Durga Temple Aihole In Karnataka

                                                         Durga Temple Aihole

Durga Temple Aihole, the cradle of temple architecture in Karnataka built between the 7th – 8th centuries by the Chalukyas. Interestingly, this temple is not dedicated to the Goddess “Durga”. It takes the name after the word “Durg” or fortress which probably refers to a fort built close by . Almost all the monuments in this town are between 1200-1300 years old.  W e are celebrating Karnataka Rajyoutsav or the day when Karnataka as a state was formed today.  And what better way to celebrate than to visit a destination that is very ancient and filled with rich heritage.
"Aihole" is one among those places in India where the temples outnumber the houses. Aihole is considered as the "Cradle of Hindu Temple Architecture" or "Primary school for South Indian Temple Architecture". This place served as a capital to the Western Chalukyan rulers. It can be also linked to pre historic age, Buddhist and Jainism. There are around 140 temples in this region and the sad part is that almost all are ruined. There is a continuous effort on the part of the ASI to improve and restore the place. Aihole can also be considered a Laboratory, since there was experimentation with various architectural styles in which the temples were constructed .

This temple is the circumambulatory provision inside the temple (corridor around the shrine that continues to the Mandapa). The outer walls of the temple have intricately carved figures of Narasimha, Mahishasuramardini, Varaha, Vishnu, etc . Pierced windows are provided with pleasing patterns to allow light into the hall. The shikara seems to be influenced from the North Indian style of architecture

Mythological Origin:-

One of the most notable places in the history of art in the State, Ayyavole and Aryapura are the names mentioned in the inscriptions. Now the place is called as Aihole, Aivalli and Ayyhole.Mythologically, It is believed that Saint Parusharama after fulfilling his vow of avenging his father’s murder is said to have come down to the Malaprabha River and washed his blood stained hands and the Axe.The river water turned red due to the blood on the axe. A local lady saw the red water and shouted Ayyo, Hole! (Oh No, Blood!) and hence the name Aihole.
Agasthya is believed to have killed Vatapi’s brother, the giant Ilvala, here and thus the name ‘Ilavalapura’ according to another version.Another version said that The name “Aihole” came from the words Ayya hole, or city of scholars (in Sanskrit, Arya Pura).

The origin of the name is not the Durga goddess, but a fortress, maybe an enclosure which surrounded the temple or it was a part of fortification, probably of Maratha rulers.

It is dedicated to either Vishnu or Shiva as the representations of Vishnu are as numerous as those of Shiva. The most original feature of the temple is a peristyle delimiting an ambulatory around the temple itself and whose walls are covered with sculptures of different gods or goddesses.

Two staircases provide access to the porch at the entrance of the temple itself. The sober and square pillars are decorated with characters around the porch and the entrance to the peristyle. The parapet is carved with niches and small animals. The porch gives access to rooms with pillars ('mukhamantapa' and "sabhamantapa") to get into the heart of the shrine (garba griha).


Legend Of Durga Temple Aihole:-

Situated on the banks of River Nandini, amidst beautiful surroundings, is the spiritual energy center of South Kanara district. Goddess Durga is the loving and caring mother of the people of South Kanara. Surrounded by lush green fields and beautiful hills, Kateel has become a famous pilgrimage and a tourist center over the years.
The legend behind this place of worship goes something like this. A severe drought hit this place and it had not rained for years. There was absolutely no vegetation and Even Brahmins were forced to eat meat and the people were on the verge of giving up their principles. The great Sage Jabaali disturbed by this situation used his 'Jnana Drishti', and found out that Arunasura the demon who escaped from death and fled when Goddess Durga killed Shambasura had made the people stop all yagas and yajnas as a revenge against the 'devas', thus leading to drought and scarcity for years.
In the mean time Arunasura acquired a boon from Brahma that he would not suffer death from any two legged or four legged being or from any weapon. Brahma also powered him with Gayatri Mantra. After acquiring these powers, Arunasura defeated the devas and conquered heaven. The Devas prayed Goddess Durga for help.
One day Goddess appeared in Arunasura's garden as a beautiful woman. Seeing the lady, ArunasuraDurga Temple, Durga Temple tours, Visit Durga Temple of Karnataka, Temple tour of Durga Temple, Religious placeapproached her. The beautiful lady reminded him that she had killed Shambasura and from whom Arunasura had escaped death. Arunasura got angry and tries to kill the woman with sword. The Goddess suddenly turned into a stone. Arunasura slashed the stone with the sword, then a vast swarm of bees emerged from the stone and stung him.
Devotees and followers from all over the world come to Kateel every year in huge numbers to participate in Simhamaasa, Navarathri and other holy occasions. Several educational institutions are also run through the temple's trust. The temple's trust also encourages several forms of arts. Notable among them is the yakshagana dashavathara mela, which was started as an offering to the goddess. During dussera, navaratri and other annual celebrations several sacred rituals like, Chandika Havana, thula bhaara, Veda parayana, hari kathas etc are performed.

