WONDERFUL OSIAN - A MEMORABLE VISIT TO THIS TEMPLE VILLAGE

  AESTHETICS OF  OSIAN TEMPLES' ART !

View of cluster of temples  around SachchyiaMata temple.
History of these temples date back to 8th century AD.

 This cluster of temples welcomes visitors to Osian at its entrance.

 Idol of Sri Sri SachchiyaMata.
This temple was reconstructed during 12th century AD.

 I have read about  Osian temples being compared those of Khajuraho.  Did not find much details on similarity  though.  Our November,14 visit to Osian was indeed an eye-opener about the rich temple art here !  Structurally, Khajuraho and Bhubaneswar temples are much bigger - often  materials of study for students of  Hindu temple architecture. But, wall-reliefs and ornamentation of both Sachchiyamata complex and Jain temples' complexes  are aesthetically a class in themselves .The deities and the human figures are built delicately. Faces and physique, postures and expressions, ornaments and clothing, composites and symbols - everything measure upto a very high standard og artistry.

  In the three temples @ SachchiyaMata's temple's level, we have three manifestations 

of 'Varah Avatar' of Vishnu.  Here is one where Vishnu has four hands , 

Bhudevi resting on his left upper arm.

...... and here, subjugation of  the 'Nagas'.

 

Salutation of the 'Nagas' - 

inner roof of temple adjacent to that of SachchiyaMata.

The Sachchiyamata complex is built atop a small mound, with stairs running from the street level, with a break in between , where a few other small temples are located. At the top, idol of Sachchiyamata has been placed at the centre of a cluster of temples, with one temple attached with the central one having significant relief work on its roof. Two modest-sized temples are on Sachchiyamata's right and one more on the left . Photographers' delight - somewhat obstructed by deep blue-coloured fabricated barriers .

 Art of juxtaposition - 

Gods, beauties, sages and composite animals  placed  side-by-side.

 Siva-Shakti Iconography, the traditional rows of animals  and  imageries of flow of life

 have lost sharpness, thus a part of their appeal.

Closer observation will charm the visitors. We find Vishnu, his Avataras, Surya, Indra, beautiful women, sages with strange expressions and mythical animals in combat placed in deep-set alcoves. Each relief has mark of very matured and superior artistry. Faces, hair-style, dresses and poses speak high about the art of  Pratihara dynasty. Dr Asha Kalia , more than 30 years ago, wrote a book on Osian art - wish I had access to this book before my visit.

 

 Combat between composites & human beings adorn  the east-side wall of 

Lakshmi-Narayan temple, on LH of SachchiyaMata temple.

 Close-up of 'Slaying of  Hiranyakashipu' on the east-side wall of 

Lakshmi-Narayan temple, on LH of SachchiyaMata temple.

Two  temples @ lower level of SachchiyaMata complex. 

Well-known desert  beyond  green boundary of Osian village in far horizon.

My wife and I have captured in our camera  whatever appealed to our eyes aesthetically. For extensive details, please refer to Dr Asha Kalia's pages in the Internet, in case her book is not available in your neighbouring Library.

TRAVEL THROUGH RAJASTHAN - NOVEMBER,2014

 FROM MY TRAVEL DIARY - 1

 This map shows the path we covered.

 The traditional way of capturing Qutb Minar's photograph.

For a fortnight since 6/11/14, Ruby and I traveled from New Delhi to various places in Rajasthan , driving partly in cars , partly in buses through   cities, villages, desert  and valleys  to visit Mandawa and Nawalgarh in Shekhawati region, Ajmer, Udaipur, Srinathjiu's temple @  Nathdwara, Ranakpur, Osian and  .Jodhpur.

 View of Fateh sagar from top of Maharana Pratap Memorial , Udaipur.

Full view of the fountain , Fateh sagar, Udaipur.

 We visited Qutb Complex and Humayun's Tomb to after decades to savour Muslim architecture, excellent sculptures' Galleries at Ajmer  and New Delhi ( National Museum), scores of temples and best of the examples of Shekhawati paintings. And... the architecture of Yashawant Thada, Jodhpur.

