(templesofkarnataka.com)
Belavadi Sri.Veeranarayana Temple is one the classical example where in unique temple plan is executed. The temple is a trikuta having Sri.Veeranarayana in the center facing East, Sri.Venugopala facing North and Sri.Yoganarasimha facing South.
The temple is belived to be constructed in two phases, earlier the central shrine was constructed and later on the additions were made, but truly this temple is a marvel and possess the most beautiful images of Sri.Venugopala as Certified by the Archaeological Survey of India.
As one enters the temple from the main entrance, one can see a huge entrance with slanting roofs covering it, this reminds me of the Tulunadu style roofing (one can observe such kind of roofings in Udupi Sri.Anatheshwara Temple just opposite to Sri.Krishna Mutt). Upon proceeding further, you see two Vimanas beautifully decorated with various images and separated by more than 100 feet in distance. This is the only temple which I have come across which is a trikuta and all the three kutas are widely spread across.
You find few steps to get into the temple, two Elephants at the Dwara, welcomes you majestically. As you go further, you find a huge Navaranga completely filled with beautifully carved pillars, onto to your right you will find Sri.Yoganarasimha, sitting in Yoga posture with a Yoga belt tied upon. One can see the Dashavathara in the Prabhavali, Lord is holding Shanku(Conch) and Chakra(Disc) in either hands and the other two hands are resting on his knees facing downwards. The image is so beautifully carved, one feels like spending more time, just by gazing at it. One can make fine observations and find out the Jari(Border) design carefully executed on the Yoga Patti(belt). You can also find Sridevi and Bhoodevi on either side of the Sri.Yoganarasimha in standing posture.
Onto to your left, you'll find the Sri.Venugopala which is in standing position under the Honne tree, holding a flute in his hands. The facial expression of the Lord is so charming, that one can clearly make out, he is enjoying playing his flute with his left eye slightly closed. He is standing in a Tribhangi position, where in his right leg is in front of left leg, he is supporting himself using his thumb to bear the weight, his abdomen is slightly bent to balance himself. On the either side of the image, you can find Shravan Kumaras in folded hand position, three Gopikas who are completely engrossed listening the Venu Vaadana(flute recital), one Gopika has completely forgotten about herself and she is not bothered to cover herself while her Vyjayantika(Duppatta) has completely fallen down. The cow which is feeding its calf, does not even bother to take care of it and it is completely listening to Kolalu, the Gopalakas are merily dancing and enjoying the recital as well. One can also find Sri.Rukmini and Sri.Sathyabhama on either side of Sri.Venugopala in standing position.
Upon walking further you find one more Navaranga Mantapa with approach from both the side(North and South). Each of the Navarangas are richly decorated with superb ceilings depicting various stories from Bhagavatha. The Nagamandala is quite unique design where one finds it impossible to find the end of the Naga(Serpent God).
The total length of the temple is about 270 feet and upon reaching the central kuta, you will find the beautiful image of Sri.Veeranarayana who stands with four hands, holding the Pashankusha in his right hand, Gadha in his left hand. The other two hand are in position where in the last finger, ring finger and middle finger are half closed, the index finger is half closed, but held up above the rest, the thumb is also half folded, in the left hand you can find some weapon but is not very clear. The prabhavali is well decorated with Dashavathara as the theme and one can easily identify all the incarnations very easily. The makara in the prabhavali is also well decorated. One can also find Sridevi and Bhoodevi on the either side of Sri.Veeranarayana.
If one lies down at the main entrance of the Garbhagriha and look straight towards the East direction, you will find that the entire lenght of 270 feet is flawlessly levelled to such an accuracy that you will keep wondering. One can also see the horizon about 3 kms away without any disturbance in the level, this kind of expertise in levelling needs to be appreciated. Also on Summer Solstice, one can see the direct Sunlight entering the Garbhagriha without any hinderances.
Upon taking a pradakshina along the temple, you will find various images of Vishnu Avatara, Ganesha, Shiva, Parvathi, Ganesha, etc., this temple needs additional time to explore and make sure you have sufficient time to spent both inside the temple as well as outside.
The temple is belived to be constructed in two phases, earlier the central shrine was constructed and later on the additions were made, but truly this temple is a marvel and possess the most beautiful images of Sri.Venugopala as Certified by the Archaeological Survey of India.
As one enters the temple from the main entrance, one can see a huge entrance with slanting roofs covering it, this reminds me of the Tulunadu style roofing (one can observe such kind of roofings in Udupi Sri.Anatheshwara Temple just opposite to Sri.Krishna Mutt). Upon proceeding further, you see two Vimanas beautifully decorated with various images and separated by more than 100 feet in distance. This is the only temple which I have come across which is a trikuta and all the three kutas are widely spread across.
You find few steps to get into the temple, two Elephants at the Dwara, welcomes you majestically. As you go further, you find a huge Navaranga completely filled with beautifully carved pillars, onto to your right you will find Sri.Yoganarasimha, sitting in Yoga posture with a Yoga belt tied upon. One can see the Dashavathara in the Prabhavali, Lord is holding Shanku(Conch) and Chakra(Disc) in either hands and the other two hands are resting on his knees facing downwards. The image is so beautifully carved, one feels like spending more time, just by gazing at it. One can make fine observations and find out the Jari(Border) design carefully executed on the Yoga Patti(belt). You can also find Sridevi and Bhoodevi on either side of the Sri.Yoganarasimha in standing posture.
