Splendors of Sculptures and Architecture of Hazara Rama Temple, Hampi

Hazara Rama Temple in Hampi

Hazara Rama temple is one of the most elegant temples in Hampi. Its construction was started in the year 1513 A.D., under the orders of Krishnadevaraya and was completed before the end of his reign.

Horizontal friezes Hampi Hazara Rama Temple.jpg From Bangalore, it was extensive journey of 353 kilometers to Hampi, the capital of the Vijayanagara empire, our first stop, along a uncomfortable narrow tarred road. We reached Hampi at about 6:30 p.m. and parked under a tree whose branches canopied throughout the road. Close by was the Hazara Rama (a thousand Ramas) temple which was splendid in the depending dusk. It is a quadrilateral temple complex set within well-tended lawns, destined for the secluded worship of the Vijayanagar kings. The air was cool and gleaming twilight rays moderated the sharp lines of the granite edifice. We admired the fine statuettes on the outer walls encircling the complex exulting when we recognized the figures.

Hampi's Hazara Rama Temple: Sculpture of Kalki holding in his four hands sankha, chakra, sword, and shield and riding a horse Actually, it is a royal chapel or a private temple for the use of the royalty. The temple opening to the east has a flat roofed dvaramandapa with symmetrical pillars. Passing through the doorway one enters into a square rangamandapa, which has blackstone tall pillars. These pillars are very attractive and contain sculptures of gods and goddesses, like Ganesha, Mahishamardini, Hanuman and different forms of Vishnu.

The sculpture of Kalki holding in his four hands sankha, chakra, sword, and shield and riding a horse is especially noteworthy. The rangamandapa has entrances to the south and north and the western entrance leads to the sanctum. One of these doors leads to the open enclosure from which the garbhagriha and its beautiful vimana become visible.

The outer wall of the prakara and Horizontal Friezes are great attraction at Hampi Hazara Rama Temple

The outer wall of the prakara also built of stone is a great attraction in this temple as it is divided into five horizontal friezes, each containing from the bottom upwards rows of elephants, horses, and Krishnalila stories in addition to some gods like Subramanya, Ganesha etc. Particularly interesting are the stories relating to Rishyasringa, Putrakameshti yaga, Sita svayamvara scene in which Sivardhanush is being carried.

To the north of the main garbhagriha is the shrine for the goddess. Though it is small in dimensions, it is very attractive from the point of view of ornamentation. The antarala of this shrine has on its eastern wall bas-relief of God Narasimha. On its doorway is found a Vaishnava saint giving something to a king. Some scholars have identified this as Vyasaraya and the king as Krishnadevaraya. At the northeast is the Kalyana mandapa built in 1521 A.D.

Hazara Rama Temple in Hampi This is the only temple situated in the core of the royal zone between the residential and ceremonial enclosures. Dedicated to Vishnu in his aspect as Lord Rama, this 15th century temple, is the finest example of a compact Dravida Vimana type of temple. In plan it has a sanctum, vestibule, pillared dance hall, with an entrance porch to the North and South. The Eastern porch is extended into an elegant pillared pavilion. There is a shrine for the goddess to the North which is also elegantly sculpted.

The temple is known for its sculpted friezes depicting the Ramayana, in three tiers, running all around the main shrine, and the narrative sculptures of the Lava—Kusha story on the Devi shrine. It is because of this that the temple was called the Hazara Rama. In addition, the temple is also known for the narrative sculptures of the Bhagavata, especially of Bala Krishna, and the sculpted polished pillars of the Mahamantapa (main hall). It was undoubtedly, the temple of the royal patronage.

Thus, the Hazara Rama temple at Hampi is a special temple built within the palace enclosure and on this account, it may be construed that this was built exclusively for the royalty for their personal use and contains good decorations and ornamentations done by the expert sculptors and architects of the Vijayanagara Empire.

Architectural Grandeur of the Historic Varahaswamy Temple in Mysore Palace Complex

Sri Varahaswamy Temple, Mysore Palace Grounds

When sightseers visit Mysore, the capital of Wadiyar dynasty, the most-frequented places include the Chamundi Hill, Palaces, Krishna Raja Sagara, Kukkarahali Lake, Jaganmohana Art Gallery, Brindavan Gardens, Lalitha Mahal Palace, Mysore Zoo, specially for the Dasara festival. Though the Wadiyars were well known for their religiosity, it is unfortunate that most of the temples built by them in the premises of Amba Vilas Palace are either overlooked by the natives or ignored by the tourists who get scarce knowledge about them.