Architure  Durga Temple, Aihole:-

The Durga temple is an example of southern (Dravidian) architectural type, with a later northern type superstructure imposed upon it-an incongruity apparent from the fact that the superstructure is a square structure clumsily fitted over an apsidal cella. The temple stands on a high moulded upapitha (sub-base), apsidal on plan and carrying a peripheral row of columns on its edge that surround the moulded adhishthana and walls of an apsidal vimana and its front mandapa. Thus the colonnade forms a covered circumambulatory with a sloping roof. The open mandapa is continued forward on a base of smaller width. The peripheral pillars of the front mandapa and those at the forward end of the circumambulatory have large statuary on them. The adhishthana inside is again apsidal, moulded with all the components, and carries the apsidal wall enclosing the inner apsidal wall of the cella or garbha-griha and a closed maha-mandapa in front of it, with two linear rows of four columns in each row that divide it into a central nave and lateral aisles.

The central nave has a higher flat roof raised over a sort of clerestory in front of the cella-entrance, and two lateral aisles have sloping roofs, at a lesser height than the central roof. The aisles of the maha-mandapa are continuous on either side, with a closed inner circumambulatory between the inner or outer walls of the cella, which again has a sloping roof. The adhishthana of the apse is projected forward into the porch like front mandapa of a lesser width with four pillars in two rows.

The reliefs on the adhishthana and outer wall are cantoned by pilasters and enclose niches which are framed by shrine-fronts of all the patterns of northern and southern vimanas, kuta, sala, panjara, udgama, etc., and contain bold sculpture. The four recesses, two each between the three bays on the north and south sides and two more between the three bays round the apse-end, are provided with perforated windows. Over the inner wall of the cella perhaps rose the original apsidal griva and sikhara, as in the temples at Ter and Chejarla either with a wholly-solid core or supported by props inside.

The advanced features of the temple, the variety of evolved shrine-fronts displayed in its niches, the style of its sculpture, its diverse corbel-forms and the existence in it of a chute, water-spout and the gargoyle-like pranala-a late feature-would justify placing the temple in the eighth century. This is also indicated by an inscription of Chalukya Vikramaditya II (733-46) on the ruined gopura at the south-eastern part of the enclosing-wall. The name 'Durga' for the temple is misleading, since it was not dedicated to Durga, and is due to the fact that till the earlier part of the last century the temple formed part of a fortification (durga), probably of the Marathas.

Oblong and apsidal plan marks the structure of this Durga temple. This ensures that the pillared corridor that is found between the porch and the main shrine contains the main sanctum sanctorum and has enough space for the devotees to do a circumambulation ritual around the principal shrine. The pillars have tiny openings through which the apse gives an outward view.

As per the ancient architectural definitions of the Hindu religion, the style of this Durga temple is classified as “Gajaprastha”, meaning the backside of an elephant. This pattern is a little unusual for Hindu temples and it was believed that this style was an inspiration of architecture in Buddhist monasteries. However, it was later revealed that the Indian architecture had mentioned about this style years before the Buddhist style of architecture was formed. The Garba Griha or the main sanctum sanctorum has a huge tower which signaled the construction of future towers and vimanas.

