to come out later and let the art pieces carry me into their world but first I thought to have darshanam of Keshava and convey my gratitude for calling me to His doorstep. As I crossed the threshold and stepped inside, the darkness in the chamber made me stop. I looked straight over the heads of other devotees and the lamp in the Garbhgrah beckoned like a guiding force. From exterior to interior, it was like body to soul and at the farthest end Keshava smiled like the blue light at the deepest core of our soul. It was such an amazing experience that for few minutes I was rooted to the spot. And then gradually the eyes became accustomed to the dark and the unparalleled beauty inside started captivating me. But first I headed directly to sanctum, paid my obeisance to Lord and then moved back to get subsumed by the sculptural beauty around.

That source of light, the supreme being

The interior of temple is divided into three parts – Garbhgrah (sanctum), Sukhanasi(vestibule)navaranga (central hall). On both the sides of the door of sanctum stand dwarpalas – Jay, vijay. Above the door hangs an intricately carved Torana with many embleshiment. Above that stand a band of musicians and dancers and then are two makaras on both the sides with garland like, arc shaped finally carved image coming out from their mouth under which sit gracefully Laxami Narsimha. It is not easy to see every detail there as it is quite dark inside but then who is in a hurry to come out. Stand there inside for some time. Let your heart soak in the aura and eyes ready to be able to focus and the wonders start unfolding.

Have divine Darshanam and then enjoy every intricate detail

Navaranga mandapam, the central hall has many pillars but out of these the four pillars close to the dancing floor stand out due to their exquisite carving. These pillars and the ceiling between them is mesmerizing. The pillars are smooth, shining so much so that even though black in colours they sparkle in the darness of hall. Of course, for absorbing the finally carved details we need to throw some light. One of these four pillars is known as Mohini pillar.

An overview of central hall and vestibules with exquisitely carved pillars.

Navaranga and one of the vestibule

Mohini pillar depicts Vishnu in His Mohini Avatara. Her serene facial expression, stance of standing, the curves of body and with that swaying effect of intricately carved jewelry is astounding. How could such fine detailing be done on stone! And when it comes to detail these Hoyasala times artists and sculptors have surpassed all the limits. Take an example of this Mohini image. Along with various items of jewelry like necklace, anklets, waistband there is a thread hanging from left shoulder to waist. What is that? An Yagopaveet, the sacred thread and what that thread is doing on a woman image? Perhaps, the artist wanted to establish that this is Vishnu, a male deity in a woman form. What a flight of imagination and what a way to manifest that!

Mohini pillar

Another pillar here is Narsimha pillar. The entire body of the pillar is studded with fine filgree work, images of Gods and goddesses and various mythological episode. Besides this the shape of the pillar too depicts the ingunity of the sculptors. The rectangular base on which rests a circular end of the pillar, again a rectangular portion and then a circular portion with many horizontal layers and at the top the pillar gradually becomes narrow. I have not witnessed it but heard that this pillar has this specific structure as it was made with a purpose to be rotated on its axis. May be like those big prayer bells in Buddist temples and monestry the artists had something in mind. This pillar is very near to Garbhgrah.

The ceiling above these four pillars too is very intricately carved. Above each pillar is a bracket figure. These are Suk Bhasini, Gandharva dancer, lady drying her hair and Queen Shantala. These bracket figures are specialty of Chennakeshva temple, Belur and the outer wall of the temple has many specimens of this type.

Shukbhasini, a bracket figure

intricately carved ceiling over central hall

ceiling with two of the bracket figures.

The dancing floor on three sides leads to vestibules with doors opening to platform on east, north and south side. The platform with pradakshina path has flight of steps on these three sides touching the open temple compound.

From Garbhgrah now we are out on platform ready to enjoy the extravaganza of art and sculpture, a wonder world of masterpieces created by the artist and sculptors.

I love the symbolism in this picture — the body, the soul and the light source at the farthest end.

All the pictures @Sunder Iyer

 

Dayang Bunting island Langkawi

Langkawi is an archipelago of about 99 islands, we visited only two besides the long walks and leisurely times spent on some beaches.

The first island cum marble geo park was Dayang bunting island and marble geo forest park. From a point on beach side we rode on boat and what a ride it was. Waters green blue to the limit of eyes, green forest covered islands standing in the middles of waters and the speed, it was thrilling, it was fun. We all shouted with child like enthusiasm whenever a wave under the boat bumped into the boat with force and pushed it upward.

