Mist gradually loosens its embrace around the tall trees and whispers to leaves awakening them to face a new day. The jungle seems to be reluctant to come out of the soft dreams. Sun rays try to find their way down caressing the vegetation with its magical golden touch. Bathed in a misty morning glaze the mysterious forest invite me to imagine the hidden world. The tall trees stand quiet yet nudging the leaves to waken up. The surreal, mysterious world of foggy forest casts a spell. And then slowly a melodious chirping is heard somewhere deep in the forest. It’s time to welcome new horizons, to walk on new path. The pathway looks so inviting.
And here are few lines by Lucy Montgomery about the fog clad forest—
When we walk towards Dasashvamesh Ghat from Gudaulia say some hundred steps before reaching the steps of Ghat a narrow lane divulges from the main road and this narrow lane too lead to another Ghat which lies adjacent to Dashvamesh Ghat. At the end of this lane, that is just before the lane leads to steps stands Man Mahal, popularly known as Man Mandir. This palace was built by Raja Man Singh in about 1600 A.D. An obse4vatory was built on the roof top of this palace by Maharaja Jai Singh 2 of Jaipur somewhere between 1686 and 1745. Those who are even a little bit interested in history and monuments of our country must be knowing that Maharaja Sawai Jai Singh is known for setting up masonry observatory at Jaipur, Delhi, Varanasi, Mathura. He is also the founder of Jaipur city. These masonry observatories set up by him are popularly known as Jantar- Mantar, which is perhaps corrupted form of Yantra- Mantra. This name perhaps denotes to calculations by instruments and that is what these observatories do. Maharaja Sawai Jai Singh himself was a great astronomer. So here we are talking about the observatory on the top of Man Mandir. The observatory has many yantras to calculate time, distance, movement and inclinations of stars and planets, to prepare lunar and solar calendars. Few of the Yantras there are—
Samrat Yantra – small and large.
Digamsa Yantra—
Chakra Yantra
Nadivalaya Yantra
Dakshinottara Bhitti Yantra.
Another wonderful attraction of this rooftop is wonderful view of ho;y Ganges. Even at the time when sun was at it’s Zenith, the breeze was cool there.
A major restoration work of this observatory by Maharaja Sawai Singh in 1912.
We were there at 2.45 P.M. and sun Dial was showing the exact time. It was thrilling to see and observe that. A little feeling of pride crept in my heart, what a great visionary were our ancestors and how knowledgeable.
Recently this Man Mahal has undergone a big change and has become a tourist attraction. Now Man Mahal host a 3D virtual experimental museum showcasing culture and heritage of Varanasi. The museum became operative since 2019. It was set up by National Council of Science Museum under the guidance of Union ministry of Culture. We need to purchase a ticket to enter the building—Rs. 25/ per person. For foreign nationals it is Rs.300/- per person.
As we enter the first hall, we find a big arc shaped screen on the wall and we can enjoy a short film on various aspects of Varanasi , the magnificent ghats, the cultural heritage, a part of history etc accompanied by commentary.
On walls of various rooms, halls and corners are big, life size paintings and photographs revealing the soul of Varanasi—a Sadhu on Ghat, a lane and an old lady walking, two old people busy in playing chess on a small platform in a narrow lane etc.
As I said earlier this museum takes you on a digital tour, so in one of the halls is this table top screen on which flash various icons stating, wall art of Varanasi, wooden toys and furniture art and so on. At a time there five- six icons and you touch the one in which you are interested and short film about it runs on the screen.
Similarly in another hall is another one with pictures of various literary personalities having connection with Varanasi . You touch one and pours down lot of information about the personality and their literary works.
In yet another hall are these vertical screens on the wall, small rectangular ones. Below these screens are wooden platforms with square hollows cut in it and nearby are placed wooden squares of same size with pictures of great personalities carved on these. You fit a square in a hollow and information regarding that personality appear on the screen.
This museum is informative, interactive with many aesthetically beautiful pictures interspersed.
