Temples – Page 3 – The Talkative Man

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.

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.

Buddhist Stupa in Kanganahalli, Karnataka

Maha-Chaitya Buddhist Stupa in Sannati Kanaganahalli

Kanganahalli in Gulbarga district is situated on the left bank of the river Bhima and the archaeological site is located about 3 km from the famous Chandralamba temple at Sannati where Ashokan inscriptions have been discovered. Though there were enough indications for the existence of Buddhism and Buddhist art during the early centuries of the Christian era in Karnataka, they had not been discovered yet. Hence archaeologists taking the clue from surface finds began conducting excavations at Sannati and Kanganahalli and the excavations have yielded ample material throwing new light on the Mauryan period and a flourishing Buddhist art in the early period. The excavations are still in progress and once the excavations are completed a new brilliant chapter on Buddhism and Buddhist art in Karnataka becomes clear.

The most important result of the excavation was a mahastupa the diameter of which was around 75 ft. It should have had an impressive height in keeping with the diameter. It also exposed the medhi along with hundreds of sculptured slabs with lotus designs and other decorations. Standing or seated Buddha images of Amaravati style have added a new dimension to the early art of Karnataka. One of the most important and rare sculptural slabs had a portrait of Mauryan king Ashoka. The majestic king is accompanied by his queen and they are attended by two chauri beares. To confirm that it was the portrait of Ashoka, the sculptor has carved a single line label inscription, reading “Rayo Asoko” in Brahmi script of the Satavahana period. Perhaps this is the first inscribed image of Ashoka discovered in India.

Portrait of Mauryan king Ashoka accompanied by his queen at Buddhist Stupa in Kanganahalli

The excavation has yielded literally hundreds of limestone bass-relief sculptures as well as full round sculptures relating to railing and paved circumbulation, and slabs with carvings of Jataka stories. Thus it is a veritable storehouse of Buddhist sculptures of the early period. The excavation also yielded more than one hundred inscriptions of Brahmi script and Prakrit language datable to first century B.C., to second century A.D. Some of these inscriptions refer to Satavahana kings like Sri Satakami, Pulumavi, Yajnasri Satakami etc. The excavation has also yielded a large number of coins of the Satavahana kings. Thus the Kanganahalli excavations have great significance for the early history of Karnataka. All those who are interested in the early history of Karnataka have been waiting for the completion of the excavations at Kanganahalli so that a new chapter on Buddhist art can be added.

The Splendid Largest Jaina Temple of Chamundaraya Basadi, Shravanabelagola

Jain Temple of Chamundaraya Basadi, Shravanabelagola

Chamundaraya Basadi in Shravanabelagola is one of the largest Jaina temples on the hill both in style and in decorative features. The temple is 68 feet long and 36 feet wide. The temple consists of a garbhagriha, a sukhanasi, a navaranga and a mukhamandapa. It has an upper story above the garbhagriha and a Dravadian sikhara. The outer walls have decorations of pilaster over which are three friezes containing ornamental niches, yalis, and seated Jaina figures. The outer wall of the upper garbhagriha also has similar three friezes over which l is a simple Dravidian sikhara. These moldings attract the visitors even from a distance.

The mukhamandapa rests on four pillars with sloping eave on all the three sides. Thus the whole temple is very elegant. The lower part of the temple is interesting. It has undecorated flat base with neatly cut roundish and projected molding above. There is a similar but smaller molding above. Between the two moldings is a hollow flat surface with minor decorations. Then rises the wall with pilasters, and the highly decorated eave is prominent at the roof level. This is the most decorated part of the structure and adds a special grace.

At present there is a sculpture of Neminatha in the lower garbhagriha, five feet in height, flanked by male chauri bearers on either side. The garbhagriha doorway is decorated and has Sarvahna yaksha and Kushmandini yakshi. It is believed that this Neminatha image originally belonged to another temple but now kept here. The upper garbhagriha has an image of Parsvanatha of three feet in height. Its pedestal has an inscription which states that Jinadeva, son of the minister Chamundaraya built this Jina temple. Perhaps this refers to the consecration of the image in the upper garbhagriha.

