Nandalike – A hamlet with distinct identity

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andalike, a tiny hamlet, 15 kilometres from Karkala is not unfamiliar to two kinds of people. For those interested in literature, Nandalike is the birth place of the legendary litterateur Nandalike Laxminarayanayya, popularly known by his pen name ‘Muddana’. For the pious class it is the abode of Abbaga-Daraga and Kumara on the premises of historic Sri Mahalingeshwara Temple. 

     The name Nandalike is said to have come from the king Nanda, who ruled this land centuries ago. The spirits Abbaga-Daraga and Kumara chose Nandalike as their permanent abode much before the temple was constructed.

Consecrated by Saint Vadiraja

    Sri Mahalingeshwara Temple which has a history of 700 years is situated amidst the lush green fields in scenic surroundings. The streams flowing on either side of the temple and a beautiful pond, add to the beauty of the temple. 

     Legend has it that once Sri Vadiraja Swamiji of Sode Math, during his sojourn at Nandalike, refused to accept bhiksha (alms) on the grounds that the village lacked a temple. The incident greatly worried Hoovayya Heggade of Chavadi House, who was an ardent devotee of Brahma, Kumara, Abbaga-Daraga, Bhootaraja and Veerabhadra Swami.  That very night the twin sisters Abbaga and Daraga appeared in his dream and directed him to install a panchaloha idol of Lord Mahalingeshwara worshipped by sage Bhargava at Pilarkana, an adjacent village. It was to be installed at the Jina Temple in the village as an ad-hoc arrangement to be replaced later by a proper linga. The spirits also prescribed the rituals to be carried out in the temple. Hoovayya Heggade followed the instructions and found the idol at a priest’s house the next morning.

     Sri Vadiraja Swamiji installed the idol with pomp and gaiety. It was only recently that the linga of Lord Mahalingeshwara was installed.

Annual festival

     The nine-day annual festival of the temple known popularly as Nandalike aayana or sirijaatre falls either in the month of March or April. Since other subsidiary deities like Sri Brahma, Veerabhadra Swamy, Abbaga-Daraga and Annappa Swamy have also been installed on the temple premises, the temple attains uniqueness with Dhakkebali, Annappa Swamy darshana and Sri Brahmadarshana. Women go into mass trance of Abbaga-Daraga.

     Raashi pooja is held annually to commemorate the birth anniversary of Abbaga-Daraga. The temple accepts offerings for the deities of Dharmasthala but it cannot be done the other way.

     A Naga idol here is said to be the origin of the colourful illustration of the Nagamandala, a popular way of propitiating Naga, the serpent god of Tulunadu.

Chavadi Mane (house)

      The 800-year-old Chavadi Mane, situated about half a kilometre from the temple in the west, is the residence of the Heggades, the hereditary trustees of the temple. The palatial house with a vast courtyard (chavadi), royal seat and sword are reminders of the prosperity and the power wielded by the Heggades in the past. The swing on which Abbaga-Daraga used to play is still there. The wooden carvings on the ceilings of chavadi are exquisite and offer proofs for the dexterity and fabulous craftsmanship of the artisans of yesteryears. By pulling a single peg, navadwaras (nine doors) could be opened or closed. The chavadi, which was in a dilapidated state until 1992, has been renovated. It was featured in an award winning documentary made by Philadelphia University several years ago.

The Legend

     Siri, Satyada Kumari, had a son Kumara out of her first marriage and she had made him vanish. Siri herself vanished after delivering a female child born to Kodsaralva of Kotradi out of her second marriage. Before disappearing she had directed that the child should be entrusted to the care of Chandu Pergade of Kanabettu. The child was named Sonne.

Sonne gets company

     One day, Chandravati, a pregnant woman of a well-off Brahmin family in Belman, sent her servant to fetch leaves to prepare rice pudding.  The servant, however, was not allowed to pluck the leaves of the tree by the two tigers guarding it.  They demanded that the child born to Chandravati be handed over to them, if she really wanted the leaves of the tree.  Not able to resist her temptation to eat the pudding, Chandravati promised that she would hand over the yet-to-be-born baby to the tigers. But she failed to keep up the promise after the birth of a baby girl, who was named Gindi.

     One fine day, three-year-old Gindi disappeared from her house. The servants of Chandu Pergade found her in the forest guarded by two tigers. When Chandu Pergade pleaded with the tigers that he be allowed to take care of the child, the beasts moved away.