Onto to your left, you'll find the Sri.Venugopala which is in standing position under the Honne tree, holding a flute in his hands. The facial expression of the Lord is so charming, that one can clearly make out, he is enjoying playing his flute with his left eye slightly closed. He is standing in a Tribhangi position, where in his right leg is in front of left leg, he is supporting himself using his thumb to bear the weight, his abdomen is slightly bent to balance himself. On the either side of the image, you can find Shravan Kumaras in folded hand position, three Gopikas who are completely engrossed listening the Venu Vaadana(flute recital), one Gopika has completely forgotten about herself and she is not bothered to cover herself while her Vyjayantika(Duppatta) has completely fallen down. The cow which is feeding its calf, does not even bother to take care of it and it is completely listening to Kolalu, the Gopalakas are merily dancing and enjoying the recital as well. One can also find Sri.Rukmini and Sri.Sathyabhama on either side of Sri.Venugopala in standing position.
Upon walking further you find one more Navaranga Mantapa with approach from both the side(North and South). Each of the Navarangas are richly decorated with superb ceilings depicting various stories from Bhagavatha. The Nagamandala is quite unique design where one finds it impossible to find the end of the Naga(Serpent God).
The total length of the temple is about 270 feet and upon reaching the central kuta, you will find the beautiful image of Sri.Veeranarayana who stands with four hands, holding the Pashankusha in his right hand, Gadha in his left hand. The other two hand are in position where in the last finger, ring finger and middle finger are half closed, the index finger is half closed, but held up above the rest, the thumb is also half folded, in the left hand you can find some weapon but is not very clear. The prabhavali is well decorated with Dashavathara as the theme and one can easily identify all the incarnations very easily. The makara in the prabhavali is also well decorated. One can also find Sridevi and Bhoodevi on the either side of Sri.Veeranarayana.
If one lies down at the main entrance of the Garbhagriha and look straight towards the East direction, you will find that the entire lenght of 270 feet is flawlessly levelled to such an accuracy that you will keep wondering. One can also see the horizon about 3 kms away without any disturbance in the level, this kind of expertise in levelling needs to be appreciated. Also on Summer Solstice, one can see the direct Sunlight entering the Garbhagriha without any hinderances.
Upon taking a pradakshina along the temple, you will find various images of Vishnu Avatara, Ganesha, Shiva, Parvathi, Ganesha, etc., this temple needs additional time to explore and make sure you have sufficient time to spent both inside the temple as well as outside.
(Wikipedia)
This ornate trikuta (three shrined) temple was built in 1200 AD. by Hoysala Empire King Veera Ballala II. The material used is Soapstone. Each of the three shrines has a complete superstructure (tower on top of shrine) and is one of the largest temples built by the Hoysala kings. While the famous temples at Belur and Halebidu are known for their intricate sculptures, this temple is known for its architecture.
The plan of the temple is unique in that two of the shrines face each other and are located on either side of a wide and spacious open mantapa (hall) containing thirty seven bays. The temple complex has two closed mantapas, one with thirteen bays and another with nine bays, at the end of which is a central shrine. This third shrine is an older construction and exhibits a standard architectural idiom containing all the basic elements of a Hoysala temple. The inner walls of the older shrine are plain, but its roof is well decorated. In all, the temple complex has fifty nine bays (hence it has many pillars), most of which are lathe-turned and bell shaped, while a few have decorative carvings on them. According to Foekema, the outer wall of the temple is of the "old style", with one eaves running around the temple where the superstructure meets the wall of the shrine. Below this are miniature decorative towers on pilasters (aedicule). A panel of Hindu deities and their attendants (frieze) are below these miniature towers followed by a set of five moldings that form the base of the wall.
The two newer shrines have different plans. One shrine is square in shape while the other is star shaped (stellate). The tower of the shrine has an apex called the kalasha (decorative water-pot like structure) below which are three tiers of decorated miniature roofs. The superstructure over each of three shrines is connected to a low protrusion tower called Sukanasi (tower over the vestibule, called "nose" of the main tower)The Sukanasi consist of two tiers of decorated miniature roofs. In all other aspects the two shrines are identical. All shrines have sculptured decoration on the towers, and the sculptures on the walls are bold and are visible from a distance.However, they are not sharp and impressive from close quarters unlike in other Hoysala temples. The important sculptures with fine finish are that of the Hindu god Krishna dancing on the head of Kalia the serpent, and the Garuda (eagle).
This is a Vaishnava temple and all three shrines have images of the Hindu god Vishnu, though in different forms (avatar). The central shrine (older shrine) has an 8 ft (2.4 m) tall image of Narayana with four hands and is considered one of the best examples of Hoysala art. It is well elaborated with ornamentation and stands on a padmasana (lotus seat). The southern shrine has an 8 ft (2.4 m) tall image of Venugopala (the god Krishna playing a flute) including a garuda pedestal and the northern shrine has a 7 ft (2.1 m) tall image of Yoganarasimha, sitting in a yoga posture. Decorative sculptures such as kirtimukhas (gargoyles) are used to make the shrine (vimana) towers ornate.
Route :
1.Bangalore - Nelamangala - Kunigal - Channarayapatna - Hassan - Halebeedu-Belavadi
2.Hassan - Belur - Halebeedu-Belavadi.
3.Chikmagalur - Belavadi
4.Bangalore-Nelamangala-Tumkur-Gubbi-Tiptur-Arsikere-Javagal-Belavadi.
5.Shimoga-Bhadravathi-Tarikere-Birur-Kadur-Banavara-Javagal-Belavadi.
From Bangalore 220 kms
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