The Blessed Pushkarini in Melukote, The Srivaishnava Pilgrimage Center in Karnataka

Pushkarini with Yoga Narasimha Temple Melukote

Melukote in Mandya district of Karnataka is a sacred Srivaishnava centre where the great saint Sri Ramanujacharya spent his early years after coming to Karnataka from the Chola country.

If a general view of Melukote is taken, two landmarks become most conspicuous by their location and they are the Narasimha hill and the Kalyani or the pushkarini. The beautiful holy water tank or the pushkarini is just at the western foot of the Narasimha hill. As a matter of fact, it is the main source of water supply to the entire town even today.

The pushkarini is considered sacred because of the belief that the great saint Sri Ramanujacharya used to take bath here when he was living at this place. Hence, a ritual dip in this pushkarini is considered sacred. Because of this sacred nature, a large number of minor shrines and mandapas were built around this tank in recent years, for the performance of various temple rituals and festivals.

Pushkarini, Melukote

The pond itself is almost square each side measuring 300 ft. On all the four sides are neatly built stone steps leading to the water of the kalyani. Of all the mandapas and shrines that are built on the border of the pushkarini, the prominent place goes to the Bhuvaneshwari mandapa. It is an elegant octagonal structure built over eight tall and slender pillars. This is an open pavilion with a broad and crisp eave running all-round. Over this is a parapet with decorations and niches and it is surmounted by a stucco tower in the centre. This was constructed at the order of Krishnaraja Wadeyar III in the early part of the 19th century. Though small, it is very elegant and has added a rare charm to the pushkarini.

Bhuvaneshwari Mandapa in Pushkarini, Melukote

Ahobila matha on the northwestern corner has an image of Lakshminarasimha installed in the 19th century. To the east are two more mandapas by the side of a sacred pipal tree. To the western side is what is called Pancha Bhagavatha mandapa. On the northern side is a small cell wherein is placed Adishesha. Then there is another mandapa with over fifty pillars. Then there are four more mandapas where the kalyanotsava of the deity Narayana takes place.

Then there is a Nagavalli mandapa and a Varaha mandapa. By its side is the Bindu Madhava temple with a five feet image of the god holding sankha, chakra, gada and padma. The image seems to be of the Hoysala period.

Melukote in Mandya district of Karnataka is a sacred Srivaishnava centre

The other structures are Parakala matha, Venkataramana temple, Kanchi matha and Rama temple. Thus, the pushkarini is not only beautiful but also has many mandapas where many rituals take place.

Outstanding Architecture and Overelaborate Carvings at the Kolaramma Temple in Kolar, Karnataka

Outstanding Architecture and Overelaborate Carvings at the Kolaramma Temple in Kolar, Karnataka

The Kolaramma temple in the town of Kolar is not only popular but also one of the big temples of that district.

Kolar is an ancient town known by various names such as Kolahalapura, Kuvalala, Kolala and finally Kolara. This name Kolahalapura is connected with puranic hero Parashurama. According to another tradition a cowherd boy by name Kola got a large amount of money by means of a treasure trove and goddess Renukadevi advised him to build a temple in the name of Kolaramma and he devotedly obeyed the goddess and built this temple. Apart from these traditions, this was the original capital of the Gangas before they moved to Talakad. Later it became a part of the Chola kingdom and after the defeat of the Cholas by the Hoysalas, it came under the Hoysala rulers. Finally, it became a part of the Vijayanagara empire.

Kolaramma Temple built in the Dravidian or South Indian style

Kolaramma temple is a Chola temple as evidenced by an inscription of 1033 CE The Kolaramma temple is a Chola temple as evidenced by an inscription of 1033 CE. According to this inscription, the Kolaramma temple was built at the order of Rajendra Chola. His general Uttama Cholabrahmamarayan built this temple in stone, which was formerly a brick structure.

The Kolaramma Temple is built in the Dravidian or South Indian style; the pyramidal superstructure terminations in a curved roof over the sanctuary and the exterior pilastered walls with niches. The doorway is richly-carved with scrollwork and volutes encompassing mythological characters.

The ground plan of the temple is slightly unusual. It is a Dravidian temple. Its mahadvara has an imposing appearance and has well carved doorways. This is of the Vijayanagara period. In the centre of the prakara is the main garbhagriha. It has the images of Saptamatrikas (seven mothers) and an image of Kolaramma which actually is the image of Mahishamardini. She has eight hands holding different weapons and a demon under her feet. The fierce attitude of the sitting goddess is worth mentioning.

