Category: Great Temples of India

The Hanging Pillar of Lepakshi

by Leela Gopinath, posted in Great Temples of India

Lepakshi has been in the news recently , and so ; why not resume the India series with Lepakshi ? With the Ayodhya temple inauguration and the Prime Minister’s visit , Lepakshi has indeed come into focus . Till then , many of you may not have heard of this temple in the sleepy town of Lepakshi in the state of Telengana in India . A 16th century temple enriched with art and architecture of the Vijayanagar Empire has this as yet unexplained phenomenon of the hanging pillar.

The temple itself is dedicated to Lord Veerabhadra (fiery avatar of Lord Shiva) and has shrines dedicated to various Hindu Gods like Vishnu, Devi, Ganesha and Hanuman. Apart from religious attributes, the Lepakshi temple complex is considered an excellent art monument. This is because, most of the walls and ceilings at the temple are covered not only with sculptures, but murals depicting various scenes from Ramayana and Mahabharata.

Since the most intriguing and popular feature is it’s hanging pillar, let us first talk about that…

The hanging pillar

The hanging pillar is one of the pillars of the inner hall of the temple which does not rest on the floor. A clear gap is seen between the floor and the pillar and often people pass a cloth below the pillar to try it out.

The actual reason for this is still unclear and many theories have been put forward. They vary from anti gravity techniques known to the ancestors ,to magnetic causes, to the presence of some rod inside holding it up to the ceiling , to divine intervention ,to the balance of the artwork on the pillar.

The Hanging pillar

Trying to pass a cloth below the pillar

An English engineer is supposed to have tried moving this pillar when the other pillars started shaking and he had to abandon his efforts.

Shifting focus to the main temple….

Legend of Lepakshi Temple

Most Hindu temples are associated with legends and Lepakshi has been associated with the epic of Ramayana. When Ravana, the demon king abducted Sita and was on his way to Lanka with her, Jatayu, the eagle tried to stop him. Ravana attacked Jatayu and the injured Jatayu fell down . When Rama came along and saw the wounded Jatayu, he uttered the words”Le Pakshi” which translates to “rise up bird” and helped him achieve salvation . The word Lepakshi stuck to the place and today we have a huge statue of Jatayu on a rock here.

The temple dates back to 1583 during the reign of the Vijayanagar Empire. Two brothers, Viranna and Virupanna are believed to have built this temple in typical Vijayanagar architectural style. A large number of frescos adorn the ceilings of this temple; some of it faded and peeled off. This temple is designated a monument of national importance by the ASI (Archaeological survey of India) and is on the tentative UNESCO World Heriage Sites list.

Visiting Lepakshi

A 120 km drive from Bangalore on NH 44 and a left turn and then15 km on highway 544E takes one to this temple.

As one reaches the junction to turn off the highway there is a decorative arch with jatayu on the top and a small Nandi in front.

The Jatayu arch at the entrance to Lepakshi town

At Lepakshi, the first structure that one encounters, is a giant Nandi Statue. This is actually called the Basavanna temple.

Nandi (Bull)

The Nandi (Bull) is a monolithic granite bull in sitting posture, 10 mts in length and 6 mts in height . Considered the largest Nandi in India, it is depicted with short horns and decorative bells and ornaments around the neck. A lily pond adds to the beauty of this small temple .

Shiva temples usually have a Nandi statue looking at the sanctum and this Nandi looks at the giant Nagalinga statue located inside the main temple. This Nandi however has its head aloft at a slight angle which makes it unlike most Nandis where a submissive posture is the rule.

The Giant Nandi

The front view and the lily pond in the complex

A short walk down the road takes one to the main Lepakshi Temple.

The entire temple is built on top of a tortoise (kurma) shaped hill(saila) or Kurmasaila and has towering walls around. A giant banyan tree adorns the entrance and a board explaining the origin of the temple gives one a little perspective of the temple.

The board explaining the history and the outer walls

The main temple is laid out in three parts : the Natya Mantapa ,the Artha Mantapa and the sanctum or Anthrala.

The Natya Mantapa

Located inside the outer fortress wall, this hall has multiple pillars with sculptures of gods, goddesses, horses, lions, musicians and dancers.

The ornate Natya Mantapa

Pillars with beautiful sculptures

Two giant monolithic sculptures greet us inside the temple.

One is a monolithic Ganesha with a protective canopy with pillars and the other is the Nagashivalinga.

The Giant Ganesha

The shivalinga is made of a huge rock while the seven headed serpent or Naga is monolithic and appears to be protecting the linga.

Nagashivalinga (7 hooded serpent sheltering the Shivalinga)

Sita’s footprint

As one circumambulates along the outer walls, one comes across a giant footprint believed to be that of Sita.

Another image that strikes us are two red marks on the wall. Legend has it that Virupanna who built the temple used funds from the treasury without the approval of the king. He was ashamed to face the king and so he gorged out his own eyes and threw it which hit the wall. This spot has two red marks attributed to this incident.

Sita’s footprint and Virupanna’s eyes.

This then brings us to the unfinished Kalyana Mantapa.

After Virupanna punished himself , no further construction was undertaken ; leaving an incomplete Kalyana Mantap. However, the sculptures on the pillars of the Kalyana Mantap are beautiful and exude the art of the Vijayanagar era.

