Chennakesava Temple at Somanathapura

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Entrance Porch, trikuta vimana
Entrance Porch, trikuta vimana
This article is about Chennakesava Temple at Somanathapura. For other Chennakesava temples, see Chennakesava Temple (disambiguation).

The Chennakesava Temple located at Somanathapura is one is one of the finest examples of Hoysala architecture. This temple was built by Soma, a Dandanayaka (commander) in 1268 CE under Hoysala king Narasimha III, when the Hoysala Empire was the major power in South India.

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[edit] General Plan

See also: Hoysala architecture, Hoysaleswara temple, Chennakesava Temple, and Hassan District

The temple is housed inside an impressive high wall and the entrance to the complex is through a porch with tall lathe turned pillars.[1] The material used for the temple is Chloritic Schist or Soapstone.[2] The main reasons that make the Keshava temple standout amidst the large number of Hoysala monuments are its symmterical architecture, fine sculptures on equally prominent shrines, and a temple that is sorrounded by panels forming a cloister.[3] While there are other Hoysala temples with better sculpture and others with better architecture, this temples satisfies all requirements. It was built by the famous architect/sculptor Ruvari Mallitamma who was famous for his expertise in ornamentation.[4]

Front view, Keshava temple, Somanathapura
Front view, Keshava temple, Somanathapura

The temple which is built on a jagati (platform)[5] is a trikuta (triple shrined) and fully satisfies the terminology as all vimanas (shrines) have a superstructure (tower).[6] Inside, each vimana has a vestibule that connects it to the main rectangualar mantapa (hall). The vestibule also has a shorter tower that looks like a low extension of the main superstructure and is called sukanasi (nose). All three superstructures have a nose. The outer walls of all three shrines, their towers and nose are equally well decorated, making it overall a very well balanced design. The temple stands on a jagati (platform) and the three vimana are located at the back and are connected by a common rectangualar closed mantapa.[7] The jagati closely follows the plan of the temple and there is a gallery with lathe turned pillars all along the sides of the temple complex which adds to the effect. There is one flight of steps that leads to the jagati and one more that leads into the mantapa. The wide jagati invites devotees to follow the ritualistic clockwise circumambulation before entering the temple hall. The full effect of the rectangualar hall is seen only when the temple profile is viewed. The hall has 16 bays.[8] The outside wall of the hall is well decorated with relief friezes and pierced windows screens above them.[9]

Rear view, Keshava Temple, Somanathapura
Rear view, Keshava Temple, Somanathapura

All the three shrines have a 16 pointed star shaped design and their towers follow the same pattern. Hence the whole structure looks like a rhythmic progression of well decorated projections and recesses. The number of points make the towers look circular[10] Each shrine has a vestibule with an appropriate tower called the sukanasi (nose) upon which is the Hoysala emblem is normally placed. When seen from outside, the "nose" looks like an extension of the main tower.

[edit] Horizontal treatment

The temple is of later Hoysala style because it has two eaves running around the temple.[11] The upper eaves is near where the tower meets the wall of the shrine. Between the two eaves are decorative miniature towers. Below the lower eaves are a panel of Hindu deities and their attendents. There are nearly 200 such panels. Below this are six horizontal mouldings or friezes of equal size with ornate depictions.[12] The six mouldings of the base is divided into two sections. Going from the very base of the wall, the first horizontal layer contains sculpted procession of elephants, above which are a horsemen and then a band of foliage. The second horizontal section has depictions from the Hindu epics and puranic scenes executed with detail. Above this are two friezes of yalis (or makara, an imaginary beast) and hamsas (swans). The Ramayana is depictd on the friezes on the south side wall, stories of Lord Krishna on the rear and the Mahabharata on the north side. The overall effect of the decorated towers, wall images, friezes is well balanced.[13]

Profile showing eaves, friezes and panel sculpture, Keshava temple, Somanathapura
Profile showing eaves, friezes and panel sculpture, Keshava temple, Somanathapura

[edit] Deity and Sculptures

The inside ceiling of the hall is supported by lathe turned pillars and intricately decorated and deeply domed. In the domes are depicted multi petalled lotuses, banana bud motifs based on stepped ponds and ananta (snake) knots symbolising eternity.[14] Of the three shrines, one is of Keshava, but the idol is missing from the sanctum. The other two shrines house idols of Janardhana and Venugopala. All three are forms of Vishnu. This is strictly a Vaishnava temple and there is no depiction of any forms of Shiva.[15] Other sculptures include depictions of affluence of that age. Sculptures depict members of the royal family riding richly decorated chariots, soldiers and commoners riding horses, camel drawn vehicles, dancers, musicians, hunters armed with bows and arrows heading to the forest for a hunt accompanied by hunting dogs. There are sculptures of palaces of kings protected by armed guards, jewellery such as pendants, necklaces, waistbands and rings and of woman with different hair styles as well.