Then there is this Pan Shop, Pani.e. beetle specially Maghai pan is one of the speciality of Varanasi. The pan wala looks almost real .
You can gather information about on various other topics and personalities, weaving industry of Varanasi, the famous silk weaving industry, the old map, the music personalities like Girija Devi, Bismillah Khan etc.
And there is yet another attraction, a film on Ganga avataran. i.e. mythological story of ganga coming to earth out of Brahma’s Kamnadal. The film starts from ancestors of King Bhagirath and ends with River Ganges cascading down from Shiva’s hair. The film is shown on the white walls of the hall and at the end when Giganting waves of Ganges leaps and runs from one wall to another leave one with a feeling of getting drenched in holy water. If you are in Varanasi, don’t miss out on this museum in Man Mahal at Dr, Rajendra Prasad ghat.
Amidst the stretch of ghats running along the holy river Ganges is Boondi Parkota Ghat. This Ghat was constructed by the king Suraj Bhan Singh Hada of Boondi. Above this ghat near Brahma ghat is this museum known as Kashi Dham. This is a unique museum. It imparts knowledge about various aspects of Indian culture, our civilization and Sanatan Dharma through paintings, murals, idols and a variety of artefacts. The museum is very beautifully and exhaustively planned. The ideas are executed very creatively.
After ascending the steps from ghat we took the right turn and hardly ten steps ahead was the gate of Kashi Dham museum. An ornate and beautifully carved door welcomed us. We stepped into the corridor. One the left side was the shrine of Laleshwar Mahadev and on right in the verandah was a reception desk. The temple of Laleshwar Mahadev is said to be almost four hundred years old. Black wooden pillers narrate stories of the times bygone. I think it must have been a residential property in olden times. In varanasi midst the maze of lanes we find many accommodations housing temples inside them. In its present Avatara the wall around circumambulatory path displays images of the twelve Jyotirlingas.
For going beyond this area and entering the halls of museum one had to take ticket at the rate of Rs. 25 per person. Come with me, I would give a short tour of the museum.
The temple , shrine of Laleshwar Mahadev.
Pushing the glass door as we stepped into the first hall, we found this magnificent Natraj idol. Don’t forget to pay attention to the dancing poses around it.
On another wall is this map of Bharat Kshetra. The ancient map with the names of the kingdoms. The boundaries of our land stretched far and wide.
A glimpse of Dances and festivals of India.
The Saptarishis, Devis, Saints.
solah sansakara, rites, rituals , phases of life as per Sanatan Dharma.
!2 jyotirlinga temples, the great spiritual personalities, devotees.
Some mythological anecdotes.
As you can see the Sun God and the lunar phases.
Mytho;ogical weapons, animals and representation of Grahas, nakshtras.
This view is of upper floor. The window gives an excellent view of river Ganga. On this floor certain rooms are available where people could stay but presently no arrangement of food was there.
Om namah Shivay. A closer look of Shivalinga.
I have tried to give you an overview. There are many more informative facts such as names of scriptures, Purans, Upnishads etc., details regarding evolution of our national flag and much more.
The wall art of varanasi could be seen on Ghats as well as the narrow lanes snaking around various neighbourhoods of the city. The images on the walls not only add colour and vibrancy to the old walls and structure but also spell out the essence of the city older than history itself. Though during our this visit we found most of the walls of ghats painted in pink, [ perhaps a cleanliness drive in the wake of visits of G-20 dignitaries from across the world.] yet we could capture few along the ghats and others in the street, What I post here is just a miniscule of what the entire city has to offer. These wall arts are the cultural repository of not only a city steeped in various art forms like dance, music but displays themes representing the diverse richness of our entire country. scenes from history, mythology to few conveying social messages all kinds of themes are the subject of these wall art.
These all-ladies band on the wall of Mehta ghat showcase some of the musical instruments which are not commonly seen now a days. I thoroughly enjoyed their company and submerged myself in the music of the waves lapping on the stone steps.
