History – Seasons of Life!

Stories From Lesser Known Hoysala Temples

It was the time of Christmas. I was just whiling away time at home, literally doing nothing at all. Not like I had no work to do but it was Christmas and my laundry list of pending tasks was too mundane for the holiday season. I didn’t feel like even thinking about those, let alone completing them. The most boring Christmas was happening to me. I had no clue what to do. I had no plans at all. I wished to go to some place but didn’t know where. I checked out a couple of options that came to mind, but nothing seemed feasible. There was hardly any availability and prices were skyrocketing for those that were. My family was busy, everyone had a plan of their own. I thought I’d catch up with those friends who I haven’t met in a while. None of them were available, not surprising at all.

“Welcome to the new normal.”, I said to myself. Perhaps this is how Christmas is going to happen henceforth. Either I need to get used to it or plan months in advance. Being back from a holiday at the end of October, was primarily the reason of not having any plans for Christmas. Just when I had accepted the fact and settled down with the idea of having a quiet and lonely Christmas all by myself, I happened to connect with my friend, ‘S’ who I hadn’t met or connected with in a very long time.

As we chatted, I was intrigued to know about his newfound hobby. He’s been traveling to the villages of Karnataka and documenting the local stories and legends of the lesser known or dilapidated Hoysala Temples. He talks to the villagers, gathers their stories or folklore that have been passed on to them from their ancestors. He then documents all the information he gathers in his website. He doesn’t care about the authenticity. He doesn’t care if his work will serve any purpose. His only aim is to preserve these stories before they are lost forever. A very noble idea I thought!

If curious, you’ll find his documentation here: https://abitlikeme.blogspot.com/

What are Hoysala Temples?
The Hoysala Temples were built between 11th and 14th century by the the Hoysala Dynasty, who ruled almost all of what is now Karnataka. Known for their soapstone sculptures and star-shaped plan, Hoysala temples are distinctive in their architectural style. Their artistic brilliance is stunning, an extraordinary sheer treat to the eyes.

If you haven't you MUST visit at least one Hoysala temple to appreciate their architectural finesse. The threemain temples, which are UNESCO world heritage sites are Belur Chennakesava Temple, Halebidu Hoysaleswara Temple, and Somanathapura.

He was off to another such trip towards the Hassan district of Karnataka the very next day. He invited me to join along. Obviously, I couldn’t say no! The following day we covered a couple of such temples. Some pictures and descriptions are provided below. I did not bother to note the names of the villages or the temples, quite purposefully. Just enjoyed the entire experience of watching life happening in these villages.

Village – 1

The temple here was reconstructed and parts of the temple wore a modern look as seen in the second picture below. Some temple parts also lay scattered here and there. The villagers could not give us any stories and asked us to wait for the priest who was arriving from a nearby town. The priest got delayed and we left after clicking a few pictures.

Village – 2

This one was interesting. Each time ‘S’ enquired about the temple, villagers pointed in the direction of a waterbody. We could see no temple there other than a waterbody, not sure if I should call it a lake or a marshland (4th picture). Eventually we found an elderly man, who explained that the temple no longer exists. The ruins remain underwater for most part of the year. He led us into the marshland and a few meters into it, we could see the temple ruins covered completely in bushes and shrub. The vegetation was so thick that it wasn’t possible to step inside though we could see portions of the ruin. Some remnants lay strewn around in the ground (3rd picture). The ironical part was that it had a ‘Protected Monument’ board that was standing intact. Seeing our disappointment, the elderly man was quick to explain that he preferred the water body to the temple. It gives life to his crops.

Village – 3

The original temple in this village has long vanished, only the idol remains. The villagers built a new temple for the idol. Some old structures still remain scattered around the temple. The 1st picture is the village school and the 2nd is their homes.

Village – 4

There were two Keshava idols in this village that were kept in a makeshift shed while a new temple was being built. The priest explained that main idol facing the door was found in Arabian Sea many years ago. The other one was found in Hemavati River just 2-3 years ago.

Village – 5

Here we found a bunch of enthusiastic people eager to tell the story of their village temple. They narrated the story of a Rishi who had arrived in their village and went on to explain how he instructed them to dig the ground where they discovered the idol. And soon after that the Rishi disappeared making them believe that he was God’s messenger or God himself in disguise. There were a couple of temples here both old and new. The idol in one of the temples was won in a war – the 2nd picture. The 1st picture is remnants of the old temple, the idol inside this is the 3rd picture.

Village – 6

The temple in this village was almost intact and functional. Only certain portions were renovated. It was of typical Hoysala architecture but most of it was devoid of the intricate sculptures, only a few places had the decorative carvings. The priest informed that the temple was incomplete because a war had broken out at that time and there was nobody to complete the ornate sculptures.

It was a very long day and in the end I was happy that Christmas of 2023 was not boring afterall.

Temple Tales From Belur

I used to hear people rave about the marvelous architecture of the Hoysala Temples of Somnathpur, Belur, and Halebidu. The nature-lover in me didn’t pay much heed to all that until I visited Somnathpur last year. The stunning architectural brilliance of the Chennakesava Temple was beyond all my imagination. My mind was all set to explore the Belur and Halebidu temples. It was last week that I could finally visit these two places.

*Pic 1: Exquisite carvings of Gods and Goddesses on the temple exterior.*

My cousin sister and brother-in-law were visiting me in Bangalore when we went on an impromptu road-trip to Sakleshpur. On the way back we planned to visit the twin towns of Belur and Halebidu, as all these places are within a few kilometers of each other. Located in the Hassan district of Karnataka, the twin towns are nestled on the banks of River Yagachi. Famous for their 12th century temples, Belur and Halebidu are approximately 200 Km away from Bangalore making them perfect destinations for day trips from the city.

*Pic 2: This sculpture, one on either side of the main doorway depicts Sala, the founder of Hoysala dynasty, slaying a tiger.*

It’s a common experience that a place loses its appeal when a lot is talked about it. The hype created around it falls flat when you actually experience it for yourself. I would have kept my expectations low had I not seen the Somnathpur Temple. I was certain though that Belur and Halebidu Temples wouldn’t disappoint. And, so it was! They stood up to their reputation and exceeded my expectations by several measures. I wouldn’t hesitate to claim that these are among the most impressive temples in India.

