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.
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.
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 figureintricately carved ceiling over central hallceiling 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.
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.
The Tiruvengalanatha Temple was built at Vijayanagara[ Hampi] during the reign of Achyutraya, younger brother of the most famous king of Vijayanagar empire, Krishnadeva Raya. Though like most of the temples at Hampi this too has Lord Vishnu as it’s principal deity but it has come to be popularly known as Achyutaraya Temple.
The temple complex is between two hills Gandhmadana and Matanga hills. There are two routes to temple one is to climb the steps behind the Nandi at the east of Hampi Bazar and another is from King’s palace path.
I had two experiences of Achyutraya temple, one while visiting it, roaming through it’s vast open spaces and mandapas with intricately carved pillars and the second one looking at the vast spread temple complex from the top of Matanga hills.
When we walked in the premises of the temple it was almost mid day. The day outside was bright, sunny though it was not hot. Walking towards it from a distance I could see the tall, wide imposing gate. Reaching there I stood on the gate taking in the architectural grandeur spread before me and seeping in the serenity, the quiet, the peace of the moment. At the moment there were not many tourists in the premises, at least not in the range of our eyes and ears. From gate a well laid path led to another gate and on both the sides of that path were open green patches of grass. In the middle of open space of one side there lay a big boulder with flat surface. A lone figure sat on that boulder, a soft golden light filling the space with ethereal feel. In the background loomed the pillars, pavilions and other structures, writing the testimonials for the time bygone. It was such a beautiful moment that I am incapable of putting it in the words. A moment when heart is filled with the mixture of diverse emotions, awe for the magnificent creations spread before, joy for being able to witness those, pride for being one from the land of those master craftsmen and a tinge of sadness for the end of that golden era of our history.
The way which led us towards Achyutraya temple. On the right side a bawali [ step well] was being excavated and being arranged. How much could be restored and how much has been lost.
The long lost path, rediscovered, re-travelled, an attempt to treasure the glory, to water the roots, the past cant be reconstructed, future can’t be predicted, ‘The moment’ to be lived in all it’s fullness.
Imposing, magnificent first gate of Achyutraya temple. The second gate can be seen in the background. This is the outer side of the temple gate.
The inner side of the first gate, one of the mandapam at the far end, the lone figure on the boulder.
Silence whispered tales from days bygone
figures on stone stood eloquent in their muteness
sky leaned over to caress the wounds of earth
Every pillar, every gallery, every corner has a rich heritage tale of art and culture to narrate.
These two pictures show the view of Achyutraya temple complex from Matanga Hills.
Entire plan is so grand and magnificent. This is said to be the last grand project before the fall of Vijay Nagar Empire. The temple was consecrated in AD 1534.
Creating any form of art transports you to a meditative state. The world around you as if does not exist, so engrossed are you in that process of creating. And I feel while carving shapes out of a stone slab one needs to be completely into it, at the highest and deepest kind of concentration level. You can not erase it, you can’t delete it, you can’t add a stroke of brush here and there to make it perfect. Every stroke of hammer leaves a permanent imprint. No, I have never held a hammer to carve anything on stone but have enjoyed a wonderful experience of watching these artists at work in Hampi, prior to Hampi festival 2017.
Hampi is a magnificent open gallery of the architectural grandeur and sculpting magnificence. These artists were working on their pieces to participate in a competition to be held during Hampi festival. Themes mostly belonged either to Vijaya nagar Empire or other temples, figures carved by the artists of the yonder years.
Sculptors at work
Badami cave temples taking shape
This one was sitting a little away from rest of the artists, listening to music on phone, he was giving shape to a stone while few others peeped inside from window.
Hazara Rama temple is the only temple situated in the center of the royal enclosures – residential and ceremonial. Due to it’s location it is inferred that this was the private temple of royalty. The temple is dedicated to Lord Rama.
This temple can be said small when compared to other temple enclosures in Hampi like Krishna temple, Vittala temple, Virupaksha temple etc.. The reason can be attributed to it being the private shrine for royalty. The temple premises displays very well maintained green lawns.
The unique feature of the temple is sculpted friezes depicting the story of Ramayana in three tiers all around the outer wall enclosing the main shrine area. Due to this extensive depiction of Rama’s life sculpted in stone, the temple is known as Hazara Rama. Besides this there are sculpted narratives related to Lav- Kush and Bal Krishna too.
The temple has a flat roofed Dwarmandapa.
