Chennakesava Temple, Aralaguppe, Tumkur District

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Chennakesava Temple,Aralaguppe, Tumkur District

While traveling from Bangalore to Shimoga, after Kibbanahalli cross and
15 km before Tiptur a big signboard reads "Way to Chennakesava
temple, Aralaguppe." A couple of kilometers on this deviation bring
us to the spellbinding 13th century architectural beauty of Hoysalas.

Aralaguppe was known as 'Alariguppe' according to inscriptions from
the bygone era. The Chennakesava temple here has all the usual
characteristics of the Hoysala architectural style, which is said to
have been introduced first in the Hoysaleshwara temple, Halebid.

The raised platform following the contours of the stellate plan of the
main temple, circumambulatory path ay to go round the temple, carved
repetitive friezes for basement cornices, introduction of a second
chadya or eave between the figure sculpture, turreted pilasters and
decorative miniature towers, exuberant ornamentation of the figure
sculptures, are all the predominant features of Hoysala architecture.
In the absence of any inscription available, this style alone has
helped the art historians to assign this temple to 13th century.

The Chennakesava temple stands on a raised platform in the centre of
the village. This is Ekakuta temple a single celled temple, with its
star shaped garbhagriha and tower is of a simple ground plan consisting
of an antarala (vestibule), navaranga and an entrance ankana fitted
with pierced stone windows, which allows subdued light into the temple.
The temple follows the contours of the vimana and has a flight of steps
in the front flanked by two miniature towers on each side.

The decorative friezes running around the temple wall provides many
spectacular scenes. The row of six friezes carved one above the other,
separated horizontally by deeply cut recesses, consists of caparisoned
elephants, horses, creepers, mythological frieze, makaras and lastly
hamsas. The mythological friezes tell the story of Ramayana and
Bhagavata. The lowest friezes of elephants and horses are picturesque
representations of the turbulent wars fought by the Hoysalas to build
and consolidate their empire. The makaras and hamsas are indicative of
the peacetime prosperity, wealth and happiness of the subjects.

The wall decorations are as profuse as in any other ornate Hoysala
temple.
Here also we see the regular scheme of dividing the outer wall into two
portions by a horizontally running cornice. The lower half has the
sculptures standing below a canopy of creepers. Most of them are the
Chaturvimsati Murthy, the 24 forms of Vishnu and other deities with six
hands and are the most spectacular iconographic specialty of this
temple. Because normally they are shown only with four hands. Above
these sculptures, the upper half of the wall shows varied forms of
miniature towers, turrets on pilasters.

The vimana of this temple is in the shape of 16-pointed star and
consists of kuta aedicule each one rotated by 22.5 degrees, 45 degrees,
and 22.5 degrees successively. The tower of the vimana with four talas
has a vedike and kuta roof at the top, which follows the contours of
the sanctum below. The top kalasa is missing.

The outer wall of navaranga is of staggered squares and represents a
saptaratha structure. Some of the sculptures here bear the name of
'Honnoja' on their pedestal while some others have only 'Ho' as a short
form of the sculptor's name. This terse name without any titles or
claims keeps us in darkness as far as the sculptor is concerned.

The navaranga is of the usual nine ankanas or divisions and has two
niches containing Ganesha and Mahishasuramardini, both of exquisite
workmanship.

A six-feet tall slightly damaged Keshava idol is kept in the navaranga
and perhaps, was the original deity that adored the garbhagriha, but at
present there is a smaller idol for worship. The pillars that support
the navaranga and the ceilings are elaborately worked. The fine
workmanship of the pillars is eye-catching.

But unfortunately the exquisite beauty of this temple has been marred
by another temple, which is built for Ugra Narasimha, annexing the
southern wall of the Chennakesava temple. Unless one has access to the
garbhagriha of the Narasimha temple, it would be impossible to see the
sculptural beauty of half the southern wall of Chennakesava temple.

Though Mysore archaeological report 1935, talks of removing this
obstruction and building a separate temple for Narasimha, perhaps due
to the unwillingness of the local villagers the project has remained on
paper only. If not for this one flaw, the condition of this temple is
fairly good.

Pre-Hoysala shrine

A pre-Hoysala shrine, the Kalleshwara temple attracted the attention of
experts, as the Natesha in the middle of the ashtadikpalakas panels
over the mukhamantapa ceiling, is considered the most beautiful
sculpture found in the State.

Consisting of garbagriha, antarala, and a mukhamantapa (with three
lateral shrines), the temple's sanctum sanctorum is adorned with a huge
black-granite Shivalinga.

While the adhishtana is made of granites, the temple's walls and towers
are constructed with bricks. The outer walls are insipid without
projections and recesses, but for the lone niche at the antarala that
divides the vimana from the mukhamantapa. Pilasters built closer at the
temple's interiors however, appears more refreshing.

The extraordinary ceiling of the mukhamantapa, with the Nolambas style
portrayal of Umasahita (Shiva and Parvati together) at the central
panel, is a stark contrast with the otherwise ordinary interior.

The image of Gajalakshmi on the doorway adds charm to the place. The
four lathe-cum-pillars, with cubical bases, supports the navaranga's
ceiling. Apart from the Shiva-Parvati panel, the ceiling has eight
other carvings of ashtadikpalakas, depicted with their consorts and
vehicles. Four vidyadharas, with garlands in their hands, face up to
the Natesha (with the expression of approaching him from the corners of
the panel's beams).

These garland-bearing vidyadharas are quite common to Nolamba
architecture; a clear evidence of the elegance and comprehensiveness of
their style. The Natesha, meanwhile, is a remarkable three-dimensional
image, wearing jewels such as the katibandana and tassels. The dancing
lord is accompanied by three bhutas playing a three-headed percussion
instrument. They are also seen with ayut and other symbols.

The northern and eastern lateral shrines contain idols of Keshava and
Surya, while the southern one contains the Umasahita mounted over a
large stele with a lotus pedestal and a prabhavali with a couple of
flying vidyadharas.

Located 20 kms above Tiptur, Aralaguppe can be reached by trains
running in the Bangalore - Tiptur - Arasikere route. Carry your own
food, as the place has no restaurants. 120 kms from Bangalore, the
village can also be reached by road from Tiptur.