A PEEP INTO THE CHEQUERED HISTORY OF BHATKAL

There is every reason to believe that by virtue of its strategic location Bhatkal has for centuries been an apple of discord. It seems as though many rulers-foreigners not barring-vied with one another to gain control over this town by hook or crook. Paradoxical thought it may seem, very little is known about the history of this place prior to the 12th century A.D. except a few stray references here and there. This being so, reconstructing the history of this glorious town is stupendous task by any counts. Not withstanding these facts there is conclusive evidence which goes to prove that Bhatkal was a part and parcel of the Hoysala empire for more than 50 years during the rule of Ballal III from 1291 to 1343. Although the Alupas were the nominal rulers of Bhatkal taluk during the early decades of the 14th century, they in turn owed allegiance to the Vijayanagar emperors. The rulers of Vijayanagar administered Bhatkal with Honnavar as the headquarters. This rule lasted throughout the reign of Harihara II, Devaraya I and Devaraya II. However, in the early days, the rulers of Haduvalli did defy the supremacy of Vijayanagar and did not hesitate to give tough resistance. Varthema (1503), the Italian traveler speaks very highly of Bhatkal. In his words Bhatkal was noble city, very beautiful, Bhatkal was among the top-ranking centres of trade and commerce in the Vijayanagar empire. That was the reason why the Portuguese appealed to Krishnadevarya time and again to permit them to open a factory there. The fact that Krishnadevarya who maintained amicable relationship with the Portuguese refused their request underscores the importance of Bhatkal.  After the disintegration of Vijayanagar empire the Saluva rulers of Haduvalli brought this coveted town under their rule. Thus the dawn of the 15th century marked the beginning of a new chapter in the chequered history of Bhatkal. Many temples and bastis came to be constructed here during Chennabhaira Devi's rule. It is said that one of her commanders, Narayana Nayaka (1556) built the Vardhamana Basti. It is a matter of great pride to us to recall that the eminent scholar like Akalanka II who was the mentor of the renowned Kannada grammarian Bhattakalanka (1598) was a great son of this locality.   This region passed on to the Nayakas of Keladi from Chennabhaira Devi. Meanwhile sweeping changes were taking place in the political scenario of the country. the Portuguese had secured a strong foot-hold in Goa. their meteric rise was upsetting all political equation. In the alter part of the 17th century they had entered into an agreement with Chennammaji (1678) and succeeded in obtaining her permission to build churches at Bhatkal and elsewhere. The Maratha King Shivaji came by the sea route and tried to plunder Bhatkal in 1664.  The Dutch maintained cordial relationship with the rulers of Bhatkal. No wonder their policy paid rich dividends. Trade between the two countries prospered as never before. When Bhatkal came under Tippu's rule its overseas trade received a further boost. He opened many state-owned depots at Bhatkal. Bhatkal proved to be invaluable and indispensable for the prosperity of the economy of any kingdom. Thus it changed hands quite frequently. In 1606 it came under the Keladi Navayakas and continued to rise notch by notch. The Portuguese succeeded in opening a factory of their own at Bhatkal in 1678. From the Keladi rulers, Bhatkal passed on to Hyder Ali and Tippu from whom it came under the British in 1799. Antequetil dy parron who visited this place in 1758 speaks of a fort built on a rock. Buchanon who came here in 1801 says that there were 50 houses in Bhatkal . Bhatkal did not lag behind its counterparts in other parts of the country in our struggle for freedom. The historic Quit India procession was taken here during the second week of 1942. Thus even a sketch history that can be reconstructed in the light of available evidence speaks volumes of the greatness of Bhatkal and of its vital role in our country's economy.  FACTS : There were two division of Canara in Nov. 1800-Northern & Southern; Bhatkal was in the northern division.  In 1871, both the division merged to emerge as a single division. In 1862, the single division was again divided into two districts-Uttara Kannada with Bhatkal Petha was transferred to the Bombay Presidency. In 1960 - Bhatkal was elevated as a taluk.

