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.

Bhadravathi Sri Lakshmi Narasimha Temple

                                                           Lakshmi Narasimha Temple

Built by the Hoysala rulers in 13th century, the Lakshmi Narasimha Temple is highly acclaimed by the tourist for its architecture, sacredness and serenity. The architecture of the temple is superb and worth noting. You cannot see any tall and highly carved gopuram in this temple, as seen in many other temples, but the walls of the temple are beautifully designed. Lakshmi Narasimha Swami temple stands on a platform about 3 feet high. A flight of five small steps take you to the platform on which three steps lead you inside the temple.

A tall dwajasthambam stands in front of the temple outside in the compound wall. Besides this dwajasthambam there is a stone pillar on a small pedestal.
The temple that is located in the Old Town area of Bhadravathi is now maintained by the Archaeological Department of Karnataka State. Once you are in Bhadravathi, you can avail any local transport to reach to this temple. If you are in your car, then ask the locals to direct you to the temple.

This is a Trikutachala Temple, with 3 main deities inside the sanctum, the main god being Lakshmi Narasimha, and the other two, Venugopala and Purushottama. The architecture stands testimony to the artistic peaks it reached during the reign of Veera Narasimha's  father, the great Ballala II and grand father, Vishnuvardhana.
The town of Bhadravathi is mythologically described to have gotten formed when Lord Vishnu, taking the form of Varaha, rescued Bhudevi from under the sea, from the clutches of Hiranyaksha. When Varaha lifted the earth supported by his sharp tusks, the two trenches formed gave birth to the rivers Tunga and Bhadra. Also, the town of Bhadravathi was for long known as "Vankipura", named after the sage Vanki who had performed penance and had worshiped lord Lakshmi Narasimha in this region for a long time.
The temple is situated right at the middle of the old town, and is well maintained with daily puja happening with great fanfare, and regular local visitors to the temple have kept the premises in good condition.

Lakshmi Narasimha Temple Temple plan:-

According to art historian Gerard Foekema, being a triple vimana (cella or shrine) construction it qualifies as a trikuta, which less commonly exhibits a tower one each of the three shrines. The temple is built on a jagati (a platform that is about a meter high) which serves the purpose of pradakshinapatha (circumambulation) as the shrine has no such arrangement in Hoysala temples. The entrance to the temple is through an open pillared hall or porch (mukhamantapa) followed by a closed hall (mantapa or navaranga). The porch consists of an awning supported by lathe turned half pillars and parapets on either side. The inner wall of the shrine is square and plain where as the outer wall is stellate (star shaped) with numerous recesses and projections that are used for decorative relief. The closed central hall which has no windows connects to the three sanctum via a vestibule (called sukhanasi). The vestibule also as a tower (also called sukhanasi) which looks like a low protrusion of the main tower over the shrine. The outer wall of the vestibule is decorative but inconspicuous because it appears like a short continuation of the shrine outer wall. The ceiling of the closed hall is supported by lathe turned pillars.

With regards to outer wall decoration, what Hardy calls "two tier", Foekema designates as the "old style" with two sets of eves: one eaves runs around the temple where the superstructure meets the outer wall of the shrines, below which are miniature decorative towers on pilasters (called aedicula). Below this is a second eves followed by a panel of Hindu deities in relief and finally a set of moldings at the base. The design of the tower, according to art historian Percy Brown, is a characteristic feature to the Hoysala art. According to Brown, the stellate form of the base of the shrine with its projections and recesses is carried through the tower giving it a "fluted effect". The tower is divided into tiers with each tier diminishing in height and culminating in an umbrella like structure. Brown also claims the lathe turned pillars with four brackets above are a signature style of the 11th-13th century Chalukya-Hoysala architectural idiom.

Religious importance of this place:-

There is a deep religious importance, which you are likely to come across, whenever the main concern deals with bhadravathi laxmi narasimha temple, your ultimate destination to pay tribute to Lord Vishnu. The presiding deity as related to this temple is of Lord Narasimha, and he is mainly defined as the incarnation of Lord Vishnu. The architecture of this temple is mind boggling and with amazing cultural ethics of Hoysala rulers. It is not just worth admiring, but you will fall in love with each of its carving, from the first time you see. This temple is mainly known for its Nakshtra styled platform, which is hard to find, these days.

More about presiding deity:-

As mentioned earlier, this temple is known for its presiding deity of none other than an incarnated idol of Lord Vishnu, also known as Lord Narasimha. Apart from that, this temple is also known for having some other idols, as well, which are enough to enrich the value of this temple. Those idols are of Lord Purushottama, Lord Sri Krishna, Goddess Sharadamba and Lord Ganesha. These are additional four idols, which surround the main idol of lord Narasimha, the protector of mankind and slayer of evil demons and spirits.

