Chennakeshava Temple, Somanathapura, Karnataka, India

The Chennakesava Temple, also referred to as Chennakeshava Temple and Keshava Temple, is a Vaishnava Hindu temple on the banks of River Kaveri at Somanathapura, Mysuru, Karnataka, India.

The temple was consecrated in 1258 CE by Somanatha Dandanayaka, a general of the Hoysala King Narasimha III.

The ornate temple is a model illustration of the Hoysala architecture.

The temple is enclosed in a courtyard with a pillared corridor of small shrines (damaged).

The main temple in the center is on a high star-shaped platform with three symmetrical sanctums (garbha-griha), set in a square matrix 28x28 m (89x89 ft) oriented along the east–west and north–south axes.

The western sanctum was for a statue of Kesava (missing), the northern sanctum of Janardhana and the southern sanctum of Venugopala, all forms of Vishnu.

The sanctums share a common community hall (sabha-mandapa) with many pillars.

The outer walls, the inner walls, the pillars and the ceiling of the temple are intricately carved with theological iconography of Hinduism and display extensive friezes of Hindu texts such as the Ramayana (southern section), the Mahabharata (northern section) and the Bhagavata Purana (western section of the main temple).

Entering Chennakeshava Temple, Somanathapura
It is located 38 km (24 mi) east of Mysuru city.

Approaching the temple

Keshava Temple, Somanathapura

«The Keshava Temple was constructed by Somanatha Dandanayaka after having received the funds from the reigning Hoysala king Narasimha II in 1268 CE. This temple of schist stone is built in the centre of a rectangular courtyard. It is enclosed in a prakara wall and it consists of 56 small shrines that once housed deities. This trikuta (triple-celled) temple dedicated to God Vishnu faces east. The temple is entered through a series of steps marked by a plain doorway tanked by dvarapalas (door guardians). It has on plan garbhagrihas (sanctum), antaralas or sukanasis (antechamber), a common navaranga (central pillared hall) and mukhamandapa or dvaramandapa (entrance hall). The three garbhagrihas on the west, north and south have the images of Keshava, Janardhana and Venugopala respectively.

The temple is erected on a raised stellate platform (agati) and it follows the proflle of the plan of the temple. The external walls of the temple are highly ornate. The exterior of the mandapas have adhisthana (plinth) consisting of a six-tiered frieze and above these are placed the kakshasana (seating with sloped back rest) with sculpture panels and jalis (stone screens). The exterior of the garbhagriha is divided into three sections - adhisthana (plinth), bhitti (wall) and chadya (eave). The adhisthana has six mouldings, while the bhitti has sculptures and most of them carry on their pedestals the names of the sculptors who caused it. Mallitamma, Baleya, Chaudeya, Bamaya, Nanjaya and Yalamasay are the prominent names. The chadya that runs along the entire temple acts as a separation layer between the bhitti and the superstructure of the temple. All the three shrines have vesara shikharas.»

Entrance major gate (mahadvara) to the temple courtyard

Panorama of the east side of the enclosing wall
The Keshava temple at Somanathapura faces east and is enclosed in a walled courtyard with a major gate (mahadvara).

Outside the walls before the gate stands a tall pillar, which once had a Garuda statue on top, now missing.

Inside the gate
Inside the gate, to the left are vertical standing inscription stones.

These stones have the form of the hero stones, with the top decorated with Hindu iconography as well as miniature reliefs of Keshava, Janardhana and Venugopala.
The inscription is in old Kannada.

Inscription

«The inscription slab is 2.8 m (9.1 ft) high with the three main deities of the temple etched in relief on the top arch. There are four records inscribed on the slab, two belonging to the reign of Hoysala king Narsimha III and two of Ballaia III.

The first inscription has 91 lines and is in Old Kannada characters and in both Kannada and Sanshiit language. It registers a royal gift of 3000 gold pieces by Narasimha III for the worship and offerings to God Keshava and other deities in the temple situated in the agrahara, established and named after himself by Somaya-dannanayaka. It also records that Mallideva: Dandanayaka and Chikka Ketal Dandanayaka, the nephews of Somaya made revenue allotment for the conduct of worship, repairs and upkeep of the temple. There are two dates in this record - 1268 CE when the grant was made by the Narsimha III and 1276 CE when the brothers made the allotments.