The names of many architects and sculptors have been discovered and it is evident that the artists were local and from outside the region. The famous Ruvari Mallithamma, Masanithamma, Chameya, Rameya, Chaudeya and Nanjeya are considered locals while Pallavachari and Cholavachari are though off as artists from Tamil country.[16]

[edit] Notes

  1. ^ The use of bell shaped lathe turned pillars is a common feature of Western Chalukya-Hoysala temples, A Concise History of Karnataka, pp 117, Dr. S.U. Kamath
  2. ^ Dr. S.U. Kamath A Concise History of Karnataka, pp 136. The Western Chalukya carvings were done on green schist (Soapstone). This technique was adopted by the Hoysalas too. Takeo Kamiya. Architecture of the Indian subcontinent, 20 September 1996. Gerard da Cunha-Architecture Autonomous, Bardez, Goa, India. Retrieved on 2006-11-13.
  3. ^ According to Gerard Foekema, A Complete Guide to Hoysala Temples, pp 87
  4. ^ According to the Mysore archaeological reports, U.B. Githa,Research associate. Here, the past unfolds itself in all its glory & might -Hoyasala architecture in Somanathapura. Deccan Herald, Tuesday, May 11, 2004. Chitralakshana. Retrieved on 2006-11-13.
  5. ^ The Jagati serves the purpose of a pradakshinapatha (circumambulation) as the shrine has no such arrangement. Dr. S.U. Kamath, A Concise History of Karnataka, pp 135. This is a Hosala innovation, Arthikaje, Mangalore. History of Karnataka-Religion, Literature, Art and Architecture in Hoysala Empire. © 1998-00 OurKarnataka.Com,Inc. Retrieved on 2006-11-13.
  6. ^ Depending on the number of towers, the temples are classified as ekakuta (one), dvikuta (two), trikuta (three), chatushkuta (four) and panchakuta (five). Most Hoysala temples are ekakuta (one tower), dvikuta (two towers) or trikuta (three towers over three shrines). Four shrined and five shrined temples ar rare. Sometimes a trikuta temple is literally not trikuta as only the central shrine of three shrines has a tower. Gerard Foekema, A Complete Guide to Hoysala Temples, pp 25
  7. ^ This is unusual because all other Hoysala designs have square or staggered square hall plan, according to Gerard Foekema, A Complete Guide to Hoysala Temples, pp 88
  8. ^ A bay is a square or rectangualar compartment in the hall, Gerard Foekema, A Complete Guide to Hoysala Temples pp 93
  9. ^ This is very commonly found in earlier Western Chalukya temples also, A Concise History of Karnataka, pp 116 Dr. S.U. Kamath
  10. ^ The Western Chalukya architecture used a star-shaped plan for the vimana as well. The Doddabasappa temple in Dambal has so many star points that it almost looks circular, Takeo Kamiya. Architecture of the Indian subcontinent, 20 September 1996. Gerard da Cunha-Architecture Autonomous, Bardez, Goa, India. Retrieved on 2006-11-13.
  11. ^ An eaves is a projecting roof overhanging a wall, Gerard Foekema, A Complete Guide to Hoysala Temples pp 93
  12. ^ A frieze is a rectangular band decorated with sculptures, Gerard Foekema, A Complete Guide to Hoysala Temples, pp 93
  13. ^ This is called Horizontal treatment, A Concise History of Karnataka, Dr. S.U.Kamath, pp 134
  14. ^ U.B. Githa,Research associate. Here, the past unfolds itself in all its glory & might -Hoyasala architecture in Somanathapura. Deccan Herald, Tuesday, May 11, 2004. Chitralakshana. Retrieved on 2006-11-13.
  15. ^ Professor S. Settar. Hoysala Heritage. Frontline, Volume 20 - Issue 08, April 12 - 25, 2003. Frontline, From the publishers of the Hindu. Retrieved on 2006-11-13.
  16. ^ U.B. Githa,Research associate. Here, the past unfolds itself in all its glory & might -Hoyasala architecture in Somanathapura. Deccan Herald, Tuesday, May 11, 2004. Chitralakshana. Retrieved on 2006-11-13.

[edit] References

  • Dr. Suryanath U. Kamath (2001). A Concise History of Karnataka from pre-historic times to the present, Jupiter books, MCC, Bangalore (Reprinted 2002) OCLC: 7796041.
  • Gerard Foekema, A Complete Guide to Hoysala Temples, Abhinav, 1996 ISBN 81-7017-345-0
  • Nilakanta Sastri, K.A. (1955). A History of South India, From Prehistoric times to fall of Vijayanagar, OUP, New Delhi (Reprinted 2002), ISBN 019560686-8.

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