Musafir

This is the last place of visit on my second day. Even though i was not exhausted, i was a little bored with the monotonous visits to temples. I feel that when we plan a trip, it must contain a mix of different types of places, and this i realized after making a couple of trips like this :) . It was almost 4 when i visited this temple. It is again situated in a nice picturesque location and beautiful with all the coconut trees. A nice lawn has been established near the temple premises which creates a good ambience and pleasant atmosphere in the evenings.

Koravangala is a small town 12 kilometres from Hassan on the Hassan -> Arsikere road. Inscriptions around the temple site give us an idea of the temple's construction and the various grants it received. One of them specifies the name of Bhutanatha Raja or Buchi Raja, a Brahmin officer from the family that serves Hoysala king Narasimha I, as the man who constructed it. The inscription also states consecration of the temple coincided with the coronation of King Ballala in 1173. Though originally built over a large platform, today it stands almost equal to the ground.

I enter the temple complex from the rear end. The entrance is very small and guarded by elephants. There are beautifully carved dwarapalaka statues on either side. This entrance leads to a  mukhamantapa which is supported by 32 pillars. The ceiling is partitioned into 13 parts and each is carved beautifully with lotus flowers. Once you cross the mukhamantapa you enter the navaranga which has neatly carved ceilings. The northern part of it has an enticing image of Krishna. On the lintel, above the entrance, a fine image of Gaja Lakshmi is also found. Idols of Ganapathi, Saraswathi and Saptha Matrikas adorn the corners of the. On the right side is a figure of Dakshina Murthy. The antarala is supported by 8 pillars, four of which are star shaped.

The sanctum sanctorum has a huge Sivalinga made of Blackstone. As usual, there is a Nandi statue in front. There is a small shrine on the left of the sanctum dedicated to Ganesha. The Vimana above the Garbhagriha is made of soapstone. It consists of turrets in four tears with numerous sculptures. An exquisite Hoysala crest adorns the Vimana's facade.  Every section of the temple has wonderful sculptures that mark this temple out from many others.
A row of large idols carved in single and double pilasters with turrets above them adorn the outer walls. Figures of Vishnu, Narasimha, Varaha, Venugopala, Natya Saraswathi, Kaliyamardana Krishna, etc. can be found there. On the wall panel the carving of the Gajendramoksha sequence is absolute marvel.

Apart from the Bucheswara Temple, there are two other temples in the vicinity but they are in a very bad shape. They have been completely ignored and the place is filled with vegetation and stench. The structure of the temples is good in some sections. The pillars are damaged in one of the sides which may weaken the entire structure. Most of the pillars in the mukhamantapa inside are still good and they  lead to a small sanctum which has a pedestal for the Sivalinga. There is an inscription on a stone slab written in Kannada.The outer sides of the temples are designed with turrets as the Bucheswara Temple and extremely beautiful.

As this was the last stop for the day, i leisurely roamed around and was there for half an hour. I then went back to my stay in Hassan town. I was looking forward to my next day’s trip. I had a good time off before the tiring and fun experience in Sravanabelagola.

It was Deepawali, the festival of lights in India. After a strenuous day in Mahabalipuram, i travelled over to a place where i underwent the most spiritual journey of mine ever. Kanchipuram was bustling with festive mood with kids lighting fireworks and men and women dressed in new attire. It was almost 9 AM by the time i reached the town. I immediately hired an auto rickshaw as i knew it would be painstaking to travel to all the planned places. I had a heavy breakfast and moved to my first destination the Kailasanathar Temple. It was quite hot that day i appreciated my decision of hiring a vehicle for travelling inside the town.

The Kailasanathar Temple is one of the oldest temples that we can see in this area, as we can see by the construction and the wear and tear that affected it. It reflects the freshness and simplicity of the early Dravidian style of temple architecture and was commissioned by the Pallava King Rajasimha and completed by his son Mahendra in the 8th century and is dedicated to Lord Siva. There are 58 small shrines situated round the main shrine. Fresco-style paintings adorn the inner walls  of the shrines. Sandstone was used in the construction of this temple.