Kapalabhairava or Mukanancharamma at the Kolaramma Temple in Kolar, Karnataka

In another room, there are replicas of these images in mortar. It is believed that these mortar images were in worship originally before the stone ones came into use.

Inscription of King Rajendra Chola at the Kolaramma Temple in Kolar, Karnataka The goddess in the sanctuary was Mahishasuramardini, known as Kolaramma. This had replaced the original image of Kolarammma. The image has been replaced again by Saptamatrika figures.

There is another stone image of six feet in height called Kapalabhairava, locally referred to as Mukanancharamma. Some people believe that this was the original image of Kolaramma. However, this image is of great interest, as devotees believe that she will relieve them from the bite of the scorpion. Even today, people visit this temple for this purpose.

Shakti or Mother Goddess Veneration at the Kolaramma Temple in Kolar, Karnataka The temple is a center of Shakti veneration, a sect of ancient origins of the divine creative force of the Mother Goddess. Once a year people go to this temple and offer silver scorpion to this deity to ward off scorpion bite in future. The erstwhile maharajas of Mysore frequently visited this temple to get the blessings of Kolaramma. Thus, this ancient temple is interesting and important in the town of Kolar.

Belur’s Chennakeshava Temple, The Exemplar Hoysala Architecture and Sculpture in Karnataka

Chennakeshava temple at Belur, the best specimen of Hoysala architecture and sculpture

The Chennakeshava temple at Belur is perhaps the best specimen of Hoysala architecture and sculpture. The place was known as Velapura or Velapuri.

Hoysala King Vishnuvardhana defeated the Cholas at Talakad and to commemorate this great event built many temples in 1117 CE, of which Chennakeshava temple at Belur is the most important and beautiful. The entire temple is built of soapstone and stands on a platform also of star shape of 32 angles.

The outer wall of the temple from bottom onwards has tiers of minute sculptures consisting of rows of elephants, lion faces, creepers, ornamental frieze, dancers in small niches, female sculptures in between pillars, and the stories of Ramayana and Mahabharata. Above the friezes are wall sculptures of gods and goddesses in various poses under finely carved canopies. These sculptures are so varied and finely ornamented, it looks like an open air museum.

Hoysala Architecture and Sculpture

Sculptures of Beautiful Damsels at Chennakeshava Temple, Belur The ornamented windows called jalandhras which were added at a later date allow sufficient light and air to enter the interior of the temple. Over the sculptures and on the level of the roof are bracket figures known as silabalikas or madanikai sculptures. They represent beautiful damsels in various moods representing feminine charm and grace and perhaps these are the best creations of the Hoysala sculptors of the Belur temple. Vishnuvardhana’s queen Shantaladevi is associated with these sculptures.

The interior of the temple consisting of a garbhagriha, sukhanasi, navaranga and a mandapa takes us to a new world of sculptures with lathe turned pillars of various designs. One of the pillars known as Narasimha pillar could be turned on its axis. There are many delicately carved ceilings and they represent the best specimens of that type. The doorway of the garbhagriha is another specimen of delicate carvings unsurpassed for intricate designs.

Tiers of Minute Sculptures at Chennakeshava Temple, Belur

Sculptures of Shilabalika celestial maidens at Chennakeshava Temple, Belur Inside the garbhagriha is the sculpture of Chennakeshava or Vijayanarayana of about nine feet in height holding sankha, chakra, gada and padma in his hands, with a karanda makuta (crown) at the head. Bhudevi and Sridevi are standing at the bottom. Famous sculptors like Dasoja, his son Chavana, Nagoja, and others made this beautiful temple, the pride of Karnataka.

Besides this temple, the prakara has many more temples like Kappe Chennigaraya temple, Devi temple, and others with a mahadvara and a gopura.

Temples on the Panaromic Hemakuta Hill, Hampi, Capital of the Vijayanagara Empire

Panaromic Hemakuta Hill, Hampi

Hemakuta, literally meaning gold hillock, is one of the most charming hillocks in Hampi. It is dotted by over fifty structures of different types—including temples, mandapas, galleries, and gateways of various dimensions.

Though Hampi itself is characterized as a garden of boulders, the Hemakuta hill takes a major share in this compliment. Every boulder here tells a story of mythological and folk nature and takes the visitor to an era of religion and romance. Shiva and Parvati become closer to the visitor at this hill and it gives a rare experience of unalloyed joy.