I will restrict this post to Belur and write about Halebidu separately.

*Pic 3: Notice the three rows of elephants, lions and horses at the base. There are 642 elephants and no two elephants are the same.*

Often referred to as Belur Temple, the actual name of the temple is Chennakeshava Temple. ‘Chennakesava’, literally means ‘handsome Kesava’, Kesava being another name for Lord Vishnu. Built in 1117 A.D., it took 103 years and over three generations to complete the temple. The temple is well-preserved and is considered to be the best of the 92 Hoysala temples in Karnataka. It is a functional temple with the main deity being Lord Vijayanarayana, one of the many avatars of Lord Vishnu.

*Pic 4: A carving of Narasimha, an incarnation of Lord Vishnu, who was the family God of Hoysala Dynasty.*

The elegant sculptures on the temple walls and ceilings are a true testimony to the unimaginable ingenuity and craftsmanship of the Hoysala Dynasty. Such creativity is unthinkable in today’s era. One almost starts questioning the pride and arrogance we display over our technological advancements and the human progress we believe we have made. Each and every stone has stories weaved through the detailed and intricate carvings. Words can never do justice to the sheer mastery of the artisans who transformed these ordinary stones into architectural marvels.

The artwork at Belur Temple is divided into two sections. The first half is social while the second half is religious or spiritual. It’s important to avail the services of a Guide to understand the details of the various artwork and we did that for a fee of Rs.450.

*Pic 5: The temple Gopuram in the background, which was constructed later.*

Typical of the Hoysala architecture, the temple is hoisted on a star-shaped platform. Built of soapstone, no binding material has been used to construct the temple and the stones are sort of assembled and locked into one another.

The outer walls are lined with sculptures depicting stories from Ramayana, Mahabharata, and the Upanishads. The base is carved into a row of 642 elephants. No two elephants are the same and each carving is perfect to the smallest detail. Elephants symbolize stability. Above this is a row of lions and then a row of horses. The former symbolizes courage and the latter strength. (Pic 3 and Pic 6).

*Pic 6: The intricate detailing on every slab of stone is mindboggling.*

There are 40 carvings of celestial nymphs or Madanikas in the exterior, each displaying various Bharatnatyam postures. These carvings are supposedly inspired by Shantala Devi, the Queen of Vishnuvardhana, who was an exemplary Bharatnatyam dancer. The unfathomable imagination of the artisans who created these Madanikas are sure to take your breath away and each one is associated with a unique story of its own. The elaborate artworks of these Madanikas makes you feel like they can just pop into life at any moment. An interesting feature that stands out is that certain sculptors have left behind their signatures engraved in the stone.

*Pic 7: Some of the Madanikas. The one at the center is the most famous and is known as ‘Darpana Sundari’*

*Pic 8: The Madanikas again from a different angle. There are 40 of them.*

Overlooking the various entrances of the temple are ornamental horizontal works of art, one where Lord Vishnu is depicted as Narasimha, another where Lord Vishnu is with his consort Goddess Lakshmi. Inside the temple are 48 pillars, each one is unique in its carvings and design. The Narasimha Pillar is worth mentioning and can be easily spotted with the vermillion marks all over it. Back in the years, this pillar could be rotated due to the presence of ball bearings on the top.

*Pic 9: The pillars inside the temple. There are 48 of them, each with a unique design. On the extreme right is Narasimha Pillar, which used to rotate earlier. This pillar is also treated as a deity.*

In the temple courtyard is the Mahasthamba or the Gravity Pillar. This is a 42 feet pillar, built out of a single stone and stands without a base being held in place just by the force of gravity. Also, in the temple courtyard is a big tank known as Vishnu Samudra, the water of which is perhaps used for temple rituals. Small turtles and fishes swim around happily live in this tank. Sadly, I do not have pictures of the tank and Gravity Pillar. I just didn’t click. [Most of these pics are not clicked by me, credit to my bro-in-law]

It’s impossible to capture the details of the temple through the limitations of words and vocabulary. This architectural marvel appeals to the senses, something that and can only be experienced.

*Pic 10: One of the other temple entrances that remain closed now.*

How did we get here?
We rented a self-drive car and drove from Bangalore to Sakleshpur. On the way back from Sakleshpur, we followed Google Maps to direct us to Belur.

The Residency – A Surprise Find at Lucknow

I quite enjoy cycle rickshaw rides as opposed to my friend and travel companion, who thinks it’s not right to let a frail man (most of the rickshaw pullers are frail) lug our combined weight. We’re contributing to his livelihood, is what I think. The slow pace of a cycle rickshaw is a great way to get a feel of the busy streets of any Indian City.

We were in Lucknow and just strolling around in the Hazratganj Market area, with no particular agenda in mind. A random conversation with a shopkeeper when he mentioned some park by Gomti River that we should visit. He meant Gomti Riverfront Park, which we realized much later. But, at that time we misunderstood and conveyed something to our rickshaw puller, who dropped us at Shaheed Smarak Park.

*Pic 1: The Shaheed Smarak, built as a tribute to soldiers who lost their lives in the First War of Independence against the East India Company in 1857.*

When we made the payment, the rickshaw puller told us that instead of this place, we might want to walk a few meters in the road opposite and go to another park. He claimed we would really like it. And that’s how we landed up at The Residency. Maintained by ASI (Archeological Survey of India), it is also known as the British Residency and constitutes a cluster of ruined buildings in one enclosure.

*Pic 2: A brief about The Residency at the entrance.*

The Residency is associated with Seige of Lucknow that had happened in the 1857 rebellion, The Sepoy Mutiny or The First War of Independence against the British Empire. It’s ironical though that the Residency was built by Nawab Asaf Ud-Daulah in the 1700s to house the British Resident General, who was a representative in his court. Spread across an area of 33 acre, it was the largest inhabited British colony in the Awadh region and several British officials lived here.

*Pic 3: The Baillie Guard Gate, which still serves as the main entry gate to the complex.*

*Pic 4: The Main Building, used to be three-storeyed, was the residence of Sir Henry Lawrence. Atop now flutters the Tricolour. Notice the marks of canon balls that is clearer in the featured photo.*

The shattered walls bearing gaping holes of cannon shots inside this residential complex are tell-tale signs of the siege. There are detailed descriptions outside most of the structures that give a sneak peek into what had happened during that time. One of the buildings is converted into museum that includes items like, inscriptions, old photographs, paintings, actual letters, guns, swords, cannons, and a model of the Residency.