TEMPLES IN BHATKAL

 The Hindu philosophy accommodates diverse interpretations of its  ancient scriptures. It stands for a process of evolution extending from the  worship of arthromorphic God, to the realisation of self as God. A Hindu  temple symbolises this process. The styles of temple have reflected their  basic purpose and the different views of the civilisation in which they  occur. Bhatkal town is not only famous for elegant mosques, but also for the  temples that dot the town. The old structures have withstood the ravages  of time to tell the tales of the past splendour. And there are new ones  built by the new generation people. While the majority of the ancient  temples are situated in Mudbhatkal, lying to the east of the town, the new  ones and a few older structures are in the town. The temples dotting  Mudbhatkal include Khetapayya Narayana, Joshi Shankarnarayana and  Choleshwara. Other temples in the area are as follows: Santappa Nayaka Tirumala temple was constructed by Santappa  Nayaka, who is believed to have been the brother-in-law of Khet Pai. In  this temple, God Venkataramana is worshipped. Built in 1555, profusely  sculptured motifs adorn the walls. The Virupaksha Narayan temple is a small structure built in 1565 by  Jeevana Nayaka. The Narasimha temple is another fine structure in  Mudbhatkal. A hero stone is found on its left corner.  Nothing is visible on it. A merchant by name Narasa Kini built the temple  in 1538. The ceiling is adorned with fine images of Brahma and its  Navaranga has pillars with lathe-turned top.  Lakkarasa Kamthi Lakshmi Narayana is a small monument in the green  field. The temple is assigned to 1550 AD.  The Raghunath temple in the area is assigned to 1590 AD and was built  by Bala Kini  Bhatkal town proper, too, has a score of temples including a few older  ones. The cynosure of all is the Maruthi temple at car Street. During its  construction period, which we couldn't trace out, eight guardian angels  called `Astadik- palakaru' were installed in its eight directions with a belief  that these will guard the temple from unforeseen evils. The Maruthi is the  gramadevata of Bhatkal. During March-April, a car festival of this temple  is held.  The Shri Marikamba temple, renovated in 1980, situated on the busy  main road (Marikatta)  The Nichchalamakki Sri Venkatar -amana temple at Asarkeri is another  famous temple here which has about 200 years history. His Holiness Sri  Ramanujacharaya and Sri Madhavacharya installed Sri venkata- raman  idol, which was brought from Tirupathi. The Sunkadakatte Sri Ganapati  temple recently renovated has an interesting history.Sunkada Katte in  Kannada means check post (for collecting octroi). And it is believed that  its employees had installed Ganapati idol for their daily worship and  subsequently it became a temple. The Soddigadde Shri Mahasati temple  has disciples mostly from Moger and Namadhari communities. It is said  that previously there were five `peethas'. In the year 1973 the new idol of  Mahasatiwas installed. There is no permanent priest for the rituals. And  any man is free to enter and worship according to his own customs. The  car festival takes place in the month of January.  The Sri Siddhi Vinayaka temple at Ranginkatte is 70 years old. The main  speciality of this Ganapathi idol is that its trunk is turned right, and not left  as usually seen. In the year 1921 Ved Shri Kabre Timmanna Bhat of  Kabre village installed this idol made of white marble and build this  temple. This temple is managed by Havyaka Brahmins.  Other temples include the Shanteri Kamakshi, the Parashurama  Damodhara, the Gopalkrishna, Dattareya, the Vader math, Durgaparameshwari, Kashi math, Nadagara, Shri Ram, Padmavathi and  Shivalaya. The Amar Lingeshwar Temple at Bunder has a long history  but we will not go into it. The temple was renovated in 1987. His  Holiness Sri Vishweshwar Teertha Swamiji of Shringeri Math installed  the Ishwar Linga. The temple is at the bottom of the hillock near the sea.  Mr. Vasudev Bhat belonging to Havyaka Brahmin community is its  priest. Other temples at bunder are: Hanumanth, Mahalingeshwar, Durgaparameshwari and Kutshmeshwar.  Murdeshwar Additional places of interest  

