Lord Vishnu Archives — NIMBLE FOUNDATION BLOG

INCREDIBLE INDIA !! [BLOG#27]

SIVASAGAR SIVADOL TEMPLE

Shiva dol (meaning the temple of Shiva) is a group of structures comprising three Hindu temples of Sivadol, Vishnudol (temple of Vishnu) and Devidol (temple of Durga in the local Assamese language) shrines, and a museum. These are located on the banks of the Sivasagar (“the ocean of the god Shiva”) tank, also known as the Borpukhuri tank, in the heart of Sivasagar, in the Indian state of Assam. The tank was constructed between 1731 and 1738 and the temples were built in 1734 by Bar Raja Ambika, queen of Ahom king Swargadeo Siva Singha (1714–1744). The height of the Sivadol (dol means temple in Assamese) is 104 feet (32 m) and the perimeter is 195 feet (59 m) at the base. It is crowned with an 8-foot (2.4 m) high golden-dome.

Sivasagar Sivadol is located at 26°59’18″N and 94°37’59″E, in the heart of the Sivasagar city, which was known earlier as Sibsagar in the Sibsagar district of Upper Assam in Northeast India.
Sivsagar, present day Sivasagar, was the capital of Ahom kingdom. The Ahoms had migrated from South China in 1228 and established their first capital at Charaideo 28 kilometres (17 mi) from present day Sivasagar in 1253. Initially they were / Ancestor worshippers close what we see in Taoism and Shinto, and very much a part of the practices till date Buddhists some of the practices of Mahayana and Theravada school of thoughts, though Hinduism came to prevail. It was the capital of the Ahom Kingdom till the British Raj was established in India. The tank was constructed between 1731 and 1738 and the temples were built in 1734 by Bar Raja Ambika, queen of Ahom king Swargadeo Siba Singha.

The Sivsagar tank was built by Bar Raja Ambika, the chief consort of Siva Singha in 1733. A battle was fought against the Moamoria rebels In its vicinity in the reign of Gaurinath Singha.The Sivasagar tank, also known as the Borpukhuri tank, was built by constructing embankments and the water level thus created in the lake remains above the adjoining ground level. The lake has a total area of 257-acre (104 ha) with a water spread of 129-acre (52 ha). It is said that the lake water remains stable throughout the year without any fluctuations even during the monsoon months. The depth of water in the lake is 27 feet (8.2 m). Many notable structures have been built on the banks of the lake. Three Hindu temples Sivadol, Visnudol and Devidol, a Buddhist shrine and a bird watching tower to watch wintering birds visiting the area, are located on its east bank. The Tai Museum located on the west bank of the tank is built with red bricks. A church and two mosques are also located on the bank of the tank.

The Sivadol or Shiva temple, built in the Shikhara architecture (more specifically Ahom temple architecture), has a central tower which is said to be the tallest Shiva temple tower in India at a height of 104 feet (32 m). The base of the temple measures 195 ft (59 m) in circumference. The temple is built with stone and bricks. Inside the Garbhagriha (sanctum sanctorum), the Shiva Linga (aniconic symbol of Shiva) is deified, which is in a reverse setting. The Shikhara or Vimana (temple tower), which rises above the sanctum sanctorum, has a four-tiered, 8 feet (2.4 m) mastaka and is crowned by a kalasha made of gold. The tower itself is built with parallel ridges and furrows. The lower part of the tower is flanked by four smaller identical towers, which are known as the angashikaras. The garbagriha, where the main deity is deified in the form of a reversed Shiva linga, is interconnected with an antarala, a small antechamber, which has a roof known as do-chala, which is akin to a typical hut built in Assam. The antarala is also connected to one of the mandapas (outdoor halls). The exterior walls of the temple are embellished with sculptures and floral designs set in Bas-relief.

Some of the unique sculptures set on the outer walls of the temple are of the goddess Durga, which are seen carved with 2 arms, 4 arms, 6 arms, 10 arms and 16 arms. The sixteen armed Durga holding various weapons is a “pan-Himalayan” theme adopted in plastic arts of Ahom temple architecture. Durga is depicted decimating Mahishasura, the demon king with a buffalo head, by thrusting a spear. She is riding a lion, her mount, which supports her in the fight with the demon. This feature represents the harmonious blend of Brahminical Hindu culture with the Shaktism cult which the royalty of Ahom dynasty had adopted as their religious practice throughout their kingdom.

Thanks for reading.