And my most favourite moment on the ghats. The sheer co-incidence made my heart dance with joy. I mean, I don’t live in the city so while going on the trip I carried this saree and then wore it while I visited this particular ghat. When my eyes suddenly fell on this Kathakali dancer, I could almost feel the mirth in his eyes too. A slice of Kerala on the wall as well as my saree.
The divine form of Ardhnareeshwar depicts that Shiva and Shakti, Lord Shiva and goddess Parvati both are equal and inseparable. This form represents the masculine and femenine energy of cosmos to be equal and depending upon each other to complete oneself. The perfect balance of universe is indicated here. The Ardhnareeshwara strotam composed by Adishankaracharya is a very beautiful and significant hymn describing the beauty and harmony of this form.
This view of Ghats is painted on wall in the corridor area. Certain old buildings and walls are intact midst the newly constructed area and the efforts to recreate the old charm have been made. After all Shiva watches everything.
This frame is from Dashashwamesh Ghat. It being Shravan month groups of pilgrims, kanwariyas travelling barefoot flooded the city. As this particular group of ladies sat down to take rest, Ganesha in the background showered His grace.
Now let us walk through few of the lanes of Varanasi.
From ancient times to this day this is what varanasi is, the bliss of surrendering to the that power beyond. Look at the expression of the yogi. He appears to have made the connection with Him.
Shiva and Sadhu. It is said and believed that Kashi stands on the trident of Shiva. I loved the idea of painter to merge the Tilak, the trident and the Shivalinga. Krishna with His ever-sweet expression looks beautiful. And look at the flowing beard of the Sadhu, one can listen to the waves of Ganges there.
Here we can see Nav Grah, nine planets painted on the wall. on another side of the door is depicted the mythological anecdote of Markandey , Yama and Shiva. The story goes like this. Sage Mrikandu and his Marudavati were blessed by a son after praying Shiva for a very long time. Lord Shiva gave the sage an option– 100 foolish sons or one very intelligent son with a life span of only 16 years. Sage chose the later but as the son grew up the sage became sadder thinking of the approaching death of his son. However whe the son Markanday came to know about it he decided to pray lord Shiva himself. Markandeya created his own Shivalinga and started worshipping him, offering prayers to Him. As the appointed day of the death came Lord Yama Himself came to take the boy. Markandey clung to Shivalinga. Yama threw His noose around Markandeya but Shivalinga too got caught in it as Markandey clung to it very tightly. Suddenly Lord Shiva appeared from Shivalinga and Yama had to spare Markandeya’s life. Then Markendeya created the famous maha Mritunjaya Mantra. The young boy grew up to become famous sage Markandeya.
Lord Vishnu on the wall, the peacock on the side wall but the best part of this frame is that tree on the wall. How beautifully the thin strip of the space has been utilised and leaves and branch over the door give a nice effect.
A scene from ghats and a slice of history in one frame. Most probably she is our Jhansi ki Rani Laxmi Bai. She has got a strong connection with this city. She was born in this city. Manikarnika of Kashi later on became Laxmi Bai of Jhansi.
Shiva absorbing and containing The Halahal[poison] churned during Sagar Manthan. Neel Kanth Mahadeva, a power beyond words, endless, limitless.
Mata Annapoorna giving alms to Lord Shiva. Mata Annapoorna is very prominently revered at Varanasi. Besides Kashi Annapoorna temple there are other big and small temples of Devi Annapoorna at Varanasi. This legend establishes the importance of feminine power, the caring and mothering forces for the sustenance of the world, so much so that even lord had to bow down and accept it.
Here are Ganesha and Maruti Nandan.
Om Mahadev.
Goddess Laxami
And here is one example of contemporary art, a landscape.
