Barsur (बारसूर) is a tehsil (तहसील) town in the Dantewada district of Chhattisgarh. Before the formation of the Dantewada district, the town was part of the Bastar district. Local legends associate the city with the demon Banasura, the son of Bali. Banasura had a daughter, Usha, who fell in love with Anirudha, Krishna’s grandson. Chitralekha, a friend of Usha and the daughter of Kumbhanda, minister of Banasura, helped her friend by abducting Anirudha and bringing him to Banasura’s palace. This led to a war between Krishna and Banasura, ending in the latter’s defeat; however, Krishna spared him at Shiva’s request, as Banasura was an ardent devotee of Shiva. The legend also mentions Usha and Chitralekha as ardent devotees of Ganesha, but no Puranas or other texts support this claim.
Barsur, earlier known as Barasuru, was the capital city of the Chhindaka-Naga (छिंदक नाग) dynasty, which ruled from the tenth to the thirteenth century CE. The dynasty belonged to the Kasyapa gotra and bore a tiger with a cub as its crest. Their kings were titled the “lord of Bhogavati”; Bhogavati is one of the seven mythological subterranean cities of the Nagas. The Chhindaka-Nagas were supposedly of the same stock as the Sindas of Karnataka; the latter claimed their name derived from the river Sindhu (Indus). Chhindaka is another derivation of the Sindhu River. The earliest Chhindaka-Naga inscription is the fragmentary Errakot inscription, dated Saka 945 (1023 CE), which mentions king Nripatibhusana.1 During his Ganga expedition, the Chola king Rajendra Chola I (971–1044 CE) seized Sakkarakkottam aka Chakrakota aka Chakrakuta or modern Bastar sometime between 1019-20. There are two possibilities here: either the Chhindaka-Nagas were ruling over Barsur when Aditya Chola marched into the region, or they came to Baster after Rajendra Chola’s Ganga expedition. The Chhindaka-Nagas owed allegiance to different dynasties at different times during their reign. The names of the Chhindaka-Naga kings, such as Dharavarsha and Kanhara, suggest that they owed allegiance to the Rashtrakutas. In contrast, names such as Someshvara suggest that they also owed allegiance to the Western Chalukya king Someshvara I Ahavamalla (1042-1068 CE). Their Telugu inscriptions and legends over coins attest to their southern origins.2
It is suggested that Aditya Chola installed Naga king Dharavarsha as his regent over Barsur. The Nander inscription states that the general Nagavarma, under the Western Chalukya king Someshvara I, defeated Kalakuta Dharavarsha sometime after 1047 CE. It may be surmised that the Western Chalukyas installed Jagadekabhushana over Barasur, and Dharavarsha became a feudatory under Jagadekabhushana. After the death of Jagadekabhushana sometime during 1060 CE, Madhurantaka ascended the throne at Barsur with the help of the Cholas; however, he was soon displaced by Someshvara I, the son of Dharavarsha.3 This episode suggests that the Cholas were still engaged in the politics of the region and tried to extend their sway. An interesting epigraph, the Rajapura plates of Madhurantaka4, speaks of human sacrifices and the provision of victims for them. Someshvara I (1069-1108 CE) ruled for about 30 years and was the most accomplished and successful of the family’s rulers. Goddess Manikyadevi, also known as Danteshwari and Vindhyavasini, was the tutelary deity of the Chhindaka-Nagas.
When the Chhindaka-Nagas were consolidating their power in Bastar, the Telugu-Chodas followed the Western Chalukya king Vikramaditya VI (1076-1126 CE) during his eastern campaign and settled in Bastar. They belonged to the Kasyapa gotra and claimed descent from the Suryavamshi Chola family of the Karikala house that ruled from Orayuru (Uraiyur). Their kings were sometimes referred to as Kaveri-natha or “the lords of the Kaveri”. Telugu-Choda chief Yasoraja I, son of Callama, carved out a new kingdom and accepted the suzerainty of the Chhindaka-Nagas. He was followed by his son Someshvara, and Someshvara was followed by his brother Chandraditya. Chandraditya ruled from his capital, Ammagama, and was a feudatory of the Chhindaka Naga king Dharavarsha Jagadekabhushana. He built a Shiva temple, Chandraditya-nandana-vana, and a tank, Chandraditya-samudra, at Barsur in 1060 CE.
