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=== Belavadi – The Ek Chakra Nagara ===

=== Belavadi – The Ek Chakra Nagara ===

''The Mahabharata'' tells the story of a demon Bakasura, who is killed by Bhima. Bakasura was a ferocious demon who lived near the town called Ekchakra Nagara. He was so ferocious that not even the king was capable of hurting, let alone killing him. He did what he wanted. Threatening to lay waste to the entire town, he demanded daily supplies, putting a great strain on the town. But this was not the entire story. He used to eat the man who delivered the supplies too, alive. Everyone was afraid of him and wanted to get rid of him as the town was getting depopulated.

''The Mahabharata'' tells the story of a Bakasura, who is killed by Bhima. Bakasura was a ferocious rakshasa who lived near the town called Ekchakra Nagara. He was so ferocious that not even the king was capable of hurting, let alone killing him. He did what he wanted. Threatening to lay waste to the entire town, he demanded daily supplies, putting a great strain on the town. But this was not the entire story. He used to eat the man who delivered the supplies too, alive. Everyone was afraid of him and wanted to get rid of him as the town was getting depopulated.

It was the time when the Pandavas were living in exile in the forest. During their wanderings, they arrived and started living at Ek Chakra Nagara. The people were very hospitable and the Pandavas were happy until one day Kunti heard the cries of her host, as they were staying with a Brahmin family. The family was arguing over whose turn it was to sacrifice his life. Everyone wanted to sacrifice themselves. When Kunti asked about the reason, they told him about Bakasura. Apparently, it was their family’s turn to deliver supplies to Bakasura and get eaten by him.

It was the time when the Pandavas were living in exile in the forest. During their wanderings, they arrived and started living at Ek Chakra Nagara. The people were very hospitable and the Pandavas were happy until one day Kunti heard the cries of her host, as they were staying with a Brahmin family. The family was arguing over whose turn it was to sacrifice his life. Everyone wanted to sacrifice themselves. When Kunti asked about the reason, they told him about Bakasura. Apparently, it was their family’s turn to deliver supplies to Bakasura and get eaten by him.

Kunti came up with a plan. She told the Brahmin to send Bhima, her son, instead of his son. Brahmin did not agree at first, but Kunti said that her son is very strong and moreover she had five of them and even if she lost one she would have the consolation of having four others. She sent Bhima to kill Bakasura.

Kunti came up with a plan. She told the Brahmin to send Bhima, her son, instead of his son. Brahmin did not agree at first, but Kunti said that her son is very strong and moreover she had five of them and even if she lost one she would have the consolation of having four others. She sent Bhima to kill Bakasura.

Upon arriving at Bakasura’s cave, Bhima ate all the food that was meant for Bakasura, angering him. Bakasura came at Bhima and a great battle ensued in which Bhima killed the demon<ref>Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 75.</ref>. The villagers became happy but the Pandavas had to leave as they were in a secret exile and their identity should not have been discovered.

Upon arriving at Bakasura’s cave, Bhima ate all the food that was meant for Bakasura, angering him. Bakasura came at Bhima and a great battle ensued in which Bhima killed the rakshasa<ref>Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 75.</ref>. The villagers became happy but the Pandavas had to leave as they were in a secret exile and their identity should not have been discovered.

There are many places which have the claim to be the Ekchakra Nagara. Rampurhat and Pandevswar near Durgapur in Burdwan, West Bengal are two candidates. Pratapgarh in Uttar Pradesh is another candidate. Erandol in Jalgaon, Maharashtra is also claimed to be the Ekchakra Nagara. Finally, the town of Belavadi, in Chikamagalur district of Karnataka, which is the subject of this study is also claimed to be the Ek Chakra Nagara.

There are many places which have the claim to be the Ekchakra Nagara. Rampurhat and Pandevswar near Durgapur in Burdwan, West Bengal are two candidates. Pratapgarh in Uttar Pradesh is another candidate. Erandol in Jalgaon, Maharashtra is also claimed to be the Ekchakra Nagara. Finally, the town of Belavadi, in Chikamagalur district of Karnataka, which is the subject of this study is also claimed to be the Ek Chakra Nagara.

Instead of ''shankha'' and ''chakra'', the usual ''ayudhas'' of Vishnu along with ''gada'' and ''padma'', Veera Narayana has ''Vyaghra Hasta'' and ''Veera Mudra'', which differentiates this form of Vishnu from others.

Instead of ''shankha'' and ''chakra'', the usual ''ayudhas'' of Vishnu along with ''gada'' and ''padma'', Veera Narayana has ''Vyaghra Hasta'' and ''Veera Mudra'', which differentiates this form of Vishnu from others.

In Vishnu Purana there is a story where Vishnu killed Shakasura. For killing the demon, he used Shankha to fight the demon, Chakra to kill him. It is after killing him that he stood in the Veera Narayana pose, displaying righteous anger and ''dharmic'' justice. The pose exudes righteous chivalry and valour. ''Vyaghra'' means tiger and thus ''Vyaghra hasta'' means tiger hand, someone who is quick and strong like a tiger. ''Veera Mudra'' is a pose in which the deity holds a small weapon in his hand. Unlike other representations of Vishnu, this one shows him in a warlike pose. That is why this form is called Veera Narayana.

In Vishnu Purana there is a story where Vishnu killed Shakasura. For killing the rakshasa, he used Shankha to fight the rakshasa, Chakra to kill him. It is after killing him that he stood in the Veera Narayana pose, displaying righteous anger and ''dharmic'' justice. The pose exudes righteous chivalry and valour. ''Vyaghra'' means tiger and thus ''Vyaghra hasta'' means tiger hand, someone who is quick and strong like a tiger. ''Veera Mudra'' is a pose in which the deity holds a small weapon in his hand. Unlike other representations of Vishnu, this one shows him in a warlike pose. That is why this form is called Veera Narayana.