It’s not just paintings on the walls but while walking through these narrow lanes of varied width, buzzing with daily life activities one could easily locate few of the live paintings too– A aged gentleman with a child sleeping on lap, manning a small shop, a man sleeping on platform oblivious to the daily chaos around him, carved doors and a lone figure inside a house. The maze of the narrow lanes with continuous play of light, shade and darkness opens an altogether different world before you. This is where we experience mundane with spiritual.
This time our Varanasi visit happened after a gap of almost 6 years. When in varanasi what we like most is walking on ghats, sitting on the steps sometimes near water on others somewhere on higher steps and every time we return with different experiences and stories. The best part of spending time on ghats is that they let you be with yourself midst all the bustling crowd and multitude of activities. hordes of people, variety of sounds and all kinds of activities, nothing distracts you if you really want to sit and just be. Quietly flowing holy river as if enters inside and peace trickles inside drop by drop. The white sand on the other side, the rows of green trees running along the stretch of sand, the blue sky over kneeling down to come closer, and the noise in the background fades away. Whenever I feel lost, I would come here to find myself.
Behind me the steps rose high and at the top was a small temple, a Hanuman idol in orange shone on the wall, bhajans floated down to me and I looked upward with a belief, a firm one that heaven is there somewhere. Someone is watching us and those birds soaring high are messengers of peace and hope.
And then listening to the stories of these ever-travelling people, who go with flow of life, not deciding about the next day. These people fascinate me and on every visit to Kashi I meet someone or other of this type. It’s not that they don’t have got a place of their own rather they belong to every place they go. This all-embracing capability is so liberating.
Shravan month and Kashi, abode of lord Shive, Baba Vishwanath, early morning fresh air, shlokas and Bhajans, joy just sprouts on its own.
This one is newly renovated ghat. Majestic it looks and this stretches up to the high raised gate leading to the new corridor around Vishwanath temple. Next picture gives a glimpse of the gate.
crowd definitely is there but most of the people are within themselves and that’s what I call Kashi effect.
Morning at Assi ghat. we could not make there for morning Ganga Aarti but then the quiet ghat with cool breeze welcomed us. Boats lined up, flags fluttering and the big green tree, the red temple, it all felt so serene and calm.
This one is at Rajendra prasad ghat adjacent to Dashashwamegh ghat.
From this end to that end, from banks to beyond the boats row and the journey continues. Each of us cover the distance in our own way, own way or as is designed for us but reach the same destination. It’s the journey that matters and how we traverse.
And the affectionate touch of Ma Ganga. Since time immemorial it goes on flowing quietly, embracing you when you come to Her.
Every ghat, every step, every shrine, of Varanasi has its own charisma. his time we were lucky to be there during Shravan month. The city was abuzz with orange clad Kavariyans, bhajans and devotional sentiments.
We visited this newly constructed temple on the banks of river Gomti flowing through our city and this visit led to many nostalgic memories of the times bygone when that particular stretch running on the side of the river used to be so different, more natural and calming, to be precise. But then old buildings decay with the passage of time, ages old trees become hollow and die. But I still feel that old structures should be renovated in such a way that the soul of the place is preserved. Renovation does not always mean eradicating it from roots and then giving it an entirely different form. Though I agree that sometimes that is the best option. But still a balance could be maintained, I feel.
I remember from earlier that this long stretch running along the river was full of greenery. There were many big and shady trees. River was much wider than what it is today. There were many ghats on the banks of the river and so were many small and medium sized temples. There were few shelters for the pilgrims and travellers. Few houses of priests and caretakers too were there but every structure maintained a perfect harmony with sanctity of the sacred area and pristine natural ambience. Gradually encroachment took place and now most of the temples stand crouching midst the hoards of kachchha pakka small houses. Some old buildings and structures still stand there in a dilapidated condition. Ancient trees hold the crumbling walls in their embrace, a testimony to their long standing relationship. people inhabit these structure and daily routine goes on.