Actually, it is a fortified area, which has three entrances in east, north, and south. Originally, some of the temples of this hill were taken to be Jain basadis but now it has been proved beyond doubt that they are Shaiva temples. In fact all the temples of this area are Shaivite ones. Another point of interest is some of these temples were built in the fourteenth century (early Vijayanagara period).

Mythological and Folk History of Hemakuta Hill, Hampi

Located to the south of the famous Virupaksha temple, which has one of the tallest gopuras (170 ft), the other temples at Hemakuta are smaller ones and one can easily see a contrast. Thus, there is might and elegance side by side on this hillock.

Another interesting feature of this area is the presence of one celled (ekakuta), double celled (dvikuta) and three celled (trikuta) temples near to each other. These temples though small in dimensions arrest our attention by the northern type (nagara) sikharas almost in a cluster.

Ekakuta, Dvikuta, Trikuta - Celled Temples in Hemakuta Hill, Hampi

  • A ekakuta temple has a garbhagriha, antarala and a navaranga. The navaranga has kakshasana (stone bench) on the three sides. It is a granite temple with Kadamba Nagara sikhara.
  • The twin temple has two garbhagrihas, two antaralas and two navarangas with two entrances. The sikharas belong to a type called Kalinga Nagara. It was built by Kampilaraya of Kummatadurga.
  • The third temple is a trikuta (three celled) and it was built by Kampilaraya, son of Mummadi Singeya Nayaka. It has three garbhagrihas in three directions, with a common navaranga and a mandapa. Nearby is another trikuta temple also built by Kampilaraya.

Shaiva Architecture of Panaromic Hemakuta Hill, Hampi

All the garbhagrihas originally had Shivalingas. Thus, the Hemakuta hill presents a panoramic view of Shaiva architecture of a unique type.

19 Inspiring Quotes by Yogacharya B.K.S. Iyengar

19 Inspiring Quotes by Yogacharya B.K.S. Iyengar

Yoga, an ancient discipline, has become popular worldwide. The selling of yoga and debate over its origins have led to discuss as to whether yoga should be branded at all. Some yoga instructors have gone so far as to patent their variations of yoga; others in the yoga community declare it is a religious and/or spiritual practice and as such should not be declared as intellectual property.

Yogacharya (Yoga Expert Guru) B.K.S. Iyengar was born in India to a family of thirteen children, ten of whom lived. His brother-in-law Tirumalai Krishnamacharya, introduced Iyengar to yoga through the yoga school he ran. Iyengar was not successful in the beginning, and it was only in 1952 when Iyengar met Yehudi Menuhin that he became internationally known.

Menuhin was suffering from sleeplessness and Iyengar showed him an asana which caused him to fall asleep, and wake up so rested that he spent several hours with the yoga teacher and later came to believe that yoga assisted his violin-playing. Iyengar paid frequent visits to the west where his system of yoga was adopted by schools and centers. Iyengar yoga is known for its use of such props as straps, chairs, or blocks in empowering students to accomplish the traditional asanas, or body postures. One of Iyengar’s earliest books, Light on Yoga (1966), is a clarification for Westerners of Patanjali’s thought.

Iyengar is specifically linked with the idea of yoga as a spiritual activity, and a discipline that he explained as “the quest of the soul for the spark of divinity within us.” In every movement, students should be psychologically aware, as yoga is more than a system of aerobic or flexibility exercises.

Iyengar yoga teachers are among the most meticulously trained in the field of yoga. A teacher must finish two full years of training and supervision to be certified at the introductory level. The New York Iyengar organization requires teacher candidates to be experienced in practicing Iyengar yoga up to Level III and to uphold a home practice.

