Temples of Arasikere was on my list for quite some time. In the last week of August a plan formed. I would be visiting Bhogasandra from where Sridhar & I would be doing a Hoysala temple run one of the days. We arrived at Bhogasandra on 14th September morning. The temple tour was planned for 16th but we had to postpone it to the 17th.
September 17, 2024. On the itinerary for the day were Arasikere, Javagal, Belawadi and Arakere. Sridhar and I left Bhogasandra around 5-45 AM. We touched NH73 at Nittur and turned towards Tiptur. Most of the highway is good, stretches of the highway widening is pending. We had thoughts of having breakfast at Tiptur but it was too early, we decided to have to Arasikere which is just 25 km away. About 6 km from Tiptur as we were enter the newly done road I noticed a large stepped water tank to my right. The tank had a historic look and that was enough for us to stop and check it out.
A seemingly newly planted board called this place Ayyana Baavi which translates to Ayya's well. Probably built in the XV or the XVI Century, this place was dear to Kannada cine star Dr. Raj. Discovering a historical landmark was a good way to start the day. Our break lasted about 15 minutes, then we resumed our journey. Just before Arasikere town is the town's lake. We stopped on the embankment to get a couple of shots of Chikka Tirupati Gudda. As we entered the town, the only landmark I could recognize was Sadhana theatre, buildings along the main street were unfamiliar now. With help from a local person we got directions to an eatery called Ayodhya Darshan. It was barely 8-15, the place was packed.. seems like a popular joint. Food was excellent and we did see people throng the place. Our first item on the itinerary- Chandramoulsehswra - situated off Arasikere-Huliyar road was just three minutes drive.
Here's the XIII Century Hoysala beauty. The main temple is concealed by this domed-pillared hall. In plan of this hall is a 16 point star. It's a one of its kind. The interior is more interesting than its exterior, unfortunately the hall was undergoing maintenance. Scaffolding and other construction equipment filled the hall, didn't want to photograph the chaotic scene.
In this diagonal view the temple comes into view. Between the domed hall and temple are the side entrances. In the foreground is Bilva Patre and Nagara Katte. Around the tree's base are serpent idols, all ancient and worshipped regularly.
The design is seriously complex, the details of every piece of this assembly is mindboggling! The Shikhara too seems like a 16 sided star. Most of the exterior is clad with geometric or floral patterns, idols of Hindu gods dominate the middle layers. From here the temple looks well preserved. However, closer look reveals that most of the idols are damaged. The idols have received blows by hard objects - it's no secret who's behind such an act. I happened to noticed that the people of the same community happen to live in large numbers around this monument.
The secondary temple comes into view here which happens to be a Dwikutachala. The two sanctums of this temple share a common pillared hall. The two deities of this temple are forms of Shiva named Sri Veereshwara Swami and Sri Bakkeshwara Swami.
A side view of the Dwikutachala.
A diagonal view of the pillared hall of the main temple. In a way this Mantapa actually grabs more attention at this site.
Let's take a look at Veereshwara Swami and Bakkeshwara Gudi. As you see the east-facing temple has two entrances, one each opposite the sanctums. The steps are flanked by elephant balustrades. Elephant idols feature in most Hoysala temple while Chalukyan temple feature imaginary creature with a long snout curled into a spiral.
This hall has Sukanasi around it i.e. a seating platform. The hall, since it's open on three sides, is well ventilated. In the ancient times, temples were the centers of villages. All important meetings would be held at temples hence they were designed for such gatherings.
The pillared hall interior. The pillars seen here are turned and polished to mirror finish. The pillar design is more or less same since the Chalukyan times. The upper parts ensure structural stability. The design is not entirely rigid to take care of thermal imbalances caused due to thermal expansion or contraction; or due to tremors caused by seismic movements.
A square niche in the ceiling. Lotus being an important part of our culture has to be present in every temple. The iron rod is a recent addition, probably inserted during restoration work.
A diagonal view of the hall. Notice something on the left hand side edge of this picture. Well, if the khommunity carried out hate vandalism, some descendants of these temple creators unleashed their creative destruction by etching their names, and the names of their girl friends.
After having shot pictures of the temple exterior, a man appeared suddenly and objected to shooting. ASI, as much as I appreciate their efforts, I detest their caretakers' objection to photography, especially if you are carrying a good camera. They object while they are oblivious to the presence of pictures available on the net. Anyway, after a bit of talking, the caretaker agreed to mobile camera. And, photography of the main temple's interior wasn't allowed which is understandable.
Moving on, here are a few inscription slabs and memorial stones related to these temples.
These memorial stones are Veeragallu, hero stones. These stones are dedicated to the brave people or warriors who lost their lives protecting the place's inhabitants or their properties. There are Veeragallu for warriors who lost their lives protecting cattle from wild animals. Like Veeragallu, there are Sati stones too.
A closer look at the Nagara Katte.
Let's go back to the main temple for a closer look at those intricate sculptures. I'm at loss of words to describe these creations. Then I think what's the purpose of such detailing right from bottom to top. The ancient builders, surely extraordinary people compared to us, definitely had a profound purpose.
Every ancient temple exterior had niches dedicated to a particular god. Since most temples are east-facing, there would be these little shrines on the northern, western and southern walls. I remember one of my friends tell who occupies what direction. Ganesha is one of them.
Let's look up at the canopy. Surely it's not a canopy just to protect the structure from dripping rainwater drops. There's some other purpose which the present people fail to understand. This design has something to do with harnessing cosmic energy.
Another canopy design.
This defaced idol seems to be of Vishnu, Lakshmi and Garuda. Take a close look at their Kirita i.e. headgear and the circular part behind their heads. The big button like knobs above the ears are eye-catching. They seem like present day headphones. Who know what technology ancient people possessed to be even creating these sculptures out of stones. A sculpture of those times possessed deep knowledge of geologist, metallurgy and what not.
The pillar and canopy alignment is perfect. Creating the sculpture is one part. Assembling it perfectly is another part. Then, yet another part is to make that assembly stand as is for centuries. Now try to imagine the intelligence of those builders. Did they work for money like the present people? No. Then what motivated them? This is something the present people have to ponder upon.
Coming to the exterior of the star-shaped Mantapa. This is one of the corners of its Sukhanasi. The simple but well formed pillars are elegant. They seem like shock-absorbers.
Lastly a look at a portion of the Shikhara. The alignment is perfect.
Whatever I'm trying to tell with these pictures and words is a drop in the ocean. One must visit this, and ancient temples to see and feel the wonders.
We move with our tour, we head towards Sri Lakshmi Venkateshwara Devastana which is a about 2 km from here.
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