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Line 16: − + − + − + − + − + − The Hoysalas were a minor dynasty of kings who came to rule central and southern Karnataka during the 12<sup>th</sup> and 13<sup>th</sup> centuries. Though they had been ruling before, their political fortunes rose after the fall of the great Chalukyas of Kalyani, also known as the Later Chalukyas. It is then that they expanded in size. Many small dynasties rose after the Chalukyas to claim or reclaim many regions. The Hoysala were one of them.+ − They ruled the areas which roughly correspond to what is now the district of Hassan, some parts of Chikamagalur, Shivamoga, Mandya, Coorg, Chitradurga etc. They were sandwiched between the two great powers: the Chalukyas in the north and the Cholas of Thanjavur in the south. Initially they were a small kingdom straddling the mountains of the Western Ghats. In the 11<sup>th</sup> century they remained the vassals of the Chalukyas, gradually enlarging their territory.+ − + − Only in the 12<sup>th</sup> century did they rise and become powerful when Hoysala king Viraballala defeated the Chalukyas of Kalyani and put an end to the great empire. For about 200 years they reigned supreme and became what the Cholas and the Pandyas were in Tamil Nadu, and what the Chalukyas were in Karnataka. They continued to wax and wane in power until the invaders and iconoclasts of the Delhi Sultanate arrived in south India. − − When the Vijayanagar Empire rose in 1329 under Harihar and Bukka, they submitted themselves willingly to the Vijaynagar Empire so that a united front against the Islamic invaders could be created in south India. In 1342, Ballala III died and the Hoysala Empire was fully incorporated in the successor empire, the Great Vijaynagar Empire. − − − The Hoysalas, as mentioned, were great patrons of art. The vibrant temple tradition that was flourishing in south India in those times sustained guilds of architects, sculptors and other artisans who worked as a unit. − − The kings just commissioned the project. The temples were constructed by professional and specialized guilds. These guilds easily travelled from one kingdom to another and worked for anyone who commissioned the project. That is why knowledge of architecture and sculpture was easily transferred from one dynasty to another. The art of temple building in Karnataka in what is called as the Vesara style was well developed during the time of the Chalukyas of Kalyani. The Hoysala merely continued and developed it. The major innovation during their time was the exquisite embellishing of the temple exteriors by extremely fine sculpture. − − They built their beautiful temples in soapstone, variously called as potstone too. The stone is dark gray or black in color and is very soft when quarried. However, within a decade it becomes very hard on exposure to wind and rain. This peculiar quality makes it perfect for deep, miniature and exquisite sculpting. That is why the Hoysala temples are beautifully embellished with exquisite sculpture in high or low relief, or freely sculpted sculptures fitted later into the temples. − − === The Hoysala Temple === − A Hoysala temple has many parts, interconnected to each other. Thus, unlike the Tamil Nadu temples, a Hoysala temple is a complete coherent whole; a connected building which does not break in continuity. − [[File:Plan of a Hoysala Temple – Veera Narayana, Belavadi.jpg|thumb|371x371px|''Plan of a Hoysala Temple – Veera Narayana, Belavadi'']] − The simplest form of Hoysala building consists of just the shrine of the primary deity and a ''mandapam'' attached to it, which can either be closed or open. In some bigger temples both open and closed halls are to be found. As discussed above, the ''sanctum'' is for the deity and the ''mandapam'' is for the devotees to gather and have ''darshan''. In most temples, between the ''mandapam'' and the ''garbha-griha'', there is ''antarala'', or the vestibule. In some bigger temples there are entrance porches, or ''mukha mandapams'' before the ''mandapams'' at the entrance of the temple. Thus there are five primary constituent parts of a Hoysala temple: − # ''garbha-griha'' − # ''antarala'' − # ''mandapam'' (closed) − # ''mandapam'' (open) − # ''mukha mandapam'' (porch) − − The ''vimana'' of the Hoysala temple is extremely articulated, artistic and complex in nature and is what attracts the tourists most of all. Gerard Foekema explains: − [[File:Plans of the Hoysala Vimana - a-b) Full Star c-d) Half Star e-f) Staggered Square.png|thumb|231.953x231.953px|''Plans of the Hoysala Vimana - a-b) Full Star c-d) Half Star e-f) Staggered Square'']]<blockquote>''“Its inside forms a strong contrast to its outside: the inside is simply square in plan with plain walls, hence the name cella, the outside is complicated in plan and is profusely decorated. The outside plan is a star, a staggered square or a combination of star and square, and consequently the walls show many projections and recesses.”<ref>Foekema, Gerard. ''A Complete Guide to Hoysala Temples''. New Delhi: Abhinav Publications, 1996. p. 21.