  • 'Light on Yoga: The Classic Guide to Yoga' by B. K. S. Iyengar (ISBN 8172235011) “The union of nature and soul removes the veil of ignorance that covers our intelligence.”
  • “Yoga allows you to find an inner peace that is not ruffled and riled by the endless stresses and struggles of life.”
  • “Yoga is a means and an end.”
  • “When you see a mistake in somebody else, try to find if you are making the same mistake.”
  • “By drawing our senses of perception inward, we are able to experience the control, silence, and quietness of the mind.”
  • “Yoga does not just change the way we see things, it transforms the person who sees.”
  • “My body is my temple and asanas are my prayers.”
  • “Know your capacities and continually improve upon them.”
  • “It is through your body that you realize you are a spark of divinity.”
  • “Your body exists in the past and your mind exists in the future. In yoga, they come together in the present.”
  • “As animals, we walk the earth. As bearers of divine essence, we are among the stars. As human beings, we are caught in the middle.”
  • “Yoga teaches us to cure what need not be endured and endure what cannot be cured.”
  • 'B.K.S. Iyengar Yoga: The Path to Holistic Health' by B. K. S. Iyengar (ISBN 1465415831) “Words cannot convey the value of yoga—it has to be experienced.”
  • “The supreme adventure in a man’s life is his journey back to his Creator.”
  • “Change is not something that we should fear. Rather, it is something that we should welcome. For without change, nothing in this world would ever grow or blossom, and no one in this world would ever move forward to become the person they’re meant to be.”
  • “The art of teaching is tolerance. Humbleness is the art of learning.”
  • “Be inspired but not proud.”
  • “Change leads to disappointment if it is not sustained. Transformation is sustained change, and it is achieved through practice.”
  • “It is while practicing yoga asanas that you learn the art of adjustment.”
  • “Body is the bow, asana is the arrow, and the soul is the target.”
  • “When you inhale, you are taking the strength from God. When you exhale, it represents the service you are giving to the world. When you exhale, it represents the service you are giving to the world. When you inhale, you are taking the strength from God.”
  • “Life means to be living. Problems will always be there. When they arise navigate through them with yoga—don’t take a break.”
  • “True concentration is an unbroken thread of awareness.”
  • “Action is movement with intelligence. The world is filled with movement. What the world needs is more conscious movement, more action.”
  • “Yoga allows you to find a new kind of freedom that you may not have known even existed.”
  • 'Light on the Yoga Sutras of Patanjali' by B. K. S. Iyengar (ISBN 0007145160) “When I practice, I am a philosopher. When I teach, I am a scientist. When I demonstrate, I am an artist.”
  • “Focus on keeping your spine straight. It is the job of the spine to keep the brain alert.”
  • “How can you know God if you don’t know your big toe?”
  • “Do not stop trying just because perfection eludes you.”
  • “Breath is the king of mind.”
  • “Spirituality is not some external goal that one must seek, but a part of the divine core of each of us, which we must reveal.”
  • “Your body is the child of the soul. You must nourish and train that child.”
  • “There is no difference in souls, only the ideas about ourselves that we wear.”
  • “It is through the alignment of the body that I discovered the alignment of my mind, self, and intelligence.”
  • “Illuminated emancipation, freedom, unalloyed and untainted bliss await you, but you have to choose to embark on the Inward Journey to discover it.”
  • “The hardness of a diamond is part of its usefulness, but its true value is in the light that shines through it.”
  • “Yoga is a light, which once lit, will never dim. The better your practice, the brighter the flame.”
  • 'Iyengar Yoga: Classic Yoga Postures For Mind, Body And Spirit' by Judy Smith (ISBN 0754830764) “One’s spiritual realization lies in none other than how one walks among and interacts with one’s fellow beings.”
  • “Health is a state of complete harmony of the body, mind and spirit. When one is free from physical disabilities and mental distractions, the gates of the soul open.”
  • “Willpower is nothing but willingness to do.”
  • “Yoga is like music. The rhythm of the body, the melody of the mind, and the harmony of the soul creates the symphony of life.”
  • “You exist without the feeling of existence.”
  • “Confidence, clarity and compassion are essential qualities of a teacher.”
  • “You must purge yourself before finding faults in others.”
  • “Do not aim low, you will miss the mark. Aim high and you will be on a threshold of bliss.”
  • “You do not need to seek freedom in a different land, for it exists with your own body, heart, mind, and soul.”
  • “Yoga allows you to rediscover a sense of wholeness in your life, where you do not feel like you are constantly trying to fit broken pieces together.”
  • “Yoga is the golden key that unlocks the door to peace, tranquility and joy.”

History and Architecture of the Virupaksha (Pampapathi) Temple, Hampi, Capital of the Vijayanagara Empire

History and Architecture of the Virupaksha Pampapathi Temple, Hampi

Sri Virupaksha or Pampapathi was the family deity of the early Vijayanagara kings and this was incorporated even in their sign manual as found in copper plate inscriptions.

