About

Beautyful Belur the Quaint little town set elegantly on the banks of river Yagachi amidst lush surrounding was earlier Known as Velapuri. It was chosen as the capital of the Hoysalas, after the sacking and destruction of their capital at Dwarasamudra (Halebid), by the Delhi Sultans. The Hoysalas Ruled this reigon between 44 th and 13 th centuries. They were great patrons of art and architecture and builts a number of magnificent shrines during their 300 years regin. The temples and monuments at Belur are indeed the best Hoysala creations, showcasing their amazing architecture and sculptures in full glory Belur was highly revered for its magnificient shrines and came to be Known as “modern vaikunta (heaven) of the earthe”.

The Hoysala temples are characterized by typical star shaped ground plan and are usually ste on a platform. They are compact, squat structures and are more human in scale as compared to other soaring shrines of the south. Ornately carved shrines indicate the music and dance were highly regarded by the Hoysalas and were used to express religious fervor. The temples at Belur are carved out of soap stone (steatite), quarried from Tumkur, About 200 Kms away. This stone is extremely easy to chisel, but attains iron-like fitness when exposed to the atmosphere. To maintain the shine of the temple, the stone is treated with a chemical wash and then wax polished once in ten years.

Today this small town basking in the warmth of its luxurious greenery and glorious past is regarded as “one of the jewels” of South India architecture. Its temple have become rich repositories of ancient Hindu culture and a must visit site on every tourist’s temple itinerary.

THE HEROIC HOYSALAS

Hoysala Dynasty is said to be named after the words “Hoy Sala” meaning “Strike Sala” Which were called out to Sala, the legendry head of this dynasty, When he w as combating a tiger single handedly. Sala Killed the tiger and this act of bravery was immortalized in the royal emblem of the dynasty. The hoysalas ruled the Deccan and parts of Tamil Nadu between the 11 th and 13 th centuries. They had their origins in the hill tribes of the western Gahts converted to Jainism in 10 th century, but readopated Hinduism in 11 th century. Hoysalas rose to prominence under Tinayadithya (1047-78 A.D.) who took advantage of the declining power of the Gangas and with Rashtrekutas.

Later on, king Bittiga (1110-52 A.D.) better Known by his Hindu name- Vishnuvardhana, defeated the western Chalukayas and with the decline of Chola power he expelled them from Karnataka. Vishnuvardhana built several grand temples dedicated to to lord Vishnu.

PLACES OF INTERST

Chennakeshava Temple

The magnificent shrine dedicated to lord Vijayanarayana, one of the twenty four incarnations of Vishnu was built to commemorates the victory of hoysalas over Cholas in the great battle of Talakkad. Some also believe that it was constructed when Vishnuvardhana adopted Vaishnvism under the influence of the great guru Sri Ramanujacharya.

The construction of the temple commenced in 1116A.D. at the instance of king Vishnuvardhana, gis son and later on, his grand son, complete it. According to historical records, it took about 103 years to complete this profusely sculpted masterpiece of hoysalas architecture. The huge temple complex enclosed by high walls has a garbha griha (sanctum sanctorum), a sukhanasi (vistuble), a navaranga mandapa. The complex also has many smaller shrines, mandapams and other structures. There are two gateway but onely one is crowned by a gopuram, which was built in 1397, by gunda, a general of Harihara II, after the original mahadwara was burnt by Ganga salar, an officer of Tughalaks during the invasion and seize of the shrine.

The star shaped main sanctum is a homogeneous architectural unit set on a raised platform in the centre of a spacios paved courtyard surrounded by subsidiary shrines and colonnades. It looks like a carved casket made of wood and polished to perfection. The towering vimana of the sanctum made of brick and mortar was supported by wood work and plated with gold glided copper sheets. Unfortunetly, the crumbling vimana had to be dismantled in 1879, to protect the main sanctum. The bracket figures supporting the eaves of the walls are masterpieces of craftsmanship. Virtully every inch of the shrine is intricately carved. The outer walls are adorned with jagati or railed platform sculpted with horizontal rows of friezes with carvings of elephants, simhalatas or lion and scolls of small female figures in ornamental niches and intersected here and there by larger vertical images. And no two friezes in the complete ranges are alike. The lower friezes are not so exetensivel carved as in other Hoysala temples, but the work higher up on the walls is simply outstanding. The lowest of these carved bands has 650 caparisoned elephants in different moods, some charging, some playful and some just peacefully standing. Singularly beautiful are the 38 freestanding bracket figures angled between the upper walls and the over hanging eaves around the outside of the temple and navaranga (Pillared hall) The brackets are adorned with voluptuous beauties Known as madanikas in various dancing and ritual postures and depicts an amazing variety of sculpted forms.