The temples in and near the Mysore Palace are:

  • Shweta Varahaswamy Temple
  • Ambujavalli Mahalakshmi Temple
  • Gayatri Temple
  • Trinesvaraswamy Temple
  • Kodi Kala Bhairava Temple
  • Kodi Someswara Temple
  • Bhuvaneshwari Temple
  • Prasanna Krishnaswamy Temple
  • Khille Venkataramana Swamy Temple
  • Lakshmiramana Swamy Temple
  • Kote Anjaneyaswamy & Kote Ganapathy Temples
  • Sri Panduranga Vittala Temple
  • Vara Prasadi Ganapathy Temple
  • Kote Maramma Temple

Consecutive Mysore Maharajas built some of the temples in the Palace during the 14th and 15th centuries. The purpose of building these beautiful temples by the Maharajas was to reestablish the welfare and affluence of the royal family as well as their subjects.

If prudently scrutinized, one can find a temple at all directions. Most of the temples in the Palace are built in such a way that it presents a perfect symmetrical structure in the Palace complex. Even today, pujas in these temples are performed very faithfully. Most tourists are not aware of these temples’ presence as they are secluded and the attention is only on the Mysore Palace.

The famous Mysore Palace has a vast enclosure surrounded by a fort. Within this fort were built some temples, mostly for the personal use of the royalty. One such temple is Sri Varahaswamy temple.

Actually, the entire temple is a Hoysala structure as if built by the Hoysalas at this place. However, it is mentioned that this temple was built by Dewan Poornaiah with the architectural and sculptural slabs that were available at a Hoysala temple in Shimoga. Thus, it is a reset Hoysala temple during the period of Dewan Poornaiah when Krishnaraja Wadeyar III was the Mysore king. From this point of view, this is an excellent example of reconstructing a temple at a far off place when the technology of this type had not been developed as it is today. The temple has a mahadvara and a huge stucco gopura at the entrance.

Hoysala Architecture in Sri Varahaswamy Temple of Mysore Palace

The temple has a basement of horizontal moldings of different types. In fact this temple was built on this basement. There are three horizontal moldings at the bottom over which are found the wall with pilasters and niches. In the middle of the wall runs round the entire temple another eve-like molding over which the wall continues. At the roof level is a decorative eave and additional moldings. The sikhara is of a typical Hoysala type with various tiers.

The temple consists of a garbhagriha, an antarala, navaranga and a mandapa of the later period. The garbhagriha doorway is well executed with minute decorations. The navaranga has well carved pillars also. The garbhagriha has a fine stone image of Shweta Varahaswamy. This image was originally at a place called Srimushna in South Arcot district of Tamilnadu. The Mysore king Chikkadevaraja Wadeyar (1673–1704) brought this image from Tamilnadu and consecrated it at a temple in Srirangapatna.

Garbhagriha has a fine stone image of Shweta Varahaswamy in Sri Varahaswamy Temple, Mysore When this temple was destroyed during the period of Tipu Sultan, this sculpture was shifted to Mysore and consecrated here in 1809. The utsavamurti (image meant for procession) of the temple was also a gift of king Chikkadevaraja Wadeyar. There are also images of Manvalamuni and Vedantadesika donated by Krishnaraja Wadeyar III. The inner wall of the prakara has a painting of the coronation of Sri Rama done in 1865. The navaranga also has some paintings of Ramayana and Mahabharata. Thus, the temple is one of the interesting temples within the precincts of the Mysore palace.

Every year, hundreds of devotees participate in the Bramhotsava of Lord Shwethavarahaswamy located in the Palace premises with religious fervour and gaiety. Hundreds of devotees witnessed the auspicious event as the decorated chariot of Lord Shwetha Varahaswamy, went round the Palace premises. More than 15 vedic scholars led by head priest of the temple chant slokas praising the mightiness of Lord Varahaswamy.

The Majestic Gopuram and other Architectural Highlights of Sri Ranganathaswamy Temple, Srirangapatna

Architectural Highlights of Sri Ranganathaswamy Temple, Srirangapatna

Srirangapatna, very near to Mysore city, is on the banks of the river Kaveri and is thought of as one of the holy places in Karnataka. It formed a part of Ganga, Hoysala and Vijayanagara kingdoms and afterward it became famous as the capital of Tipu Sultan. However, it is famous as a sacred place because of the river Kaveri and the Sri Ranganathasvami temple.

Sri Ranganathaswamy temple at Srirangapatna is one of the larger Dravidian temples in Karnataka. Customarily famous as the Gautama Kshetra, it is said that a Ganga feudatory by name Tirumalayya built this temple in 894 CE, and named this place as Srirangapura.