Maharangamandapa of Virupaksha Pampapathi Temple, Hampi

Situated on the southern bank of Tungabhadra river, the original temple with Virupaksha Sivalinga was perhaps first consecrated in the twelfth century A.D. With the establishment of the Vijayanagara kingdom additions were made twice. The first addition of a sabhamandapa took place during the period of King Mallikarjuna in the middle of the fifteenth century A.D. The second addition of a maharangamandapa took place during the period of Krishnadevaraya in 1510 A.D., to commemorate his coronation in 1509 A.D.

Dravidian Temple Architecture of Virupaksha Pampapathi Temple, Hampi

The temple consists of a garbhagriha, antarala, sabhamandapa, and a maharangamandapa. The square garbhagriha has a Shiva Linga. It has a Dravidian type of sikhara with a kalasha on the top. The square sabhamandapa has four central pillars and sculptures of gods and goddesses of which Bedara Kannapp, Kiratarjuniya, Bhairava are important. It has two entrances at the north and south.

Balustraded Elephants of Virupaksha Pampapathi Temple, Hampi The maharangamandapa added by Krishnadevaraya contains 38 pillars with entrances on three sides with flights of steps decorated with balustraded elephants.

The pillars contain relief sculptures of Ramayana and Mahabharata. The ceilings have paintings of Tripurantaka, Parvati Kalyana, procession of Vidyaranya, etc. There are also stucco figures of Parvati Kalyana, Kalarimurti, Mahishamardini, etc.

Krishnadevaraya renovated the main eastern gopura, which is 170 feet in height, and it dominates the entire area. This main mahadvara or the gateway with its Dravidian gopura rises in ten diminishing tiers and is famous as ‘hiriya gopura’, meaning a huge gopura.

This gopura has many stucco figures and decorative elements. The Bhuvaneshwari shrine contains beautifully executed Chalukyan doorway and Chalukyan pillars of the twelfth century A.D.

Doorway and Chalukyan Pillars of Virupaksha Pampapathi Temple, Hampi

As this is a living temple, devotees throng the portals of this temple to worship at the shrine of the sacred Virupaksha linga and to see the remnants of the Vijayanagara architecture and sculpture.

Worship at the Shrine of the Sacred Virupaksha Linga in Virupaksha Pampapathi Temple, Hampi

The Architectural Masterpiece of Hampi’s Vijaya Vittala Temple and its Spectacular Stone Chariot

Vijaya Vittala Temple, Hampi

Vijaya Vittala Temple is one of the important temples in Hampi. Its construction began during the time of Krishnadevaraya in 1513 CE, and it continued even during the reign of his successor Achyutaraya (1529–42 CE) and perhaps it was not completed as per the grandiose plan of its builder Krishnadevaraya.

Facing east, this temple is in the centre of a quadrangle measuring 500 ft by 310 ft, and it has three gopura entrances in north, south, and east. This vast temple complex can be divided into three parts namely the outer mukhamandapa, the central rangamandapa and the interior sukhanasi and garbhagriha.

Pillars, pilasters, and the niches that exhibit Dravidian Temple Architecture at Hampi's Vijaya Vittala Temple

The outer mukhamandapa stands on a five feet basement and has three entrances. The entire mandapa has 56 pillars of composite nature and each one appears to be an independent monument. The ceilings have lotus designs.

Through the above mandapa one enters into rangamandapa, which is the most beautiful part of this temple. The pillars, the pilasters, and the niches exhibit Dravidian characters. The composite pillars of this mandapa are especially noteworthy for their decorative nature and delicate carvings of gods and goddesses and scroll work. In the centre is a grand enclosure of sixteen extremely beautiful tall pillars.

Kalyana Mandapa Wedding Hall at Vijaya Vittala Temple, Hampi

At the western part of it is the doorway leading to the sukhanasi and garbhagriha. There is a pradakshinapatha, which has pierced windows (Jalandhras) to allow sufficient light and air. Inscriptions mention that Krishnadevaraya added phalapuja mandapa and kalyanamandapa to this structure. Perhaps the garbhagriha had a Vishnu image in the form of Vitthala to which deity regular worship was offered and various festivals were celebrated on a grand scale.