In 1324 CE, Annamadeva, the brother of Prataparudra II of the Kakatiya dynasty, established the state of Bastar under the tutelage of the goddess Danteshwari. However, there are divergent opinions on the royal lineage of the Bastar rulers. Taking reference to Pratapacharitam, it is claimed that Annamadeva was the brother of the Kakatiya house and left Warangal after installing the son of Prataparudra II, Veerabhadra, over the throne. He moved north and established his dynasty in Bastar in 1424 CE. However, Prataparudra II died in 1323 CE, and a 99-year gap between the two brothers is highly improbable. In the folk songs of Bastar, the kings of the Bastar royal house are referred to as Chalaki (Chalukya) kings, suggesting their Chalukya lineage.5 Generally, the Kakatiya claim is much in vogue, relying upon Pratapacharitam. Different branches of the dynasty ruled over the kingdom, and it became a princely state during the British occupation. The last ruler, Pravir Chandra Bhanja Deo, was a tribal sympathizer and activist who gained a cult status and was worshipped as the god of the tribals. He gained immense popularity and support; however, he was assassinated in a police action in 1966. His charisma is still alive, and his photographs can be found in most houses in the districts of Bastar and Dantewada.
Monuments: Barsur is generally called the city of temples, and legends claim there are more than 147 temples in the town, along with as many tanks and lakes.6 Though we do not have extant temples matching that number, this small town still has many extant temples.
Chandraditya Temple – This is the earliest dated temple in the town. It was constructed in 1060 CE by the Telugu-Choda king Chandratiya and named Chandradityeshvara. The king also excavated a nearby tank, named Chandraditya-samudra, which may be identified with the modern Budha Talab, located next to the temple. The temple faces east and was built in the Pancharatha style (five offsets each wall), and its jangha portion is divided into three sections. Image niches are provided in all sections of all rathas (offset). The temple’s iconographic program is very disoriented, and one reason might be that many panels were relocated during conservation work.
All the bhadra niches except one are now empty. The one containing the image has a sculpture of Narasimha. The top tier of the karna niches is occupied by Vasus, who have bull heads. The lowest tier of the karna has ashta-dikpalas: Indra facing east, Agni and Yama over the south wall, Vayu, Varuna, and Nrrtti on the west wall, and Ishana and Kubera over the north wall. Niches on the anuratha projection have mostly amorous couples in various postures or celestial damsels. Recess portions are adorned with gaja-shardula with rider motifs, warriors, mithuna couples, and damsels. The iconographic program on the temple walls includes, in the south, Shiva, Varahi, Narasimha, and Shiva-Ekapada; in the west, Kartikeya, Ganesha, Shiva, Kalki, Chamunda, Ambika, and Hanuman; and in the north, Parvati, Bhairavi, Vishnu, Surya, and Chamunda. The kapili portion between the mandapa and garbha-grha follows the three-tier style of the jangha of the garbha-grha. All the niches of kapili are vacant, as well as the recess portion, except for a few images of apsaras. As some of the images here are explicit and may be considered obscene, it is said that King Mahipal Deo and his queen, Padma Kumari, were offended by the figures’ indecency and had them defaced.7
The mandapa appears to be a modern reconstruction utilizing old material. Four central pillars support it. K P Verma8 mentions a total of 12 pillars, 3 in each of 4 lines; that is not the case in the present structure. A Nandi is installed inside the mandapa facing the garbha-grha. The garbha-grha doorway is composed of three shakhas bereft of decoration. The doorway lintel has an image of Harihara on its lalata-bimba. The shikhara over the garbha-grha and mandapa has long fallen and has been replaced with a flat roof. From the remains, it is clear that the shikhara was of the Latina style of the Nagara order. The original amalaka crowning the shikhara is placed at a little distance from the temple.
Inscriptions:
- Barsur Telugu inscription of Jagadekabhusana9 – The inscription refers to the reign of the Maharaja Jagadekabhushana of the Chhindaka-Naga family and records that his feudatory chief, Maharaja Chandraditya, lord of Ammagama, excavated a tank at his capital town of Barasuru. The tank was named Chandraditya-samudra, and he also constructed a Shiva temple, Chandradityeshvara, at its banks. To support the temple, Maharaja Chandraditya granted the village of Govardhanandu, which he had purchased from King Daravarsha. King Dharavarsha appears to be the same Jagadekabhushana. The record is dated in the Saka year 983, corresponding to 1060 CE. Chandraditya claims descent from the Karikala family of Kaveri with the capital at Orayuru. He belonged to the Kasyapa-gotra and Chola race and had a lion as his crest.
