Temples of India – Seasons of Life!

We didn’t realise how hungry we were until we sat down for lunch that afternoon. It was well past lunch hours by all standards, and we were famished but nobody was complaining. The extraordinary Belur Temple had captured our senses and we had lost all sense of time. After a hearty South-Indian meal, we proceeded towards Halebidu, our next destination for the day. Visiting these magnificent temples was part of our impromptu road-trip to Hassan district of Karnataka.

Click here to read about Belur
Click here to read about the road-trip

*Pic 1: The Dwarapalas or the guardians of the temple flanking the doorway.*

*Pic 2: A view of the outer wall built on a star-shaped platform, typical of Hoysala Temples.*

Halebidu (also spelt as Halebeedu) is a short drive away from Belur, located at just 16 Km. The drive though short was lovely as it passed through villages with green fields lined with coconut trees. The well-paved road was perfect for our post-lunch drive. We were headed to Hoysaleswara Temple, which is the most important place to visit at Halebidu. Hoysala Palace and Kedareswara temple are the other places of significance at Halebidu, which we would not be able to cover as we were already running late.

In ancient times, Halebidu was known as Dwarasamudra, which is also the name of the huge man-made lake situated beside the temple. King Vishnuvardhana of the Hoysala Dynasty had established Dwarasamudra as the capital city of Hoysala Dynasty. Before that Belur used to be the capital.

*Pic 3: The profusely carved outer wall showcasing Gods and Goddesses, warriors, musicians, mythical animals, and so on.*

*Pic 4: A closer look into some of the splendid intricate carvings on the outer wall*

Hoysaleswara Temple was built during the reign of King Vishnuvardhana in the 12^th century, over a period of 30 years. It was built before Belur Temple. Built of soapstone and without the use of any binding material, the architecture of both the temples is similar. The truly ornate and rich sculptural details both on the outside as well as inside is beyond imagination. Both the temples are beyond comparison and each one better than the other.

Both the temples are functional. While Belur Temple is dedicated to Lord Vishnu, Hoysaleswara Temple is dedicated to Lord Shiva. It has two Shiva Lingas – Hoysaleswara and Santaleswara. The former is dedicated to King Vishnuvardhana and the latter to his Queen, Shantala Devi. The soothing calmness of the temple interior was elevating, and I found myself transfixed for a while staring at the Shiva Linga right in front of me.

*Pic 5: One of the two deities, the Shiva Lingas. This one is Santaleswara. Photography of the more grand Hoysaleswara is not allowed.*

*Pic 6: One of the many sculptures on the outer wall of Lord Shiva with his consort Goddess Parvati.*

The intricately detailed outer façade of the temple is spectacular, with unique sculptures that run all along the outer wall. Imagery from the epics of Ramayana, Mahabharata and Bhagavad Gita adorn the outer walls with highly ornate temple doorways. The Gods, Goddesses, sages, musicians, animals and birds tell tales depicting the life of Hoysala times.

It’s baffling to think about the diligence and patience of the artisans and sculptors of the bygone era. Today it’s unfathomable to imagine the creation of such exquisite architectural marvel, that too working through 30 long years dedicating one’s entire life to a single piece of art.

There are several sculptures of Lord Shiva and his consort Goddess Parvati on the outer wall, each one different from the other. A large dancing image of Lord Ganesha is situated at one of the two temple entrances. Two Nandimantapas, each with a huge Nandi richly decorated with carved out stone ornaments are positioned right opposite the two Shiva Lingas.

*Pic 7: One of the two Nandimantapas housing Nandi, Lord Shiva’s sacred bull.*

I’ve mentioned this before and will not hesitate to say once again that the magnificence of Hoysala temples is something to be felt and experienced. It appeals to the senses and words fall short to describe their grandeur.

Click here to read about Somnathpur Temple (one of the three famous Hoysala Temples)

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.