The unfinished Kalyana Mantap

The exquisite art work on the pillars of Kalyana Mantap

The Artha Mantapa

The innermost segment of the temple leading to the main sanctum is the Artha Mantap . The hall itself has multiple pillars decorated with sculptures and the ceiling has murals of various sizes but many of which have faded or have been damaged. The columns are located on an elevated plinth and have eaves overhanging in a curved fashion.

One of the frescos on the ceiling of the Artha Mantapa is supposed to be the largest one in Asia. The paintings depict the costumes of that period but due to age related fading, many of the features are not very clear.

Some pictures…

Sculptures on the pillars of the Artha Mantapa

The frescoes

The damaged ceiling and frescoes

The Garbha griha

The Artha Mantapa leads to the sanctum sanctorum or garbha griha where the shrine of Veerabhadra swamy is located. A small cave chamber where saint Agasthya lived when he installed the linga is also seen. The ceiling at the sanctum has the paintings of Virupanna and Virupaksha who constructed the temple.

A shrine dedicated to Durga, the goddess is located just outside the main shrine and has a huge mirror in front so that, one can see the reflection from far.

The side view of the main entrance and the cave chamber

The Giant Jatayu

As explained in the legend, Jatayu is intricately connected with Lepakshi . No wonder then that a huge Jatayu image is constructed on a rocky hillock close to the temple. It is called the Jatayu theme park. The giant Jatayu seems to be overlooking the whole town.

To reach the Jatayu, one has to climb up some steps on a rocky hillock.

Some pictures…

Jatayu park and the view of Lepakshi Temple from there

The giant eagle Jatayu

It was noon by the time we finished walking around the temple and the Jatayu park and we returned to the comfort of our hotel room .

Well, I hope I have kindled your desire to visit this temple and admire its art and architecture.

See you next week from an amazing waterfall of south India…till then,

do give me your feedback and comments….

Pallava glory…Mamallapuram

by Leela Gopinath, posted in Great Temples of India

After seeing the grandeur of the Cholas at Thanjavur and Pandyas at Madurai, let us now shift focus to the Pallavas. Mamallapuram (Mahabalipuram) near Chennai in Tamil Nadu has a complex of temples and monuments built by the Pallava King Narasimhavarman II. The complex has cave temples and monolithic chariots or Rathas and a Shore Temple built with granite blocks; all built in the 7th and 8th centuries. The complex has more than 40 ancient monuments and temples including the largest open air bas relief in the world.

Mamalla in Tamil means great wrestler and refers to the King Narasimhavarman I. This explains the name Mamallapuram.

It is now believed that this complex is part of a group of submerged temples along the coastline. The tsunami of 2004 that struck the Bay of Bengal coast exposed another granite temple in ruins and large structures on the sea bed about a kilometer offshore. This has also led to the inference that this temple was part of the Seven Pagodas described by early European travelers. The tsunami however did not do much damage to the shore temple itself.

History

What we know today as Mamallapuram was an ancient port probably referred to as Sopatma. It was a very active trading port and that is what brought the western traders here and the shape of these temples led them to be referred to as the Seven Pagodas. Various references to the area by western traders have been recorded from the 13th century onwards. The area came more into focus in the 19th and 20th centuries. It was after Independence that the preservation and restoration of many of these structures was undertaken. In 1984, the site was declared a UNESCO World heritage site. The monuments here have been broadly classified as Chariot shaped temples or Rathas, Mandapas or cave temples, rock reliefs, Structural temples like the Shore temple and excavations.

They are all under the ASI (Archeological survey of India) and are UNESCO World Heritage sites.

Architecture

Pancha Ratha Complex (Five Chariots)

These are monolithic rock cut temples in the shape of chariots or Rathas; initially attributed to Narasimhavarman I, and subsequently to Narasimhavarman II ; after the discovery of some inscriptions .

Named after the five Pandavas and Draupadi; they date back to the 7th and 8th centuries. Though they are grouped together by these popular names, they are neither true chariots nor are they dedicated to the Pandavas. They are temples dedicated to Shaivism, Vaishnavism and Shaktism; the three main stream Hindu cults.

The first one is named after Draupadi and has a roof like a thatched hut. The sanctum has the sculpture of Durga .The second one called Arjuna’s chariot is shaped like a Buddhist vihara . The sanctum here is empty but the walls have sculptures of Shiva and Vishnu. A large monolithic lion stands in front of this. The Bhima Ratha is the largest structure here. Large sculptures of lion, elephant and bull also adorn the complex.

These were never consecrated as temples as they were not completed.

The Pancha Rathas and monolithic lion

The Cave Temples or Mantapas

Mantapas are traditionally pillared halls or pavilions for people to gather socially or for ceremonies.

The cave temples at Mamallapuram were not completed and in depth analysis gives us an idea of how they were cut into the rock faces to create these pavilions and halls.

One of the main temples here is the Varaha Vishnu temple where Lord Vishnu is depicted in Varahavatara (like a boar) saving Bhumi(earth) from under the ocean.

Varaha Vishnu saving Bhumi devi

Gaja Lakshmi is another important depiction here where two elephants (Gaja) are seen sprinkling water on Goddess Durga.

Gajalakshmi with elephants

Mahishasuramardini cave has depictions of Goddess Durga destroying the demons.

