Patronising the construction of temples and carvings has been a tradition in Indian heritage. When a major monument is built, it is usually ascribed to the head of the state, i.e. the king. But there have been many instances where noblemen, merchants, women, artisans and others have made donations for building temples, stupas, rock-cut caves, etc. An inscription at a temple in Karnataka’s Galaganatha dated to 1079 CE refers to Mokari Bharmayya, a musician who patronised the construction of a temple there.
Galaganatha, known in ancient times as Phullani Tirtha, is a small village in Haveri district situated on the western banks of the river Tungabhadra. There are two inscriptions in the Galageshwara temple in Galaganatha that shed light on its construction and other activities. It appears that the temple was in existence from about 1030 CE onwards. It was renovated, or rather rebuilt, in 1079 CE during the third year of Kalyan Chalukya King Vikramaditya VI’s reign.
His younger brother Jayasimha, who had the title of Veera Nolamba Permadi, was administering Banavasi 12,000, where the temple is situated, and Santalige 1,000. (These were the administrative units that yielded taxes.) The temple was built by Mokari Bharmayya, who was an exponent of various arts. The words in the inscriptions (samasta gita vadya, aneka nritya shastra saadhakam) mention his proficiency in many musical instruments and his knowledge of various treatises of dance. He also had many titles given by the king.
The inscription further says that Bharmayya was an expert in 32 ragas (battees ragas), and was blessed by Sri Vagdevi, the goddess Saraswathi. It is said that he installed the Shiva Linga and donated 30 pon gadyana (golden coins) in the name of his mother Jogiyabbe. It is most likely the sole instance where a man who was a musician, singer as well as expert on dance had made donations for the construction of a temple and installation of the God. Another inscription at the temple dated to 1080 CE refers to the grants made towards the worship of the God and offerings to Him, feeding of visitors and students, and the service of music and dance in the temple.
Both the inscriptions attest to the importance that the temple had as a centre for music, dance, education and other cultural activities. The Galageshwara, now a protected monument of the ASI, is situated in a panoramic landscape right on the banks of the Tungabhadra and faces east. It is an ekakuta temple, i.e. it has a single sanctum sanctorum (garbagriha). It has an imposing Dravida vimana that is three-tiered and is coped by a stupi and amrita kalasha. The walls have koshtas and panjaras—miniature shrines replicating the main shrine.
The most unique feature of the temple is the supporting structure found all around the garbhagriha. The support to the garbhagriha outer wall rises from the ground and covers the whole of the adhisthana (pedestal); it appears like a buttress as seen in medieval Gothic churches. Though the supporting wall covers almost half of the outer wall, it harmoniously blends in and adds to the temple’s aesthetic value. The Galageshwara is right on the sand banks of the river and the sanctum sanctorum is a hefty structure. The architect of the temple must have designed the outer supporting structure to the garbhagriha to avoid any shrinkage. The structure is so well matched that it has become an integral part of the temple’s design.
The interior of the temple has a large Shiva Linga installed in the garbhagriha. There are two side niches where the images of Durga Mahishamardini and Ganesha are installed. Besides, there is a sculpture of Surya in samabhanga posture (without a bend), standing on the pedestal with seven galloping horses. Vishnu with his attributes, the conch, disc and mace, is also in samabhanga. The image of Mahishamardini placed in a side niche (koshta) has an inscription on its halo. The Devi, with her weapons, has vanquished the demon Mahisha, who is depicted in personified human form.
Her arms have the weapons spread around architectonically. The Vishnu and Mahishamardini sculptures predate the temple. The image of Ganesha is also impressive. He is in a seated posture having an axe, rosary, teeth and bowl with modaka. Apart from the above sculptures, there are images of the Sapta Matrukas. The free sculptures were possibly installed on separate pedestals within the temple premises earlier. They are now kept inside the garbhagriha. There is a sculpture of Saraswathi seated on a lotus seat. She has a book in the lower left hand, pasha and ankusha in the upper hands, and would have held a rosary in the remaining hand. Stylistically all of them belong to a very rich tradition of the sculpture school.
The Galageshwara temple was an active centre of religious and cultural activities in its heyday. It also served as a school and catered to the education of children. Temple priests were usually the teachers. They were given special grants for maintaining the school. The musician patron of the Karnataka temple has become a historical figure as his munificent grants helped in the continuation of the musical traditions as part of the temple rituals.
R H Kulkarni
Professor, Dept of Art History, College of Fine Arts, Karnataka Chitrakala Parishath (rhkulkarniarthistory@gmail.com)