 

We on our boat

 

 

 

Dayang Bunting island is said to be the second largest island in Langkawi. It is uninhabited island though various tourist activities, stores and hoards of boats keep it alive and buzzing during day time.

The literal meaning of Dayang Bunting island is island of a pregnant woman. It is said that one of the dominating hills surrounding the island is in the shape of a pregnant lady lying on her back hence the island is named so. While others relate to some folk lore related to a princess, who met her love at the lake. Their son died early and they decided to let him rest in peace in the lake. However local belief is that a couple aspiring for a baby get their wish fulfilled if they visit  and take a dip in the lake.

 

 

 

The area of the lake and hills surrounding it where boats drop passenger for a walk into geo forest park.

 

 

As our boat dropped us at island

 

 

Though the surrounding area was full of green dense forests this tree in particular attracted us. It was standing at the starting point of the wooden platform leading to a view point deep into the waters . In fact it were the birds on the tree that made it beautiful. Their chirping sounded like a welcome song.

 

 

 

 

A walk that not only took me to that shaded structure at the end of path but like a bird made me feel soaring up in the blue sky, over those green hills and then with outstretched hands coming down to touch the crystal clear water playfully with all the songs of joy in my heart.

On the opposite side of this, the concrete path where we landed from boat took us to dense green jungles. The path goes up and down. Amidst the tall trees are various rock formations. At the end of this path is lake Guillemard lake. This lake is a fresh water lake. The most unique part of this lake is that it very close to sea still it is a fresh water lake. Surrounding area is a part of Dayang Bunting geo forest park.

 

The Guillemard lake 

The lake too is called as pregnant woman lake. The lake is formation from an underwater lake whose surface collapsed and the area is filled with water to form lake.

 

A view of lake from the structure on the bank. Down are shops selling various souvenir and other essential items. 

 

Another view of lake. People enjoying boating, bathing , swimming. Nature is amazing. In between it’s destruction too lies creation.  The faults, the plates trembles, shudders, shake, rocks rumbles down and in between those rumblings, trembling and stumbling features change and something beautiful emerge.

resting on way back from the lake

This area has many rocks big and small. Shady trees and shades built provide respite on a hot, sunny day. But one needs to be a bit cautious of monkeys. They tend to snatch things if you are not careful. But then sometimes they entertain too. Look at this one. Somebody threw a beer can to him and he started enjoying it.

 

 

 

 

“Devang bunting marble geoforest park that host the endemic palm is made of two main limestone formations the Setul- 490-370 million years and Chupina 285-250 million years formations with Singa formation in between. The tectonic movement….. brought up the entire Setul formation in the eastern part of langkawi to overlap  the much younger chuping formation in the west is among important evidence of the major tectonic event in the south east asian region during the period between late permian and late triassic-250-220 million years in langkawi, these two minor blocks collided along a plane called the kisap thurst fault dividing the pulau dayang bunting into two halves. this event was followed by the emplacement of the dayang bunting granite intrusion -220to 210 million years that transformed the limestone into one of the world’s best marble . Due to these faulting and intrusion the limestone had undergone severe fracturing thus facilitating ground water to penetrate the weak zone and dissolved it along the way. it is the combination between the ground water dissolution and have erosion under the influence of sea level changes that are responsible in the development of the complex island and terrestrial thrust landscape including the tasik dayang bunting.”

Above paragraph I took down from a rusting board from the site, I don’t know much about Geology and related phenomena but as the text written on the board was getting eroded due to climatic conditions thought of preserving it.

All pictures copyrighted by Sunder Iyer.

 

 

 

 

 

 

Langkawi sky bridge

Langkawi is an archipelago of 99 islands on Malaysiya’s west coast. Oohh! 99 islands, yes and that makes it an amazing place to enjoy sun, sand and waters. The beaches with silky sand and swaying coconut trees with ample number of comfortable hotels dotting the shore line tempt tourists to visit Langkawi.

Langkawi also has hills decked with virgin forests. The jungles are exotic, dense and extend to limits and locations which is very difficult to reach in normal way but then the authorities there have created the miraculous wonder like Sky Bridge to make it possible for the people to breath in that fresh air, to feel the closeness of those remote hills and jungles.

