Chennakeshava Temple -Anekere (1119 A.D.)

Another beautiful ancient Hoysala temple is found in a small village called Anekere in Chennarayapatna Taluk. It is an ancient holy village also called as Agrahara and this village is situated just 5kms from the Channarayapatna towm. Over 564 temples in Chennarayapatna Taluk many of them built during the period of Hoysala Empire. There are many temples in and around the town; the most popular temple is Channakeshava Temple dedicated to Lord Chennakeshava (Meaning- Handsome Vishnu) which dates back to the Hoysala period built during 1119 AD stands majestically bearing testimony to the skills of architects of the Hoysalas.

Unfortunately this marvel stands bounded by domestic houses and is almost lost in the encroachment of the village. However it is truly a dramatic sensation to suddenly find such a majestic temple hidden behind houses in a small alley of this sleeping village although the temple remains closed but the temple care-taker duly opens it when visitors arrive.

The temple is built in Hoysala style and has a big open space around the temple. The temple stands in a spacious courtyard surrounded by a covered passage and compound with a Gopura entrance. The entrance to the temple complex is through a porch with tall beautifully carved pillars Set within an enclosed courtyard, with the pillared corridors colonnade around the temple. On the top of the temple, one can find finely carved Kalasha which is unique in its style and is of the biggest in size.

There lathe-turned pillars are one characteristic feature that adds to the uniqueness of the Hoysala style architecture. The pillars are cylindrical in shape with the possible exception of the cubical capital and the base sections. The ring like groves all along the length, except in the lower portion that appears like a bell unlike other structural elements of the temple which were manually executed, the Hoysalas employed some kind of Mechanization in making these pillars.

There freshly quarried soapstone cut and finished about the size of the final pillar is the raw-material. This is then mounted on a wooden swivel, like a potter’s wheel, but much stronger to hold the pillar. The pillar is then rotated along the vertical axis. A narrow chisel is then held close to the surface, resulting in a chipping action. Take a close look at these pillars; you can see the chisel marks.

Though the stone now feels very hard, the freshly quarried soapstone is quite soft to work with. In fact this technique was used by their predecessor, the Chalukyas. But Hoysalas where known for their obsession for the details, and dexterousness in execution. While the pillars of Chalukyan temples are bold, the Hoysalas added the element of intricacy to it. You’ll see these pillars on the porch to the Kesava temple complex, numerous ones forming a row along the along the colonnade and also inside the temple.

The ones inside the temple are somewhat special with additional decorations. Those lathe-turned pillars are further executed with fluted designs along the length, Hoysala ingenuity. Also you’ll see the pillars inside looks polished compared to the ones outside.

The temple facing at East direction and it is a fine Ekakuta temple, Although Keshava Temple has less exuberance in soapstone sculptures compared to other Hoysala temples, the few which adorn the wall, ceilings and pillars are unparallel.

The positive energy is spread out in the entire temple especially around where the Chennakeshava idol is placed. The main Idol has a profusion of intricate carvings and adornments and looked very refreshing and it appeared that the regular prayers are offered at this temple. The temple has some very fine wall sculptures. We took some time adoring the workmanship of the sculptors as we did our circumambulation.

The temple stone inscription narrates the majestic history of the temple, Hoysala kings and the builders engulfing the visitors in an aura of sublime awe and reverence.

The temple has been recently renovated to preserve the rich heritege.&Grama Devathe Sri Anekereamma and Panchalingeshwara temples are also here very famous devotes, and three two lakes around the village. After spending one hour marveling at the temple, we are done for the day and are ready to leave for home.

Agrahara Belaguli- Betteshvara (Keshaveswara) temple

Agraha Belaguli is a small village in Channarayapattana taluk is famous for the Keshaveswara temple of the Hoysala. It is elegant Hoysala temple at According to the inscription at the temple itself, this temple built by Keshva Dandanayaka (Kesiraja) the minister of the Hoysala king Balla II in about 1210 A.D. Though it is called by the name Betteshvara temple now, it was originally Keshaveswara.