The cave and the sculpture

Krishna Mantapa is another interesting cave temple here. Village life in Vrindavan is depicted here. Krishna holds the mountain Govardhana in his hand and protects the people. Krishna playing the flute, a cowherd milking the cow and such other legends are depicted here.

Krishna holding the mountain up and a cowherd milking the cow

There are many more such depictions here which need to be seen and enjoyed. One can enjoy it more if one is well versed in Hindu traditions and epics.

Arjuna’s Penance and Descent of the Ganga

This is the largest bas relief in the world measuring 29 mt X 13 mt and is a relief carved on two open air rock faces. The legendary Arjuna standing in penance and the descent of the river Ganges is depicted here. During special occasions, the river Ganges was shown flowing down from Shiva’s hair. This was achieved with a water tank on top of the relief. There are more than hundred figurines in this relief and many of them are life size.

Arjuna’s Penance ..the largest open air bas relief in the world

More details of the bas relief

The Shore Temple

This complex is close to the seashore and hence called Shore Temple.

There are three temples in the main Shore temple complex built on a 15 mt platform. Two of these are Shiva shrines where Shiva and Parvati along with their sons Vinayaka and Kartikeya are honored . The main temple has a pyramidal tower 18 mt high and faces the east so that the sun rays fall on the Shiva linga here. A Vishnu shrine lies in between the two Shiva shrines. This is again an example of both Shaivism and Vaishnavism coming together.

The temple and other monuments in the complex are excellent examples of Dravidian architecture. The roaring lions, a typical Pallava icon is seen on the pillars of this temple. Some of the sculptures have been damaged and some are missing. The compound wall of the temple is sculpted with Nandi (bull) and Varahas (boars).

The Shore Temple

Sculptures around the shore temple

Typical Pallava icon…the roaring lion pillars

Other rock monuments

Krishna’s Butterball

A gigantic rock seems to be resting precariously on a sloping rockface and is popularly called butter ball.

The precariously placed rock!!!

Butter Well

This is a deep excavation into the rocky surface which looks like a well.

The excavated well!!

Well, I have tried to put together the salient parts of the Mamallapuram complex. I hope it has given you a perspective of the architectural proficiency of the Pallava dynasty.

With this, the series on Great Temples of India will stop for some time. Continuous dose of art and architecture can get heady. So I move on to some natural wonders with my series on Alaskan Adventures.

Do give me your feedback and comments.

Goddess of Kodachadri

by Leela Gopinath, posted in Great Temples of India

The strange legend of Swayambu Jyothirlinga has always intrigued me. I am talking about Mookambika Temple at Kollur in Karnataka. We have been regularly visiting this temple since many years. In fact, at one point of time, it was an annual “must-do” pilgrimage. I am an ardent devotee of Devi and firmly believe that SHE has been guiding me through the ups and downs of life.

This temple in Karnataka, located 135 kms from Mangalore and 80 kms from Udupi in the Kodachadri Valley of the Western Ghats was a charming and serene retreat once upon a time. The Sowparnika river flowing beside temple, was an added attraction .But sadly, over the years, like in most other places, commercialisation has spoilt the serene charm that attracted me once upon a time…

The Legend :

The legend of the Goddess is intimately connected to the Kodachadri hills near Kollur. There was once a demon here called Kaumasura who wanted to become invincible and towards this end, he prayed ardently to Lord Shiva. The Goddess in all her wisdom was aware of the evil designs of the demon and she made him dumb (mooka). Due to this, the demon was unable to ask Shiva for his wish to be fulfilled. This infuriated him and he harassed a sage by name Kola Maharishi who also used to pray to Lord Shiva. The Maharishi prayed to the Goddess for help and she vanquished the demon. Lord Shiva also appeared in front of the Maharishi who then requested that Lord Shiva and Devi should be there forever. The Maharishi’s wish was granted and that is how the Swayambu Jyothirlinga came to be. Significantly, this linga has a golden line in the middle. The right half stands for the conscious principle of Shiva, Vishnu and Brahma. The left half represents creativity in the form of Lakshmi, Saraswati and Parvati. This linga is now worshipped as Moola Devi.

Another legend says that the Goddess appeared before Adi Sankara during his penance at Kodachadri. When he requested HER to come down to bless the common people, she agreed on one condition. SHE would follow Adi Sankara but at no time should he look back to check on HER. After some time, the sound of the Devi’s anklets were inaudible and Sankara reflexly looked back. The agreement was broken and Devi stopped there. That is the spot where the temple is located today at Kollur.

Though I used to wonder how the swayambu linga appeared, I learnt about this legend much later. Scientifically and objectively speaking, this is difficult to accept. And there in lies my intrigue!!

Adi Sankara

This temple is also linked to Adi Sankara. Even today there is a small shrine inside the temple called Sankara Peeta. It is believed that Sankaracharya meditated here and had a vision of Devi Mookambika . The four armed idol of Goddess Mookambika was installed by Adi Shankaracharya.