Sky bridge, as the dreamy name suggests is  a bridge which hangs about 100 meter high from the ground. The bridge is suspended over the hills and jungles from 82 meter high single pylon. This 125 m long  sometimes slightly swaying steel bridge is the longest free span curved bridge in the world. The bridge takes us deep into the hearts of otherwise unreachable hills and forests. Walking on the bridge provides with such a multidimensional experience that one feels free from all the confines, enjoying a feeling of floating in the free space.

For reaching the sky bridge, we need to purchase tickets for sky cab at the base. various combo tickets are available at different prices as many activities are available at the base like three dimensional movie and four dimensional dinosaurs island visit.

The sky cab takes us to middle station. While reaching that point the cab on rope way  slowly walks over dense forests giving a panoramic view from height. This ride is considered to be the steepest sky cab ride in the world. Steeped in green when you land on the platform of middle station , you get an opportunity to soak in the exhilarating natural elements from a stationary position. Watching the other cabs running on the rope way one can fathom what height and length one has covered. Looking at those tiny dot like figures in the distance slowly moving, I am sure you are bound to gasp and suck in your breath imagining that few minutes ago you yourself were there.

There are two ways for reaching the top station from the middle station. One can line up again for sky cab to go to the top or walk through the sky trail to reach there. We preferred cab and reached the top station.

Top station has a number of viewing platforms which provide panoramic views of Machinchang mountain, cenang beach etc. From here there are two ways to reach Sky Bridge either walk or descend via skyglide. skyglide is a kind of lift cum tram. While returning from Sky Bridge we used the services of sky glide but while going there we walked through the jungles. It was a well paved path through jungles. Various birds chirping and calling in woods and sight of occasional ones makes up for the serpentine path climbing efforts.

and then we were there, on the most spectacular pedestrian bridge I had seen so far. The curved structure offers different views of surrounding as one walks on it. The hills, the green jungles, the clouds floating in the valley and the sky above head and midst all this we ourselves though walking but not on ground enjoy a kind of floating experience.

The bridge definitely an engineering marvel. I don’t understand technology and engineering hence would not talk about that but am thankful to the people who thought of it, designed it and then placed it here.

 

 

On the way, the varying moods and shades of nature

 

The green jungles below

 

 

 

 

 

 

 

Thousands of these locks on Sky Bridge proclaim, technological developments, engineering innovations might travel on newer paths but love reigns supreme.  Lock fastened, the key is thrown deep down in jungles with a faith and wish that like this padlocked entity their love too would go strong for ever. The bond would remain fastened.

On the way to Sky bridge, while going we walked through jungles instead of going by Sky Glide

 

On Sky Bridge platform at two or three places these glass squares are fixed. Watching through these, feeling the undulating green jungles swaying and floating below is an amazing experience.

 

 

 

All pics copyrighted by Sunder Iyer.

 

 

 

 

 

 

 

 

 

 

 

penang 7- goddess of mercy temple

While roaming on the streets of Penang, our cab had passed once or twice through the side street of this temple but then at that time the destination was somewhere else. Then we made a point to visit the temple specifically.

At that particular time free distribution of some food items and cash was being done by some one under the big tree in temple premises. People were walking in to collect cold drinks, packets of noodles etc. It was like the BHANDARAS conducted in our home towns on different occasions. That, once again asserted the point that basic principles and sentiments of every religion are same. Sometimes we humans tend to distort certain things for our own limited selfish interests.

 

People in queue for receiving the distributed eatables and cash . Devotees in their own world.

This temple dedicated to Goddess of Mercy is said to be the oldest temple of Penang. The temple is a very valuable chapter in the history of Penang. It has withstood the tests of time and many attacks by foreign forces on Penang. The temple has undergone certain transformations too accommodating itself to the changing requirements and sentiments of the inhabitants of the place. But despite certain changes outside and inside the temple this place of worship holds a very special place in the hearts of the devotees even today. May be because it gives a feeling of being attached to their ancient roots or may be the belief that this alter really is blessed with certain super divine powers as it stood unharmed during the some very ferocious attacks and bombing by foreign forces.