The prefix Agrahara indicates that the village housed a large number of Brahmin Scholar families who were said to have been performing the Shatkarmas. But now it has reduced to meager 3-4 families. During the Hoysala Empire the village called by Keshavapura and two large tanks called Lakshmi Samudra and Keshava Samudra built in the same era.

Bettesvara temple is another master piece of Hoysala architecture. This temple is a Dvikuta and has got Keshva facing south and a Shiva Linga facing east. This temple built in soapstone (Chloritic Schist) it appears western part built first and the southern part was added later. The temple consists of a Two Garbhagriha and a Mandapa of the open type and two minor shrines in Mandapa.

The temple that was not built on a Jagati can have small Mukhamatapa on northern side that directly led to the Navaranga hall from ground level. An example of a temple that does not exhibit the raised platform the basement of the temple stands almost an equal to the earth level.

The Navaranga contains two sanctum halls and it has two entrances that connect the shrine to the small Mnadapa in eastern side and Mukha Mandapa (vestibule) in east. The western side main Garbhagriha is square with a black-stone Shiva Linga now called Betteshvara, the doorways has sculptures of Dvarapalas and not highly ornamented.

Very close to this northern side there is one more Garbhagriha with a beautiful Lord Keshava. The shrine is the most prominent and has a large sculpture. This is six and half feet height and very imposing. He holds Shanka, Chakra, Gada, Padma in four hands.

The wealth of sculptured main deity and few more idols in Navaranga was simply unbelievable, depicting picture of intricate artistry. The other sculptures particularly those of Ganesh, Karthikeya, Parvathi, Sarasvathi, Saptmatrikas, Brahma are fine example of sculptural art.

The ceiling of the open Mandapa is supported by 4 round sized well carved pillars and 12 turned pillars about 8 to 9 feet in height and deeply domed in the center, the overall workmanship being outstanding with no pillar alike. There two shrines are located around Mukhamantapa one is having Nandhi and another one do not contain any god or goddess in them now. At Mandapa the inscriptions on wall arrest our attention.

The outer wall in the temple was not much ornamented though parts of the temple are in ruins the temple as a whole looks elegant. The Betteshvara temple invites the splendor of temple architecture comprising beautiful, ornate carvings Dvikuta architecture, wide beautiful Mantapa and idol of gods and goddesses of Hoysalas.

Reference by - http://templeindex.wordpress.com/

Vindhyagiri (Indragiri) - A colossal Monolith Hill

Shravanabelagola town is 10km from Chananrayanpatna, it has two hillocks, Indragiri and Chandragiri. The former one is also known as Vindhyagiri, and stands 143 meters high. About five hundred steps lead to the top of this picturesque hillock where 58.6 ft high Bahubali (Gomata) statue stands.

The Jain religion is contemporary of Buddhism, believes in cycle of rebirths and consequently regards life as painful, longing for liberation. It came to Karnataka four centuries before the Christian era. The Gangas, Kadambas, Chalukyas and Hoysala kings had encouraged the Jainism. They have left innumerable shrines, Basadis, Gomata statues and Stambhas. The Shravanbelagola is also one of the important Jain monuments of Karnataka. Shravanabelagola has been great seat of learning for thousands of years and is home to some of the most beautiful Jain fine arts.

The steps leading to the Odegal Basti contains Adinatha, Neminatha and Shanthinatha icons. Odegal Basti is so called because of the stone props against its basement. It is only Trikutachala temple at Shravanbelagola. Built of granite blocks, it’s impressive for the commanding position it occupies. All the pillars in the main hall are circular in shape and the outer walls are very simple. In the three sanctums are beautiful images of Thirthankaras carved in schist. The temple is known as Trikuta Basadi.

 The Tyagada Brahmadeva Pillar (980 AD.) has intricate carvings. Tyagada Kamba (pillar) is a small open pavilion with an upper storey is historically important. In the center of the pavilion is an elaborately carved pillar which is unmatched in artistic beauty. It was probably erected in the late 10^th century. It’s believed that minister Chavunaraya distributed gifts to the needy and the deserving from here. Another view is that he renounced from here all his worldly possessions including his life.

