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.

 

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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.

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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

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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.

 

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A closure look of the paintings on the ceiling of the mandapam. The colours still retain their brightness though centuries have passed.

 

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Another look of the Kalyan Madapam

 

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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.

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Some other deities are Bhuvaneshwari, Pataleshwara, Navgrah, Nagas, and Ganesha, Hanumana

There are some shrines outside Kanakgiri Gopura, on the side of tank.

 

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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.

 

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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.

All the pictures by Sunder Iyer (more…)

poojas on ghats

 

 

These kids on Ghats of Varanasi, engrossed in offering jal [water] to Shivalinga, made me  think… what would have been their thoughts about God, worship or prayers. I felt they have imbibed it as a part of life, part of belief system from the elders in the family and the people around them. The unquestioning trust…. the purest form of devotion.

 

 

The lady here is performing ‘Tulsi Vivah’. Tulsi is the herbal medicinal plant Basil but it is considered to be a sacred plant by Hindus. The plant is worshiped like Goddess in Hindu households. Lighting a lamp near tulsi plant every evening is a ritual followed by almost every Hindu family. Tulsi Vivah celebration in the month of Kartik, specially on Ekadasi is considered to be very auspicious by Hindus all over India. On ghats of Varanasi during last five days of Kartik month this ceremony is conducted by many groups of women. There is a mythological story related to this ritual.

 

 

On several places on ghats we observed these squares made by flour. These were divided by twenty five smaller squares. These were kind of Chauk. On some places pulses, rice and other seasonal grains with colored cloth pieces were kept in each square while at other places flowers and sweets were kept. We could not ascertain the significance of this ritual but even then it filled the heart with a kind of reassurance. Unnamed, unknown it might be but faith can always be felt inside our souls.

 

 

The moments of silent communication with God — serene and peaceful. Prayers , the bridge of kinship with Lord.

 

 

From the depth of slumber,
As I ascend the spiral stairway of wakefulness,
I whisper
God, God, God!

When boisterous storms of trials shriek
And worries howl at me,
I drown their noises, loudly chanting
God, God, God!

by Paramhans Yoganand

All pics by Sunder Iyer.
Dev Deepawali …. 2016.

Rangoli, Alpana, Kolam,Muggulu, Puvidal, Mandana , Chauk….. you can call it by any name but different patterns adorned on ground on various auspicious occasions all over India speak one language and that is of celebration, welcome and devotion.

In South India drawing the geometrical patterns at the entrance and Pooja room is a daily ritual. Different states have specific design patterns for specific occasions and specific Gods too. In South India these patterns are drawn with dry powder or wet paste of rice powder while in North India it is made with dry wheat flour. With the passage of time various other mediums are also being used to draw Rangolis. Innovations and experiments with new design patterns are also seen but the spirit of these motifs still reverberate on the same tune.

The design galore on ghats of Varanasi on Dev Deepawali day was spectacular.The magnificent display of patterns, designs, colors and lights was mesmerizing.Ghats after ghats one could see old ladies to young girls busy in drawing designs, filling those with colors, decorating with diyas.  Witnessing  three generations involved enthusiastically to fill the world with beauty and sacredness gave a deep reassuring feel. Air was filled with Shlokas, Bhajans.Innumerable lighted earthen lamps in flower bowls floated slowly, rhythmically, steadily on quiet Ganges. These tiny dots of light on wide  waters of holy river bathed in inky darkness filled the heart with gratitude and peace. Big round moon in the sky smiled benevolently  as if granting boon.

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All pics by Sunder Iyer.

We started from Bangalore at about 6 A.M and reached Lepakshi by 8 O’clock.Lepakshi is a small non-decrepit town in Anantpur district of Andhra Pradesh Veerbhadreshwara temple at Lepakshi  is one of the finest example of  artistry of craftsmen of that era.Grand, massive sculptures, delicate, intricate carvings on stone, ceiling adorned with murals depicting mythological tales…this temple has a lot to offer to leave us spellbound.