</ref>''</blockquote>The ''antarala'' too is plain from the inside and has just the space for the priest to officiate between the devotee and the deity. Its walls are plain or barely decorated from the inside. The mandapams are divided into bays. Their ceilings are decorted with ''padma'' motifs, oral patterns and other decorative motifs. On the outside the walls are profusely decorated, but their decoration is integrated with that of the outer walls of the ''garbha-griha'' and is inconspicuous. It also has a roof in the form of a nose like structure protruding from the ''vimanas''. It is called ''shukanasika''. − − In most Hoysala temples, the closed ''mandapam'' has either no windows, or perforated windows which let in some light. It has thick walls. It is a large hall and hence there are four pillars to support the roof. Both outside and inside of the ''mandapam'' are decorated. The pillars are the famous lathe-turned and the ceilings of the bays of the ''mandapam'' are exquisitely decorated. It is large but smaller than the open ''mandapam''. − − The open ''mandapam'' has an intricate plan. It is a staggered square of many sizes and variations. The number of pillars and bays vary here and the open ''mandapam'' of Veera Narayan temple Belavadi has one of the largest open ''mandapams'' of any Hoysala temple. − [[File:Plans of the Maha Mandapam.png|thumb|115x115px|''Plans of the Maha Mandapam'']] − As it is open it has only parapet walls on which many pillars rest. The inside of the parapet has ''kakshasana'' (seating bench). The ''mukha mandapam'' is very small, just an opening with a roof and two pillars supporting it. − − === Hoysala Sculpture === − [[File:Hoysala sculpture at Somnathapur, Mysore, Karnataka.png|thumb|''Hoysala sculpture at Somnathapur, Mysore, Karnataka'']] − In the Hindu temple, sculpture is inextricably enmeshed with architecture to the point where the boundary between them becomes unrecognizable. This is another feature which distinguishes the Hindu temple from other sacred architectures in the world. In the Hoysala architecture this feature becomes even more exaggerated. As Gerard Foekema says, in Karnataka, mainly in Kalyani Chalukya and Hoysala temples, architecture is decorated with architecture. These architectural parts are both functional and decorative. Since most of these parts are constructed by chiseling hence they are technically sculpture but play the function of architecture as well. − − Beginning from the top, the Hoysala temple has the quintessential ''kalasha'', containing the temple seed. It was built in stone, but in most temples it was lost during Islamic invasions, but some like temples at Mosale have their ''kalasha'' intact. The Veera Narayana temple, Belavadi also has the ''kalashas'' intact in all three of its shrines. The temples that have lost their ''kalasha'' have replaced it with a metal one. − − Below the ''kalasha'' there is the domed roof, which is actually a sculpted stone and given the shape of the roof. It is square if the plan of the ''garbha-griha'' and ''shikhara'' is square and star if the plan is that of a star. “Below this giant topping roof, the tower consists of many more domed roofs with square plan, all of them much smaller, and also crowned by ''kalasas''. They are mixed with other small roofs of different shapes, most of them finely decorated. The top of the wall of a closed hall also shows this kind of decorated miniature roofs, but only one single row of them, and also above the heavy eaves of open halls and porches one row of them can be found. The tower of the shrine mostly consists of three or four of this kind of rows, the top of the nose mostly of two or three of them.”<ref>Ibid. p. 28.</ref> − [[File:Hoysala Sculpture, Aralaguppe, Tumkuru, Karnataka.png|thumb|''Hoysala Sculpture, Aralaguppe, Tumkuru, Karnataka'']] − The Vesara style has evolved basically from the south Indian Dravida style with some Nagara embellishment. Hence, essentially it is a Dravida style which later evolved into a separate branch. This is why the Dravida feature of the ''vimana'' having many ''talas'' are also present in the Vesara styles. The rows of decorated miniature roofs that Foekema talks about in the above excerpt are actually these ''talas'' which are so decorated and so deeply enmeshed into each other that they look like a single structure. − − Below the ''vimana'' there is the hanging eave which is often half a metre long and is very heavy. It provides the shade to the sculpture on the walls. Below this eave two different architectural idioms are usually found. They are called the Old Hoysala type and the New Hoysala type. The Old Hoysala is very similar to the Chalukya style. The New Hoysala style features many innovations and it is this style which gave the Hoysala temples their characteristic touch. Foekema explains the differences between the two types:<blockquote>''“In the Old kind of temples, the wall-images are placed below the decorative towers, and below the wall-images the base of the wall consists of a set of 5 different horizontal mouldings, one of them a row of blocks. In the New kind of temples there is a second eave running around the temple, about one meter below the first one; the decorative towers are placed between the two eaves, and the wall-images below the lower one. The base of the wall consists of a set of 6 equal rectangular mouldings, each of them of the same width.”''<ref>Ibid.