Sonne delivers Abbaga-Daraga

     Sonne who was already in the custody of Chandu Pergade and Gindi were brought up together. Sonne was married off to Guru Marla of Kedinje Parari at the age of 12. Sonne was not invited for the pubertal function of Gindi as she had not attained puberty even after several years of marriage. Women of the village threatened to walk off if Sonne participated in the ritual.  When Sonne did attend the function uninvited, she had to face the wrath of other women and became a butt of ridicule.  A humiliated Sonne, got Gindi vanished. After coming back to her husband’s house, she vowed to Brahma of several services, if she reached puberty and bore children. Later though Sonne delivered twin daughters Abbaga-Daraga, she completely forgot her promise to Brahma.

    The parents decided the marriage of their daughters with Rama-Lakshmana, twin sons of Chandrama Shetty of Karkala. Brahma, disguised as a Brahmin, reminded the parents of their promise when they were on their way to invite guests for the wedding. Even then they did not take the warning seriously.

Game turns fatal

     Brahma in disguise, at the Urkidottu house, persuaded the twin sisters to play Chenne Mane (A game played on a wooden plank with fourteen depressions).  The older sister Abbaga suffered repeated defeats in the game at the hands of Daraga. Angered by the humiliation, Abbaga hit Daraga on her head with the Chenne Mane and Daraga succumbed to the injuries. A panicky Abbaga pushed the body of Daraga into a nearby well and she too, jumped into it. Having achieved his motive, the Brahmin disappeared.

Twin sisters turn divine spirits

    During the funeral, people saw two butterflies flying off the funeral pyre of the two girls. After their death, the spirits of Abbaga - Daraga moved to a palace at Bola where the queen was having her auspicious kalasha bath. The spirits made her vanish, had the bath themselves and made Nandalike their home with Kumara and Siri.  The spirits, it appears, then moved to Kavathar, Hiriyadka and other places later. 

Sundara Puranik Memorial Govt School - Stands apart among the lot

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undara Puranik Memorial Government High School, well-known as Pervaje School,   is one of the highly regarded institutions in Karkala. The fact that no private school in the vicinity finds such a student rush for admission, is indeed a tell-tale evidence to its popularity. Parents vie to get admission for their children in the school, albeit not all succeeding.

     A chance visit to the school on a rainy day recently was a kind of reality check.  The tidiness and the discipline strike you the most when you enter the premises. Students were amidst having milk as per the government scheme.  There was no rush or clamour of any kind.

Education is all round development

     The school imparts education both in Kannada and English mediums. It has a well-equipped science laboratory besides a fully functional computer laboratory unlike other government schools. A computer instructor has been appointed on an honorary basis. As all students of a class cannot be accommodated at the computer lab at a time, they are taken on rotation. There is a small library for other students at the class itself when others go for computer practicals!

     The school library has a good collection of books. Students are advised to write reviews of the books they read.  Reviews are compiled and the best fetches a prize too!  Selected poems written by students on different occasions are brought out as Prakrti Vaibhava. Gomathi is the monthly magazine. The annual school magazine winning an award every year is a matter of pride for the school.

     The mid-day meal kitchen equipped with a mixer and a grinder is maintained clean. The food is cooked through steam. The plates and the tumblers are arranged neatly in shelves.

   

     The school has a hall, though it is not sufficient to accommodate all students at a time. The open air auditorium is large enough to host special occasions. An indoor stadium is another much needed facility in the school.   The students have the facility of a covered parking area for their bicycles.

     Washrooms are kept clean, a stark contrast to the stinking and ill-maintained toilets of a private school which I had visited a few days earlier.

Add-on facilities

     The tenth standard students get extra coaching online. The school takes interest in training students in extra-curricular activities like yakshagana, karate, theatre etc.  With such facilities and guidance, no wonder that the students have brought laurels to the school.

     The school makes use of all the facilities provided by the government, besides augmenting them with private contributions.

Dedicated teachers

     “Just because this is a government school, our students should not be deprived of any facilities available at private schools, “ says  K Harshini,  the Headmistress. This, in fact, sums up her commitment to see to it that students are no less to any student at other private schools when they pass out.  Equally dedicated is the whole band of enthusiastic teachers.

     As I left the premises, not only convinced I was, my opinion about the school was a notch high.