BHATKAL, SHRI GERSAPPA LAXMINARAYAN TEMPLE

Established about : 500 years ago by a member from Mankikar Family.
Presiding Deity : Shri Laxminarayan Dev.
Important Festivals : Vanabhojana on Kartik Bahul Shasti (November). 
Nearby Interesting Places : Six temples in the same town and Sea Beach in Mrudeshwar. Temples like Parashuram Kamakshi, Sunkadkatte Ganapati, Kashi Math, Datta-Umamaheshwar, Wader Math (Vithoba temple), Hanuman Temple etc. 
Managing & Sole Trustee : Shri B. N. Koppikar, Shanta Nivas, Veera Vithal Road, Bhatkal - 581320.
HISTORY OF SHRI GERSAPPA LAXMINARAYAN TEMPLE
There was family in the village of Manki called Mankikars at the time of Jains' reign in Nagar Sansthana around 1400 - 1500 AD.
This family had a lot of land in Manki as well as in Susgadi village of Bhatkal Taluka. They had many tenants under them. On account of some quarrel the tenants in Manki Village were annoyed.
At the time of Ganesh Chathurthi, these annoyed tenants took the revenge. They brought a Rasabale Banana bunch, put poison in, by a needle and gave to the landlord on the day of Ganesh Chathurthi. The landlord prepared Rasayana of the Bananas and worshipped Ganesh. Then the family ate the Rasayana and all died. Fortunately, one of the daughters of Gersappa family, given in marriage to the Mankikar family, who had gone to Honavar for her first delivery, was saved.
The widow with the new born male child pulled on. When the child grew up he took up the matter with the King and the culprits were given capital punishment. Though initially he was happy, later on he felt very sorry for this act of revenge, which he thought was a great sin. One day he saw in a dream an old man who told him that he should empty the tank in the place nearby in which he would get two Idols viz. Janardhan & Laxminarayana. Out of these Idols, Janardhana should be installed at Manki and Shri Laxminarayana should be installed at Bhatkal - then his sin would go. Accordingly, this temple was constructed. Shri Gersappa Laxminarayan Temple, Trustee B. N. Koppikar, Shanta Nivas, V. V. Road , Bhatkal, Uttar Kannada Dist. - 581320.

Kethapayya Narayan Temple

The Kethapayya Narayan temple is the most outstandingly beautiful architectural structure found in Bhatkal. Located at Mudbhatkal the beauty and sharpness of the art carved on the temple walls makes the pilgrims spellbound. The Navaranga supported by four pillars represents the Vijayanagara style of architecture. Idols of `Ashta Dikpalakas' guard the eight directions. At the door step of the temple pictures of episodes extracted from Ramayana, Putra Kamesti, Vanavas, Rama pattabhisheka, etc., make one dream of those ages.  There is a huge monolithic swajastambha (flag pillar) in front on which are engraved on one side facing the deity a rich couple, presumably of Kheta Pai and his wife. It is said that Khetha Pai, a noted jeweller who came from  Goa. There is a belief that Rani Chennadevi donated liberally for the construction of this temple.  Joshi Shankara Narayan Temple Located in the vicinity of the Kethapayya Narayan Temple, Joshi Shankarnarayana Temple is supposed to have been built around 1554 A.D. The very name of this temple indicates that there is no difference between Hari and Hara. This bears witness to the fact that devotees can worship their god at one place and offer salutation to one Idol, which resembles both Hari and Hara. And the prefix in its name indicate the name of the builder. In the temple only adyturn (garbhgudi) is there. It has a separate front structure of flat roof. The building which is small and square shaped is beautiful beyond belief. There is no Idol of Shankara Narayana. Only Kaivalya idol remains. This attractive idol is two and a half feet in height, with four hands on the left hand side. The face on this side is of Vishnu, the right hand side face is of Shanker and the two hands are holding Trishul and Japasara (garland of beeds). On either side of the seat Nandi and Garuda Lanchana can be seen .Choleshwar Temple   This temple is believed to be the oldest temple of Bhatkal. The Cholas invaded upto Bhatkal during 10th century. In memory of this conquest the Chola King built the Choleshwar temple. Originally built of laterite, and now renovated using granite, it looks like a metal boiler placed upside down. There is no separate sanctum sanctorum for the idol. It is completely dark inside. The temple has a beautiful balipitha and also a monolithic pillar with a small Nandimantapa atop. A curvilinear Shikhara has been added to the garbhagriha in the recent past, which houses a linga. The altar in the precincts is enchantingly beautiful. The scripts on the walls are in Tamil and speak of one Modaliyan, which is not of Chola times, Choleshwar temple remains intact proclaiming the greatness of India's history and culture.