Pillars of  Hindu temples used widely in Quawaat-ul-Islam Mosque, Qutb Complex, New Delhi.

Varaha Incarnation of Vishnu. 10 -11th Century. DUngarpur,Rajasthan.

Akbari Fort Museum, Ajmer.

There were glitches, time over-run, misses - specially @ Ranakpur , opportunities not utilised as time slipped through a couple of lazy mornings.Worst was the ban on photography in the most important zone of the main temple.  There were unexpected rewards too - e.g. Sound&Light show @ Akabari Fort, Ajmer and the three nearly deserted temples @ entrance of Osian village with astounding iconography !

 Exterior Wall of Hotel Shekhawati, Mandwa.

View from the entrance of one of the many Havelis we covered 
@ Mandawa and near-by areas.

We came across helpful people in buses, trains - the hotel owner @ Mandawa, the guide and some of the Haveli owners @ both Mandawa and Nawalgarh, Shekhawati artist Devnarayanji, Gulabjisa - the young security guard , fashionably dressed in dhoti-kurta - shop-keepers at Udaipur and Ajmer....... Remarkable were the S- and U-curves in the bus-route between Sikar and Ajmer and the reticent car-driver who tool us from Udaipur to Jodhpur via Ranakpur !

View from interior of  Jasawant Thada, Jodhpur.

Ruby poses with 'Gulabjisa' , Security Guard-cum-guide of Jaswanat Thada, Jodhpur.

 Why people visit monuments - a sizable section visits to absorb details with aid of guides as well as  to worship if the monument is a live temple. A miniscule section  take photographs for reference and later viewing. Yet, a large section walk in for a stroll and taking their own photographs.  With   camera-equipped mobile phone in almost every palm, 'phataphat' photo sessions on the court-yards of historical monuments has become very common -- a trend very common in Durga Puja pandals or Millennium Park at the shore of the Ganges !

Ranakpur is proud of this Jain temple,with so well crafted interior & exterior.

One of the four small temples at the entrance of Osian.

 It will be my endevour to share a section of the photos and notes with my friends in this page as well as facebook page.  I end this blog thanking my friends and relatives whose hospitality enlivened this trip and Ruby who has taken gigabytes of photos to enrich my collection.

A matter of choice - Photographers engaged 

in capturing the monument as well as the moment !

( at Qutb Complex)

Silence !

Humayun's Tomb, New Delhi.

OCEAN IN HINDU MYTHOLOGY

OCEAN IN  HINDU TEMPLE ART - 

Three tales from Hindu Mythology

' Anantashayane Vishnu - Lord Vishnu resting on Ananta the Snake'  :

Painting exhibited in a Calcutta Gallery during February,2008 . 

Apologies to the painter from Andhra whose name I forgot to record.

From North to South , East to West ,  Lord Vishnu sleeping  - Yogonidra - on turbulent sea - pralaya jaladhi - on coiled snake Ananta , his hood providing shade to His head ,Devi Lakshmi  at His feet and Lord Brahma rising from his navel : this imagery has been the inspiration of sculptors and painters through centuries.

Above , we find a 21st century interpretation where white lotus blooms in the ocean ! And, Lord Brahma is not offering His obeisance to Lord Vishnu !! Colourful and decorative the imagery is - quite a traditional interpretation.

 Lord Vishnu rests with His head on His left hand,

holds none of His usual  attributes. 

Lord Brahma does not rise from His navel either.

Acknowledgement - Sourced from  Internet.

 The most famous  of the reliefs of this imagery is  the one from  Vishnu temple of Deogarh , UP.  According to Wikipedia, this temple is the 1st one built in India with a 'shikhar' . It was built between 4th and 7th centuries........ I have seen this imagery in many other  temples too - both on wall-reliefs as well as wall-paintings. A beautiful example is from   Radheshyam temple of Bishnupur , 1000 years younger than the Vishnu temple of Deogarh.

Stucco-on-stone work - among the few @ Bishnupur.

'Samudra Manthan - Churning of the Ocean of Milk'

 A collaboration  between gods and (so-called) demons ...... brought out from ocean's depth treasures  most which was usurped by the gods.  The world got Lakshmi - goddess of wealth , powerful horse and elephant , Parijaat - the beautiful flowering tree among others .... and elixir of immortality ! Lord Vishnu - incognito -  fooled the demons and let gods have the elixir .