Shastreeya Sangeet Sabha – A Musical Saga

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 group of friends woven together by the common thread of music would frequent the classical music programmes  elsewhere in the vicinity.  On such journeys  these pals deliberated on bringing artistes to their place itself so that  others, who are deprived of resource or time, can get an opportunity to listen to musicians of repute.  Thus  born the Shastreeya Sangeet Sabha at Karkala in 1992.

      The musical odyssey of this humble Sabha in this small town in over two decades, however, is illustrious. The objective has been to promote Indian classical music through concerts and workshops and thus bring about music awareness among the people. Though the initial plan was to arrange the performance of four artistes per year, in the first year itself around ten programmes of upcoming artistes of the vicinity as well as reputed artistes from other places were conducted.  Not a mean task in those days.

Promting Carnatic and Hindustani genres

      The Sabha conducts many Carnatic and Hindustani concerts.  The programmes, in fact, have come in attractive packages and the occasional festivals are sumptuous treat to the music lovers.

     The Sabha was conducting Udupi and Dakshina Kannada district level competitions in vocal, musical instruments and percussion instruments for the young singers in both Carnatic and Hindustani categories under Kala Sadhana. Though the competition received an overwhelming response in the initial years, it failed to draw competent singers in subsequent years. Hence the event was discontinued after ten years, now the programme is renamed the late Yogish Baliga Kala Sadhana, in memory of one of its founders wherein the Sabha provides platform for the young talents of the twin districts of Udupi and Dakshina Kannada and the neighbouring Kasaragod in Kerala to exhibit their talents.

Music fests are feasts

     Shastreeya Sangeet Rasaratri was an all-night music programme for some years As the crowd dwindled post midnight this too was discontinued.  Instead the organizers chose a Sunday in a year where music programmes were held from 9 am to 9pm.

  

     The three-day National Youth Music Festival conducted in 1999 featured artistes from all around the country. Dr Prakash Shenoy, general secretary of the Sabha, proudly admits that all the then upcoming artistes who performed in Karkala are well-known today. Artistes like Pravin Godkhindi, Salil Bhatt, Sandeep Chatterjee, D R Raju, Ranjani Hebbar, Chandan Kumar, Shaunak Abhisheki and Sumedha Desai regaled the discerning audience at the grand event.

     For four years Tataka Sangeeth Mahotsava was conducted from evening to midnight.   The oil lamps around the tank of Sri Venkataramana Temple lent a divine ambience to the event.  The week-long Shastreeya Sangeeta Saptaha marked the decennial year.

     “Funds have never been a problem”, says Dr Shenoy.  Though entry is free for most of the programmes,  the Sabha collected the necessary fund  through passes and tickets   for its large scale event in the fifth year.

Performance by artistes of repute

     Karkala has been a stop in the musical itinerary of well-known performers like Vidyabhushan,  Ullas Bapat, Ajith Kadkade, Ronu Mujumdar,  Vishwamohan Bhatt, Zakir Hussein, Rajkumar Bharati, Vittal Ramamurthy , M S Sheela, N Ramani, Sreenath Marathe, Mandolin Srinivas, Sudha Raghunathan, Parvin Sulthana, Pt. Hariprasad Chaurasia, Shubha Mudgal, Jesudas, M S Gopalakrishnan, Nityashree Mahadevan, Nakod Brothers, Tarun Bhattacharya, Bombay Jayashree, Abhishek Raghuraman, Salil Bhat, Mysore Manjunath and Nagaraj and many more.  The Sabha, would have had a strong influence on Mahalakshmi Shenoy, an acclaimed Hindustani vocalist hailing from Karkala during her formative years.

     So far the Sabha has hosted the concerts of more than 500 artistes.  The fact that the performance of Sabha inspired the birth of a couple of similar associations elsewhere in the vicinity speaks volumes about the track record of the Sangeet Sabha.  But unlike other organisations, Shastreeya Sangeet Sabha does not restrict itself to any one discipline, instead gives equal footage to both Carnatic and Hindustani music.  The programmes draw music aficionados from far and wide.  The grand music programmes were an  oasis  in those days of  rare musical events.

Mission achieved

     Currently S. Nityananda Pai, is leading the association, as its president. “We were not aware of the enormity of classical music, but the programmes have driven us crazy about music”, once said one of the patrons Dr Adyantaya, reminisces Dr. Shenoy.  Though one of the objectives was to bring about music awareness, the Sabha at its silver jubilee year, has achieved much more than its objective.  It has developed a kind of music culture in this little town of historic significance.  