</ref></blockquote>The wall images that form a continuous row all around the walls of the ''garbha-griha'' and ''antarala'' are one of the most beautiful features of the Hoysala temple. They are exquisitely sculpted and are often capped by an overhanging tree or a creeper. The images on the ''rathas'', or the projections, are of major deities, often the different forms of the primary deity in the shrine. This image is flanked by ''chanvara'' bearers or attendants. Lesser divinities occupy other less important projections. − − Below this is the temple base. It is the temple base and the second eave which differentiate the Old and the New styles in the Hoysala architecture. The base consists of five mouldings, each of a peculiar shape. These mouldings of the base are an integral part of the Hindu temple and almost invariably exist in all styles and regional variation. Many of them are decorated, but only minimally. − − In the New kind of Hoysala architecture, these five traditional mouldings are replaced with six bands of sculptured rows. They are called friezes. From top to bottom they show ''hansa'', ''makara'', stories from epics, vegetal scroll, horses and the elephants. There are a few exceptions to this like the Halebidu Hoysaleshwar temple which has eight friezes instead of six. − − The Hoysala temples are mainly dedicated to either a form of Shiva or that of Vishnu. In temples with more than one shrine some individual shrines are dedicated to Surya or Lakshmi. Vaishnava ''trikutas'' always have all three shrines dedicated to a form of Vishnu, while Shaiva ''trikutas'' have one shrine dedicated to Shiva while two others to Vishnu and Surya. Images of other gods and goddesses like Surya, Brahma, Durga, Ganesha etc. are also found in the temples but entire temples are seldom dedicated to them. − − While Shiva is mostly worshipped in the iconic form of a Shiva Lingam, Vishnu is always worshipped in the form of a human image. He is shown in his various ''avatars'', numbering ten. He is also showed in deep sleep on Shesha Naga, a coiled serpent as ''Shesh Shayi Vishnu''. He is also shown with his consort Lakshmi as ''Lakshmi-Narasimha'' or ''Lakshmi-Narayana''. − More importantly, in the Hoysala temples, Vishnu is variously depicted as holding four major ''ayudhas'': ''shankha, chakra, gada, padma''. He wields them in four hands. Different permutations of these four ''ayudhas'' in four hands make 24 representations of Vishnu, each with a different name and attribute, as described in the table below. The list tallies to the list given in the Patala-Khanda of the ''Padma Purana'': − − {| class="wikitable" − |+ − ! − |'''NAME OF VISHNU''' − |'''UPPER RIGHT HAND''' − |'''UPPER LEFT HAND''' − |'''LOWER LEFT HAND''' − |'''LOWER RIGHT HAND''' − |- − |1. − |Keshava − |Shankha − |Chakra − |Gada − |Padma − |- − |2. − |Narayana − |Padma − |Gada − |Chakra − |Shankha − |- − |3. − |Madhava − |Chakra − |Shankha − |Padma − |Gada − |- − |4. − |Govinda − |Gada − |Padma − |Sankha − |Chakra − |- − |5. − |Vishnu − |Padma − |Sankha − |Chakra − |Gada − |- − |6. − |Madhusudana − |Sankha − |Padma − |Gada − |Chakra − |- − |7. − |Trivikrama − |Gada − |Chakra − |Sankha − |Padma − |- − |8. − |Vamana − |Chakra − |Gada − |Padma − |Sankha − |- − |9. − |Sridhara − |Chakra − |Padma − |Shankha − |Gada − |- − |10. − |Hrishikesha − |Chakra − |Gada − |Shankha − |Padma − |- − |11. − |Padmanabha − |Padma − |Sankha − |Gada − |Chakra − |- − |12. − |Damodara − |Sankha − |Gada − |Chakra − |Padma − |- − |13. − |Samkarshana − |Sankha − |Padma − |Chakra − |Gada − |- − |14. − |Vasudeva − |Chakra − |Sankha − |Gada − |Padma − |- − |15. − |Pradyumn − |Sankha − |Chakra − |Gada − |Padma − |- − |16. − |Aniruddha − |Gada − |Shankha − |Padma − |Chakra − |- − |17. − |Purushottama − |Padma − |Shankha − |Gada − |Chakra − |- − |18. − |Adhokshaja − |Gada − |Shankha − |Chakra − |Padma − |- − |19. − |Narasimha − |Padma − |Gada − |Shankha − |Chakra − |- − |20. − |Achyuta − |Padma − |Chakra − |Shankha − |Gada − |- − |21. − |Janardana − |Padma − |Chakra − |Shankha − |Gada − |- − |22. − |Upendra − |Shankha − |Gada − |Chakra − |Padma − |- − |23. − |Hari − |Shankha − |Chakra − |Padma − |Gada − |- − |24. − |Sri Krishna − |Gada − |Padma − |Chakra − |Shankha − |} − These representations are found all over the Hoysala temples, including the Veera Narayan temple, Belavadi. The Chenna Keshav temple at Belur has the representations of all twenty-four forms of ''Chaturvimshati Murti'', the 24 forms of Vishnu. − − == Description of the temple deity == − + Line 278:
Line 47: − + − − − === Venu-Gopala === − The two lateral shrines which the devotee finds first at entering the temple are dedicated to Venu-Gopala, a form of Krishna and Yoga Narasimha. The Venu-Gopala shrine faces north. The image of the deity is that of Venu-Gopala. It is a form of Krishna playing flute in extreme bliss, in control of all the senses, personified in the form of Gopis. He is playing flute, standing in ''tribhanga'', under the ''Kalpavriksha'' tree. The image has to be extremely beautiful as ordained in the Agamas, and the sculptor of this image at Belavadi has taken the injunction of the Agamas very seriously. This is officially certified by the ASI as the most beautiful representation of Venu-Gopala, anywhere in India. The form of Venu-Gopala is well described in Agamas and Puranas. In the words of T. A. Gopinatha Rao: − + − + − + − + − + − + − + − + − − − Line 308:
Line 70: − The Veera Narayana temple, Belavadi is built in soapstone like all other Hoysala temples. Soapstone is of three kinds: whitish, greenish and blackish. Most of the more famous Hoysala temples like the Chenna Keshava temple at Belur and the Hoysaleswara temple at Halebidu are built in primarily black and greenish soapstone. But the Veera Narayana temple is built in whitish soapstone. The whitish soapstone is of an inferior quality than the green or black soapstone. The fact that Belavadi temple is built in whitish soapstone, has given it a completely different look. Its hue is pinkish white with a tinge or orange and black at some places. − − After weathering of at least 800 years the effects are to be seen. While the sculpture at Belur and Halebidu is almost intact after all these years, the sculpture at Belavadi has deteriorated with time. − − The images of the deities are built in black soapstone. The priest claims that they are built in Shaligrama. − − + − + + Line 406:
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Veera Narayana Temple, Belavadi, Chikmanguluru, Karnataka (view source)
Revision as of 12:26, 25 March 2019
, 12:26, 25 March 2019→Hoysala Dynasty
The Veera Narayana Temple, is a temple dedicated to Veera Narayana, a form of Lord Vishnu, in the village of Belavadi, Chikamagalur district, Karnataka. The temple was built in the 12<sup>th</sup> century CE by the Hindu dynasty of the Hoysalas, based at Halebidu. They also built the famous temples at Belur and Halebidu. [[File:Veera Narayana Temple, Belavadi, Chikamagaluru, Karnataka.jpg|thumb|''Veera Narayana Temple, Belavadi, Chikamagaluru, Karnataka''|500x500px]]
The Veera Narayana Temple, is a temple dedicated to Veera Narayana, a form of Sri Mahavishnu, in the village of Belavadi, Chikamagalur district, Karnataka. The temple was built in the 12<sup>th</sup> century CE by the Hindu dynasty of the Hoysalas, based at Halebidu. They also built the famous temples at Belur and Halebidu. [[File:Veera Narayana Temple, Belavadi, Chikamagaluru, Karnataka.jpg|thumb|''Veera Narayana Temple, Belavadi, Chikamagaluru, Karnataka''|500x500px]]
== Sthala Purana ==
== Sthala Purana ==
One of the important legends associated with Belavadi contributes to its historical significance.
One of the important legends associated with Belavadi contributes to its historical significance.
== The Age of the temple ==
== The Age of the temple ==
An inscription found at the Veera Narayan temple mentions the temple land being donated by the king for the construction for the temple and the year of the donation is denoted as 1117 CE. However, according to a scholarly estimation the temple was built in 1200 CE. Gerard Foekema has arrived upon this estimate by comparing the development of the Hoysala architectural style and placing it in history.
An inscription found at the Veera Narayana temple mentions the temple land being donated by the king for the construction for the temple and the year of the donation is denoted as 1117 CE. However, according to a scholarly estimation the temple was built in 1200 CE. Gerard Foekema has arrived upon this estimate by comparing the development of the Hoysala architectural style and placing it in history.
The priest Prashant S. Bharadwaj says that what is mentioned in the 1117 CE inscription is the donation of the land. The tradition in ancient India was that a temple land was donated after the temple had been entirely built on the land and hence since the year mentioned of donating the land is 1117 CE then the temple must have been built even earlier than that.
The priest Prashant S. Bharadwaj says that what is mentioned in the 1117 CE inscription is the donation of the land. The tradition in ancient India was that a temple land was donated after the temple had been entirely built on the land and hence since the year mentioned of donating the land is 1117 CE then the temple must have been built even earlier than that.
The architecture of the temple also hints that the temple is much older than is suggested by the scholars. The temple was built in primarily two stages. The temple at Belavadi is a ''trikuta'' temple with three shrines. The main shrine is dedicated to Veera Narayan. The walls of this shrine are severely plain compared to the Hoysala temples dating to the year 1200 CE.
The architecture of the temple also hints that the temple is much older than is suggested by the scholars. The temple was built in primarily two stages. The temple at Belavadi is a ''trikuta'' temple with three shrines. The main shrine is dedicated to Veera Narayana. The walls of this shrine are severely plain compared to the Hoysala temples dating to the year 1200 CE.
They are also in sharp contrast to the other two later subsidiary shrines of the temples which have exquisitely decorated walls in the style of the later Hoysala architecture. The two lateral shrines were built much later, during the reign of Veera Ballala II. This also hints that the original shrine is much older than 1200 CE and may belong to early 12<sup>th</sup> century. This temple was built under the reign of two kings in two periods. The two parts of the temple with their characteristic evolution can easily be seen.
They are also in sharp contrast to the other two later subsidiary shrines of the temples which have exquisitely decorated walls in the style of the later Hoysala architecture. The two lateral shrines were built much later, during the reign of Veera Ballala II. This also hints that the original shrine is much older than 1200 CE and may belong to early 12<sup>th</sup> century. This temple was built under the reign of two kings in two periods. The two parts of the temple with their characteristic evolution can easily be seen.
The earliest Hoysala temple at DoddaGaddavalli has many similarities to this Veera Narayan shrine temple at Belavadi. Just like DoddaGaddavalli temple is severely plain from the outside, so is the primary shrine of Belavadi. The DoddaGaddavalli temple dates back to 1114 CE, indicating that the age mentioned in the inscription may be true.
The earliest Hoysala temple at DoddaGaddavalli has many similarities to this Veera Narayana shrine temple at Belavadi. Just like DoddaGaddavalli temple is severely plain from the outside, so is the primary shrine of Belavadi. The DoddaGaddavalli temple dates back to 1114 CE, indicating that the age mentioned in the inscription may be true.