Snake Vasuki , which was used as the chord for churning , spewed out poison when exhausted . Lord Siva saved the world by drinking this poison which turned His throat blue.Siva was subsequently revered as Neel-kantha - the god with blue throat.

This mythological tale has been cited in our great epics and Puranas. Also, featured in Temple art and Patas .  I have come across  wall-reliefs of Samudra Manthan in temples  built during both Badami Chalukya as well as Hoysala regimes.

 

Wall relief in a temple of Pattadakal complex.

 A lot of details has been squeezed into this small-sized wall-relief  found in a temple of Pattadakal complex. The gods and demons  - four in each of the groups -  engaged in churning, Vasuki and mountain Mandar as well as the finds. The painting of Wikipedia is the best to view the details of the finds which is being copied here : 

Painting in Wikipedia page - Lots of details regarding  what emerged !

Wall-relief  , Kedareshwar temple, Halebid. 

Here also we find four representatives from ods and demons.

'Setu-bandhan from Ramayana - bridge across to Lanka'

Rama and Lakshana got a bridge constructed by banara-sena  - army of monkeys - to cross over to  Lanka with this army . The effort was not easy. God of ocean did not co-operate with banara-sena in the beginning. The bulk of stones deposited on the bed of the ocean was washed away.Then, Lord Rama picked up his bow and arrows and threatened the god of ocean with dire consequences.God of ocean then wilted and allowed construction work go uninterrupted.

 Wall-relief from Kedareshwar temple, Halebid.

In this context, I shall mention that in depictions of 'Ananata-sayana Vishnu', the ocean has  often not been given enough importance ! A notable exception is this one wall-relief of the Somnathpura temple :

SAVOURING 'ART' OF HOYSALA TEMPLES

CREATIONS EXTRAORDINARY - II

'Built from the wealth amassed from the sword' 

- King Vishnuvardhana, 

in context with his having built ChennaKesava temple,Belur.

To enjoy the temple art of Hoysala dynasty, homework before the trip is a MUST. There are lots of articles in Internet, giving history/timeline and photographs of the  more popular temples around Hassan and Mysore. I  even found a suggestion about a guide  of Belur temple - though  I could not locate him when we were  there during November,12.  Please search for Prof S Settar  and do not miss his interview in Frontline,April,2003.

Trikuta Kesava temple at Somnathpura.

Simply stated, Hoysala temples have a complex building plan with artistic projections aplenty, a 'scroll' of wall-reliefs of deities and other characters unfurling on the 'parikrama' , dazzling female dancers and musicians together with mythical animals staring down at you, rows of  human figures on animals and chariots fighting mythological and real battles. These temples are virtually a  gallery created to educate viewers of  Hindu Iconography and 'naba-rasa' as well as dance   plus music .

Rich wall frieze of Kedareswar temple of Halebid.

Kirat-Arjuna &  Bali-Sugriva duels, Hoysaleswara temple,Halebid.

Vishnu rests on Seshanaga - Lakshmi 'serves' at his feet, Yogamaya sitting near his head. He rests within  a pavilion, with roaring vertical waves filled with fish and tortoise - Vishnu's incarnations.
Kesava temple,Somnathpura.

Note : Interesting to watch one small part in each of the last two panels - Sugriva's right leg & Sheshnaga's tail - sneak out of the frame ! Typical Hoysala style .

And .... not-to-miss the exceptionally carefully executed  layout and 'art-work' in the  interiors of temples.Some of the secular ceiling art , round and serrated ends  of load-bearing columns, female bodies serving as brackets on  top-ends of columns almost hidden in the darkness of 'Mantapa' will not fail to mesmerise discerning viewers. Topping the list are the principal deities wherever we can view their splendour not hidden under silk robes and garlands.

Venugopala, one of the three deities of

Somnathpura temple.

Dancer on one of the four pillars within 'Garbhagriha' of 

ChennaKesava temple, Belur.

Hundreds of figures and motifs curved on famous 'Narasimha' pillar within'Garbhagriha' of 

ChennaKesava temple, Belur.