Renjala Gopala Shenoy (1897 - 1985) - The magician who infused life into stones

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arkala, as the name implies, has abundant kariya kallu (black stone) and is well known for its architectural splendours carved out of black granite stones.  Most of the structures including the 42-foot monolithic Bahubali, the Chaturmukha Basadi, Hiriyangadi Basadi and the Ananthashayana Temple were chiselled during the regime of the Bhairavas.

     After the lapse of several centuries of sculpting such architectural marvels, nobody thought Karkala would see other equally proficient sculptures. It would not be an exaggeration if one says that a sculptor of the Bhairava dynasty, reincarnated in the nineteenth century as Renjala Gopala Shenoy. Apart from creating sculptural miracles at his hometown Karkala, his works can be seen at many places in the country and the faraway Japan as well.

A second generation sculptor

     Renjala Gopala Shenoy, born on January 6, 1897, was the only male child among the four children of Janardana Shenoy and Padmavati Shenoy. Janardana Shenoy, who did not have any means to keep the family hearth burning, sought solace of Sri Bhuvanendra Theertha Swamiji of Kashi Math Samsthan. The seer suggested him to take up sculpting, wherein not only he but the generations after him would also excel.  Thus he took to sculpting and his works can be seen in Sri Venkataramana Temple, Udupi and Sri Venugopalakrishna Temple, Karkala. However, he did not come to limelight.

Son takes up the baton

     Despite being the son of an eminent sculptor, Gopala Shenoy was quite unaware of his innate talents till his father passed away. An idol of Ganesha made out of clay, his first work, had become a butt of ridicule when it broke during transit.  The incident hurt his ego. He determined to be an efficient sculptor and never looked back since. With the blessing of Sri Bhuvanendra Theertha Swamiji he ventured into the field.

     Initially Gopala Shenoy was a drawing teacher in the school run by Sri Venkataramana Temple, Karkala. Sri Sukrtheendra Theertha Swamiji of Kashi Math Samsthan came to his residence, blessed him and christened his workshop as Bhuvanendra Shilpa Shaala and then on Gopala Shenoy became a full time sculptor. Perhaps, Shenoy did not leave any medium untouched to express his aesthetic feelings. He had chosen paper, mud, wood, stone, silver, gold, panchaloha and even coconut shells for his works.

Pillars at Sri Venkataramana Temple

     Dexterity and perfection are the hallmarks of the works of Gopala Shenoy. The mastery of his skills can be observed in the four pillars of Garuda Mantap of Sri Venkataramana Temple, Karkala. The chains hanging from the pillars though made out of stone move like any other steel chains. Miniature sized animals such as lizards and honeybees have been meticulously and vividly carved on the pillars. The four pillars are not alike. They narrate different mythological stories.  From the single stone selected from Nallur near Karkala, he carved four pillars and a statue of Durga Parameshwari.

                      

     The works at Sri Venkataramana Temple, Karkala and the Bahubali statue at Dharmasthala catapulted him to fame.

Some tell tale evidences of craftsmanship

· * Thirty nine-foot statue of Bahubali installed in Dharmasthala

·     *   Thirty-two-foot high Bahubali at Firozabad

·       The idol of Lord Krishna in Hrishikesh

·       The idol of Krishna in Canara High School, Mangalore

·        The idols of Rama, Seetha and  Lakshmana at Rama Mandir, Wadala, Mumbai

·       Vrindavana and stone Dhwajasthambha of Gokarna Parthagali Math

·        Dhwajasthambhas of several temples including the one made with silver covering for Venkataramana Temple, Karkala

·       Six-foot statue of Lord Veerabhadra in Akkialur

·       The idol of Ravalanatha at Ravalanatha Temple, Karkala

·       The  idol of Lord Venkataramana at Siddapur

·       Golden throne in Sri Venkataramana Temple Karkala

·    Silver Dhwajasthambha, door frame and stone pillars in the Pauli of Sri Durga Parameshwari Temple, Kateel

·             Silver throne in Kashi Math Samsthan

     And the list has many more that speaks volumes about his ingenuity and skill. They are the living monuments of the finest works of the sculptor.

Masterpieces across the border

     A stone stupa and the 67 feet statue of Avalokiteshwara installed at Nara in Japan are some other examples of adroitness in his work. He had also sculpted the life of Buddha on stones for Japan. He had even exported three thousand identical statues of Buddha to Nara.