Ranganathaswamy: Vishnu reclining on the huge coils of Adishesha with seven-hooded head. Temple in Srirangapatna.

The garbhagriha has an immense image of Vishnu lounging on the huge coils of Adishesha with seven-hooded head. The God is shown as sustaining his head on his right hand while his left hand is stretched over his body. He wears a tall crown and other ornaments. Near his legs are images of Kaveri or Lakshmi and sage Gautama. This is one of the most beautiful reclining images of Vishnu. The sukhanasi has well designed ceilings with lotus in the center. The navaranga is a fine structure and contains round bell-shaped and eight-pointed star shaped pillars. On two sides of the navaranga doorway are two gigantic dwarapalas.

In front of the navaranga is a large pillared courtyard with an opening near the dhvajastambha. Most of the pillars in this courtyard are of Hoysala workmanship, of different designs such as square shaped, star shaped, cylinder shaped etc. It is believed that later some of the Hoysala pillars have been used here to restructure the pillared courtyard and perhaps the navaranga also. There are some minor shrines housing Manavalamuni and Srivaishnava Alwars. On the south-west is a shrine of Lakshmi as Ranganayaki, the consort of Ranganatha, a sculpture of the Vijayanagara period. Some of the pillars have 24 forms of Vishnu with labels.

Garuda is the mount (vahana) of the Lord Vishnu, Sri Ranganathaswamy Temple of Srirangapatna

To the east is the pillared large mukhamandapa of late Vijayanagara period. All these are enclosed within the vast prakara wall, which has an striking mahadvara with a stucco gopura of five tiers with kalashas. Thus, the Ranganathaswamy temple is a temple multiplex built in various periods, and is famous all over Karnataka for the fine reclining Ranganathaswamy image.

History of Sri Ranganathaswamy Temple, Srirangapatna The oldest inscription regarding the temple dates back to 894 AD. It is believed that Tirumalaya, a secondary king of the Ganga dynasty, built the shrine and named the town Srirangapura. Supplements to the temple were made during the successive centuries by Hoysala kings, Vijayanagara rulers and Wodeyars of Mysore.

Ranganathaswamy Temple is built in Dravidian style and faces east. A seventy foot tall gopura envelopes the gateway. The main murti worshipped in the temple is that of Sri Ranganathaswamy in a reclining posture on the coils of seven-hooded serpent Ananta. Goddess Lakshmi, who is known as Ranganayaki, sits near his feet. There are two huge dwarapalaka sculptures guarding the doorway to the assembly hall, which has neatly cut granite pillars typical of Hoysala architecture. There are abundant secondary shrines in the temple which houses murtis of Sri Rama, Krishna, Narasimha, Gopalakrishna, Sudarshana and Lord Vithoba.

Architectural Highlights of Sri Ranganathaswamy Temple, Dravidian style

The significant festivals in the temple are Lakhsha Deepotsava or Makara Sankranthi Brahmotsava in Pushya month (January), Ratha Saptami Brahmotsava in Magh month, Magh Purnima, Sriranga Jayanti in Vaishakh month, and Uyyalotsava in Ashada month.

Sri Ranganatha pilgrimage sites along the river Kaveri The temple attracts a large number of visitors all through the year. It is one of the five important pilgrimage sites along the river Kaveri for devotees of Ranganatha. These five sacred sites are together known as Pancharanga Kshetrams in Southern India. The other Pancharanga Kshetrams are the famous Sri Ranganathaswamy Temple (Srirangam), Parimala Perumal Temple, Sarangapani Temple, and Sri Appakkudathaan Perumal Temple.

The other attractions in Srirangapatna consist of the Gumbaz / Mausoleum of Tipu Sultan, Daria Daulat (The palace of Tipu Sultan,) Water Gate, Garrison Cemetery, Scott’s Bungalow, Lord Harris’s House, Tipu Sultan death memorial, and Sangama (the amalgamation of the three holy streams that create the island of Srirangapatna.) The Srirangapatna fort is a big monument. The total length is 5 km and renovation needs huge funds and large number of skilled workers. Restoration work on the fort has been pending for a long time, but has not been undertaken due to lack of money. Not only the fort, other major monuments from the period such as gun houses, the rocket launch site, and the remains of Tipu’s palace in Srirangapatna are in bad shape too. Prominently, the remains of Tipu’s palace in front of Sri Ranganathaswamy temple needs to be preserved and popularized among tourists. The sites have a huge tourism potential if preserved and presented well.