Harmonious blending of sculpture and architecture in Vijayanagara Vijaya Vittala Temple, Hampi

Spectacular Stone Chariot of Vijaya Vittala Temple, Hampi Another important attraction of this temple is the stone chariot in front of the rangamandapa. The ratha or the stone chariot looks like a miniature Dravidian temple, which originally perhaps had a brick tower. It has four wheels, two on either side and it is said that it could be turned on its axis. This chariot has an image of Garuda, as it is a Vishnu temple.

Quadrangle and Architectural Masterpiece of Hampi's Vijaya Vittala Temple

This temple is so characteristic of the Vijayanagara art, it is taken as a symbol of Vijayanagara architecture, and sculpture, as it is a harmonious blending of sculpture and architecture for which the Vijayanagara architects and sculptors were famous all over the country.

The Fantastic Ornate Building of Saint Philomena’s Church, Mysore

Fantastic Ornate Building of Saint Philomena's Church, Mysore

Though Mysore has been a stronghold of traditional Hinduism from time immemorial, it has been famous for the harmonious coexistence of other religions also. This is testified to by many churches and mosques, which have been serving the cause of religion of their followers without any hindrance. Saint Philomena’s Church on the Ashoka Road (and practically at the entrance of Mysore coming from Bangalore) is a testimony for the religious tolerance of the people of Mysore.

Attractive colonnades of Saint Philomena's Church, Mysore There was a church known as Saint Joseph’s church built in 1840 and it was reconstructed and was renamed as Saint Joseph and Saint Philomena’s cathedral. It is said that Sri Thamboo Chetty, the then Dewan of Mysore in one of his visits had brought a piece of bone and drapery of the famous religious savant from Magnano in France from Peter Pisani, Apostolic Delegate of the East Indies and he wanted to consecrate them in a suitable church for this purpose.

The cathedral was designed by French architects and its foundation was laid by the then Maharaja Krishnaraja Wadeyar II in 1933. This church is modelled on Saint Patrick’s Cathedral in New York and the Gothic Church at Cologne in Germany.

Unique Architectural Style with Some Greek Features

The most attractive part of this edifice is the two tall imposing pointed towers at the facade itself. The two towers rise to a height of 165 ft. The elegance of this structure is enhanced by miniature pointed towers at different points, adding further height to the cathedral.

The vertically fashioned tall windows at regular intervals add a great charm. The pointed triangular gothic motifs at different places is another attraction.

Crypt with statue of Saint Philomena in Mysore

The church has a crypt in which is a statue of Saint Philomena in a catacomb-like cell. A piece of her bone is preserved at the center of a beautiful shield. There is also a piece of her drapery. Hence, this is important to Roman Catholics.

The interior of the cathedral is decorated with attractive colonnades and glass paintings made in France. Particularly noteworthy are the paintings of crucification of Christ and John baptizing Christ. The annual Saint Philomena’s feast is held in this cathedral. Large numbers of Roman Catholic devotees visit this sacred cathedral.

Unique Architectural Style with Some Greek Features of Saint Philomena's Church, Mysore

Hundreds of tourists of all religions to Mysore visit this cathedral daily to see the lofty and beautiful, tall and imposing towers and the architecture of a rare type not generally seen in many areas of this country.

Evolution of Early Chalukyan Art – the Historic Meguti Temple, Aihole

Ravikirti Inscription - Meguti Temple, Aihole

Aihole, ancient Ayyavole, now in Bijapur district was a great centre of early Chalukyan architecture. In fact this was the cradle of Chalukyan temples. Literally more than one hundred early-Chalukyan temples were built here in the sixth and seventh centuries CE.

Meguti temple is one such temple at Aihole. This temple is built on a hillock and looks prominently even from a distance.

The Meguti Temple is also famous in Indian history and literature for the inscription written by the celebrated poet Ravikirti. This inscription mentions Kalidasa and Bharavi by name and for this reason highly useful for fixing the date of both these poets as the inscription is dated 634–35 CE. From this evidence, it becomes comprehensible that this temple was built in 634–35 CE. It also gives a graphic description of the eminent conquests of Chalukya Pulakesi II.

This is a Jain temple and stands on a basement of 4 ft and faces north. The temple consists of a garbhagriha, pradakshinapatha, antarala and a mandapa. The outer wall of the temple consists of two thick decorated moldings. The mandapa portion is open with square pillars above the moldings. Below the base moldings are carved chaitya type niches, amorous couples, musicians playing on musical instruments and wrestlers.

