Kalleshwara Gudi, Halavagalu

February 16, 2020
The day started early with a visit to Bathi Revana Siddeshwara Devastana followed by Neelagunda Bheemeshwara Devasthana. There's a direct road from Neelagunda to Halavugalu. Being harvesting season farmers were using the road as 'Kana' for dehusking Thogari and other grains. Thogari plants are tall and hard, at times it was inconvenient to drive on them. Anyway, one must bear little inconvenience for the sake of farmers. At times I had to stop to confirm the route, people would not understand when I said Halavagalu i.e. as written in maps and boards. People here pronounced it Halvaglu. Its a large village-small town type of place. The temple is in a small lane close to the town square. Houses are so closely built there's hardly any open space between this ancient temple and village houses. This is the temple's only door which is south-facing. The upper half of the front walls have been rebuilt with new material, the lower half is original.

ASI has planted a board describing the temple as follows:
Kallesvara Temple, Halavagalu
Known as Kalinatha in an inscription dated AD 1282 of the reign of the Yadva king Ramachandra.
Halavagalu was one of the villages of importance during the period of Chalukyas of Kalyana. The place was also ruled successively by the Yadavas and Hoysalas.
The temple in east-west orientation in plan, the temple has a Garbhagriha with an open Antharala on the west and the shrines to the south and north opening into the four pillared Sabhamandapam with the Mukhamandapam in the east. The Sabhamandapam is provided with a square podium with four pillars supporting the central ceiling. Inside the Garbhagriha is a small Linga over a circular Pitha.

I'm standing right in front of the door, at the edge of the Sabhamandapam. These are the pillars which form the Mantapa.

At some point of time, the temple had been painted with Sunna ~ lime which corrodes and weakens  stone. Looks like ASI team tried to remove the lime coating and did an incomplete job. Hope the villagers take some action for the well being of this monument. The pillar on the left has an inscription in Kannada on its upper face.

This is the east-facing Garbhagudi. The deity is Shivalinga. Nice to see those red Hibiscus on the black stone. Looks like morning ritual is a daily practice in this temple.

Full view of the Sabhamantapa from the Garbhagudi. Its a simple well built temple. The pillars are standard three-piece self aligning assembly designed to absorb earthquakes.

A 16-petal lotus in full bloom covering the central ceiling. This is a lovely creation.

A small collection of artifacts arranged neatly. The collection includes one inscription slab and two idols of Nandi. The little window is a necessity to let in morning light.. probably morning rays go straight into the Garbhagudi.

A faded/worn out memorial stone.

On the left hand side, are two five-feet tall hero-stones. Also one Naga stone has been planted close to the gate.

These memorial stones are dedicated to warriors who fought enemies and died. Such a respectful way to honor the martyrs. With those pictures, every generation would pass on the stories to the younger generation. That's their way of preserving history.

Having done with Halavagalu Kalleshwara, i headed back towards Neelagunda. Then to Bagali via Harpanahalli. Half way between Halavagalu and Neelgunda, in the narrow interior roads, a huge herd of buffaloes were heading in the same direction as I. The herd occupied the full width of the road and it was some 100 feet long. I managed to go in half way and remained there almost five minutes. Luckily the buffalo turned off the road into a pond. Sad the pond had a small patch of water, not even a calf could immerse itself fully. These dark skinned animals absorb lot of heat, they need lot of water to cool off. With the ever decreasing rainfall, the voiceless creatures suffer. Hoping this year rain brings in good rains.
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Bheemeshwara Devastana, Neelagunda - part 2

..continued from Bheemeshwari Devastana, Neelagunda - part 1.

The previous post's closing bit was about Kirtimukha. The imaginary creature's jaws look like rack and pinion gears. While most teeth are molar there's a canine as well. Marvelous creations these are.

On one side of the temple, there are little human figures flanked by the other type of Kirtimukha. The middle one is a female and other two male. The images have been disfigured, difficult to identify them.

A view of the Shikhara. This is a complex assembly because the faces taper in two dimensions. Wondering how the top view of the Shikhara is.

A 2½' image of Lord Narasimha placed in a niche on the northern wall, could be western wall. This idol, when newly finished would've been a sight to behold. Unfortunately it has been mutilated badly, several limbs are missing.

This Kirtimukha seems to be fiercer than the others. Its eyes seem to be popping out. The point where the two jaws meet seem to be like a fulcrum. The artwork over its snout is amazing. There seems to be a gap in between. Amazing how the sculptors achieved this complex form.

There must be two dozen such pillars. The workmanship is mind blowing. Perfect lines, edges and corners. The surface below the cubic portion has a cylindrical form, it looks as though the cylinder is held by thread.

The northern walls of the temple.

A mutilated female idol with fine details like the jewelry on its lower leg. The flanking stem & flowers creation is simple but eye-catching.

The canopy face too has floral artwork. If the sculptors put in effort to make that, it has to have some function. The white stains must be result of rainwater seepage. I'm sure the structure would be watertight originally. With time, after exposing to sun, wind, cycles of thermal expansion & contraction, the gaps might have increased. For a thousand year old structure, this is a superb piece of engineering.