It is said that the temple was built by early Chinese settlers in Penang and was initially devoted to guardian goddess of seafarers — Mazu. Goddess Mazu appears to be counter part of Devi Ikbira here in India. Koli tribes in Maharashtra who traditionally used to depend on sea for their livelihood, worship goddess Ikbira. I saw her temple near Karla caves.  It is said that this temple in Penang was built somewhere near 1728. However the present main deity of the temple i.e. Kuan Yin Teng or Goddess of Mercy had been elevated to it’s place somewhere near 1824 or 25. The temple is sea facing and perhaps when it was built the sea could have been seen from this temple. Now ofcourse the development and construction of buildings have changed the landscape.

The street on which the temple stands was previously known as Pitts street. Still it is referred to as Pitts street but the present day name of the street is  Masjid Jalan kapitan Keling. The temple is located on the section of Pitts street over it’s intersection with Chulia street.

The open space in front of the temple has few very unique features. There is a big shady tree with a raised  circular platform nearby. The platform was full of many small idols of gods and goddess. This scene too was similar to the one found in our country. In our country after certain festival is over the idols of Gods and Goddesses installed in individual homes are kept under various trees in premises of temples or are floated in streams of rivers.

 

 

The idols spreading cheers and adding colours

 

Pigeons and joss sticks

Pigeons in large number were trotting on the ground, pecking at grains thrown by devotees. It was beautiful to see them walking fearlessly midst human being . They seem to be assured of their safety and well being.

 

The idols, the joss sticks and the tree , all in one frame

 

caged birds outside this temple are for sale. People pay for them and release them to let them fly free. It is said to be done to add good karmas.

 

Another feature of that  open space was the big sized Joss sticks. These sticks were about three to five feet high and quite thick. Lighting of sticks inside temple is prohibited. Designated circles, places are in the open space to light and put the sticks.

There is a well also near the old tree where idols are kept.

At the entrance of temple there are huge doors with fearless deities  painted on it Or they are guards. In Hindu temples too outside the sanctum of deity on both the side are placed images of Dwarpals/ guards.

The sloping roof of temple is that of typical Chinese temples. It’s interesting to note that similar kind of roof is found in many old age temple in certain southern parts of India.

Red pillars adorned with golden coloured dragons make the temple  very beautiful. The architecture of temple displays many chinese elements and includes certain fengsui principles.

There are many deities in rows in the front hall alter. Alter of the jade emperor is in the inner courtyard.

 

 

 

The main hall of temple

Another view of the same hall

Another hall

 

Lotus shaped candles— Lotus holds a very significant place in Taoism and Buddhism. lotus is symbol of Buddhist purity and enlightenment. An enlightened soul that like lotus rises above the murky and chaotic world all around.

 

 

Prayers give us strength to stand here and face the unknown beyond this realm. Prayers are strength.

 

All pictures copyrighted by sunder Iyer

 

 

 

 

 

 

 

 

 

 

Medhak Mandir of Oel

From the moment I heard about this temple I was very eager to go there but then we often say that you can’t touch the threshold of a temple till the deity there wants you to. In this case it appeared to be true. The temple is just at a distance of two hours drive from our home yet for years we could not go there. I can’t attribute any particular reason to this delay but it just didn’t happen. During that period we travelled to many places in and outside country but somehow a visit to this place couldn’t happen. And then last week the outing materialised. Though a day in the June month of scorching heat was not an ideal one for a day time trip but then whatever God plans always turns out to be the best for every one. For us too despite the initial hiccups like not turning in of the cab we booked, our day was just perfect and the temple was definitely more of a marvel than I thought of.

The temple is located in Oel village, about say 12 to 15 Km before Lakhimpur Khiri on Sitapur – Lakhimpur highway, near about 104 Km from Lucknow. The temple is unique in it’s architecture, structure. It is said that the temple was built under the guidance of a Kapalik Tantrik and is based on some yantra described in Tantra Vidya. I am not sure about the authenticity of this fact but the structure and the carvings, images on the walls of temple and other structure in the premises definitely suggest that this belief hold some truth.

The entire temple structure is erected on the back of a big frog. That is why the temple is popularly known as Medhak Mandir and Manduk Mandir. Big open mouth of the frog faces the main gate of the  premises with it’s back portion and all the four legs clearly visible in respective directions.