This is the only temple at Kanchipuram which is not cluttered with the more recent additions of the Cholas and Vijayanagara rulers. Fragments of the eighth century murals which once graced the alcoves are a visible reminder of how magnificent the temple must have looked when it was first built. It can also be described as the worthy successor of the rock temples at Mahabalipuram, which were also built by the Pallava rulers. The bases of the pillars in the temples at Mahabalipuram have seated lions while at Kanchipuram the confident grimacing lions stand on their hind legs, as if ready to pounce on anyone trying to harm the temple. There are a number of small shrines within this temple  dedicated to Lord Shiva, Goddess Parvathi (Lord Shiva’s consort) and their sons Ganesh and Murugan.

The first view of the temple is a series of smaller shrines and lion headed Yalis guarding them. There is a wall that encloses all of the complex and you find pillars on the wall at regular intervals. I walk in through the gopura.  Inside you find eight shrines, two on the south side of the main gate and six on north side. All the shrines are complete temple in themselves, consisting of mukhamandapa, garbhgriha (sanctum sanctorum) & vimana. Each shrine has a shiva-linga inside. The mukha-mandapa is supported on the pillars, adorned with the sitting Yalis. There is a small shrine at the entrance gate. It is a later addition by Pallava king Mahendravarman, son of Rajasimha. As per an inscription on its stair, the name of the shrine is Mahendravarmeshvaragriham. This shrine has recently gone under renovation and repairs.

Let us talk about some of the most amazing sculptures inside.

There are many places where a warrior is shown on a lion which is on its hind legs ready to pounce. It is so remarkable that we can even see the smile of the warrior. Such a great art was prevalent that age that even facial expression was given more importance and each masterpiece is incomplete without them. Also, a statue of Lord Ganesha is found here which is said to be one of the oldest in South India. Even this has undergone much wear and tear and you can see the sandstone peeling off. The Archaeological Survey of India need to be commended for its excellent maintenance of the temple despite the age old sculptures. One of the most interesting and detailed panels is the Samudra Manthan in Cell 12. Vasuki, king of snakes, is coiled around Mandara mountain, which in turn is supported by Vishnu by his left hand. One thing of interest here is that Vishnu is shown in human form supporting mountain instead of his Kurma (tortoise) form. Devatas and Asuras are standing around. One horse is shown just sprung from the ocean, which may be Uchchaisrava Ashva, taken by Indra.

One more is the Narasimha in Cell 9. Narasimha shown here slaying demon Hiranyakshipu. There is a pillar in between the two figures, as according to a story, Narisimha came out of the pillar when Hiranyakashipu kicked the pillar and asked Prahlada that can his god come out of the pillar. Presence of this sculpture is rather interesting as Shiva is the main deity here. Another is Kiratarjuniya, where Arjuna is shown preparing to fight with Lord Shiva, in disguise of a hunter, over the killing of a boar. When Arjuna saw that none of his weapon were able to reach to the hunter then he realized that this is Lord Shiva himself in disguise of a hunter. This is so detailed that even the boar is depicted behind Arjuna.

I then go inside the main shrine. The sanctum is spacious and there is a big, black Linga inside. One interesting this is that the sanctum is surrounded by a small corridor and one can actually go around for a pradakshina. There is a catch. The starting point to the corridor is blocked and one need to kneel on all fours and enter it. It would the same when to come out of it. I thought i would try it but abstained as i am a little overweight and was afraid of getting stuck. There were not too many visitors then and i had a nice darshan of the lord.

There are hundreds of sculptures in this temple complex and one may take more than a day to see each of them. Each sculpture has a story to tell there are many blogs one can refer to know each of them. However, my intension is just to introduce these places to others and not to be an authority of it. So i will not describe all. I would seriously recommend 2 days for visiting this temple complex if you are on research. Otherwise half an hour would be enough.

After spending almost an hour here, i move towards one of the most beautiful temples in Kanchipuram, the Ekambareshwara Temple.

References:

1. http://picasaweb.google.com/Tamilnadu.Explored/KanchipuramPart1#

2. http://swamisblog.blogspot.com/2009/07/pallava-architecture-kailasanatha.html

This is perhaps the monument which gave this town the name of ‘Seven Pagodas’ by earlier mariners. This high rising monument is located at the sea shore, hence the name Shore Temple, and is visible from quite a distance across the ocean. This monument would have acted as a landmark for the ships to get the right directions to safely dock at nearby shore. First look of the monument gives the feeling of a pagoda, which European mariners were quite familiar with hence they gave the name ‘Seven Pagodas’ to this town. It was indeed earlier thought as the work of Chinese or Egyptians, which was only later clarified with extensive study of various monuments of the town. The local villagers tells about stories of seven such monuments with gilded top crowns which they were able to see just above the water level, however all were submerged soon. ASI took up the task of underwater archaeology however nothing much was found to support the existence of those monuments. It is quite clear that the sea has encroached much of the ground of the temple, as ASI did a wonderful job to clear out the debris from 8 feet sand accumulated by continuous drift from the sea and constructed break-water wall all around the sea shore to save the temple from further damage.

