Chennakesava Temple at Somanathapura

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

The Chennakesava Temple (Kannada:ಶ್ರೀ ಚೆನ್ನಕೇಶವ ದೇವಸ್ಥಾನ) located at Somanathapura 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][3] The main reasons that make the Keshava temple standout amidst the large number of Hoysala monuments are its symmetrical architecture, fine sculptures on equally prominent shrines, and a temple that is surrounded by panels forming a cloister.[4] While there are Hoysala temples with better sculpture and others with better architecture, this temples satisfies all requirements. It was built by the famous architect/sculptor Ruvari Malithamma who was well-known for his expertise in ornamentation.[5]

Front view, Kesava temple, Somanathapura
Front view, Kesava temple, Somanathapura

The temple which is built on a jagati (platform)[6][7] is a trikuta (triple shrined) and fully satisfies the terminology as all vimanas (shrines) have a superstructure (tower).[8] Inside the temple, each vimana has a vestibule that connects it to the main rectangular mantapa (hall). Like the shrines, all three vestibules also have their own tower which is called the sukanasi (or nose), though it is shorter and hence looks like a low extension of the main superstructure over the shrine. 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 vimanas are located at the back and are connected by a common rectangular closed mantapa.[9] 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 that leads from the jagati into the mantapa. The wide jagati invites devotees to follow the ritualistic clockwise circumambulation before entering the temple hall. The full effect of the rectangular hall is seen only when the temple profile is viewed. The hall has 16 bays.[10] The outside wall of the hall is well decorated with relief friezes, and pierced windows screens above them.[11]

Rear view, Kesava Temple, Somanathapura
Rear view, Kesava Temple, Somanathapura

All the three shrines have a 16 pointed stellate (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[12]

[edit] Horizontal treatment

Horizontal reliefs and articulation
Horizontal reliefs and articulation

The temple is of later Hoysala style because it has two eaves running around the temple.[13] The upper eaves is where the tower meets the wall of the shrine. The lower eaves is about a metre below the upper eaves. Between the two eaves are decorative miniature towers (aedicule). Below the lower eaves are a panel of Hindu deities and their attendants. There are nearly 200 such panels. Below these panels are six horizontal mouldings or friezes of equal size with ornate depictions.[14] The six mouldings of the base is divided into two sections. In the lower section, where the jagati meets the temple wall, the orderly placement of friezes starts with sculpted procession of elephants, horsemen and a band of foliage. The upper section has depictions from the Hindu epics and puranic scenes executed with detail, yalis (or makara, an imaginary beast) and hamsas (swans). The Ramayana is depicted on the friezes on the south side wall, stories of Hindu God Krishna on the rear and the Mahabharata on the north side. The overall effect of the decorated towers, wall images, friezes is well balanced.[15]

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

[edit] Deity and sculptures

The ceiling of the hall is supported by lathe turned pillars. Between pillars, the ceiling is domed and intricately decorated. These decorations include multi-petalled lotuses, banana bud motifs based on stepped ponds and ananta (snake) knots symbolising eternity.[16] Of the three shrines, one is of Keshava, but the image is missing from the sanctum. The other two shrines house images of Janardhana and Venugopala (the three images are forms of Vishnu). This is strictly a Vaishnava temple and there is no depiction of any forms of Hindu God Shiva.[17] Other sculptures are of depictions of affluence of that age including 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 and accompanied by their dogs, and heading for a hunt. 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 from which it is evident that the artists were both local and from outside the region. The famous Ruvari Mallithamma, Masanithamma, Chameya, Rameya, Chaudeya and Nanjeya are considered locals while Pallavachari and Cholavachari are thought of as artists from Tamil country.[18]

[edit] Notes

  1. ^ The use of bell-shaped lathe-turned pillars is a common feature of Western Chalukya-Hoysala temples (Kamath 2001, p. 117)
  2. ^ Kamath (2001) p. 136
  3. ^ The Western Chalukya carvings were done on green schist (Soapstone). This technique was adopted by the Hoysalas Takeo Kamiya. Architecture of the Indian subcontinent, 20 September 1996. Gerard da Cunha-Architecture Autonomous, Bardez, Goa, India. Retrieved on 2006-11-13.
  4. ^ Foekema (1996), p. 87
  5. ^ 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.
  6. ^ The Jagati serves the purpose of a pradakshinapatha (circumambulation) as the shrine has no such arrangement (Kamath 2001, p. 135)
  7. ^ 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.
  8. ^ 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 because only the central shrine of three shrines has a tower (Foekema 1996, p. 25)
  9. ^ This is unusual because all other Hoysala designs have square or staggered square hall plan (Foekema 2001, p. 88)
  10. ^ A bay is a square or rectangular compartment in the hall (Foekema, 1996 p. 93)
  11. ^ This is very commonly found in earlier Western Chalukya temples also (Kamath 2001, p. 116)
  12. ^ 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.
  13. ^ An eaves is a projecting roof overhanging a wall (Foekema 1996, p. 93)
  14. ^ A frieze is a rectangular band decorated with sculptures (Foekema 1996, p. 93)
  15. ^ This is called Horizontal treatment (Kamath 2001, p. 134)
  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.
  17. ^ 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.
  18. ^ 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.

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