Near each of the limb of the frog is one double storyed tower with carving of Gods, Goddesses and other images on the outer walls. The doors leading inside the towers were locked though we could have a glimpse of some coloured murals on the walls of second storey from out side. These towers are on the ground level

In the center is main temple at the height of about 100 ft from the ground level. The steps leading to the temple from the base are in three tiers and are in the shape of Havan Kund or Yagna Vedi. The three tiers are said to represent the three Suksham Elements – Satva, Tam and Raj, Above these yagna kund like steps there are structure of lotus with eight and sixteen petals respectively and in the middle of it stands the main temple housing the main deity– Narmadeshwar Mahadeva.

The dome of the temple too is very unique. entire dome is filled with petal shaped carvings and in every petal is an inverted triangle with a dot inside it. Spiral of dome consists of metal kalash , from the side of which faces of cows with horns are clearly visible. On the top of Kalashes is a small metal flag and a half OM structure. It is said that originally it was a complete Om but vagaries of nature with passing of time damaged it.

It’s not only this Om but many images, carvings and other parts too are damaged and destroyed though restoration work too has been done and the premises is neat , lawns, plants well maintained. Considering that the temple is personal property of the royal family of Oel, the maintenance is definitely praise worthy.

Outer walls of temple and the four towers are engraved with many images. Some of these images are very intriguing. Some of the images are that of Goddess Durga, Lord Ganesha, Hanumana , Kartikeya, brahma but many images are of Yoginis, Bhairavis, Bhairav, Batuk Bhairav, some engrossed in sadhna sitting on shavas while others appear to tell some story. The animal forms in images too are strange. There are dogs on the steps as if guarding the premises. some look like jackals while others are snakes.

In the sanctum sanctoram at the center stands a vedi of about three ft. in height. It is made of what marble and in the center of  vedi is placed black coloured Shivlinga. Not in front of Shivalinga but slightly at a diagonal position stands, yes stands Nandi made of white marble. No where else have I seen a standing Nandi prior to this. Normally in almost every Shiva temple I have been so far, I have seen Nandi sitting  calmly, personifying patience but here Nandi in standing posture comes as a surprise. The ceiling of the sanctum displays many colourful murals.

Just outside the entrance to the sanctum there is a well. Yes, the well is on the height of 100 Ft from the ground but the water is at ground level only. The water is clearly seen and devotees take out water for washing hands and feet before entering the sanctum. It is said that since inception that is almost 250 years this well has never been dried.

In all the four directions of the temple structure there is open space having many shady trees, flowering plants, Bel Patra trees, Shami trees. There is a well and a handpump also in this area. the plants are well maintained.  In all the four directions in the middle of boundary wall there are thakurdwaras. Earlier a door from each thakudwara used to open towards temple and these were used as resting places for ascetics, saints and other pilgrims. Now except the thakudwara on the wall of front entrance all other three are in dilapidated conditions.

We heard two more unique things about the temple. It is said that the colour of Shivalinga changes with change in direction of sun, not in every short span of time but during the four Prahars of the day. We could not confirm that as we did not stay there till evening. It is also said that the  roof of the dome earlier used to appear to rotate with time but now that phenomenon occurs no more. It is said that with passing of time some damages has been done .

The temple was got erected by Rai Bakhat Singh, who was the Zamidar of the area. Rai Bakhat Singh expired in 1838. His successor Raja Aniruddh Singh was given the title of Raja by the Badshah of Awadh in 1849 and then later on British Government gave it a hereditary status. Present Raja of Oel Raja Vishnu Narain Dutt ji and his Rani Sudha Rani have their kothi in Oel and they visit there frequently.

According to popular belief Rai Bakht Singh ji got the temple made for the well being of his family and his subject. The temple was constructed under the guidance of a Kapalik Tantrik from Meghalaya. As suggested by Kapalik saint Rai Bakht Singh ji went on a pilgrimage to Narmda river and as predicted by the saint while taking a dip in holy river he found this Shivlinga. The Shivalinga was then brought here and was consecrated. That is why Lord Shiva of this temple is known by the name of Narmadeshwar Mahadeva.