Notes :1.  It  is said  that this pillar used to revolve on its vertical axis.  

2. Comparable are stone pillars of Vitthala and Hazara Rama temples, Hampi.

Once  a person spends time among the temples built by Hoysala dynasty, it becomes clear that a martial spirit had worked in bringing these temples into being. The name  king Vishnubardhana chose for his lineage and also the symbol are result of this military spirit. We all know, 'Hoysala' means 'Kill Sala', reportedly the uttering of  a sage whose life Sala, a tribal leader and ancestor of the king , saved by slaying a pouncing lion.

My favourite 'Sala slaying the lion'. Sala is in pain , yet he pierces right ear of the beast with his long dagger, held in his left hand !

Wall-reliefs of Vishnu and Kamadeva in the background.

ChennaKesava temple, Belur.

This may be a myth,established  firmly by king Vishnubardhana , while adopting the 'Sala' symbol and sculptures of  'Sala and the lion' in the entries to ChennaKesava temple's 'Mantapa'.


While working within the limitations of 'canon', some of the artists broke ground in their efforts to stand apart among the 'many'.Collectively, the following characteristics will immediately draw attention of the viewer :

Krsna tames 'Kaliya-the-snake'. One of his wives asks for forgiveness 

on behalf of her husband.

Kedareswar temple, Halebid.

• the decorative features of the wall-reliefs, e.g. the dresses , ornaments and other attributes are carved so meticulously that one feels s/he is viewing a wood, and not a stone-carving.
• a toe here, a finger there overflow  the frame , just to add drama to the 'scene'.
• the fierce manifestations of Siva and Shakti are often  not stiff, but in smooth postures of dance.

I end here with ten. nos of photos . More will follow.

DOWN MY MEMORY LANE TO HOYSALA TEMPLES

RECOLLECTION OF  BELUR, HALEBID ... AUGUST 1977.......

NOTE - These scanned  1977 photos have been retrieved  from my wife Ruby's album.Please do not copy.

Kedareshar temple (?), Halebid.

UMA-MAHESHASHWARA.

HOYSALESHWAR TEMPLE , HALEBID.

'Those who have  not seen the temple of Belur have not seen one of the finest in India'  : advised me  Pritish Ghosh, an erstwhile colleague of mine in August ,1977, when I was planning our visit to Bangalore, Mysore and Ooty .On his advise, I added Belur, Halebid and Sravanabelgola to my itinerary. The visits were indeed very rewarding. My wife Ruby and I were charmed by the beauty of the bracketed figures of  the main temple of Belur and the wall-reliefs of Hoysaleshwar temple of Halebid.

SIVA AS  NATARAJA ,DANCING ON APASMARA  & BHAIRAVA. 

HOYSALESHWAR TEMPLE , HALEBID.

I am not a person who  remembers small details of a trip decades ago - the smaller impressions are lost. I recollect that we  started from Bangalore early, reached Hassan and Belur around lunch-time and hung around  till sun-set. We reached Halebid  couple of hours after  sun-set. The only food-stall of Halebid was closed for the night and we could not have even  a cup of coffee. Next morning , we started our day early. We reached the temple before eight 8 AM, after a decent break-fast of tea and toasts. The morning was just crisp! There were very few visitors around. And ... the splendour of Hoysala architecture was in front of us , almost taking our breath away.

 SIVA AS NATARAJA. CLEARLY DIFFERENT FROM THE ONE ABOVE. HE IS  DANCING ON A LOTUS , WITH GANAs JOINING HIM IN REVELRY !

HOYSALESHWAR TEMPLE , HALEBID.

Though I carried my SLR  camera and the accompanying lenses with us, I could not locate any photo of Belur temple in our album ! But thankfully, a few photos of Halebid has survived. I have scanned these photos of my 1977 trip . Surely these will  compliment our future collection during the forthcoming trip of November,12.

VAIRAVA

HOYSALESHWAR TEMPLE , HALEBID.