This temple complex consist three different temples, raised above the same platform. Towers of the two temples have survived, but of the one is missing. Temple with smaller tower faces west while temple with large tower faces east towards the sea. Both the towers are pyramidal stepped structure which is topped with an octagonal sikhara above. The octagonal sikhara puts this into Dravidian style of temple architecture.

The large temple tower has three recessed storeys. The cornice of each storey has regular arrangement of kudus(horseshoe dormer windows) as seen in the cave temples. Octagonal sikhara is mounted over a circular griva. This sikhara is topped  with a kalasa and finial. The inner cell, garbhagriha, is a square of 12 feet sides and 11 feet high. There is a somaskanda panel at the back wall of this cell, while two similar panels are there in the porch of the temple. The enshrined Shivalinga is of typical Rajasimha style, made of black basalt stone with multi-faceted sides, sixteen in this case, and slightly fluted at the top such as to form the crown above the top. The upper part of the linga is broken. The total height of the linga would have been six feet out of this one feet is buried in the ground to fit in the hole to support the vertical shaft. The garbhagriha is preceded by a ardha-mandapa, in which south wall is sculpted Brahma and north wall is depicting Vishnu. On outer northern wall of the sanctum, we find two sculptures of interest, Shiva as Tripurantaka and Durga. There is an open circumambulatory path around this shrine. Many of the sculptures on the external walls are in much ruined condition.

The middle shrine, without any tower, is sandwiched in between small and large Shiva temples. This is a rectangular shrine to enshrine Anantasayana (Sleeping posture of Vishnu over Sesha) image of Vishnu. This image is very mush ruined and the attributes in his hands are beyond recognition. There is an inscription in Pallava Grantha script on the  lintel of this shrine which suggests that this is perhaps the earliest shrine of the complex. The smaller Shiva temple is sculpted in similar design as that of large temple or Dharmaraja Ratha. The tower is stepped pyramidal in design, topped with an octagonal sikhara mounted on a circular griha. The sikhara is topped with a kalasa and finial above that. The cell has a somaskanda panel at the back wall. There would have been a mandapa in front of this temple, however this is missing now.

In recent excavations, a compound is found near the main shrine, within the complex. This compound has a circular shrine in the middle which has rampant lions on its pilasters. It has a circular sikhara. Inside is shown a figure of Ganesha. There would have been a kalasa above this sikhara however it is missing now. Another interesting discovery is an image of Varaha (boar) placed within this compound. We have seen similar Varaha images at Khajuraho and Eran, however those images are shown representing varaha coming out of the ocean carrying Bhu-devi. This Varaha at Mahabalipuram is in different posture, it is shown with its head down and pressing its hind legs with force such as to plunge into the ocean. There is no figure of Bhu-devi hence it is assumed that the scene represented here is of the start of spectacle of getting Bhu-devi from the depths of the ocean. As the shrine and the Varaha are constructed at the base of the compound, hence when it would have been filled with water, this would have presented a marvellous fascinating scene of Varaha submerged in waters to get Bhu-devi from its depths.

Within the compound of this temple, is a monolith sculpture of a lion. This is partly  carved out of rock and partly sculpted. This majestic lion is seated majestically with a hole in its torso. This hole in its torso is perhaps a representation of a cave shrine. Inside the back of the hole, is carved a miniature image of Durga in Mahishasurmardini posture. Creation of this space near the heart of the lion also represents that concept of most loved person residing with your heart, viewers can recall a famous story from Ramayana where Hanuman opened up his heart to shown that Rama with Sita live within his heart. In similar fashion, for lion, being the mount of goddess Durga, it is quite appropriate to carve her image near its heart. A female guardian is shown sitting on lions leg, carrying a bow.