The next inscription contains 42 lines and is in Kannada. The inscription dated to 1281 CE of King Narsimha III records that the income derived from the land and villages granted can be enjoyed by the acharyas, vaishnavas and nambis after making certain payment to the temples for offerings.

The third inscription dated to 1300 CE of Ballala III has 52 lines and is in Kannada. This is a royal order which details as to how the mahajanas of Somanathapura were to maintain worship, offerings etc in the Vaishnava and Saiva temples. It also refers to the portion of land allotted to the gods of each temple and the income to be spent for worship and offerings.

The fourth inscription dated to 1326 CE of Ballala III has 34 lines and is in Kannada. It is an agreement between the Aru-tattina mahajanas and the Vaishnava mahajanas with regard to the payment of certain amount of money in favour of the temple. The vaishnava mahajanas has to pay 6 gold coins annually as rental for maintaining the tank and canal.»

Pillar inside the gate

Panorama of Chennakeshava Temple seen from east

Common pillared hall (mandapa)
The sanctums share a common community hall (sabha-mandapa) with many pillars.

The small entrance mandapa is supported by lathe-carved soapstone pillars.

Chennakeshava Temple seen from southeast
The ornate temple is a model illustration of the Hoysala architecture.

Many Hoysala temples are built on star-shaped or staggered platforms that create a unique and intricate base.
The walls and pillars are adorned with elaborate carvings depicting gods, goddesses, mythological stories, animals, and floral designs.
Soft, greenish soapstone, which allows for fine detailing, is commonly used.
The temples often house multiple shrines, each with its own sanctum.
The pillars are smooth, polished, and often lathe-turned, adding to the aesthetic appeal.
The doorways are highly decorated with intricate carvings and often feature motifs of deities.

Guardian (dvarapala)
Near the stairs, on each side are two dvarapala (guardian) shrines but these are damaged.

Row of elephants
The outer wall of the main temple consists of parallel horizontal bands of artwork carved above the circumambulatory platform. It has three major section, the basement band, the wall band and the top band.

The lowest band in the basement section is about 15 cm (6 in) tall and shows a row of elephants mostly marching to the left in the clockwise direction the devotee is expected to walk.
The elephants are not exact copy of each other, rather show different natural expressions and playfulness of elephants.
Some show elephants in war, throwing enemies; while others show them teasing the riders in front.

Horse band, nature band and mythological band

The band above the elephants is of horses with armed riders, depicting a military march. In some spots, camels substitute for horses suggesting that the Hoysala had adopted camels into their army. Some spots also show battle scene with horses. In various places, the artists added humor by placing dwarfs and monkeys supporting the front raised leg of the horses.
The band above the horsemen friezes is a scroll of nature. It shows flowers, fruits, occasionally some peacocks and wildlife.
The band above it is the mythology frieze. It is about 18 cm (7 in) tall, around 0.8 m (2.5 ft) above the platform, and it depicts the legends and spiritual stories found in the Ramayana (up to face 5), the Puranas particularly the Bhagavata Purana (from face 6 to 11) and lastly the Mahabharata. There are numerous panels around the temple that tell the various Hindu fables and stories.

Band of mythical makaras and band of decorative peacocks

Above the lower level band with friezes depicting the Hindu fables and legends is a band of mythical makaras (a creature based on the fusion of various animals)
And then a band of decorative peacocks.

Band of secular life

Above the peacock band of nearly 200 relief carvings are rows of secular life of the people and small size deity reliefs that wraps around only the sabha mantapa (community hall) part of the main temple.

Couples, some in sexual scenes (kama, mithuna)

Garuda
Garuda is known as the mighty bird and the mount (vahana) of Lord Vishnu.

Devotees conduct special rituals and prayers to honor Garuda, often alongside worship of Vishnu.
Garuda Stambha is a pillar dedicated to Garuda, often found at the entrance of Vishnu temples, where devotees offer prayers.
Certain festivals, like Garuda Panchami, are specifically dedicated to worshiping Garuda.
Common offerings include flowers, fruits, and, particularly, garlands of tulsi (holy basil) leaves, which are sacred to Vishnu.
Reciting Garuda mantras and hymns, like the Garuda Dandaka, forms an essential part of the worship.
Garuda is seen as a protector against evil forces and snake-related fears. Devotees often seek his blessings for courage and safety.
Garuda’s worship symbolizes devotion, strength, and the triumph of good over evil.

