a bridge across river Beas

While browsing through my photo archives photos of Beas river brought back memories of my stay at Dhagpo Shedrupling Monastery at Kais village.

Nov 6, 2019
It was for an acquaintance turned friend Rajesh who made it more interesting by showing me around. One of the days, we had been to Kullu on work, on the way back I asked Rajesh that I wanted to get into the river, not the water but the riverbed. Rajesh found a way to reach the riverbed. The first thing I noticed was that all stones, big or small, were rounded. I could hardly see any rock with sharp edges. That's Rajesh finding a safe path to get closer to flowing waters.

In Himachal, main roads run parallel to rivers. Here, along the right bank of Beas is NH-3 and on the  left bank is a rural road connecting towns and villages. The monastery where I stayed was on the left bank, a few kilometers from this bridge. These bridges are important links. I'm not sure if they are designed to take dynamic loads of moving cars but it's a common sight to see small cars on the bridge.

The spot chosen by Rajesh was really nice. The sound of flowing water was soothing. However, I had to be careful, one misstep meant falling into chilly waters. Not to mention the current and submerged boulders.

Water was clean and clear.

That's my friend Rajesh, we are in touch and hope to visit his home town Dharamshala some time.

After spending some 30 minutes in the riverbed, we headed back to the monastery. Here's a shot of the bridge. It's just wide enough for a small car and a pedestrian to pass by. There are unspoken rules for motorists; only one car on the bridge at a time. For the sake of safety and time, everyone respects the rules here.

A couple of views from the bridge. Somewhere in the vicinity is a rafting start point. I saw a couple of rafts with excited tourists.

There's one raft heading downstream. Some reason, I don't even want to try it. Just once I had sailed in a coracle in river Kali near Dandeli. Unlike rafts, coracles are highly unstable and only a skilled and experienced pilots can negotiate them in rapids.

Rajesh on his Honda Hornet speaking to an acquaintance. On that bike, we rode up to the top of a mountain on which the monastery is situated. The top was covered in a fir forest, ground was covered in snow. The place had an eerie silence. Rajesh didn't want to risk going further due to predatory animals and we were just two unarmed men.

On the Dec 5th we rode to Manali on the same bike. We visited Manu Mandir, Hidimba Devi Mandir, Ghatotkacha shrine and Himachal Pradesh cultural museum. Close to Manali is a village called Shuru, we visited it to meet up with an old acquaintance of my brother. Memories of the rural Himachali hospitality is still fresh and warm. The return journey to Kais was something else. In Himachal, sunset happens around 3-30. You must be wondering- how? Once the sun goes behind a mountain and if you are in the shadow, you can feel the temperature drop rapidly. We started from Shuru around 4-30 and reached Kais by 7-30. The entire journey I was shivering, trying to block the wind sneak into my clothing and helmet. With some 5 off kilometers to the monastery, we stopped at a teashop, the fire and hot tea felt heavenly. When we resumed our journey those five kilometers felt like ten. What an experience that was!

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Jatayu vs Ravana

This photo was shot on Aug 29 2023 at Pattadakal temple complex. This relief sculpture- Jatayu Ravana battle -is one of the several sculptures decorating the exterior walls of Virupaksha Gudi. Chalukyan sculptors have depicted good-bad pairs or positive-negative pairs.. maybe these are not the right phrases but they convey the message. Another sculpture in the vicinity is Shiva and Apasmara. Also in the vicinity is another sculpture of a male character armed with a spear, in the act of slaying. I'm still trying to identify the characters. For now, let's get back to Jatayu and Ravana.

After snatching Sita from Rama's hermitage at Panchavati, Ravana flees in his aerial chariot Pushpaka Vimana. The terrified Sita's screams are heard by Jatayu the eagle like demigod who was sworn to protect the trio Sita, Rama & Lakshmana. Jatayu takes off and attacks Ravana midair. However the aged Jatayu, despite fighting valiantly, was no match for Ravana's prowess. Ravana slashes off Jatayu's wings, injuring him grievously, thereby ending the battle.

Later, back on the ground, the grievously injured Jatayu is found by Rama and Lakshmana. Jatayu tells them to go to Ravana's kingdom Lanka and takes his last breath.

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a girl at Aihole

At times, my memory fails me. One such time is when I wrote the post of Aihole tour of Aug 2023 with my friend Srinu from Hyderabad. At the end of the tour of Aihole hillock, as we walked back to the main road I heard a feminine voice "hi." A friendly smile followed by another hi. Though I never expressed it to Srinu, this girl had made my morning. With her permission I took a photo and asked her name. I remembered it until last year but now.. just can't remember her name. I even missed adding this picture to that post.