The Temple

The sanctum and the entrance to this temple are believed to be over 1200 years old. The parikrama and various other portions have been added subsequently. The temple was patronised by the several Hindu kings particularly the Bednore Rajas and many of the jewels adorning the Goddess were presented by them and the Vijayanagara kings. Photography is not allowed inside the temple and so, the images of various Gods sculpted on the pillars of the mantapa in front of the shrine remain just descriptions. Besides the main sanctum housing both the swayambhu lingam and the idol of the Goddess, shrines of Balamuri Ganapati, Veerabhadra swamy and the Sankara Peeta lie along the inner parikrama (circumambulatory path)

A panoramic view of the temple complex from an adjoining building

The entrance to the main shrine

A beautiful Deepa Sthambha ( lamp tower) adorns the front of the parikrama as you enter the temple complex. All the lamps on this tower are lit in the evening giving a very divine feel.

The lit Deepa Sthambha

The Saraswati Mantapa

As we enter the main temple, there is a small shrine to our left which is in the form of a stage. This is the Saraswati mantapa. Goddess Saraswati is the God of learning and also of the various arts like dance and music. Many artists give performances here as an offering to Goddess Saraswati. The first stage performances of students of dance are also conducted here. During the festival of Navratri; Vidyarambham (children are initiated into learning by holding their hands and making them write on rice) is performed here.

Vidyarambham

The Shiveli (Ceremonial Procession)

A smaller image of Goddess is taken in a ceremonial procession daily around the outer parikrama. Sometimes she is carried by one of the priests , at times in a palanquin and on special occasions on a chariot. These are all ceremonial rituals followed here.

The ceremonial procession

The Sowparnika River

This serene river that flows in front of the temple is as much a part of the temple as is the main shrine. Flowing down from the verdant forests of the Kodachadri hills, in the Western Ghats , it’s waters are enriched with the medicinal properties of the various plants that lie along it’s banks and a bath in this holy river is believed to relieve one of many diseases.

Sadly, the river today is polluted at various places and is a far cry from what she was a few decades ago!!

Sowparnika river

Olden times

During the early days of my visit to this temple, there were no hotels and lodges at Kollur like it is today. The priests of the temple would offer rooms in their house for us to stay and even the food was provided by them. Many of the conveniences we have today was a far cry then. But the serenity and peace used to fill us with devotion . Today, lot of hotels and commercial establishments have sprung up adding to the conveniences but the place has lost its old world charm!

The trek to Kodachadri

A visit to Mookambika temple is considered incomplete without a visit to Kodachadri.

As I said in my opening remarks, this temple and it’s legends have intrigued me for some reason. Even after several visits to the temple over the years, I had not been able to visit Kodachadri. Finally, we undertook this trek in 2018.

A jeep ride from the temple precincts takes one to the sarvagnya peetam (a small shrine) on the Kodachadri hill. That ride was one of its kind. A short distance on a normal tarred road and the driver took a turn on to a stone ridden path. There was no road and we were literally riding on some rocks and at places, the condition of the track had us call out to the Goddess from the bottom of our hearts. After this arduous drive of about an hour and a half, we reached the starting point of the trek.

One of the better parts of the road on the jeep ride

The trek itself was not as arduous as the ride. It was a mud road and we had to keep clear of stones and poky twigs from the bushes at places. After about an hour of this walk, the views of the valley below made us forget the difficulties of the trek.

Views of the valley from the Kodachadri hills

The trekkers and the destination at a distance on the hillock

Finally we could see the sarvagnya peetam and that instilled some more enthusiasm in us.

Sarvagnya peetam

Sarvagnya peetam

A small temple at the peak in Kodachadri where Adi Sankara meditated is called the Sarvagnya peetam. It was while meditating here that the Goddess appeared in front of Adi Sankara and they started their journey to the valley from here. Thus this temple has a special significance .

We offered prayers there and meditated for some time and started our return trek . Coming down can be more tricky at places as we tend to slip on the slopes. However, we managed to reach back and took the jeep back to Kollur.

After a couple of days of stay at Kollur we returned back feeling rejuvenated after this spiritual experience.

I am an ardent devotee of Devi but I must admit that all that is said in the legends is difficult to accept entirely. But faith and religion are always like that and so, I leave it to you to follow your own minds….

After two episodes dedicated to Devi, coinciding with the Navratri festival, we move on next week to the glory of the Pallava dynasty…

Meanwhile, do continue your feedback and comments on my blog….

Meenakshi Temple ; Abode of the Princess

by Leela Gopinath, posted in Great Temples of India

Meenakshi Amman as SHE is popularly known , was a princess who emerged out of the sacred fire, as a young child during the prayers by her parents to beget a child . SHE not only ruled over her father’s kingdom subsequently, but also captured several territories and finally met Lord Shiva at Kailash. So goes the legend of the Goddess, who presides over the temple city of Madurai in Tamil Nadu in south India. The association of Lord Vishnu in several legends associated with this Shaivite temple is one of its specialties. Lord Vishnu is considered to be the brother of Goddess Meenakshi.

History

The temple was built by Kulashekara Pandyan, a Pandya king during the 1st century and is believed to have been the central structure of the city ; which it continues to be even today. Plundered and looted by invaders like Malik Kafur in the 14th century, it was reduced to ruins and subsequently rebuilt by the Nayakars in the 16th and 17th centuries. The temple as we know it today is mainly the result of these revival efforts.

Structure

The temple occupies a large rectangular area of around 14 acres in central Madurai and is enclosed within huge walls . The entire structure is built like a mandala following the principles of loci and symmetry. Roads in the city radiate from the temple complex and ring roads form concentric circles around .