Situated between Honnavar and Bhatkal, 1 km off the National Highway is the scenic holy place of Murudeshwar. The place is believed to have been sanctified by a piece of the Pranalinga of Mahabaleshwara thrown by Ravana and has some beautiful carvings and statues. Bounded by the shimmering sea and rolling hills, the place is a favourite picnic spot. WIth the roaring sea to the west, the towering hills to the east and the coconut and areca groves nearby, the temple attracts a lot of devotees and tourists as well. While touring this land of picture-postcard scenery, be sure to witness some of the quaint rituals like Bhuta worship, the Kambala (buffalo race) or Korikatta the cockfight. Partake of the delicacies of coastal Karnataka, the mouth - watering sweets, spicy fish curries and a variety of rice calces. Savour the juicy fruits a wide variety of mangoes, jackfruit, cashew and bananas, which abound in this fertile land. And take home memories as colourful and varied as your experiences.
 

Murudeshwar Beach

Prime Attractions of Murudeshwar Beach
§ Murdeshwar Temple : This picturesque place situated 16 kms from Bhatkal has a gorgeous temple perched on a hillock by the shore. Murudeshwar is around 180 km from Mangalore on the National Highway.
On the route along the highway is the alluring Maravanthe Beach with the Arabian Sea roaring on the west and a serene river on the east along this route for almost 2 kilometres. The sea is an intrinsic part of the temple scape at Murudeshwar. The sea surrounds the temple towering on the small hill called Kanduka Giri on three sides.
Two life-size elephants in concrete stand guard at the steps leading to the temple. The Murudeshwar temple has a history that dates back to a few centuries.
Local Belief : The temple, which embodies a linga, is believed to have erupted when Ravana flung the cloth covering the atmatlinga at Gokarana while lifting it. As one ascends the hillock, there is a shrine of Jattiga seated on a horse.
§ Fort : There is also a huge fort behind the temple said to have been renovated by Tipu sultan, the ruler of Mysore.
Places to stay in Murudeshwar

Murdeshwar Murdeshwar, 16 km from Bhatkal has recently shot into prominence as one of the loveliest spots in Karnataka. One can enter Murdeshwar from the Bhatkal-Honnavar National Highway through a specially erected big entrance decorated with intricate carvings. Murdeshwar symbolises the past glory of Hinduism. It is centered around the splendid Murdeshwar temple atop a hillock overlooking the Arabian Sea. Epic has it that this magnificent Murdeshwar linga emerged when Ravana threw the cloth covering the Atmalinga at Gokarn (another pilgrim centre in Uttara Kannada). And this cloth is presumed to have landed on this hillock called `Kanduka Parvata' and called Marideshwar'. The two inscriptions found in the older temple shed light on the construction of Nandi Mantapa in 1542 A.D. and the times of Devaraya II of Vijayanagar. There is however another version about the atmalinga being broken into four pieces & thrown by Ravana. The old temple has been recently renovated. Built in a Dravidian style, this temple excludes medieval grace and charm. The magnificent temple overlooks the Arabian sea. To the side of the compound wall is the Nataraja statue made of bell metal. A shrine of `Jattiga', the guarding deity, is seen installed outside the temple. One is greeted with the bewitching beauty of the surroundings as one reaches the top of the hillock. The vast stretches of silvery sands with the Sahyadri mountains framed into the background, the coconut trees dancing to the tunes of the billows, rose of boats dancing and drifting towards the shore, the sun looking like a ball of fire just before the sunset and then sinking into the sea - all weave a magic spell and make the viewers forget themselves.

 

Depiction of Everyday life in Bhatkal Temples  Jyotsna K.Kamat

Paper published in Giridharashri Essays on Indology (Dr. G.S.Dikshit Felicitation Volume) 
Ed Dr. A.V.Narasimha Murthy Dr. K.V. Ramesh Agam Kala Prakashan Delhi 1987

Martin Alfonzo de Souza, the Portuguese Viceroy of Goa attacked Queen Channa Bhaira Devi of Bhatkal (North Kanara District), killed the subjects with the sword and burnt the town in 1542 A.D. In 1554 A.D. the Queen made a treaty with Portuguese which helped in reconstruction of the town and its temples. Most of the temples that could be sseen today are built between 1543 and 1567 A.D. Bhatkal was an important sea-port and therefore a great center of commerce. However Hamilton (1720 A.D.) observed that the entire town was in ruins except ten small temples covered with copper and stone. These temples are the basis for present study.

