Dattatreya in Nepal

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Dattatreya Temple

 

-a legacy from Bhaktapur

 

 

by Anmol Purna Shrestha - Pratigya Pradhan - Dipak Shrestha - Chandra Raj Shrestha

 

 

Temples of Nepal are taken as the wonders in the world of architecture. Having an intimate relationship with the religious consciousness of Nepalese, they also have great importance in the socio-cultural aspects of the Nepalese people. The Malla period considered as the golden period for Nepalese art and architecture has a huge contribution to the present architectural heritage. Newari art and architecture evident in numerous monuments all over the valley glorify the craftsmanship of Malla era and today holds enough illustrations to support the claim that during the reign of Malla Kings there were more temples than houses. It is, hereby, presented a brief preview of the social, cultural and religious aspects of one of the finest exponents of Nepalese art and architecture, the temple of Dattatreya.

LOCATION

Situated about fourteen kilometres east of Kathmandu is a peaceful, conservative town "Bhaktapur". Standing in sharp contrast to the bustle of Kathmandu, this city lies at an altitude of 4,600 feet above sea level. Commensurate with the standard Newari community, the city with its clustered houses encompasses an area of four square miles. Surrounded by the Khasakhusung and Hanumante Rivers, Bhaktapur stands high above its rural surroundings. A fifteen-minute walk towards north from the Trolley Bus Park at Surya-Vinayak leads to one of ancient settlements of the city, known as Tachapol Tol. This Tol, on the eastern part of Bhaktapur, holds one of magnificent examples glorifying the art of Malla era, "Dattatreya Square". The tole is named after 'Taja' big, and 'Chapahra' rest house. As the name suggests the place was originally used as a resting-place. Tachapol Tol, housing nine resting places in the form of Maths, five temples, several wells, ponds and

waterspouts, and one courtyard called Vanalayku (forest palace), forms the centre of the northern half of Bhadgaon. Dattatreya temple is situated on the eastern side of Tachapol Tol and is further surrounded by the Bhimsen Temple with its adjacent, deeply recessed Bhimdhara, and eight priest houses: Jangam Math, Pulcachota Math, Bardali Math, Godaveri Math, and Tigommo Math on the north; Sithu Math, Birta Math, Taja Math, and Vanalayaku on the south; and the most famous, the Pujahari Math on the southeast. Against a traditional rule the temple faces the west rather than the north.

HISTORY

Dattatreya temple belonging to the Malla period is probably one of the oldest remaining temples of Bhaktapur. The history of the temple dates back to 1427 A.D. during the reign of King Yaksha Malla. It was originally built as the Mandapa and a single tree is reported to have provided all the wood needed to construct the temple. A stone inscription states that a small shrine was built to commemorate the space where a famous guru died. The shrine was enlarged by King Yaksha Malla in the form of Mandapa. Originally the building served only as a resting-place. Later at about 1458 A.D. the building was extended by King Vishwa Malla by the addition of the front part of the building and made it over to the Sanyasis and then onwards it started to serve as an important shrine. The temple only became known as Dattatreya temple because of the later addition of front part to house the images of Shiva, Brahma and Vishnu. The combination of these three images is called

Dattatreya. The shrine, enlarged by Yaksha Malla and then by Vishwa Malla , stands today serving dual purposes as a resting place of and an important shrine. The temple was reconstructed after the destruction from the deadly 1934 earthquake , and still appears close to its original form.