=== The Temple Escaped Islamic Destruction ===
=== The Temple Escaped Islamic Destruction ===
The age when the Hoysalas were building great temples was also the age of Islamic iconoclasm in India. The iconoclastic zeal of the invading Islamic kings of the Delhi Sultanate had broken upon south India. Malik Kafur broke upon Karnataka in 1311 CE and laid siege to Halebidu ruled by the Hoysalas. The Hoysalas agreed to pay tribute to the Islamic vandal. Even then Kafur managed to destroy the great Hoysaleswara temple and many other temples in the region. The head priest of Belavadi claims that Kafur had come up to nearby Tarikere. But Belavadi, due to its location in a quaint mountainous village, escaped the Islamic destruction.
The age when the Hoysalas were building great temples was also the age of Islamic iconoclasm in India. The iconoclastic zeal of the invading Islamic kings of the Delhi Sultanate had broken upon south India. Malik Kafur broke upon Karnataka in 1311 CE and laid siege to Halebidu ruled by the Hoysalas. The Hoysalas agreed to pay tribute to the Islamic vandal. Even then Kafur managed to destroy the great Hoysaleswara temple and many other temples in the region. The head priest of Belavadi claims that Kafur had come up to nearby Tarikere. But Belavadi, due to its location in a quaint mountainous village, escaped the Islamic destruction.
== Hoysala Dynasty ==
== Hoysala Architecture ==
The Veera Narayana temple was built by the Hoysala dynasty. If the earlier date of the temple is taken to be true then it was built during the reign of Vishnuvardhan king of the Hoysala dynasty in 1117 CE.
The Veera Narayana temple was built by the Hoysala dynasty. If the earlier date of the temple is taken to be true then it was built during the reign of Vishnuvardhan king of the Hoysala dynasty in 1117 CE. Belavadi temple has all the characteristics of a typical [[Hoyasala Temple Architecture|Hoyasala temple architecture]]. This temple was built in soapstone like all other Hoysala temples. While the more famous Hoysala temples like the Chenna Keshava temple at Belur and the Hoysaleswara temple at Halebidu are built in primarily black and greenish soapstone, the Veera Narayana temple is built in whitish soapstone.
After weathering of at least 800 years the effects are to be seen. While the sculpture at Belur and Halebidu is almost intact after all these years, the sculpture at Belavadi has deteriorated with time. The images of the deities are built in black soapstone.
== Description of Deities ==
Although the primary deity of the temple is Veera Narayana, a form of Vishnu, the temple complex houses two other Vishnu forms such as Venu Gopala and Yoga Narasimha.
== Hoyasala Architecture ==
=== Veera Narayana ===
=== Veera Narayana ===
The temple deity of the Veera Narayana temple, in the central shrine is a form of Vishnu, known as Veera Narayana. The image is of 8 feet (2.4 m). The iconography of Veera Narayana is different from the 24 images of Vishnu in ''Chartuvimshati Murti''. Veera Narayana, standing upon the Garuda Peetha, (the seat of his vehicle, the eagle Garuda) in the temple at Belavadi holds:
The temple deity of the Veera Narayana temple, in the central shrine is a form of Vishnu, known as Veera Narayana. The image is of 8 feet (2.4 m). The iconography of Veera Narayana is different from the 24 images of Vishnu in ''Chartuvimshati Murti''. Veera Narayana, standing upon the Garuda Peetha, (the seat of his vehicle, the eagle Garuda) in the temple at Belavadi holds different things:
* Upper right hand – ''Padma'' (Lotus)
* Upper right hand – ''Padma'' (Lotus)
* Upper left hand – ''Gada'' (Mace)
* Upper left hand – ''Gada'' (Mace)
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.
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 ''Dashavatara'' 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 Bhudevi, the two consorts of Vishnu. The deity faces east and the leveling of the ground in front of it is marvelous. For 270 feet the ground is extremely leveled. The horizon is visible from the ground, sitting at the gates of the ''garbha-griha''. On 23<sup>rd</sup> March, the sunlight comes through the seven doors from the entrance and falls at the feet of the idol, this being another uniqueness of the temple.
The deity faces east and the leveling of the ground in front of it is marvelous. For 270 feet the ground is extremely leveled. The horizon is visible from the ground, sitting at the gates of the ''garbha-griha''. On 23<sup>rd</sup> March, the sunlight comes through the seven doors from the entrance and falls at the feet of the idol.