This particular small old Hanuman temple has been completely renovated. The temple and the area around it has been artistically redeveloped. At least that much area is free of encroachment yet slowly human presence is trying to claw in. The centuries old Hanuman idol has been shifted to basement in a beautiful hall with many images of Lord Hanuman on the walls. Even the enclosure of old very small temple and few old idols have been preserved in the hall. Many old trees too are still standing in the premises.
The river is tamed and restricted by erecting a a pakka wall running along the bank. Though over all the people who got the place renovated have tried to preserve the old, give respect to past , yet looking at certain things evoke a sad feel. But then things change with the passage of time. Over all it is a nice place to visit, calm, quiet and peaceful. I pray that we human contribute our own share to let the place be neat and clean.
These temples tucked in small villages of South India never cease to amaze me. We are blessed with such heritage, be it architecture, art forms, mythology or scriptures. Veernarayana temple at Belavadi village in Chikmagaluru distt, is one such shining jewel. Belavadi is approximately 15 km from Halebidu. We covered the famous Hoyalashwera temple at Halebidu, kedareshwara temple, Jain Basadis and Veeranarayana temple at Belavadi in one day. To be very frank one can easily spend an entire day in any one of these places, such is the peace permeating aura of these temples. Besides that architecturally too each of these temple has a lot to offer to a keen heart and eye.
Front view of Veeranarayana temple.
As you enter through the small gate the tall dhwajastambha under the open sky makes you stop. As I tried to fix my gaze to the top of the pillar, the overhead sky smiled benevolently as if embracing me. Glancing at the magnificent temple before me I thanked our ancestors over there somewhere in the open space. I hope they heard me, all of them, the patrons and the artists.
The two elephants on either side of the gate are elegant pieces of art with intricate carving. Look at the picture below, a close up of one of the elephant.
In Hinduism elephant symbolises physical and mental strength, majesty, fertility, intelligence and wisdom. Elephants hold a prominent place in our culture from times immemorial.
Entering the door flanked by the elephants you enter a small enclosure with a restful aura, cool and peaceful. At the end of this area is a door that leads to Mandapam. The temple complex including the mandapam and bay areas are said to have 108 lathe pillars, a specialty of Hoyasala temples. crossing the first mandapam you reach the area which houses two lateral shrines of Venugopala and Yoganarsimha. The venugopala idol at Belavadi is said to be officially certified by ASI as being the most beautiful idol of lord Krishna in India. Here Krishna stands in tribhanga mudra under the kalpavriksha and is playing flute in extreme bliss.
Main deity of temple is Veernarayana, whose shrine is at the extreme end of temple complex. Such is the construction that sitting at the gate of garbhgriha one can lose oneself in the expanse of sky outside. the specialty of the this area is that on 23rd march that is on the day of summer solstice, crossing the seven doors starting from temple entrance the sunrays touch feet of the lord. Isn’t that amazing. The temple complex comprises of so many doors, mandapams, corridors, yet how they have measured the height, the direction that on that particular day sunrays reach the interior most part of the temple. How deep and extensive was the knowledge and study of our ancestors be it architecture or nature. Awe inspiring is this.
A Side view of the temple.Another side view of temple showing the part where exterior walls are not that ornate. but i love this shot because of that far of blue patch with green of tree leaves. To me it feels like that blue light deep inside our soul.each and every carved image sings eloquently of the craftsmanship of those unknown artists.Silence reigns within in the company of these images from centuries ago. Somehow looking at them I always tend to think about the hands and hearts that gave shape to these. Did they imagine that years after so many of us would be looking at their creation filled with immense appreciation and wonder for their art. Ney, they would have neither thought nor cared about it. They simply drowned themselves in their passion, they did with all their heart what they enjoyed, what they did. That’s the reason their art pieces stand before eons after echoing their sentiments.‘Am I the traveller? Ney, the time is, and we scatter as miniscule dust particles while it goes on running with hurricane speed.’