Dancing Ganesha with sweets (left) and Vishnu on Shesha (right)
Dancing Ganesha, or Nritya Ganapati, coupled with the imagery of sweets (modaks or laddus), is a dynamic and joyful representation of Ganesha.

Dancing signifies joy, celebration, and the dynamic rhythm of life. Ganesha’s dance embodies the bliss of divine ecstasy, signifying the joy that comes from overcoming obstacles.
Ganesha, the remover of obstacles, is often depicted dancing to symbolize the freedom and fluidity one achieves after surmounting challenges.
Sweets are symbols of prosperity, abundance, and the sweet rewards of life. They also represent the fulfillment of desires and the divine blessings that bring joy and satisfaction.
The dance of Ganesha emphasizes grace and balance, essential qualities for navigating the complexities of life with poise and elegance.
The depiction serves as a reminder to cultivate inner joy and contentment, encouraging devotees to find happiness within themselves despite external circumstances.
In essence, Dancing Ganesha with sweets portrays a harmonious blend of spiritual joy, prosperity, and the divine play of life, encouraging devotees to embrace happiness, overcome obstacles, and find inner fulfillment.

Vishnu on Shesha
Vishnu's sitting position represents his role as the preserver of the universe, maintaining cosmic order and balance. His relaxed pose signifies the tranquility and stability he brings to the cosmos.

Shesha, the many-headed serpent, symbolizes the infinite nature of time and space. Vishnu resting on Shesha indicates his control over these cosmic elements, highlighting his supreme power.
The single foot resting lightly on Shesha portrays Vishnu's state of detachment and serenity. Despite his immense responsibilities, he remains calm and unperturbed, embodying the ideal of a wise and detached ruler.
Shesha is often seen as the bedrock of the universe, with Vishnu lying upon him signifying that the universe rests on the foundation of divine consciousness and order.
Though Vishnu appears to be in a relaxed state, he is always vigilant, ready to intervene to restore balance whenever needed.
This imagery beautifully encapsulates the concepts of cosmic order, divine protection, and the serene wisdom of Vishnu.

Standing Lakshmi and Vishnu

Lakshmi and Vishnu represent the ideal cosmic couple. Lakshmi embodies prosperity, wealth, and fortune, while Vishnu embodies preservation, protection, and balance. Their togetherness signifies the unity of these divine principles and the harmony of material and spiritual wealth.
Vishnu stands for righteousness and order, maintaining balance in the universe. Lakshmi complements this by providing the necessary resources and prosperity. Together, they symbolize the balance of material and spiritual energies necessary for a harmonious life.
Standing Lakshmi is often depicted with her hands bestowing blessings and coins, signifying the continuous flow of prosperity and well-being to devotees.
Standing Vishnu, often with his conch, discus, mace, and lotus, signifies the protection of the universe and the eradication of evil forces. This portrayal reassures devotees of divine protection and guidance.
Their standing posture also reflects an active and dynamic stance, encouraging devotees to lead a life of devotion, moral values, and diligence to achieve spiritual growth and material prosperity.
The depiction emphasizes the sacred bond and mutual devotion between Lakshmi and Vishnu, inspiring devotees to cultivate devotion and harmony in their personal relationships.
In essence, the image of standing Lakshmi and Vishnu offers a powerful visual representation of balance, protection, prosperity, and the harmonious union of spiritual and material wealth.

Krishna with flute, humans and cows listening
Krishna is considered the eighth avatar of Vishnu and is celebrated for his wisdom, charm, and divine playfulness.

Krishna's flute represents divine music that creates harmony and peace. The melodious tunes symbolize the divine call that attracts all beings towards spiritual bliss.
The presence of cows listening to Krishna signifies his deep connection with all living beings. Cows, regarded as sacred in Hinduism, represent purity and the nurturing aspect of nature.
The people listening to Krishna's flute represent the devotees who are spiritually awakened and drawn to the divine. The music signifies the call to transcend worldly attachments and seek higher truths.
Krishna's playful nature, combined with his flute, embodies eternal joy and bliss. It serves as a reminder to find joy in the simple and pure aspects of life.
The flute, with its hollow form, represents emptiness or the ego-less state, which allows divine breath (consciousness) to flow through, creating beautiful music. This symbolizes the unity of the soul with the divine.
Listening to Krishna's flute signifies the soul's journey towards liberation (moksha). The divine music helps transcend material sufferings and leads to spiritual enlightenment.
Krishna as a shepherd (Govinda) caring for cows highlights his role as a divine guide and protector, leading his devotees towards spiritual welfare.
This imagery beautifully encapsulates the principles of divine love, harmony, and spiritual awakening, encouraging devotees to seek inner peace and connect with the divine essence of life.