More about the deity:-

The artistic design of this temple is done in such a manner, which makes the temple stands on Jagati. The outer area of this temple comprises of two tier decoration, and located inside is the idol of Lord Vishnu’s incarnation, Lord Narasimha. Just like the temple, the idol of Lord Vishnu was also stated to be 800 years old. There are some images of Ganesha, Purushottama, Sri Krishna and Sharadamba, which enhances the beauty of this place more.

More about other shrines:-

The temple itself is a mark of beautification, and there are no such other shrines, which can be seen, surrounding the location. There is a closed central hall, which can easily connect to three sanctum, which the help of a vestibule. This tower looks like low protrusion, as related to major tower.

Nature of worship for you:-

There are different natures of worships, which you are likely to come across, when the main concern lays with laxmi narasimha temple. However, before you even try to opt for this arena, wait no longer and get acquainted with bhadravathi laxmi narasimha temple timing first and start looking for the worshipping values, accordingly. Because of the divine anger form of Narasimha, high level of attention is always asked for. As per the legend unfolds; only lifelong celibates will have the golden opportunity to serve as priests to perform best daily puja. People are always asked to provide complete dedication, before performing such religious values.

Other festivities waiting for you:-

The main celebration that can be seen in this temple takes place during Navaratri service. There are several other programs, which surround the important cultural values of this place. No matter whatever kind of celebration you are likely to deal with, people are always asked to get acquainted with lifelong celibates or Brahmacarya to perform such religious rites. Apart from performing some daily pujas, you are also asked to get acquainted with some religious festivals, by this priest only. The idol of Narasimha is in a relaxed position, with the main aim to protect Prahlada.
There are different types of prayers, which are performed to pay tribute to Lord Narasimnha and those are Narasi?ha Pra?ama Prayer, The Narasi?ha Maha-Mantra, Kamasikha A??akam and Dasavatara Stotra, which was provided by Jayadeva. Some priests are also known for performing Divya Prabandham, as another important sloka to be recited during any festivity, for your use and demands.

Significance of the Lakshmi Narasimha  Temple:-

The Lakshmi Narasimha Temple of Bhadravathi is another example of magnificent Hoysala form of architecture. Some of the basic characteristics of the Lakshmi Narasimha Temple of Bhadravathi are:
    The statue of Lord Narasimha is in a relaxed position, protecting his devotee Parhlada.
    Lakshmi Narasimha  Temple comes in a triple form, known as Vimana. While one of the shrines is south facing, the other two are north and west facing. Soapstone has been used to construct the temple. If you touch the walls there is a soapy feeling and the stone is really tender. There is a flagpole, known as dwajasthambam just in front of the temple. The temple stands on a raised platform, known as jagati. About a metre high, this platform was used by devotees to circumvent (pradakshin) the temple. In the Hoysala form of architecture there is no specified path to paradakshin temple.The Lakshmi Narasimha Temple of Bhadravathi also has special pillars, known as lathe pillars along with parapets. This type of shiny black pillars defines the architectural style of 11th and 13th century Hoysala architecture. The lathe pillars not only enhance the beauty of the temple but also provide support to the ceiling of the large temple.
    The inner wall of the temple has been kept plain and simple while the exterior wall is star shaped, nakshatra shaped, providing enough space and scope for decoration. The external wall has two eves. The first eve consists of small towers which exhibit miniature decorations on pilasters, known as aedicule. The second set of eves is followed by a panel engraved with the images of deities and by a set of mouldings. The stellate tower is another special form of Hoysala architecture. The tower has been adorned with processes and recesses throughout the tower. It looks more like a flute from a distance. The tiers of the tower step by step diminish in height to form an umbrella. Some of the important sculptures of the Lakshmi Narasimha Temple of Bhadravathi are Lord Krishna playing flute and a man with serpent. The central hall of the temple is unique with now windows and is connected with the other sanctums. There is a slab in Kannada inscription at the temple which exhibits the construction details.