Queen Channa Bhaira Devi recognized talent and intelligence of the coastal Saraswat Brahmins and used their services for running local administration. The Saraswats also patronized the coastal trade and amassed wealth which they used for philanthrophic work and temple constructions. Santappa Nayak, who traded in horses from Arabia, purchased a piece of land from the Queen and constructed Tirumala temple in 1555 A.D. Petty traders of arecanut donated liberally for erecting Adike Narayana Temple. Two brothers, Bala Kini and Narayana Kini got built Raghunatha Temple in 1567 A.D. In the same year Lakkarsa Kamat constructed Lakshmi Narayana Temple. Sculptures depicting the social life of the period are located in Khetappayya Narayana temple built in 1546 A.D. [1]. Khetu Pai was builder of this temple. Francis Buchanan, the widely traveled British Officer was very much impressed by this cluster of temples and claims that the workmanship and carvings were superior to anything he had seen elsewhere in India [2]. Unfortunately very few people have seen the beautiful monuments.

James Fergusson compares these temples to the Pagodas of Burma, Tibet, Nepal and China [3]. A typical temple consists of 'Garbha-Griha' and a 'Sukhanasi' which is surrounded by stone blinds. The slanting roofs are supported by thick walls or strong pillars to meet the heavy rain fall of the area. 'Garbha griha' roof is pyramidal and bears a 'Kalasha'. Surrounding the Khetappayya Narayana temple, there is big out house used as corridor for seating the visitors, but now converted into residential rooms. On the inner side, along the sides of the corridor, facing the 'Garbha griha' are carved figures based on social life of the period. They are weather-worn and over grown with moss.

Each panel measures about 3' X 4' and located in separate nitches. Inter-nitch spaces are decorated with floral designs. The nobles are shown with Kulai, an elongated cap typical of Vijayanagar times and fine dhotis. The common men have their turban and 'panche' extended down to knee. The village-folk have just a head-band and loin-cloth, neck-laces, armlets are not overlooked. The Nobles and religious personalities have a 'shawl' on their shoulder. Warriors are depicted with their daggers. Women have prominent hair balls tied just behind the head. These sculptures indicate that some type of brassieres had already come into existence in the sixteenth century. Either thin sarees or sewn pyjamas were in use. The ornaments were very simple and down to earth. The successive panels are not necessarily related. Based on the theme employed, the panels could be grouped as under:

Every Day Life

The sculptor has made use of the themes which commoners usually overlook. Milking of an un-obliging cow (Fig. 1) is very realistic. The calf is made to stand in front as stimulus for flow of milk. A standing lady is controlling the cow and the housewife is milking by sitting on a small stool. In another panel a lady is churning the curds, in standing position. In a sculpture, a lady squeezes water from her long hair indicating that she is through her bath. Another lady, probably an assistant, rushes with a towel (Fig. 2). Even those days a man could not escape an oil bath. Two ladies are engaged in giving a special bath to the man of the house (Fig. 2A). Make-up of an young woman is very realistically brought out. While she applies kum kum with the aid of a convex mirror, the assistants are busy in swinging chambara to keep her cool and offering unguents to the lady (Fig. 3). A lady giving a helping hand to her husband in tying his turban is shown in another panel (Fig. 4). Servants in waiting, is the subject for several sculptures. A servant sporting a monkey-cap holds an umbrella for his master (Fig. 5). A Noble while listening to a request from his subject gets a leg-massage from his boy servant (Fig. 6). In an artistic panel, a tired house-wife stretches herself on a cot, a male servant is giving a soothing massage to her legs (Fig. 7).