Mama Bhanja Temple – This temple was built in the eleventh century CE during the reign of the Chhindaka Nagas. The local traditions associate the construction of the temple with a Ganga prince.10 The legend goes that the nephew of the ruling king was very cunning, and he started constructing a temple by getting temple architects from the Utkal country. The king became jealous, which led to a fight between him and his nephew. The king killed his nephew and had a stone carved in the shape of his head installed in the temple alongside the king’s image.11 The temple faces east and is built in the pancharatha style (five offsets in each wall). The temple consists of a garbha-grha and an antarala. The vertical elevation consists of adhisthana (base), jangha (wall), varandika, and shikhara (tower), topped with an amalaka. The jangha is divided into two sections separated by a lotus-scroll pattika (band). Niches are provided on the karna (corner) and bhadra-rathas (center); however, all niches are currently vacant. The garbha-grha is rectangular, and its doorway is composed of three shakhas (bands). An image of a two-armed seated Ganesha is found on the lalata-bimba. Inside the garbha-grha are placed an image of Ganesha and an image of Narasimha.12
The shikhara is also of pancharatha design and follows the latina pattern of the Nagara order, consisting of eleven bhumis (stories). The temple has a unique feature: a window on the east side of the shikhara. Above the griva (neck) are four statues, one in each ordinal direction. The statue is of a yogi wearing a large turban and holding a trishula; the statue on the north-east is missing. The roof over the antarala is pyramidal. The presence of Ganesha over the lalata-bimba suggests that the temple was either dedicated to Ganesha or Shiva. There are various local legends behind the temple. It is said that the king called upon the best architects to build a temple in a single day. Two architects, who were uncle (mama) and nephew (bhanja) to each other, came forward and accomplished the feat. Thus, the temple was named the Mama-Bhanja temple. Another legend states that it began as a competition between mama and bhanja for the royal contract. After completing this temple, Mama cut off his bhanja’s head and placed it atop the temple. The mama got the reward of a contract as a royal architect, and the temple was thus named Mama-Bhanja temple. The temple may be taken as coeval to the Chandraditya temple, and may be dated to the second half of the 11th century CE.13
Battisa Temple – This impressive east-facing temple has two rectangular garbha-grha, on the same axis, connected to a common 32-pillared mandapa. The mandapa has four rows of eight pillars, forming five aisles. The pillars on the periphery of the mandapa are raised over half-walls, a feature generally found in the southern Indian temples. Three entrances to the mandapa are provided: one from the west, one from the south, and one from the north. The shikhara over the garbha-grha and mandapa has not survived. From the remains of the shikhara, Verma14 has suggested that the shikhara was built in the Dravidian pyramidal roof style. A Shivalinga is present inside both the garbha-grha and in the mandapa. Two Nandi images are placed, each facing the respective garbha-grha. The garbha-grha doorways are very simple and devoid of any decoration except an image of Ganesha on their lalata-bimba. The temple was constructed in 1109 CE by Ganga-Mahadevi, the chief queen of the Chhindaka Naga king Someshvara, and was named Vira-Someshvara and Gangadhareshvara after her husband and herself.
Inscriptions:
- Barsur inscription of Ganga-Mahadevi15 – written in Telugu characters, Telugu language except for the titles of the kings being in Sanskrit- The inscription is now in the Nagpur Museum. It records that Ganga-Mahadevi, the chief queen of Someshvaradeva, gave a village named Keramaruka or Keramarka to two temples of Shiva, both of which she had built: first, Vira-Someshvara, after her husband, and another, Gangadhareshvara, after herself, in the Saka year 1130, corresponding to 1208 CE. The king is said to be a descendant of the Naga race, lord of Bhogavati, with the crest of a tiger and its calf, and to belong to the Kasyapa-gotra. The king was an ardent devotee of Shiva and the goddess Manikyadevi. The first editor of the inscription, H. Krishna Sastri, notes that the inscription’s date does not match the day (Sunday in this case). Hira Lal, who later edited the inscription, notes that the Saka year appears incorrect; it should be Saka 1030, corresponding to 1109 CE. Another inscription mentioning King Someshvaradeva is dated Saka 1033, and in this case, the date and day mentioned in the inscription match.
