Unveiling a Timeless Narrative: Decoding the History of Udupi Srimad Ananteshwara Temple in a Single Painting

When we enter the Ananteshwara Temple in Udupi, on the left side of the entrance, the below painting is seen.

This is a reproduction done recently, on top of a much more beautiful original version of this painting. There were multiple beautiful paintings in the complex, which i used to love when i visited Udupi prior to 2018, after which they were all painted over and destroyed, possibly in the last renovation done.

Lets understand how it records the entire story of the temple in a single frame, with images and zero words.

The Central Figure: Lord Parashurama – The Axe-Wielding Sage

At the heart of the painting sits a powerful, radiant sage, distinctly holding a large axe (Parashu). This figure is unequivocally Lord Parashurama, the sixth avatar of Vishnu. He is not merely a warrior, but a Brahma-Kshatriya – a Brahmin by birth, a fierce protector of Dharma by action. 

His presence immediately grounds the painting in a deep mythological context, setting the stage for divine intervention and profound spiritual events. The axe itself is his defining attribute, linking him to the creation of the land of Kerala and coastal Karnataka.

The King and the Serpent: Atonement and Foundation

Look to the right of Parashurama. We see a dignified figure, a king, standing in a posture of deep reverence and supplication. Now, turn your gaze to the ground before Parashurama: a clearly depicted dead or severely injured serpent. This combination points directly to the legend of King Ramabhoja.

According to legend, King Ramabhoja, while performing a yaga (sacrificial ritual) or during a hunt, accidentally killed a divine serpent (Naga). Gripped by remorse and the sin of Naga-hatya (killing a serpent), he sought penance from the mighty Parashurama. This painting captures that very moment of atonement, where the King bows before the sage, accepting his divine judgment. It is this pivotal event and Ramabhoja's subsequent penance that forms the foundational legend of the sacred site where the Ananteshwara Temple now stands.

The Old Couple and Child: The Pious Seekers and the Lingam's Manifestation

Now, shift your focus to the left side of the painting. Here, we observe an old couple and a child, also in gestures of profound devotion. This is where the story of the Ananteshwara Lingam's miraculous appearance comes to life.

As our detailed history reveals: a pious, issueless young couple of the Bharadvaja gotra prayed tirelessly for a son. Guided by a divine dream, they were directed to specific sacred spots in the Abjaranya (Udupi's ancient name). They bathed in the Candrapuskarani and worshipped at Candreśvara (Chandramauleshwara Temple). The crucial instruction led them to the old yagabhūmi of King Ramabhoja. Here, upon pouring milk, a silver pedestal with serpent images appeared, and on it, a Linga manifested – the very Ananteshwara Lingam.

The old couple and child in the painting, therefore, embody these devout ancestors, witnessing or receiving the divine boon that led to the Lingam's emergence. They represent the unwavering faith that underpinned the temple's genesis.

The Lingam: A Symbol of Hari-Hara Unity

Moola Vigraha - Srimad Ananteshwara

While not explicitly detailed as a 'crack' in every visual representation, the Ananteshwara Lingam itself (often seen at the feet of Parashurama in such illustrative paintings) is unique. Its very name, Ananteshwara (Ananta + Eshwara), denotes the union of Vishnu (represented by Ananta, the divine serpent) and Shiva (Eshwara). Devotees often interpret natural fissures or markings on this ancient Lingam as a visual testament to this Hari-Hara (Vishnu-Shiva) unity, making it a unique pilgrimage site. The serpent images on the pedestal, too, reinforce the 'Ananta' aspect.

The Broader Narrative: History, Devotion, and Resilience

This painting is more than just a beautiful piece of art; it's a meticulously crafted historical document. It encapsulates:

1. Divine Origin: The miraculous manifestation of the Lingam through pious devotion.

2. Royal Patronage & Penance: King Ramabhoja's atonement and his role in establishing the sacred site.

3. Mythological Connection: The overarching presence of Parashurama, tying the temple to the broader lore of coastal Karnataka's creation.

4. Community Identity: It reaffirms the spiritual roots of communities like the Shivalli Brahmins, who venerate this temple as their cultural heart.

This painting, therefore, serves as a powerful reminder of how ancient cultures used visual storytelling to preserve their most cherished histories and spiritual truths, making them accessible and resonant across generations. The Ananteshwara Temple stands today as a living testament to these profound narratives, forever etched not just in stone, but in the vibrant colors of devotion.