Honours bestowed upon Shenoy

     He never went out in search of awards or honours but accolades came in search of him. Shenoy had been honoured with:

·       Honorary doctorates by Mysore and Mangalore Universities

·       The Master Craftsman Award by the Government of India

·       Rajyotsava Award by the Karnataka Government

·     The title Shilpa Samrajya Chakravarti conferred by Sri Sudheendra Theertha Swamiji of Kashi Math

     Sri Shivananda Swamiji of Divine Life Society, Dehradun, in 1943, thought highly of the Krishna idol Shenoy carved for Hrishikesh, and had showered praise on him saying, “… I have found one of the ablest sculptors and engravers our Motherland has ever produced… The smiling lips, the charming eye, the Vaijayanti hanging around the neck down to the waist, the armlets and bracelets, the peacock feather with jewels carved on the crown and the sweet Murali are so life like that the image has become a source of attraction and inspiration to one and all.”

Training produces a band of efficient sculptors

     Those who worked under him and gained experience also excelled in their chosen fields. The late Shyamaraya Acharya, a Rajyotsava Awardee, who later went on to become the chairman of the Karnataka Shilpakala Academy, the late D P Narayana Bhat from Mala, who had won the National Award for silver carving and Gopala Mestri, a well-known name in chiseling stone sanctum sanctorum of temples were with Shenoy at one point of the time or the other.  

     Tamilian artisans, Shenoy brought to Karkala, while carving the Bahubali statue for Dharmasthala, later settled at Karkala. Now there are about 500 families of Tamilians residing in and around the town involved in sculpting.

The saga continues…

     The pious sculptor was not after money.  Work was like meditation for him. Hence he was able to produce the best.  Gopala Shenoy breathed his last on December 1, 1985.

     Among Shenoy’s four sons and three daughters, the second son R Manjunatha Shenoy pursued the profession of his father. Now Manjunatha Shenoy’s son Radhamadhava Shenoy is into the trade furthering the family’s repute.  The sound of stone chiselling continues to be heard in Bhuvanendra Shilpa Shaala.

St. Lawrence Minor Basilica – Offering solace to all

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he recent elevation of St Lawrence Church at Attur to the status of Minor Basilica, has taken up the people’s faith a notch higher.  The church is situated about 5 km away from Karkala amidst the picturesque surroundings of Purpale hill. People and tourists irrespective of religion or caste, make it a point to visit the holy shrine.

     The church was a part of the Mangalore Diocese until it was merged into the newly created Udupi diocese in 2012.

History

     The history of the church reveals that it was founded even before 1759 AD. During Tippu Sultan’s regime, St. Lawrence was enshrined at a place called Nakre, about seven kilometers away from the present church. But Tippu said to have demolished the church and taken the Christians to Srirangapatna. Thus they suffered captivity for about 13 years from 1784.

     After freedom from captivity, a thatched roof for St. Lawrence was built under the guidance of a Goan priest. After that a shrine was constructed in 1839, which is retained behind the new church even today.

       An other legend has it that since the Nakre Church was too old,  a Goan priest accompanied by some devotees started searching for another suitable place taking the one foot wooden statue with him. They were tired after reaching the Purpale hills and kept the statue there and took rest for a while. But to their surprise they could not lift up the statue. The priest proclaimed: “Oh St. Lawrence if you have chosen this site, we will have the church built here itself.” In the very next attempt they could pick up the statue. So a shrine was built for St. Lawrence in the vicinity in 1839.

     In 1895 Parish priest Rev Fr. Frank Periera organized novena and prayer services and in 1900 the new church facing north was constructed. In 1975 Rev Fr FPS Moniz constructed a little shrine for St. Lawrence.  As the church developed, so is the number of devotees.  The main tower of the church is built on the lines of the side tower of St. Philomena Church, Mysore.

Minor Basilica

      The shrine was elevated to the status of a Minor Basilica by Pope Francis on April 26, 2016. The public proclamation and dedication was held on the first of August of the same year.

     St Lawrence Basilica is the 22nd in India and second in Karnataka after St Mary’s Basilica in Bengaluru.