Standing below the high raised platform on which the huge splendid Shivlinga is carved, is a humbling experience.Three coils of Naga around Shivlinga led to its seven hooded magnificently carved head stretching over Shivalinga.Craning my neck as I tried to look at the topmost point of the entire sculpture, i had a sudden feeling as if the  canopy of those seven hoods is descending directly from the bright blue morning sky overhead. The Linga transformed into that mythical  pillar of light connecting the earth and the heaven, the  manifestation of limitless Shiva energy. Perhaps it is not just the grace, the magnificence of masterpiece carved by the great artists of yesteryear but all their commitment and devotion which to this day start resonating in our hearts once we stand there silently with our   heads bowed, imbibing the  sacred spirit.The open courtyard bathed in soft morning glow gave the entire scene a haloed touch. Shadows in the covered verandah walking along the courtyard appeared to be harboring many untold stories. Such are the moments when you feel at peace with yourself.

 

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Chiselled on the other side of the huge rock behind the Nagalinga is  Ganesha, calm, quiet and peaceful.I love Ganesha idol in this form – the big belly resting on the ground, the legs denoting the sitting posture and his small vahan mouse in front.  Various symbolical interpretations are available for His body parts and His Vahana but to me He radiates substance, faith, confidence and dignity, He always fills me with a kind of intrinsic joy, a kind of happiness you feel on being comfortable with your own being. And the tiny Vahana– more than anything else it’s our faith that make us traverse through the life.

 

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The Natya Mandapam of Veerbhadreshwara temple at Lepakshi is a sculpted ode to the artistry of carvers and chisellers of sixteenth century Southern India.Impressive sculptures of divine dancers, drummers and other musical instrument players in half-reliefs on the granite pillars are so intense and alive that you almost feel them in actions. The rhythm in shapes, palpable emotions, glorious manifestations impart the stones a dream like feel. Early morning sunlight tip toes the mandapam from one side and the shadows in the pavilion simmer, the dark corners get suffused with golden dust and the bygone era as if awakens…..

 

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This Natya Mandapam has about seventy pillars and one of these is an architecture wonder beyond comprehension.The hanging pillar– this pillar like all other pillars is attached to the ceiling but does not touch the floor below. Such heavy granite pillar…how can it hang ! Presently it stands a bit dislodged from it’s original position. It is said that during British times certain enthusiastic engineers tried to fathom the secret behind this marvel and in turn, the pillar suffered. However faith of people put it on divine pedestal. It is believed if you pass any cloth underneath it,the wish you sought will be fulfilled.

 

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All pictures by Sunder Iyer

 

World of Hindu mythological tales and folklore is very interesting, charming and varied. It is believed that about thirty three crore Gods and Goddesses occupy Hindu pantheon. Quite possible…in a culture where many plants, animals and almost all the elements of nature are worshiped, where every small village, hamlet has it’s very own guardian angle, reaching even that staggeringly high  number is not out of bounds. With every revered place and deity are associated certain folklore and tales.The authenticity is neither questioned nor argued. It is simply accepted.

One of these is Latu devta of Wan. The folklore related to Latu Devta is very interesting and one of it’s own kind. Nanda devi is  one of the most revered deity of Uttaranchal. She is considered to be Avatara of Goddess Parvati and Latu Devta is her adopted brother. Goddess Parvati nee Nanda Devi did not have any brothers. On one occasion she felt very sad about this and wanted someone to be with her at Kailash Parvat as her brother. She went to Royal family of Kannauj and requested the queen to send one of her two sons with her to Kailash. On the way to Kailash they reached Wan and here Goddess decided to take bath in the river Kali Ganga. While waiting for Her on nearby hillock Latu felt very thirsty. He went to nearby hamlet and asked women to give him water. Women folk were in a jovial mood and instead of water handed over the pitcher containing local drink to Latu. Unaware of their prank Latu drank the whole content of pitcher and became unconscious. On her return from river, Goddess became very angry with the women and conferred a boon on Latu that he will be worshiped by the inhabitants of the area but no one will be allowed either to enter the sanctum of his temple or see him.Till date the doors of the temple are opened only for one day in a year and then too neither devotees nor even Pujari is allowed to have a glimpse of Devta. The Pujari enters the sanctum blind folded and lights the lamp. Doors of the temple is closed by evening.