Hundreds of sculptures are found in this vicinity and are displayed as an open air  museum. There are few inscriptions found in this temple. Some of those are listed below.
1. On the lintel of Vishnu shrine is an inscription which refers this temple as Narapatisimha Pallava Vishnu Griha. Narapatisimha is a title of Rajasimha, as seen among his list of titles from Kailasanatha Temple at Kanchi.
2. On the plinth of two balipithas excavated in the courtyard of this temple, there is found a damaged Sanskrit record of six verses written in Pallava Grantha script. This inscription praises Pallava King Atyantakama, a title of Rajasimha.
3. In the slab of smaller Shiva temple, which is now inserted in the base, are found two inscriptions of Rajaraja Chola I dated in his twenty-fifth year of reign, 1010 CE. The names of the three temples mentioned in these inscriptions are,Kshatriyasimha Pallaveshvara-griham, Rajasimha Pallaveshvara-griham and Pllikondaruliya-devar. The whole complex is referred as Jalashayana. These inscriptions also indicates that the Vishnu shrine was executed first among all the shrines.

We now move on to the last leg of the trip to Mahabalipuram, the Tiger Cave.

The Pancha Pandava Cave is connected to the Arjuna’s penance and it is a raw and unfinished structure in the inside. However, it is beautifully carved on the outside and lions are carved on the pillars. There is one interesting piece here. One of the pillars is not carved as you see in the picture.

This is the biggest excavation at the site measure 50 feet in length. A cell is cut in the centre but is attached to the back. Behind the front pillars, there is another row of pillars which divide the Cave in five sections but all the sections are unfinished. There is not much to see in this cave and i move ahead to see the Krishna’s Butterball.

This is a very interesting stone. Seen from a distance, it looks as if it is ready to roll down. However, it has a base which prevents from doing so and that we know only when we go nearer it. Otherwise, it not of much interest in terms of art. The area near this stone is very rocky with huge boulders and vegetation. We need to walk on these rocks, pass through a narrow opening between two boulders and reach the Trimurthi Cave Temple.

This cave temple is a little different from the others as it does not have a pillared hall. The artists have excavated the cells directly into the cave face which is almost vertical. This is a triple celled shrine dedicated to the Trinity, Brahma, Vishnu and Shiva. The central prominent cell is projected little forward, housing a Shiva image, which suggests that the cave was dedicated to Shiva as the main deity among the trinity. All the cells are flanked with dwarpalas on either sides.

The first cell i said to be that of Brahma. However, the sculpture inside has only one head and is wearing a cross-band on its chest, which cannot be Brahma. Some historians believe it to be of Subramanya. There is an old inscription on the floor of this cell mentioning the name Mamalla, suggesting the name of Narasimhavarman I,  in whose time this cave was commissioned.

There are two goblins on the top, on either side of Subramanya, one on left is holding a flag-post while having a pustaka in his arm-pit while that on right is shown holding a bowl of offerings. There are two devotees sitting on ground, with one hand raised in adoration and another placed on their chests.

The central shrine is a little projected to the front compared to the others. Inside the cell is an image of Shiva in a standing posture. He is shown with four arms, in his upper hand he is holding a axe and rosary of beads and his one lower hand is in abhaya mudra and another resting on his thigh. Two goblins on top are shown with one hand raised in adoration and another on their bent knees. Two devotes are  shown below, one squatting on the ground and holding a flower in one hand and other hand on his knee, while the other one is shown holding flowers in both the hands in anjali mudra. There is a lingam inserted into the base, however this is a later addition.

The rightmost cell is dedicated to Vishnu. The dvarpalas are shown in side-views, wearing kirita mukutas and yajnopavita. Inside the cell is an image of Vishnu, in standing posture. He is shown with four hands, in upper hands holding a sankha and chakra while one lower hand is in abhaya and another is resting on his thigh. Two goblins are shown on top with one hand raised in adoration. Below are shown two devotees, bent in similar fashion in adoration to the Lord.

There is a niche on southern most part of the rock where an image of Durga is carved. Durga is shown standing over a buffalo-head, representing demon Mahishasura. She is shown with eight hands, in her right hands she holds chakra (discus), khadga (sword) and ghanta (bell) while in her left hands she holds shankha (conch), dhanush(bow) and khetka (shield). Her remaining one left hand is in abhaya mudra and one right hand is on her thigh.

There is one more small temple near this Mantapa which is dedicated to Lord Ganesha. The architecture of this temple is good on its top it has a small sanctum with small pillars on its front end.  Lions are carved on the pillars. I then move on to the famous Varaha Mantapa.

I have visited many temples and had seen many pieces of art, but this stands apart of all. Considering the fact that it is carved on one side of massive stone and has so much detail within it, i say it is one of the most unique and beautiful bas reliefs in India.