The ''prabhavali'' that decorates Veera Narayana in the background has a ''makara'' head exuding the ''prabhavali'' which is decorated with the ''Dashavatar'' of Vishnu – Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Balarama, Buddha and Kalki. It shows Balarama instead of Krishna because Veera Narayana himself is identified with Krishna. On either side of Veera Narayana there is Shridevi and Bhoodevi, the two consorts of Vishnu.

The ''prabhavali'' that decorates Veera Narayana in the background has a ''makara'' head exuding the ''prabhavali'' which is decorated with the ''Dashavatar'' of Vishnu – Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Balarama, Buddha and Kalki. It shows Balarama instead of Krishna because Veera Narayana himself is identified with Krishna. On either side of Veera Narayana there is Shridevi and Bhoodevi, the two consorts of Vishnu.

=== Yoga Narasimha ===

=== Yoga Narasimha ===

The shrine in front of the Venu-Gopala shrine, and which is facing north is the shrine of Yoga Narasimha. Narasimha is usually described in four forms:

The shrine in front of the Venu-Gopala shrine, and which is facing north is the shrine of Yoga Narasimha. Narasimha is usually described in four forms:

* Stambha Narasimha – When the Lord comes out of the pillar, full of anger against the demon. This is depicted realistically as the Lord coming out of the pillar which is rent asunder by his power.

* Stambha Narasimha – When the Lord comes out of the pillar, full of anger against the rakshasa. This is depicted realistically as the Lord coming out of the pillar which is rent asunder by his power.

* Ugra Narasimha – The Lord is depicted in this angry pose as sitting down on the sill, at dusk, tearing apart the demon Hiranyakashyapa with the claws of his hands.

* Ugra Narasimha – The Lord is depicted in this angry pose as sitting down on the sill, at dusk, tearing apart the rakshasa Hiranyakashyapa with the claws of his hands.

* Lakshmi Narasimha – After killing the demon, Narasimha is angry and to pacify him, Lakshmi is invited to sit on his lap. This pose is depicted as the still angry Narasimha with Lakshmi sitting on his lap.

* Lakshmi Narasimha – After killing the rakshasa, Narasimha is angry and to pacify him, Lakshmi is invited to sit on his lap. This pose is depicted as the still angry Narasimha with Lakshmi sitting on his lap.

* Yoga Narasimha – The Lord has been pacified and in order to quieten his anger he sits in the Yogic pose to meditate.

* Yoga Narasimha – The Lord has been pacified and in order to quieten his anger he sits in the Yogic pose to meditate.

The temple shrine at Belavadi depicts the Yoga Narasimha form of Narasimha. He is sitting in deep meditation with the Yoga belt tied down his knees. He is sitting erect. The upper hands are holding ''shankha'' and ''chakra'' and the lower hands are resting on the knees in meditative posture. Shridevi and Bhoodevi are on either side of the deity. The Yoga belt is decorated. The ''prabhavali'' once again depicts the ''Dashavatara''.

The temple shrine at Belavadi depicts the Yoga Narasimha form of Narasimha. He is sitting in deep meditation with the Yoga belt tied down his knees. He is sitting erect. The upper hands are holding ''shankha'' and ''chakra'' and the lower hands are resting on the knees in meditative posture. Shridevi and Bhoodevi are on either side of the deity. The Yoga belt is decorated. The ''prabhavali'' once again depicts the ''Dashavatara''.

It is hard, agrees Prashant, as the call of the road is almost irresistible for him sometimes. The duties of being the head priest do not let him leave the temple for most of the time. But once every year, for fifteen days, at a stretch, Prashant lets loose his inner traveller. He goes travelling the length and breadth of India, seeing the great temples and heritage places. For this interval, his cousin from Bangalore performs the duties at the temple.

It is hard, agrees Prashant, as the call of the road is almost irresistible for him sometimes. The duties of being the head priest do not let him leave the temple for most of the time. But once every year, for fifteen days, at a stretch, Prashant lets loose his inner traveller. He goes travelling the length and breadth of India, seeing the great temples and heritage places. For this interval, his cousin from Bangalore performs the duties at the temple.

In his blue Baleno and modern clothes he doesn’t betray his priestly background while travelling. But he always keeps his vow and abstains from every kind of food prohibited to a priest. This is how he balances his duties and his passion. By letting out his travelling demon once every year for 15 days, he keeps it within check so that he can devote the rest of his year to his priestly duties.

In his blue Baleno and modern clothes he doesn’t betray his priestly background while travelling. But he always keeps his vow and abstains from every kind of food prohibited to a priest. This is how he balances his duties and his passion. By letting out his travelling rakshasa once every year for 15 days, he keeps it within check so that he can devote the rest of his year to his priestly duties.

Almost nine years ago, Prashant chose to reject the world and chose Belavadi. But much to his amusement, the world came to him. For the Veera Narayana temple is an architectural gem. In the words of Gerard Foekema it temple has “the most majestic temple front in all Hoysala architecture”.<ref>Foekema, Gerard. ''Hoysala Architecture: Medieval Temples of Southern Karnataka Built During Hoysala Rule (2 Vol)''. New Delhi: Aryan Books, 2014. p. 108.</ref>

Almost nine years ago, Prashant chose to reject the world and chose Belavadi. But much to his amusement, the world came to him. For the Veera Narayana temple is an architectural gem. In the words of Gerard Foekema it temple has “the most majestic temple front in all Hoysala architecture”.<ref>Foekema, Gerard. ''Hoysala Architecture: Medieval Temples of Southern Karnataka Built During Hoysala Rule (2 Vol)''. New Delhi: Aryan Books, 2014. p. 108.</ref>