Om Mani Padme Hum: The Essential Mantra of Tibetan Buddhism

Om mani padme hum, the great mantra of Tibetan Vajrayana

A mantra is a powerful and significant set of syllables, repeated in worshipping incantations. The most famous is ‘Om Mani Padme Hum’ (Sanskrit, ‘Om, jewel of the lotus, hum’), an essential mantra of Tibetan Buddhism.

Om Mani Padme Hum: The Essential Mantra of Tibetan Buddhism The great Tibetan mantra, Om mani padme hum, engraved on metal and rock. It is also frequently printed on prayer flags and written on slips of paper and stuffed into the heart of a prayer wheel, so that with each flutter of each one of the flags and every turn of the prayer wheel, the vibrations of the mantra are sent out into the atmosphere. The purpose might be to create a positive force field around oneself and one’s community, and of course, to expand one’s merit.

The great mantra of Tibetan Vajrayana is Om mani padme hum. Inscribed on prayer wheels that are kept continuously turning and on multi-colored prayer flags that flutter benedictions in all directions, this mantra is central to the Tibetan way of life. Although the words mean “Hail the Jewel in the Lotus”, the mantra is believed to have consequence beyond the literal.

The great Tibetan mantra, Om mani padme hum, engraved on metal

At one level, the jewel and the lotus can be seen as the dharma and the Buddha. At the tantric level, the mantra represents the intercourse of the Buddha with his feminine sakti, or Avalokiteshvara with Tara. While mani and padme share a grammatical association, om and hum are syllables that cannot be straightforwardly translated.

At a solely syllabic level, the six syllables of the mantra have been interpreted as corresponding with the six paramita (perfections) of the bodhisattva. These are generosity, patience, meditation, morality, energy and wisdom. One way or another, the mantra has also got absorbed with the idea of accumulating merit in the form of good karma, and part of the spirited turning of prayer wheels and the constant chanting with prayer beads is geared towards the end of notching up as many Om mani padme hums as possible. This reverberation is an important part of the Tibetan laity’s life of dharma. Centuries of being regulated to suit diverse human breathing and speaking patterns has rounded the edges of the mantra, so that it no longer has the clear-cut edges of the original Sanskrit, and has settled more or less in the comfortable groove of being Om Mani Peme Hung.

The great mantra of Tibetan Vajrayana Om mani padme hum inscribed on prayer wheels

Dr. Filchner offers us here a general talk about a remarkable expedition that he carried through, notwithstanding immense difficulties, in Tibet for the purpose of cartographical surveys. He gives us a diary exemplified by fine photographs and interesting little sketches, and in this way offers us a most valuable supplement to Sir Charles Bell’s account. The expedition discussed is between Lanzhou and Ladakh along the north side of the Hedin Mountains or Trans-Himalaya. It is only within fairly recent times that the Trans-Himalaya has been evidently documented as a range, thanks largely to the investigations of Dr. Sven Hedin. It is therefore particularly interesting to have an account of a journey along this northern flank, and we look forward with interest to the publication of the scientific results.

Architecture of the Famous Srikanteshwara Temple in Nanjangud, Mysore

Srikanteshwara Temple in Nanjangud, Mysore

Nanjangud located 25 kilometers from Mysore Nanjangud is a famous sacred town about 25 kilometers from Mysore. It is famous all over Karnataka because of the Srikanteshwara or Nanjundeshwara temple and people throng the porticos of this temple daily in large numbers. Fairytale has it that the sage Gautama stayed at Nanjangud and offered puja to the Shiva Linga, known as Srikanteshwara or Nanjundeshwara. The town attained holiness because of the “sangam” where the Gundlu and the Kapila join. The spot is called Parusharama Kshetra where the sage Parushurama is said to have been recompensed for the sin of decapitating his mother.

Nanjangud, also called as “Dakshina Kashi” (Southern Kashi)

Enclosed within a gigantic prakara its Dravidian stucco gopura is impressive. The small square garbhagriha with its cylindrical pillars in the antarala were built in the Ganga period of about ninth century. The mandapa in front of the original sanctum has lathe turned Hoysala pillars of 13th century. The dancing Ganapati is also a Hoysala sculpture. To the left of the main shrine is a shrine of Narayana and behind is a shrine for Chandikesvara. To the northwest of this is the Parvati shrine with a pillared sabhamandapa. The Parvati and the Narayana shrines as the gopura are the creations of the Vijayanagara period. To the right of the main shrine is a small shrine of Subramanya seated on the back of a peacock with seven-hooded Naga. The main shrine has a stucco sikhara of the Vijayanagara period. Mysore Wadeyars also made additions to the temple. The nine storied tall gopura of the Dravidian type was built by queen Devajammanni, queen of Krishnaraja Wadiyar III in 1849. Opening to the courtyard is a shrine for Nandi that is about 6 feet in height, donated by Dalavoy Vikramaraya. Another attraction is the huge stone bull which is 8ft in height. This was established by Dalavayi Vikramaraya in 1644. In its front is the Tulabhara mantapa. The ritual of weighing the devotees against any commodity is done here. Commonly people balance themselves against rice, jaggery, sugar etc.

