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| The village of Belur, is
located on the banks of the river Yagachi. Once the capital of the Hoysala
empire, it still draws hordes of visitors, who cannot get enough of its
fascinating temples. The construction of the Somanathapura (Chennakeshava)
Temple was started by Somanatha, a high officer under Hoysala King Narasimha
III (1254-1291 AD.). It is a splendid example of Hoysala style of
architecture. It stands on a raised platform in the center of a spacious
enclosure having sixty four (64) cells (or chambers). The central temple is
actually a three celled (tricutachala) structure consisting of three Garbha
Grihas, three Antaralas, and a Navarang (prayer hall). It has a Mahadwara
(main entrance) standing on the eastern side. The images of the divinities
Venugopala, Kevasa, and Janardhana are installed in the cells which are
surmounted by elegantly carved Sikharas (towers). Outside, on the vimana (outer sanctum wall), the Hoysala sculptors have surpassed themselves - unending rows of nearly 650 elephants, horses, lions, birds and warriors. The larger panels of the wall, sport scenes depicting the great epics - Ramayana and Mahabharata. The base of the outer foundation is highly ornamented with carvings of elephants (strength). Scrolls, epic and puranic scenes, small images with intervening turrets and columns with figures in between, a number of gods and goddesses and their attendants adorn the walls. The lathe turned pilliars and delicately carved ceilings (sixteen different types) are the characteristic feature of the Hoysala art. The names of a number of sculptors, i.e. Mallithamna, Masanathamna, Chemeya, Bhameya, etc. are carved on the pedestals of the images. It is observed that Mallithamna has not only carved the maximum number of images but also carved the northern Sikhara, that of the Janardhana cell. The main entrance to the shrine is guarded by twin statues of a youth slaying a tiger. What is remarkable about this shrine is its compact structure, and perfect proportions. The wealth of sculptured images is simply unbelievable, since from the base to the projected eaves, every inch of available wall surface is covered with the most exquisitely sculptured images. But the Hoysala sculpture reaches its apogee in sculptures of celestial maidens, carved with a marvellous plasticity of modelling, and imbued with the most accomplished grace and elegance. Inscriptions engraved on a huge slab standing in the Mahadwara and on the beams of the Navaranga ranging in date from 1269-1550 AD. give the details of the construction of the temple and several grants for the upkeep of the temple. Pillars in the Navranga Hall are lathe-turned, ingeniously carved and remarkably smooth. No two pillars look alike. The hall is diamond-shaped. The ceiling has concentric rings, ornamented with figures. At the center of the hall, is a polished stone platform, on which the queen is believed to have danced, in praise of Lord Chennakeshava.
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