Going by the posture, this seems to be Lord Krishna playing flute. Sadly the arms and flute are missing. The damages seen are mostly to smaller idols. Some unemployed people must've mutilated them just to kill time.

This is a fine piece of work. The proportion and the form of the plump man is too good. The tummy with its navel is so realistic. Even his posture looks natural.. that's how a man with big belly sits. He must be a noble going by his jewelry and crown.

The Hoysala logo.. the lion and the brave warrior engaged in a duel. This is one of the changes by the Hoysala rulers.

Two types of Kirtimukhas seen here. Also the imaginary creatures with lion's body and man/elephant heads. The man's head features a nicely trimmed beard which resembles the king priest's idol of Harappa. The creeper over the Kirtimukha on the left is amazing. The progressive bunch of buds bends backwards in a graceful curve.

Of all the Kirthimukhas, this picture is outstanding. The pattern is eye-catching, it has look that exudes alien features. Do share what you feel about these sculptures.

This looks like Hanuman. These characters could be from Ramayana. The second character fro the left seems to be holding a stone over his head.. this could be scene from the bridge construction story.

Back at the temple entrance. This checkered wall seems to be incomplete. Each of the squares have a flower within. I think the next step was to hollow out the material between the flower and square outline making it a mesh.

This is the open air museum of hero-stones, inscriptions and other artifacts. The last but one item on the left hand side is the lion of Hoysala logo.

The broken and mutilated Hoysala logo rests its head on a miniature Shikhara. With this my tour of Bheemeshwara Devastana comes to an end.

One last look at the water-tank and the temple. To anyone visiting this temple- please avoid coming here during Kottureshwara Jatre. The temple's ambiance can be experienced when the place is devoid of people. This is my opinion. No offense meant to anyone in any manner.

I'd mentioned earlier that this man-made water-tank is situated next to a hillock. On the slope of the hillock facing the temple is a small structure which seems ancient. I couldn't trek up to that spot due to time constraint, so took a picture with my telephoto lens. Initially I thought it was a watch tower but now it looks like a small temple.Unfortunately this area in Google Maps is blurred (when zoomed in) so I'm not able to confirm if this is a platform or a temple or a bastion.

Back home, while scanning Bheemeshwara Devastana surroundings, I discovered another ancient temple which is named as Ancient Eshwara Temple Neelagunda. A local guide has added few images of the temple. What a shame that I missed this temple! Even the ASI caretaker at Bheemeshwara Devastana did not mention a word about this monument. Anyway, someone has taken the interest to photograph it and share the pictures online.
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Bhimeshwara Devastana, Neelagunda - part 1

This temple was discovered while I researched historical places situated within Davangere District. It was my wish to visit this temple for more than a year. The opportunity came when I had to travel from Bangalore to Dharwad mid of February. Besides Neelagunda Bhimeshwara Devastana, I planned to visit two more temples close by- Kalleshwara Devastana, Halavugalu (Halavaglu) and Kalleshwara Devastana, Bagali. The itinerary for the day was to leave Bangalore early, visit these three temples and reach Hubli by 5PM to pickup Pushpa and then head to Dharwad.

February 16, 2020
The journey started around 3-30 AM, reached Davangere by 7-15. On Davangere-Harihar bypass road, I decided to visit our home deity. At Shamnur I left the highway, turned into Davangere and headed straight to Bathi Gudda which is off Davangere-Harihar road. By 7-30, I was in front of the temple. The air was cool, soft chanting flowing out of the temple, the ambiance was pleasant. The temple was open, morning pooja was in progress. I performed the customary washing, entered the temple and waited until the rituals were done. Yes, it felt nice to be seeing morning pooje. I had packed bread, cheese slices, tomatoes and cucumbers for the journey. I had sandwiches watching the sun rise over the paddy fields, feeling the cool breeze and the listening to Om Namah Shivaya from the temple. Nice way to start a day.

Done with breakfast, I resumed my journey.. at Harihar I found the road to Harappanahalli. The distance between Harihar and Neelagunda is about 32 kms. The two-lane state highway was in good condition. On the way I saw people walking, all bare foot, carrying bags. I guessed they were heading to attend some annual fair. There were hundreds of people, young & old, boys & girls, men & women, all were barefoot. Some had canes in their hands. Arrangements were made for rest, water and refreshments. At one point I stopped to get directions to Neelagunda from two elderly men who were also walking pilgrims. I learnt they were walking to Kottureshwara which is around 70 kms from Harihar. People from Ranebennur, Haveri and surrounding villages walked more than 100 kms. One has to admire their determination and belief.

I reached Neelagunda village by 9-45 AM. Bheemeshwara temple was a kilometer away, on the bank of an man made water tank situated next to a hillock. Looks like this tank and temple were made at the same time. I could lot of people washing and bathing in the water tank. All these people had taken a small diversion from their route to rest and refresh. What a lovely location! Wishing there were more trees planted along the road.

An ancient water level measuring system in the tank. The device has been modified to accommodate a let off valve to regulate the level during rainy season.

Situated on a isolated spot, the Trikutachala temple has a serene look. The eucalyptus and coconut trees add charm to the place. Minus the crowd this place will have a serene ambiance.