The temple appears to have many unique features but no authentic explanation of so many things. There are many images which tell various stories but we can’t interpret those. May be because they are related to a particular sect and we in our society are not exposed to those stories. There are images of Gods and Goddesses, of Goddess Durga, Lord Hanumana, Ganesha, Brahma and Kartikeya and then there are images of Chausath Yoginis, Bhairavis, Batuk Bhairav, persons doing Sadhna sitting on dead bodies and various intriguing looking animals, animal- cum- humans. There are dogs, jackals , snakes etc.

The mouth of the big frog is wide open and the wholes on steps suggest that there must have been a time when the water poured on Shivalinga on the top travelled down and poured out of frogs mouth.

During Deepawali and Shivratri big fairs take place every year here.

The temple has got a vibrant aura, surrounding is calm . peaceful and it has a kind of mystique feel. So much is there to know and understand. Somehow you feel as if many stories are there to be heard, told and retold. It is a unique piece of our heritage and it needs to be preserved and protected.

 

 

 

 

 

 

 

 

 

 

 

All pictures copyrighted by Sunder Iyer.

 

 

 

Penang 6 – Kek Lok Si temple

Kek Lok Si temple stands on a hilltop at Air Itam. It is the largest Buddhist temple in Penang or may be in Malayasia too. It is not just a temple but an entire temple complex comprising of monasteries, many gardens, prayer halls, souvenir , food and drink stalls, many idols, statues, ponds, pagoda, kings pavilions all laid beautifully at different heights and levels of hill. The construction is still going on and the construction is largely financed by the donations of the devotees and believers.

I think I will let the pictures talk more as I really find it very difficult to describe the entire magnificent lay out in words.

 

 

From afar we could see the ten thousand Buddha pagoda on the top of hill. Ofcourse we came to know that it was called so after reaching there only but the structure going high in the sky proclaimed the existence of the temple from very far and it draws one to it with an irresistible pull. After reaching the base of the hill we meandered our way through food and souvenir stalls and reached here—–

 

This tower reminded me of the Deep Stambhs  found in Hindu temples, specially that of Maharashtra. From here one can gather a little bit idea of the magnitude of the entire temple structure.

 

This hall with many Pink Buddhas on inside and  outside walls too is really very beautiful. This was my next stop . It was a peaceful experience to be in their company. Their hands posture appear to denote that in this world you receive from one hand and be ready to give out from the other. that is how the life should be. The cycle of gratitude is completed that way. Swastika on chest , at the place of heart perhaps symbolises that our thoughts, feelings should be of good for all.

“If you knew what I know about the power of giving you would not let a single meal pass without sharing it in some way.”

says Buddha.

The fresh air, the serenity, the quietness and these disciples with Buddha on the seat. I felt like closing my eyes and sit there in august company, forgetting myself.

“Believe nothing, no matter where you read it, or who said it, no matter if I have said it, unless it agrees with your own reason and your own common sense.” 

Says Buddha. one needs to pave one’s path in one’s own way. We have to experience before believing.

 

“Peace comes from within. Do not seek it without.”

that’s what it conveyed to me.

 

This idol with sixteen arms appear to be of some female deity. I don’t know about the name and other details but to me it appeared that she surrounds herself with peace from all directions. Yes, the outside world is there. We need to accept it’s existence and respond to it too as that is a part of our duty as mortal beings but then need to create our own space of peace within. I would certainly like to know more about it. She appears to hold different weapons in her hands. Is she a representation of Shakti, the destroyer of evils?

“If you are quiet enough, you will hear the flow of the universe. You will feel its rhythm. Go with this flow. Happiness lies ahead. Meditation is key.

”Do not look for a sanctuary in anyone except your self.” Buddha

Inward , that is the direction every prayer hall with serene Buddha takes you to.

 

Like these two there were perhaps nine images in this hall. To me it appeared that these represent different emotions, Not sure about their significance, though.

 

 

Incense sticks, lighted lamps, wishing ribbons and tiles, folded hands, closed eyes….. the bliss of surrendering, the strength of believing.

”Prayers don’t just change the things, they change us.”

 

 

We climbed this inclined path in a lift, kind of a small funicular. It takes us to the topmost floor where 30 meter high statue of Goddess of Mercy, Kuan Yin is located.

 

 

 

 

This pavilion of Goddess is gargantuan and shelters a very high idol of Goddess of mercy of Mahayana Bddhism. The pavilion from it’s base to tip is said to be about 83 meters high. the roof is supported by 16 pillars.

