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LORD
CHENNAKESAVA OF BELUR
UNIQUENESS
Belur, the first and final
word in the sculptured architectural monuments the standing specimen
of chisel work of non-pariel excellence, in Black Stone; the museum
exhibit-piece of unsurpassed splendour, in variety and delicacy; the
stone-cutters' Indradanus; the connoisseurs' Kalakshetra; the
aesthetes Maya sabha; the Hoyasalas' Kirthi Pataka; the commoners'
wonderland of myriad splendour; the pilgrims' mokshadwara; and the
tourists open-air museum is located in the Hassan district of
Karnataka state, renowned for a characteristic type of sublime
culture that won the appreciation of all and at all times at it.
This unparalleled architectural marvel that made the superlatives
bent in eternal veneration has many more plus points that threw a
halo round the goddess of sculpture; for it is this temple that is
treasuring up the vestiges of Vishnu Vardhan's spirit of
catholicity, besides the inexhaustible thirst for patronage of arts
and crafts; it is this shrine that came into existence under the
powerful influence of Sri Ramanuja, the peerless Visistadwaithamata
Pravakta; it is this temple's grandeur that made the foreign
travellers accept their inability of describing its ineffable
beauty; it is this temple's sculptors who threw a uncontestable
challenge to the posterity create at least a similar to this; it is
the archamurthi of this temple brought from elsewhere just at the
time of consecration ceremony; it is this temple town that gave
asylum to Srirangaraya, one of the Vijayanagara kings, and it is
this temple's inscriptions bear eloquent testimony to the
justifiable pride of the master sculptors in inscribing their names
together with a challenge.
Deemed as
unparalleled master-piece of inimitable grace, charm and symmetry in
stone; consecrated by the life-size archamurthis of splendorous
beauty; patronised by cultured monarchs of catholicity of outlook;
enriched the glory of the archives; eulogised by foreign travellers
in glowing phrases, acclaimed in Kavyas like Kavikathahara; visited
by millions of devout theists and expert aesthetes; this Belur
temple has been luring pilgrims and connoisseurs of art since the
twelfth century.
ANTIQUITY
Unlike the holy shrines, like
Kedarnath or Kanyakumari, this temple neither claims celestial
connections, nor visitation by poet-saints. The cause of its
emergence said to have links between Ramanuja of Visishtadwaita and
the builder Battideva of Hoyasala dynasty is not corroborated by
historical proof, yet there is evidence that Ramanuja's magnetic
influence forming the bedrock upon which this superb sculptural
piece is built. The story goes that the Hoyasalas, the rulers of
this region were staunch supporters of Jainism which came along with
Chandragupta Maurya, as early as in the 3rd Century BC and got
entrenched itself with headquarters at Sravanabelagola -the seat of
Bhadrabahu, the renowned teacher of Chandra Gupta. It spread rapidly
in this region under the patronage of powerful monarchs of Kadamba
dynasty first, valorous Gangas and Kongalvas later. Hoyasalas who
rose to power and held it for more than four centuries from tenth
century were Jains in the beginning. Their religious toleration was
worthy of emulation. The versatile Santala Devi, the queen -consort
of Bittideva, the illustrious Hoyasala king confessed- "Vishnu is
the God, of course, but I am fond of adoring Lord Jina -Vishnu
daivam, Jinanatham tanagendu aptam". What transpired between
Bittideva and Ramanuja, when they met first at Tonnur, near Melkote
records are silent, but the impact is tremendous, more on religion
than on anything else. Slowly the Jain patron found himself drifting
towards Vaishnavism. It was at this moment, he chanced to visit the
Mahalakshmi temple at Doddagaddavalli in Hassan district, built by a
merchant. Its architectural splendour exuding sculptural profusion
deliberately employed to playa predominant role touched his heart
and moved him most. And it became a turning point in his life. His
faith in Jainism shaken due to the contact of the Acharya slowly
solidified into dynamic Vaishnavism. Soon he launched the
construction programme on a scale gigantic, and vigour unheard
of.
ELEGANCE - ITS EMINENCE
Fortunately for
him there was enough talent available in Mahasilpis who could excel
the unexcelled Viswakarma or Maya sought his patronage at this time.