References

1. Sri Krishna Temple At Udupi by B.N. Hebbar

The 9-to-5 Mirage: An Analysis of the 2012 Average Workday

It's fascinating to look back and see how our daily work rhythms have evolved. I recently found a note detailing an average 9.5-hour workday from 2012. The data reveals a culture very different from the flexible, remote-friendly, deep-work focused environments many of us experience today.

The full timeline stretched from 8:00 AM to 5:30 PM. Here is the breakdown:

The 2012 Workday Timeline

Time Slot	Activity	Duration
8:00 AM – 9:00 AM	Breakfast	1 hour
9:00 AM – 11:00 AM	Calls and Work	2 hours
11:00 AM – 11:30 AM	Tea Break	30 minutes
11:30 AM – 12:30 PM	Work	1 hour
12:30 PM – 2:00 PM	Lunch	1.5 hours
2:00 PM – 3:45 PM	Work	1 hour 45 minutes
3:45 PM – 4:15 PM	Tea Break	30 minutes
4:15 PM – 5:30 PM	Work	1 hour 15 minutes
(Total Time)	Total Presence	9.5 hours

Note: An additional 45 minutes was spent on personal calls and "timepass" throughout the day.

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Key Insights: Presence Over Productivity

When you tally the hours, some surprising numbers emerge, highlighting a stark difference between time spent in the office and time spent working:

1. Low Direct Productivity

• Total Productive Work Time: 4.5 hours

• The Takeaway: In a 9.5-hour day, only about 50% of the time was spent on actual tasks. The workday was long on presence but low on direct task focus.

2. The Culture of Extended Breaks

• Total Scheduled Break Time: 3.5 hours (Breakfast, Lunch, and two Tea Breaks).

• The Takeaway: This suggests a workplace culture that highly prioritized extended, shared meal and social breaks. The long 1.5-hour lunch, in particular, anchored the middle of the day.

3. Stop-Start Flow

The 4.5 hours of work were heavily fragmented, broken up into four separate blocks: 2 hrs, 1 hr, 1 hr 45 min, and 1 hr 15 min.

• The Takeaway: There was very little opportunity for "deep work". The day was characterized by a "stop-start" flow, constantly interrupted by scheduled breaks, making high-focus work difficult.

4. Distractions Were Contained

• Personal Time/Distraction: 45 minutes

• The Takeaway: While nearly an hour of distraction existed, this figure is relatively low compared to modern studies on digital distraction. This likely reflects a pre-peak smartphone/social media era where personal time was a little more contained.

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What do you think? Does this 2012 workday look familiar to you? How does it compare to your current routine, especially now that hybrid and remote work are common? Share your thoughts in the comments!

Ganapati: The Embodiment of Space, Stability, and Wisdom

The rhythm of creation often mirrors the earth's own pulse. As the monsoons recede, the river, having generously enriched her banks with invaluable silt, leaves behind the very essence from which Ganapati emerges. This "dirt of the Devi's body" is playfully sculpted into the form of Ganapati, a tradition deeply rooted in the Bhadrapada Shukla Chavathi. His arrival, or Agamana, from this primal clay, and his eventual Visarjan back into the same waters, beautifully encapsulates the cyclical nature of existence. Devi, his mother, arrives a day prior on Tayi/Teej, her beloved Ganapa following, completing this sacred anticipation.

​Yet, a profound mystery shrouds Ganapati's emergence. How can the Akash Devata (Lord of Space) choose to manifest from water (Jala Tattva)? As the revered Usha Mangeshkar ji sings in "Rachilya Rushi Munini":

​येसी जळातुनी तू कोणा कळे न हेतू

अजुनी भ्रमात सारे योगी मुनी महंत

​"How can we understand your objective of coming out of water…

when Rishis, Munis and Mahants are themselves not clear about it."

​This paradox hints at a deeper truth. Akasha, meaning space, represents possibility and opportunity. Without space, nothing can be created; without opportunity, nothing can progress. Indeed, space is often considered the first element, a point of deep philosophical debate across the six Darshanas. Ganapati, as the deity of Akasha, is therefore worshipped first, to invoke opportunity and clear the path. A lack of opportunity is the greatest impediment (Vighna), making him the Vighnantaka, the destroyer of obstacles.