Evolution of Early Chalukyan Art - Meguti Temple, Aihole

The square garbhagriha has a sitting tirthankara under a tree. Some scholars recognize him as Mahaveera. He is flanked by two chauri bearers on each side. Above the garbhagriha is another garbhagriha, which can be entered from the sukhanasi. In general, Jain temples (basadi) contain two garbhagrihas one over the other. On the western sidewall of this, is a very beautiful female sculpture which may be either Ambika or Siddhayika or Sujata. On her sides are chamara bearers and below are the sculptures of monkey and a swan. The upper garbhagriha has no sikhara over it. Its walls are also unadorned except niches, which are now empty.

Though this temple is not highly attractive from the point of view of the embellishments and decorations, it is notable in understanding the evolution of early Chalukyan art under the background that this is a dated temple assignable to 634–35 CE. This is the earliest dated temple of the Chalukyas of Badami.

This is one of the early temples where the Chalukyan architects were making experiments in the construction of a perfect temple. From the famous Ravikirti’s inscription this temple is better known than others.

The Different Types and Varieties of Rice

The Different Types and Varieties of Rice

Rice is usually divided into three general categories: long, medium and short grains. All have their special bites, textures, sizes and colours.

  • Long-grain rice, as the name denotes, is long and thin. It has a fluffy texture when cooked, and its grains remain separate. Parboiled rice is similar in appearance and texture to long-grain rice, but has been steamed and cooked before being milled.
  • Medium-grain rice is slightly shorter and fatter than the other types. It absorbs more liquid and has a creamier finish when cooked.
  • Short-grain rice is very short, and absorbs an immense amount of liquid during cooking, making the end result sticky and wet.

Primary Dietary Staple

At just under 400 calories for every lOOg in its raw state, rice is the main dietary staple of half the world’s population. From standard white grains to nutty-flavoured brown, to creamy risotto rice, to the exotic wild, rice offers something to tantalise most appetites.

  • American Longgrain: you’re bound to have this as a staple in your store-cupboard. American longgrain is the most commonly available rice, and a standard in the kitchen.
  • White Basmati: from the foothills of the Himalayas, this rice, with the bran taken out, is full of flavour and aroma. Serve with curries or other dishes which have a sauce to mingle with the rice.
  • Brown Basmati: the same as white basmati but with the bran left in. Use this like the white variety.
  • Carnaroli Rice: these tubby grains release starch as they cook, which is why Italian risotto is such a great comfort food.
  • Red Camargue Rice: this is French rice with a distinctive red colour and nutty flavour. It’s good when served with fish, meat or in salads.
  • Sushi Rice: this small, chubby Japanese grain is the perfect rice for making sushi because it gets so sticky when cooked.
  • Thai Fragrant: this is grown in the paddy fields of Thailand; it becomes fluffy when cooked and has a faint jasmine fragrance. It is delicious with any Thai dish.
  • Wild Rice: this is not true rice but an aquatic American grass. It must be cooked for longer, but the texture is satisfying and the nutty flavour is delicious. It is good mixed with white rice, but you can’t cook the two together. Cook them separately, starting the wild rice ahead of time, and then mix them together.

The highest consumption of rice per capita is in Myanmar (Burma), which is perhaps not surprising when you consider that Burma is smack in the middle of territory where rice cultivation most likely originated thousands of years ago. Radiocarbon dating of strata containing grains of rice found in south China indicates rice was cultivated as far back as 7,000 years ago. Researchers say that rice may have been indigenous to India and then moved eastward to Indochina and south-east Asia.

Rice is a Primary Dietary Staple It is amylose—a linear polymer of glucose—in cooked long-grain rice that causes it to seize up or harden when refrigerated. This is called retrogradation; the starch cells collapse, squeezing the moisture out and causing the realignment of the starch molecules. Much to the chagrin of the cook, the rice turns hard. Retrogradation cannot be avoided, but it can be reversed when the rice is reheated. Don’t keep cooked rice in the fridge for long. Cooked rice is one of the most common causes of food poisoning, brought about by the bacteria Bacillus Cereus, which develops when cooked rice is left too long in the fridge. Cooked rice should be cooled rapidly and stored in a clean, sealed container within an hour of cooking. Treat it like meat: no more than four days in the fridge.

Rice is gluten-free and easily digestible, making it a good choice for infants and people with wheat allergies or digestive problems. A half-cup of cooked white rice provides 82 calories; an equal amount of brown rice provides 89 calories.