This 90 feet by 30 feet bas relief showcases the best of the Pallava architecture and has never been implemented before and after ever in the history of Indian architecture. Lets see this masterpiece in detail.

This bas relief faces east and has an enclosing tank measuring 85 feet by 30.5 feet, in front of it. There are nearly 150 different figures on this panel. Various small themes are depicted in those figures, however the main theme seems to be on the centre of the panel where a life size figure of Shiva is shown standing and an ascetic is shown, standing on one feet,  next to him. This central theme of the panel is a point of controversy that what it represent. There are only two theories proposed, one that it represent Arjuna’s penance to acquire Pashupata from Shiva, another that it represents Bhagiratha’s penance to Shiva in order to bring Ganga from heaven to earth. Now we will talk about the notable parts.

There are numerous figures on this bas relief which talk about the central theme. However, there are numerous others which are just spectator. For example, there are a couple of geese, right next to Arjuna which are moving away from him. Also there are other figures of interest like that of a Gana of Shiva shown in the above picture where a lion’s head is carved on his belly. Also there is a picture of a lion with its tail formed as numerical “8” as you can see in the picture here. Then you have the cat holding its hands up like Arjuna in the top. The cat is shown with erect ears and raised eye-brows, watching the happenings neaby very carefully. Near the cat, are the life size elephants which are a marvellous and beautiful creation on this monument.  The male is followed by the female elephant and there are three babies under the male and one on its side. This scene perhaps depicts an elephant herd who is going to drink water from the river. In the middle of the bas relief, there are Nagas which stand in a respectable posture.

As you see in the picture beside, we see a temple housing a small statue of Vishnu. Some scholars suggested that the small size of this image in comparison with life-size image of Shivashows the subordinate status of Vishnu. However I think that this is not correct as during those times, 6th century AD, the separation between Vaishnava and Shiva was not very distinct. The temple is very simple in architectural style, consisting of a cell topped with square curvilinear dome like tower, which  looks similar to Draupadi Ratha roof style. However instead of having a pointed end like Draupadi Ratha, this tower is flat on top which is topped with stupid. On corners we see flower creeper arrangement while in middle of the edge is shown a kudu with a shrine inside.  Kudus with humans faces are seen on the cornice. Above the cornice we see another storey of the temple. The base of that storey has lion motifs on corners and middle of the side.

There is one very interesting piece of sculpture which does not belong to the bas relief but has been at the very same location for centuries. It is the picture that you see here, of two monkeys one cleaning the other’s head. Even though this piece of architecture is part of the Arjuna’s penance, it stands funnily noticeable.

The Un-finished Arjuna’s penance:

At a little distance from the Arjuna’s Penance, there is another bas relief which is of a similar theme as the Arjuna’s penance and somehow it is not completed. It cannot be proved whether this unfinished piece is a way to cover the one that is already there. The part of rock on which this scene is carved is detached from the other part of the rock and is protruding forward.

The Arjuna’s penance is undoubtedly one of the best works of the Pallava art and architecture. One can spend hours in exploring this sculpture. I spent for more than half an hour here and move on to the Pancha Pandava Cave.

In India, generally temples are named after the deity that is worshipped in the temple. Such a exceptional example of a temple this is, it is named after the master sculptor who carved the extraordinarily beautiful pieces of art.

Ramappa temple is simply a delight at any angle. Even the smallest of the designs is carved very beautifully. Some of the sculptures are so carefully carved, its still showers the same glow as it was 800 years ago.

This temple was built by Racherla Rudra, a general of Ganapati Deva. According to a contemporary record, this temple was built in 1213 A.D. The path to approach the temple is itself is extremely pleasant with tall trees on either side of the road which gives the much needed shade during the afternoons. There is a think sheet of grass on the open land on the other side of the tress on either side.

The path that the tourists take now, clearly is not the original entrance of the temple complex as it leads to the side of the temple and the front of the temple is filled with think thorny bushes and is not approachable. One need to bend a little  and pass under a stone boulder to enter the temple complex. On the first glimpse, we see that the wear and tear of 800 years have shown its marks on it. The top of the temple is worn out.

The temple stands on a raised platform with the Garbhagriha, Antarala and the Mahamantapa with lateral porched entrances on three sides. The main entrance faces east. On one side of the temple, we see an inscription in Kannada language which talks about the sculptor Ramappa and the time when this temple was commissioned. Once we see the outer portion of the temple closely, we will realise that this is no ordinary one. On the beam, are idols in black stone of horses and lions. The idols clearly are attached to the main temple, but the expression on the animals is also seen clearly.