Rama and Sita
Rama is considered the seventh avatar of the god Vishnu.

Rama is seen as the epitome of dharma (righteousness), embodying the virtues of truth, morality, and honor. His life demonstrates how to live with integrity and uphold one's duties and responsibilities.
He is often revered as the ideal king, husband, son, and warrior, serving as a role model for all.
Rama’s devotion to his family, his willingness to sacrifice his own happiness for the greater good, and his determination to uphold justice, even in the face of personal suffering, highlight his selflessness and unwavering commitment to dharma.
Sita symbolizes purity, virtue, and unwavering devotion. Her character exemplifies patience, sacrifice, and inner strength.
Sita’s unwavering loyalty and love for Rama, despite enduring severe trials and tribulations, highlight the strength of her character and devotion.
Sita’s life illustrates that true strength lies in patience, resilience, and adherence to one's principles, regardless of circumstances.
The relationship between Rama and Sita serves as an ideal for marital harmony, mutual respect, and unconditional love.
Their union represents the balance between male and female energies, symbolizing completeness and spiritual unity.
The challenges they face together and their eventual triumph over adversity convey the message that love, devotion, and righteousness can overcome any obstacle.
The story of Rama and Sita is not only a tale of adventure but also a spiritual guide, offering moral lessons and insights into living a virtuous life.
Their lives are celebrated through numerous festivals like Diwali and Ram Navami, and they are worshipped together in many temples, reinforcing their spiritual significance.
Rama and Sita's story serves as an enduring spiritual guide, inspiring millions to live with integrity, devotion, and righteousness. Their legacy teaches the importance of standing firm in one's values and the power of love and faith in overcoming life's challenges.

Buddha as the ninth avatar of Vishnu
In some Hindu traditions, Gautama Buddha is considered the ninth avatar of Vishnu. This belief is particularly prominent in Vaishnavism, one of the major branches of Hinduism.

The inclusion of Buddha as an avatar of Vishnu signifies the integration of Buddhist teachings and the recognition of Buddha's role in promoting dharma (righteousness) and compassion.
According to this tradition, Vishnu incarnated as Buddha to restore balance and guide humanity towards enlightenment.
Buddha's teachings emphasize non-violence, compassion, and the path to spiritual awakening, aligning with Vishnu's role as the preserver of the cosmos.
The inclusion of Buddha among Vishnu's avatars reflects the fluid and inclusive nature of Hindu mythology, where different religious and philosophical systems can coexist and complement each other.

Vishnu Narayana
Vishnu is the preserver and protector of the universe, responsible for maintaining cosmic order and dharma (righteousness). He is part of the Hindu Trimurti, alongside Brahma (the creator) and Shiva (the destroyer).

The name "Narayana" emphasizes Vishnu's role as the Supreme Being who rests in cosmic waters.
According to Hindu mythology, Narayana is the source of all creation and the one who sustains and preserves life.
The name "Narayana" is often used to evoke the infinite and all-pervading aspect of Vishnu.
Vishnu Narayana is also worshipped through his various avatars, such as Rama, Krishna, and others, who incarnate to restore balance and protect the world from evil.

Bhrahma
Brahma is one of the principal deities in Hinduism and is part of the Trimurti, which also includes Vishnu and Shiva.

Brahma is the god of creation, responsible for creating the universe and all living beings.
He is often depicted with four faces, each facing a different direction, symbolizing his all-encompassing knowledge.
Brahma also has four arms and is usually shown holding a water pot (kamandalu), a rosary (mala), a sacrificial spoon (sruk), and the Vedas.
Brahma rides a swan (hamsa), which represents wisdom and discernment.
Despite his crucial role in creation, Brahma is not as widely worshipped as Vishnu or Shiva. One of the reasons for this is a legend that explains why there are few temples dedicated to Brahma. According to the myth, Brahma once lied to Lord Shiva, which led to Shiva cursing him that he would not be worshipped as extensively as the other gods.