The simple scroll designs elegant workmanship and bold lines bring out the best of the Ganga workmanship. The original inscription at the base was erased in about 1200 AD by Heggade Kanna. This Heggade installed the Yaksa image on top of this pillar and got a record engraved at its pedestal. Some 500 years later an upper Mantapa was built in brick and mortar.

The outer Prakara was erected during the time of Mysore Wodeyars at 17^th century. The Siddhanta Basti at its southeast corner was built in the 14^th century. It is notable for the 2 commemorative columns in the hall than for the image enshrined in the sanctum. These columns were erected in 1398 and 1432 in honor of saint Panditharadhya and Srtamuni respectively. The text of the second memorial was composed by Mangraja a famous Kannada poet.

The Wadeyar MAntapa on the western corner has a column which has a donatives record. One portion of this record tells how mortgaged property of the temple was got redeemed by the initiative of the Mysore king Chamaraja Wodeyar in 1634 AD. The other portion mentions the grants made for the upkeep of this center by King Dodda Krishnaraja Wodeyar in the 16^th century.

 Gullekayi Ajji Mantapa – An image of immense legendary interest is found in this Mantapa. Its open ground floor consists of 5 pillars, an inscription and an image the old lady (Gullekayi Ajji). The upper floor enshrines a Yaksha image. The large central pillar was cut out of a boulder in the 12^th century. The inscription column was placed against the central pillar 1422 A.D., by Irugappa Dandanayaka. It mentions the gifts made by this general to Gommata.

The Image of GullekayiAjji wears a pleated saree. According to a local legend, Yakshi Padmavathi transformed herself into an old woman to humble the pride of Chavundaraya. The Gullakayajji sculpture is specimen of very fine workmanship. The Akanda Bagilu is a doorway carved out of single rock. The Siddaragunda is a massive-rock on which rows of Jina figures have been carved.

The Statue of Gommatesvara at Sravanabelagola, the tallest free standing stone sculpture in the world has given a unique and international cultural status toKarnataka. Sravanabelagola is the most sacred religious center of the Jainas. It has a hoary antiquity dating back to the third century B.C., when Bhadrabahu along with the Maurya king Chandragupta came and settled down here.

 From then many Karnataka dynasties like the Gabgas of Talakad, the Chalukyas, the Hoysalas, the rulers of Vijayanagara andothers patronized this Jaina sacred place. However it was during the period of Ganga king Rachamalla IV (9^th century), the place became famous because his minister Chamunaraya consecrated this image of Gommatesvara on the summit of the hill commanding a picturesque view of the whole area. A large number of Jainatemples were built here at different periods by various dynasties which have made this center an open air museum of Jaina art.

The real attraction of Sharavanabelagola is the colossal image of Bahubali also known as Gommatesvara. Its height is 54 feet and is the tallest stone sculpture in the world. Theimage is nude and stands facing north in an erect yogic posture. It is a monolith carved around 980 A.D. and considered to be a landmark in the annals of world art. His broad shoulders are 26 feet across. He is a symbol of eternal value, absolute renunciation detachment, and a soul set free from material surroundings. The serene expression of the face is remarkable.

 The hair is curly and the ears are long, the shoulders being broad and the arms hang down straight with the thumbs turned outwards. The lower portion adds majesty and grandeur. The entire image stands on a pedestal which is in the form of a lotus. The foot measures nine feet in length; the forefinger is 3 feet 6 inches; third is 4 feet 7 inches; the fourth finger is 2 feet 3 inches.

 The face of Gommatesvara is most artistic and is a commentary on the success of the skill of the sculptor who carved it. The eyes are half open and the eyes balls appear as if real. This also symbolizes the pensive mood of the saint. The total effect is one of majesty, grace and dignity, and expresses his compassion towards the fellow beings and hence is considered as the best in this type.

Gommatesvara has been watching the human beings and their sufferings for the past one thousand years and people are looking at him for guidance for an ethical and religious life. Thus he is inspiring people to follow the path of Dharma. Once in twelve years a special ritual called Mahamastakabhisheka takes place when lakhs of people assemble here to be blessed by the compassionate Gommatesvara.