NECTOR IN STONE

The archeological survey of India has in the 12th century identified Chennakeshava temple in Belur and Halebid in Hassan district, Karnataka as one of the distinguished monuments and is in the list of world heritage sites. Of the total 44 UNESCO world heritage sites in the country these have been the most celebrated ones as a tourist spot. Hoysaleshwara temple also spelled as Hoysaleswara, also referred simply as the Halebidu temple, is a 12th century Hindu temple dedicated to the God Shiva. It is the largest monument in Halebidu, a town in the state of Karnataka, India, and the former capital of the Hoysala Empire.

The temple was built on the banks of a large man made lake, and sponsored by King Vishnuvardhana of the Hoysala Empire. Its construction started around 1121 CE and was complete in 1160 CE. It is 30 kilometres from Hassan city and about 210 kilometres from Bengaluru.

During the early 14th century, Halebidu was twice sacked and plundered by the Muslim armies of the Delhi Sultanate from northern India, and the temple and the capital fell into a state of ruin and neglect. The Hoysaleswara temple is a Shaiva monument, yet reverentially includes many themes from Vaishnavism and Shaktism tradition of Hinduism, as well as images from Jainism. Belur-Halebid go together like twin cities, separated only by a short drive both were home to the Hoysala dynasty for three centuries (mid-11th to mid-14th century). Halebid and Belur tend to defy history. It is rare to find a place that appears so untouched by time.

Belur was the first capital city of the Hoysalas. The temple is one of the finest examples of Hoysala architecture. The Hoysala era is one that contributed enormously to the development of several creative fields as well as spiritual and humanistic thought. During their reign, the Hoysalas built more than 1500 temples all across their empire of which only a little over 100 survive today. Art historians recognize the exceptionally intricate sculptural artistry of the Chennakeshava temple at Belur and the Hoysaleshwara temple at Halebid to be among the masterpieces of South Asian art making the name of Hoysala synonymous with artistic achievement. It was built by king Vishnuvardhana in commemoration of his victory over the Cholas at Talakad in 1117 CE. Legend has it that it took 103 years to complete. Vishnuvardhana’s grandson Veera Ballala II completed the task.

Entering the complex, one is stunned by the vision directly ahead.The temple stands on a raised platform and looks like a carved casket made of wood polished to perfection. These sculptures are rich with religious and cultural iconography depicting gods and goddesses, wars and victories, dance and music, hunting, games, processions, dress, jewellery, daily life of people, scenes from the Ramayana, Mahabharata, and the Bhagavatham. The temple’s inside is dark, cool and quiet. Although pujas are performed through the day, most of the visitors are tourists. Inside the sanctum, the large image of the deity Chenna Kesava is profusely ornamented and has a benevolent smile. His consorts, Bhudevi and Sridevi, stand on either side of him. The temple has remained continuously worshipped since its establishment and remains until today as a site of pilgrimage for Vaishnavites. Shlokas resound in this cavernous space, the deity is awe inspiring, and intricate carvings hold your attention. Lord Keshava is certainly not lonely in this temple! The lord Chenna Kesava or beautiful Kesava must be a happy deity. His abode in Belur is one of the most gorgeous temples in India. Hundreds of devoted artisans worked for nearly a century to build him a home worthy of the Gods.

The Belur and Halebid temples are cut from the soft stone called chlorotic schist. The façade of the temple is filled with intricate sculptures and freezes with no portion left empty, fine detailing is evident in the intricately carved temple walls. The tradition of ivory and sandalwood handwork is reflected in the sculptures of these temples. Of special interest are the engineering techniques used in ‘assembling’ the temple, particularly the huge 8 band pillars with locking systems that used grid locks, interlocks and the pin and socket system! They were used for attaching separately carved panels onto the walls and ceilings, achieving a continuous and inseparable appearance for what are essentially disparate stone structures.

The highlight is of course are the sensuous dancers called ‘THE MADANIKAS’. Bharatanatyam, an important classical temple dance form of India that continues to this day, developed substantially during the Hoysala period.

Female forms in a variety of dance postures is an invaluable resource to dancers to this day. The integration of the navaranga or a performance pavilion adjacent to the main temple hall is an important evidence to support the temple dance form of Bharatanatyam. Look up and you’ll see the Madanikas, female figures in graceful poses. They seem to be entranced by their own dance. The more you look at the temple, the more you feel a deep sympathy for the Beautiful one enclosed in one of the most attractive spaces created by man. Each one of these Madanikas are given a number and name . These sculpted figures display complex hairdos and an abundance of jewellery, perhaps is one of the best creations of the Hoysala sculptors of the Belur temple.

People come here for the sculptures, unlike any you will ever see. Stones don’t just speak at Halebid and Belur, they sing!

There are 42 Madanikas out of which 38 are outside the temple and four are inside the temple. Each figure attracts on its own merits.

The Madanika or Salabhanjika or celestial nymphs are the major attractions in the complex and is a standard decorative element where a graceful stone sculpture represents a young female under a stylized tree in various poses, such as dancing, grooming herself or playing a musical instrument and features, like breasts and hips, are often exaggerated. There is no denying the fact that the most magnificent specimens of Hoysala sculpture are the Madanikas for the sheer beauty of their form, delicacy of workmanship and perfection of finish and may be called ‘POETRY OR NECTAR IN STONE’