GENERAL DESCRIPTION: Material and Technology

Dattatreya Square is oriented in east-west direction and the ground level, paved with bricks, slopes downward from western to eastern side of the square. Near about in the middle, but closer to the eastern end of the Square, is the temple of Dattatreya. Nine different priest houses, Bhimsen temple and a free standing Lakshmi Narayan temple bound the space around which also contains two raised drama platforms (Dabali), several pillars and images. One of raised platforms is in front of the Bhimsen temple and other is situated on the eastern side of Dattatreya temple As many as nine different paths and lanes branch off from this brick-paved in all directions, thus linking it with the surrounding residential areas of this oldest part of the town The

temple of size 14m * 17m* 18m stands on three plinths. Dattatreya temple is three storeyed structure built in Math Style. Temple has nearly separated roofed and a well carved entrance. Directly in front of the entrance is a very high stone pillar, about 20 feet high, with a broad lotus base and a five feet high Garuda figure of stone in attitude of devotion facing the temple. On either side of the entrance are the stone pillars with a large metal conch shell (standing on the left) and a discus (on the right). All the pillars stand on the back of the tortoise made of stone. The weapon that God Shiva carries, Trishul is on the right side of the stair. Entrance is guarded by two large human figures in stone about 10 feet high representing the wrestlers Jai Mal and Patta who are also shown at Nyatapola. Behind the wrestlers are two fierce looking lions on either side of the steps. The structure of Dattatreya is of double wall construction, but with a wider passage space at the

first floor level than is customary. The temple is built with brickcore walls, square in plan in each level and the size of the core diminishing in the upper floors in proportion to the floor below. The core wall of the first floor continues to the sanctum level and creates a circumambulatory path around the sanctum. The interior of the passage is about 10 feet in height and the width is 6 feet. The ceiling slants downward towards the outside but not with as much slant as is customary at the underside of a multi-stage roof. There are extra beams added about 5 feet below this ceiling connecting the walls of the interior core wall with the outer wall. These are held in place in the brick walls by wooden pegs, as are the few crossbeams which join these beams together. Vertical supports rest on them which are attached by ropes and pegs to a beam of the sloping ceiling interior. Thus this extra framework of beams has been added to support the extending roof for the overhang is of greater

length than in most Nepalese structures and would tend sag if there were no extra support. It is only at the entrance side of the roof of the main structure, where it joins the entrance porch building, that the slope of the roof is quite gentle. The doorway of the inner shrine has a magnificently gilded torona of the considerable beauty, and a number of bells and lanterns hang within the circumambulatory passage before the door. The path is U-shaped and starts directly as we enter the temple. On the left side of this door is a Sheshnag throne of Vishnu which is again remarkably carved. The sanctum contains the idol of Dattatreya surrounded by a semi-circular metal plate with ten incarnations of Vishnu. As Dattatreya is the union of three Gods, inner room contains their statues with Vishnu in the middle, Brahma to his right and Shiva to his left. A trap door leads upward through the ceiling of this passage way to the roof of the first storey and the first balcony. The outer

wall of the floor has eight lattice windows in each face except the front side below which are errotic scenes carved in pairs. Below these errotic scenes are oil-lamp railings, altogether 216 in number, which circumscribe the main body of the temple. The inner wall holds the frame of the first floor, which has a square balcony surrounding the floor. The front part of the first storey has a projection with its own pinnacle giving temple the most remarkable appearance quite unlike that of more standard Nepalese temples. The projection has lattice windows (Ga Jhya) facing towards Bhimsen temple and from the middle window overlooks a statue believed to be as Shankaracharya. The finial of the projected part has two golden stripes on either side carrying a dega like structure. The tier in the second storey is proportionately smaller than of the first one but similar in structure and design. On the top of the third tier is an infundibulum golden finial without any golden stripes unlike

that on the projected one and to which is tied a golden flag. The sloping roofs in the core walls are supported by sloping wooden struts (Tundal) richly carved in figures of divinities. The corner struts represent a fierce aquatic animal, the Vyala. The roof edges have a red cloth hanging surrounding the perimeter of the roof called Kinkinmala. The temple of Dattatreya has its main entrance on the west that resembles more that of a town house than a temple. A small entrance for the prayers to perform bhajans and kirtans is on the eastern side. The temple is built in a Mandapa or Math style. The temple has some resemblance with Kasthamandapa of Kathmandu in relation to its legend and purpose. The bricks used in the construction of the temple are conical bricks called Dachi Appa. Such bricks are concave on one side. A special type of mortar (a mixture of oil, resin and red earth) was used in the edges of these bricks. The plinths in the temple act as a protection

against damp penetration and give the appearance of lifting the building above the road level. The roofs are covered with special tiles called Jhingati.

