STUMBLES @ FAMOUS TEMPLE SITES, INDIA.

AS MURPHY'S LAW CATCHES UP WITH ME .....

Ranganayaki temple @ Belur. 

100th photo at this temple complex when 

battery of 1000D  rang the 1st alarm-bell !

Photography in India's temple sites has so many problems -  I recount here some of the problems I have come across personally . Trustees do not allow photography at several temples . Example - Jagganatha temple ,Puri, Lingaraj temple complex,Bhubaneshwar . The idols @ Srinathji temple , Nathadwara and Jagdish temple ,Udaipur  are so exquisite ! But, photography is strictly prohibited at Nathdwara . Deity's photograph at Jagdish temple also cannot be clicked. I visited Ranakpur 2nd time after 2009 in November,2014. The core area of Chaturmukha/Adinath temple was out-of-bounds for photographers, thus robbing the photographers from clicking  best of the wall-reliefs!  Well - the Trustees here has not yet been as restrictive as those of Jain temple of Mount Abu. Such restrictions take away the joy of being among architectural wonder like Chaturmukha/Adinath temple or Lingaraj temple complex,Bhubaneshwar

  Rich engraving   on pillars - total 1444 nos* -

of Chaturmukha/Adinath temple, Ranakpur.

The double-line chord is there to restrict photographers ! 

@ Belur, Halebid and  Ranakpur , I have faced major glitches  To-day, I can look back with  some amusement  and a lot of regrets. I might have avoided these problems with better planning which have left big gaps in my collection of photographs. It may be interesting to write a few lines on each of the incidents  as a part of my travel diary .

Panel of Kedareshwar temple Halebid.

Last shot before battery of 1000D went  to sleep !

 Batteries of  my Canon 1000 D and Ruby's s3is almost simultaneously reached 'zero' level within 10 minutes   of  our reaching the temple site.Both the cameras faced 'Low Battery' situation with freshly charged ones - indicating  drained out batteries  s3is needed 4 pencil batteries which could be easily obtained  from a local shop just across the temple. But, Canon's LP-E5, that started malfunctioning after only 5000+ shots, continued to trouble me till I  could purchase a new battery at Mysore day after next , i.e, after we covered both Belur and Halebid.While at Belur, I managed  370 shots with 3/4 intermediate charging @ slightly far away Hotel room and from the temple-adjacent shop from where I purchased pencil batteries in the morning.

My sincere thanks to this shop-keeper 

( Opp. to Belur temple)

@ Halebid, I could manage 150 shots through 3 re-charges. Thank goodness - Canon s3is continued to function smoothly. So, we could leave with photos of all that caught our eyes.

But, at Ranakpur, both in 2009 and 2014, we were not so lucky. We reached Ranakpur after 4pm in 2009. By the time we booked our accommodation , bought tickets and entered the  Chaturmukha/ Adinath temple, it was 4.25 pm. We found out, after 5 pm, the authorities do not allow photography inside this temple ! Bad 'cops' were after my camera from 5.05pm - but a good 'cop' allowed me to click a few more photos till it was 5.15pm . Outside , in three other temples, we could continue till sunset, but, I still have regret for not having reached the location by 3 pm ! That was when I thought I should return here to click without tension.

From  Chaturmukha/Adinath temple 

- image-size only 1.03 MB !

This year in November,2014, we were @ Ranakpur again. Reaching there by  11 am to find we cannot take photographs inside the temple till 12 noon. So, we had an early lunch and covered the smaller temples After completing photography @  Suryanarayan temple, I realised  I had an incorrect camera setting.I corrected the same, shot some more  photos  ,but,  during the re-setting, mixed up the sizing. After reaching Jodhpur in the evening, I realised that the photo size selected was  'SMALL' !!

 This Bhairava-like deity'photo was taken 1n 2009. 

Would have loved to visit him in 2914 too !

My regret compounded when I realised  I completely missed one of the smaller temples - Parsvanath temple - which has exquisite examples of Hindu/Jain Iconography. This was covered no doubt  by Ruby, but not 100% .Some of the wall-reliefs I wanted to click were not there !

  Ravana emerging from Lanka  - 

painting @ Raghunatha temple, Mandawa. 

Needed heavy dose of PS to bring out clarity.

The last of the glitch was at Mandawa when , for no apparent reason,  stitch on left side shoulder  of my relatively new shirt, tailored by Raymond's gave away. The  stitch was repaired by a tailor opposite to Raghunatha temple.I stayed put in the car as I felt shy about walking around with a camera in a vest. Therefore, Ruby went ahead with her canon s3is  - but, later I found , the temple was adorned  with excellent paintings of stories from Ramayana & KrsnaLeela, but, lighting was poor. Canon 1000D was indeed needed.