Significance of the Durga Temple Aihole:-

The Durga Temple Aihole is one of the architectural wonders of Aihole. The Durga Temple Aihole is quadrilateral in shape. The contour of the temple exhibits the Gajaprasta style, that is, the backside of an elephant. Durga Temple Aihole is impressive with numerous pillar reliefs which exhibit the unique Chalukya architectural style. Also known as the fortress temple, the Durga Temple Aihole depicts a Buddhist chaitya and is adorned with exquisite carvings. One of the most beautiful sculptures of the Durga Temple Aihole is that of Goddess Durga.
    The seven headed serpent carved at the ceiling of the Durga Temple of Aihole is another impressive work by the artisans. All the walls of the Durga Temple are decorated with sculptures of Hindu gods and goddesses. The temple also comes with a porch and an entrance to the epistle. Through the porch you can enter the rooms of the temple. There are several rooms within the Durga Temple along with a Garba Griha. This is the main part of the shrine where the spirit of the shrine is located. There are two main pillars of the temple, namely, the Mukha Mantapa and the Sabha Mantapa.The elevated plinth, the high galleries and the moulded adisthana are the other characteristics of the Durga Temple. The fine sculptures of Lord Narashima, Goddess Chamundi and Lord Shiva are the other attractions of the Durga Temple.

Best Time to Visit:-

The climate in Aihole belongs to the tropical-dry type. It is different from other parts of the Karnataka. Summer and winter are the predominant seasons in Aihole. The district experiences reasonable amounts of rainfall between these two seasons. Though other districts experience rainfall all through the year, Aihole witnesses the same only during the monsoon season. The winter season that can be experienced in the months of October, November, December and January, are the best time to visit this place. During this time, the maximum and minimum temperatures in this area are 25 degrees Celsius and 18 degrees Celsius respectively.

Nearby Temples:-

There are almost 125 temples at Aihole, the ancient capital of the Chalukya dynasty. Temple architecture of Aihole can be divided into two phases; one is the 4th and 5th century and the other is the 12th century. Numerous temples were built during this time span and every temple is unique in itself. Artisans experimented with the styles and created gems out of rock.

 Some of the famous temples near the Durga Temple are:-

  Lad Khan Temple:-

 Dedicated to Lord Shiva, this is one of the oldest Hindu temples of India. Located to the south of the Durga Temple, this rock cut temple is exquisite with floral patterns and delicate lattice work on its floor and walls.
   
Ambigera Gudi Temple:-

 Situated just opposite to the Durga Temple, it is a complex of three temples. The Ambigera Gudi Temple is dedicated to Lord Surya and Lord Vishnu and exhibits a beautifully engraved lotus at its ceiling. This 10th century construction reflects the Nagara style of architecture with shikaras, mandapas and sanctums.
   
Mallikarjuna Temple:-

 Dedicated to Lord Shiva, this temple is located at the small town of Basaralu. Reflecting the Hoysala style of architecture, this shrine comes with a trikuta, which means three shrines are connected with a common hall. Built over a platform, this temple comes with a decorative pot, known as kalasa, a Hoysala crest, that is, the emblem of a Hoysala warrior and decorative walls.
  
 Chikki Temple:-

 This is a Jain temple built in 1204 AD. The temple pillars are engraved with Kannada inscriptions which narrate the era of Ratta King Kartaveerya IV and Sevuna Yadava Krishna.
   
Eniyar Temple:-

 A group of eight temples, this temple complex is located at the western outskirts of the Aihole village. While the first two temples do not have images, the third temple is dedicated to Lord Shiva. The other temples are adorned with the images of Gajalakshmi, Ganapati and Karthikeya.
   
Hucchimalli Temple:-

 One of the oldest temples of Aihole, the Hucchimalli Temple is dedicated to Lord Shiva. The temple comes with a large hall and engraved with beautiful works.
   
Jain temple, Meguti temple:-

 This Jain temple is located at a hilltop, just at 16 kms from Aihole. The temple is built with mortar and comes with a 16 columned porch and hall extensions.
   
Ravana Phadi rock-cut temple:-

 This is a sandstone temple of Aihole, dedicated to Lord Shiva. The temple houses a wonderful sculpture of Nandi, the Vahana (vehicle) of Lord Shiva. The temple also comes with numerous small pillars.