*Pic 5: The Memorial Museum with two large cannons in front.*

Apart from the museum, here are some of the other ruined structures that we saw:

Baillie Guard Gate: Constructed by Nawab Saadat Ali Khan to give the First Resident, Colonel John Baillie a special Guard of Honour.

The Treasury: Severely damaged two-storyed structure that was used to manufacture and store cartridges.

Bhojshala or Banquet Hall: Built by Nawab Saadat Ali Khan to welcome British expatriates and distinguished guests, its grandeur with high ceilings, elaborate hallways, and intricate carvings will draw your attention instantly. At the entrance stood a fountain on a grand marble floor, a clear indication of the opulent gatherings of those times.

*Pic 7: The Bhojshala or Banquet Hall. I have no idea why I didn’t click pictures of the inside, including the fountain and the kitchen!*

Doctor Fayrer’s House: Dr. Fayrer was the chief surgeon of The Residency. This structure was used as a hospital to treat the injured and also a safe house to shield the women and children during the siege. (I couldn’t find a picture of this one, looks like I didn’t click one.)

The Main Building: A three-storeyed structure that served as the residence of Sir Henry Lawrence, the Chief Commissioner of Awadh. On top of this building now flutters the tricolor Indian flag. In front of this building is the huge memorial cross, dedicated to Sir Henry Lawrence.

*Pic 8: The huge memorial cross, dedicated to Sir Henry Lawrence.*

Beyond the above, there are several other structures in the complex that we could not visit due to lack of time. The complex closes at 5 PM and we were asked to leave. The place can easily take up half a day if you want to explore it well.

Back at the hotel that night, we did a little more research to learn about the structures we had missed. Among them, three of them stood out. Begum Kothi, Mosque and Imambara, and the Church and Cemetery. Begum Kothi belonged to Vilayati Begum, a foreigner married to Nawab Naseeruddin Haider. After the death of Vilayati Begum, the Mosque and Imambara were built by her sister as a memory. The ruined church was used as a food-storage house during the siege. The surrounding graveyard is said to have graves of 2000 men, women and children, including that of Sir Henry Lawrence.

Thankful to our rickshaw puller. Had it not been for him, we wouldn’t have known about The Residency.

Lepakshi – Nandi and Jatayu

“Nandi is looking towards the Nagalinga”, my sister stated standing right behind me, while I was busy staring at the colossal structure. Thinking that she was trying to be funny, I turned back with a chuckle. But, in all seriousness, she was reading from the Archeological Survey of India (ASI) description board that was located just next to us. I joined her and in turn read aloud the part that stated – The head is held at an angle higher than usual. Consequently, the typical expression of submission before Lord Shiva is conspicuous by its absence here.

I have seen many other Nandi idols or statues in South India but had never noticed the expression of submission. Well, made a mental note to do so next time.

*Pic 1: The massive monolithic Nandi statue.*

Nandi is the sacred bull, the vehicle and gate keeper of Lord Shiva. It’s no wonder that the giant monolithic Nandi is located just a stone throw away (about 500 m.) from Lepakshi Temple, dedicated to Veerabhadra, a form of Lord Shiva. Possibly, the Nandi would have been part of the temple complex in the olden days. We had just left the temple, after having spent a little more than 2 hours admiring the 16^th century architectural splendour.

The monolithic Nandi, carved out of a single granite rock, is 20 feet in height and 30 feet in length. The details of the carvings, including the necklace and the bells are truly praiseworthy.

Now that we had a close inspection of the giant Nandi, we were all set to go to Jatayu Theme Park and take a closer look at Jatayu. The park was just across the road, hardly a walk of 5-6 min. The giant bird, perched on a huge rock, was clearly visible from here.

Jatayu is a mythological character from the epic Ramayana. No less than a demigod, Jatayu is the form of a large eagle. Jatayu had tried to rescue Lord Rama’s wife, Sita, from being kidnapped by the demon king Ravana. In the fight that ensued, the demon king had chopped off one of Jatayu’s wings. It is believed that the bird had fallen on this rock and remained alive to narrate the incident to Lord Rama. Le-pakshi – meaning rise O’ bird – is what Lord Rama had told the dying bird, blessing him to attain moksha (liberation from the cycle of life and death).

I remember having read of another huge rock in Kollam district of Kerala that claims to be the rock where Jatayu had fallen (Read Here). So, when my sister narrated this tale from her ‘Google-Guide’, I protested that she was reading about the wrong rock. However, a description at the park corroborated her findings. Well, nobody will ever know which of these claims is more accurate than the other.

*Pic 3: Jatayu statue atop the largest boulder*

*Pic 4: A foot impression in a boulder just below Jatayu statue, no description provided.*

The manicured park is dotted with large and small boulders. On the largest boulder sits the big statue of Jatayu. We climbed up through iron stairs build in the space between the boulders. The park was artificial, so was Jatayu but the boulders and the view from the top were as natural as could be. We found a nice spot up in the boulders and sat there for a while enjoying the cool soothing breeze, which certainly wasn’t artificial.

Temple Tales From Lepakshi

There it was – the hanging pillar – our main reason of visiting this ancient temple that dates back to the 16^th century. We stood there for a while along with other bystanders watching someone slide a scarf, someone else a paper underneath the pillar to ascertain that it didn’t touch the ground. It was mind-boggling to imagine the kind of design that enables this wafer-thin gap between the pillar’s bottom and the stone floor. And, to think that our modern era of hi-tech technological advancement is unable to unravel the mystery of this architectural riddle.

This pillar is just another testimony to the engineering genius of ancient India. It is said that the pillar is slightly dislodged from its original position. This is attributed to the British Era when a British engineer made an unsuccessful attempt to uncover the secret of the pillar’s support.

*Pic 1: The mysterious Hanging Pillar at Lepakshi. Notice the thin gap between the pillar’s bottom and the surface of the stone floor.*

We were at Lepakshi Temple, located in Anantapur district of Andhra Pradesh. Also known as Veerabhadraswamy temple, this Vijayanagar style temple is just about 120 Km. away from Bangalore. Hence, it’s a favourite destination for daytrips from Bangalore. I was always intrigued by the mysterious hanging pillar of Lepakshi but with my preference for places of nature superseding I hadn’t landed up here before. Lepakshi, however, turned out to be so much more than just the hanging pillar.