​His association extends to the sense of smell, which is why he possesses a long nose or trunk. Furthermore, his connection to the Mooladhara Chakra, the Earth chakra, signifies that his grace is paramount for spiritual upliftment, as all spiritual journeys commence from this foundational energetic center. The creation of his Vigraha (idol) from clay further solidifies this deep association with the Earth element.

​The Iconography of Stability and Wisdom

​Sthairya – Stability – is a cornerstone of Ganapati's very being:

​स्थिरैरङ्गैस्तुष्टुवागँसस्तनूभिः

​The path of Ashtanga Yoga begins with Aasana Siddhi—the ability to sit stably. Both physical steadiness and mental tranquility are crucial precursors to any form of success. While children are naturally restless, and adults often struggle with mental agitation even during prayer, Ganapati Upasana becomes vital for all, especially for cultivating focus and peace.

​Ganesha’s iconography – a Gajanana (elephant-faced), pot-bellied, and inherently heavy form – powerfully symbolizes this stability. He is revered as Guru, a term for both teacher and for that which is heavy, echoing the Sanskrit "Gurutvaakarshana" (gravity). Stability, in itself, has the power to resolve countless obstacles.

​Consider the notion of riding a mouse. No one can truly control a mouse, yet Ganapa is known as Mooshakadhwaja. The mouse, in this context, is a potent signifier of our unstable minds and restless senses. Without Ganapati's Anugraha (grace), these turbulent inner forces remain unchecked. Thus, he is the controller of the Mushaka, guiding us towards inner mastery.

​The Sacred Form: Omkara Swaroopa

​His very form is a profound symbol. When viewed from the side, his Vakratunda (curved face), the expansive Lambodara (big belly), his long trunk, and the crescent moon (Bhalachandra) on his head coalesce to form the sacred symbol of Omkara. This is why he is revered as Omkara Swaroopa. Even in a less popular frontal view, his ancient iconography has been observed to distinctly create the Omkara form, akin to how the Greek letter Omega appears to some.

Original representation of Omkaara on a leaf

One of his tusks is notably broken, held in his hand. This Ekadanta (single-tusked) form points to his renowned role as a scribe. His most immortalized act as a writer is recorded in the Mahabharata, where he was entrusted with transcribing the epic, under the condition that he would only write what he fully understood. That the Lord of the Ganas would undertake such a task remains a mystery, one perhaps illuminated by Sant Dnyaneshwar's observation in the opening lines of the Dnyaneshwari:

​एके हाति दंतु | जो स्वभावता खंडितु |

तो बौद्धमत संकेतु | वार्तिकांचा || १२ ||

​Ganapati: Lord of All Ganas

​The term "Gana" holds dual significance. Firstly, it refers to the Bhoota Ganas, the elemental beings known for creating obstacles. As the Natha (Lord) of these Ganas, he is called Ganapati or Gananatha, maintaining them in check and ensuring smooth undertakings by mitigating their inherent tendency to obstruct.

​Secondly, "Gana" refers to groups of elements, particularly in Sanskrit grammar (Vyakaran). As the lord of these linguistic Ganas, his grace is sought for mastery of language, eloquence, composition, and music. It is no surprise, then, that he was the chosen scribe for Bhagawan Vedavyasa's monumental Bharata, itself considered the Pancham Veda.

Bala Jo Jo Re | Rama's Lullaby | Marathi lyrics and Translation

Source - https://www.transliteral.org/

Original Lyrics - Shri Vitthala Dasa

Translation - Gemini + Shri. Shrinath P. Shenoy

Note - The lyrics are not pronounced correctly in this version, and one stanza is out of order. But that should not take away the credit for being one of the beautiful renditions of this piece. I consider this as one step taken in the right direction by the producers and artistes, with whatever limited understanding they had about the lyrics.

 

Lyrics and Translation (corrected)

बाळा जो जो रे कुळभूषणा । दशरथनंदना ।

निद्रा करि बाळा मनमोहना । रामा लक्षुमणा ॥धृ॥

Sleep, my child, ornament of the family, son of Dasharatha.

Sleep, my beloved child, Rama and Lakshmana.

पाळणा लांबविला अयोध्येसी । दशरथाचे वंशी ।

पुत्र जन्मला हृषीकेशी । कौसल्येचे कुशी ॥१॥

A cradle was set in Ayodhya, in Dasharatha's lineage.

A son, Hrushikeshi (Lord Vishnu), was born from Kaushalya's womb.