* Note - Reference taken from : https://thatandthisinmumbai.wordpress.com/2013/05/30/the-jain-temples-of-rajasthan/.

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.

WRITING ABOUT HOYSALA ART & ARCHITECTURE

CREATIONS EXTRAORDINARY - I

 Worshipers rushing into the temple.
 Remarkable work on the lintel, court scenes of Dasharatha and Vishnubardahana adorn the facade of entrance to
  ChennaKesava temple, Belur.

 June to November,2012. Planning , ticketing, cancellation of tickets , new itinerary - soon it was time  to re-visit  temples of Belur and Halebid. I recall what another temple-art lover told me  decades ago : 'Those who have  not seen the temple of Belur have not seen one of the finest in India'. Like the previous visits, I awestruck by the extra-ordinary efforts in crafting the wall-reliefs which attract tens of thousands of tourists to this region of Karnataka ! Now I am sitting in front of the computer, with a 'Folder' full of bewildering photographs of Hoysala art !

Gorgeous wall-reliefs and stunning friezes 
of
Western face of Kedareswara temple, Halebid.

I am a little bewildered too - where to start and where to end. I searched and read  many many articles and photo-features in the internet  on  architecture and art of temples of Hoysala period - on temples of Belur, Halebid and Somnathpura in specific. I am wondering if  most of what  can be published have already been published  - text and photos included.

Bearded and bejeweled male drummer - 
one among 3 male musicians on brackets

ChennaKesava temple, Belur.
(Placed among those famous wall brackets of Mohini !!)*

 When at the temple complex at  Belur  and Hoysaleswara temple of Halebid, I noted  constant streams of visitors - local, tourists from other cities and States as well as from foreign countries.  Guides are taking groups around  and repeating their tales over and over again. Somnathpura temple had lot less visitors - still it is no longer a temple forgotten. But , Kedareswara temple at Halebid can be surely termed a forgotten one.

Obeisance of the 'Pandavas'.

Hoysaleswara temple, Halebid.

In a way , it is sad. This temple cannot compete with the sprawling Hoysaleswara temple in terms of size or  display of wall-reliefs as well as friezes , but surely is comparable in terms of quality of  art-work. Tourists  get their eyeful at Hoysaleswara temple and therefore do not explore this temple. We hired an auto-rickshaw to  visit the cluster of Jaina temples and neighbouring Kedareswara temple. Surprsingly, the yound auto-rickshaw driver did not know about the existence of this fine example of Hoysala art ! This shows the ignorance at the ground level of Halebid about the worth of this temple.I found just a Spanish couple and 2/3 Indian tourists there enjoying the  wonderful work of art of  Kedareswara temple.

  Rama the Archer - one of the difficult-to-capture wall-reliefs of 

Rama temple, Belur.

No less surprised I was at two very large and famous book stores of Mysore where I went to search for books on temple art & architecture of Hoysala period. One of them -  'Sapna ' claims to be  one of the largest chain in India ! Apart  from a very well-known book on Hampi and another on 'Torana', there was nothing on temple art of Karnataka at 'Sapna' ! Ditto at 'Crossward'. I would have left with a very poor impression unless a Shop Assistant   recommended a book on 'Mysore and more' plus a history book of Karnataka by Dr S U Kamath.

(1) Stellate  floor plan and (2) one of the 'Shikharas' of the 'trikuta' ChennaKesava temple, Somnathathpura. 

Internet search did not yield   many clues either. I found 2 books of my interesest.One is : Early Hoysala Art by  Binoy K hedge and 2 others , The second one is : Epic Narratves in Hoysala Temples by Kirsti Evans. I doubt if 1978 edition of the book by Sachindranath Maity is any longer available. Those who are interested in  feminine beauty may look for Rekha rao's 'Apsaras in Hoysala Art'.

                                     These reference books were expected at important book stores of Mysore !

  When I  visited Pattadakal complex and Aihole in 2011, I noticed the temple architecture of Badami Chalukyas differ from what we find in Orissa and Central and Western India. The mightiest among the lot - Virupaksha temple of  Pattadakal - has a style statement of its own. Perhaps, architectural details from the twin temples of Siva and SuryaNarayan of  Lakundi also can be referred to in this context.

 Stone pillars - one with  delicate designs and the other 'lathe-turned' - inside Mantapa of 

ChennaKesava temple, Belur.

 

NOTE  :
*1. This male drummer's  attributes - both physical as well as dress/ornaments - are  to be noted carefully. He is elaborately dressed like a woman, in contrast to the other 2 of the male musicians placed on the brackets/arches. Question I have  - is this a woman incognito ?






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