Pic 2: At the center are pillars in the Assembly Hall of the main temple, just outside the sanctum sanctorum. Among these stand the Hanging Pillar. Left and Right are close-ups of the ornate sculptures on two pillars.

Dedicated to Veerabhadra, a fierce form of Lord Shiva, Veerabhadraswamy temple was our first stop at Lepakshi. As we stepped into the temple, the first thing we noticed was that it felt extraordinarily cool. It’s always hot in this part of the country and this day was no different. The design of the temple certainly has something to do with it. Apart from Veerabhadra, the sanctum sanctorum has idols of Bhadrakali, Vishnu, Lakshmi, and Parvati.

The brilliant mural paintings in the temple represent some of the finest artwork of the Vijayanagar dynasty. The fresco of Veerabhadra on the ceiling before the main sanctum sanctorum is supposedly the largest in India. The strikingly contrasting colours of black, brown, orange, green, white, black, and shades of ochre-gold are simply astounding. (Unfortunately, I realised that I have no pictures, possibly was lost admiring the artwork.)

*Pic 3: Just outside the main temple. The main temple is the pillared structure on the right.*

*Pic 4: A Shiva Lingam just outside the main temple complex*.

Having seen the hanging pillar and the sanctum sanctorum, we moved around exploring other parts of the temple. The temple houses 70 pillars, each uniquely engraved with gods, goddesses, mythical animals, dancers, saints, and the like. The place was quite crowded with a lot of tourists on that day. It was early January, 2021 – a time when we had happily forgotten that we were in the middle of a pandemic. Not many people wore masks and there was no social distancing at all. The marvelous architecture kept us engaged and we had little time to worry about the pandemic. We remained masked though, taking them off only when clicking pictures.

*Pic 5: The incomplete Kalyana Mantapam or Marriage Hall*

*Pic 6: A close look at the sculpture of one of the pillars at Kalyana Mantapam*.

Moving on to the temple’s outer enclosure, we were now in the Kalyana Mantapam or the marriage hall, meant for the marriage of Lord Shiva and Goddess Parvati. There were intricately carved pillars, each representing a God or Goddess supposedly attending the marriage ceremony.

This was an incomplete structure with no roof and has a gruesome story associated with it. The temple was constructed by two brothers, Viranna and Virupanna. While the king was away, Viranna used up the royal treasury to fund the increased cost of construction. On his return, the King was furious and ordered that Viranna’s eyes be gouged out. Upset with the King’s sentence, Viranna gouged his own eyes and rubbed it on the temple wall. The two red blotches on the western wall of the temple is said to be blood marks of Viranna’s eyes.

*Pic 7: The unique monolithic Ganesha. Spot the snake coiled around it’s rounded belly.*

A little away from the marriage hall is the monolithic Ganesha, a unique one at that with a snake coiled around it’s belly.

Next, we found ourselves standing before the impressively massive Nagalinga with seven hoods and three coils that shelters a black granite Shivalingam. It is believed that the Nagalinga was carved from a single block of stone while the sculptors were waiting for their mother to cook lunch for them.

*Pic 8: The astounding gigantic seven hooded Nagalinga. The associated belief that it was carved out by the sculptors while their mother prepared lunch makes it even more fascinating.*

We walked around the temple courtyard, admiring the archaeological and artistic splendour. The courtyard was characterised by pillared hallways and several tiny chambers. We found an empty spot and sat there for a while. We should have hired a guide we thought, as we watched others enjoying a guided tour. My sister thought Google could be our guide for now.

*Pic 9: The temple courtyard characterised by ornate pillars and small chambers.*

*Pic 10: The sisters managed to request someone to click a picture for them – precious memories!*

As she googled, we learnt several fascinating tales of the temple, including the legends of the incomplete Marriage Hall and the Nagalinga. She also read about Sita’s footprint, which we discovered on our way out. It’s the impression of a huge foot on the stone floor that has a perennial flow of water. Apparently, the source of the water or where it drains out to is unknown.

*Pic 11: An enormous foot impression, which is believed to be of Sita Mata.*

After spending close to two hours at Lepakshi Temple complex, we stepped out and headed towards the Jatyayu Park. Read more in my next post.

*Pic 12: The sublime flowering Frangipani tree on the way out. It reminded me of a similar tree that had captured our imagination at Virupaksha Temple, Hampi.*

Temple Tales from Somnathpur

It took us a while to get into the temple premises. The temple is a protected monument and maintained by Archeological Survey of India (ASI). Tickets for entry to such places now require scanning an ASI QR code. Our phone network happened to be unusually slow causing some unnecessary delay, testing our patience, and sufficiently frustrating us.

As I entered through the doorway after reading the description displayed at the entryway, my jaws literally dropped. The magnificence of the temple caught me off-guard. I knew about this temple but hadn’t expected such stunning architectural brilliance. “How did I never happen to come here before!”, I couldn’t help wondering, having stayed in Bangalore for more than a decade now. This reaction was triggered off just at the very first glance. As we walked around exploring the temple, every corner only left us even more astonished.

*Pic 1: The mantapa on entering through the doorway adorned with lathe turned pillars, which happens to be a typical feature of Hoysala architecture.*

The 13^th century Keshava Temple, also known as Chennakesava Temple, is located in a small town called Somnathpur in the Mandya district of Karnataka. It is at a distance of about 140 Km. from Bangalore and just about 35 Km. away from Mysore. Situated in the banks of River Cauvery, the temple was built by Somanatha, a celebrated army commander of the Hoysala Dynasty. He established the town of Somnathpur, which he named after himself.

The temples built during the rule of the Hoysalas are unique in their intricate sculptures and great story telling. The temples of Belur and Halebidu are said to be the best ambassadors of Hoysala architecture. I haven’t been there yet but have heard a lot about their spectacular grandeur. I had no idea that Somnathpur Temple belonged to the same league and was another masterpiece of Hoysala architecture.