रन्तजडित पालख । झळके अलौकिक ।

वरती पहुडले कुलदिपक । त्रिभुवननायक ॥२॥

The jewel-studded cradle gleams, priceless.

Above it rests the lamp of the lineage, the Lord of the three worlds.

हालवी कौसल्या सुंदरी । धरुनी ज्ञानदोरी ।

पुष्पे वर्षिली सुरवरी । गर्जती जयजयकार ॥३॥

Beautiful Kaushalya rocks it, holding the string of knowledge.

Gods shower flowers, resounding with shouts of victory.

विश्‍वव्यापका रघुराया । निद्रा करी बा सखया ।

तुजवर कुरवंडी करुनिया । सांडिन आपुली काया ॥४॥

O All-pervading Raghuraya, sleep, my friend.

I will sacrifice myself for you, doing a protective ritual (kuravandi)

येऊनि वसिष्ठ सत्वर । सागे जन्मांतर ।

राम परब्रहा साचार । सातवा अवतार ॥५॥

Sage Vasishta quickly came and speaking of his divine birth, declared

Rama is truly the Supreme Being, the seventh incarnation.

याग रक्षुनिया अवधारा । मारुनि रजनीचरा ।

जाईल सीतेच्या स्वयंवरा । उद्धरि गौतमदारा ॥६॥

He protected the yagna (sacrifice) and killed the rakshasas (Khara Dushana Tataki).

He went to Sita's Swayamvara and liberated Ahalya (Gautama's wife).

पर्णिले जानकी सुरुपा । भंगुनिया शिवचापा ।

रावण लज्जित महाकोप । नव्हे पण हा सोपा ॥७॥

He married beautiful Janaki (Sita), breaking Shiva's bow.

Ravana was greatly enraged and shamed, realising the difficulty of the condition (for Sita's swayamvara) 

सिंधूजलडोही अवलीळा । नामे तरतिल शिळा ।

त्यावरी उतरुनिया दयाळा । नेईल वानरमेळा ॥८॥

By his name, stones floated effortlessly on the ocean's waters.

Crossing upon them, the compassionate one led the army of monkeys.

समूळ मर्दूनि रावण । स्थापिल बिभीषण ।

देव सोडविले संपूर्ण । आनंदले त्रिभुवन ॥९॥

Completely destroying Ravana, he established Vibhishana.

He liberated all the gods, and the three worlds rejoiced.

राम भावाचा भुकेला । भक्ताधीन झाला ।

दास विठ्ठले ऎकिला । पाळणा गाईला ॥१०॥

Rama is hungry for devotion, he becomes subservient to his devotees.

Thus, Vitthala Dasa (the poet) heard this and sang this lullaby.

Foot-note 

कुरवंडी (Kuravandi) is a traditional Indian ritual, primarily practiced in Maharashtra and other parts of India, which involves waving certain items around a person or an idol to ward off evil or negative influences, and to bring good fortune.

Here's a breakdown of what it entails:

• The Act: It involves a circular motion, often with specific items like:

  • Lamps (deepa/arati): Waving lamps or an arati (a plate with lit wicks) around an idol or a person is a very common form of kuravandi, especially in religious contexts. This is done to honor the deity/person and to dispel any negative energy.

  • Rice, salt, turmeric, kumkum: These ingredients are often used, particularly during auspicious occasions like weddings or welcoming a new baby. The belief is that these items absorb any negative energy or "evil eye" directed towards the person, and then they are usually discarded.

• Purpose:

  • To remove malignant influences/evil eye (drishta): This is a primary reason for performing kuravandi. It's believed that others' envy or negative thoughts can cause harm, and this ritual helps to counteract that.

  • To bestow blessings and good fortune: By cleansing the aura, it's thought to invite positive energy and prosperity.

  • As a gesture of love and protection: Especially when performed by elders for children, or by a wife for her husband, it's a symbolic act of wishing them well and protecting them.

• The Song: Sometimes, as mentioned in the dictionary definition, "kuravandi" can also refer to the song appropriate to this rite. The lullaby you provided is a perfect example, as the line "Tujavar kuravandi karuniya" (performing kuravandi over you) directly refers to this protective ritual for baby Rama.

In essence, kuravandi is a ritual rooted in folk beliefs and cultural practices, intended to safeguard loved ones and bring auspiciousness.