The floor of the temple is not plain. It has moved up and down due to earthquakes in the past centuries and the result is clearly visible. The walls lean over to one side. The inside of the temple is wonderful with several one of their kind pieces. There is one pillar where the stone is bent as if a metal is bent after being hit by a heavy object and it has deformed.  There are other sculptures of three dancers  whose bodies are connected and have just four legs. Whichever dancer you see, will appear normal with that legs. There are carvings on stone so intricate, that a thin piece of straw passes through them.

The Garbhagriha contains a black basalt Linga installed on a high pedestal. Inside over the central ankana, one finds a magnificent display of sculptures depicting scenes from Ramayana, Siva Purana and other mythological narratives. On the  walls at the entrance of the Garbhagriha are sculptures of various dance forms. Some of the sculptures are broken over the years. Once unique piece of art is the round series of sculptures in the long wall panels. It depicts various musical instruments being played.

The striking peculiarity of the construction lies in the arrangement of bracket figures. Above the Kakshasana level, decorated are slender graceful Madanikas, Naginis etc. in different poses. They are carved on black stone with very minute  carvings and intricate designs. The entire thing will have been sculpted out of a single stone and it would have been extremely difficult making that very thin as this.

Also carved, are numerous elephants and designs all round the temple outer wall. There are also some sections where Jain sculptures are carved on the temple which is a proof that Jainism is prevalent during that age. Once simple example is the Jain temple in Kolanupaka (40 kms from Ramappa Temple) constructed during the same time.

The other units within the prakara are an imposing Nandi Mandapa, Kameswara and Kateswara shrines. The Kameswara Temple is in total ruins and there is no guarantee how long will the structure be intact. The outer part of the temple is of brick colour which shines in the evening sun. The area which encloses the inner sanctum is carved with extremely beautiful carvings from the outside. The Nandi in this temple is fairly big with extremely beautiful design carved on it.

We spent around 2 hours covering every corner of the temple and by the time we completed it, it was almost sunset. We still had time for our return train to Hyderabad. We went back to Warangal, had a nice dinner. We came back to Hyderabad with nice memories of the very beautiful Warangal  - A Glorious Kingdom that was…

From the Bhadrakali temple, we reached Hanumakonda the capital city of the Kakatiya rulers and 8kms from Warangal town.

The Thousand Pillar temple is located in a place where we need to pass a narrow lane and reach till the end. Then there is a spacious location where we can find the  temple. On the first look, this seems like a very ordinary Mantapa. There was renovation going on when i visited this place.

This temple according to an inscription on a pillar here, was commissioned by  Rudra - I of the Kakatiya dynasty in 1163 AD. It measures over 31M x 25M stands on a platform raised to a height of 1M from the ground. It consists of three shrines of Siva, Vishnu and Surya arranged around a central hall with a Ranga Mantapa. In the forefront there is a large pillared Mantapa in variety of patterns. Between the Mantapa and the temple, there is a massive Nandi in a plain pavilion.

Once we enter the enclosure, we see the rectangular stepped temple tank. Out side the tank are various pieces of art that are strewn that were probably part of some construction which is now totally destroyed. Some of them are extremely beautiful with nice artistry.

We see the side of the temple when we enter the enclosure. Once we get to see the front of the temple, we will be able to appreciate its beauty. The Ranga Mantapa is spacious and with carved ceiling. The pillars are square at base and round on the top, a trade mark of a Siva Temple. The pillars are large and carved in sections which gives a magnificent look.

The temple is not that big. However, with the three sanctums inside, this looks big from outside. Why is this called the Thousand Pillar Temples then? The outer side of the temple is carved as pillars from place to place and there are a thousand of them all together. These pillars support the roof from the outside as show in this picture.  

The elegant carving at the richly decorated pillars under the spacious roof spanning the embellished side slabs is an achievement of unparalleled excellence of the architect.

There is art everywhere in this temple. Right from the inner sanctum and the Ranga Mantapa inside the temple to the outer pillars are all sculpted. A special mention need to be made of the Nandi in front of the temple. This is on an elevated plain pavilion but the way its carved gives it a lively look.  The  statue is carved like as if its decorated with an embroidered silk cloth.