Holy pond

     A pond behind the church is believed to have miraculous power. The water is considered therapeutic. Hence many devotees visit the pond and take the water with them. If you pray for your wish to be fulfilled holding a coin in your hand and flung the same into pond, your wishes are said to be fulfilled

Annual feast “Saantmaari”

     The annual feast known as “Saantmaari”, transcends all barriers of religion, caste and creed. Pilgrims from all parts of district and even from outside make a beeline to the church on the occasion. Earlier the feast was celebrated for three days in the last of month of January from Tuesday. Considering the increasing number of devotees it attracts, in recent years the feast is being celebrated for five days from Sunday itself. It’s a fair-like atmosphere with devotion and fun hanging in the air.

 

      Some seek peace of mind, some visit to thank St Lawrence for fulfilling their wishes and still others ensure their dreams come true by praying here.  In all St. Lawrence is a hope for all.

Sri Venkataramana Temple – The Lord in Royal Splendour

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ri Venkataramana Temple is an amalgamation of glory, faith and architecture. The temple is the hub of all religious and cultural activities of the Gowda Saraswath Brahmins. There is, perhaps, hardly an individual in Karkala who has not adored the architecture, worshipped the deities or offered ardent prayers.

Constructed by the Bhairavas

      History tells us that the then rulers of Karkala, the Bhairava dynasty had constructed the temple when some Gowda Saraswath Brahmins settled at Karkala after fleeing from Goa in the aftermath of Portuguese invasion. It is learnt that the temple was installed on April 25, 1537.

      The site for the construction of temple was chosen in a very orthodox way. A cow and her calf were let off after performing a pooja and the place where the cow took rest after feeding her calf was selected for the holy shrine. An inscription available in the temple reads that the temple was renovated in 1699.

Deities

      The main deity of the temple called Pattada devaru is Srinivasa and the utsava devaru is Lord Venkataramana taken out in religious processions. It is said that Karkala was constantly attacked and looted by outsiders. The villagers fearing that the robbers would take away the idols that they so dearly worshipped appeared to have carried the idols with them looking for a safer place. They are reported to have hidden the idols in a well near Mulky.  With attackers gone, these people tried to retrieve the idols, but could not get one of them. A person of the locality who could find it, refused to return it. He got the idol installed at Mulky. So the presiding deity at the temple in Mulky is still called Sri Venkataramana of Karkala.

Divine intervention

      The devotees became frustrated after losing one of their idols. It is said that they had a dream directing them to go back to their place where they would receive an idol of Lord Srinivasa from a saint. Their dream came true when a Brahmin stranger gave them an idol of Srinivasa which he had brought from Tirupati.  The saint who continued to live in Karkala, breathed his last and was cremated on the outer premises of the temple on the western side and even today his tomb is worshipped on certain occasions.  The Parivara deities Sri Mukhyaprana, Sri Garuda, Sri Lakshmidevi and Sri Ganapati were installed in due course.

Padu Tirupati

     Thanks to the historic temple’s legendary association with Tirupati, Karkala is also known as Padu Tirupati.  The belief is so firm that the devotees without a second thought offer donations meant for Tirupati here itself.  A part of the donations received used to be offered to Tirupati Srinivasa.

Festivals and rituals

     The Lakshadeepotsava, the festival of myriads of lights known for its festivities, is one of the famous festivals of the temple. The idols of Lord Srinivasa along with Lord Venkataramana are taken in a procession to Srinivasaashrama, about three kilometers from the temple, for Vanabojana.  It is believed that the Gods move eastwards once a year in the direction of Tirupati. The idols, on their way back, halt at Manna Gopura, in the heart of the town.   The idol of Lord Srinivasa is brought back to the temple in a beautifully decorated chariot while the idol of Sri Venkataramana is brought in an equally decorated palanquin after receiving special poojas at gurjis (stationary chariots) specially erected for the occasion.

     The annual car festival, rathotsava is another grand event of the temple.

     Paryayotsava is another important event. As the name indicates the right to perform the pooja alternates between two families, the Puraniks and the Joshis, after each year.  A family of Tantris performs all religious activities in the temple other than the poojas.

      Worshipping of spirits and darshana were the other special events. The spirit initially identified as Kalabhairava was later believed to be Basava. Darshana played an important role in the lives of the people where they used to flock expecting divine solutions to their everyday problems – be it marriage, sickness or property dispute. The darshana patri was believed to imbibe the spirit of Basava and his words were taken with respect and faith.