This temple is very different from any other temple. There is this massive Devdar tree at the place. It is the only Devdar found in entire region. Rest are centuries old Surai trees.There is another anecdote regarding presence of that single Devdar tree in the area. However I am not talking about that here as I am not able to recollect all the details narrated by the old gentleman, a retired porter, we met at Wan. So, the abode of Latu Devta is said to be inside the a chamber in the trunk of this Devdar tree.People of the area have great faith on Latu Devta. They visit the premises with their troubles and unburden their heart at His threshold and when the wish is fulfilled, the task done, they return to present a bell. Hundreds of bells hanging from poles are the testimony of people’s undying faith on the deity.The place becomes alive with massive crowd of devotees on the days of fair being organized there. People from far off villages come and stay in tents etc. Bhajans, Kirtans are sung in praise of Lord.

We first heard of Latu devta at Gwaldam.One local gentleman advised us that if we intend to go to Wan, we must go to Latu devta temple.During the day we spent at Wan village we heard His name many times from villagers and children.

While we were returning from Bedini, yashwant and Pushkar trekked upto Ran ka Dhar to meet us.In fact they knew we had to leave by evening and they wanted to spend as much time as possible with us.We too were delighted to have more of their company. With these two kids we went to Devta’s temple.Their enthusiastic company suffused enough strength into our tired limbs to trek upto the temple.

As we climbed towards temple we wished we had more time in hands.The Surai trees dotting the hill along the circuitous path leading to temple left us spellbound. Each one had it’s own tale to recount.They appeared so ancient as if they had witnessed all those mythological events unfolding. It is said that these trees have very long life. Don’t know much about their botanical characteristics but can definitely vouch for the enigmatic impact they imprint on your being. They look like wizened saint, lost in deep meditation.Their towering presence make you feel that they are the dwelling places of divine spirits. The secrets, the teachings, the lessons they have in their heart, one need to tune up to understand. Trees to me are one of the most sacred images of God.

 

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Sonorous sounds of faith and devotion.

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Behind us, under the tree is shrine of Latu Devta and these are the kids who brought us to temple. In fact before going to meet us at Ran ka Dhar they came here and kept incense sticks and match box…all set and ready …to be lighted by us when they brought us here. The little one Pushkar insisted that we should pray to Latu Devta for appeasement of our any wish. He had full faith that our wish will be fulfilled and then we would return to offer the bell. The faith, love and affection of kids filled my heart with sublime emotion. Kiddos, you are the harbingers of our hope and faith in all that is pure, innocent and selfless. We shall definitely love to return at least once.

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This one was clicked by Yashwant, the elder kid, on their insistence ofcourse. That triangle like structure is where incense sticks are lighted by devotees.The outstretched arms of Devdar trees….bless us Lord.

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There is a guest house of Garhwal mandal vikas nigam (tourism department) and another of forest department near the temple, on the hill. During Nanda Devi Jat Yatra, this is an important station for devotees.The time we were there the entire premises was very quiet, peaceful….kind of aura when you can feel nearer to God, more intimate to your best self.

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View of Wan village and valley from temple.

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Boys waiting for us to climb down from temple. They rush down speedily, said that going slow tire them.

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‘A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live.’ Hermann Hesse

Pictures by Sunder Iyer

 

 

 

As I sat there  amidst the stacks of prayer stones erected all over that particular hill at Talacauveri, I could feel the potent energy, the sanctity of the prayers said by various unknown people over the period of time. Those prayer mounds or the stacks of stones stood like folded hands raised in silent prayers towards the sky over head. Slowly moving rhythmic wind like a fairy with soft dainty steps halted besides the stacks and the stones whispered the prayers entrusted to them in her ever attentive ears. She in turn passed it on to fluffy clouds floating endlessly on the blue expanse of sky and clouds, the eternal carriers ensured that the prayers spread across the entire universe binding all of us in one thread of sacred brotherhood. What a blissful feeling it was, to be one with the moment and the entire world.