Identifying the brackets figures when going around the temple from the right side are as follows-

The first figure is of a lady admiring her beauty in the mirror, held in her left hand.

A lady holding folded betel leaves and flanked by maids. A handmaiden to her right carries a vessel filled with water, while the maid to the left is filling a “syringe”

A lady writing to her lover, while the helping maids are standing besides her.

A mischievous monkey pulling the saree of a lady and snarling, While she is rhreatening her with a twig. It is one of the most popular sculpture.

A lady aiming her arrow at the bird.

A lady is dressing her hair after bath and her attendants are holding flowers and toiletry.

A lady performing the most difficult Tribhangi Nritya, involving three poses of the body at the same time.

A lady disguised as a saint.

A lady plying a drum.

A lady plying a flute and the maid is sitting besides her.

A singing lady.

The sculpture of a beautiful lady is located just before the southern entrance. It also portrays a lizard about to catch a fly sitting on a jack fruit.

The series of bracket figures continues on the other side of the gateway, Known as “Friday door”, as it as it is opened only on certain days.

Alady with violin.

A lady arranging her curly hairs with right hand while holding a mirror.

A lady plucking a mango from the tree with her right hand.

A lady dressed like a hunter and aiming at the birds.

The eighteenth figure of the series shows a strange lady dressed up like a man with a beard and a moustache. She is plying on her drum, While two men wearing “monkey caps” are wrestling.

The series of the bracket figures now resumes on the other side of the shrine.

The first figure depicts a lady portrayed as an arch dancer and her maids plying upon the misical instruments.

A lady as a songstress with metallic time keepers.

A Beautifully dancing lady.

A lady holding a spear with a skull at its top.

A lady returning after hunting. Her maids are carrying the prey and one maid is removing the throns.

Lady practicing dance steps. Her maids are plying on there musical instruments.

The interesting figure portraying the Bhasma Mohini Dance story lies by the northern dooeway. The unique figure although has its hands and feet in differents poses, but they are in a straight line.

After the northern entrance the series continues further.

The twenty sixth figure shows a frightened beautiful lady shaking a scorpion from the folds of her saree and snarling when she tries to shoo it off.

Beautifully dressed lady waiting for her lover.

A gypsy girl holding palm leaves.

A lady about to relax after her dinner.

Nagaveen Dance.

A fully dressed and ornamented lady proudly admiring her beauty in a mirror.

A gypsy girl predicting future to the world.

A lady performing kite dance.

The last group of bracket figures shows beautiful ladies in in different poses and occupations.

A lady showing her hairs tied in to a knot.

A beautifully dressed lady ready for a dance performance.

A lady sporting beard and moustache is dancing holding a drum in her left hand.

A lady singing with the help of time keeper sets.

An arch dancer dancing to the tune of her accomplice.

There are also hundreds of intricately carved figures projecting out from the ledge, about 2 metres above the ground. The beautifully carved Hoysala emblem, depicting a man fighting a tiger at the three gateways of the temple are noteworthy.

The interior of the shrine with ornately carved panels, pillars, ceiling, doorways and brackets figures are considered to be even more attractive compared to the outer walls. The four bracket figures in side the shrines depicts-

A beautiful lady in conversation with her pet parrot, which sitting on the fore palm of her left hand.

A dancing figure of Shantladevi wearing a gem on the head.

A lady wearing a number of bangles and performing Gandharva dance.

A figure lady portraying kasha Shrungara. She is writing her hairs after the bath.