How To Reach:-

By Air :-

 Kateel is located about 5 kilometers from the Bajpe Bus stand. As such going to Bajpe, using the Kavoor- Marakada Route is the most convenient as the road is well maintained since it is also the access route to the Mangalore Airport.

By Rail :-

 The Nearest Railway station  is Bagalkot.

By Road :-

 Aihole is connected by road to: Pattadakal (17 kms), Badami (46 kms) Bangalore (438 kms). Further the winding roads amidst green hills and valleys make it a very pleasant and memorable experience. Once in Bajpe town, take the straight road leading north to go to kateel. There are service busses plying between Mangalore and Kateel at a frequency of about 10 busses an hour. Cost by Bus About Rs. 10-15/-

Keshava Temple at Somanathapura In Karnataka

                                              Keshava Temple at Somanathapura

Somanathapura is famous for the Chennakesava Temple built by Soma, a dandanayaka in 1268 CE under Hoysala king Narasimha III, when the Hoysalas were the major power in South India. The Keshava temple is one of the finest examples of Hoysala architecture and is in a very well preserved condition. The temple is in the care of the Archeological Survey of India as a protected heritage site and visitors are allowed only from 9:00AM to 5:30PM.

Located on the banks of Cauvery River, Chennakesava Temple was built in 1268 by Somnatha, a general of King Narasimha III. The temple stands on a raised platform like other Hoysala temples. The temple comprises three shrines and three wonderfully carved peaks with a common Mandapa. The three sanctums once housed beautifully carved idols of Keshava, Janardhana and Venugopala. Today, the idol of Lord Kesava is missing but the other two are still worshipped by the visitors.
The Somnathpur temple is famous for its elaborate and intricate sculptures. The temple is enclosed in a walled courtyard with a mandapa running along the wall. The temple is built on an elevated star shaped platform. At the temple, the outer walls of the main temple are decorated with a series of star-shaped folds and the entire surface is covered with carved stone plaques. The walls above the plinth are also carved with exquisite figures of gods and goddesses taken from the Hindu puranas and arranged in vertical panels.
The most characteristic feature of this temple is its 16 different ceilings, each depicting a different stage of a blooming plantain (banana flower). Small and large pieces of finely carved stone chips are set in complicated patterns. One of the main highlights of this temple is the central wall space. There are images of deities decorated with heavy jewellery, bangles on every arm, towering crowns and chunky anklets. The vimana over the sanctums have greatly carved images of gods.

The Kesava temple is a fantastic piece of art. It consists of three identical shrines built on a raised platform - with a common entrance chamber in an enclosed courtyard.
The main shrine is dedicated to Kesava; however there is no image of worship now. The other shrines are dedicated to Janardhana and Venugopala.
These shrines are only about 30 feet in height. Yet they are covered profusely with ornate sculpture of the highest order, as seen in the Hoysala temples of Belur and Halebidu, with themes from the Indian epics, nature and so on.
An open corridor runs around the circumambulatory path and it has sixty four cells, meant for housing images of divinities (as in the kailasanatha temple at Kanchipuram). These cells are now bereft of images.
The temple is regarded as perfect in symmetry with exquisite stone carvings. As it stands in the middle of a walled compound, the temple is an open verandah having 64 cells. It consists of carved pinnacles and a common Navranga that stands on a raised platform. The excellent architecture on this temple is symbolic of the master craftsmanship done by Mallitamma. The exterior walls of the temple are adorned with exquisite sculptures of Vishnu and there are images of 194 other idols as well. The Hindu mythological characters are sculpted on the walls of the temple. There are three splendidly carved sanctums that of the idol of Lord Keshava, Lord Janardhana and Lord Venugopala of which the idol of Lord Keshava is missing.

History Of Keshava Temple, Somanathapura :-

The Keshava Temple at Somanathapura was constructed by a commander of the Hoysala Army, Somanatha. This general had just established a small town here named after himself – Somanathapura. Obviously enjoying the favor of his overlord, the Hoysala King Narasimha III, he appealed to the king for permission and resources to undertake the project of building the magnificent temple. With the blessing of the king, the construction was started.
The construction of the temple was completed and consecrated in 1268 AD. There is an Old Kannada inscription on a stone slab in the temple which gives all these details.