Leisure and Pleasure

The sculptures give many ideas of the modern man as how to use his leisure for pleasure without spending any money. In one panel, the husband relaxes on a cot while the wife caresses him and picks lice from his long hair (Fig. 8). In order to feel close together a couple sits on the mattress of a coach (Fig. 9) and engage themselves in hair-dressing and discussion. A young couple may use a swing to laze away time (Fig. 10). A noble may use his spare time to brief his beloved what is going on in the town (Fig. 11). Young and old use to love street shows alike. A semi-nude snake-charmer plays on his pipe and arouses his cobra (Fig.12). His monkey has been shown as waiting to show its tricks to the audience. For a young girl, mating dogs are wonders of the world (Fig.13). It is very significant that the sculptures has included a parrot devouring a fruit to indicate that hunger knows no leisure or pleasure.

Child Welfare

Child-birth and its care has received special attention. A lady seated on a cushioned platform is in labor-pain (Fig.14). Two women try to sooth her pain and console her, third one is ready to receive the child. In one panel, a father bends forward to kiss his child seated on its mother's lap (Fig. 14A). In the second one, the child is being fondled by the father, and the mother is busy picking the lice from the husband's head. In the third, the child is having free access to mother's milk. In the fourth one, a middle-aged rural lady-doctor examines her well to-do patient (Fig. 15). Her child unmindful of the situation suckles.

Education

Music and dance received equal importance as formal education. A commoner girl is engrossed playing a string instrument while her teacher points out her mistakes (Fig. 16). A panel depicts two fully engrossed drummers (Fig. 17). These drums are distinct from traditional 'mridangam' and are still in vogue in coastal Karnataka. In another, a drummer and flute player form a team and give accompaniment (Fig. 18) to a dancing troupe. In several panels, the dancers themselves are playing the musical instruments. In one, a man wearing a turban and pleated skirt gives a dance performance and simultaneously plays his musical instrument held in both the hands (Fig. 19). In another, a man is in singing posture. The fact that performing troupes of men and women moved together is brought out by a panel in which a man is in quaint dress and holds a stick, while his companion is in a skirt (Fig. 20).

Gymnastics

Physical activities such as wrestling, archery, hunting, fight with animals and acrobatics are well represented in these sculptures. In a set of three panels, different stages of Indian wrestling are depicted (Figs. 21 a, b, c). Two nobles in a duet fight is the theme of another panel. That the fair sex was not excluded from practicing archery is proved by a panel in which an archer removes a thorn from his female companion's leg. In one of the sculptures, two hunters are attacking a ferocious boar (Fig. 22). One employs a bow and arrow and the other almost rides on the boar and inflicts a deep wound with his small dagger. A dual with a tiger is the theme of another panel. The sculptor has not forgotten to include a tiger, hunting a boar. A man bending a crow bar also finds a place in these panels. In a beautiful panel a village matron is inviting a youth for a bird-fight (Fig. 21 d).

Romantic Situations

Nothing prevented the sculptor from including romantic and erotic scenes in the temple premises. A lover on a cot (Fig. 23) is engaged in caressing his beloved, while an assistant is busy in supplying drinks to the couple. In another panel, a lover fondles a lady's breast who is engrossed in her make up. In many sculptures men are involved in different sexual acts while the women folks are pre-occupied in their domestic duties. In one of them, young lovers stretch themselves on a cot, converted with a soft mattress and provided with a pillow (Fig.24). A dagger in the man's hand indicates that he is a warrior. The lady is wearing a pair of sewn pyjama. In another, a youth is engaged in self-eroticism and his facial expression indicates that he enjoys the act. In one of the panel; a man offers his services to a women to overcome her sexual urges. There are numerous panels which depict different position and stages of coitus. They include natural, un-natural and highly imaginary, and they remind similar themes of Khujaraho temples. It seems even the ascetics could not refrain from temptation of women. In one of such panels, two aroused nude saints are engaged in accosting a semi-nude lady to yield.

Crime and Punishments

Two house-wives decide to settle their score in the street and obviously employ broom-sticks for the purpose (Fig. 25). In another panel, a lady is on verge of punishing other lady with a stick who pleads mercy and tries to give a personal explanation for the misunderstanding. In an excellent panel, a warrior is shown as punishing the paramour of his wife, after noticing them in a compromising pose (Fig. 26). It is of great interest that the wife pleads with the husband to forgive her lover! In a similar situation a husband catches hold of his wife by her hair and kicks in her belly. In a slightly different situation another husband ties wife's hand above her head and spanks with a stick.