Roaming around these ancient temples in small, quaint villages a peace always dawns upon one’s being. A kind of feeling of oneness with universe and the great spirit pervading it slowly spread within. These are the places where we lose ourselves to find ourselves. And this kind of spirituality is the true essence of culture. A culture that has withstood the test of time. I will sum up my posts with the following words of Dr. Radhakrishnan “It is the intense spirituality of India, and not any great political structure or social organisation that it has developed, that has enabled it to resist the ravages of time and the accidents of history.”
Dodagaddavalli is a small village near Belur in Hassan distt of Karnataka. The village is famous for a very unique temple. This temple is perhaps one of oldest architecture of Hoyasala period. It was built in 1113 CE, i.e. even before the famous Chennakeshava temple of Belur.
We started for Dodagaddavalli by our cab quite early in the morning. The way from Belur to Dodagaddavalli offered green, beautiful landscape and the journey turned out to be a very pleasant one. The temple is located at the farthest end of the village. When we reached there though temple gates were open yet Pujari had not arrived by then. Only one person was there in the premises. he was a young man from some nearby village, who worked in Bengaluru and visited this Mahalaxmi temple every time he came to his own village. While roaming around the temple looking at the tall coconut trees and blue stretch of sky I felt a sense of peace and a curious thought too came in mind. Far from my place of birth and settlement I was standing there in that small village at that particular moment, how many journeys we make within our life journey and what is the significance of these journeys. Every moment of our life appears to be pre-planned. Who keeps the record of millions and millions of lives all over the earth.
Come. from my ramblings let us go back to the temple. the Dodagaddavalli temple has raised compound walls. In the corners of the compound walls there are four small shrines. Though the time we visited there were no idols of deities inside these small shrines, however many stone slabs, some with inscriptions and some remnants of certain idols were kept near the walls.
The entrance to the temple is through a pillared hall like Mandapam.
The main temple has four sanctum sanctorum. Dodagaddavalli is the only chatushkuta ( having four sanctums) temple in Hoyasala history. The four Garbhgriha share a common hall and entrance. The four sanctums were originally dedicated to Goddess Kali, Goddess Laxami, Shiva and Vishnu but when we visited Only Shiva and Laxmi were there. The doors of sanctum dedicated to Goddess Kali were closed. We came to know that few days earlier some miscreants tried to steal idol of Goddess Mahakali and on being unsuccessful in their attempt they damaged the idols.
This temple is unique in its aura. Due to low ceiling the temple hall is semi dark. We were not able to see Mahakali idol but the corroborating images and the ambience suggested that this shrine must have been associated with Tantrik tradition. on the door way and the upper jamb of the shrine Bhuta Mukhas were carved. on the either side on the walls were standing images of two full sized Bhutas, skeleton kind of figures. They appeared to be standing like dwarpalas. In the semidarkness that pervaded the hall these dwarpalas are capable of sending a shivering sensation down the spine. There is a Bhairava shrine too in the temple.
The Bhoota Dwarpala outside Mahakali Shrine
Shrines of Goddess Mahalaxmi and lord Shiva are in east and west, i.e. facing each other. in the original plan shrines of Goddess Kali and Vishnu faced each other. We were told that the dedicatory inscriptions found here declares that the temple was erected by the generous grant provided by a diamond merchant Kalhana Rautar. The saying goes like that the wealthy merchant was highly impressed by the Mahalaxmi temple at Kolhapur, Maharashtra, which he happened to visit during his one of the business trip, hence he built a similar one at Dodagaddavalli. The village which was historically referred to as Doddagaddumballe was even renamed as Abhinava Kolhapura.
Goddess MahalaxmiLord Shiva
In comparison to very intricately carved temples of Hoyasala era this one is kind of non- ornate but it has certain unique features of Hoyasala temples such as lathe turned pillars and richly carved ceiling.
All the Shikharas except the one over Goddess Laxmi are of simple pyramidal style, Kadamba Nagara type. The tower over Goddess Laxmi is Dvitala Vimana topped by square shikhara and stone finial. All the four towers display the Hoyasala emblem, Sala striking a tiger.
