February 22, 2020
We left Dharwad early morning, reached Sahasralinga by 7-30 AM. It was deserted but the place was littered because of Mahasivaratri. At the river there were 3 or 4 people doing morning Pooja. I stopped for Pushpa's sake. River Shalmala was flowing, shallow enough to wade through. Pushpa stepped into the river and did Namaskara to one of the many Nandi idols. It was a quick stop, we headed towards Sirsi Maarikamba Devastana. A quick Darshan there as well and then to a cousin's place off Sirsi-Banavasi road. We chatted over breakfast and left. We reached Banavasi Madhukeshwara Devastana by 9-45 AM. It was already warm, and sultry too.
As we entered, we saw people clearing up litter from last night's event.. flowers and Bilva Patri. Also there was another group removing temporary shelters, scaffolding, ropes and what not. I was disappointed.. have to put up with such things once in a while.
This is the main temple within this complex of a dozen temples. The sloping roof is the most prominent feature of this temple. This region receives heavy rainfalls. The slope is designed to keep water away from the walls. The main temple's deity is Madhukeshwara depicted by a honey (Madhu) colored Shivalinga.
This temple complex is a protected monument, its under the care of ASI. A board describes the monument as follows:
The Madhukeshwara temple, originally considered to have been dedicated to Madhava, a form of Vishnu, of Kadamba period has undergone substantial addition and alternations from the time of Western Chalukyas right upto the Sonda kings as evidence by more than twelve inscriptions and architectural features. This temple facing east on plan a square Grarbhagriha with circumbalatory passage all around, accommodating Madhukeshwara Linga on a decorated Yonipitha, two sub-shrines attached to the eastern wall housing Mahishamardini and Ganesha, a large hall with massive pillars of square cross section (all assignable to Western Chalukya times). This is followed by a Navaranga with ornate lathe turned pillars, accommodating an ornate couchant Nandi image, Kakshasana arrangement along the periphery and entrances on three sides assignable to Kalyana Chalukya period. Within the temple are sculptures of Adimadhava and Kartikeya displaying early features. Present super structure of Vijayanagara-Sonda period, rises in stepped pyramidical order in typical Kadambanagara style with Sukanasa in front. The Shikhara is decorated with beautiful stucco figures like Nandi in the corners, the ten incarnations of Vishnu, the twelve forms of Aditya, the guardian deities (Dikpalakas) and various other deities as also Nagabandhas. The roof of the Navaranga is flat at the center and slopes along the periphery. There is a Dhvajastambha in front, The sub-shrines along the Prakara wall accommodating the Dikpalakas Dhundiraja, Ganapati, Chintamani Narasimha and other sculptures are the contribution of Sonda kings.
The most significant objects within the temple premises are the inscribed Naga sculpture, the highly ornate stone cot. The inscribed Naga sculpture carved on a thin rectangular slab has an ornate five-hooded coiled serpent as the central figure with an inscription in nail headed Brahmi characters (2nd century AD) and Prakit language along the side borders. It records the gift of this artistic Naga image along with a tank and Vihara by Sivaskanda Nagasri, daughter of Hariputra Vinhukada Chutukualananda Satakarni in his 12th regnal year.
Significantly the epigraph refers to the name of the sculptor Nataka, a disciple of Acharya Damoraka, hailing from Sanjayati (Banavasi) who carved it. Thus, it is one of the earliest epigraphical references to the name of the sculptor. The stone known as Trilokamandapa, presently kept in the Navaranga of the temple, a donation to the temple by Sonda king Sadasiva Nayaka (16th Century AD), has many delicate carvings. The stone cot, donated by Raghunatha Nayaka (AD 1628) is yet another masterpiece of stone carving, every inch of which depicts intricate floral, animal and geometric designs. Two elegantly carved stone elephants flank the flight steps of the eastern main entrance of the complex. In and around Banavasi there are many other temples like Adikadambeswara, Adimadhukeswara, Allamaprabhu, etc. of modest size and ornamentation.