Religious Themes

Tolerance towards all the religions is very much in evidence in these sculptures. While a Hindu priest reads a palm-leaf manuscript and explains it to an attentive noble (Fig. 27) a small stool (tavenkolu) is meant to keep the manuscript. A Jain saint, seated on a raised platform, interprets the religious writings to an humble commoner (Fig. 28). In another panels, presumably a Buddhist monk, has completed a discourse and a Noble expresses his gratitude to the monk (Fig. 29). In another panels, monks and saints engaged in different activities are also depicted. In one, a meditating monk is in 'padmasana', while in another, a jatadhari saint wins a point against a noble. There is beautiful panel in which people attending an annual car festival festival of a temple is depicted (Fig. 30).

Some of the above sculptures are in decaying-condition and need urgent protection from sun and rain. These panels may be photographed and given wide publicity so that scholars, researchers, tourists and general public are attracted by them. These are very rare temples and hence deserve all the care and attention of the Archaelogical and Tourist departments.

Notes and References

1. K.I. 84 of 1939-40; A.R. – K.R.I., p. 73. 
2. F. Buchanan, Journey III, pp. 132-33. 
3. Fergusson : History of Indian and Eastern Architecture, II, p. 75. 

Shiralli : Shri Mahaganapathi Mahamaya Temple

The Shirali Mahaganapathi Mahamaya Temple is an ancient temple situated in the southern part of the Bhatkal taluk in North Kanara. According to historical records, the Gowda Saraswath Bhramin families of Prabhus, Shenoys, Kamthis, Kinis, Kudvas, and Pais—who earlier resided in Goa—migrated to the south to avoid the forceful conversion by the Portuguese in 1540 AD. This included ancestors who were serving the Shri Vinayaka and Shri Shanthadurga temples in Naveli and Golthi. They moved to Bhatkal four hundred years ago with the sacred mask of the deity Ganesha, a silver trunk, other sacred articles from the temples and installed the deity at Shirali. In 1904, the new garbhagudi was constructed and the two deities were re-installed in the temple. In 1971 Shrimath Sudhindra Sripadangal presided over the activities of the temple and introduced poojas, sevas and various construction works. The main poojas conducted at the Shirali temple are the Ganahoma, Sahasrachandikahavana, Shasraganayaga and Rathotsav. In 1971-72, the front block of the temple was constructed and accommodation for the temple priests was built in 1974. In 1986, yagna mantap construction work also started. Since then various efforts have been made to improve the services at the temple with financial help from devoted members of the Konkani community.The temple has a large following and is also the 'family temple' of several Konkani families who come to pay their respects after every auspicious occasion in the family such as a wedding, bith of a child etc. or even in times of distress to make vows to the deity and ask for blessings. Shri Pete Vinayaka Shantadurga or the more popularly known Shri Mahaganapathi Mahamaya Temple at Shirali is a divine abode steeped in history and situated in the southern part of Bhatkal taluk in North Kanara. The temple has a large following and is also the 'family deity' of several Konkani families who come to pay their respects after every auspicious occasion in the family. Be it a wedding, birth of a child and even in times of distress to make vows to the deity and ask for blessings.
Historical touch
According to historical records, the Gowda Saraswath Brahmin families of Prabhu, Shenoy, Kamath, Kini, Kudva, and Pai—who earlier resided in Goa—migrated to the south to avoid forceful conversion by the Portuguese in 1540 AD. This included the ancestors who were serving at the Shri Vinayaka and Shri Shanthadurga temples in Naveli and Golthi.They moved to Bhatkal four hundred years back with the sacred mask of the deity Ganesha, a silver trunk and other sacred articles from the temple and installed the deity at Shirali.
Renewing the old
In 1904, the new garbhagudi was constructed and the two deities were re-installed in the temple. In 1971 Shrimath Sudhindra Sripadangal presided over the activities of the temple and introduced poojas, sevas and various construction works. The main poojas conducted at the Shirali temple are the Ganahoma, Sahasrachandikahavana, Shasraganayaga and Rathotsav. In 1971-72, the front block of the temple was constructed and accommodation for the temple priests in 1974. In 1986, yagna mantap construction work was also started. Since then various efforts have been made to improve the services at the temple with financial help from devoted members of the Konkani community.
Helping hand
The Shri Mahaganapathi Charitable Trust was set up to offer a fillip to many a worthy cause that include providing all kinds of medical relief to the sick and suffering, assisting and rendering help to the physically and mentally handicapped. To assist educational institutions in setting up infrastructural facilities including libraries, gymnasiums, granting of scholarships and provision of medical relief to the needy.
In the future the trust aims to create a corpus fund of Rs 1 crore and all-future activities will be carried out by the interest accrued from this fund. All devotees are requested to donate freely to this cause. Donations are accepted in any currency through bank draft/cheque payable anywhere in the world. Donations are exempt from IT under IT Act 1961. Temple address, Shri Mahaganapathi Mahamaya Temple,Shirali - 581 354, Uttara Kannada.