INCREDIBLE INDIA !! [BLOG#24]

LAKSHMI NARASIMHA TEMPLE

Lakshmi Narasimha Temple, also referred to as Lakshminarasimha temple of Bhadravati, is a 13th-century Hindu temple dedicated to Vishnu, built by the Hoysala ruler Vira Someshwara. It is located in Bhadravati, Shimoga District of Karnataka state, India. The temple opens to the east and has three sanctums, one each dedicated to Venogopala, Lakshminarasimha and Vishnu-Puroshottama. It is notable for its Vesara architecture, with artwork that includes legends and deities of Vaishnavism, as well as those of Shaivism, Shaktism and Vedic deities. Important reliefs include those of Ganesha, Dakshinamurti, Bhairava, Sarasvati, Brahma, Surya, Harihara (half Shiva, half Vishnu), and others. The temple’s original shikaras were ruined, and have been restored with a conical structure. According to Adam Hardy – a scholar of Indian temple architecture, this temple has two “exceptional” stellate structures highlighting the architectural sophistication of the Hoysalas.

The monument is protected by the Karnataka state division of Archaeological Survey of India. Bhadravati is a historic city and in the contemporary era, it is a steel producing center in west-central Karnataka. It is about 20 kilometres (12 mi) southeast from Shimoga (Shivamogga, NH 69), and about 255 kilometres (158 mi) northwest from the state capital Bengaluru (Bangalore). The Lakshminarasimha temple is located to the north of the town and the east bank of the Bhadra river.

The temple illustrates a complex trikuta (three sanctum) temple built from soapstone, with a square plan and Vesara vimana. It stands on a jagati and the outer wall exhibits a two tier decorative plan. The jagati extends around the temple and serves the purpose of pradakshinapatha (circumambulation). The entrance to the temple is through an open pillared hall or porch (mukhamantapa) followed by a closed hall (mantapa or navaranga). The porch consists of an awning supported by lathe turned half pillars and parapets on either side. The inner wall of the shrine is square and plain where as the outer wall is stellate (star shaped) with numerous recesses and projections that are used for decorative relief. These include a large number of Vaishnava legends and images, but also include a significant number of legends and images from Shaivism, Shaktism and of Vedic deities. Examples include exquisite artwork of Ganesha, Chandika, Bhairava, Harihara, Dakshinamurti, Nataraja with khatvanga, dancing Durga, Durga Mahisasuramardini, Rati and Kamadeva, Saraswati, Brahma, multiple panels of Surya, and others. The Surya image signed by shilpin Maba is particularly notable.

The closed central hall connects to the three sanctum via a vestibule (called sukhanasi). The vestibule also as a tower (also called sukhanasi) which looks like a low protrusion of the main tower over the shrine. The outer wall of the vestibule is decorative but inconspicuous because it appears like a short continuation of the shrine outer wall. The closed central hall connects to the three sanctum via a vestibule (called sukhanasi). The vestibule also as a tower (also called sukhanasi) which looks like a low protrusion of the main tower over the shrine. The outer wall of the vestibule is decorative but inconspicuous because it appears like a short continuation of the shrine outer wall. The ceiling of the closed hall is supported by lathe turned pillars. Brown states that these lathe turned pillars with four brackets above are a signature style of the 11th-13th century Chalukya-Hoysala architectural idiom.

Thanks for reading

INCREDIBLE INDIA !! [BLOG#19]

BADARINATH TEMPLE

Badarinath or Badarinarayana Temple is a Hindu temple dedicated to Vishnu. It is situated in the town of Badrinath in Uttarakhand, India. The temple is also one of the 108 Divya Desams dedicated to Vishnu—holy shrines for Vaishnavas—who is worshipped as Badrinath. It is open for six months every year (between the end of April and the beginning of November), because of extreme weather conditions in the Himalayan region. The temple is located in Garhwal hill tracks in Chamoli district along the banks of Alaknanda River. It is one of the most visited pilgrimage centers of India, having recorded 2.8 million (28 lakh) visits in just 2 months in 2022. It is one of the Char Dham pilgrimage sites.

The image of the presiding deity worshipped in the temple is a 1 ft (0.30 m), the black granite deity of Vishnu in the form of Badrinarayan. The deity is considered by many Hindus to be one of eight svayam vyakta kshetras, or self-manifested deities of Vishnu. Mata Murti Ka Mela, which commemorates the descent of river Ganges on mother earth, is the most prominent festival celebrated in the Badrinath Temple. Although Badrinath is located in North India, the head priest, or Rawal, is traditionally a Nambudiri chosen from the South Indian state of Kerala. The temple was included in the Uttar Pradesh state government Act No. 30/1948 as Act no. 16,1939, which later came to be known as “Shri Badarinath and Shri Kedarnath Mandir Act”. The committee nominated by the state government administers both the temples and has seventeen members on its board.The temple is mentioned in ancient religious texts like Vishnu Purana and Skanda Purana. It is glorified in the Naalayira Divya Prabandham, an early medieval Tamil canon of the Alvar saints from the 6th–9th centuries CE.