The Maharajas of Mysore used to be illustrious devotees of Nanjundeshwara. Jayachamaraja Wadiyar was a celebrated believer and used to visit the temple on Mondays. In actual fact the Srikantadatta Wadiyar seems to be a favor from this God. The sanctified Sivalinga which is more than a thousand year old continues to fascinate devotees from far and wide.

Devotees of Nanjundeshwara, Srikanteshwara Temple

In addition to the main deity, there are many shrines for goddess Parvathi, Ganesha, Nataraja, Sharada, Subramanya, Navagraha etc. The twelve-monthly fair (Jatre) takes place during March–April which attracts thousands of devotees. Half-a-century ago, there used to be a dining hall called Shivakuta, opposite the temple kitchen. The devotees used to be served prasada here. Many old women used to take prasada here daily. Some of them had taken a vow not to use a plate or a leaf but to eat on the floor. This Shivakuta is not there today; today we have a luxurious dining hall.

Srikanteshwara Temple in Nanjangud, Mysore The vast prakara has decorated niches that house 122 images in all including Dikpalas, Virabhadra, Dakshinamurti, Tandavesvara and Shiva in various aspects, Ganapati, Saptamatrika etc. The linga in the main garbhagriha is about three feet in height, to which worship is offered. The Parvati image is about five feet in height and it is a beautiful sculpture of the early medieval period. Thus, the whole temple has a history of over thousand years starting from the tenth century. Krishnaraja Wadeyar III was a great patron of this temple and his statue with his queens is found in this temple. Traditionally this place is connected with Gautama and Parashurama and is on the banks of the sacred river Kapila. Even Hydar Ali and Tipu Sultan are said to have made some grants to this temple. According to popular belief, Tipu’s elephant got afflicted by an eye-ailment and no doctor (hakim) was able to heal it. Somebody suggested that he should pray to Sri Nanjundeshvara which he did. A wonder happened and the elephant’s eye was cured and impressed by this, Tipu called the god Hakim (doctor) Nanjunda. He gifted an emerald green Linga to the deity.

Architectural Highlights of Srikanteshwara Temple in Nanjangud

Architectural Highlights of Srikanteshwara Temple

A persistent idea in Indian philosophical, theological, and mythological systems is that of a cosmos expressed through a succession of emanations. Diverse traditions of dogma and practice share this vision of the advancement from the one to the many. Temple designs repeatedly exemplify the same kind of pattern. Within the diverse traditions of Indian temple architecture, an binding format is noticeable both in the formal structure of individual temple designs, which express a dynamic sequence of emergence and growth, and in the way in which temple forms develop right through the development of such edifying—often regional—traditions.

Another exclusive feature of this temple is the large number of Saiva sculptures made of stone and metal. On the left side of the prakara are found the stone sculptures of puratanas (Saiva saints) and of Siva himself in different forms and actions, such as Chandrasekhara, Andhakasura, Dakshinamurti etc. These were prepared during the period of Krishnaraja Wadiyar III. Thus it is a fine gallery of saiva sculptures. Another attraction is the stone sculpture of Krishnaraja Wadiyar III with his four wives. He gifted two wooden chariots (1819), silver horse, elephant, Nandi etc.

Brick and mortar gopura of Srikanteshwara Temple in Nanjangud

The Nanjundeshwara temple is one of the vastest in Karnataka. It is a temple complex of various periods. No less than four periods of its composition can be traced. It is a Dravida type structure. It is 385 ft long and 160 ft wide. The small sanctum (garbha-griha) was the earliest and built during the period of the Gangas or the Cholas (about 11th Century AD). The anterior mantapa in which the devotees sit was a later addition during the Hoysala period of the 13th Century AD. The next stage of construction took place during the Vijayanagara period. During this period, brick and mortar sikhara was constructed over the shrine. In fact, there is an inscription of Krishnadevaraya in this temple. The next stage of development took place during the period of Mysore Wadiyars, Dalavayis (Chiefs) of Kalale and Dewan Purnaiah. Actually most of the new constructions took place during the period of Krishnaraja Wadiyar III.

