Tarakeshwara Devastana, Hangal - part-3

...continued from Tarakeshwara Devastana, Hangal - part-2

The previous two posts covered the southern side exterior of this east-facing temple. Now we are on the northern side. The temple is symmetrical along its east-west axis, the faces look same but the sculptures on the walls are different. This is the backrest of the Sukhanasi, the seating platform at the entrance of Natya Mantapa. The wall carries a series of completed and incomplete images which are sensual in nature. At the far end of the wall, on the corner pillar is the image of standing Brahma, the creator of this universe.

Here's a rough plan of the roof to get an idea of the size of the temple. The structure is approximately 147 feet long and 62 feet at the widest point. It has 3 sections connected by bridge like platforms. Each of the sections has a dome under which is a chandelier of that diameter. We started our tour from the eastern side, went around the temple in clockwise direction.

Brahma with four arms.. Abhaya Hasta, Rājadaṇḍa, Japamala and Kamandalu. The two female characters must be his attendants, they can't be his wives Gayatri and Saraswati. Check out this beard and hair sticking out below his crown. Talking of the crown, the design is superb, the concentric arcs are something I've never seen earlier.

The series of sensual images.. the pillars are done but the human images are in various stages. Wondering why the sculptor has left eight incomplete images. Parallel processing? The white/cream colored matter seems to be POP, remnants of an impression gathering exercise.

We move on the next set of images. Again we have incomplete work except for the Hanuman's image among them.

This series shows images includes two archers. Notice the bows, the strings look more like ropes. For some reason this piece is incomplete as well.. notice the flat area between the Shikhara crowns, the floral work at top-right.

Hamnuman's niche has been outlined by his tail. This is the typical stance of Lord Anjaneya. Note sure of the identity of the two seated characters. Their crowns are interesting. The circular object behind each of their head must be part of the crown.

In this view of the Shikhara, the parallel lines at subsequent levels appear as though they are in a single line. I'm referring to the line that appears slanting with branches shooting off to its right.

Hanuman wearing a kacha. So the concept of kacha is ancient. Then we have Kaala Bhairava, his dog prancing up Bhairava's hand and the three-legged sage Bhringi. This is probably the only dog in this temple. Bhringi as usual is represented as a skeleton covered with skin, no flesh at all. Bhringi's stance seems to exude pain and weakness. His hairdo is quite fashionable!

Moving on to the next set of images, most are left incomplete at the final stages. With little delicate knocks of the hammer on a fine chisel would finish these images.

This is one of my favorite photos of this trip. Emerging from the dark background is the bulbous top of a pillar with an elaborate top.. a pair of elephants, a Kirtimukha and the serrated line. The pillar actually has four Kirtimukha and four elephants on an octagonal section. Coming down to the Sukhanasi backrest, the vine along the border ends abruptly and the marker curves begin.

Let me call this Kaala Bhairava's corner. The Katanjana is same as the opposite site but this one is slightly damaged. Besides the exterior, a column inside the temple is damaged as well. We had spent close to 40 minutes.

The zigzag walls and roof edge in sync throughout the perimeter of the temple which is approximately 500 feet. The building which looks like one is actually a temple and two halls joined together. One can easily spend two to three hours to actually seeing the exterior and interior. Makes me wonder how many people were involved in building it.

Pushpa was tired, found a nice spot to rest and catch up with messages on her phone. The Katanjana on this side is simple, just like the one on the other side, incomplete. If done, this Katanjana also would be the ribbed type seen earlier.

The set of five images depicts a group of artists.. musicians and dancers. Two men are seen playing drums while two women are dancing. The image of the woman in the is unfinished. Most images of women here have hour glass figures and large breasts. I guess that's how women were back then.

Now I'm at the front of the temple. Temple caretakers have filled a gap in the wall with cement - not a bad job. This wall carries a set of sensual images - couples engaged in sexual acts. Such images are more or less present in all ancient temples. It was a part of culture where everyone was expected to learn about life in a natural way. The first image is a beautiful woman with her pet, a parrot. While the last image is a handsome man, a warrior, an archer with bow resting on his shoulder.

The three images of couples engaged in different sexual acts. The couples seem to be in a single premises separated by the twin pillars, their little private spaces. There are two types of pillars here if you notice it closely. Of all the perfection see in this temple, I cannot understand the imperfection here. The Shikharas and pillars below are misaligned. I could count at least a dozen such Shikharas.

The elephant pillar with a hemispherical top. I love the perfect little triangles running around the surface. The mural between the elephants is lieu of Kirtimikha. The color is different, it seems to have a light tint of copper. On the right, at the top is the overhang to keep out rain and excessive  sunlight.

Here are half dozen Shikharas which are notably different from others. The designs on their 'forehead' are nothing the ones seen earlier. Also, these have a touch of an amateur, as if sculpted by an inexperienced had. However, the designs are unique.

Having spent almost an hour seeing the exterior, I decided it was time to see the interior. This picture was shot with Moto-Z mobile phone camera.

This article will continue in the next post.. Tarakeshwara Devastana, Hangal - part-4.
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