The presiding deities of the temple are Goddess Meenakshi ( Parvati) and Lord Sundareswarar (Lord Shiva) whose shrines lie parallelly in the innermost courtyard. Shrines to several Hindu Gods are also present .

The Gopurams

The most striking feature of the temple ; like most temples in south India ; are its towering majestic gopurams. A total of 14 gopurams decorate this complex with the tallest one rising to a height of 170 feet. This gopuram is curvilinear in shape .

The curvilinear Gopuram

Each of these gopurams have elaborate sculptures on them and are brightly coloured in various hues. The images on these gopurams are related to Hindu mythology. The outer gopurams are pyramidal ; serving as landmarks ; while the inner ones are smaller and adorn the gateways of the various shrines.

The pyramidal Gopuram

The multicoloured sculptures

The Shrines

Two east facing shrines house the presiding deities Goddess Meenakshi and Lord Sundareswarar. Goddess Meenakshi is depicted as a green stone image with a lotus in her hand on which sits a parrot. A metal copy of this image is kept outside the sanctum and is used for festive processions. The shrine of Lord Sundarewarar has a stone linga guarded by a hooded cobra. A metallic representation of the Lord in the form of feet embossed on a stool is kept near the sanctum .This is ceremoniously carried to the shrine of the Goddess every evening, so that both of them can symbolically spend the night together. In the morning the symbolic stool is brought back to HIS sanctum.

Several shrines dedicated to Ganesha, Murugan, Saraswati, Mahalakshmi and other Hindu Gods are located elsewhere in the complex.

The Porthamarai Kulam (Pond with golden lotus)

A large pond with a golden lotus in the center is used for pilgrims to bathe. The walls of the tank are painted in red stripes typically seen on temple walls of south India.

The Golden Lotus Pond

The Golden Lotus

Halls

Though there are multiple halls or Mantapams, the Thousand Pillar hall is the most famous. It contains 985 pillars , each of which has a sculpture on them.

The Thousand pillar hall

The elaborate sculptures on the pillars

The artistic ceiling

Just outside this is are the Musical pillars where each pillar produces a different note when struck.

The threshold of the temple has an interesting sculpture which caught my attention. Here it is…

The divine marriage depicted in sculpture…

Cultural Significance.

The presiding deities being Lord Sundareswarar and Goddess Meenakshi, it is a Shaivite shrine. But Lord Vishnu is considered her brother and this temple brings both these Hindu sects together. In addition; since Goddess Meenakshi represents Shakti or power, this temple thus puts together the three Hindu sects of Shaivism, Vaishnavism and Shaktism.

Festivals

The temple hosts multiple festivals throughout the year , but the most popular one is the “Meenakshi Thirukalyanam”, a festival in the month Chithirai (April) symbolising the marriage of Meenakshi and Sundareswarar. This festival lasts for 12 days and there is a procession where the divine couple are taken around in a chariot pulled by devotees. Vishnu symbolically gives his sister in marriage.

The decorated chariot

Navaratri festival is another important festival celebrated here with the temple complex illuminated with hundreds of lights and a large Golu (doll arrangement) in the hall.

It has been my attempt to bring out the salient features of this great temple. It can be described much more; but that may get into too much detail. Hence, I end with the statement…

The Divine can never be totally described …it has to be experienced.

Till I am back with some more interesting destinations, do give your feedback and comments…

Chola Splendour ; Brihadishvara Temple

by Leela Gopinath, posted in Great Temples of India

An outstanding example of Chola architecture, this temple dedicated to Lord Shiva is located in Thanjavur in Tamil Nadu. It is one of the biggest Hindu temples in India and is colloquially called Thanjai Periya Kovil (Thanjavur Big Temple). It was called “Dakshina Meru” comparing with Uttara Meru or Mt Kailas; the abode of Lord Shiva.

Built by the Chola Emperor Rajaraja I between 1003 and 1010 it is a designated UNESCO World Heritage site.

Looking back at history

Emperor Rajaraja I called the temple “Rajarajesvaram” meaning “temple of the God of Rajaraja”. Brihadishvara is a Sanskrit word meaning “Big Lord Siva”

The Chalukya and Pallava temple styles flourished from the fifth century onwards as evidenced by the Badami and Mamallapuram temples and similar monuments. The Chola dynasty flourished between 850 and 1280. It was during this period and specifically during the rule of Rajaraja I that this temple was built. It was specifically during this time that the huge ornate gopurams started adorning the temples.

The main temple with its gopurams are from the eleventh century while various additions and renovations took place subsequently . There were damages to the temple in various wars between the Muslim Sultans of Madurai and the Hindu rulers of Thanjavur. These were repaired and shrines of Murugan, Parvati, Nandi and Dakshinamurthy were added. The Thanjavur Maratha rulers took over and maintained the temple subsequently.

Structure

There are several sacred texts giving mythical accounts of the actual building of this temple. The Brihadeeswara Mahatmyam widely attributed to sage Veda Vyasa gives an account of 16 Chola rulers and the temples built by them.

The temple is built on a raised platform and is rectangular in shape with five distinct sections. The Sanctum with the main gopuram or tower called Vimana, the Nandi Mantapam, the Mukhamantapam and the Mahamantapam.