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I looked at those prayer stones and could imagine hands carefully choosing  and picking the stones that touched their soul, communicated to their hearts. Picking the stones for prayer stacks in itself  is an exercise of total mindfulness, of getting merged with the moment. Then placing stone upon stone with total concentration, balancing them one upon other with utmost care ensuring that the stack remained intact that in itself is akin to meditation. During the entire process one gets totally merged with the prayer and that complete surrender imparts the potent energy to the prayers .
One can also add pebbles to already existing stacks. when one carefully places a stone to an existing stack, our prayers and our thoughts merge with those of others who placed those stones earlier to us and thus the impact of prayers intensifies, each energizing other. What an enriching feeling this belief gives. Unknown we might be for one another yet we stand tied with that ethereal bond.

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Rocks and stones have been used as an expression of our spiritual urge from times immemorial. Be it rock cut temples, images of Gods and Goddesses carved out of rocks or a stone kept under sacred trees and worshiped with all rituals, all these are manifestations of our sacred thoughts but these stacks of prayer stones are perhaps the earliest expressions of our spirituality.
Those mounds or stacks of prayer stones dotting the entire hill stood there under the open sky bearing the rains, the wind and other vagaries of weather. They as if represented firm beliefs withstanding all the tests of time and life.

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All pictures by Sunder Iyer

Talacauveri is said to be the origin of mighty river Cauveri. It is around 48 Km from Madikeri. The source of the river does not look like as one would have imagined, a gurgling, foaming stream gushing down the hills . At the place there is this spring originating from Brahmagiri hills. An enclosure is built around it and same is connected to a small pond where pilgrims take the holy dip. The pond is surrounded by concrete steps and wide platforms from all sides.The spring runs underground from here and becomes visible after a few kilometers to flow as a river. Green hills from three sides stand there in silent reverence.

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A view of the temple premises from hilltop
There is a shrine dedicated to Kaveriamma just in front of the pond. Ascending few more steps one reaches a wide open courtyard encircled by covered verandahs from three sides. In the courtyard are two temples, one of Lord Shiva, and another of Lord Ganesha. Lord Shiva here is known as Agastyeshwara. Ganesha, Muni Agastya and Cauveri…..that made me remember a mythological tale related to these three. If I remember correctly Agastya Muni brought waters from Shiva’s abode Himalaya on Brahma’s advice to make it flow as a river in Southern India to end the water woes of that part of our country. He was carrying  it in his kamandal and Ganesha in the form of a crow toppled the kamandal and the river Cauveri flowed. Or was it that in anger Agastya muni had arrested Cauveri river in his kamandal and then Ganesha in the form of crow toppled it to let the river flow.

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The Temple premises
Talacauveri is a holy place for the people of Kodagu. It was told to us that on Tulasankranti day that is the first day of the tula masa, which usually falls on mid of october, water from spring gushes up at a predetermined moment. Thousands of pilgrims flock here on the day to witness the fountain head rising . This sudden spurt of water is known as Thirthodbhava and the belief is that Goddess Parvati emerges as Thirthodbhava. Pilgrims carry this holy water back to their homes. People observe the sacred tula snanam on the banks of Cauvery on this particular day. People of Kodagu believe that on this day Cauveri reaches every water body of the region be it well, pond or lake. Those who can’t reach the banks of Cauveri carry water from the nearby water body to their home.
This place of origin of the river is about 1300 meter above the sea level. from here beautiful view of the distant blue hills and green valley can be enjoyed but the view from the hill top after ascending  near about 400 stairs is heavenly.
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The blue canvas
The place is very well maintained. As the steps leading to the hill top can be reached only after crossing the temple courtyard, we have to walk bare footed but who cares for that when one feels like floating in paradise.
While climbing the steps I stopped in between and glanced all around . With every few steps  the view became more ethereal. And once on the top…Ah.. I could have spent my entire life there standing and imbibing the beauty, the feel, the solitude.
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The Verandah of clouds
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White fluffy clouds rolled all over the hills, pushing, nudging one another, somersaulting on velvety emerald expanse. Somewhere from womb of valley rose tall columns of clouds. The Master painter was at His work spilling pure white clouds on bright blue canvas overhead. Swiftly changing shapes of clouds created mesmerizing patterns.
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Deep down in valley a tiny water body sparkled like a gem between grove of green trees. A solitary hut tucked midst greenery, a lone cart walking languorously on ribbon like road, hushed silence pervading the surrounding, filled my heart with a sense of gratitude.
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This was a glorious moment, a moment to celebrate being a part of this magnificent world, a moment to be thankful for experiencing the pure joy and contentment of just being.
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 Feeling Blessed
In every walk with nature one recieves far more than he seeks.
-John Muir
All pictures by Sunder Iyer