“Venu-Gopala is another variety of the Krishna image, in which he is conceived to be delighting with his enchanting music the hearts of the cowherds, the cowherdesses, and the cows who are his companions. In the case of these images, the rapture of music has to be clearly depicted on the face; and they are in consequence generally so very pretty as to attract attention wherever they may be. Venu-Gopala is generally surrounded by cowherds and cowherdesses. This image of Krishna is made to stand erect with the left leg resting on the floor; and the right leg is thrown across behind or in front of the left leg so as to touch the ground with the toes. The flue is held in both the hands, and one end of it is applied to the mouth. It is said that the complexion of such images of Krishna should be dark in hue so as to resemble the rain-cloud in appearance. The head should be ornamented with a bunch of peacock’s features. There should be three bends in the body.”<ref>Gopinatha Rao, T. A. ''Elements of Hindu Iconography''. New Delhi: Motilal Banarsidas, 1997. p. 207-08.</ref>
=== Venu Gopala ===
Keeping with the injunction of the Agamas and the other Shastras, the image is in ''tribhanga'' pose and as the Hoysala sculpted and built architecture in black stone the images were always made in deep black stone. On either side of Venugopala there are to be seen four sages (''brahmarishis''), two on each side. Rukmini and Satyabhama, the two consorts of Krishna are also present on the either side. Added to this, there are ''gopis'' and cows. Three ''gopis'' are listening to the flute of Venu-Gopala in enraptured attention, and one is so engrossed that she is not even aware of her ''vyjanthika'' (dupatta). The cow is also enraptured and is completely oblivious of her calf who is feeding on her milk. She is also listening to Krishna playing flute. The cowherds are also dancing in rapture, the bliss of self-realization engulfing them, the bliss which is symbolized by the music of the flute of Krishna.
The two lateral shrines which the devotee finds first at entering the temple are dedicated to Venu Gopala, a form of Krishna and Yoga Narasimha. The Venu-Gopala shrine faces north. The image of the deity is that of Venu-Gopala, a form of Krishna playing flute in extreme bliss, in control of all the senses, personified in the form of Gopis. He is playing flute, standing in ''tribhanga'', under the ''Kalpavriksha'' tree. The image has to be extremely beautiful as ordained in the Agamas, and the sculptor of this image at Belavadi has taken the injunction of the Agamas very seriously. This is officially certified by the ASI as the most beautiful representation of Venu-Gopala, anywhere in India. The form of Venu-Gopala is well described in Agamas and Puranas. In the words of T. A. Gopinatha Rao:<blockquote>''“Venu-Gopala is another variety of the Krishna image, in which he is conceived to be delighting with his enchanting music the hearts of the cowherds, the cowherdesses, and the cows who are his companions. In the case of these images, the rapture of music has to be clearly depicted on the face; and they are in consequence generally so very pretty as to attract attention wherever they may be. Venu-Gopala is generally surrounded by cowherds and cowherdesses. This image of Krishna is made to stand erect with the left leg resting on the floor; and the right leg is thrown across behind or in front of the left leg so as to touch the ground with the toes. The flue is held in both the hands, and one end of it is applied to the mouth. It is said that the complexion of such images of Krishna should be dark in hue so as to resemble the rain-cloud in appearance. The head should be ornamented with a bunch of peacock’s features. There should be three bends in the body.”''<ref>Gopinatha Rao, T. A. ''Elements of Hindu Iconography''. New Delhi: Motilal Banarsidas, 1997. p. 207-08.</ref></blockquote>Keeping with the injunction of the Agamas and the other Shastras, the image is in ''tribhanga'' pose and as the Hoysala sculpted and built architecture in black stone the images were always made in deep black stone. On either side of Venugopala there are to be seen four sages (''brahmarishis''), two on each side. Rukmini and Satyabhama, the two consorts of Krishna are also present on the either side. Added to this, there are ''gopis'' and cows. Three ''gopis'' are listening to the flute of Venu-Gopala in enraptured attention, and one is so engrossed that she is not even aware of her ''vyjanthika'' (व्यजन्तिका dupatta). The cow is also enraptured and is completely oblivious of her calf who is feeding on her milk. She is also listening to Krishna playing flute. The cowherds are also dancing in rapture, the bliss of self-realization engulfing them, the bliss which is symbolized by the music of the flute of Krishna.
=== 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 rakshasa. This is depicted realistically as the Lord coming out of the pillar which is rent asunder by his power.
* स्तम्ब-नरसिंहः Stamba 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 rakshasa Hiranyakashyapa with the claws of his hands.
* उग्रनरसिंहः 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 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.
* लक्ष्मी-नरसिंहः 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.
* योग-नरसिंहः 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''.
In the ''prabhavali'' of Yoga-Narasimha, instead of the ''kirtimukha'' at center, there is ''padma''. This peculiarity is due to the reason that ''kirtimukha'' is a symbol of ''shakti'' (energy) and since Narasimha is so full of energy he needs to calm down. That is why a symbol of calm and serenity ''padma'' is portrayed instead of the symbol of ''shakti'' in order to calm the great god down and balance his ''rajasika'' qualities with ''sattvik'' ones. It is for balancing ''shakti'' and ''shanti''.
In the prabhavali (प्रभावली) of Yoga-Narasimha, instead of the ''kirtimukha'' at center, there is ''padma''. This peculiarity is due to the reason that ''kirtimukha'' is a symbol of ''shakti'' (energy) and since Narasimha is so full of energy he needs to calm down. That is why a symbol of calm and serenity ''padma'' is portrayed instead of the symbol of ''shakti'' in order to calm the great god down and balance his ''rajasika'' qualities with ''sattvik'' ones. It is for balancing ''shakti'' and ''shanti''.
The eyes of the gods are applied with a white powder called ''Sri Churna''. It makes them prominent. During every Abhishekam, this powder is washed away and it has to be applied again.
The eyes of the gods are applied with a white powder called ''Sri Churna''. It makes them prominent. During every Abhishekam, this powder is washed away and it has to be applied again.