A large pillared and covered verandah surrounds this complex with a circumambulation path in between. This verandah is surrounded by two fortified walls outside. The outer one being higher and built by the French who used the temple as an arsenal.

Come along with me…let us enter the temple

The Maratha Gate

The first gate as we enter the temple complex, built during the Maratha reign and served as a wall of defence. A gopuram with delicate carvings adorns this gate.

The Maratha Gate

The Keralantaka Gate

Built to commemorate the victory of Rajaraja Chola I ,over the Cheras, this gate is highly decorated with carvings of Gods and Goddesses and is an ideal example of Chola architecture.

Keralantaka Gate

Under the second gate …

Rajaraja Gate

This is the third and final gate and is most ornate of all and marks the entrance to the innermost part of the temple complex. There are carvings at different levels on this gate and there are statues of two doorkeepers on either side of the entrance. Here too, there are carvings depicting various situations described in holy texts.

As you stand here, the Nandi is clearly visible inside the complex.

Rajarajan Gate ( note the two dwarapalakas)

Once you cross these three ornate gates with gopurams, you enter a courtyard with a huge Nandi ( Sacred Bull) and the Nandi Mantapam.

Nandi Mantapam is a raised platform with beautiful paintings on the ceiling and exquisitely carved pillars. A monolithic black Nandi weighing about 20 tons sits in the Nandi Mantapam looking towards the main deity. This Nandi is 16 ft long and 13 ft high.

The monolithic Nandi

The beautiful paintings on the ceiling of Nandi Mantapam

The main temple with gopuram or Vimana

Photography is not allowed in the main temple….

Nandi looks at the main deity inside the Sanctum, symbolic of Nandi guarding the temple.

The main deity is a huge Shiva Linga , 3.7 meters tall . This Linga is believed to house the powers of Brahma, Vishnu and Shiva. The Vimana or the main Gopuram (tower) is just above the sanctum. The space around the Linga and within the towering Vimana is believed to be permeated with the presence of Lord Shiva in subtlest form of space.

Only priests are allowed inside the main sanctum. The walls of the sanctum have beautiful paintings of the Chola period including that of Emperor Rajarajan I.

The exit from the main temple is through the side…

Exit from the main temple

From the pictures above, a fair idea of the beautiful carvings on the temple exteriors would have been obvious.

Most of the carvings and art work relate to various Hindu mythological characters and stories and feature various Gods and Goddesses.

Few more pictures to highlight the great art work on these walls…

The exquisite art work in stone….

The main Gopuram or Vimana is more than 200 ft high and built as 16 levels ; 13 of them tapering upwards. A huge dome or Kumbam measuring around 25 sq ft. sits on top of the tower and and weighs 80 tons. This Kumbam is also monolithic and how it was placed on top is still unclear.

The Vimana

The ornate Kumbam

The Mahamantapam and Mukhamantapam have shrines of eight deities symbolically guarding the eight directions. The walls of the mantapas have mural paintings and carvings mainly relating to Lord Shiva.

Murals on the walls

Stone Carvings

Music and Dance

From the time of the Cholas, the temple and its environs have been the arena of music and dance. Various inscriptions on the walls point to this. Elaborate rituals connected to dance and music have been described. Several endowments were bestowed on artists and many literary and musical compositions praising the deity were written here. The Chola rulers and the temple have long been credited with encouraging the growth of the art forms.

Mysterious facts about this masterpiece in stone

The whole temple is made of granite and the closest granite quarry was 50 kms away and so how all this stone was transported during those days is a mystery.

The design of the Vimana is such that it gives an illusion that it does not cast any shadow.

There were many underground passages through which the royalty moved around but now all those have been sealed.

The Nandi in front is monolithic.

Many inscriptions are found on the walls relating to details of administration of the temple.

Inscriptions

Well, one can never finish talking about such a masterpiece; but I leave it at that.

Hope you all enjoyed this visit to one of the greatest temples in India. See you next week with yet another such marvel. Till then, keep your comments flowing in.

Puri Jagannath Temple

by Leela Gopinath, posted in Great Temples of India

The Jagannath Temple at Puri in Odisha is one of the most revered Hindu temples in India. The main deity is Lord Jagannath, an incarnation of Lord Vishnu.

[Though I have had the opportunity to visit this temple complex, I have not taken any pictures. Photography is prohibited and even the outer areas are difficult to photograph as we have to leave the camera/phone outside far away.] The pictures that I am putting up are file pictures.

A lot of uncertainty exists on the actual building of this temple. It is believed that King Indradyumna built the main temple sometime before the 10th century and King Anantavarman of the Ganga dynasty rebuilt the remaining part of the complex. The temple is claimed to have been plundered multiple times by invaders.

The temple is one of the magnificent remnants of Kalinga architecture of India.

A small introduction on JAGANNATH

The term Jagannath literally means “Lord of the Universe”. He is worshipped by the Hindus in India and Bangladesh , along with his brother Balabhadra and sister Subhadra. In a larger context , the Hindus in India are either Vaishnavites ( followers of Lord Krishna/Vishnu) or Shaivites (followers of Lord Shiva). The Vaishnavites call Him an incarnation of Vishnu while for the Shaivites , He is a tantric form of Bhairava, a fierce manifestation of Lord Shiva.