Matsya
Matsya, which means "fish" in Sanskrit, is depicted as a fish or a half-human, half-fish figure. The Matsya avatar is most famously associated with the story of saving the Vedas and humanity from a great deluge.

According to Hindu mythology, when the demon Hayagriva stole the Vedas and hid them in the ocean, Vishnu incarnated as Matsya to retrieve them. He appeared to King Manu (the progenitor of mankind) in the form of a small fish, which grew to an enormous size. As Matsya, Vishnu instructed Manu to build a large boat and gather all the seeds of life, along with the seven sages (Saptarishi) and various species. During the great flood, Matsya guided the boat to safety and recovered the sacred Vedas.
This avatar of Vishnu symbolizes the protection of dharma (cosmic order) and the preservation of wisdom and knowledge.

Kurma
Kurma, the tortoise, is the second avatar of Vishnu in Hindu mythology. This avatar plays a crucial role in the story of the churning of the ocean of milk (Samudra Manthan), a significant event aimed at obtaining the nectar of immortality (amrita).

According to the legend, the gods (Devas) and demons (Asuras) agreed to cooperate in churning the ocean to extract the nectar. They used Mount Mandara as the churning rod and the serpent Vasuki as the rope. However, the mountain began to sink into the ocean due to its immense weight. To prevent this, Vishnu incarnated as Kurma and supported the mountain on his back, providing a stable base for the churning process.
The churning of the ocean led to the emergence of various divine items and beings, including the nectar of immortality, which the gods ultimately secured with the help of Vishnu in his Mohini avatar.
Kurma's role in this story symbolizes the support and foundation provided by Vishnu in maintaining cosmic balance and facilitating the pursuit of divine goals.

Varaha
Varaha, the boar, is the third avatar of Vishnu in Hindu mythology. This incarnation is particularly significant for its role in restoring the earth from chaos. The Varaha avatar is usually depicted as a massive boar with a muscular body, tusks, and sometimes holding the Earth (personified as the goddess Bhudevi) on its tusks.

According to the legend, the demon Hiranyaksha had submerged the Earth into the cosmic ocean. To rescue the Earth, Vishnu took the form of Varaha, dove into the ocean, and engaged in a fierce battle with Hiranyaksha. After defeating the demon, Varaha lifted the Earth on his tusks and restored it to its rightful place in the universe.
This avatar symbolizes the triumph of good over evil and the protection of the cosmos. The story of Varaha highlights Vishnu's role as the preserver and protector, always ready to intervene to maintain cosmic balance.

Garuda with his legs in flying posture, he supports Vishnu and Lakshmi on a spray of lotus
Garuda, the mighty eagle-like bird and the mount of Vishnu, is often shown in a dynamic flying posture. In this portrayal, he supports both Vishnu and his consort, Lakshmi, on a lotus, symbolizing purity and divine grace.

This imagery captures the essence of Garuda's role as a loyal servant and carrier of Vishnu and Lakshmi. His flying posture, with legs extended and wings spread wide, conveys power, speed, and unwavering devotion. The lotus on which Vishnu and Lakshmi are seated represents divine beauty and spiritual enlightenment.
Such depictions emphasize the harmonious relationship between the divine beings and their vahana (vehicle), and how they collectively uphold the cosmic order and balance.

Indra riding elephant
Indra, the king of the gods and ruler of the heavens, is often depicted riding his majestic mount, the elephant Airavata. Airavata is a divine white elephant with multiple trunks and is considered the king of elephants. This powerful and magnificent creature is said to have emerged during the churning of the ocean of milk (Samudra Manthan), one of the major episodes in Hindu mythology.

Indra riding Airavata symbolizes his authority, strength, and sovereignty over the heavens. Airavata is also associated with rain and clouds, aligning with Indra's role as the god of rain, thunderstorms, and war.
This imagery emphasizes Indra's dominance and his ability to control the forces of nature, ensuring the prosperity and welfare of the world.

Narasimha with Lakshmi
Narasimha, the lion-headed avatar of Vishnu, is a fierce and powerful deity known for his role in destroying the demon Hiranyakashipu to protect his devotee, Prahlada. This incarnation symbolizes the triumph of good over evil and the protection of devotees.