We spent about an hour looking at each of the small sculptures and then had lunch. It was almost 4 in the evening. We then visited the most beautiful piece of art in Warangal, the Ramappa Temple.

To be continued…

Watching the entrance from a distance gives us an amazing feeling that we are about to move to the past. The entrance to the fort is huge with massive walls and bastions.  

The fort walls are constructed of massive granite stones and are still very intact. Earlier,  the fort walls were decorated with beautiful designs on brick and plaster but they all were destroyed during the invasions. A few plaques are remaining here and there. Thick bushes grew on the top of the wall and unreachable; Otherwise there is ample space for soldiers to mount them and keep and eye. The entrances to the fort used to be protected by stone doors then and we only see the opening without the doors now.  Three protective layers ensure the protection of what was once the inner precincts and centre of power.We passed through the walls to the Swayambhu Temple.

The Swayambhu temple is a very small temple which may seem like very insignificant but it was a very important place of worship then. There is a Siva Linga inside which is said to have emerged itself from the ground. There is a Nandi bull of 4 feet in height which sits elegantly in front of the temple. The bull is carved with nice designs on it depicting the craftsmanship of the era. There are various idols that are placed all around the temple. Some art works are also strewn here and there as you see in the picture. They are collected from other temples in the area which were razed down during the invasion.

Watching all these we feel nostalgic and reminds us of the good old days that the place had seen. It is quite sad that those masterpieces had to bear the brunt of human jealousy and greed.

To be continued…

The Hemakuta Hill: The Hemakuta hill has three doorways, one on the south-eastern side, one on the south and the other on the eastern side of the hill which leads to the street near the main temple of Hampi.

The granite slope of the Hemakuta Hill is dotted with shrines. The hill is encircled on its three sides by massive fortification. To the north is the enclosure wall of the Virupaksha Temple. More than thirty shrines stand on this hill. These vary from elaborate structure with multiple sanctums to rudimentary, single celled construction. Most of the temples have stepped pyramidal type of super structure.

Two of the temples have inscriptions. The triple Shiva temples on the east has an inscription recording that Vira Kampiladeva, son of Mummadi Singeya Nayaka, built the Sivalaya and installed in it three Lingas. Two inscriptions on the rock near the Prasanna Anjaneya temple dated 1398 AD. mention that Virupaksha Panditha and his brother constructed a temple of Virupaksha and dug a tank. Another inscription on a rock base records the setting of a lamp pillar in the temple of Jadeya Sankaradeva by Bukkave, the queen of Harihara II in the year 1397 AD. The group of temples on the Hemakuta hill form one of the earliest group of structures at Hampi and appear to date from about 9th to early 14th century AD. and all of them are clearly of Saiva origin. 

Once you reach the top of the Hemakuta hill, you will find temples here and there and some in total ruins.  Some of the temples have sunk partially in to the ground and the renovations to the temples are underway conducted by the Archaeological Survey of India to lift them up. There had been a lot of wear and tear to the temples because of they being one of the oldest in the kingdom.

There is a small pond on the hill formed by rain water and the water flows between a small divide between the huge rock. And three small Siva Lingas are carved on the floor of the rock on a single base.   

As mentioned earlier, there are multiple Siva shrines on the hill and the architecture of the temples is outstanding. You can identify a Siva temple very easily seeing the pillars of the temple and the super structure. The super structure will always be stepped pyramid type and the walls are carved with simple design. The pillars of a Siva temple are generally square blocks and multiple individual parts arranged one on the other to form a pillar. They are never carved out of a single stone. There will be round plates in between the square blocks. There will be ideally four pillars before the inner sanctum of a small shrine and the floor enclosing the four pillars will be carved round and a square will be carved on the ceiling will exquisite designs inside it. There will be a small elevated platform inside the inner sanctum where the idol or the Siva Linga would be sitting.

The Virupaksha Temple Complex is seen from the North side of the hill. You can have a bird’s eye view of the whole complex including all its Gopuras (doorways).  It is a nice view of the temple from the top of the hill.  From here we descend the hill though the east doorway of the Hemakuta Hill. As we descend, we proceed towards the Virupaksha Temple. There are small eateries where  they prepare nice tea. Tea is a refreshment from the strain one can have roaming on the hill. I spent some time sipping tea and updating my checklist (Aye! I had a checklist of all the places) and the proceeded to the temple of the main deity in Hampi, Virupaksha.

To be continued…