Lord Jagannath

Structure

The temple complex lies inside a 20 ft. high fortified wall and the main temple is surrounded by another smaller fortified wall. The main tower under which the principal deities reside is built on a platform and is 214 ft. high. Other shrines within the complex have roofs and towers that rise up in step like fashion to the main tower.

The main tower dominates the skyline in the vicinity.

The towers of the temple

Inside the wall, the complex has four main sections. The Sanctum Sanctorum where the main deities reside , The Frontal Porch, The Nata Mantap or dancing hall and Bhog Mantap or offerings hall.

Neela Chakra

An eight spoked wheel called the Neela Chakra is mounted on the top of the main tower. This is made of eight metals and is considered sacrosanct. The wheel is more than11 ft high and is the most revered iconic symbol of Jagannath.

Neela Chakra

The flag hoisted on the Chakra is called Patita Pavana and is considered equivalent to the deities placed in the Sanctum Santorum. This flag flutters in the direction opposite to the wind and this is one of the peculiarities of this temple. A priest climbs up to the top( as tall as a 45 storey building) and changes the flag every day.

The Singhadwar (Lion Gate)

This is one of the main entrances to the temple and has two huge crouching lion statues giving it the name. This is the gate that faces east and on to the main road. A giant monolithic pillar called Aruna Sthamba stands tall in front of this gate. This pillar was originally in the Sun Temple at Konark and was relocated here. It has the statue of Aruna, the charioteer of the Sun God on top.

The Singhadwar with ArunaSthamba

The gates in the remaining three directions are named after the animals guarding the gate .

When one enters the temple through the Eastern gate, one passes through a series of steps before we reach the Sanctum Sanctorum.

Sanctum Sanctorum

The three siblings … Jagannath, Balabhadra and Subhadra are the main deities at the Sanctum. The idols are not of stone as in other temples but carved out of Neem trees. They sit on a raised bejewelled platform.

The sibling deities

The idol of Jagannath is actually a carved and decorated wooden stump with large round eyes and conspicuous with absence of limbs and neck and the face merging with the chest. He is painted black and this feature is similar to Lord Krishna . The “U” shaped mark on his forehead is typical of Vaishnavite traditions.

The idol of Balabhadra is depicted with a white face and Subhadra with yellow face. Both of them have oval eyes.

The idols are made of neem wood and replaced every 12 or 19 years; depending on the Hindu calendar when the year has two months of Ashadha.

Multiple small shrines

Inside the temple complex are multiple shrines dedicated to various Gods.

Architecture

The architecture of the towers at the temple is simply outstanding. The detailed artistic work and images carved in stone are really marvellous. Unfortunately no pictures are available to depict this. In fact I visited this temple soon after I had visited Angkor Wat and I was amazed at the architecture and complexity of design of this complex. Due to lack of pictures, the artistry is lost to the world unlike Konark or Angkor Wat where photography is allowed.

The Temple Kitchen

The temple kitchen is considered one of the largest in the world. Cooking is done in earthen pots using water drawn from wells. The food is sold to devotees in the Anand Bazar within the temple after offering to the Lord.

Rath Yatra

The most famous festival of Jagannath Temple at Puri is the Rath Yatra. It is this festival that has been instrumental in bringing this temple global recognition. In fact the word Jagannath is also supposed to have etymologically originated from the word “Juggernaut” signifying the movement of the huge chariot and the people along the streets.

Every year, this festival is celebrated in the month of Ashadha (June/July) and the deities are brought out of the temple in chariots in a procession on to the main road and travel for about 3 kilometres to the Gundicha temple. The deities stay there for seven days and then are ceremoniously brought back to the main temple in the same chariots.

The chariots are wheeled wooden structures built newly every year and they are pulled by the devotees. The Chariot of Jagannath is the biggest and is approximately 45 feet high. It takes months of work on the building and decoration of these chariots.

Visuals of the Annual Puri Rath Yatra

Rath Yatra is not a temple festival for the locals but an integral part of their lives. They celebrate it with much fanfare and the whole area gets a festive look at the time of the Rath Yatra.

Some amazing facts about this temple :

The sacred flag on top of the tower flutters in the opposite direction of the wind. This flag is changed manually every day by climbing the tower which is as high as a 45 storey building.

The idols are made of wood and carved by carpenters. They are replaced periodically and the old idols are buried. This is called Nabakalebara

The temple casts no shadow in any direction of the sun.

The Mahaprasad consists of 56 delicacies and is available for sale to devotees.

The food is cooked in earthen pots placed one above the other and the food in the top most pot gets cooked first.

Though located close to the sea, the sound of the waves stop as soon as you enter the temple.

Nothing flies over the tower of the temple.

The Neela Chakra appears to be facing the same way when viewd from any direction.

Many scientists and religious leaders have tried to investigate these strange phenomenon but no one has as yet got an answer.

Well, let us leave it to the Glory of Lord Jagannath

See you next week with some other great temples. Till then, do like, comment and give your feedback.

Konark, an ode to the Sun

by Leela Gopinath, posted in Great Temples of India

Poetry in stone dedicated to the Sun God; that’s a simplistic definition of the Sun Temple at Konark. Writing such a definition is so simple !! but building such a monument is definitely not !!! A visit to Konark will authenticate what I just said. So, come along with me on this virtual tour of this masterpiece in stone.