Madhukeshwara Devastana is an east-facing temple. The Navaranga Manatapa (meeting hall) has one entrance in the front and four entrances on its sides. A pair of ribbed spiral balustrades flank the front entrance, beckoning visitors to this magnificent temple. This type of balustrade is common to many Chalukyan temples.
This is the Navaranga. Nandi sits in the middle of the aisle, close to the entrance. The rows of turned & polished columns are a sight to behold. This idol is approximately 7 feet high including the pedestal. It is said that Nandi's head is positioned in such a way that it's left eye looks at Shivalinga while the right looks at Parvati.
Side view of Nandi. Its sits there facing its Lord in the Garbhagriha. North Karnataka people prefer to call Nandi as Basavnna, an informal way of addressing Shiva's Vahana. When one says Basavnna, it comes from the heart.
The Navaranga has three lines of columns on each side. Totally six lines which comes to around 64 columns.
The circular stage in front of Nandi. This stage was meant for dancing. The temple dancers performed here during particular events. Dance floors can be seen in most Chalukya and Hoysala temples.
The temple features four or five types of columns.. circular or octagonal sections.
Madhukeshwara temple is known for two special objects- Trilokamandapa and a stone cot, both made of stone. This chair like object is Triloka-mandapa. Triloka means three worlds (Swarga, Bhoo and Patala). As described by the ASI, the Mantapa is covered with carvings of characters from Hindu legends. It looks like a chair with a roof.. like a throne.
Over the centuries, this temple has has been visited by God knows how many millions of people. Probably this temple was occupied by a people, a home to some families. Looks like those people etched this matrix on the temple floor. This 8x8 matrix is used for a game called Chaukabara, played to this day. The game can be played between minimum of two people to eight people. Dice or Cowrie or Tamarind seeds is used to decide the number of moves. Though the moves are given by chance the game is about working out the right strategy.
Besides the main temple is another east-facing temple which is simpler in terms of details. This is the space between the two structures. The openings are opposite to each other so to facilitate easy movement between the two.
The Sabhmandapa of the other temple which should should be Parvati Devastana. Nandi must be looking at the deity of this temple.
These are the sub-shrines around the main temples. The shrines are mostly dedicated to forms of Shiva. Going by the construction of these structures, I'm guessing them to be of Vijayanagara period. Probably the idols inside are much older, the newer structures were constructed as part of renovation work.
This box like structure is made of stone- slabs, columns and beams. This may not be Chalukyan, could be built by the rulers of Sonda or Vijayanagara, The temple's deity is Shiva-Parvati seated on Nandi (see inset) which is quite rare. One other temple where the main deity is Shiva-Parvati on Nandi is Somanatha Gudi, Lakshmeshwar. The idols are not exactly similar but close enough for comparison. The external walls feature two interesting sculptures.
Here's a collage of those two sculptures. The top image has Hanuman, Gopala Krishna with his Gopikas and Gau, Vishnu, Laxmi and Bhumi. The bottom image has Hayagrive, Brahma, Kaalabhairava trampling some Asura, Parvati and Vishnu. The sculptures have the hallmarks of Vijayanagara artwork.
I'm standing at the north-west corner of the complex, in front of Shiva-Parvati temple. These two Shikharas are the main temples'. One in the foreground is Parvati temple's and the one behind is Madhukeshwara temple's. At the rear side of the complex are more sub-shrines dedicated to various forms of Shiva. Probably there will one for Veerabhadra.
This is the wall of Madhukeshwara temple. I wanted to check out the window. Its a classical window seen in Chalukyan temples. You can see one such window at Naganatha Devastana near Banashankari in Bagaklot district. Now, see the wall.. its covered in pairs of Shivalinga and Nandi. Looks like disciples got the images sculpted as a form of contribution to the temple thereby providing work to the sculptors.
We'll continue the tour in the following post- Madhukeshwara Devastana, Banavasi - part 2.