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Buddha Vihaara, Kalburgi

Jan 29, 2011

Trying to recall memories of a trip fifteen years ago. The trip was with three of my maternal uncles covering the three northern districts Bidar, Kalburgi and Vijayapura. On the last day of the trip, the last destination of the day was Buddha Vihaara situated just outside of Kalburgi city. Back then, the Buddhist center was newly finished and open to the public recently.

Vihaara is a residence of Buddhist monks and nuns. This is the symbolic arch at entrance of the monastery. Flanking the arch are Buddhist Torana. Posted on the gate was a detailed instructions to visitors asking them to treat this as a solemn tour. Every visitor was expected to remain silent and behave with dignity. Photography was prohibited beyond this point.

Visitors had to take of footwear including socks and enter barefoot. Inside the campus, visitors had access only to the main hall and the walkway around it. The dome seen here is the crown of the meditation hall.

At the entrance of the hall was another set of instructions and supervisors made sure people remained silent. The circular hall was simple and bare except for mats / cushions for seating. I must've remained inside for about 15 minutes. I saw some people so restless that could not even remain seated for a couple of minutes. Honestly, tourists must not enter such a place if they cannot connect with its sanctity.

Kalburgi is the hottest district of Karnataka state. I remember seeing terrain devoid of greenery when we drove on the ring road. Here there's an attempt to grow trees around the Vihaara which was appreciable. Surely, after a decade and half these sapling would've grown up, a live green screen around the Vihaara.

In the mid 2010s, we drove through Kalburgi a couple of times but somehow never thought of another visit to the Vihara since we had tight itineraries both times. Perhaps it's time for another visit to this city and catch up with this monuments again. 

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Wagangera fort western gateway

During the only visit to Wagangera fort on Nov 27, 2013, I had seen most of the fort, not all of it. Being a seldom visited place the fort has a wild feel. There was a group of grownup langurs spread out within the ruins of the fort. They were being langurs every bit occupying high points, watching the surroundings and then suddenly shift to another spot. I was wary of their presence, kept my fingers crossed and wished they left me alone. I'm sure there were a plenty of nocturnal wild creatures, tucked away in their dens. With such thoughts I explored the ruins right from the fort's main entrance which is east-facing to the western entrance.

The western gateway is at a lower elevation and less grand. However, at some point of time, when Wagangera fort was taken over the invaders, some sculptures were embedded into the gateway walls. The intent of that is obvious; for the invaders westerly direction has religious importance and they wanted to assert their beliefs on the local people. Directly above the doorway is this inscription which seems like Arabic.

To the right of the inscription is a relief sculpture depicting a pendant dangling at the end of a short chain. I've seen this pattern / design at monuments at Vijayapura, Kalburgi and Bidar. This might be an emblem of Adil Shahis or Bahamanis.

On the left hand side of the doorway are two square tablets with geometric patterns. Both are aesthetically pleasing, surely made by skilled hands. Again, such pieces of artwork can be seen at monuments at ancient capital cities.

Lastly, I have to mention this: Wagangera kingdom was established in 1636 CE by Gaddipidda Nayaka, son of Jakkappa Nayaka Desai. In May 1705, Waganageri kingdom reaches its end when Pitambari Bahari Piddanayaka establishes Surpur kingdom.

This post can't be closed without saying thanks to my host at Wagangera, Venkatesh Bappargi, and his friend Kanakappa Waganageri a dedicated school teacher.

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Sri Venkateshwara Devastana, Nargund

My first and last visit to Nargund Sri Venkateshwara Devastana was in October 2010. As you see, the temple Gopura is a handsome seven tiered structure. Even though Gopuras feature sculptures and are colorfully painted, plain white colored Gopura are not uncommon. It's the matter of financial backing the temple possesses, or maybe just to keep it simple. Anyhow, this Gopura is elegant. For that matter, the whole building is all white, a peaceful looking structure.

The mural on the crown shows Vishnu, his consorts Bhudevi and Niladevi, Adisesa, Hanuman and Garuda. It is said that this temple was built in the XVII Century by Maratha Bhave dynasty.

During the visit I did step into the temple. The interior showed signs of neglect. I remember seeing a lot of woodwork, but everything was in a state of disrepair. Maybe the temple was going through a bad phase financially. Also I remember there was a very elderly poojari about to start the morning rituals. The poojari didn't look happy and I didn't make conversation. I did a quick namaskara and left.

Opposite the Gopura is a smaller temple with a pyramidal Shikhara. The Shikhara doubles up as a Deepastambha. The little niches on the pyramid are for placing oil lamps. Imagine the pyramid aglow with a hundred lamps under a dark sky. It would be a sight to behold.