Raja’s tomb— does not that make one curious? It definitely intrigued me. A Hindu king and buried ? And that’s not the only interesting fact, feature about this place of tourist attraction at Medikeri town of Coorg, Karnataka.
We visited Raja’s tomb in October 2014. It was a balmy afternoon with clear blue sky and cool breeze, As I got down from the taxi in front of high gate of iron bars,  these kids trying to ride the elephants sculpted on platforms on either side of the gate made me smile. Their innocent laughter and mirth gave a perk to my holiday mood.

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Inside the gate stood three structures in a straight line, distanced from one another by the green lawns in between. These structures are raised on square platforms, skirted by parapet. I was facing the back of the buildings. I started walking towards right side on the narrow, meandering gravel path running through the grassy patches. Bushes of various colored flowers in between the soothing green brightened the scene. After covering some distance I reached a small iron gate which was locked from inside. On the concrete square were two rectangular platforms . An idol of Nandi sat on each of these. On the side walls of platforms on black stone, I could see that something was engraved but from that distance it was not possible to read it. At that moment I could not know what these platforms denote. Why the statues of two Nandi were carved there? Rustling leaves  tried to whisper some tales of bygone era but alas that could not satisfy my curiosity rather ignited it a bit more.

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moving forward on the circuitous path I reached the front of the tomb buildings.
Here in front of the middle tomb is a plaque that imparts certain information about the buildings, the tombs and other structures.
The central structure houses the tombs of Kondva king Dodaveerrajendra and his wife. Door of this structure was open when we visited. Inside was a Shivling and Nandi. Isn’t it fascinating— a temple within the tomb building.On the roof of the building is a dome in center flanked by minarets on the four corners. Well, these are the usual features of most of the sepulchral structures of Mughal time but what contributes to the uniqueness of these tombs are the Nandis sitting besides every minaret. what a fascinating amalgamation of two different cultures. The walls of tomb buildings are lined by windows and the side panels of these windows have carvings of various images of mythological and folk relevance and importance, each telling it’s own tale. Every time I visit a historical monument with such images carved, I feel curious to know what it represent, what it depicts.

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A view of the back of Raja’s tomb.

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An overview of a part of Medikeri town from a small hilly portion inside the campus.

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Tomb of the royal priest.

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Inside view of Raja’s tomb. The hanging lamp, the Shivalinga and other idols can be seen.

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This one was interesting…..two bodies one face. Was the sculptor trying to engrave something symbolic…separate body, soul in unison or just because he had limited space on stone slab and that was the solution found for symmetry. Who can reach the nooks of a creative mind?

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This certainly is Ganesha and in the center …is it depiction of Om…. and the figure in right ? Is it Ma Laxmi?_MG_0323

Figures engraved on upper side of the window on the wall of tomb building. What or whom can these be representing? The figure on the left, the one with bow does that represent Rama or a Kodwa warrior and that on right—- is it some Rishi, praying but then why is he sitting on a boar. Is it representation of some folk tale or a mythological. So many thoughts race through minds. What you have to say about it?

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 These two figures stood on the gate of the central sepulchral structure. Dwarpals they could be representing . But the Trident  annd Damru in the hands of one figure suggests that it could be Shiva’s representation. Quite logical too it appears as Lingayats are great worshipper of Shiva but do they subscribed to this avatara of Shiva or adhered to Linga form only. More over foot above snake ? We are used to snake on Shiva’s neck. The symbols, signs and manifestations of the art and sculpture schools of that era had their own expressions, own language. We, as common tourist can interpret the same as per our own thoughts.
To the right of this tomb is the tomb of Lingarajendra built by his son Cheekaveerrajendra in A.D.1820. to the left is the tomb of royal priest Rudrappa built in  A.D. 1834. The two platforms with Nandis on them are tombs of two royal officials Biddanda bopu and his son Biddanda somaiah. Boddanda Bopu died fighting Tipu Sultan.