*Pic 2: The Western and Southern Shikharas. Notice the star-shaped elevated platform on which stands the temple.*

The temple is carved from soapstone and is dedicated to Lord Krishna in the three forms of Keshava, Janardhana, and Venugopala. The main temple is at the center of a courtyard, built on an elevated star-shaped platform which, I learnt is one of the unique aspects of Hoysala temples. Surrounding the courtyard is a pillared corridor that has several chambers all along. Perhaps they would have housed deities at that time, they are empty now.

*Pic 3: The pillared corridor that surrounds the courtyard.*

*Pic 4: The pillared corridor from another angle. Notice the chambers all along.*

The temple wall on the exterior has intricate carvings and sculptures depicting stories from the epics of Ramayana and Mahabharata, and also Bhagavata Purana. The exquisite attention to detail that has clearly gone into these carvings was mystifying to say the least. The dancing Goddess Lakshmi, the angry Lord Ganesha, the ten incarnations of Lord Vishnu, the four headed Lord Brahma, the intricate Mahisashura Mardini – just to name a few. The meticulous carvings also depict battles, folklore, music, dance, and much more. The stories in carvings are in a clockwise direction, thoughtfully designed as it is the same as the direction of a pradakshina or circumambulation.

*Pic 5: The fascinating and exquisitely detailed sculptures on the exterior wall.*

*Pic 6: The magnificence of these sculptures are a delight to the eyes.*

After spending a decent amount of time walking around the temple admiring the detailed carvings, we stepped inside. The inside of the temple is just as fascinating. The magnificent ceiling with all the intricate ornate carvings and miniature sculptures is simply amazing. A guide, who was with another group, explained that the ceiling constitutes of 16 finely carved symmetrical squares, some of which are depictions of the Lotus flower at different stages of development. The main idol of Keshava is situated on the sanctum sanctorum while Janardhana and Venugopala are on either side. According to ASI, the original Keshava idol went missing and has been replaced. The idols of Janardhana and Venugopala are damaged.

The temple is not functional and is not used as a place of worship anymore, the idols being broken and desecrated by invaders of that age and time. It stands as a monument today bearing testimony to the superior craftmanship of the artists and sculptors of the bygone Hoysala era.

*Pic 7: The extraordinary craftsmanship is like a poetry unfolding.*

*Pic 8: One can spend hours examining the details that have gone into these carvings.*

I am a nature person and usually get disengaged very easily with things that are lifeless. Museums and places of architectural significance as not quite for me. That explains why I overlooked visiting this place earlier. However, when it comes to such intricate artwork it’s a different story altogether. My mind weaves stories thinking about the artisans, their unparalleled creativity, the lives of people at that time – the royalty, the commoners, their festivals, their triumphs and hardships, and so on and so forth. It’s mind-boggling and fascinating.

Now, I can’t wait to explore the Hoysala temples of Belur and Halebidu. Had it not been for the pandemic, I would have long been on my way. Smitten by Somnathpur Keshava Temple, I was curious to know about the other Hoysala temples in the state of Karnataka. I learnt that there are 137 Hoysala temples of significant value in the state. Quite a number that is, isn’t it!

An Identityless Identity

“Going to my native…….,” is a phrase that I often hear in my office. The word “native” is commonly used in Bangalore, which simply refers to one’s home. Sometimes, it is used in the context of one’s ancestral home, usually a village or a town, that maybe located in the same state or another state. The popularity of the word “native” in Bangalore is natural, given that half the city’s population constitute people who have migrated here for jobs from other places of India.

In my understanding, the place you’re born and brought up in is home to you, you may or may not be a native inhabitant of that place. Hence, Shillong is home to me. But I often find myself in a dilemma when asked questions like, “Where is your native?”; “When are you visiting your native?”. Shillong is my home but is it my native? No, I don’t think so. I am not an indigenous tribe of Meghalaya. I am a Bengali. So, is Kolkata my home? Or maybe some other place in West Bengal? No, certainly not! So where do I belong?

Often times, my Kannadiga, Malayalee, and friends from other parts of South India are unable to comprehend the fact that I am Bengali, yet West Bengal is not my home. I have had to get into elaborate explanations to drive home the correlation of being a Bengali whose home is Shillong and not Kolkata. I once told a Kannadiga friend, “If you were born and raised in Bihar, would you call yourself a Bihari or would you be still be a Kannadiga?” He remained confused. While we are all Indians and such discussions may seem petty, we cannot ignore the wide diversity of our country.

Today I bring to you Shatavisha’s story in connection with my earlier post on my hometown. The experiences she’s had throws a glimpse into the identity struggle of the Sylheti Bengali. Some of the things Shatavisha experienced is exactly what I have experienced. Hence, this is my story too.

Shatavisha’s story was originally published in an online magazine, Ishan Kotha. The editors of the magazine have been kind enough to let me use the story in my blog.

Read on…

Shatavisha Chakravorty’s Story

“Where are you from?” asked my mentor. The year was 2013 and the question was asked to an eighteen-year-old me.

“Shillong”, I answered.

“Ceylon?”

“No Shillong, the capital of Meghalaya. A state in the North-Eastern part of India”, I tried to explain.

“Ah, I see. But your admission slip says that your mother tongue is Bengali.”

“It is, Sir”

“But, if you are a Bengali are you really from Shillong?”

I didn’t know what to say to this. For as long as I remember, Shillong was the only place I would associate with the word ‘home’. It felt like it is here that I belonged; and yet deep down the teenager, I knew that the place did not consider me it’s own.

To be honest, the first realization of this happened somewhere in my early teens. My parents were looking to get a place of residence. We have always lived in a rented place. As the housing search began (as an 8-year-old I got comprehend only bits and pieces of whatever was going on), everything seemed to center around Kolkata.

“Ma, why are you looking for a place in Kolkata? Why not here?”, I asked.

“Because we cannot buy houses here. Meghalaya is a sixth schedule state, my dear. Only tribals can buy land in most parts of the state. Yes, there are some European Wards like Jail Road or Oakland. But property prices there are just too high. And moreover, if we take a flat in Kolkata, we will be more easily accessible to you when you grow up and work.”

Things the 8-year-old me comprehended out of this conversation .

Shillong is not my home as I had thought it to be. It is not providing my parents with a conducive environment to set up a place of permanent residence despite having spent almost all their career here.

I had to go out of Shillong to make my career.