SIGNIFICANCES:

Socially...,

Temples have long been the social need of the Newars as early as the establishment of the Kathmandu Valley. This temple, Dattatreya, has also been participating and witnessing the changing social values of Bhaktapur city, especially Tachapol Tol. Dattaraya was initially built as a resting-place and was used as shelter for pilgrims, guests and travellers. Later the building was developed into a temple by Yaksha Malla and Vishwa Malla. Dattatreya Square also served as the administrative centre for many years before it was transferred to the present Bhaktapur Durbar Square. Dattareya Square has two raised platforms known as Dabali. Various cultural programmes are held in Dabali and are believed to be designed as an open theatre. The Dabali and the Dattatreya Square host many social gatherings and functions and not very long ago local people used the huge space in the square for marketing. Now the market has been transferred to the northern side of the square.

It is a common sight to see grain winnowed and chillies dried in the Square surrounding the Dattatreya temple. Twice a year Bhandara (a dish with rice, pulses, curry etc) is served to the poor and needy ones on the day of Naga-Panchami and also on the last week of Chaitra. The food is cooked on the western side of the temple and expenses are paid by the Pujari Math fund. The entrance to the temple is roofed. This helps the devotees recite their religious prays without being interfered by the weather. The temple has also a balcony in each storey. The upper storeys are not used too often nowadays but in the past the social functions were viewed from up there. The place has now developed into a good tourist attraction. The flourishing tourism of each passing year brings an ever-increasing flow of tourists to this ancient settlement. The visitors find themselves busy with their cameras trying to grasp memories for the future even as they find themselves drawn

into a timeless place, looking much as it did centuries ago. Their concentration is absorbed by the wealth of Newari arts and architecture found in abundance in the temple and Maths around it. Due to this flow of tourists every year, the place has developed into more of a commercial centre. One can find many curio shops around the Square area. The Maths situated in the Dattatreya Square, most of which are sensitively restored by the West Germans, are mostly been commercialized. Pujari Math, the most important Math of all, and the Chikampa Math are both been changed into museums. Pujari Math holds the ancient wood-carved sculptures of the ancient city and Chikampa Math has the collection of the old metal moulded antiques. There is a library named 'Yug Vijaya Pustakalaya' in Bardali Math (which is the branch of Pujari Math). One of the attractions of this place is the café, which is in an old rest house. But the main commercial centre of all is the Taja Math. This Math, also

renovated after the deadly 1934 earthquake, occupies much of the shops. One cannot help admiring the brilliant art in the buildings as well as merchandising the goods. The daily Puja and Arati are carried out by a selected person called Pujari. The post of Pujari (Mahahanta) is given only to Brahmins and Sadhu Santas including different castes such as Giri, Puri, Bharati, and Sanyasi. The early Mahantas used to reside in the Pujari Math. But as this Math is now a museum, a new building is given to the priest or Pujari. By the side of the bell in the temple there is a well, which ensures that no one leaves the Square of thirst. Now this well has been covered for preventive measures and instead a tap has been built.

Culturally..,

From the time of the construction of the temple to the present, Dattatreya temple has signified the cultural values of the society. The symmetric Math styled building with elegant sculpture, wood carvings on struts, the excellent metal carvings on the Torona and Gajura add not only aesthetics to the architecture but also represent the traditional Nepalese culture. The cultural value of the temple is further exemplified by the different activities performed in the various occasions and festivals. As the name, Bhaktapur (the city of devotees), suggests the town is inhabited by the dwellers having great religious devotion. The town itself was shaped originally as a sacred conch of Vishnu himself to protect from the enemies and devastating natural catastrophes. It is no wonder that Bhadgoan, originally known as Khopa in the Newari language, had more temples than residential houses during the reign of Malla Kings. There is an interesting legend to the