These kings of Paleri / Haleri dynasty ruled over Kodagu for about 200 years.[ 1580-1834]. From Haider Ali to Tipu Sultan these kings fought with the powers of Mysore to retain their individual and free identity. Kodwa people of Kodagu were brave, full of valor and were very loyal to their kings. After every defeat they rose with fresh strength .
Throughout the history of Coorg, no ruler has held direct sway over the region. Coorg has always been under the influence of local chieftains. The culture of Coorg has never been assimilated with the neighbors and has always maintained their unique identity.

Kodwa kings worshiped Shiva yet they were buried unlike all other followers of Hindu Dharma , whose body is burnt after death, this fact led me to search for an answer. Well, I came to know that these kings were Lingayats i.e. followers of Veershaiva faith.  Followers of this faith  wear a  symbol of Linga encased in a pendant around their necks. The faith preaches that Shiva is within every body and urges to worship the God within. Followers of this faith have their own unique customs, rites and traditions. During pregnancy of a woman on a certain month a  Guru gives the would be mother the pendant encasing Linga, tied to a thread ,which is to be worn by the child on the day of the birth itself and throughout his/her life that pendant with ishtlinga is on the body. May be the presence of Shivling and nandi inside king’s tomb has something to do with this belief. Alive or dead God is with us, within us.

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All pictures by Sunder Iyer

He was the youngest of four brothers and the most simple and innocent  also.After father’s death while dividing the land and fields elder ones conspired to give the youngest one a plot of land at the outskirt of village.It was a barren plot.Nothing was grown and cultivated in it for as long as people can remember.Any source of water was very far from this place.
The villagers sympathized with the poor chap.Few of them even felt angry for the plight of the boy but none of them voiced their opinion .Some thought its their family matter and any outsider should not interfere while others were wise enough not to rub the influential brothers on the wrong side.
So the lone boy stood at the edge of the plot looking at the barren stretch before him.He looked up once to the cloudless blue glittering sky as if  searching for Him. And then his  eyes wandered to the lone keekar tree standing at one corner of the plot. keekar is a small bushy tree with needle like leaves.It does not require much water to thrive.Standing there midst  brown cracked earth and dried weeds the tree appeared to be  welcoming him.

He slowly walked towards it and lowered himself in its scanty shade.It could not protect the boy fully from the scorching heat of the afternoon sun but it was comforting.To the boy it was like a little lighted lamp in the vast spread  of darkness.The tree as if cradled him in its bony arms and the boy fell asleep.
From the next day onwards he started working on the plot.He uprooted the weeds,planted small trees along the boundary of the plot and started preparing the field by digging and ploughing.The greenery ,shade and life in the field started inviting the cows and buffaloes grazing in the pastures.The boy now had company as well as free manure .
Bit by bit by his sheer determination,persistence and hard work the boy was able to raise a fine field there.Not ,of course rich swaying crops but he was able to grow certain vegetables and useful trees etc.
once the village head visited the boy and told him,” see,you and God has turned this barren land into a fine field.”
The boy looked up solemnly and told,” yes,of course ,but you should have seen it when He had it alone.”

He  works through us.

Pic by sunder Iyer.

The lone boat floating away in the mist, I feel your spirit within me. I can sense the tug, the steering as if encircling within your arm, you are trying to take me …..but I still sail directionless.

…and the boatman…the vast expanse of waters do not scare him, not he waits for a traveler for the company, he travels with these waters and the sky above without a destination. The far off banks do not beckon him. He simply sails towards nowhere, where he belongs. He is one with the limitless. He never wishes a bank or a harbour to anchor. The world there does not exist for him. Beyond the limits he sails, oblivious of everything. A journey within, towards you, to nowhere…far…far away.

I can listen to the call ‘beyond’ but know not how to head to be with it. Will you take me there…

(picture by- Sunder Iyer)