The temple is located in Garhwal hill tracts along the banks of the Alaknanda River in Chamoli district in Uttarakhand. The hill tracts are located 3,133 m (10,279 ft) above the mean sea level. The Nar Parbat mountain is located opposite to the temple, while the Narayana Parbat is located behind the Neelkanth peak. Adi Shankara established Badrinath as a pilgrimage site in the ninth century. The temple has three structures: the Garbhagriha (sanctum), the Darshan Mandapa (worship hall), and Sabha Mandapa (convention hall). The conical-shaped roof of the sanctum, the garbhagriha, is approximately 15 m (49 ft) tall with a small cupola on top, covered with a gold gilt roof. The facade is built of stone and has arched windows. A broad stairway leads up to the main entrance, a tall, arched gateway. Just inside is a mandap, a large, pillared hall that leads to the sanctum, or main shrine area. The walls and pillars of the hall are covered with intricate carvings.

There is no historical record about the temple, but there is a mention of the presiding deity Badrinath in Vedic scriptures (c. 1750–500 BCE). According to some accounts, the shrine was worshipped in some form in the Vedic period. Later, during Ashoka’s reign, because of the spread of Buddhism, this shrine might have been converted into a Buddhist shrine. The temple was a Buddhist shrine till the 8th century and Adi Shankara revived the shrine and converted it to a Hindu temple. The architecture of the temple resembling that of a Buddhistvihara (temple) and the brightly painted facade which is atypical of Buddhist temples leads to the argument. Other accounts relate that it was originally established as a pilgrimage site by Adi Shankara in the ninth century. It is believed that Shankara resided in the place for six years from 814 to 820 CE. He resided six months in Badrinath and the rest of the year in Kedarnath. Hindu followers assert that he discovered the deity of Badrinath in the Alaknanda River and enshrined it in a cave near the Tapt Kund hot springs. A traditional story asserts that Shankara expelled all the Buddhists in the region with the help of the Parmar ruler king Kanak Pal. The hereditary successors of the king governed the temple and endowed villages to meet its expenses. The income from a set of villages on the route to the temple was used to feed and accommodate pilgrims. The Parmar rulers held the title “Bolanda Badrinath”, meaning speaking Badrinath. They had other titles, including Shri 108 Basdrishcharyaparayan Garharaj Mahimahendra, Dharmabibhab, and Dharamarakshak Sigamani.

The throne of Badrinath was named after the presiding deity; the king enjoyed ritual obeisance by the devotees before proceeding to the shrine. The practice was continued until the late 19th century. During the 16th century, the King of Garhwal moved the murti to the present temple. When the state of Garhwal was divided, the Badrinath temple came under British rule but the king of Garhwal continued as the chairman of the management committee. The selection of priest is done after consultation between Garhwal and Travancore royal families. The temple has undergone several major renovations due to its age and damage by an avalanche. In the 17th century, the temple was expanded by the Kings of Garhwal. After significant damage during the great 1803 Garhwal earthquake, it was largely rebuilt by the King of Jaipur. It was still under renovation as late as the 1870s but these were completed by the time of the First World War. At that time, the town was still small, consisting of only the 20-odd huts housing the temple’s staff, but the number of pilgrims was usually between seven and ten thousand. The Kumbh Mela festival held every twelve years raised the number of visitors to 50,000. The temple also enjoyed revenue from the rents owed to it by various villages bequeathed by various rajas.

Thanks for reading.

INCREDIBLE INDIA !! [Blog #2]

MASRUR TEMPLE

The Masrur Temples, also referred to as Masroor Temples or Rock-cut Temples at Masrur, is an early 8th-century complex of rock-cut Hindu temples in the Kangra Valley of Beas River in Himachal Pradesh, India. The temples face northeast, towards the Dhauladhar range of the Himalayas. They are a version of North Indian Nagara architecture style, dedicated to Shiva, Vishnu, Devi and Saura traditions of Hinduism, with its surviving iconography likely inspired by a henotheistic framework.
Though a major temples complex in the surviving form, the archaeological studies suggest that the artists and architects had a far more ambitious plan and the complex remains incomplete. Much of the Masrur’s temple’s sculpture and reliefs have been lost. They were also quite damaged, most likely from earthquakes.

The temples were carved out of monolithic rock with a shikhara, and provided with a sacred pool of water as recommended by Hindu texts on temple architecture. The temple has three entrances on its northeast, southeast and northwest side, two of which are incomplete. Evidence suggests that a fourth entrance was planned and started but left mostly incomplete, something acknowledged by the early 20th-century colonial era archaeology teams but ignored leading to misidentification and erroneous reports. The entire complex is symmetrically laid out on a square grid, where the main temple is surrounded by smaller temples in a mandala pattern. The main sanctum of the temples complex has a square plan, as do other shrines and the mandapa. The temples complex features reliefs of major Vedic and Puranic gods and goddesses, and its friezes narrate legends from the Hindu texts.

The temple complex was first reported by Henry Shuttleworth in 1913 bringing it to the attention of archaeologists. They were independently surveyed by Harold Hargreaves of the Archaeological Survey of India in 1915. According to Michael Meister, an art historian and a professor specializing in Indian temple architecture, the Masrur temples are a surviving example of a temple mountain-style Hindu architecture which embodies the earth and mountains around it.

Thanks for reading.