The priest blesses the devotee by putting the ''Shadgopura'' on his head. A ''Shadgopura'' is a miniature ''gopuram'' with the feet of the god made on it. It symbolizes the feet of the god, as everyone cannot touch the feet by coming inside the ''garbha-griha''; the ''shadgopura'' is available for every devotee. In this arrangement, the devotee does not have to go inside the ''garbha-griha'' but the feet of the deity come outside to bless the devotee.
The priest blesses the devotee by putting the ''Shadgopura'' on his head. A ''Shadgopura'' is a miniature ''gopuram'' with the feet of the god made on it. It symbolizes the feet of the god, as everyone cannot touch the feet by coming inside the ''garbha-griha''; the ''shadgopura'' is available for every devotee. In this arrangement, the devotee does not have to go inside the ''garbha-griha'' but the feet of the deity come outside to bless the devotee. The image at Belavadi is not in agreement with the injunctions in ''Silparatna'' which requires one leg folded and one leg resting on the ground with the ''Yogapatta'' going across the leg and above the waist. But there are examples and other injunctions which tally to the depiction of Narasimha in Belavadi. According to Margaret Stutley, Yoga Narasimha should be depicted in either of the poses:<blockquote>“A yogic aspect of Narasimha, the man-lion incarnation (''avatara'') of Visnu. He is portrayed squatting (''utkutikasana'') with a band to hold one or both knees in position (''yogapatta'').”<ref>Stutley, Margaret. ''The Illustrated Dictionary of Hindu Iconography''. New Delhi: Munshiram Manoharlal Publishers, 2003. p. 168.</ref></blockquote>
The image at Belavadi is not in agreement with the injunctions in ''Silparatna'' which requires one leg folded and one leg resting on the ground with the ''Yogapatta'' going across the leg and above the waist. But there are examples and other injunctions which tally to the depiction of Narasimha in Belavadi. According to Margaret Stutley, Yoga Narasimha should be depicted in either of the poses:
“A yogic aspect of Narasimha, the man-lion incarnation (''avatara'') of Visnu. He is portrayed squatting (''utkutikasana'') with a band to hold one or both knees in position (''yogapatta'').”<ref>Stutley, Margaret. ''The Illustrated Dictionary of Hindu Iconography''. New Delhi: Munshiram Manoharlal Publishers, 2003. p. 168.</ref>
=== Utsava Murtis ===
=== Utsava Murtis ===
== Description of the temple ==
== Description of the temple ==
=== The Plan ===
=== The Plan ===
[[File:Plan of Veera Narayana Temple, Belavadi.png|thumb|120x120px|''Plan of Veera Narayana Temple, Belavadi'']]
[[File:Plan of Veera Narayana Temple, Belavadi.png|thumb|120x120px|''Plan of Veera Narayana Temple, Belavadi'']]
The Veera Narayana temple, Belavadi is a ''trikuta'' temple, meaning it has three shrines dedicated to Veera Narayana, Venu-Gopala and Yoga-Narasimha respectively. The temple was built in two steps. First an ''ekakuta'', temple with one ''garbha-griha'' was built. A closed hall and an open hall were attached to it. This was built in the earlier age of Hoysala architecture and the walls of the shrine from the outside are completely plain, similar to earliest of Hoysala architecture.
The Veera Narayana temple, Belavadi is a ''trikuta'' temple, meaning it has three shrines dedicated to Veera Narayana, Venu-Gopala and Yoga-Narasimha respectively. The temple was built in two steps. First an ''ekakuta'', temple with one ''garbha-griha'' was built. A closed hall and an open hall were attached to it. This was built in the earlier age of Hoysala architecture and the walls of the shrine from the outside are completely plain, similar to earliest of Hoysala architecture.
[[File:Shala 1) North-east shrine 2) South-east Shrine.png|thumb|251x251px|''Shala 1) North-east shrine 2) South-east Shrine'']]
[[File:Shala 1) North-east shrine 2) South-east Shrine.png|thumb|251x251px|''Shala 1) North-east shrine 2) South-east Shrine'']]
In a later age, the temple was converted to ''trikuta'', when two lateral shrines were added to it, taking the number of shrines to three. First an exceptionally large ''mandapam'' of staggered square shape was added to the open ''mandapam'' of the earlier shrine and on the two lateral sides of this ''mandapam'', facing north and south, the two shrines were built. Of the three ''vimanas'', the Veera Narayan is the smallest, Venugopal bigger than that and that of Narasimha the highest of all. Although the difference is imperceptible from a distance.
In a later age, the temple was converted to ''trikuta'', when two lateral shrines were added to it, taking the number of shrines to three. First an exceptionally large ''mandapam'' of staggered square shape was added to the open ''mandapam'' of the earlier shrine and on the two lateral sides of this ''mandapam'', facing north and south, the two shrines were built. Of the three ''vimanas'', the Veera Narayana is the smallest, Venugopal bigger than that and that of Narasimha the highest of all. Although the difference is imperceptible from a distance.