In some depictions, Narasimha is shown with his consort, Lakshmi, who is the goddess of wealth, prosperity, and fortune. This portrayal is often known as Lakshmi-Narasimha. Narasimha's fierce nature contrasts with Lakshmi's gentle and nurturing aspect, symbolizing a balance between power and compassion.
These images typically show Narasimha seated with Lakshmi on his lap, exuding both protective and benevolent qualities. This depiction emphasizes the idea that divine power is always balanced with compassion and care for the devotees.

Kama with sugarcane stalk
Kama, also known as Kamadeva, is the Hindu god of love and desire. He is often depicted with a bow made of sugarcane, symbolizing sweetness and attraction, and arrows made of flowers, which evoke the delicate nature of love and emotions. These arrows are said to cause feelings of love and desire when they strike their target.

Kama's imagery often includes a parrot (his mount), spring season (Vasant) as his companion, and sometimes a banner with a fish on it. Kamadeva's consort is Rati, the goddess of passion and love.
One of the well-known stories about Kamadeva is when he attempted to awaken love in Lord Shiva's heart for Parvati. To achieve this, Kama shot his flower arrow at Shiva while he was meditating. This act disturbed Shiva's meditation, and in his anger, he opened his third eye and incinerated Kama with a powerful gaze. However, due to the pleas of Rati and the other gods, Shiva later revived Kama, but in an invisible form, symbolizing the unseen but powerful nature of love and desire.

Vishnu with Lakshmi
Vishnu and Lakshmi, often depicted together in Hindu iconography, represent the divine couple embodying protection, preservation, and prosperity. Vishnu, the preserver of the universe, and Lakshmi, the goddess of wealth and fortune, symbolize the balance of cosmic order and material abundance.

In many depictions, Vishnu is shown standing or reclining, with Lakshmi by his side or seated at his feet. One common portrayal is Vishnu reclining on the serpent Shesha, floating in the cosmic ocean, with Lakshmi massaging his feet. This image signifies their harmonious relationship and the nurturing aspect of their divine partnership.
Lakshmi is often seen holding lotuses, signifying purity and beauty, while Vishnu is depicted with his four arms holding a conch (symbolizing the divine sound), a discus (symbolizing the mind), a mace (representing strength), and a lotus (representing existence).

Mohini, female avatar of Vishnu
Mohini is the only female avatar of Lord Vishnu, known for her enchanting beauty and her role in various myths, particularly in the distribution of the amrita (nectar of immortality). Mohini, which means "the enchantress," appears in several stories in Hindu mythology, often using her beauty and charm to achieve divine purposes.

One of the most well-known stories involving Mohini is the churning of the ocean of milk (Samudra Manthan). When the gods and demons (asuras) churned the ocean to obtain the nectar of immortality, Vishnu took the form of Mohini to prevent the demons from consuming the amrita. As Mohini, Vishnu mesmerized the demons and cleverly distributed the nectar to the gods, ensuring their victory and eternal life.
In another story, Mohini played a crucial role in subduing the demon Bhasmasura. Bhasmasura had received a boon that allowed him to turn anyone he touched to ashes. Mohini, with her beauty and charm, distracted Bhasmasura and tricked him into placing his hand on his own head, thus destroying himself.
These stories highlight Mohini's ability to use wit and beauty to uphold dharma (righteousness) and protect the cosmic order.

Durga Mahishasura Mardini
In her fierce form known as Mahishasura Mardini, Durga is depicted with her foot on a buffalo, symbolizing her victory over the buffalo demon Mahishasura. The story goes that Mahishasura was a powerful demon who could transform into a buffalo, and he caused havoc in the heavens and on Earth.

To combat this menace, the gods combined their powers to create Durga, a warrior goddess endowed with extraordinary strength and equipped with weapons from each god. Durga fought a fierce battle with Mahishasura and ultimately defeated him, restoring peace and order.
This imagery of Durga with her foot on the buffalo and the demon emerging from the buffalo highlights her role as a divine protector and the embodiment of feminine strength and courage. Durga's victory is celebrated during the festival of Durga Puja, which honors her triumph over evil.

Vimana
In South Indian temples, the vimana is the tower that sits directly above the garbhagriha.

It can be pyramidal or conical in shape and is intricately carved with depictions of deities, mythological stories, and ornamental designs.
The vimana serves a similar symbolic purpose as the shikhara, representing the cosmic mountain and the transcendence from the material to the spiritual world.