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We left Dharwad early morning, reached Sahasralinga by 7-30 AM. It was deserted but the place was littered because of Mahasivaratri. At the river there were 3 or 4 people doing morning Pooja. I stopped for Pushpa's sake. River Shalmala was flowing, shallow enough to wade through. Pushpa stepped into the river and did Namaskara to one of the many Nandi idols. It was a quick stop, we headed towards Sirsi Maarikamba Devastana. A quick Darshan there as well and then to a cousin's place off Sirsi-Banavasi road. We chatted over breakfast and left. We reached Banavasi Madhukeshwara Devastana by 9-45 AM. It was already warm, and sultry too.
As we entered, we saw people clearing up litter from last night's event.. flowers and Bilva Patri. Also there was another group removing temporary shelters, scaffolding, ropes and what not. I was disappointed.. have to put up with such things once in a while.
This is the main temple within this complex of a dozen temples. The sloping roof is the most prominent feature of this temple. This region receives heavy rainfalls. The slope is designed to keep water away from the walls. The main temple's deity is Madhukeshwara depicted by a honey (Madhu) colored Shivalinga.
The Madhukeshwara temple, originally considered to have been dedicated to Madhava, a form of Vishnu, of Kadamba period has undergone substantial addition and alternations from the time of Western Chalukyas right upto the Sonda kings as evidence by more than twelve inscriptions and architectural features. This temple facing east on plan a square Grarbhagriha with circumbalatory passage all around, accommodating Madhukeshwara Linga on a decorated Yonipitha, two sub-shrines attached to the eastern wall housing Mahishamardini and Ganesha, a large hall with massive pillars of square cross section (all assignable to Western Chalukya times). This is followed by a Navaranga with ornate lathe turned pillars, accommodating an ornate couchant Nandi image, Kakshasana arrangement along the periphery and entrances on three sides assignable to Kalyana Chalukya period. Within the temple are sculptures of Adimadhava and Kartikeya displaying early features. Present super structure of Vijayanagara-Sonda period, rises in stepped pyramidical order in typical Kadambanagara style with Sukanasa in front. The Shikhara is decorated with beautiful stucco figures like Nandi in the corners, the ten incarnations of Vishnu, the twelve forms of Aditya, the guardian deities (Dikpalakas) and various other deities as also Nagabandhas. The roof of the Navaranga is flat at the center and slopes along the periphery. There is a Dhvajastambha in front, The sub-shrines along the Prakara wall accommodating the Dikpalakas Dhundiraja, Ganapati, Chintamani Narasimha and other sculptures are the contribution of Sonda kings.
The most significant objects within the temple premises are the inscribed Naga sculpture, the highly ornate stone cot. The inscribed Naga sculpture carved on a thin rectangular slab has an ornate five-hooded coiled serpent as the central figure with an inscription in nail headed Brahmi characters (2nd century AD) and Prakit language along the side borders. It records the gift of this artistic Naga image along with a tank and Vihara by Sivaskanda Nagasri, daughter of Hariputra Vinhukada Chutukualananda Satakarni in his 12th regnal year.
Significantly the epigraph refers to the name of the sculptor Nataka, a disciple of Acharya Damoraka, hailing from Sanjayati (Banavasi) who carved it. Thus, it is one of the earliest epigraphical references to the name of the sculptor. The stone known as Trilokamandapa, presently kept in the Navaranga of the temple, a donation to the temple by Sonda king Sadasiva Nayaka (16th Century AD), has many delicate carvings. The stone cot, donated by Raghunatha Nayaka (AD 1628) is yet another masterpiece of stone carving, every inch of which depicts intricate floral, animal and geometric designs. Two elegantly carved stone elephants flank the flight steps of the eastern main entrance of the complex. In and around Banavasi there are many other temples like Adikadambeswara, Adimadhukeswara, Allamaprabhu, etc. of modest size and ornamentation.
Madhukeshwara Devastana is an east-facing temple. The Navaranga Manatapa (meeting hall) has one entrance in the front and four entrances on its sides. A pair of ribbed spiral balustrades flank the front entrance, beckoning visitors to this magnificent temple. This type of balustrade is common to many Chalukyan temples.
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2 comments:
Nice Article
thank you Shrinath
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