This set of photos has evoked a thought of another visit to Nargund which should happen soon. I did check out photos on Google Maps, the recent photos show a well maintained temple. Glad to know that this ancient temple is being cared for.

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Hanuman seated on coiled tail

This picture was shot almost nine years ago at Ranga Devastana close to Elephant Stables at Hampi. The relief sculpture was on one face of one of the outer pillars. The sculpture is a depiction of Hanuman sitting on his coiled tail. It's a story from Ramayana.

After Ravana abducts Sita from Pachavati inside Dandakaranya forest, he brings her to his kingdom Lanka. Ravana keeps Sita at Ashoka Vatika as a prisoner. Meanwhile Rama and Lakshmana searching for Sita arrive at Kishkinda the kingdom of Vanara people. They become acquainted with Sugreeva the brother of Vanara king Vali. They also get acquainted with Sugreeva's colleague Hanuman. Due to a feud between the brothers, Sugreeva is in exile while Vali reigns. Rama and Sugreeva arrive at an understanding to solve each other's problems by helping each other. A search team of Vanaras spread out in different directions. Hanuuman follows leads and arrives at Lanka and happens to see sad and lonely lady in Ashoka Vatika. In a subtle way Hanuman approaches the lady and confirms her identity as Sita. Then he tells that Sita about Rama's rescue campaign and takes permission to return to Kishkinda. However before leaving Lanka Hanuman with an intent to get Ravana's attention wreaks havoc in the city. The Rakshasa soldiers were no match for Hanuman. Ravana's son Indrajit enters the scene. Using his special powers Hanuman is captured and presented at Ravana's court. However, the invisible force restraining Hanuman has expired.

Hanuman identifies himself as an emissary of Rama and asks to be treated with respect but the Rakshasas mock him. That's when Hanuman elongates and coils his tail into an elevated seat higher than Ravana's throne. Seated high up he then warns Ravana to return Sita.

So that's the story of Hanuman's coiled seat. What follows is more mockery; Hanuman's tail being set afire. Hanuman gives them a taste of their own medicine by setting fire to Lanka itself and returns to Kishkinda.

With a story behind every image, our ancient temples were like books to impart cultural values.

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four faces of a pillar

When you see places like Hampi, Badami, Aihole and the likes, one could photograph them at macro and micro levels, relatively. A scene from an elevated spot to a group of temples to an individual temple to a pillared hall inside a temple to a large statue to a tiny sculpture on a pillar. One could find countless subjects to shoot. Many a times, I've appreciated sculptures more on my laptop screen than at the site. At the site, a small image catches my eye, I look at it for a second or two, I shoot it and move on. At home I look at pictures of those tiny sculptures for minutes, trying to figure out so many things... what's that expression or the talent of the sculptor or the purpose of that image. One could get lost in that world of sights and thoughts.

Now, coming to a particular pillar in the VIII Century CE Chalukyan monument Durga Gudi at Aihole. There's a pair of heavily decorated pillars in the Mukha-mantapa. However, the middle part of the pillars is eye-catching. Plains surface with a circular image on each of the four faces. It's so elegant. The plain surface highlights the circular image. One might imagine that the other two faces have similar sculptures.

No, the opposite faces have blank circles. Why these are plain.. possibly incomplete. Was it meant to be polished to mirror finish. Or, was it like a blank canvas for another sculptor. I remember one of the guides say that blanks were left to invite foreign sculptors in a way of challenge or, a simple display of talent. There could be other reasons.

The more I look at these sculptures, the more I wonder how the sculptors achieved the forms, those straight lines, right angles, perfect circles, the precision, those expressions. It's a big question- how? And another question- why? Why these elaborate designs?

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Hanuman Mandir, Navalur

Even though Navalur is just four kilometers from our home, I'd never entered it until mid 2023. I started exploring roads & trails for cycling one day I rode into Navalur and found the place interesting. The original name of this village was Naviluru meaning a place of peacocks. With time Naviluru became Navaluru. A small group of hillocks here is called Navalur Gudda. On one of the peaks is an ancient shrine called Basavanna Gudi which I'd visited in 2009. Back then the hillocks were bare, hardly any vegetation. Few years later, Karnataka Forest Department afforested the hillocks, now it's a beautiful jungle, a home to wildlife. During our early morning rides around the Gudda, we've heard peacock calls many a times.

On June 7th 2023 during a ride I noticed this south-facing Hanuman Mandir. Temple renovation project had just commenced hence broken walls and the scattered rubble.

The temple's Shikhara got my attention. I realized that the structure was ancient. I guessed the Shikhara and the walls below must be 500 to 550 years old, if not older. Also there was an ancient memorial-stone in the gateway - another piece of historical evidence.