Most prominently, the brick and mortar gopura was built in 1845. This massive gopura is 120 ft high and is built in seven tiers. At the top of the gopura are seven gold-plated Kalasas, each about 10ft in height. Another attraction is the huge stone bull which is 8ft in height. This was established by Dalavayi Vikramaraya in 1644. In its front is the Tulabhara mantapa. The ritual of weighing the devotees against any commodity is done here. Generally people weigh themselves against rice, jaggery, sugar etc.

Rathotsava Chariot Procession

Rathotsava Chariot Procession of Srikanteshwara Temple in Nanjangud

A distinctive feature of this temple is that it has devotees from both Vaishnava and Srivaishnava sects. Srikanteshwara is a family deity of thousands of families in Karnataka and these families visit this temple regularly either or before performing major functions at their homes. The annual rathotsava or the chariot procession at Nanjanagud is a renowned religious ritual that attracts thousands of people from far and near. People turn out in droves for the yearly Panchamaha Rathothsava. The central Car Street was occupied by believers and pilgrims from Mysore and the nearby regions converge at the temple confines to get a peek of the recitation event which climaxed with the drawing of five chariots devoted to various deities. Rathothsava is preceded by an extravagant set of rituals at the Srikanteshwara temple with consecrated hymns accompanied by the conventional ensemble of musical instruments. After the rituals and special prayers, the first of the five chariots called the ‘Ganapathy Ratha’ is drawn by the devotees and this was followed by the ‘Chandikeshwara Ratha’, the ‘Gautama Ratha’, ‘Subramanya Ratha,’ and lastly the ‘Parvathi Ratha’. The cynosure of all eyes was the ‘Gautama Ratha’ which practically equals the height of the main tower of the temple and is supposed to be at least 90 feet high. Government authorities and law enforcement make exceptional preparations to transfer the chariots and to ensure that the chariots did not veer off the road anyway stationing cranes and other heavy machinery to cope with emergencies.

Dip in the Kapila river at Srikanteshwara Temple, Nanjangud

On Mahashivarathri festival, devotees show up on Nanjangud at daybreak to take a dip in the Kapila river before having a darshan of Lord Srikanteshwara. Special prayers began with the abhisheka and chanting of the Rudra Chamakam that continue right through the day. Chants of “Om Nama Shivaya” reverberated throughout the day. Rudra Chamakam, which is drawn from the Yajur Veda and is a description of Lord Shiva in his myriad forms, is considered significant during Mahashivarathri.

Mahashivarathri festival devotees in Nanjangud Thus, Srikanteshwara Temple in Nanjangud is one of the holiest of Shaiva pilgrim centers in Karnataka. Large Hindu temples are chiefly centers of learning, repositories of artistic and cultural relics, and sites for ceremonial endeavors.

Kadamba Temple, Gudnapura in Karnataka

Kadamba Temple, Gudnapura in Karnataka

Gudnapura in North Kanara district is just five kms from the famous ancient city of Banavasi which was the capital of the early Kadambas. Gudnapura suddenly became famous because of the discovery of an inscription of Kadamba Ravivarman. The inscription has been inscribed in box-headed characters of Brahmi of the sixth century AD. This inscription furnishes some very important evidences regarding Gudnapura which perhaps was the area where a large number of royal buildings existed. The inscription states that king Ravivarma built a temple for Manmatha and set up this pillar with this inscription. While mentioning the boundaries of the temple it states that to the right of the temple was a palace of the king while to the left there were two dancing halls (nrityashala) and in front was harem (antahpura). Taking the clue from these details, the Archaeological Survey of India conducted excavations at the site and this resulted in bringing to light two brick structures, with various antiquities.

Kadamba Temple of Gudnapura in Uttara Kannada District, Karnataka

One of the brick structures has been identified as a temple. It consisted of a garbhagriha and a longish mandapa and both are enclosed within a prakara. This provides inner circumbulatory passage. The mandapa had wooden pillars. The mandapa had two entrances. A large number of flat but apsidal small tiles have been discovered in the excavation and perhaps they were used for the ground and roof. Some of these tiles have small holes. Large number of iron nails have been found in the excavation and hence it is suggested that these roof tiles which had holes were fixed to wooden beam with the help of these nails. The bricks used here are of high quality and some of them measure 38 by 19 by 17 cms.

In front of the temple is another structure made of laterite bricks and it may belong to a slightly later period. Unfortunately there is no clue to know the god which had been consecrated in the garbhagriha of this temple.

It is of interest to note that the Gudnapur inscription mentions a temple for Manmatha and some scholars equate Manmatha with Bahubali. Perhaps this temple can be identified as the one mentioned in the Gudnapur record. A copper casket with a lid in the form of a tortoise was found in the excavation. Thus the excavation has yielded very interesting data regarding the temple architecture of the early period at Gudnapura, close to ancient Banavasi of the early Kadamba period.