Slowly walking in the compound of the temple , devoid of tourists and the usual clutter, I felt like being transported to an ancient page of history. A king, a merchant came together to build this unique temple and centuries after its inception I stand there to feel, to imbibe the spirit of the place. Was I there at that time too in some other form, known by some other name?
Pujari arrived at 9O’clock. By that time a small group of visitors from some nearby village had also arrived. We eight people stood there with hands folded, as Pujari chanted shlokas. Glow of lamp lit by pujari filled the chamber with soft, benevolent light. I slowly closed my eyes. I felt a peaceful feeling of bonding, of assurance. I was not to meet any of those persons ever again in this life. I did not know even their names, we could not communicate due to language barrier but at that pious moment standing together before the shrine of goddess Laxami in that small village I felt connected. Benediction was being showered on us all. It was beautiful moment, etched in my heart for ever.
Later on We walked to the back of the temple where a very big pond was there. The village was slowly opening its eyes and daily chores were being started. two- three women were cleaning utensils on the steps of the pond. i met Bhavya there. She was a young girl, who never went out of her village but was familiar with the name of my city. We could communicate in monosyllables in English. She welcomed me to her village and felt happy to know that I came there from such a far away place. When I started to leave she said,” come again.” Both of us knew that it was highly unlikely yet her gesture touched my heart. With those two simple words she made me feel special and welcomed.
Pujari while talking to Sunder in Tamil asked about Kashi. He was a young man of say thirty five or so. He wanted to know how much money he had to save to travel upto Kashi. How many does would take to reach. He did not know how far it is but at least once in his life time he wanted to visit Kashi.
We proceeded back to Belur with a heart full of gratitude.
Hoyasaleshwara temple is not very far from Chennakeshava temple Of Belur. We left our guest house at Belur early in the morning and reached Helebidu in about half an hour. In fact we were the first visitors to temple that day i.e. 14. 12. 2021.. Guides were the only people to reach there before us.
front view of temple
As I walked slowly towards the main building of the temple imbibing the grandeur of the 12 th century architecture, the refreshing greens of the garden, I felt the weight of baggage stored inside falling away bit by bit and blue, soothing calm descended within. It felt as if the temple with outstretched arms welcomed me to it’s protective folds.
The temple was built by king Vishnuvardhana Hoyasaleshwara. the temple has four porches for entry.
one of the entry door
All the entry doors are embellished with large, intricately carved figures on either sides. The temple is treasure trove of masterpieces on soap stone all around its walls and inside temple too. I thought that first I would go to the shrine directly. I mean visiting a temple, surrendering to the divine is always the first priority. Later on I enjoyed it as an open art gallery of exquisite art pieces.
interior hall of the temple
It was early in the morning. Natural light was entering the hall with hesitant steps. Few shy sun-rays were peeping through the interspersed stone lattices on the wall. The dimly lit hall was bathed in the mysterious but peaceful aura, which cuts you off the humbug of outside world and you feel divinity all around. A journey within commences.
Shrine in the temple
There are two Shiva shrines in the temples. It is said that one was built by king Vishnuvardhana while other by queen Shantala. The time we visited there doors of only this shrine were open. Other shrine was closed. As we were informed this shrine is from king.
The ceiling of the hall too has richly carved designs.
carving on ceiling
This is only one example of finely carved images on the ceiling of the hall. Even the small squares have a detailed story narrated by the sculptors.
Now let us come out of the hall and walk towards Nandi Mandapam. As the temple hall houses two Shiva shrines obviously there have to be two Nandis. Yes, there are two Nandi Mandapam and each of them very richly and exquisitely carved. They are masterpieces in themselves.
Here are both the Nandis: one with its mandapam in full view and the other one in close up. These nandis are listed among few biggest nandi statues in India but carving and finery wise these are considered to be top ranking ones. In fact no words, and images can replicate the detailing, the fine lines and the over all mesmerizing impact.