Paidamma Mata Temple – Contemporary to the Mama-Bhanja temple, Paidamma temple is dedicated to a goddess. The temple consists of a garbha-grha, antarala, and a mandapa. It is built over a raised jagati (platform). The jangha is divided into two sections separated by a plain pattika (band). Four central pillars support the mandapa. Two latticed windows are provided on its lateral walls to admit light. The plain garbha-grha doorway has seated Ganesha on its lalata-bimba. Inside the garbha-grha, an image of Mahishasuramardini is placed, executed in black stone. The shikhara above the varandika has collapsed, and so has the southern wall of the garbha-grha.16
Twin Ganesha Temple – Inside the complex are the remains of various temples, mostly with provision for a Shivalinga in their garbha-grha. The two statues of Ganesha are now housed in a modern shed. One image is 8 feet high and 17 feet in girth. Ganesha is shown with four arms, carrying a vessel containing modak and akshamala (rosary). He is wearing a yajnopavita. He has two teeth; however, one is slightly broken, so it is unclear whether the original intention was to carve Ganesha as an eka-danti (single-tooth) image. The smaller image is 5.5 feet in height. Ganesha here is carrying a parasu (axe) and has only one tooth. His mount rat is shown below his feet. These images were found while clearing the debris from the compound and are considered amongst the tallest Ganesha statues in India, the other two being in Hampi (Karnataka). These images were generally taken from the 12th century CE period.18
Inscriptions:
- Barsur Nagari inscriptions17 – There are three slabs, one of which contains names of some goddesses, such as Mahishasuramardini, and another is a fragment that mentions (Ka)nnaradeva. A third on the statue of a warrior with the date Saka 1242 (1320 CE), has two illegible names ending in deva.
1 Sharma R S (ed.). A Comprehensive History of India Vol. Four, Part One. People’s Publishing House. New Delhi. p. 690
2 Sharma R S (ed.). A Comprehensive History of India Vol. Four, Part One. People’s Publishing House. New Delhi. p. 689
3 Sharma R S (ed.). A Comprehensive History of India Vol. Four, Part One. People’s Publishing House. New Delhi. p. 691
4 Epigraphia Indica vol. IX. p 174
5 बस्तर – विवेकदत्त, retrieved on 19 June 2022
6 Jha, Vivek Dutta (1980). The Archaeology of Bastar Region, an unpublished Ph.D. thesis submitted to the University of Sagar. p. 182
7 Brett, E. A. de (1909). Central Provinces Gazetteer – Chhattisgarh Feudatory States. The Times Press. p. 39
8 कामता प्रसाद वर्मा (2002). बस्तर क्षेत्र के स्थापत्य का अध्ययन (५वीं शती ई. से १२वीं शती ई. तक), शोध-प्रबंध पं. रविशंकर शुक्ल विश्वविद्यालय, रायपुर में पी-एच. डी. उपाधि के लिए प्रस्तुत. p. 100
9 Hira Lal, Rai Bahadur (1916). Inscriptions in the Central Provinces and Berar. Government Printing. Nagpur. pp. 144-45
10 Jha, Vivek Dutta (1980). The Archaeology of Bastar Region, an unpublished Ph.D. thesis submitted to the University of Sagar. p 183
11 कामता प्रसाद वर्मा (2002). बस्तर क्षेत्र के स्थापत्य का अध्ययन (५वीं शती ई. से १२वीं शती ई. तक), शोध-प्रबंध पं. रविशंकर शुक्ल विश्वविद्यालय, रायपुर में पी-एच. डी. उपाधि के लिए प्रस्तुत. p. 118
12 Indian Archaeology – A Review, 1987-88. p. 166
13 कामता प्रसाद वर्मा (2002). बस्तर क्षेत्र के स्थापत्य का अध्ययन (५वीं शती ई. से १२वीं शती ई. तक), शोध-प्रबंध पं. रविशंकर शुक्ल विश्वविद्यालय, रायपुर में पी-एच. डी. उपाधि के लिए प्रस्तुत. p. 124
14 कामता प्रसाद वर्मा (2002). बस्तर क्षेत्र के स्थापत्य का अध्ययन (५वीं शती ई. से १२वीं शती ई. तक), शोध-प्रबंध पं. रविशंकर शुक्ल विश्वविद्यालय, रायपुर में पी-एच. डी. उपाधि के लिए प्रस्तुत. p. 129
15 Epigraphia Indica vol. III. pp. 314-318/Epigraphia Indica vol. IX. pp. 162-163
16 Indian Archaeology – A Review, 1987-88. p 167
17 Hira Lal, Rai Bahadur (1916). Inscriptions in the Central Provinces and Berar. Government Printing. Nagpur.p. 157
18 कामता प्रसाद वर्मा (2002). बस्तर क्षेत्र के स्थापत्य का अध्ययन (५वीं शती ई. से १२वीं शती ई. तक), शोध-प्रबंध पं. रविशंकर शुक्ल विश्वविद्यालय, रायपुर में पी-एच. डी. उपाधि के लिए प्रस्तुत. p. 134
Acknowledgment: Some of the photos above are in CC0 1.0 Universal Public Domain from the collection released by Tapesh Yadav Foundation for Indian Heritage.