Rockcut Saiva Temple (Cave I) in Badami, Bijapur

Dancing Nataraja at Rockcut Saiva Temple Badami in Bijapur

There are four caves or rock cut temples at Badami and they are numbered I to ‘I’ fo ‘IV’ easy identification. They are all carved side by side. The first cave is dedicated to Siva, second and third are caves for god Vishnu and the last one is for Jina. There is also a natural cave which is referred to as Buddhist cave. The existence of places of worship of Saiva, Vaishnava and Jaina religion side by side testifies to the religious tolerance of the people of the Chalukya period which is worthy of admiration.

This Saiva rock cut cave looks small from the outside. It has a long flight of steps from the ground level to go upto the level of the cave with a pavement in front. The facade of the cave consists of a moulding which has carved ganas in different moods on either side. Above the moulding are four square pillars with two pilasters at each end. The pillars have low relief carving. The temple itself consists of a portico, a mandapa and a garbhagriha. The rectangular portico has some beautiful sculptures, such as Nataraja, Harihara, Ardhanarisvara, etc. The dancing Nataraja has eighteen hands each of which has some weapon or the other. He is dancing in dvibhanga. To his left is Ganapati who is also dancing and by his side is a drummer playing on the mridanga. The whole composition is extremely vibrant. The other sculpture of Harihara is another elegant composition. Right portion of the main sculpture represents Siva as can be identified by battle axe, serpent, and Nandi with trisula. To the left is Vishnu who holds the sankha, with garuda at the bottom. Parvati and Lakshmi are standing on either side of the god. Thus it represents Siva-Vishnu aspect very effectively.

The eight feet tall Ardhanarisvara is another elegant sculpture with gods and goddesses on the top and dwarf ganas at the bottom. The right portion is symbolic of male while the left is female . The harmonious combination of this aspect is fully brought out by the artist very effectively. The bass-relief sculpture of flying gandharva couple within a circular medallion is a beautiful sculpture, expressing the divine smile. The pillars have sculptures of Narasimha, Garuda and Prahlada, Yogi worshipping linga, mithuna figures etc. The small garbhagriha has a linga on its pitha.

There is no inscription in this temple to fix its date. But taking the stylistic evidence and the inscription of Mangalesha in the third cave, it may be ascribed to sixth century AD.

The Magnificent Bhoganandishwara Temple Complex in Nandi (near Bangalore)

Sculptures at Bhoganandishwara Temple Complex

Bhoganandishwara temple in Kolar district is one of the finest Dravidian temples in Karnataka.

Actually it is not a single temple but a complex built over a period of more than six centuries beginning from eighth century A.D. According to inscriptions this temple was built by Ratnavali, the queen of Bana king Vidyadhara. As Bana Vidyadhara ruled during the last quarter of the eighth century A.D., the earliest part of this temple should have been built by that time. There are many Chola inscriptions of eleventh century A.D. in this temple.

The temple consists of a huge prakara of 320 feet long and 250 feet broad. The original temple consisted of two garbhagrihas, two sukhanasis, navaranga and two nandimandapas. The northern garbhagriha had an image of Bhoganandishwara while the southern garbhagriha was dedicated to god Arunachaleshwara. Sukhanasi and navaranga have finely carved jalandhras with sculptural embellishments. The nandi mandapa has Chola inscriptions and perhaps this was built during the Chola period.

Bhoganandishwara Temple Complex in Nandi

The four pillars in the navaranga are carved with minute sculptures on all the sides. The ceiling over these pillars is huge and has Siva and Parvati along with eight dikpalas. In front of the navaranga entrance is the nandi mandapa with doorways on east, north and south. In front is a kalyanamandapa built of black stone. There are ceilings of ashtadikpalas. The beams have fine sculptures of Siva, Vishnu, Lakshmi, etc. The pillars are also carved with gods and goddesses like Hanuman, Vishnu, Lingodbhava, Krishna, Surya, Tandavesvara, Brahma, Gopalakrishna etc. The patalankana in front of the mukhamandapa is surrounded by an open verandah which stands on an ornamental plinth.

The outer walls of the early shrines have decorative plinths with pilasters, turrets and jalandhras with some sculptures here and there. In the prakara are found two shrines of a later period which have Prasanna Parvati and Apitakuchamba aspects of Devi as consorts of Bhoganandishwara and Arunachalesvara. To the north outside the encloser is a hall known as Vasantha mandapa which has sixteen fine pillars. Opposite to it is another mandapa with four pillars known as Tulabhara mandapa. To the north of this is a tank called Sringitirtha. Thus the entire temple complex is vast and attracts a large number of pilgrims from all over Karnataka.