Hoyeshaleshwara temple is poised on a star shaped base. The base consists of eight rows of friezes. Images of elephants, horses , floral scrolls and lions are carved symmetrically in these rows.
rows at the base.
The walls of temple have elaborate and sophisticated carvings of Hindu deities, mythological episodes from Mahabharata, Ramayana and Gita, scenes from daily social life of that time. The images of deities on walls are highly ornate and each image has its own way of casting its spell on you.
Brahma on his vahanaShiva and Parvati on Nandi.
Our guide told us a very interesting story about it. It seems nandi did not enjoy Parvati riding over him. He considered only Shiva to be the one to ride on him, hence his stride is a bit different with an intention to make Parvati uncomfortable.
krishna holding Govardhana
This magnificent Ganesha idol is installed in one of the lawns on the backside of temple.
This Jain Muni statue is found in the lawn near the museum. Dakhin Karnataka and many dynasties ruling there followed Jainism. We found many Jain monuments and temples in the area. Queen Shantala too was follower of Jain Dharma, though she took interest actively in Hindu shrines too.
A view of open campus of museum. There is a big hall having many beautifully sculpted idols and images. The art part is being preserved very nicely.
This is the moment I savoured most, sitting outside the Nandi Mandapam. On one side is temple and on the other the open space, green trees, flowers, sky and water beyond. All the elements as if unite to take you deep into the serenity of just being.
This corner of one lawn ablaze with reds and yellows was quiet and adding colours, as if manifesting different aspects of existence. it was so inviting that I could not resist myself from going nearer and whispering a ‘thank you’.
The splendid view of water body.
Presence of this sparkling waterbody makes Hoysaleshwara temple all the more alluring. It was calm and beautiful. Due to it’s presence Halebidu was also known as Dwarsamudram.
Wondering: how could our ancestors create such marvels! They left such rich heritage for us. We don’t know the names of the artists and creators but they left their indelible marks for posterity. The thought in mind was- would we be able to leave for our generations to come something like this, something, which gives peace to their world, soul and mind.
Nataraja is also an incarnation of Shiva and was created by Shiva for a special purpose.While writing this sentence, suddenly a thought flashed through my mind; why did Shiva create His special incarnation for subduing or annihiliating different types of negative and harmful forces? Why He in His well known Avatara i.e. in one form obliterated all the negative forces? Do our mythological stories are structured like this to impart certain lesson? Yes, I think it is so. Perhaps they want to convey that we all have multiple facets to our being and to face different type of obstacles, we need to work on a particular facet of our personality. We have to sharpen different skills to overcome different type of peoblems. All types of battles can not be fought by a single type of weapon. Well, that is my interpretation, what do you have to say on the matter?
Anyway, so here you see Nataraja, the dancing Shiva. But upon whom is He dancing? Who is the figure under His feet? He is Apasmara.
Apasmara is a demon dwarf and as per our mythology it represents ignorance. Infact Apsmara is also said to represent memory loss, Apa means negation, samara is smriti; memory. In Ayurvada Apasmara refers to epilapsy.In epilapsy too the person tends to forget oneself when under its attack.
Apasmara is a symbol of ignorance and laziness, and Nataraja, a symbol of cosmic motion dances keeping it under His feet. Like all other demons Apasmara is not killed but crushed, kept under control.Ignorance has to co-exist with wisdom. Ignorance can never be obliterated, ended completely, be it on individual level or all of us as a universal community, but we definitely need to keep it in check.Apasmara is immortal. To me Nataraja gives an impression of dancing in complete abundance, a swirling, energetic motion. Does it suggest if ignorance and laziness is kept under control life is full of joy and motion?
This ignorance can have another dimension too. Ignorance about presence of divinity, goodness within us, or say spiritual ignorance. If we keep the negation within us under check, we get to experience that abundance of joy flowing through our being. It rushes through every artery to spread the purity and we feel in harmony with the symphony vibrating through every iota around us. Trample the Apasmara and awaken Shiva within, says Nataraja.
bits and pieces 