During 1970s, within the 1st few years of our marriage, we visited temples of Puri, Bhubaneswar, Konark, Belur and Halebid. Those days, we  had no formal or informal exposure to temple art , yet, we realised that  temple art of RajaRani temple,Konark and , Belur  and Halebid need re-visits. I recollect  having visited temples of Belur and Halebid 2nd time  during February,2003. I had a day free from official work while on tour in Bangalore which I utilised  in paying a visit to these great sites. But, I had  no camera and could not bring back anything but memory with me.

 A SECTION OF THE FAMOUS STAR OF

HOYSALESHWAR TEMPLE , HALEBID.

 Our February,12 visit to Bhubaneshwar and Konark was really very enjoyable. We had  good amount of time - but, more studies for preparation and thrice the time we spent at each of the temples would have satisfied me.During the coming visit to Karnataka, I would like to return with a good collection from Kedareshwar temple of Halebid and Keshava temple, Somnathpura.

SAGES AMONG THE EROTICA OF SUN TEMPLE, KONARK

MAJESTIC SUN TEMPLE OF KONARK - V

NOTE - Those have aversion to erotica of Indian temples and are below 18years of age are requested to stay from this post.

A holy  man and his disciple.

After I posted  photos from our collection on King NarasimhaDev I , as depicted on the walls of Surya temple, Konark, I started to look for depictions of  holy men  . I found quite a few of them - male sages with shaven head, matted hair , old and middle-aged.  I found one photo where he is instructing a disciple - not a very delicate work.  There is one among existing work in  'chlorite' - sages in meditation. Rest are so very different !

Sages in meditation with disciples in attendance.

Male sages on this temple's wall covers many sects - naming my guesses will be somewhat delicate.  Quite a few are shown in grotesque postures. A  good number of them have been shown in active or passive acts of coitus and various stages of excitement . Blow-ups of the faces and torsos make interesting viewing.

Here I start with a bald holy man who has - not one or two - but three companions . He holds a  bag in his left hand, lifted beyond the reaches of  women around him - glee on his face, sculpted centuries ago still make this wall-relief  stand out.

This wall-relief tells us a tale !

(The 3rd woman, kneeling in front of this holy man, not in this frame).

 A holy man with shaven head !

 I shall cite one specific example which is a large  composite. Two questions regarding this sculpture : First - Does this signify  ritual of slaughter of  some  sect ? The composite here has a man's face.Round eyes, matted hair, glimpse of fangs. His lower portion is that of a lion. He tramples a hunter, smaller in size . The hunter's features,ornaments and hair style have  similarity with those of the composite. He holds a hunting knife and shield. Specially noticeable is the chain around the waist of the hunter. Second - Is this at all a face of a holy man ? We  find identical waist-chain in another sage, being coaxed by a courtesan.

Man-lion Composite,attacking a hunter on an ornate pedestal . 
A camouflaged secret practice of sacrifice or a scene from a drama ?

Sage with matted curly hair and beard - noticeable similarity between this figure and the ones above.

Watch the waist band.

The artisans of Surya temple have depicted holy men of various sects without reverence.  I have seen  not-so-serious depictions elsewhere, but not so noticeable as Konark !   In some areas , we find grotesque figures - I would guess that the artisans chose appearances of some of these figures  based on holy men moving around those days  ! Anthropologists and Sociologists who are expert in Kalinga's social situation of 12th century AD can throw more light on this fact. But, in whatever literature I have come across, I did not find any reason of this irreverence.

I have  here photos of one wall of the famous 'Nata Mandira' and a couple of blown-up figures .

 Dancers and sages as grotesque abandon the walls of 'Natamandir'

 

 Grotesque figures of holy men standing on decorated pedestals.
While one is skeletal, others are well-fed. One is stark naked, wearing different ear-rings. Does that point to a specific sect ?

I have  in my HDD   many more photos to convey to the readers of what we found at the Sun temple at Konark. But, one has to stop somewhere. I shall end with one full-frame of erotica with a holy man at the the centre of activity.  As  persons familiar with this temple are aware of,there are numerous wall-reliefs with erotica of sages - but closer scrutiny will lead a discerning viewer to categorisation.

 A holy man, with his matted hair placed high on his head,in accompaniment of two women, one tall and other short, standing a crude pedestal, under the near-mandatory tree of life.