Agni
Agni is one of the principal deities in Hindu mythology, revered as the god of fire. He plays a crucial role in various Vedic rituals and is considered the mediator between the gods and humans. Agni is often depicted with two faces, symbolizing his dual role as the fire that consumes offerings and the fire that purifies. He is also shown with seven tongues, representing his various forms.

Agni's significance extends beyond just the physical fire. He embodies the sacred fire of yajnas (rituals) and is invoked in almost all Hindu rituals, symbolizing purification, transformation, and the transmission of offerings to the deities. Agni is also associated with the fire of life, representing energy, vitality, and the sustaining power of the universe.
In the Rigveda, one of the oldest sacred texts of Hinduism, Agni is frequently praised and invoked, highlighting his importance in Vedic culture and spirituality.

Entering the pillared hall (mandapa)
From the jagati level, there are four stone steps that leads the devotee into the temple's sabha mandapa inside.

Pillars and ceilings

The mandapa (hall) is supported by lathe turned pillars. The pillars, except two of them, are of the same size. All of them, except four in center, have five mouldings from common life themes stacked in sequence: disc, bell, pot, wheel and umbrella. The four set of central square pillars of the Navaranga have yakshas and brackets, which have been damaged or have disappeared. The two pillars to the east of the central square are shaped as a 32 pointed-star.
The Navaranga roof consists of 16 squares, nine in the sabha mandapa and the remaining seven in the extension near the eastern entrance. These are all carved, each different, each with nature motifs and Hindu theology symbolism embedded. Among them is a palm leaves theme, different stages of lotus opening, endless knot symbolizing karma and samsara, one with 'dancers, musicians, soldiers with standing Vishnu and Shiva in various forms', rafters in Sri Chakra tantric layout and others.
Between pillars, the ceiling is domical and intricately decorated. These decorations could include multi-petalled lotuses, banana bud motifs based on stepped ponds and snake like (ananta) knots (symbolising eternity). Inside the temple, each vimana has a vestibule that connects it to the main rectangular mantapa (hall).

South shrine
The south shrine entrance has two dvarapalas: Bhadra and Subhadra.

The lintel above the entrance shows Venugopala.
A 13th century Lakshminarayana carving is shown seated in the Sukhasana yoga pose, with him are chakra, conch, lotus and a gada (mace).
Past the Sukhanasi, are Jaya and Vijaya, while the lintel shows a seated Vishnu and the canopy shows a dancing Vishnu.
The south garbha griya is 2.4x2.4 m (8x8 ft), but includes niches into the wall for more space.
The image of Krishna in the sanctum is 1.4 m (4.5 ft) high. He wears ear rings, necklaces, armlets, bracelets, finger rings, toe rings, anklets, girdle and jewelled diadem. His legs are crossed, head slightly bent as he plays the bansuri (flute) he holds with both his hands. His fingers are in a tapping position, and all beings - from humans to cows, gods to goddesses inside the sanctum are depicted as absorbed in the divine music.
Some figures are shown running to listen to the music, their clothes slipping off. Above the householders, gopis and cows are shown rishis (sages) who too are lost in the experience.
On the fringe of the image's torana (arch above) are carved the ten avatars of Vishnu in sequence: Matsya, Kurma, Varaha, Narasimha, Vamana, Parasurama, Rama, Balarama, Buddha and Kalki.

North shrine
The north shrine entrance too has two dvarapalas: Bhadra and Subhadra.

The lintel above the entrance shows Janardana while the canopy again shows Lakshminarayana.
Past the Sukhanasi, the lintel shows a seated Lakshmi and the canopy shows a Yoganarayana doing yoga.
The garbha griya has a 1.8 m (6 ft) high statue, wherein the Garuda pedestal is 0.4 m (1.5 ft), and the image of Janardhana is 1.4 m (4.5 ft) high.
He wears jewelry, and on the fringe of his image's torana are again carved the ten avatars of Vishnu

West shrine
The west shrine entrance is similar to the southern sanctum in size and included features.

The lintel above the entrance shows a standing Kesava while the canopy shows Gajalakshmi.
Past the Sukhanasi, the lintel shows a Vaikuntha Narayana seated on Ananta Shesha and the canopy shows a Vishnu in Sukhasana yoga posture.
The garbha griya has a Garuda pedestal that is 0.4 m (1.5 ft) tall but the image is missing.