Fast forward to a couple of years from the day of this conversation, I became active in various co-curricular activities. I would ace the debates, science seminars, essay writing competitions, and others at the school level. This would make me qualify for the district level events. And that’s when the divide started to show up. I would not go past the district level events. Even if I did manage to make it to the state level, never would I be selected for national-level events.

I started to lose hope, believing that something was lacking in me. That’s when elders (parents, teachers, and others) reached out to me and pointed it out that this has nothing to do with my talent and the people qualifying are all tribal residents of the state. The state does not consider us, the non-tribal Bengali as its residents and hence the step-motherly treatment .

Once it was pointed out to me, I started noticing the pattern. It was everywhere. Meghalaya did not consider me its daughter. I had no option but to accept this. This made me firmer in my resolve to study out-of-state and with that, a few years later, I found myself in the conversation we started this article with .

Today, its been 7 years since that conversation. Let’s talk about 2017. Some 4 years since that conversation, I find myself with an engineering degree and two job offers. I join my present organization as a bubbly 22-year-old girl. And that’s when I have my first encounter with non-North East Bengalis.

At first, it was a matter of great excitement for them to have spotted a fellow Bengali. Having been brought up in a cosmopolitan setup, the last name of my friends did not mean much to me. But to them finding a ‘Chakravorty’, ‘Bhattacharya’, ‘Ghosh’ or ‘Sen’ in a land that’s 1000 km away from their home meant finding gold.

Again, the same set of questions. “If you are a Bengali, how are you ‘really’ from Shillong?’. By now I had grown used to this question and knew how to dodge it. But what followed in the next few months is something I was not ready for.

It started with making fun of my Bangla. Everything from the use of an English word in a Bangla sentence to being completely unaware of the technical terminologies in my mother tongue came under the scanner. I was a subject of ridicule among the ‘Bengali group’.

In the initial days, I would be upset about it. Befriending other people at work (a cosmopolitan group consisting of people from all over the country) made me realize that nothing was wrong with me. Yes, I did not fit in the ‘Bengali group’, but that does not hamper my confidence.

Yes, I am a Bangal. My place of birth is Shillong. My father’s was Silchar. My mother’s is Imphal. This is a fact. All three of our passports say the same. If my maternal or paternal grandfathers were to be alive, theirs would say ‘Part of undivided India’. So would that of my great grandfathers’. This is my lineage. And , I am proud of it.

If the fact that visiting one’s ancestral village every Dol, Nababarsha, or Bijoya is what it takes to give him or her an identity, then I do not need such an identity. My identity is that of an Indian. An Indian Bengali.

My place of birth is Shillong and the place has given me 18 years of beautiful childhood memories. These , I will cherish for a lifetime. My place of residence is Bangalore today. It can be Kolkata, Delhi, Chicago, or New York tomorrow. For me, home is where I live, where my family lives. So is Shillong was my home yesterday but is not so tomorrow, I have no regrets. I have my priorities sorted and more than 2/3 rd of my life in front of me (hopefully!) to carve a name for myself on the foundation of Indian Bengali – an identity passed on to me by my parents and ancestors.

The lockdown which unlocked the shadows

The apartment I live in shares one of its boundary wall with a well-known school. As a result, my balcony opens to the school field. With the ongoing pandemic and schools being indefinitely shut the field is being renovated. Children in India and in many parts of the world are attending classes from home – one of the many positive outcomes of technology, even though it doesn’t replicate the experience of being physically present in class.

This reminded me of my school days when we had a similar experience in my hometown, Shillong. We could not attend classes for one whole year. Those were days before the mobile phones and the Internet had happened. Perhaps, television and landline telephones were the only technology we were exposed to. I remember collecting assignments from school, completing them at home, and then submitting for evaluation.

With this thought, today I share Shonali’s story, which outlines why schools didn’t happen for one whole year. This post is part of the series of personal stories I am bringing to you in context of the Hindu Sylheti Bengalis, the community that has been been left homeless since the partition of the state of Assam more than seven decades ago. (Read my previous post for context.) As mentioned before, my aim is to raise awareness about this marginalized community. Over the years, atrocities spread beyond the Bengali to all non-tribal, in general. However, the fact remains that it is the Sylheti Bengali, who remains homeless and stateless. I do not intend to paint a loathly picture of my hometown Shillong and its people. Shillong is too dear to me, it’s my home, the place where I was born and raised. But, these are my stories. Stories that need to be told.

Shonali writes, “We left to find safety and security never to look back to those dark times which haunts us in our memories and nightmares. In many, including me who grew up in the perpetual fear of being persecuted on racial grounds, those dark times have left a permanent imprint on us as PTSD and we live with it.”

Read on…

ShowerScape

woman wearing brown shirt inside room Photo by Felipe Cespedes on Pexels.com

A microbe. And that’s what it took to bring the human species down to a lockdown. We have been thrown into the COVID-19 pandemic, something this generation had never experienced in this magnitude before. Normal life as we knew it is suspended indefinitely. The whole of humanity is in this together without any exceptions of caste, creed, religion, colour, race, political orientation, sexual orientation- one and all in a way which we witness only in movies. The image of a gigantic UFO towering over the earth fills my vision. I only wish the world came together not under such dire circumstances but in a manner which was more pleasant. We were not prepared to handle this crisis and it’s almost like taking one day at a time but also having to plan and prepare for the next several weeks. Tesco yesterday breathed panic. It…

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Rameshwaram – The Temple Town

It was somewhere towards the end of February. Covid-19 had already arrived in India and by then three cases were reported, all of which were from South India. Oblivious about the implications, we set out on a trip to the temple towns of Rameshwaram and Madurai. Dhanushkodi, which automatically is associated with Rameshwaram, was on our list too. This trip was for my parents.

The thought of having gallivanted all those places with my parents as Covid-19 lurked around the region gives me the chills today. Especially so, for my septuagenarian father with ailments like high BP, hypertension, heart disorders, chronic pulmonary disorders, and so on. My parents have always loved to travel. During his heydays, my father had taken us on quite a few family trips. That is highly commendable given his limited means with all the responsibilities he had at that time. All that was hardly enough to satiate his wanderlust. Now, they have the means but not the health – ironies of life. It’s my turn now and I try my best to travel with them at least once a year.