Master builder thus secured master sculptors. The State's exchequer
opened itself even before the boneless hand of Bittideva reached its
lid. Huge boulders of black granite reacting to the mood’s of the
luminaries of Silpa and Vastusastra, like Saraswathi Padmabhoja,
Ravurigiri Vajradanda, Sujana-Janamanoranjana, metamorphosed
themselves into bewitchingly exquisite, ravishingly erotic,
enchantingly tantalising female figures, resplendent in their
dazzling filigree jewels and started moving about with graceful
gaits ready to throw the beholders in hysterical outbursts and
rapturous ecstasies. The accompanying representations drawn from
flora and fauna matching the grace and charm recreated a world of
phantasy where animate turn into inanimate and. vice versa bringing
indelible fame to the builder and the built. Even, the celestial
sculptor Viswakarma, staring at their ethereal elegance, polish and
finish hastens home to work at home leisurely with his tools to make
similar, if not come nearer these master pieces, since the sculptors
have thrown a challenge leaving some blank place in prominent places
to make similar, or better products, if they can.
A
CHALLENGE PROVED UNCHALLENGED
As the entire temple
complex studded with main shrine along with mini-shrines feasted his
eyes, he decided to consecrate it with installation ceremony on a
grand scale, displaying his royalty and piety. Arrangements were
made Just right at the auspicious moment of installation, when
everyone was totally oblivious at the sight of the splendorous
beauty of the icon Vijayanarayana amidst the recitation of Vedic
hymns and instrumental music, there heard a resonant voice declaring
the unworthiness of the statue due to wrong selection of stone The
whole congregation staggering at it, turned their head to the
direction of the voice. It was a youth who came forward and
emphatically repeated the defect in the icon. When the master
sculptor Jankanachari meeting the challenge said that he would cut
off his arm, if proved. The young Dankanachari thereupon hit with a
hammer on the stomach of that august icon to prove his statement.
And lo! a frog jumped out from the cavity made. The Youth ascended
and the aged tottered Later it was understood that both were father
and son, long separated but now strongly united. When wonder ceased,
Bittideva sought ways to install the befitting archamurthi in the
temple. At the suggestion of the agamic pundits, one well-sculptured
idol found in the Bababuden hills was brought and installation
completed. The defective one too was installed in another temple
equally superb, and it now goes by the name of Kappe Chennigaraya -
Chennakesava with a frog inside. The priests point out the cavity,
if requested by the visiting public.
MOTHER LAKSHMI'S RAGE
Now remains the
story of the image installed in the main temple bought from
Bababuden Hills. With a view to enshrining the befitting image on
the auspicious occasion, the idol from the hills was brought in a
hurry, leaving the icon of Lakshmi there itself Late, the fault of
leaving Lakshmi there alone came to light. Attempts were made
forthwith to being the Lakshmi image, but were misfired. It seemed
Mother, Lakshmi found unrelented at the insult shown She would not
be lifted, tried however much. So, the Lord himself is making
periodical visits to console her. This is not an imaginary, or
cooked up story, but a regular occurrence with proof Here it is -It
is believed that a pair, of oversize leather, slippers placed in
front of the Principal deity -Kesava is meant for use in his trips
The cobblers living in Chennagiri and Basavapattana villages are
getting the massage, in dream from the Lord himself to place a new
pair whenever the old one is worn off. Forthwith, they make a new
pair and reach the garbhagriha with them to substitute, though they
are not allowed inside on normal days so they treat the deity as
their tutelary god and call him Chennappa endearingly. Would not
this wonder at its emptiness before that wondrous Almighty's act!
Another proof too corroborates this fact This holy shrine does not
have structural provision for separate deity on either side of the
Mula Virat, but there is a separate individual shrine for
Soumyanayaki, another name for Lakshmi to the South west of the main
temple. So, the Danakanacharya's episode gains credence, though it
lacks inscriptional proof.
THE
KESAVA TEMPLE
It is built in the centre of Velapura, the
sanskritized word for Belur, its original name, and is enclosed by a
high massive prakara with two entrances; the five-storeyed tower,
built in the Dravidian style is facing the east. The temple occupies
a vast area measuring 443 by 396 feet, and the main mandir is
perched on a three feet high plinth of 178 length by 158 width. It
was consecrated in 1117 AD, and is said to have been built under the
direct supervision of Dasoja of Balligame and his son Chavana along
with other illustrious sculptors like Kenchi Mallianna and
Chikka-Hampa. Inscriptions mention many more with their honorific
titles. This main mandir is encircled by a railed parapet called
Jagati consisting of eight different and distinct sculptured freezes
placed one above the other. A row of beautifully decorated elephants
form the first row; the second is the cornice of bead work with
heads of lions at intervals; the third is devoted to the scroll
work; the fourth is a repetition of the second row, but has
ornamental niches with images of nymph's and musicians carved in
bold relief. the fifth is a pilaster series with female figures in
between, the next comprises of eaves with bead work, adorned with
continuous creepers and figurines of humans and animals, and the top
most is a rail beautified with many sculptured images, placed in
niches surmounted by ornamental bands. Above this is seen the
perforated screens with eyes atop. The walls are adorned with as
many as 80 figures of divinities of the Hindu pantheon, like Vamana,
Varaha, Narasimha, Vishnu, Siva, Durga, Parvathi, Saraswathi,
Ganesha, Madana, Rati, Garuda, Brahma along with epic heroes, like
Arjuna, Ravana etc. As you go round seeing each piece you complete
the pradakshana of the temple as a matter of fact. A novelty!