Narayana, Ena Baarade - AI Translation

This song is attributed to Purandara Dasa, the father of Carnatic music and a profound saint-poet. 

It beautifully critiques performative spirituality and reminds us that sincere devotion—especially through Nama Smarana (chanting the name of the Lord)—is more meaningful than elaborate rituals.

nArAyaNa enna bArade

“Why do you refrain from uttering ‘Narayana’?

nimma nAligeyoLu muLLu muridihude kallu jaDidihude

Has a thorn struck your tongue, or has it turned to stone?”

🌿 Verse 1:

vAraNAsige pOgi dura baLaleke 

Why wander far to Varanasi?

nIra kAvaDi pottu tirugalEke

Why carry pots of water and roam about?

UrUru tappade dEshAntaraveke 

Why travel from town to town, from one land to another?

dArige sAdhanavallave harinAma

Isn’t chanting the Lord’s name the real path to salvation?

🕯️ Verse 2:

nityOpavAsaviddu hasidu baLaleke 

Why suffer through endless fasting, starving in vain?

matte caLiyoLu gange muLugaleke

Why plunge into the freezing waters of the Ganges?

hastava piDidu mADuva japa tapavEke

Why strain your hands in ritualistic chanting and austerities?

muktige sAdhanavallave harinAma

Isn’t the Lord’s name the truest means to liberation?

🛕 Verse 3:

satisutaranu biTTu yatigaLAshramavEke

Why abandon your virtuous wife and children and seek monastic life?

vrata krcchara nEma niSTegaLEtake

What’s the point of rigid vows, severe penance, and rituals?

pruthiyoLage namma purandara viTTalana

When Purandara Vitthala lives among us on this very earth,

atishayadindomme nenedare sAlade

Isn’t remembering Him with deep devotion enough?

nArAyaNa enna bArade

Sapaada Bhakshya | The Ratio of 1.25 (Savaai)

This is the celebrated prasadam of Satyanarayana Vrata.

The most delicious prasadam in the World.

Due to its ghee content, not easily got when we were young. And if made correctly, all astikas go mad about it.

The characteristic is the ratio of 1.25. You can make it at any quantity, but each ingredient should be 1.25 of the original measure taken.

Ingredients (as per the shloka)

1. Sooji (or wheat atta) - The shloka mentions Godhooma Choorna. In absence, Rice Rava can be used, but is seldom used.

2. Sugar/Jaggery (as per the shloka)

3. Cut ripe bananas (The variety used will make taste difference)

4. Ghee

5. Milk

Note - There is no mention of the procedure. Hence, there are procedural variations in different communities as to how this must be prepared.

Technical Background

Lets remind ourselves a little bit about density and volume. Less dense items will occupy more volume. Which also means that 1.25 cup of sooji or wheat atta will be lighter than 1.25 cup of sugar. 

Hence the whole quantity is a game of ratios and not of weights.

For the Satyanarayana Pooja we had at our place i used 3 and 3/4 cups of all ingredients. This is assuming I have a huge cup which can hold 3 standard cups of ingredient.

Procedure

Have your bath and complete your prayers. Clean the kitchen area.

Mix all the ingredients in the vessel meant for preparing prasadam. If its a thick bottomed then better. Keep it big.

Post mixing start the flame and stir continuously. Once it gets heated, the reaction starts.

While stirring, keep a devotional frame of mind. Play some devotional piece and sing along. I had the Suprabhatam track from Rocketry running, and interestingly, the whole process took as much time as the Suprabhatam...i.e. 30 mins. I had frankly expected more time.

So what is the point till when it needs to be cooked?

20 minutes into the process, the ghee started coming out copiously. I kept stirring it on medium heat till i realised that the sapaada started leaving the sides of the vessel easily, as well as started slipping off the ladle. This is when it is done.

Then close the flame,  bring it to the side of the vessel and scoop out additional ghee as much as possible.

Leave the sapaada in the vessel and cool it there, before taking it out. This will ensure that the excess ghee which remains is re-absorbed and gives the sapaada a better texture and taste.

The uniqueness of this process - 

1. The sooji is not roasted

2. Water/liquid volume is same as sooji  volume. When we make Sheera, we add more water, ending up with a longer cooking time

3. Sugar is added along with all ingredients. This helps keep the moisture consistent and helps cook quickly.

The choice of banana/Rambhaphalam/Kadaliphalam

The taste and aroma majorly are enhanced due to the quantity of ghee as well as the choice of banana. People in GSB community know that only puttubale/elakki or rasabale should be used. But there is no shastrokta opinion in this matter. The thumb rule is to use Rambhaphalam/Banana which is available locally.