*Pic 1: East-end Gopuram at Ramanathaswamy Temple*

I was eight, when my father had taken us on a South India trip. We visited many places, including Madurai but Rameswaram hadn’t happened. My parents would always rue about it. Hence, taking them to Rameshwaram had been on my mind. The timing of our visit happened to be the weekend of Maha-Shivaratri. This was completely unintentional, something we realized after the flight and hotel reservations were done. Rameshwaram was expected to be overcrowded during that weekend. Nevertheless, we decided to go ahead. Not for once did the thought of Covid-19 bother us even though the existing cases weren’t very far away.

When traveling with parents, everything needs to be planned to the T. At the same time, we need to be flexible as plans may have to be changed on the fly. It’s a lot different than how I otherwise experience a place. Consequently, the trip was more curated than I would have liked. I sure do have to visit Rameshwaram once again.

Here’s a brief of the places we visited at Rameshwaram.

Ramanathaswamy Temple

The temple is dedicated to Lord Shiva and has one of the 12 Jyotirlingas in India. Mythologically, Rameshwaram and this temple is associated with the epic Ramayana. The sanctum has two Shiva Lingas – Ramalingam is made of sand, believed to have been built by Lord Rama and Vishwalingam, believed to have been brought by Hanuman from Kailash.

Architecturally, the unique aspect of this temple is its three strikingly long corridors. The first and innermost corridor is around the sanctum sanctorum. The second corridor has 108 Shiva Lingas and a statue of Ganapati. The third and outermost corridor is adorned by 1212 brightly coloured pillars set on an elevated platform and is said to be the longest pillared corridor in the world. The temple also has 22 holy tanks. One is supposed to take a ritualistic bath with water from each of the tanks before visiting Ramalingam. We didn’t do that though.

*Pic 2: North gate of the temple. The east-end Gopuram seen in the background.*

The temple has four entry ways, in all the four directions – North, South, East, and West. Two Gopurams stand tall at the East and West gate. The North gate of the temple was just a little walk away from our hotel. We visited the temple twice. My mother accompanied us once. My father was content with seeing the temple from the outside afraid of being unable to manage himself in the crowd. Though the crowd was much lesser than we had anticipated.

Pic 3: The colourful outer corridor with 1212 pillars. Mobile phones are not allowed inside and it’s not possible to click such pictures. However, when we entered for the first time nobody stopped us at the entryway and we had our phones with us. So, just a chance photograph.

Other than the colourful corridors, something else caught my attention inside the temple. It was a powerful message from Swami Vivekananda, who had visited this temple is 1897. The message is prominently displayed at the main entrance of the temple. Below is an excerpt, you can read the entire message here.

"It is in love that religion exists and not in ceremony, in the pure and sincere love in the heart. Unless a man is pure in body and mind, his coming into a temple and worshiping Shiva is useless. The prayers of those that are pure in mind and body will be answered by Shiva, and those that are impure and yet try to teach religion to others will fail in the end. External worship is only a symbol of internal worship; but internal worship and purity are the real things. Without them, external worship would be of no avail." ~ Swami Vivekananda

Agni Tirtham

Agni Tirtham is a beach located on the eastern side of Ramanathaswamy Temple. The norm is to dip in the waters of Agni Tirtham, followed by the ritualistic bath in the 22 holy tanks inside the temple, and then offer prayers to the deity. We did not quite intend to dip in the crowded Agni Tirtham and just paid a visit late in the evening. Consequently, I don’t have any pictures of Agni Tirtham.

Rama Tirtham and Lakshmana Tirtham

Rama Tirtham and Lakshmana Tirtham are water tanks with temples associated to each. These are water tanks where apparently Lord Rama and his brother Lakshmana had bathed.

*Pic 5: The water tank at Lakshmana Tirtham*

*Pic 6: The vibrant colourful pillars inside Lakshmana Tirtham temple.*

Panchmukhi Hanuman Mandir & Floating Stones

A huge black stone statue of Lord Hanuman with five faces welcomed us in this temple. Our interest in this temple was because we were told it displays floating rocks. Rocks that are believed to be of the kind that were apparently used to build the Ram Setu towards Lanka. The rocks were quite a letdown as they were way smaller than we had visualized. I didn’t click any pictures here.

Gandhamadhana Parvatham Temple

This is a small temple situated atop a little hillock. We loved the quietude in this temple. The cool breeze and the view from the temple made it even better. It is believed that Lord Hanuman took off from here towards Lanka to fight the demon King Ravana and his army.

IMG_20200223_081355 — *Pic 7: View from the temple.*

IMG_20200223_082104 — *Pic 8: At the terrace of the temple.*

Pamban Bridge

We traveled to Rameswaram by road from Madurai and hence drove over Pamban Bridge or Annai Indira Gandhi Road Bridge. This bridge on Palk Strait connecting Rameswaram with mainland, is India’s first sea bridge. A little more than 2 Km., crossing it was a scenic experience. A rail bridge runs parallel to the Pamban Bridge, which has a functional double leaf bascule section midway to allow ships through. We had plans of coming back and spending time on the Pamban Bridge and rail bridge but that didn’t materialize.

Dr. A.P.J. Abdul Kalam Memorial

This is a museum dedicated to former President of India, Dr A.P.J. Abdul Kalam, that showcases his life and work. It is a memorial built at his burial site and displays selected photos, paintings and miniature models of missiles and other artifacts. Dr. Kalam had passed away in Shillong on July 27, 2015. Seeing the name of our hometown didn’t fail to delight us though.

IMG_20200222_142846 — *Pic 10: Outside the Kalam Museum*

Benaras – Entrancing Ghats

Benaras had us engulfed in its quaint and historical charm despite all the negativities and oddities – the chaos, the crowd, the touts. The energy of the Spiritual Capital of India is hard to ignore. We found ourselves embracing and enjoying every bit of it as we blended into the surroundings with utmost ease.

Not surprising though. Every nook and corner has something that would capture your mind, something that you wouldn’t have seen anywhere before, something that’s exciting enough to thoroughly engage you – the seers and the sadhus, each one different from the other; the colourful boats some parked on the ghats, others ferrying scores of people through River Ganges; the curious tourists trying to make sense of the surroundings; the vibrant ghats exuding stories everywhere; the crowded and narrow alleyways with houses, lodges, temples, shops, restaurants, people, cows, dogs, bikes, and what not; the paan shops and the sweet shops; the list is endless.

