Shri Mahalingeshwara Temple Basrur
Basrur is an ancient city in the South banks of the river Varahi, almost 8 kms. away from the town of kundapura, towards East. Now it is a Village. 2000 years ago it had been an important port city – the meeting point of the native and foreign merchants and merchandise. Even though it had been ruled by the local rulers earlier, later it came under the Alupa kings, Keladi and Vijayanagar kings respectively. The Mahalingeshwara temple of this place had developed as the centre of its activities. This temple, that has lived for more than a thousand years, has now remained only as a religious centre. However, till recently a few centuries ago, it had worked as the power controlling the social and economic activities of Basrur, standing within its religious framework. The information given by the innumerable inscriptions found here are complementary to this. Here is an account of the conditions of the temple both in the ancient and the modern times.
The biggest and richest temple of Basrur is Nakhareshwara. In an inscription it has been called Nakhareshwara also. Nakhareshwara means the Master of the City. We see Nakhareshwara Temple only in some very important ancient cities. Among them this is one. Nakhareshwara is normally situated in the central part of the town. Nakhareshwara of Basrur is in the centre of the New Town.
This old temple has got two spacious walls around it. The different parts of this temple are the Mahadwara with the Mantap, the outer wall, the flag post, the bronze lamp post, the main altar, the inner wall and the prakara mantap. In the inner wall there are Nandimantap and a shrine for Lord Ganesha.
The Mahadwara Mantap, on its left and right has got a high platform. On the base of the platform, there are holes with designed sculptures. Here there are the images of Makara, Sharabha and Kubja. The sculpture work on the left side is spoilt a little bit. Above the platform, parallel to the Mahadwara, on both left and right two each stone posts are there. This splendid sculpture work is having a square shape at the bottom, circular and umbrella shape with picture work on them in the middle, and the upper portion is circular with straight lines from top to bottom, At its top there are square shaped supports for holding the beam across the pillars. On the left and right of the platform there are two beautiful stone posts with sculptural designs.
The doors of the Mahadwara are very attractive. With pillars and designs of creepers at different stages, it is in the shape of a mantap. In fact, it is a herculean task to make delicate designs on the granite. However, it has been made possible here.
In the past, it is said that, this Dwaramantap had got a chandrashala and a high roof. Instead of getting the worn out roof repaired, unfortunately, it was let down to its fate, and subsequently, it fell down and was in ruins. Presently there is a concrete structure here with a tin roof, The small mantap on the Nandi pillar in front of this also has fallen down.
If you get across the Mahadwara and go inside the outer wall of the temple, an extremely pathetic condition welcomes us. In front of it, a giant bronze lamp Post is there, beautifully cast. In front of it. the main altar is there. Elephant faces are sculpted on the bronze lamp post. On the shoulder of the elephant facing the sanctum, there is Ganapathi. A Concrete mantap has been built for the purpose of worshipping this Ganapathi seated on the elephant. This has covered most part of the bronze lamp post, This mantap is situated on the main altar. Not realizing the significance of the altar this blunder has been committed.
There is a direct relationship between the God in the inner Sanctum and the main altar . The custom is that everyday the Balistarts after the daily pooja. The scriptures too tell about this. The main thing is the offering of sacrifice to the Parivara daivas and Bhutas on the main altar . Offering of sacrifice is not at the bottom of the altar . There should not be any obstruction to the altar . The volumes on architecture likeVishnu Thilaka, Manasara etc. speak about the significance of the altar.
Narayanasamhite’ says that both in the aeroplane and the main altar above the inner sanctum, angels get together . There is a rule that the devotee should , before he reaches the front mantap of the temple, take a round of the altar. However , because of the mantap built for the Ganapathi on the elephant, no rules of any kind can be practiced properly. Thus , any structure on the altar is not acceptable to the scriptures.
On the left and right sides of the inner wall, very high platforms are there. On the corner of the platform, on the left, a shrine for Goddess Durga has been built. In the mantap in the inner wall, there is a small shrine for Mahishamardini . This idol of the Goddess is very simple and beautiful . Perhaps this belongs to 9-10 centuries.
As we enter into the wall, we come across a stone mantap of Nandi. The sanctum is there facing it. The base of both of these are ancient. At the time of construction of Basrur as a New Town, this temple was reconstructed into a huge size . These bases were constructed during this time . These consist of Upana platform and Kumuda Bhaga. These have been constructed in such a way that the need for changing the base does not arise during any kind of renovation.
The main temple has got Navarang and sanctum. The sanctum in square shape, has two walls around it. These walls are meant for holding the weight of the roof only. Here , a small pradakshinapath has been formed. This is not for use. The temple has an outer pradakshinapath. This is sufficiently broad and spacious.
At the entrance of the temple there are two dwarapalakas called Shoolapani and Parashapani. These are beautifully cast idols. Perhaps, they are the contribution of Vijayanagar Kings.
At the centre of the sanctum Sanctorum, these is a square shaped stoneseat . On it, there is a panipith.This has been made in the ordinary style. A shivalinga has been installed here. This is almost 8-9 centuries old.
In the past, this temple had double fold roof with copper sheets. The outer portion of the sanctum gave a radiance to the top (cupola) with its splendid design all over. The four walls, with roofs coming down on all four directions, the Kalasa suitably matching all were very beautiful. Its height had given a new radiance to the temple. The Basrur Nakharas, during the reign of Thimmanna Vadeyar, who had been the governor of Barkur, had paid money in the form of penalty, for the copper sheets and Kalasha of the temple. The inscription that gives this information gives belongs to 1444 B.C. That means, at that time the roof of the temple must have been fragile. The amount of penalty was not only used for the solid copper sheet covering and the golden cupola. Perhaps, it was at the same time that the roof of nandi mantao also was strengthened with a new copper sheet. It is not known yet whether its cupola was made of gold. The roofs that were renovated in the middle part of the 15th century, might have been perhaps, again renovated at least two times.
Since all parts of the temple except the base and the wall are made of wood, they might have got worn out. Now , renovation has become inevitable. The temple was renovated along with the Nandimantap. Normally, in such contexts, the renovated temple gets a new look just in the very same old model. But what happened in Basrur was, the concrete roof has been made after removing the wooden structure. Instead of the cupola, concrete gumbuz has come. The nandimantap also has undergone a similar change. The renovation work has taken place in such a manner that you will not be able to imagine the original form of the ancient temple.
So many temples of coastal Karnataka have been renovated already, and the process is still going on. But the sad thing is that they are shining today as the production of the latter half of the 20 th century, having lost all their ancient features. The temples of the coastal region, have a special style of their own. They will look beautiful if they are in the same style, or the Chalukya style which has publicized the Karnataka style. In fact, in this style, the divine energy will be accumulated, and will remain alert and active all the time. This will have a positive influence on the human beings. However, that accumulation of energy will not be there in the concrete structure , because it will be flowing in the opposite direction, and make a negative effect upon the people. The modern leaders, who stand behind such renovations, should be aware of this.
Now, a time has come for the picture of the Mahalingeshwara temple also to disappear into the pages of History. The reconstruction work of the temple in the old style is going on. This is rather reassuring . The entire coastal region has got only one Nakhareshwara . That is Basrur Mahalingeshwara. It will be brilliant if it regains its essential ancient traits, stripping itself of the negative qualities – in the huge wall and all other parts. This will make the door of fortune for Basrur open by itself.