In Mumbai, due to the lack of elakki or rasabale, people used to use ripe Pacche Bale/Green Banana and this in my opinion, gives sapaada a heavenly taste. I am yet to prepare it with rasabale, and will add a record of my observation here, when i will make it for the next Satyanarayana Pooja.

Satya Dharma

Apart from all of this, lets also remember that Satyanarayana Vrata is a reminder for us that Hindu Dharma is Satya Dharma. Satya is Narayana. Truth as we understand is only about truth in speech, but it extends to all facets of our life. Our itihaasas and practices were created to help us practice Satya Dharma and since we forgot this, our miseries started. 

The Vratam is a reminder to us that its is not as difficult to lead a good life following Satya Vrata. The anticipated hardships are anyways going to come only to spoil our life and legacy. We need to get all the right ingredients and cook them in this journey of life to get the prasadam of contentment, which Sapaada Bhakshya shows us a glimpse of.

Om Namo Narayanaya.

Walukeshwara - Tracing Forgotten History

Time erodes everything. Re-search is a continuous process and aims at re-finding and preserving items and ideas which need to be passed on for times to come.

People in Mumbai who have looked up the history of Walkeshwar/Walukeshwara, would probably be aware of a few things and few people, especially Shri. Rama Kamath, who re-built the temple which is called Walkeshwar today.

The objective of this research is to exhume some forgotten details of importance about the episode of Walukeshwara in the history of Mumbai. archive.org and a couple of other sources have helped trace the missing links and build a fair picture of what will be seen in this article.

Walkeshwar - The present temple

I was curious about Shri. Rama Kamath - what was his Gotra, his Kuladevata etc. as any grounded fellow Saraswat would be. A visit to the temple, close to Shri. Walkeshwar Kashi Math, made me discover these inscriptions, which are not too old, but have crucial pointers.

 

Translation - During the period of the Shilahara rule in the 12th Century C.E. , a Shiva temple was constructed by a leader of Gomantaka Dwijas (Dwijas from modern Goa), named LakshmaNa (Prabhu), hence the temple was known as LakshmaNeshwara. Eventually the temple was attributed to the son of Sumitra i.e., LakshmaNa.

With the passage of time and arrival of the cruel firangis (Portuguese) in Mumba Island (Mumbai), it was destroyed and reduced to a pile of stones. 

Eventually, Mumbai was passed on to the East India Company (referred as the English Trade Group). A pious, good natured person named Shri. Rama Kamath, from Saraswata kula and Gaargya Gotra; a great businessman and the Treasurer, Commander of the Army of the East India Company; who consecrated the temple of Samaliyalal (Krishna in Gujarati) and Venkatesha in Fort. 

Three years after the Vikrama Varsha named Nanda, he performed the Jeernoddhaara (re-consecration) of this Shiva Temple (in 1715 C.E.), which is has attained pious fame today as the Walukeshwara. 

In front of whom the whole World appears as a speck of sand, my humble prostration to Walukeshwara (The Lord made of sand), who is the ocean of kindness and peace.

Notes - 

1712 C.E was Nanda naam samvatsara, 3 years post that is 1715 C.E.

The spot where the temple currently stands was Lakshmaneshwara and not Walukeshwara. But it has gained that name over time.

Original Walukeshwara temple was present in the spot where current Raj Bhavan stands. The ruins were moved to museums in London, before constructing a house, by the East India Company. This is currently the residence of the Governor.

Samaliyalal is one of the old Gujarati names for Krishna, which is associated with his complexion - Shyam. Saanvariya is the equivalent which we all are aware of.

The Samaliyalal temple is a separate temple which was a community one, supported by members of GSB and Gujarati community. Venkatesh temple was basically the family shrine of Shri. Rama Kamat. With time, his estate was eventually dissolved and the family deities came to stay along with Samaliyalal. Kalikaala was prabala and the temple premises were appropriated by a Gujarati Pandit. This was eventually reclaimed and given back to GSB samaj due to efforts by the community, spearheaded by my grandfather, Shri. Hariappa Shenoy.

Today its a small temple, which needs urgent repairs.