The effect is spectacular. This is the only ''trikuta'' Hoysala temple in which the three shrines are not attached to each other but are separated by three mandapams. Gerard Foekema calls this temple having “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> The larger hall (''mandapam'') is so majestic that it is seldom matched in Hoysala architecture. Gerard Foekema gushes forth about it:
The effect is spectacular. This is the only ''trikuta'' Hoysala temple in which the three shrines are not attached to each other but are separated by three mandapams. Gerard Foekema calls this temple having “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> The larger hall (''mandapam'') is so majestic that it is seldom matched in Hoysala architecture. Gerard Foekema gushes forth about it:
“This hall is of a common design but of an uncommon size, 9 ankanas deep instead of 5 or 7, and consequently it has a total surface of 61 ''ankanas''. Two of these, however, are used to provide the lateral ''vimanas'' with a ''sukanasi'', so the actual number of ''ankanas'' of the giant hall is 59.”<ref>Foekema, Gerard. ''Hoysala Architecture: Medieval Temples of Southern Karnataka Built During Hoysala Rule (2 Vol)''. New Delhi: Aryan Books, 2014. p. 109.</ref>
“This hall is of a common design but of an uncommon size, 9 ankanas deep instead of 5 or 7, and consequently it has a total surface of 61 ''ankanas''. Two of these, however, are used to provide the lateral ''vimanas'' with a ''sukanasi'', so the actual number of ''ankanas'' of the giant hall is 59.”<ref>Foekema, Gerard. ''Hoysala Architecture: Medieval Temples of Southern Karnataka Built During Hoysala Rule (2 Vol)''. New Delhi: Aryan Books, 2014. p. 109.</ref>
An ''ankana'' is a bay.
An ''ankana'' is a bay.
The third institution which takes care of the temple is the Sringeri Sharada Peetham, one of the four Mathas established by Adi Shankaracharya. The Sringeri Peeth is located in the Chikamagalur district in which the village of Belavadi lies. It is 114 km from Belavadi. It is the Sringeri Matha which runs the temple in the sense that it takes care of the rituals and festivals that go on in the temple. It is the Sringeri Matha which employs the head priest and takes care of his family as well as taking care of other needs of the temple.
The third institution which takes care of the temple is the Sringeri Sharada Peetham, one of the four Mathas established by Adi Shankaracharya. The Sringeri Peeth is located in the Chikamagalur district in which the village of Belavadi lies. It is 114 km from Belavadi. It is the Sringeri Matha which runs the temple in the sense that it takes care of the rituals and festivals that go on in the temple. It is the Sringeri Matha which employs the head priest and takes care of his family as well as taking care of other needs of the temple.
An employee of Sringeri Peetha lives in Belavadi who takes care of the needs of the temple – mainly about all the worship that is offered and the ''naivedyam'' that is offered. Sringeri Peetha provides a basic salary to the temple priest, which is now at 2000/- for Belavadi Veera Narayan temple. The temple priest cannot hold any other job and cannot accept any other salary other than the donation by the devotees.
An employee of Sringeri Peetha lives in Belavadi who takes care of the needs of the temple – mainly about all the worship that is offered and the ''naivedyam'' that is offered. Sringeri Peetha provides a basic salary to the temple priest, which is now at 2000/- for Belavadi Veera Narayana temple. The temple priest cannot hold any other job and cannot accept any other salary other than the donation by the devotees.
It is notable that though Sringeri Matha is a basically a Shaiva (Smarta) Matha, but it takes care of the Vaishnava temples too without any discrimination. The exaggerated stories about the differences between Shaivas and Vaishnavas in India have been the handiwork of the Marxist historians with vested interests. A cursory look at the affairs of how Mathas and temples are run clears the doubts.
It is notable that though Sringeri Matha is a basically a Shaiva (Smarta) Matha, but it takes care of the Vaishnava temples too without any discrimination. The exaggerated stories about the differences between Shaivas and Vaishnavas in India have been the handiwork of the Marxist historians with vested interests. A cursory look at the affairs of how Mathas and temples are run clears the doubts.
# ''Tamboolam'' (Offering of Betel Leaves and Betel nuts) – The deity is offered with betel leaves and betel nuts after he has taken the ''naivedyam''.
# ''Tamboolam'' (Offering of Betel Leaves and Betel nuts) – The deity is offered with betel leaves and betel nuts after he has taken the ''naivedyam''.
# ''Neerajanam'' – ''Aarati'' of the deity is performed with a camphor lamp. The deity has arrived and is satiated.
# ''Neerajanam'' – ''Aarati'' of the deity is performed with a camphor lamp. The deity has arrived and is satiated.
This worship is offered twice every day in all three shrines of the Veera Narayana temple: to Veera Narayan, to Narasimha and to Venugopala. Apart from this many special worships are offered to the deities many times around the year. Once a month, special worship is offered to all three deities:
This worship is offered twice every day in all three shrines of the Veera Narayana temple: to Veera Narayana, to Narasimha and to Venugopala. Apart from this many special worships are offered to the deities many times around the year. Once a month, special worship is offered to all three deities:
* Narasimha is offered special worship every month on Swati Nakshatra
* Narasimha is offered special worship every month on Swati Nakshatra
* Veera Narayan is offered special worship every month on Shravan Nakshatra
* Veera Narayana is offered special worship every month on Shravan Nakshatra
* Krishna is offered special worship every month on Rohini Nakshatra
* Krishna is offered special worship every month on Rohini Nakshatra