Dwarmandapa
crossing the Dwarmandapa one enters Rangamandapam. High pillars made of black stone with attractive carvings of God and Goddesses like Hanumana, various avataras of Vishnu. Lord Ganesha and Goddess Durga adorn the Rangamandapam.These intrinsically carved black stone pillars glistened in the semi darkness of Rangamandapam. In the entire pink colour scheme of the temple these black pillars stand out magnificently. Why this temple only in entire Hampi we rarely find any sculpture in black stone. Whatever might have been the reason of placing these black pillars in the Rangamandapam but in that quiet afternoon when the sun shone brightly outside in the cool darkness of mandapam the black pillars as if invoked a deep solemnity.
Most of the time we fail to reach within, to realize that deep down inside us is that part of the supreme being which when reached imparts the blissful state of being at peace with self.
Silence is the most important part of communication.
The Rangamandapam has doors opening to north and south side.
The outer walls of the temple are decorated with various relics of Rama, Krishna, scene portraying festivities, processions of horses, elephants, dancing women etc.
This richly ornate outer wall of the temple too is a unique feature of Hazar Rama temple. The panels beautifully portray the abundance, the prosperity of the period.
Another view of the outer wall.
can you make out the scenes from Ram’s life? I felt that the story started from the lowest panel. It went all around the temple the the middle panel and then the top one. here is just a part. Is that Dasharatha getting boon from Rashi, Dasharatha with three queens? In the middle one it appears that there are scenes from Ram Vanvas.
can you spot the Dhanush Bhang scene?
In the middle panel are you able to make out Sita haran scene.Ravana , pushpak vimana, kidnapped Sita. In the third one is it wounded Jatayu meeting Rama and Laxaman?
Two of Krishna’s images on the walls of temple. There are many others. I specially loved this one. The ornaments, the lovely face, the eyes.
The goddess
The gopura, the ruined and destroyed still holds an undeniable charm
The stillness inside synchronized with serenity outside and the moment stayed with me for ever.
Vittala temple at Hampi is another magnificent imprint of the extraordinary craftsmanship of the sculptors of the Vijayanagara Empire. The temple is said to be built in 15th century during the period of Devraya 2nd, one of the ruler of the Vijayanagar empire . Many extensions were done and new structures added to it by Krishnadev Raya, the most famous ruler of Vijaynagar empire. The sprawling campus of Vittala temple consists of many halls, mandapams, gopurams etc but the stone chariot and the hall with musical pillars are two of it’s crown jewels.
The main entrance of Vittala temple on the east side. It appears that the primary building material of this gopura was red brick. It is very likely that the same was partially destroyed after the fall of Vijayanagara empire in the battle of Talikota.
Images carved on the floor of the gate of the temple…devotees.
An overview of Vittala temple complex, just after entering through the east gate.
The iconic stone chariot of Vittala temple now finds it’s place in recently printed fifty Rs. currency notes. It is said that initially this stone chariot was the shrine dedicated to Garuda, the vehicle of Lord Vishnu, the Vittala. It appears that this chariot is a monolithic structure but it is not . This was built by many giant granite rocks and the joints are hidden under the carvings and other decorative patters. Such amazing was the skill of the craftsmen that even stones as if turned into silk when in their hands. The chariot does not rest on wheels. As a shrine it was built on a high rectangular platform but the wheels on the sides are set in the manner as if they carry the chariot. The wheels are complete with axis, shafts and brakes etc.
The iconic Chariot at Vittala temple, Hampi. The clouds above and behind it painting the perfect background for Garuna’s shrine …imagine Garuna floating through azure expanse, wings wide spread with spirit so determined.
Another angle of Garuna’s shrine – the Hampi chariot.
Behind the stone chariot is Maha Mandapa. This consists of four halls but the unique feature of Maha Mandapa is it’s exquisitely carved and sculpted musical pillars. There are fifty six such pillars. Every main pillar has seven small pillars around it. It is said that these minor pillars emit the sound of different musical instruments. I have not experienced it as some repairing work was going on inside.
The Mahamandapa with musical pillars.
Even if we leave apart the unique music emitting quality of pillars the entire Mandap is very graceful and magnificent. The exquisite carvings impart it a kind of delicacy. This Mandapa stands on very ornate platform which has bas reliefs of horses. Entire Mandapa is divided into four halls, each facing different directions. Each hall has it’s own steps and entrance. The front, that is east facing is the one with musical pillars.
A closer look of East facing hall of Mahamandapa. The horses on the base and carvings can be seen. Repairing work was going on in this hall when we visited.