The dramatic and miraculous aspects of mythology are also beautifully depicted all over the temple some of the finest sculptural representation are – Arjuna, the pandava prince rescuing the cows of Virata: Ravana, the ten headed demon king lifting Mount kailas which has figures of lord Shiva, parvati as well as a number of other miniature carved figures and the boy saint prahlada being rescued by lord Vishnu.

The façade of the sabha-mantapas several splendidly perforated screens with sQuarish holes for ventilation purpose. The screens are richly carved with puranic legends and the durbar (court) scenen of king Vishnuvardhana and Veer Ballala-11, Which provide an insight into the court life of 11 th century The dress, hair style and ornaments of the courtiers and the royal couple are finely detailed. The temple doors are also exquisitely carved with outstandingly beautiful filingree work. The main doorway bears the Hoysala motif and the overhead panel on the main door depicts the ten forms of lord Vishnu.

The markar or crocodile symbol, prominently carved here can be seen in other Hoysala structures. The main sanctum snshrines an image of Chenna Keshava, literally meaning the Beautiful Keshava in Kannada language. An inscription near the northern entrance of the navranga, states that the deity was originally called as Vijayanarayana and king Vishnuvardhana built the temple and installed an idol of Vijayanarayana in the year corresponding to 1117 A.D. The beautifully ornamented 6 ft. high image of the presiding deity has four hands, the upper two holding a discus and conch, while the lower two has lotus and a mace. It is flanked by idols of his court consorts, Bhu Devi ( the earth goddess) and Sri Devi (the goddess of prosperity). The ten incarnations of (Lord Vishnu are portrayed on the prabha, functional Hoysala temple with pujas being performed both in the onely standing on a 3 ft. heigh pedestal. Channa Keshava temple is the only the morning and evening. This traditional is beaing practiced for over 887 years.

The large navranga mantapam (hall) is noted for its polished pillars and ceiling. The pillars are of three different sizes and designs, except for the four pillars are of the centre. The most notable pillars and ceiling. The pillars are of three different different sizes and designs, except for the four pillars at the centre. The most notable pillars are the Mohini pillar on the south west, fluted vertically on a sixteen pointed star plan. The eastern side of the pillar has a large bas-relief of lord Vishnu in the enchanting form of Mohini, flanked by a Chauri bearer and a garuda It is perhaps one of the finest specimens of hoysala pillar order. The impeccable Narashima pillar to the south-east of the navranga used to rotate on its own axis. It is decorated all over by minute relifes. Including the beautiful “Bengal gram bull”, so called because this minute figure is no large than a grain of the lentil. A small blank space is said gave been left intentionally by the sculptor, challenging anyone who could fill this space. The central square of the mandapam has four pillares crowned by bracket figure, which are great specimens of Hoysala craftsmanship.

Three of the four figures in the navranga are signed with names of their creators. The two pillares depiciting figures of dancing ladies are noteworthy. Bracelets on the arms of one figure can be moved up and down while the headdress of the other has a tiny moveable ring. The carved domed ceiling of the navaranga is a visual feat of exceptional beauty. It is interesting to note that the reliefs on the ceiling at the three entrance are similar in subject to those carved on the pediments of the respective gateways. The navaranga is separated from the vestibule by an intricately carved gateway. It has fine filigree work on the pediment and the beam in front has carving of the twenty four forms of Lord Vishnu. The four pillares here were built in 1381, during the reign of Harihara ll, to support the crumbling roof, It is interesting to note that a number of sculptures in the shrine are inscribed with the names of the sculptors, Each maestro describes his skill with a terse, rightfully-boastful, self styled epithet that indicates keen rivalry among the Hoysala sculptors. Dasoja, the master sculptor signs himself as “ smiter of the crowd of tittled sculptors’. a’ bherumda to the Sarabha’s rival sculptors and a ‘bee at the lotus feet of Lord Dharmesvara of Balligramme’., Malligna styles himself as the “Tiger among sculptors’., Padari Malloja calls himself as a ‘pair of large scissors tied to the necks of titled sculptors’., While Chikka Hampa was the ‘ champion over rival sculptors’,. Nagoja was ‘ confounder of sculptors.’ Some other sculptors of note are Dasoja’s are Dasoja’s son Chavana, kencha Malligna. etc.