History Of Lakshmi Narasimha Temple:-

With time Vankipura came to be called Benkipura and Benki Pattana, meaning ‘City of Fire,’ because of the presence of huge iron ore deposits and the consequential establishment of several furnaces here that produced firearms for export. Historical records point to the Lakshminarasimha Temple as having been restored by Hoysala emperor Vishnuvardhana’s grandson Veeranarasimha in the 13th Century.
Legend has it that during Rama’s rule of Ayodhya, when he made rounds of his kingdom to ascertain the welfare of his people, he observed his shadow appeared in two forms: one as a vanara or monkey, and the other as a human. Puzzled by this unusual phenomenon, he sought the reason for this.
The twin shadows apparently were caused because he had been cursed by the vanara king Vaali whom he had killed, not face-to-face, but while hiding himself behind a tree in a confrontation that was really between Sugreeva and Vaali. This was contrary to the Kshatriya traditions. To be relieved of Vaali’s curse, Rama was asked to go to the sacred Tungabhadra river, pray to Lord Narasimha and install the Ishwara lingam.
The ornate Lakshminarasimha Temple in Bhadravathi may not display the grandeur and sculptural profusion associated with the Hoysala shrines at Belur, Halebid or Somanathapura, but it more than makes up for this by being replete with fascinating tales from mythology.
The Temple also finds mention in the Mahabharata. Following the battle of Kurukshetra, Arjuna asks Lord Krishna the means by which he could atone the sin of killing his own kith and kin in the war. Krishna suggests that the mere darshan of Lord Laksminarasimha at Vankipura would enable the atonement.
There are several unique features associated with the Temple which is also referred to as a swatantra or independent temple. Normally, when the design and layout of a city is planned, temples are located either on the outskirts where the installed deities serve as guardians of the city; or, in spaces found vacant after allocations have been made for various other facilities within the city.
Contrary to this norm, the Lakshminarasimha Temple in Bhadravathi was the first structure to be planned while the city’s layout was still being designed. The rest of the city came up around the Temple. It was also the first building in the city to be illuminated when electricity was first introduced.
The dhwajasthamba and garudasthamba greet us as we enter the courtyard. The Temple is built on a three feet-high star-shaped platform that appears to rest on the back of ashtadikgajas (eight elephants). This is symbolic of the fact that elephants were used to transport the stones from the quarry required for building the structure.
The exterior walls along the circumambulation path contain sculptures of deities, apsaras, musicians and dancers, some of which are defaced and damaged. However, the turrets, sculpted on the higher reaches of the wall, over a hundred of them, are intact and represent models of towers seen in various temples of India.
Three steps from the platform takes us to the interiors that comprises, from outside-in, the typical trio of chambers: the navaranga, sukhanasani and the garba griha. Unlike in several other Hoysala temples where the bhuvaneshwari or ceiling of the navaranga contain the sculptures of the main deity surrounded by the ashtadikpalakas or eight guards, this Temple has sculptures of the banana flower on its ceiling.

Lakshmi Narasimha Temple Timings:-

The temple is open throughout the year. There are no holidays and no such best time to visit.
    The temple opens early in the morning at 6.00 am to the visitors. The temple is closed at the afternoon.
    The temple again opens at 6.30 pm at evening and closes at 9 pm.

Festivals celebrated at Lakshmi Narasimha Temple:-

Besides the regular rituals, there are annual festivals celebrated here.

Twice in the year – during Uttarayana and Dakshinayana, it has been observed that the rays of the sun fall directly on Lord Narasimha in the sanctum sanctorum. The idol of Venugopalaswamy, flute in hand, surrounded by gopis, cows and cowherds, is dressed up as Mohini and bedecked with butter, especially on the occasion of Janmashtami.
Karnataka takes pride in housing only one of two shrines supposedly built for Purushottama in the whole of South India, the other being in Tamil Nadu. On Vaikunta Ekadashi, he is decked as Srinivasa and on all the nine days of Navaratri he is adorned in different ways.
On Durgashtami, he is dressed up as Lokanayaki and on Vijayadashami day he is attired like a king. Besides the three main shrines, there are smaller sanctums dedicated to Benne Vinayaka whose belly gets adorned with butter and to Sharadamba, the goddess who bestows knowledge and wisdom.
The Temple takes on grand festive hues for seven days during Buddha Purnima with rathothsava or the chariot festival when the Temple chariot is taken in aprocession.

Dussera:-

 During this festival, the iconic deity of Lord Narasimha is taken round the city in a grand procession. This festival takes place at the Hindu month of Ashvin, which is anytime between September and October.
   
Navaratri Festival:-

 This festival is celebrated with great pomp and glamour at the temple complex. This festival generally takes place couple of times in a year. Once anytime between March and April and another time between September and October.
   
Vaikunta Ekadasi:-

 This is the 11th day of the waxing moon in the Hindu month of Magh and an auspicious day for the Vaishnavaite cult. Worship attains a different dimension here, on this day. This festival generally takes place anytime between December and January.

How to Get to Lakshmi Narasimha Temple:-

Bhadravati is well connected by rail, road and air. It is located 255 km away from Bangalore, 19 km from Shimoga and 170 km from Hubli.
   
By Road:-

 From Bangalore: All KSRTC buses that start from Bangalore to Shimoga stop here at Bhadravati. The journey will be around six hours.From Shimoga: To reach Bhadravati from here, you can either book a taxi or take a KSRTC bus. The journey may not be that comfortable but will be economical.
   
By Rail:-

 The railway line from Birur-Bangalore passes through this city. Apart from this many trains from Bangalore to Shimoga also stop at Bhadravati. Another option would be to catch a train to Birur and switching over to a bus/ train heading to Bhadravati.
   
By Air:-

 The nearest airport to Bhadravati is Hubli, located at a distance of around 170 km. There are daily flights to Hubli from Bangalore and Belgaum. There is also an option of using the Mangalore airport which is 180km away.