CHENNAKESHAVA TEMPLE

The temple was consecrated in 1268 by Somanatha Dandanayaka, a general of the Hoysala king Narasimha III. Dandanayaka requested the king's permission to build a temple in honor of Vishnu, in order to solicit divine favor for the Hoysala empire. It was also a demonstration of the kingdom's power, wealth and architectural expertise. The temple thus follows the classic plan of Hoysala architecture: a rectangular enclosure wall, the building standing on a star-shaped platform in the center of the courtyard, projections and recesses on the outer walls and a mandapa (hall) with turned columns inside. Unlike the Belur and Halebid temples, the temple comprises three sanctuaries, each topped by an intact tower. The Somanathpura temple is considered the most architecturally harmonious. It was repeatedly damaged by Muslim attacks in the ^14th century.

Exterior. The entrance to the complex is through a massive gate spanning the surrounding wall. This is guarded by two turned columns, typical of the Hoysala style. The temple is built on a platform that regularly follows its contours, allowing pilgrims to perform the ambulatory ritual before entering the temple. The outer walls and towers are entirely sculpted. A double cornice adorns the outer walls: the first is plumb with the wall and roof, while the other is placed one metre below. The space between these two cornices is carved with aediculae, small columns that form niches. Below the second cornice, the main row features a frieze of Hindu divinities. There are 200 different panels. The base is divided into 6 rows of decorative friezes. The lowest features elephants symbolizing strength; the second, horsemen on their mounts to represent speed; the third frieze plays with floral motifs; the fourth frieze repeats scenes from the epic novels of the Mahâbhârata and the Râmâyana; the fifth frieze depicts makara, a mythological animal half mammal, half fish, guardian of the throne and passages, often represented at the entrance to temples; the sixth frieze depicts swans, symbolizing the Supreme Spirit. On the fourth frieze from the bottom, you'll notice scenes from the Ramayana on the south wall, the story of Krishna on the west wall, scenes from the Mahâbhârata on the north wall and scenes from the Bhagavata Purâna on the west wall.

Inside. As you enter the temple, you enter the mandapa, the hall that provides access to the three sanctuaries. The weight of the ceiling is supported by large turned schist pillars. The concave ceilings are also richly ornamented and sculpted. The walls are carved with scenes from court life: dancers, musicians, hunters and their dogs, military and civilian horsemen, as well as members of the royal family and royal palaces. It's well worth taking a closer look to appreciate the fine details, including the women's jewelry and hairstyles. At the far end of the temple, the three sanctuaries are linked by a vestibule. Each niche houses a sculpture of a different representation of Vishnu: Janardhana and Venugopala. The statue of Kesava is missing.