THE LEGENDS OF LORD CHANNAKESHAVA

King Vishnuvardhana is said to have dreamt about Lord Keshava during his night stay at the Baba Budan forest and decided to construct the Channa Keshava temple at Belur. But, he he unwittingly separated the lord from his consort living on the baba Budan Hill. It is belived that the lord regularly travels to the hills fpr meeting his consort. Thus the local cobbler community presents a pair of fresh sandals everyday at the alter of the shrine. Locals belive that the sandals get disappeared after after being presented the Lord.

KAPPE(FROG) CHENNIGARA TEMPLE.

This small shrine resembling the main temple lies directly to the south of the main sanctum. It is dedicated to kappe Chennigaraya and was consecrated by Shantala Devi, the the senior queen of king Vishnuvardhana, who herself followed Jainism. The impressive idol of lord kappe Channigaraya and was consecrated by Shantala Devi, the senior queen of king Vishnuvardhana, who herself followed Jainism. The impressive idol of lord kappe Chennigaraya was installed by Shantala Devi, about the same time when the keshava idol was put up in the main temple An inscription indicated that Vijayanarasimha I, the son and successors of Vishnuvardhana made grants for the maintenance and regular preyers at the shrine.

The Chennigaraya idol in the sanctum is associated with an interesting legend. It is said that the famous sculptor, janachri from kaidala (Kridapura) village in Tumkur district was given the responsibility of sculpting this shrine. According to the legend, Jakanachari left his village to built temples just before the birth of his son Dakanachari. When Dakanachari grew pu, he came to find his father at Belur and saw Jakanachari sculpting the main image of the presiding deity. He interrupted jakanachari and informed that the stone on which his was working was defective. The master sculptor was taken a back and got furious at the audacity of the young stranger. Jakanachari vowed that he would cut off his right hand, if the stranger proved himself right. Thus the young strenger smeared sandalwood paste all over the image remained moist. When the spot was tapped with a chisel, some water and sand trickled out of it along with a frog. The humbled sculpture cut off his right hand before the strenger could stop him. The young strenger then revealed his identity as the sculptor’s own son. Who had come here in search of his father. It is believed that since then the main image in the sanctum is Known as kappe (frog) Chennigaraya. The story mention further that Jakanachari was directed in a vision to build a shrine dedicated to Lord Keshava in his native village. When he followed the divine instructions, hisright hand got restored and the village came to be Known as Kaidala, or the restored hand.

The kappe Chennigaraya has two sanctums, one for Kappe Chennigaraya and other for Venugopal, Other notable features of the shrine are its five turreted nicehes in the hall, enshring splendid sculptures of Ganesha, Saraswathi, Lakshmi-Narayana, Lakshmi-Sridhara and Durga.

VEERA NARAYANA TEMPLE

The small but beautiful shrine is lacated ti the west of Keshava temple and is dedicated to veera Narayana or Lakshmi Narayana. Its outer walls rare decorated with large images, the most impressive is an image on the western wall showing three crowned heads, belived to be respresenting the three divinities Vija Narayana ( the old name of the Keshava or Chennigaraya and Lakshmi Naraya (yhe old name of Veera Narayana Image).

Saumyanayaki Temple

This is another important shrine of the temple complex. It lies to the south –west of Keshava temple and is adorned with an elegant vimana said to be resembling the vimana atop the keshava temple, which was dismantled in 1879.

Godess Andal Shrine

The sacred shrine in the temple complex is associated with poet saint Alwar. Its outer walls are also decorated with row of large image. Other smaller shrine in the complex are of Ramanujacharya, Krishna, Narasimha, Anjaneya and Ramachandra.

Gravity pillar

This unique 42 feet high pillar carved out of a single rock and stands in its own weight. The paved compound of the temple complex has a pavilion near the bathing tank. Sculptures of Vishnuvardhana and Krishnaraja Wodeyar can seen here. Other statues of note are Garudagambha and Garuda. The celestial vehical of Lord Vishnu. These images face towards the central shrine of Channa Keshava.