Somnathpur

Kesava Temple

Somnathpur

137 kms. from Bengaluru, Karnataka, lies Somnathpur, a quaint town. The town was once part of the   Hoysala Dynasty. The Hoysalas were prominent even during the Chalukya period but after their collapse the southern territories were claimed by the Hoysala dynasty. The latter half of the 13th century saw the empire partitioned. Nrsimha III (1254 to 1292), controlled the Northern regions whilst his brother Ramnatha ruled the Tamil holdings in the south.

One of the many monuments built in the time of Nrsimha III, is the Temple of Kesava in Somnathpur. Although small in size it is the only complete temple left, of all the Hoysala monuments. Exquisite carvings accord it one of the finest amongst the Hoysala structures.

The Kesava temple is under the protection of ASI and is very well maintained. It is enclosed from all sides. As we enter through the Mahadvara (Main Entrance), there is a pillared corridor all around which housed images of Vaishnavite deities. Today it stands empty. The rectangular courtyard takes us to the main temple complex. Instead of the Gopura in Vimana form, the entrance is a Mandapa which has a pillared porch, unlike most southern style temples. It is this feature which is suggestive that it is a Hoysala structure.

The unique feature of Hoysala temples are the multiple shrines, 2, 3, 4 or 5 in number. The Kesava temple at Somnathpur is a triple shrine temple. The temple plan consists of three separate Vimana, each with a garbha griha (sanctum), and shrine. The main mandapa is shared by all three shrines whilst there is a small mandapa in front of each garbha griha. The plan of each Vimana is of a stellate medium sized tower. The use of soft soapstone (chlorite schist), a good material for intricate carving characterizes the temple complex. Executed mostly by local craftsmen, the temples exhibit architectural features that distinguish them from other temple architectures of South India. The temple is raised on a Jagati (a platform), which also serves as a Circumambulation path, right around the temple and is also built in the star shape of the temple. The walls too, follow the same zig zag pattern. This is a Hoysala trademark.

The facade of the temple has ornate sculptures from the plinth to the top. There is minute detailing on the horizontal freizes. Sculptures of the dancing Ganesha, as well as Vaishnavite images of the Varaha and matsya incarnations of Vishnu, adorn the walls. Each sculpture is carved with detailing of Jewellery and clothing. The sculptures are squattish and more rounded. The hairstyles typically of the area, in round buns and female figures are shown voluptuous.

The Vimana towers are even more ornately carved. Below the overhang of the Vimana, two different schemes are seen. The top layer has miniature towers below which are intricately sculpted deities. The second division is of 6 horizontal mouldings. The first horizontal moulding at the base has elephants, above which stand horsemen and then a band of foliage. The second horizontal section has depictions of the Hindu epics and Puranic scenes. Two friezes of yalis or makara, and swans appear above the Puranic schemes.

 Another unique feature is the signature of the artist on the pedestal of the sculptures. Hence, we know that an artist Mallitamma, was the main sculptor of this temple. Some of the sculptures have his full name and some only 'Ma". What is not seen much in Hoysala Architecture are erotic images but there are panels in the exterior with these images, however they are in the niches and may suggest shaktism. It is also seen that many a time these images have a deeper meaning and house a mandala in their fold.

As the exterior, the interior of the temple, is intricately carved. The ceilings are carved with stages of the lotus flower, from bud to full bloom stage. The walls have star shaped openings for the light to come through. The numerous pillars in the main and smaller, inner mandapa have different kinds of finish, from the smooth to the carved in complete symmetry. That these were carved by hand held lathes is a marvellous example of the genius of the sculptor.

The three images in the shrines are those of Krsna as Venugopala in the south shrine, Janardana, as Vishnu in the North and Kesava the main form, after whom the temple is named. As Venugopala, Krsna is holding the flute/ Each idol stands on a pedestal with the image of Garuda beneath.

The temple exudes a sense of peace and serenity which is not apparent in most temples today.