origin of name Dattatreya. Once the chastity of a girl named Anusiya was so rivaled to that of the Goddesses that the Gods decided to test her chaste. They descended down to earth, but to their dismay they fell into their own trap and could not return back to heaven. This caused chaos among the Goddesses. They had to call on Anusiya to retrieve their husbands. But as they ascended to heaven the Gods transformed into the triple-faced God who became known thereafter as Guru Dattatreya. Dattatreya in Hinduism means the trinity; known as Brahma, Vishnu and Maheshwor, the Shiva. The creation, destruction and preservation of the universe are considered to be carried out by the Trinity. In Hindu philosophy Vishnu is the Preserver, usually portrayed with four hands, holding respectively discus (Chakra), lotus-flower (Padma), conch-shell (Shankha) and mace (Gada). Vishnu is always accompanied by the animal he uses as a mode of transport, the Garuda. Likewise Shiva is the destroyer,

again represented with four hands, holding trident, bow, drum and rope and he rides on the bull named Nandi. Similarly Brahma handles the creation of the universe. The temple of Dattatreya is a multi-storeyed structure with a gold plated pinnacle (Gajura) at the top. This structure with its central axis pointing towards the sky provides the conceptual transition from the heavens to the temple, where godly energy temporarily resides for the purpose of worship on earth. The temple has a circumambulation for the devotees to circle the deity. By clockwise ritual circumambulation, the devotee imparts a certain movement towards the centre. The deity, in its giving of power and blessings, manifests itself outwards from the centre towards the devotee. Thus there is a two-way movement; from the circumference towards the centre and from the centre towards the circumference; representing the homage and offerings going from the devotee to the deity, and the blessings coming from

the deity in return. The struts of the temple are carved with many Gods or groups of Gods, such as the Asta Matrikas are frequently seen. Under the God's feet, at the lower end of the struts, there are allegorical and quite often erotic scenes. A widespread popular explanation for the presence of these images indicates that lightning, regarded as a virgin, averts her eyes away from such scenes, by which the building is saved form being struck. One of the religious aspects of this temple is that no animals should be harmed inside the vicinity of the temple. Animals as well as the mankind are God's creation; they are all equal and so should live in peace and harmony. Since animals are considered sacred to kill, devotees give Panchamrit (a mixture of yoghurt, milk, ghee, honey, and shakhar) and Sataki (a mixture of seven ingredients; namely shreekhanda, keshari, jau, til, chandan, panchamrit and raktachandan) to God as offerings. Oil Lamp Railings surround the

temple. These lamps are believed to lighten the path of the God to approach the prayer. The day before Yamari Purnima Flag is waved on top of the building and on the same day Dhwaja Pataka is also shown. It is believed that God descends down to earth from the heaven on Dhwaja and gives blessings to the devotees. On the south of the building is a big bell. Any needy ones can call out to God by ringing the bell and his pray will be heard. The temple is guarded by huge figures known as Jai Mal and Patta to keep away the evil spirits.

CONCLUSION

The architecture of the Bhaktapur is basically religious it is more symbolic than ornamental. Architecture, with the help of art, was a means to impress upon the largely illiterate masses the divine powers of the Gods and Goddesses. It was a material and visual way of explaining and affirming beliefs accepted by society. Aesthetics is not the primary purpose of Newar art it is not only admired but it is worshipped as well. Religion is the base and regulator of Newar society, and art as its physical expression has to be easily accessible to the people. Works of art figure in everyday life, steeped in religious customs and rites. Works of art are put on permanent display in the street, in courtyards, or in other public places. Paintings and statues are put on show at the scene of a festival or placed by the roadside because a procession is due to pass that way. Dattatreya temple is not only the national heritage of our country but also the identification of

Nepalese art, architecture, culture and religion in the international context. Through a long passage of time of more than five centuries, it has gone through many changes in its structure, purpose and importance. In this due course, many of the historical values have been lost, some gained and some are still carrying their original values.

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