Somnathpur is a small village in the Tarumakudalu Narasipur Taluk of the Karnataka district and is situated about 0.8 kilometre (half a mile) from the Kaveri river. It is about 32 kilometres (twenty miles) from Sirangapatnam. According to epigraphical records, Somnath (Soma), an officer under Narasimha III (A.D. 1254-1291), built the Kesava temple in A.D. 1268. The temple is situated in a courtyard measuring 65.53 by 53.95 metres (215 by 177 feet) the main structure is placed on a metre (three feet) high stone platform. It is a three-celled structure (Trikutachala), the main cell facing the cast and the other two facing the north and south; they are surmounted by three elegantly carved towers which are identical in design and execution.

Outer Wall:-

Temple of Somnathpur:-

On both sides of the entrance, there runs around the front hall a railed parapet (Jagati) and from the bottom upwards horizontal friezes of elephants, horsemen, scroll - work scenes from the Epics and the Puranas, turretted pillars, miniature erotic sculpture, and lions intervening between them, and a rail divided into panels by double columns with tiny figures, have enhanced the beauty of the temple. Above them are perforated stone windows (Jali); they are also beautifully decorated with filigree work and images. From the corners on both sides of the entrance, where the rail parapet ends, there begins a row of large images with different types of ornamental canopies. Just below these images there are six horizontal friezes the first four are identical with the railed parapet design but the fifth and sixth have a frieze of mythical beasts (Makaras) surmounted by' a row of swans (or peacocks).

Somnathpur Temple Wall OutSide:-

We can easily sum up the number of large images on the walls as one hundred and ninety-four. There are fifty-four in the south cell; in the corner between the west and north cells there are only fourteen figures, and there are fifty-four images round the north cell. The Brahmanical deities represented by the above images are Vishnu and his different incarnations (i.e., Narasimha, Varaha, Hayagriva, Venugopal and Parasurama), Brahma, Shiva, Ganapati, Indra-Indrani, Hara-Parvati, Manmatha, Surya, Garuda, Shakti, Mahishasura-mardini, Karttikeya, Lakshmi, Sarasvati and a Gandharva. Moreover, apart from the friezes of the Epics and the Puranas the portions running round the south cell presents scenes from the Ramayana; the west cell has scenes from the Bhagavata-Purana and the north has representatives Mahabharata stories.

Internal Arrangement:-

As the temple contains three cells, each cell consists of a Garbha-griha (Adytum) and a Sukhanasi (vestibule). On the chief cell (Garbha-griha), just opposite to the main entrance, there was a Vishnu (Keshava) image about 1 .52 meters (5 feet) high, but it has been stolen. As a result, it is absolutely a dead temple; nobody cares to offer puja (worship) here. However, the authorities have replaced the lost Vishnu image by another of the same size. The temple is now under the exclusive control of the Archaeological Survey of India.

Somnathpur Temple:-

The north cell has a beautiful image of Janardana, of about 1.88 meters (6 feet) height, and Venugopala (Krishna) of the same height breaks the monotony of the southern cell. With a great amount of ecstasy VenugopaIa is playing his flute before his rapt listeners, including men and animals. And this panel is really a magnificent specimen of medieval Indian art. Thus, judging from the figures here the lost image of Keshava (Krishna) must have been a piece of wonderful worksmanship. The lintels of both the Garbha-griha and the Sukhanasi doorways of all the cells are carefully decorated.
The chief cell of the Garbha-griha doorway depicts a seated figure of Vishnu at the top, an image of Lakshmi-Narayana in the centre and the ten incarnations of Vishnu at the bottom. As the base there is a tiny elephant over the Sukhanasi doorway, Paravasudeva and Keshava are also seen, apparently Vishnu as a Dvarapala (door-keeper) is on the jambs of both the doorways.

Temple of Somnathpur:-

The Navaranga (central hall) has six ceiling panels and the Mukha-mandapa (front hall) has nine. All of them are 0.91 meter (three feet) deep and are artistically executed with the plantain flower (Kadali-Pushpa) design; and formerly difficult colors were painted on them. Four bell-shaped pillars support the Navaraga and fourteen of them hold the Mukha-mandapa; they are all artistically-designed.
Like many other Hoysala temples, some names of the scupltors are engraved on the pedestals of different images.