The guide at the temple.
This Mandapa is highly ornate . Pillars with mythical Yali are its special feature. In the picture with me are the guide and guard, Prashant. We had hearty chat about life at Hampi, the cultural heritage, art and creativity. Prashant is very passionate about photography. He showed me his photo gallery and he had many wonderful shots . It was really enlightening to talk to these two young men.
I love those white clouds, sailing through the blue sky, inviting me to limitless journey to yonder lands where everything assimilates into ultimate.
We met him in one of the Mandapam. His mother was sweeping the mandapam. The little bundle of energy became so fascinated by Sunder’s camera that he wanted to peep inside the lens from the front instead of posing for a click.
Hampi in Karnataka, India is an UNESCO site, a site of rich heritage of sculpture, architecture, culture and history. Hampi, the glorious capital of the great Vijayanagara empire.The area of about 26 sq, Km. is studded with ruins of temples, small and grand temples. Many of these are restored to great extent and others might have been buried under the ground completely destroyed.
Among this large bevy of magnificent temples Virupaksha temple holds a special place due to many reasons.
Virupaksha temple , we can trace it back to our mythological references. Hemkuta hills on which this temple is located is said to be the place where Lord Shiva was doing his penance[ tapsya, dhyan] when Kamdev, God of love disturbed Him in order to help the local girl Pampa who was deeply in love with the lord and wanted to marry Him. Pampa was ultimately successful in impressing Lord by her severe penance and deep devotion and He agreed to marry her but in the process Kamdev had to bear the burnt of Shivas anger and that too literally. Shiva opened His third eye in anger and Kamdev turned into ashes. So here Shiva opened His third eye. Does it have any relation with Shiva being worshiped here as Virupaaksha? Aksha means eye, Virup means formless- formless eye. In deeper sense it refers to consciousness — seeing without eyes, feeling without skin, means absorbing everything without the help of sense organs and that is the state of yoga samidhi. On these hills Shiva was in samadhi awastha.
The recorded history of this temple is from seventh century A.D. Inscriptions from ninth century are still there in temple premises. The inner sanctum of temple is older than the Vijayanagara empire. This temple has a history of active worship of more than 2000 years.It is believed that despite various attacks, destruction of mighty Vijayanagar empire, ravages of Hampi in the hands of time, the puja, archna in the temple continued uninterrupted. This in itself is very reassuring. It strengthens our faith in the Super being, the divine entity.
Exterior of temple-—The east facing gate is the main gate of the temple. In front of it is about one kilometer long bazar with shops on both the sides of wide path. The lines of colonnaded shop reflect on the great planning skills of the people in power at that time. At the end of the Bazar there sits a giant monolithic Nandi on high platform facing the temple. In Lepakshi too the big monolithic Nandi sits about a kilometer away from Virupaksha temple. What could have been the thought behind this? Why Nandis were not made just in front of the temples or inside the temples? In Brihdeshwara, Tanjore too the Nandi idol is mammoth but it is inside the temple. Though placed under a separate canopy, on a separate high raised platform but inside temple premises just outside the door leading to Garbhgrah but in these two Virupaksha temples they are placed at a distance. Does it have anything to do with this particular form of Shiva?
Gopuram of Virupaksha temple – The gopura on the bazar side was under renovation when we visited Hampi. However even the horizontally, vertically rods fitted all around the lofty gopura were not able to mar the grandeur, the majesty of the nine storied gopura. Another gopura is on the tank side. This too is built almost in the same style and grandeur. The progressively narrowing figure of gopuram is built of brick and mortar. there are exquisitely sculpted characters and figures on the lower tiers of the nine story Gopuram. In every storey in the middle is a small door like open structure. Somebody told that there is provision of going to the top of the Gopuram, May be there are stairs inside the structure. Not sure about that. just a thought. On the top of Gopuram there are two horn like projections at each end and in the middle is placed Kalash.
The shape of Gopuram always remind me of hands with folded palms. The entire structure as if speaks on behalf of us…. we send our reverential salutations to Almighty, up there.
This is Kanakgiri gopura side of the temple, the holy tank side of the temple. I spent an evening on it’s bank. The still waters of the tank with reflection of Gopura nestled close to it’s heart appeared to say a clear heart is the abode of the sacred and pious entities. How pacifying and calming was it’s impact. Far and wide the distant blue horizon invited one to drop all the binding chains and soar high with stretched wings and light heart to pastures unknown. The deep waters of tank locked the gaze and took it deep up to the core of the being. These are the moments when I forget that I exist.
