Text: Jess Jose; Photos: M K Paul
An adventure in to the bygone age in a time machine is not only a child’s fantasy but an adult’s nostalgia too.
For an ardent, urban globetrotter it’s a jackpot to meander into grandeur of the past, in a few hours drive from the bustle of the metro city.
Thus it started
604 km
Five destinations – Lepakshi (AP), Sravanabelagola, Halibeedu, Belur, Shettihalli(Karnataka)
All of them are exotics spots noted for the winsomeness of its kind
Like a crazy inland stream, that originates from the faraway peaks and ambles through the swirling pathways, this commute tells numerous the tales of faith, craftsman ship, valour and culture of several centuries and cults.
Lepakshi- land of epic just 130 km away from Bangalore.
The drive from Bangalore reminded different phases of a video game. The multistoried buildings soon vanished replacing the green vine yards and flower fields on both sides of the path. The admiring gazes of the onlookers’ turns into emerald as the grape bunches play hide and seek in the canopy of their green bed. In another swish of the magic wand the road enters the arid Deccan plateau leading to the wonders of Lepakshi.Le pakshi-‘ Rise bird’ directly correlated to the story of Jatayu from epic Ramayana.
The sixteenth century monumental temple on the kurmasailam hill, dedicated to veerabhadra, resonates the engineering skills of medieval India. the unique edifice, takes one's breath away at the very first encounter, offers a lot to the devotees as well as tourists, rendering peace of mind and countless feelings at the same time.
The stillness of stone is in perfect unison with the ambience of the place, alluring human hearts. The sanctum sanctorum is visible from the threshold of main entrance and the pillar filled hall in front of it is remarkably magnificent.
Wonders march in a row to bewilder people at this calm surroundings, yes beauty and surprise slumber in the cradle of stone.
Among the seventy pillars of the monument, the hanging pillar is awe inspiring. The delinquent, local guides pass all possible things under the vacuum of the massive pillar relishing the astonished gasps of the visitors.
As the eyes move upwards, the roof of the hall is even amazing with frescoes which tell tales from puranas. Finely done murals are all black lime work against orange- red background tinged with green white black shades and at some points golden, brown shades applied to stucco surface. Amid all these the siva-parvathi wedding and fall of jatayu are the most appealing ones. Colors and strokes covey a million things where words fail and art transcend ages.
Though peeled off at certain spots, its prettiness uncompromisingly evokes curiosity and piety.
The broad shrine premise is a hoard of idols. A gigantic ganesha leaning against a rock and a massive naga with three coils and seven hoods which forms canopy over a black granite sivalinga (nagalinga) are manifestos that proclaim how silly humans are .
The gory stains of pain and hardship are right here in this great monument. Red blotches on the western wall are said to be the bleeding eyes of Virupanna, one of the chief sculptors of this temple who in the course of the work, punished by the ruler of vijayanagara empire. The past always leaves marks for the future to contemplate and learn lessons from.
The shrine is a vast panorama of deities waiting to bless the devotees in the form their favourite Lord. Several, enchanting forms of shiva viz. kankalamurti, Dhakshinamuti, tripuranthaka, ardhanareeswara can be seen in different parts of this temple. A captivating bhadrakali too attracts attention. Thus the spot is a story lover’s delight retelling rare events from the Puranas.
The temple complex has a natya mandapa decorated with lovely pillars and the frieze of geese with lotus stalks in their beaks here are fabulous. It might have been a dilemma for the audience whether to enjoy art in motion or the still art.
Sage Agasthya founded Veerabhadra temple says the folklore, while history hails viranna-virupanna, the twin sculptors of vijayanagara empire for the exquisiteness of craftsmanship exhibited in the temple.
Twenty seven feet long, fifteen feet high, this mammoth figure makes visitors wonderstruck by its smooth contours and finely carved ornaments. The silhouette of jatayu is vividly seen from the spot and it makes a lasting imprint in minds.
The old fashioned town of lepakshi still bears a hangover of the past and for a nostalgic commuter it’s the apt spot to inhale spirit of gone ages. Yes, a world that existed centuries ago beckons you here and if you sharpen your senses you can perceive a saga of an awesome era.
Sravanabelagola - a wonderland, just 154km away from Bangalore
Time flies centuries back to BC 297 and the flight lands in the lap of jain heritage as one sets foot on the historic sands of sravanabelagola crowned with twin mountains vindhyagiri and chandragiri. The antiquity of this quaint township dates back to maurya empire since the great Chandragupta Maurya led a recluse life here as a jain ascetic in his old age.
The prime attraction the town, the 57 feet high monolith of Lord Bahubali or gomateswara on vidhyagiri/ Indragiri hills can be visualized from far away and bare footed devotees and explorers mount the steep uphill passage of 710 steps to admire this finely carved gigantic statue in proximity.
Tedious yet adventurous mountain hike reminds the miles of endurance a soul passes through in the attempt to reach spiritual heights. Visitors varying from keen devotees to anxious archeology lovers, panting upwards get surprised by the dolly carriers who take weaker ones to and fro.
Devotion makes people do herculean tasks; it’s not often comprehensible to others though
Just glancing back during this uphill hike, the glimpse of water in the white pond that gave sravanabelgola, its rare name, blazing like fine jade in the middle of a royal ring, tantalize the traveler.
This shrine is less crowded except in the season of the ‘mahamasthakabhisheka’, the important ceremony observed once in twelve years and the tranquility of the place is luring.
This elegant monument, the world’s largest figure of its kind, built by sculptor Aristennemi under the supervision of Chamundarya, Ganga dynasty in AD 981 is a typical jain art noted for its simplicity and serenity.