Fast-forwarding to June 2026. The temple renovation had been completed months ago.

For the first time I saw the south-facing deity Hanuman. The stone sculpture is definitely ancient. The size and design is close to Hanuman idols consecrated by the XV - XVI Century scholar Vyasaraja. Perhaps, this idol too was installed during Vysaraja's time. In this sculpture, Hanuman is seen standing on a lying male character. 

As per the temple priest, the lying figure is Shanideva. I guess this is the reason why people visit Hanuman temples on Saturdays even though Tuesday is Hanuman's day.

Also, next to Hanuman's idol is a boulder which is also worshipped. According to the priest, and another person as well, a few years back a figure of Hanuman started appearing on the boulder on its own. When I glanced at the stone it was covered in flowers. Another time then.

The temple's sandstone arches gives a heritage feeling. On the two side walls of the Mukhamantapa are relief sculptures of entwined serpents.

These sculptures are a work of clever sculptors. The serpent pairs create a maze. Once could trace a finger from head to tail and vice versa.

A diagonal view of the exterior. The recently made front portion is an assembly of sandstone blocks. The rear portion i.e. the sanctum walls & Shikhara are ancient, and made of harder stone.

Rear diagonal views of the temple. Here you can see the small sculptures decorating the tiers. Also the rear wall has a niche with a miniature Shikhara over it.

Niche, miniature Shikhara and a Kirtimukha. The purpose of Kirtimukha is ward off evil eyes. One must read the story of Kirtimukha as told by Sadhguru Jaggi Vasudev.

A closer view of the 7-step pyramidal Shikhara. See the sculptures at the middle of each tier. The topmost tier has Kirtimukha.

A much closer view of the Kirtimukha and the brass crown.

This sculpture has Hoysala sculptors' touch, saying that because of the creepers flanking the bejeweled woman. I feel these sculptures were not a part of the original design. They seem to be inserted later.

Next we have a warrior armed with a mace. Could this be Indra.

Then we have a man-woman couple, can't say what they are doing. Here we have the same type of creeper seen earlier.

Here's a collage of four more sculptures. Let's go around clockwise starting top-left. A Shivalinga with two lady attendants. Sri Lakshminarayana. A female deity, unsure who it is. A dancing lady wearing heavy jewelry. These seven sculptures are from one face of the pyramid. I haven't seen the sculptures on the other two sides.

These sculptures are evidence enough to say Navalur Hanuman Mandir is ancient, probably six to seven centuries old. The additional historical evidence is the memorial stone fixed in the entrance.

It looks like this stone is in memory of a woman warrior. Can't say who it is but it's a member of a royal family.

The temple's gateway is still incomplete. Lastly, I must mention the boulder placed on a pedestal. I asked a villager if this boulder was a challenge to weight lifters. No clear response.

Besides this ancient temple, there are more ancient temples but the old structures have been replaced with contemporary structures. The other temple I happened to visit was the Ramlingeshwar Gudi which is about 300 meters from here. There the deity is a large pedestal mounted Linga which too is ancient.

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Down to earth Dwarapalaka at Mahakoota

Usually in temples the gatekeepers (Dwarapala) are warrior-like characters wielding spears or clubs, some are fierce looking too. However, there's one temple which has a simple looking gateway. This temple is at Mahakoota temple complex, a group of ancient shrines whose history goes back to the early Chalukyan times. The stone structures at Mahakoota date were built by Chalukyan builders but the shrines themselves are much older. Coming back to the topic of this post. here's that temple which I assume is Sangameshwara Devastana.

Let's take a closer look at the gatekeeper, a bald man sporting a long mustache. Posing with him is Sridhar with a similar mustache. When I shot these photos I hadn't paid much attention to the sculptures. Thanks to the similarity of the sculpture's and Sridhar's mustaches! Two down-to-earth characters here.

Now, I'm not sure if this sculpture is original or a cleverly camouflaged recent creation. If you go back to the first photo, the Dwarapala on the left hand side has been vandalized but it looks like a standard type of Dwarapala. What do you think.

Here's the deity, a big Shivalinga which I assume is ancient, meaning it was installed during the Chalukyan times. Shivaya Namah Aum.

Opposite the Shivalingu shrine is a honey colored Nandi idol matching in size. As I know there are two Nandi idols made of honey colored stone.

This is one of the most beautiful idols of Nandi in my opinion.

The unique Nandi is housed in a befitting Mantapa.

This temple and mantapa are situated in the southern most part of the complex. In the background, across the wall is a small structure which happens to be the gateway of Mahakoota. People coming from Badami enter Mahakoota through that gateway. Since that gateway is guarded by the emaciated pair Kaali and Kaala, I call it Kaali-Kaala gateway.

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