Kalyan Madapam
This Mandapam in the temple courtyard with carved pillars and painted ceiling is an exquisite example of the impeccable skills of artists of the Vijayanagar empire period. This mandapam is said to be the contribution of one of the most famous king of Vijayanagar empire, Krishnadeva Raya. It is known as Kalyan Mandapam or Rang Mandapam. The mythological figures carved on the pillars, the carving on the panels above the pillars and the colourful depiction of various mythological anecdotes leave one spellbound.Such treasures of our rich heritage not only fascinate us but prompt us to explore more, to learn more, to go deeper.
A closure look of the paintings on the ceiling of the mandapam. The colours still retain their brightness though centuries have passed.
Another look of the Kalyan Madapam
Second Courtyard
A small three tiered gopura leads us to the second courtyard of the temple. The outer and the first courtyard houses architecturally beautiful structures but this second courtyard houses the soul of the temple. Not only the main shrines of Virupaksha Shiva, the consort of the local goddess Pampa[ pampa is associated with river Tungbhadra] but also many shrines are fitted in between the collonaded pathway encircling the courtyard. Even when the day is sparkling blue and gold outside certain niches and antechambers in this section are dusky with some sun rays filtering in at some places. A small shrine tucked in the wall, a lone deepak burning steady, devotees sitting here and there engrossed in their own inside world– the entire area pulsate with deep positive energy. You sit quietly with your eyes closed for few minutes and the murmurs of tourists gradually turns into whispers and then a complete silence engulfs you and a little blue glow suffused your inside. The pervading energy makes you feel secured and protected , a feeling of being in womb.
Some other deities are Bhuvaneshwari, Pataleshwara, Navgrah, Nagas, and Ganesha, Hanumana
There are some shrines outside Kanakgiri Gopura, on the side of tank.
The inverted shadow image of the gopura on the wall of one of the ante image is another attraction of the temple. The pin hole camera effect.The shadow falls on the wall which is close to the rear end of the temple, quite far away from the entry gopura.
Another special feature of the temple is a big kitchen and the water connectivity system here. Water from river Tungbhadra was carried directly to the the temple kitchen through underground canal system. I am not very sure whether the system is functional presently or not but the network of pipelines can be seen.
The annual chariot festival celebrated in February every year and marriage festivity activities of Virupaksha and Pampa too take place with great fervor.
Visiting Virupaksha temple at Hampi was an enriching experience for me in more than one way. It took me back to glorious pages of history of my land, my race and strengthened my being like that tree whose roots go deep inside earth and it faces the rough weather with faith on bonds that hold it firmly.
We started our three day Hampi monuments tour fromKadalekalu Ganesha. A very apt start. After all we start every auspicious work by worshiping Ganesha first. Kadalekalu Ganesha is located on the eastern slopes of Hemakuta hills
Dated to fifteenth century Kadalekalu Ganesha is a giant statue of Ganesha carved out of a single rock. The statue is about 4.5 meters high and really magnificent. Bengal gram is called Kadalekalu in local language and the idol got it’s name due to the shape of it’s belly resembling it. His favourite modak in one hand and another in var[blessing] mudra posture Ganesha sat there peacefully in his signature style almost filling the entire sanctum.I was specially fascinated by the var mudra palm. With the lines in palm etched clearly it almost looked live .
The pillared mandpam in front of sanctum is aesthetically very beautiful. The exceptionally slender pillars with carving of mythical figures provide a kind of delicacy to this stone structure. Standing on a raised platform this mandpam is an ideal place to enjoy a distant view of Hampi Bazar, Matanga hills and other monuments dotting the nearby area.
Behind Kadalekalu Ganesha on a slightly higher rock stands a Shiva temple. May be at certain period the temple was surrounded by boundary wall but now only a gate stands there. The gate leads to a simple verandah in which a small Nandi sits facing Shivlinga. Shivlinga is there but no pooja Archna is being conducted in the temple. The feature which make this otherwise simple temple unique are two big rectangular inscribed slabs on the side walls of the verandah. If interpreted these inscriptions might tell us some historical facts. May be something about this temple. One of the slab is clearly in Devnagri lipi. The language might be Sanskrit perhaps.
Outside the sun was bright and hot but the quiet verandah of the temple was cool. The silk like tender green, white blades of grass standing on the broken top of the gate simmered and vibrated in the golden day light…perhaps the only form of life which never abandoned the glorious stones of Vijayanagar empire, however dark the times would have been.
bits and pieces 