The main
mandir dedicated to Chennakesava has three main entrances with door
frames and lintels adorned with perforated screens in attractive
designs, with pairs of artistic images at the jambs, like the lovely
images of Manmatha and Rati at the eastern door way; Hanuman and
Garuda at the southern, and alluring women bearing chauris at the
northern. It is through the eastern door facing the Mahadwara the
devotees enter, and the Hoyasala crest -the youth Sala fighting
Sarabha draws their attention first Next comes the charming bracket
figures on side pillars and stone windows ten on each side,
depicting memorable scenes from the epics. Indeed, the interior
opens up the treasure of sculptural marvel that detains both
commoners and art-critics for hours. Among them, the Narasimhapillar
is the star attraction, and one wonders with what kind of tools the
sculptors chiselled out such fantastic figures, beautified with a
wide variety of jewels that defy description. The pillar, a splendid
work of art enhances the aesthetic effect of the entire hall. The
Mohini pillar lying near the southern dwarapala is a representation
of celestial Mohini, an enchanting form of Lord Vishnu assumed
during the distribution of amritha to surasuras. It is remarkable
for its filigree work and stand next to the Narasimha pillar, whose
bewitching beauty peeping through miniature sculptural pieces
adorning from top to bottom transports the viewers to blissful
worlds.
Of them,
the Kadalekalu Basava the minute piece of a bull of the size of
Bengal gram feasts the eyes most and wrings veneration
involuntarily. Verily the master sculptors, aware of their
potentialities and superhuman artistry tried to fill every pore of
the physical frames with such ineffable charm, that they left
nothing to improve upon. It is perhaps for this, they deliberately
left a tiny blank space for the posterity to add its mightily mite,
if possible to excel or equal in the work executed. Marvellous! This
challenge seems a challenge non- pariel to eternity; for no
structure emerged so far to throw up a counter challenge. Another
awe-inspiring piece that embodies inexhaustible charm is the ceiling
adorning the main hall. It is a 19 inch square block of a superb
gallery of Indian iconography, displaying marvellous conception and
unsurpassed execution that beckons million looks. The
Kalyanamandapa, Suvarnamandapa and Balimandapa are marvellous later
additions, but done well.
THE
ARCHAMURTHI
Lord Chennakesava's black granite statue in
standing posture measures about six feet in height. It is installed
on a three foot high pedestal. Its loveliness emerging from the
sculptor's exquisite craftsmanship is beyond description. It was
originally called Vijayanarayana, one of the honorific titles of
Bittideva, the Hoyasala monarch but later came to be worshipped as
Chennakesava, an account of its extra ordinary charm that mesmerises
the beholders with a single sight. He reveals in four arms, bearing
the usual insignia of disc, conch, mace and lotus with an intricate
aureole, adding grace to the figure. The goddesses - Bhudevi and
Sridevi are seated on his either side and his mount Garuda just in
front on a pedestal. Offering prayers here, the visiting public move
to the shrine, lying left called Kappe Chennigaraya. It is a two-
cell shrine, housing Venugopala and Kesava. This is equally enticing
and the stone cutter's artistry adorns every inch here. There is
another shrine dedicated to Saumyanayaki built by Devi Santala, the
queen-consort. It is a temple with difference. Unlike the others
including the main mandir, it has Vimana-tower over garbhagriha,
which is invariably found in South Indian Temples. Though small
comparatively, its sculptural wealth in the form of images, like
Vishnu, Siva, Brahma, Parvathi Bairavi and Saraswathi deserves
attention and whole-hearted veneration. Along with these there are
some more shrines dedicated to Alwars, like Sri Ramanuja, Andal,
Vedantadesika and Manavalamamuni. The temple Pushkarini known as
Vasudevasaras is located to the north-east of the main
shrine.
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