A brief history

The Sun temple at Konark was built by King Narasimhadeva of the Ganga dynasty in the 13th century in typical Kalinga architectural style. Located 35 kms. from Puri city in Odisha , along the shores of the Bay of Bengal, the temple was built as a giant chariot of the Sun. Many parts of this masterpiece is in ruins and the cause of destruction of the temple remains a mystery with natural disasters at one end of the spectrum and deliberate destruction by Muslim invaders in the 15th to 17th centuries at the other end.

The Architecture

Known originally as Surya Devalaya ,the main temple is in the form of a huge chariot with 24 wheels drawn by seven horses. In Hindu mythology the Sun God is seen riding across the sky from east to west on a chariot . That is what is depicted here in Kalinga architecture . Surya (Sun God) is seen flanked by Goddesses Usha and Prathyusha shooting arrows to dispel the darkness . If you felt this is the depth of the symbolism ; hold your breath….the 12 pairs of wheels represent the 12 months of the Hindu calendar. The conceptualisation and realisation of this symbolism will find very few parallels !

When viewed from front, during sunrise, the Chariot appears to emerge from the sea carrying the Sun….. more symbolism for you!

The intricate art work on the walls of the temple consist of various themes including scenes from contemporary life and erotic Kama scenes from the Kamashastra.

Any amount of description will not match the beauty of this stone marvel and so, let me just put up some pictures for you to decipher it….

Walking through the temple complex…

A stone plaque with the map of the temple complex guides the visitors at the entrance

A long neatly paved passage with well manicured lawns on either side leads one to the main temples. What one encounters first is the ruins of the Natya Mantap ( hall of dances ) with the main chariot behind it.

Standing in front of the Natya Mantap ruins with our guide

Right in front of the Natya Mandap is a unique sculpture. A lion on top of an elephant and a man below that. It signifies wealth, ego and pride crushing humanity.

The Natya Mantap stands on an intricately carved platform and the pillars forming the walls of the Mantap have delicately carved figurines similar to those found elsewhere in the complex. One can enter the Natya Mantap by climbing a flight of stairs.

View of the chariot standing on the Natya Mantap

Walking around the Natya Mantap we reach the Chariot .

In front of the Chariot

There was a pillar between the Natya Mantap and the Chariot which was known as the Aruna Stamba (Aruna Pillar) which has now been relocated to the Jagannath Temple at Puri. Aruna is considered the charioteer of Surya.

As we walk around the Chariot, the intricate patterns on the walls become clear. Some pictures…

A major part of the figurines depict musicians with various musical instruments and dancers in various poses…

The walls with reliefs depicting musicians and dancers

Apart from that, contemporary daily life is also depicted at many places….

Cooking on a choolah and pulling a chariot

There is a lot of emphasis on sexual life and the Kamashastra is also depicted by figurines on the walls including that of unnatural sex. This highlights the openness with which these were an accepted part of life in those times….

Kamashastra

Unnatural sex and punishment for infidelity

Wheels

The chariot wheel is one of the iconic images of this temple. The 24 wheels of the chariot are so intricately designed with emphasis on time that it seems like they were used as sundials at one point of time and also for knowing the seasons and months.

One of the iconic wheels

The 24 wheels are 12 feet in diameter and intricately carved. Many of the wheels are in different stages of ruin.

Designs on the wheels and the small beads representing different units of time

The Chariot was shown as drawn by seven horses and many of the horses have been destroyed. One survivor….

One of the surviving horses literally on a walker!!

Metal strips

Another very interesting aspect of the temple is that many of the parts are held together by metal clips. A closer look at the junctions shows this …..

A metal block holds the top stone and metal clips between the stones

Now, one of the reasons attributed to the temple destruction is this particular element in its construction. The ships passing by with their powerful magnets may have disturbed these metal clamps and clips leading to the ruin.

Depiction of the different phases of the day

As one circumambulates the temple, the image of the Sun God changes corresponding to the different times of the day. Take a look….

Sun God in the morning in blue granite and in the afternoon shaded with a crown

Sun God in the evening, appearing tired and riding a horse. Beheaded Sun God.

As one walks along, one realises the amount of destruction (natural or otherwise )that has taken place and the various restoration activities that are on.

The restoration work in progress.

Chhayadevi temple

At the back is the Chhayadevi temple which is roofless and in ruins

Chhayadevi Temple

The Monolithic lion

A monolithic Lion sculpture adorns the side of the chariot.

Monolithic Lion

In the evening, after sunset, the monuments get lit up and it presents another amazing sight…

The lit up Natyamantap entrance

A unique light and sound performance takes place here in the evenings after sunset.

It takes one through the history of the temple and also depicts various other historical events.

Glimpses from the show…..

Glimpses of the light and sound show

UNESCO World Heritage Site

The Konark Sun Temple is a proclaimed UNESCO World Heritage site and is being maintained so. Restoration work is on all over the temple and surrounding premises. The lawns and the environs are kept neat and clean and we find lot of evidence of restoration work going on…

Evidence of restoration work

Bisu Moharana

When we admire any artistic creation, we must always give credit to the creator. Well, the architect of this stone masterpiece is Bisu Moharana and in the later years, his son. So let me end this episode on The Sun Temple with reverence to the spirit of this man whose vision and conceptualisation has given us this marvel.

See you next week with more from Odisha. Till then do give your feedback and comments.