The inscription on the pedestal of Neminatha states that it was consecrated by Echana, son of minister Gangaraja of the Hoysala period in 1128 A.D. From all these evidences it becomes clear that Chamundaraya built this temple in about 982 A.D., and the upper story was added by Chamundaraya’s son Jinadeva in 995 A.D., and the present image was brought from some other temple and consecrated in 1128 A.D. The very fact that it is named after Chamundaraya be taken as an evidence to say that it was built by him, who also set up the great colossus of Gommateshwara here.

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.

Visit the Jain Temples of Ranakpur, Rajasthan, India

Ranakpur's Jain Temple

Deep in the Aravali hills of the northwestern state of Rajasthan in India, between Udaipur and Jodhpur, stands the stunning fifth-century Jain temple of Ranakpur. Carved exclusively out of white marble and surrounded by green forest, the temple surveys its surroundings in each of the cardinal directions from its chaumukha, or “four faces”. Fortress-solid, great slabs of stone rise out of the ground to hold up the bulk of the temple’s extravagant exterior, a flamboyant edifice of cupolas, domes and turrets of soft grey marble.

In the interior, 1,444 intricately carved pillars hold up the roof, each one unique in its design. Soft light filters through the marble, changing its color from grey to gold, as the sun moves across the sky. Only the saffron and red fabrics of robes brighten up the surroundings as the monks and pilgrims pass between the pillars, through pools of light into shadow.

Temple to Adinath the first Tirthankara In the 15th century a Jain businessman named Dharma Shah had a vision that he should build a magnificent temple in honor of Adinath, the first Tirthankara (enlightened being) and founder of Jainism, also known as Rishabhadeva. He approached the local monarch, Rana Kumbha, to ask him for land on which to build. The king obliged him, and the temple was named “Ranakpur” in gratitude for his munificence.

The result is one of the most pleasant religious edifices in India. The temple is still in constant use and visitors are welcome, although, according to the Jain principle of ahimsa (non-violence to all things), they are asked not to bring any leather into the temple, including shoes. As you walk through Ranakpur, past delicate marble carvings and solemnly praying monks, the loving artisanship of so many individual souls is striking, and the atmosphere of devotion utterly absorbing.

Of Nagas and Naginis: Serpent Figures in Hinduism and Buddhism

Vishnu and Ananta-Shesha

Nagas and the feminine Naginis are serpent figures who play a role in the Hindu and Buddhist mythologies. The source of the Nagas may possibly be attributed to the pre-Aryan fertility cults of ancient India.

Nagaraja Mucilinda protects Gautama Buddha as he attains enlightenment In the Hindu mythology, the nagas reside within the earth in an aquatic underworld. They are embodiments of terrestrial waters as well as door-and gate-custodians. In terms of significance, the nagas are creatures of abundant power who defend the underworld and confer fertility and prosperity upon those with which they are individually associated in the worldy realm—a meadow, a shrine, a temple, or even a whole kingdom.

If a naga is suitably worshipped, prosperity can result. If ignored, snubbed, or affronted, the naga can cause debacle and cataclysm.

Nagas in Buddhism

In the Buddhist tradition, when Gautama Buddha attains enlightenment, he is said to have been protected by the hood of hood of Nagaraja Mucilinda, symbolizing the principle that the nagas can place their natural powers in the service of a Buddha.

Krishna conquers Naga Kaliya

Nagas in Hinduism

In the Hindu tradition, Vishnu and his avatar Krishna are both portrayed as vanquishers of serpents, indicating their power over the realm of waters. In the middle of the dissolution of one epoch and the beginning of another epoch, Vishnu sleeps on what is left of the old world, a remainder of the cosmic sacrifice represented by the serpent Ananta-Shesha. Krishna conquers the poisonous Naga Kaliya living in the Yamuna river. And Shiva is portrayed adorned with the “Nagendra Haara,” the garland of a serpent. A naga also covers the linga—the iconic representation of Shiva.

Naga Panchami

The Hindu festival Naga Panchami centers around the traditional worship of snakes or serpents throughout India and also in Nepal.

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

Architectural Highlights of Srikanteshwara Temple

Rathotsava Chariot Procession

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