Within the temple premises is a small collection of hero-stones and inscription slabs. I was little disappointed because of the crowd and the clothes spread around the monument. Anyway, nothing much could be done about it.

A board planted at the entrance gate describes the temple as follows:
Bhimesvara Temple, Nilagunda
Nilagunda, known for its steatite (Soapstone) quarries, was an important village right from the times of Kalyana (Circa 12th Century).
The temple is constructed during the last quarter of the 11th Century A.D. under the rule of Chalukyas of Kalyana. The temple is in Vesara style. On the plan of the temple consist of three Garbhagrihas each with an Antarala on the north, west and south, opening on to the Sabhamandapa and Mukhamandapa on the east with lateral steps at the entrance, and shrine of Surya attached to the Mukhamandapa on the east. The walls hav projections and recesses decorated with Vesara turrets on double pilsters and with Dravida turrets on single pilaster. he western cella has its upper structure intact and as a whole it is Tritala Vesara Vimana. Each Tala is composed of composite Sala, Panjara and Kuta units. Under the Kirtimukha of each Sala are Siva as Nataraja, Maheshvara, etc. The Garbhagriha doorway is carved with five Sakhas and at the base are Saiva Dvarapalas flanked by female Chauri-bearers. Similarly the doorways of the northern Garbhagriha and the west Antarala are finely carved. The Sabhamandapa has four ornate pillars on the raised floor at the centre. Its interior niches accommodate sculptures of Ganesa, Mahishamardini, Saptamatrikas and seated Yaksha. A small bull is kept in front of the west Garbhagriha, in the Sabhamandapa.

There were at least a hundred people in the temple premises. Out of that crowd a bearded man appeared and told that photography is prohibited. He claimed that his officer has verbally instructed that shooting with a DSLR banned but mobile cameras were allowed. I inquired if that was given in writing. The man said it was written on the board, I checked the board - no such thing was written. In fact it clearly stated photography was allowed while smoking, littering and writing on the monument was banned. Wondering why ASI officers and their subordinates are afraid of DSLRs. Their methods are unfriendly and irritating. Anyway, I started shooting with my mobile camera.

This is the temple entrance. Unlike a typical Trikutachala, this temple is like a star. The entrance lobby is where the three Garbhagudi's axis meet. The three Garbhagudi's of the temple face east, south and north.

Flanking the entrance steps was a pair of imaginative four-legged creature and floral art. This is Hoysala art for sure.

The creature has body of an ox, legs seem to be lion's, elephant's head & trunk and peacock's feathers for a tail. The men astride these creatures must be Dwarapala ~ door keeper.

The walls directly ahead form the north facing Garbhagudi. The temple's Shikhara sits on the east-facing Garbhagudi.

On the temple walls are miniature Shikhara and columns. The lower portion of the structure has a layer of Kirthmukhas. Notice the large column on the right. Its section is primarily square. The detailing is awesome.

I go around the temple in clockwise direction. The Kirthimukha aligned in different angles can be seen here. This pattern is same all around the temple. Not sure what the wall seen in the background form.

The profile of the east-facing Garbhagudi with its full Shikhara. Somehow the temple is well preserved except for minor acts of vadalism. I'm not sure if the structure was reassembled in the recent times by ASI.

This is the south-facing Garbhagudi. The roof canopy is quite an elegant piece of work. The lines running along the edge are perfectly parallel and aligned. Amazing workmanship.

Lets check out the Kirthimukha layer. The object is a head of an imaginary creature with powerful jaws and strong teeth. The upper jaw is curved and lower is straight. Together they look like rack and pinion. A tongue as long as the upper jaw sticks out from its throat. I'm not sure what it represents or its significance.

This is another form of Kirtimukha. A fierce looking face with its popping eyes, bared fangs and a long pair of mustache. Flanking the Kirtimukha is a pair of standing creatures which have lion's body and man's head.. the opposite of Lord Narasimha. The creatures are also meant to exude a fierce or fearsome look. On the left is another creature with a lion's body and elephant head. Wonderful imagination. Our fictional creatures must've inspired a lot of comic book artists in the western countries.

A closer look at 'jaw Kirtimukha'. In the profile view, the foremost tooth is clearly a canine and the rest are incisor and molar teeth. Adjoining the jaw is a set of finely carved arcs and circular grooves. It seems to be incomplete work. We'll find out as we go around the temple.

Here's a well carved Kirtimikha. The decorative jewelry is stylish. The pattern wouldn't be easy to carve. The lines are fine and the string of beads is superbly made. Unfortunately the heads are missing from the lions' bodies which must've been human heads.

Here's a corner Kirtimikha right next to a regular one. There was no limit to creativity of ancient sculptors.

I'll close this post with a look at the columns, two are part of walls while the middle one is the junction where the two walls meet. The walls are great examples of geometric design.. perfectly straight & parallel lines and right angle corners. If one wants to replicate the same with today's technology, god knows how many millions would the machine, fixtures, tools, tool posts and cutting bits would cost. Wondering how ancient people achieved this precision.

this article will continue in Bhimeshwara Devastana, Neelagunda - part 2.
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