It’s not just the size of pavilion and statue but the divine grace emitted by the goddess, the fresh air, the spiritual aura that make being there an experience worth cherishing.

 

 

And that is seven storey pagoda containing ten thousand images of Buddha, another landmark feature of Kek loksi temple. This pagoda ia a unique symbol of unity too as it assimilates different cultures in it’s design. The octagonal base is Chinese, the middle portion is Thai and the spiral top is Burmese. It is said that the foundation stone of this pagoda was laid down by the then  king of Siam, that is present day Thailand, King Rama VI.

While climbing those steps leading to pagoda I looked up to sky and the light filtering through fluffy white clouds showered it’s grace. I closed my eyes and mumbled a prayer….We mortal ones go on creating darkness but O! the supreme one , you go on showing us the path . Be with us.

 

All the pics by Sunder Iyer.

 

Penang 5 — the clan jetties

When we reached Chew Jetty , it was the time to wait for sunset. Infact it was the perfect time to be there. We were a bit tired from our day long excursion and sitting there on wood planks platform quietly seemed to be the best way to sum up the day. Water extended to the limit of my vision. Ships were anchored far away. Boats from shore were making rounds to and from like bridges on move, from shore to waters. Other tourists were there. some resting with their legs hanging from the plank seats, others lying down on their backs with eyes on the sky above. Of course few were busy clicking selfies while others focused their  cameras to capture the landscape around. Yes, activities were there yet it was not getting on the nerves and it was calming, that kind of special moment when you feel assured with the presence of the fellow beings around you, yet you let yourself loose to wander beyond, beyond those waters, beyond the sky, somewhere in distant horizon where waters and sky appeared to embrace each other.

Jetties in Penang are small wooden villages built on stilt by pioneer Chinese immigrants. These are known as clan jetties, each jetty representing a particular clan. we came to know that there were about seven jetties initially, however we visited only two of these. Tan jetty and Chew Jetty. These water villages were set up almost a century ago by the chinese immigrants , who were compelled to leave their motherland for various reasons like famine, poverty and other politically unsettling events. Now with the passage of time they are well settled  over here. They work as ferry operators transporting people and goods from shore to ships anchored in waters. Some of them have even joined in the main stream jobs on land while others have started their own small businesses.

Tan jetty had a kind of abandoned look on the time we visited. the houses were only on one side of the wooden way and doors were closed. We could not find any one outside. But at the end of this some what curved path was one colourful hut where some youngsters were having fun and view from that point was awesome.

Path of Tan Jetty that leads to that colourful hut at the end.

 

And the hut itself.

 

 

On the other hand Chew jetty was bustling with inhabitants, tourists and activities. It bore an alive, festive look. At the very entrance of Chew jetty is this bright colourful temple.

 

I don’t know whether this one is a permanent feature or not but when we visited Chew jetty this colourful stage was set up in front of the temple. May be some show was about to begin.

Almost every house in chew jetty has opened up it’s own business. There are small food stalls , shops selling souvenirs, books, even beauty products.

 

 

This colourful boat kept in open space on jetty added brightness to surrounding. The inhabitants of jetty have done their bit to make jetty more attractive to tourists and then preserving cultural symbols always give feeling of remaining attached to roots.

colours add power to soul, the belief that rainbow blossoms when both rain and sun meet.

 

This one is a house on another jetty, clicked from Chew jetty. Man not only survives in all kind of circumstances, he is capable of creating his own little heavenly spaces.

And the great mesmerizing expanse. How so ever high and mighty steps might man take, he still is a pygmy when faced with The Master himself.

 

This was the moment I talked about in the beginning of the post………….the horizons slowly spreading within…..

 

By the time we walked back through the wooden pathway, the temples lights were lit. The noises of bustling day activities were slowly drowning. Heart was full of gratitude and calmness slowly settled down.

 

These flags fluttered slowly under the evening sky. I don’t know what exactly the significance of these flags is but to me at that moment these felt like the verses sung in praise of the one and  the only …………… sky showered it’s grace.

The ethnic migrant communities of Penang add to it’s charm, be it Indians at Mariamman temples or the Chinese at the jetties. Displacement is an integral part of human history but then they can grow their roots wherever they find suitable climate and embracing earth. Ultimately we all belong to only one clan—– the human.

All pics by Sunder Iyer