They are Mallitamma (Malli), Baleya, Chaudeya, Bamaya, Masanitamma, Bharmaya, Nanjaya and Yalamasay. Thus, the sculptor Mallitamma played a very significant role in the decoration of the Keshave temple at Somnathpur. Most probably he was the artist mainly responsible for the magnificent work to be seen there. In A.D. 1249, he also worked in the Lakshmi-Narasinha temple at Nuggihalli in the Channarayapatna Taluk of Hassan district, and we necessarily must attach great historical value to three temples for their unique contribution to Indian plastic art. In this connection, we should discuss the role of the legendary sculptor, Jakanachari, who is believed to have constructed many temples of the Hoysalas. But no such name has been found in any temple of Karnataka. It may be a corruption of the Sanskrit word Dashinacharya, that is, a sculptor of the South school" and perhaps does not denote any particular artist. There is another possibility that he was the chief architect and sculptor of many Hoysala temples; and unlike an ordinary artist he did not like to inscribe his name on them.

Somnathpur Temple Hall:-

There are many temples and Jain-bastis which were embellished with same amount of skill. Among them Lakshmidevi, Kappe-Channigarah, Kirtinarayana, Trimurti, Kedareshvara, Harihara, Someshvara, and many others, are of great artistic value and they were built during the heyday of the Hoysalas. “Whether we look at these temples as disinterested historians or art critics or engineers interested in the details of their structure and beauty, one fundamental truth stands out for all time, that from faith springs devotion and from devotion the virtues of courage, patience, sacrifice and intelligence. For otherwise it is hard to explain the enormous amount of labour and skill that hosts of masons and sculptors poured for centuries into the construction of these exquisite temples. To modern generations, they have become a legend. But still many devotees of Hindu culture who seek inspiration and enlightenment from a knowledge of the past will not be disappointed by a pilgrimage to these centre’s of ancient art of Mysore.”

Deity and sculptures:-

The ceiling of hall is supported by lathe curved pillars. Between pillars, the ceiling is arched as well as intricately decorated. These decorations comprise multi-petalled lotuses, banana bud motifs depending on stepped ponds as well as ananta (snake) knots indicating eternity. Among the three shrines, one is dedicated to Keshava, however the idol is missing from the sanctum. Another two shrines accommodate idols of Janardhana and Venugopala (the three idols are different incarnation of Lord Vishnu). That is exactly a Vaishnava temple and you can find no representation of any types of Hindu God Shiva.
Many sculptures are usually of depictions of the prosperity of that period including members of royal family driving well decorated chariots, soldiers as well as commoners driving horses, camel drawn vehicles, dancers, musicians, hunters armed with bows & arrows and along with their dogs, and going for the hunt. You can find sculptures of palaces of the kings protected by armed guards, jewellery including pendants, bracelets, waistbands and necklaces as well as female with unique hair styles too.
The names of the many architects and sculptors are found from which it is clear of the fact that designers used to be both local as well as from outside the province. The well-known Ruvari Mallithamma, Masanithamma, Chameya, Rameya, Chaudeya as well as Nanjeya are accounted as locals whereas Pallavachari and Cholavachari are considered artists belonging to Tamil region.

Keshava Temple, Somanathapura – Facts:-

This Hoysala temple is stunningly beautiful. Unfortunately, this temple is no longer used as a place of worship because the idols here have been broken and the temple was desecrated by the invading armies of the Muslim Sultanate. But the beautiful temple still charms visitors and reminds people of the magnificent artistic and engineering achievements of the era.

How to Reach to Keshava Temple, Somanathapura:-

Somanathapura is 38 km from Mysore. You can get bus service from Mysore and Srirangapatna to Somanathapura. There is also a Railway Station in Somanathapura. You can visit this temple throughout the year, as there is no particular time.

By Air:-

 Bangalore International Airport

By Rail:-

 Maddur

By Road:-

 Somanathapura is well connected by road network.
One can reach Somanathpura from Mysore via T. Narasipura and Bannur
Somanathapura can be reached from Bangalore via Ramanagara, Channapattana, Maddur and Bannur.