Siddheshwara Temple , Hemavati , Anantpur District , AP
It is a shrine of modest dimensions . And the lighting is poor to nonexistent , thanks to the fickle power supply common to rural regions .
While the mukhamantapa has four exquisite pillars , with fine carvings, the antarala is rather plain and sombre . One wouldnt expect to find a priceless gem waiting at the far end of it .....
The four ornamented pillars of the mukhamantapa have panels densely encrusted with marvelous miniature icons , illustrating an assortment of puranic episodes . Each mini individual is carved with incredible attention to details ....and to think, all this was achieved a thousand-plus years ago ! Awe inspiring craft . No wonder the invading Chozhas who ransacked Hemavati carried away pillars and pierced windows from this complex to beautify their own buildings !
It is dark and quiet inside . Moving closer and peering into the semi lit Garbhagriha , one involuntarily gasps in amazement . The small chamber is almost fully occupied by an august presence : Henjerappa , Guardian diety of Hemavathi . Verily , a picture of magnificence !
He is named Siddheshwara -the ascetic Shiva . However, to the local populace , he has always been Henjera Appa , the revered Father who has been blessing them with his protective Grace for ages ...centuries actually - well, a millenium to be exact ! Henjeru ( kannada) or Peruncherai ( tamil ) is the ancient name of Hemavathi . The first part of the name means " Great " , a fitting appellation for the glorious Capital of Nolambavadi .
The fine detailing and the high polish of the black schist sculpture look amazingly new ; yet it has been receiving ritualistic worship continuously, since installation in the 10th.Century by the Nolambas . It is extremely rare in the southern region , to find an anthropomorphic form of Shiva worshipped in the Sanctum , instead of a Lingam and it is a pity we know nothing of who commissioned it and why .
The Nolambas were predominantly Shivites . And it is well established by inscriptional evidence , that they patronised the monastic orders of Kalamukhas and Pasupathas . That might explain how a Bhairava icon came to be installed as the presiding deity . Yet , he is not called Bhairava , but Ishwara .
The name Bhairava means " the one with the terrifying cry " and this form is considered one of the Ugra Rupas of Shiva , associated with battles and slaying of demons . But Henjerappa presents a total contrast to this reputation. He has an attractive youthful look , with smoothly rounded jawline , sowmya dhristi ( benign look ) and full lips restraining a smile . His third eye is concealed under the sacred ash . The two protruding fangs add no belligerence at all to his soft countenance . Nor do his ghoulish ornaments - serpents as tiara and keyura( arm band) , skull on his Jata and the munda-mala yagnopavita - make him in any way hideous or repulsive . His Mekhala ( belt ) with the Simha-mukha clasp , the elaborate necklace , lovely waistband, heavy earrings and simple anklets,toerings and bracelets are much in keeping with his overall mien of masculine allure and aristocratic grace .
He sits in repose , in lalitasana , one leg dangled down , the other folded across in casual style . In his upper hands are his Trisula and Damaru , the right lower is varada hasta , blessing the world, even as the left holds a dreaded kapala . Two rows of curly locks thrown around his face in a flamboyant halo add the final touch of majesty to this impressive icon . Just 5 ft high , seated , he still gives the impression of being immense - a virat swaroopa .
During our morning darshan , except for his head , everything else was covered over by garlands and vastra . Upon the priest's advise , we revisted in the evening , at abhishekam time , when we were blessed with the vision of Henjerappa in his original sculpted glory . It was a most uplifting experience to fill our eyes with the divya murti , part by part , as the priest circled the deepam in aradhana .
( The silver kavacham on the nose and chin are votive offerings )
Nandi is markedly absent in this shrine and so is a separate shrine for the Goddess . According to the priest , a small idol of Parvathi is kept in the Garbhagriha itself, but it is not visible .
All around the little temple runs a covered , pillared corridor , serving as a shed for storing junk and discards . On the southern side is a sub-shrine to Vigneshwara , with a simple but pretty doorway . And on the northern side , an open chamber with a Bhairava , in the company of a Naga-Nagini stele .
The piece de resistance , however , is the entrance on the southern wall of the shrine . Carved in grey stone , the inspired intricacy of its design and execution leaves one speechless. With Ganga and Yamuna at the base of one tier , elephant riders at the base of the next , it has four ornate vertical bands rising on each side towards the Gajalakshmi lintel which is further crowned by a cornice showing the ashtamangala symbols arrayed on either side of a joyously dancing Natesa .
This whole frame is flanked by the dwarapalas , above whom float two gandharvas . And just under the eaves , birds and scroll work ! The more one looks , the more details come to view .
With such treasures inside , the main facade keeps a very low profile ! It has just a brick and mortar parapet with some half hearted stuccowork of a much later date .
Two openings behind Siddheshwara shrine lead to the other three shrines within the fort like complex : Doddeshwara , Malleshwara and Virupaksha . There are traces within the vast compound of other buildings , of perhaps equal grandeur , now sadly vanished .
Note photography by special permission from ASI .
Photo credits. Jay Shankar
Research and analysis . Aparna Pande Misra
Text . Vidya Murali
Excellent blog! Keep it up!!
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