Cave Architecture of Gavi Gangadhareshwara Temple, Bangalore

Gavi Gangadhareshwara Temple, Bangalore

The cave temple dedicated to Gangadhareshwara in Gavipuram of Basavanagudi in the heart of the city of Bangalore is a unique structure of great antiquity. The original shrine carved within a cave of rock has a door thirty feet wide and about seven feet in height. In front of this were built a mandapa and a sikhara during the period of Kempegowda of Bangalore. More important are the monolithic sculptures of trisula (trident), damaru (drum) and chatri (umbrella). They are of huge dimensions and hence prominently visible.

The cave has two garbhagrihas, one dedicated to Siva and the other one is for Durga, at the right side. Both are apsidal in nature. Gangadhareshwara shrine has a sukhanasi and before it is a nandi. Both the linga and the nandi are carved out of the rock. The shrine of Durga has no sukhanasi and before the shrine are two pillars on both sides. Both shrines have separate pradakshinapatha. At the right side of the Durga temple is a square shrine which has no image now. On the right are two more small caves. The walls are built of bricks of the later period. However, in the interior are carved pillars to support the roof.

Nandi Bull at Gavi Gangadhareshwara Temple From the outside, the Gangadhareshwara shrine has a fine circular sikhara which has carvings as well as niches with pilaster like decorations over which is a circular pot-like kalasha. The Surya shrine has a vimana of eight sides. Both these are stucco creations of the period of Kempegowda, the founder of Bangalore.

This temple has some fine sculptures too. Durga shrine has a four feet high Lakshmi sculpture with four hands. The sculptures of Bhairava, Dakshinamurti, Saptamatrikas have been kept inside the temple. Some of them may date back to eleventh century A.D., of the Chola period.

There is no evidence like inscription to date the Gangadhareshwara temple. However, on the basis of stylistic evidence, the earliest part of the temple may be dated to the Chola or Ganga period during the eleventh century A.D. The subsequent additions of the mandapa, sikharas and monolithic sculptures were made during the period of Kempegowda in the seventeenth century A.D.

Because of the cave architecture, this temple is unique in the history of art at Bangalore.

The Tallest Free-standing Stone Sculpture of Gommateshwara in Shravanabelagola

Gommateshvara in Shravanabelagola

The statue of Gommateshvara at Shravanabelagola, the tallest free standing stone sculpture in the world has given a unique and international cultural status to Karnataka.

Shravanabelagola is the most sacred religious centre of the Jains. It has a hoary antiquity dating back to the third century B.C., when Bhadrabahu along with the Maurya king Chandragupta came and settled down here. From then on many Karnataka dynasties like the Gangas of Talakad, the Chalukyas, the Hoysalas, the rulers of Vijayanagara and others patronised this Jaina sacred place.

However, it was during the period of Ganga king Rachamalla IV (973–999 A.D.), the place became famous because his minister Chamundaraya consecrated this image of Gommateshvara on the summit of the hill commanding a picturesque view of the whole area. A large number of Jaina temples were built here at different periods by various dynasties which have made this center an open air museum of Jaina art.

Colossal Image of Bahubali in Shravanabelagola The real attraction of Shravanabelagola is the colossal image of Bahubali also known as Gommateshvara. Its height is 57 feet and is the tallest stone sculpture in the world. The image is nude and stands facing north; in an erect yogic posture. The serene expression of the face is remarkable. The hair is curly and the ears are long, the shoulders being broad and the arms hang down straight with the thumbs turned outwards. The lower portion adds majesty and grandeur. The entire image stands on a pedestal which is in the form of a lotus. The foot measures nine feet in length; the toes are 2 feet 9 inches; the middle finger is 5 feet 3 inches; the forefinger is 3 feet 6 inches; third finger is 4 feet 7 inches; the fourth finger is 2 feet 3 inches.

Shravanabelagola is a sacred religious centre in Jainism

The face of Gommateshvara is most artistic and is a commentary on the success of the skill of the sculptor who carved it. The eyes are half open and the eye balls appear as if real. This also symbolizes the pensive mood of the saint. The total effect is one of majesty, grace and dignity, and expresses his compassion towards the fellow beings and hence is considered as the best in this type. Gommateshvara has been watching the human beings and their sufferings for the past one thousand years and people are looking at him for guidance for an ethical and religious life. Thus he is inspiring people to follow the path of Dharma. Once in twelve years a special ritual called Mahamastakabhisheka takes place when lakhs of people assemble here to be blessed by the compassionate Gommateshvara.