One has to pass by Odegal Basti a cluster of three jain shrines, a pavilion renowned for finely carved Brahmadeva Pillar, a huge gateway with carvings of Lakshmi and two small shrines of gomateswara and Bharata to reach the footsteps of the huge monolith. The enormity of this figure reminds of the pettiness of worldliness in comparison with spiritual awakening.
The statue is encircled by a gallery enshrining the images of various jain thirthankaras along with the figure of the legendary old lady Gullakayaji and a splendid bell.
Walking though this temple premise is like Wading through the corridors of time tasting the nectar of jain culture, art and customs. Every inch of this hill has tales to tell and the best of all is that of bahubali who stood motionless for one year in meditation despising all worldly pleasures and powers, even when plants clubbed his body, and reptiles pestered him.
The zenith of this hill gives clear vision and the silence of the shrine replenishes ones being with positive vibes and an insight to strive forth in life
Mighty dynasties ranging from Rashtrakuta, hoysala , vijayanagara and wodyar have swept this land, still stands adamant the fifty seven feet colossus of bahubali, on the vindhyagiri hills ahead of time, surviving the vagaries of nature, symbolizing the omniscience he attained.
Commuters retrieving from splendid sravanabelagola have a lot to treasure in the memory lane and brood over, for some it’s divine light and for others cultural, artistic inspiration.
Remnants of past playing hide and seek- shettihalli Rosary church
The sleepy village in the suburb of Hasan, Karnataka witnesses this stupendous episode every year.
The village’s 159 year old , venerable church fossil gets submerged in Hemavati reservoir when monsoon showers its profuse blessings to the dry soil and rises to glory like a phoenix as winter creeps in.
The façade of the church is akin to a floating ship and it’s a ravishingly surreal sight of the monsoon, perceived from afar.
It’s a dream come true feel as one steps in to the church in winter.
The cruciform and the two wings of the old church are in good shape.
The drive to the remains of this gothic structure amid sunflower- castor fields of shankarahalli is really nostalgic. No wonder that this location is often a film makers’ delight in dry times.
Masonry perfection of this construction is strikingly amazing with unusually big semi circle bricks joined in the medium of jaggery and egg.
French Missionaries erected this shrine in 1860 for the British states chronicles and archives.
Religious services lasted till the end of 1970s when the Hemavati reservoir was under construction.
The original steel infra structure of the church was relocated at the new edifice called Holy Rosary Church.
The visit to the place casts an array of thoughts.
Like a painful memory, that cannot be erased, remains the church, lonely and stranded yet unwilling to yield to the vagaries of nature or humans.
Divinity never forsakes any space in this universe and man made artificial shapes have nothing to do with it.
The residue of the church is like certain values that cannot be defeated even after demolition.
The image of a weak, old shattered building vanishing and reappearing like the river goddess of indian folk tales is a source of hope and inspiration in the moments of trials and tribulations.
Some spots have no end,… it flows with time.
Belur- Halebeedu – The ever novel antiques of Hoysala epoch
Posterity completes when antiquity touches it with magic fingers. Visit to halebeedu – Belur is a voyage in the tranquil ocean of past feeling the dynamic vibes of the era.
The pomp and splendor of a dynasty, the spectacular uniqueness of their aesthetic sense and the radiance of craftsmanship culminate in these two rich repositories of ancient Hindu culture, the former dedicated to Lord Vishnu and the latter to Lord Shiva. The monuments, sixteen km apart are the best of exquisite Hoysala creations showcasing their ethnic architectural skills and religious fervor. Belur and Halebeedu have many aspects in common, still they stand apart brilliantly,like kids born of same parents.
A dreamy, imaginative human can float in the aura of magnificence at these places. Both shrines have typical star semblance in the basement. Profusely carved sculptural pageantry of these edifices make one mesmerized. The soul of Hoysala civilization with its valour, charm and skill is felt right out there.
The moment one sets foot here, gateway to a splendid gone age is ajar. Vast panorama of mythology, epics and royal livelihood in all aspects are recreated in stone along with the life of the commoners. The inseparable bond between art and religion is stunningly portrayed. No humane description can convey the abundant,unparalleled variety of elegance of these monuments. The keenness with which these fine carvings are formed should be appreciated at least once in lifetime. Human life is an amalgam of drama, melodrama, adventure and uncertainties, such moments are captured and made permanent here.
The vast green premises of halebeedu with dual temples and two huge monolithic nandis with fine contours as well as ornaments and a gigantic Ganapati is in stark contrast with Belur with its golden tower, holy pond which are a bit modern in structure . Among exuberance of friezes here, no two canopies are alike. Helebedu is often compared to Parthenon in Athens while Belur’s wonders are unending . The blueprint of the shrine, eloquently carved in stone, chuckles at the sophisticated new gen 3D creations. The 42 feet tall gravity pillar erected out of a single rock and the garudagamba are rare pieces. The vestibule leading to sanctum sanctorum dazzles with its pillar filled navaranga mandapa and impeccable narasimha pillar which could be rotated on its axis . The legendary Hoysalas have left some spots in both shrines, unfinished for the posterity to complete it. So is any account about these spots, a perfect description is impossible. Words are not enough to narrate the voluptuous mandanikas, epithets by maestro sculptors describing their skills and the countless tiny stone miracles.
Belur and Halebeedu have survived the test of time, remains wonderful for centuries to proclaim that sincere efforts and hardships of any kind and pure art forms are immortal. A new term has to be coined to express the fathomless feelings evoked by these master creations.
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