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I am an unabashed admirer of Hoysala Temple architecture. A few years ago, myself and Ahalya did an extensive tour of little known Hoysala temples around Hassan. An account of our trip is at: http://www.profraguram.com/musings--reflections/on-the-hoysala-trail
What was striking about these temples was its emphasis on syncretism. At a period of time when followers of Vaishnavism and Shaivism were often in conflict , each sect competing with the other for dominance and power, the rulers of the Hoysala kingdom built temples dedicated to both Shiva and Vishnu. It is a remarkable endeavour to bridge differences and a testimony to an inclusive position of plurality in pursuit of the divine. Last week we headed onto the River Tern Lodge to catch up with these birds (more of it later!) and on the way back, stopped over at the Amrutheshwar Temple. The road leading to the temple off the Bangalore Shimoga highway weaves around quaint villages and vast green pastures. I was overawed with the first sight of the temple which is set in sylvan surroundings. The temple still has its original outer wall with interesting, equally spaced circular carvings, each one exquisitely distinct from others. This sets it apart from all other Hoysala temples, whose walls are otherwise nondescript. It is a low set temple and doesn’t look impressive from a distance as it is not built on a platform (jagati), much like the Buceswara temple at Koravangala. But once you go near it, the details on the outer wall envelop you in a magical way! In most of the Hoysala temples, the outer wall has several layers of friezes. The lowest one depict elephants which symbolize strength and stability, above which in order are friezes with lions symbolizing courage, decorative floral scrolls, horses symbolizing speed, depictions from Hindu epics, mythical beasts and finally swans. The outer walls in Amrutheshwara are dramatically different. More than a hundred miniature temple towers have been carved on its parapet wall. Above them are140 panels of sculptures depicting the Hindu epics. Unlike in many Hoysala temples where the panels are small and carvings miniature, these panels are large. The Ramayana is sculpted on the south side wall on 70 panels with the story proceeding anti clockwise which is unusual. It starts with the Putrakameshti yajna of Dasharatha and ends with Sita’s reunion with Rama and Lakshmana. On the north side wall, all depictions are clockwise, the normal Hoysala style. There are twenty-five panels related to events in Lord Krishna’s life as depicted in the Bhagavata Purana starting with his birth in Kamsa’s prison and ending with the death of Kamsa at the hands of Lord Krishna. The forty five panels depicting Mahabharata panels do not convey the full story. It starts with Kunti seeking help from Bhishma to protect her children and ends with Arjuna being granted Pashupata at the hands of Shiva. I have never seen panels of such dazzling intricacy, with superb attention to detail. It is sheer poetry in stone, especially those which depict scenes in Lord Krishna’s life. Seeing them, I was reminded of Mahakavi Bharathiyar’s song ‘Aasai Mugam Marandhu Pochche’ where he comments: “Kannan mugam maranthuponal, Intha Kangal irunthu payan undo” Loosely translated as: “If I can forget Kannan’s face What use of having eyes at all?” By comparison the main mantapa is shorn of much detail. There are rows of shining lathe turned pillars which support the domed inner ceiling. The sanctum sanctorum has a Saligrama Shivalinga. On the left side is a deepa which reportedly has been burning continuously without a break for the past two hundred years. By the side of the main temple is a small shrine dedicated to Sharada Devi. A unique aspect of the idol is the absence of the veena, the musical instrument with which the goddess of wisdom and learning is associated. It’s a wondrous experience every time I visit a Hoysala temple. These are moments when the gossamer curtain between the present and the past parts, to reveal a world of unsurpassed harmony and beauty. Sculptors create with their souls With passions that burn deep Sharing their hearts deepest desires Glimpses at: goo.gl/photos/zbu8kRnA37342YJz8 I would urge you to spend some time to watch each of these panels…even if it takes a while!
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 I was at Bhimbetka a few years ago (more at: http://www.profraguram.com/musings--reflections/the-timeless-beauty-of-bhimbetka ) and was totally entranced by the surfeit of images in the rock shelter 4, often referred to as the Zoo Rock. It was teeming with a vast array of animals, more than two hundred of them! There were plenty of bulls, cows, buffaloes, tigers, lions, elephants and many kinds of deer. My attention was drawn to a deer with majestic antlers which I had not set my eyes on till then. Later on I discovered that it was the Barasingha. My first sighting of this regal animal in the wild was at Kaziranga. On a misty morning, we saw several of them in the central zone, wending their way through the marshy terrain. I was told that it was endemic to the region and is often referred to as the Eastern Barasingha. They had a striking presence with their twelve point antlers. It took me couple of years to find their cousins in central India. On a recent trip to Kanha, more than having a glimpse of the tiger (which incidentally gave a wonderful darshan: http://www.profraguram.com/musings--reflections/tryst-with-the-tiger ) I was keen to find the counterparts of the swamp deer, the hard ground swamp deer. The central Indian Barasingha is a highly endangered deer species being the only world population endemic to the Kanha National Park. It is the last repository of these magnificent deer. The expansive grassy plateaus and rolling meadows of Kanha provide an appropriate habitat for the hard ground Barasinghas largely due to outstanding conservational efforts. We could hear their bugling calls even before sighting them. Perhaps it was their rutting season. It was indeed a privilege to sight so many of them during our sojourn in Kanha. Barasinghas are the embodiments of beauty… As they waltzed across the meadows Elegant and graceful Savouring their freedom Amidst boundless open grass (Images At: https://goo.gl/photos/L9g1oL2KvorCdb586 ) Though adapted to the hard ground conditions, their penchant for swamps seemed striking as they showed an inclination to linger around moist pockets, often around water bodies. I often wonder whether ontogeny recapitulates phylogeny or it is an issue of adaptation for survival. Though Kanha provided the inspiration for Rudyard Kipling to write the Jungle Book, he probably never visited it. Reportedly he essayed his remarkable descriptions of Kanha based on letters written to him by a lady towards whom he had a romantic inclination! Barasingha features in his Second Jungle Book in a story "The Miracle of Purun Bhagat". It is the story of an influential Indian politician who abandons his worldly good and ventures into the jungle to become an ascetic. During his stay, he befriends the wild creatures around him, reflecting on the meaning of existence. The relationship between Purun Bhagat and the animals is a fascinating part of the story. Among the animals he befriends is Barasingha, who becomes close to him because he rubs the velvet of this stag’s horns. Purun Bhagat offers shelter to Barasingha in the place where he is staying. There is a sudden heavy downpour of rain and Barasingha awakens him, warning him of a massive landslip. They leave the place just in time. Paradoxically Barasingha who warned Purun Bhagat of imminent danger, is itself in a very vulnerable situation! In an effort to draw attention to the importance of conserving the Barasingha, Kanha has become the first tiger reserve in India to officially introduce a mascot other than the tiger: Bhoorsingh the Barasingha to spread awareness to save it from possible extinction. Incidentally, Barasingha is the state animal of Madhya Pradesh.  |
Dr Raguram
Someone who keeps exploring beyond the boundaries of everyday life to savor and share those unforgettable moments.... Archives
May 2024
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