Chitrapur  Shri Chitrapur Math, the renowned Parijnanashrama Swamiji's  monastery, is the abode of six samadhis at Chitrapur (Shirli). So  far a lineage of ten swamijis has been at the helm of affairs here  starting with Swami Parijnanashram ascending the Peetha in  1675. The tenth swamiji in the lineage known as Parijnanashrama  swamy the third who died recently was an acclaimed scientist.  Around this monastery are situated the temples of Gopalkrishna,  Dattatreya, Shantadurga and Keshvanarayana. A beautiful park  has been raised in the vicinity of the Math and animals like the  deer, hare, etc., have been reared. The Shri Chitrapur museum  set up in 1973 houses a mass of archival wealth and several types  of conches, halos made of bellmetals, plates, idols made up of  ivory & sandalwood, swords, shields, spears, copperplates and a  lamp dating back to the 13th century and many other artistic  articles   

REMINISCENCES OF A BYGONE SPLENDOUR

Jain  who ruled Bhatkal during the fourteenth century have left behind vestiges of their once famous bastion. 1336 A.D. marked the glorious beginning of the Vijayanagar empire and Bhatkal became its major centre in the southern taluks of Uttara Kannada district. Most of the bastis and temples at Bhatkal were built during the regions of Vijayanagar and Jain rulers. These imposing ancient monuments whisper gently the glories of town that had seen far better days and flourished in the distant past. The ancient monuments, magically revive past splendour and bring alive the ancient town before our mind's eyes. Given below are the pen-sketches of such beautiful ancient struc -tures which reminisce our rich and colourful heritage. There Are Four Beautiful Temples... Parshawantha Temple...Kethapayya Narayana Temple ... Joshi Shankar Narayana Temple... Choleshwara Temple

 

Moni Basti  

This is locally famous by the name `Moni Basti'.    The Parshwanatha basti ranks among the ancient structures built in 15 century in Bhatkal. Situated as it is on the Bazaar Main Road in the heart of the town, this place of worship has been a silent witness to the rise and fall of empires as also to the sweeping changes that This is locally famous by the name `Moni Basti'. The Parshwanatha basti ranks among the ancient structures built in 15 century in Bhatkal. Situated as it is on the Bazaar Main Road in the heart of the town, this place of worship has been a silent witness to the rise and fall of empires as also to the sweeping changes that have overwhelmed this region. The basti testifies to the artistic excellence of the architects and engineers of those far-off days.A tall monolithic Manasthamba greets the visitor from a distance. The small shrine atop this pillar contains fascinating images, carved in marble. The Navaranga is supported by the typical granite Vijayanagar pillars of square and octagonal shapes.   Yet another wide-spread belief is that it was a Jain Queen, Mohini who built this. But there is no conclusive evidence to substantiate this.

1550	Lakshmi Narayana Temple founded at Bhatkal by Lakkarasa Kamthi
1453	Shri Parasurama Damodara Temple founded at Bhatkal
1538	Narasimha Temple founded at Bhatkal by Narasa Kini
1545 / 46	Narayana Temple founded at Bhatkal by Kheth Pai
1555	Tirumala Temple founded at Bhatkal by Santappa Nayaka
	Virupaksha Narayana Temple founded at Bhatkal by Jeevana Nayaka.