*Pic 1: Somewhere in Daseshwamedh Ghat just before going on another boat ride.*

The three of us had decided unanimously that we wanted to walk the length of the ghats. There are 88 ghats and we were told they cover a distance of about 12 Km. I am not too sure of the distance though.

We walked from Daseshwamedh right up to Assi Ghat, which happens to be the last ghat at one end. Then, we retraced our path and went right up to Panchaganga Ghat towards the other end. Our guess is we would have covered about 70 ghats. We would have continued beyond Panchaganga had we not run out of time. We didn’t want to miss the evening aarti at Daseshwamedh Ghat, though it wasn’t the first time we would be watching it. Also, we walked leisurely aiming to experience the ghats rather than to rush and cover them all.

*Pic 2: The only time we got a glimpse of the Sun in the four days we were there.*

Here’s an account of the ghats that touched us a little more than the others:

Daseshwamedh Ghat

This is the oldest ghat and considered to be the most important one. It’s also the busiest and one cannot escape its vibrancy and liveliness. The famous Ganga Aarti (Ganga River worship ceremony) is staged on this ghat every evening. Ironically, this overcrowded busy ghat attracted us the most, all because of its energetic surroundings. Persistent boat owners, flower sellers, pujaris, pilgrims, tourists, sadhus, temples, tiny shops, massage practitioners, touts of all kinds – Daseshwamedh had it all. One can just sit on the steps and spend an entire day simply watching people and their activities.

The Story Behind: Lord Brahma is said to have sacrificed 10 horses at this place. (Medh meaning sacrifice; Das meaning ten; and Aswa meaning horse)

*Pic 4: Devotees & pilgrims bathe in River Ganga at Daseshwamedh Ghat notwithstanding the cold weather while migratory birds play around.*

*Pic 5: Seen at Daseshwamedh Ghat – someone cared enough.*

*Pic 6: A pujari all set while waiting for pilgrims at Daseshwamedh Ghat.*

Chet Singh Ghat

It is the Chet Singh fort on this ghat that attracted us the most besides the fact that it was a relatively quieter ghat. Nothing much was happening here.

The Story Behind: The name of this ghat is derived from the Palace of Raja Chet Singh, the illegitimate son of Balwant Singh, the first Maharaja of Banaras. This ghat witnessed a fierce battle between the troops of Warren Hastings and Chet Singh in 1781.

*Pic 7: Chet Singh fort at Chet Singh ghat.*

Mahanirvani Ghat

The quietude of this ghat is what appealed to us most. The fortified Akhara situated here also made it quite intriguing.

The Story Behind: Named after the Mahanirvani sect of Naga Sadhus, this ghat houses their famous Akhara as well. This Ghat also has four small Shiva Temple, said to have been made by Nepal’s Maharaja.

*Pic 8: The emptiness at Mahanirvani Ghat.*

Panchaganga Ghat

We visited this ghat thrice in our attempt to visit Trailanga Swami’s Ashram, which wasn’t happening for some reason or the other. A yogi and mystic, famed for his spiritual powers, Trailanga Swami is one of the 54 foremost saints of India. The great saint, Sri Ramakrishna Paramhansa, referred to him as “The walking Shiva of Varanasi”.

The Story Behind: Panchaganga Ghat (Pancha means five) is supposed to be the meeting point of five rivers – Ganga, Dhutapapa, Kiran, Nadi, Saraswati, and Yamuna – but only Ganga is visible.

*Pic 9: Approaching Panchaganga Ghat, as seen from the boat.*

*Pic 10: Panchaganga Ghat that had this nice wall art.*

*Pic 11: Somewhere near Panchaganga Ghat*

Mainkarnika Ghat

The feeling of heaviness is what we associated with this ghat. This is the burning ghat, where dead bodies are cremated. This ghat is considered to be an auspicious place for Hindu cremation. Pyres burn non-stop here. There were about five pyres burning when we were there. The overpowering smoke rising from the pyres made it difficult to stand here for long.

“Would it be appropriate to call this Death Tourism along the lines of Adventure Tourism or Medical Tourism?” we wondered.

*Pic 12: The burning pyres and their rising smoke.*

The huge piles of firewood stacked along the ghat made us depressed, thinking about all the trees that have been chopped off. The three of us agreed in one voice that given a chance, we would like to be cremated in Manikarnika Ghat because of all the mythology associated with it, but in electric pyres.

*Pic 13: Another view of Manikarnika as seen from the boat.*

The Story Behind: It is a belief in Hinduism that cremation in Manikarnika Ghat leads to moksha (complete liberation from the cycle of birth and death). There are a couple of legends about this ghat and almost all are associated with Lord Vishnu and Lord Shiva.

One talks about Lord Vishnu digging a pit with his Chakra, the pit gets filled with his perspiration, and Lord Shiva’s earring falls in the pit while watching Lord Vishnu in action. (Mani means jewel in the earring and Karnam means ear).
Another talks about Goddess Parvati hiding her earring and asking Lord Shiva to look for it in the hope that the Lord would remain near her forever searching for the lost earring.
Yet another, says that Manikarnika is a Shakti Peeth and Sati Devi’s earing had fallen here.
Some sources also say that Manikarnik Ghat is named after the Rani of Jhansi, Laxmibhai.

Harishchandra Ghat

This is the only other ghat that is dedicated to cremation rituals. There was a pyre burning in this ghat while another dead body arrived on a bamboo stretcher draped in shining yellow and red sheets of cloth amidst chants of ‘Ram naam satya hai’ (Truth is the name of Lord Rama.)

The Story Behind: Like Manikarnika, bodies cremated here are believed to attain moksha. This ghat is named after the mythical King Harishchandra, who worked at the cremation grounds for the establishment of truth and justice. Rishi Vishwamitra, a sage, asked the king to pay him a ritual fee. The king, known for his generosity gave up his entire kingdom, wealth, and riches but the sage was still not satisfied. Dejected, the king made his way to Kashi. Here he sold his wife and son into slavery and offered himself up for bondage. Years later his wife visited the cremation ground with their son’s dead body who had died from a snake bite. This was supposed to have been the final test for the King. The Gods rewarded him for his honesty, strength, and courage by giving back his throne, kingdom, and son.