     It is said that there was a proposal to make Moodbidri - which was a part of Karkala taluk when Karkala was a part of Dakshina Kannada district - the taluk headquarters.  When the devotees went and prayed at darshana, the patri prophesied that Karkala itself would become the headquarters and did it become! However, darshana has been discontinued in recent years.

Veeramaruthi shrine

     The Veeramaruthi temple built opposite to the main shrine across the road on the northern side, is another landmark in the town with a 15-feet monolith of Lord Hanuman.  The idol is said to have installed in the sixteenth century during the Bhairava regime. It is also said that the statue was unearthed during an excavation process near Anekere.

      Fascinated by the size of the statue, Tippu Sultan is believed to have sent silver to prepare a cover for the idol. But as the silver was not enough for a cover, a necklace was made which still adorns the idol.

Pillars of fame  

     The four pillars erected at the Garuda Mantap of the temple are architectural miracles. Each pillar narrates a different story. Small creatures like honeybees, spiders and butterflies are meticulously carved on the pillar. The movable chains carved out of a single stone are examples for the fineness and dexterity of the work.  These pillars stand out as a living monument to the great sculptor the late Renjala Gopala Shenoy, who was awarded the Master Craftsman Award from the Government of India.

Renovation

      The temple has witnessed many a renovation from time to time.  A Brahmakalashotsava was held in 2016, after extensive renovation. Community members’ munificent contributions could make such a task possible. 

Ananthashayana Temple

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ri Ananthapadmanabha Temple is at the heart of the town.   The statue of Lord Ananthapadmanabha, another name of Lord Vishnu, is carved out of a single black stone in reclined position.  Hence the temple is popularly known as Ananthashayana.

     Lord Ananthapadmanabha is resting on the coils of Adishesha with Lord Brahma on the lotus that has emerged from His navel and the goddesses Sridevi and Bhoodevi serving Him at His feet.  The Lord with full splendour on special occasions is indeed a sight to behold.  Deities Damodara, Sankarshana and Pradyumna surround the sanctum sanctorum facing the other three directions.

Basadi turns temple

     It is said that the construction was originally a basadi, the Jain shrine. Circa 15^th century, Sringeri Jagadguru Sri Narasimha Bharathi Swamiji visited Karkala.  The then Jain king of the Bhairava clan received him with due respect, but the Swamiji refused stay at a place where there was no temple.  So the idol of Lord Ananthapadmanabha found in a lake in Nellikar was installed at the shrine.  The temple architecture similar to other basadis in the vicinity amply substantiates the theory.

Festivals

     The five-day annual festival, Lakshadeepotsava, Ananthapadmanabha vrta, known as Nompu locally, Rathasapthami are some of the special occasions celebrated with pomp and gaiety.

This temple is a protected monument supervised by the Archaeological Survey of India.

Gomateshwara/Bahubali – Overlooking Karkala

K

arkala is known for many Jain monuments.  Among them, the statue of Bahubali also called Gomateshwara stands tall literally.  

Celebration of human competency

     The 42-feet monolith installed on 300 feet high rocky mountain appears to overlook the town. The majestic idol is estimated to weigh around 80 tonnes.  Hats off to those craftsmen who erected such mammoth statue in such an elevated place in the bygone machine-less days! Their sheer faith on human energy is commendable.

Next after Shravanabelagola

     It is believed to be built around 1432 AD by the Pandya Dynasty. Lalitha Keerti, a Jain monk in Karkala is said to have instructed the king Veerapandya Bhairava Raja to take the initiative.  The statue was created to commemorate Prince Bahubali who spent 12 years meditating while renouncing all the worldly pleasures.

     The statue in standing position is the second largest of similar kind in the world, the first being the one at Shravanabelagola, again in Karnataka.

The great bath

     An auspicious bath Mahamasthakaabhisheka is held every 12 years.  The statue is bathed with saffron paste, milk, sugarcane juice, sandal paste etc. Gomateshwara assumes different hues as He is anointed with different bathing materials.

     Scaffolds up to the head and above are erected for the benefit of devotees who participate in abhisheka rituals. Even visitors are allowed to climb the platform buying tickets for a few days prior and post abhisheka until the platforms are dismantled.

     Pooja rituals are performed every day. Annual festival too is held.

Access

     Steps are carved on the rocky mountain to reach the top. Ascending the hill using the steps is a sheer joy. For the benefit of those who are unable to climb or in a hurry, there is a motorable road from behind the mountain.