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Profile of a Hoysala temple at
Somanathapura
Hoysala architectureFrom Wikipedia, the free encyclopedia
Hoysala architecture is the building style developed under
the rule of the Hoysala Empire between the 11th and 14th
centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century,
when it dominated the Southern Deccan Plateau region.
Large and small temples built during this era remain as
examples of the Hoysala architectural style, including the
Chennakesava Temple at Belur, the Hoysaleswara Temple at
Halebidu, and the Kesava Temple at Somanathapura.[1][2]
Other examples of Hoysala craftsmanship are the temples at
Belavadi, Amruthapura, Hosaholalu, Mosale, Ar asikere,
Basaralu, Kikkeri and Nuggehalli.[3][4] Study of the Hoysala
architectural style has revealed a negligible Indo-Aryan
influence while the impact of Southern Indian style is more
distinct.[5]
Temples built prior to Hoysala independence in the mid-12th
century reflect significant Western Chalukya influences,
while later temples retain some features salient to Chaluk yan
art but have additional inventive decoration and
ornamentation, features unique to Hoysala artisans. Some
three hundred temples are known to survive in present-day Karnataka state and many more arementioned in inscriptions, though only about seventy have been documented. The greatest concentration
of these are in the Malnad (hill) districts, the native home of the Hoysala kings.[6]
The Karnata Dravida tradition which covers a period of about seven centuries began in the 7th century
under the patronage of the Chalukya dynasty of Badami, developed further under the Rashtrakutas of
Manyakheta during the 9th and 10th centuries and the Western Chalukyas (or Later Chalukyas) of
Basavakalyan in the 11th and 12th centuries. Its final development stage and transformation into an
independent style was during the rule of the Hoysalas in the 12th and 13th centuries.[7] Medieval
inscr iptions displayed prominently at temple locations give information about donations made toward
the maintenance of the temple, details of consecration and on occasion, even architectural details.[8]
Contents
1 Temple deities2 Temple complex
3 Architectural elements3.1 Mantapa3.2 Vimana3.3 Sculpture
4 Research
https://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/Rashtrakuta_dynastyhttps://en.wikipedia.org/wiki/Western_Chalukya_Empirehttps://en.wikipedia.org/wiki/Rashtrakuta_dynastyhttps://en.wikipedia.org/wiki/Rashtrakuta_dynastyhttps://en.wikipedia.org/wiki/Rashtrakuta_dynastyhttps://en.wikipedia.org/wiki/Malnadhttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/Southern_Indiahttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/Indo-Aryanshttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/Mallikarjuna_Temple,_Basaraluhttps://en.wikipedia.org/wiki/Brahmeshvara_Temple,_Kikkerihttps://en.wikipedia.org/wiki/Lakshmi_Narasimha_Temple,_Nuggehallihttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/States_and_territories_of_Indiahttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/Hoysala_Empirehttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/Basavakalyanhttps://en.wikipedia.org/wiki/Western_Chalukya_Empirehttps://en.wikipedia.org/wiki/Rashtrakuta_dynastyhttps://en.wikipedia.org/wiki/Badamihttps://en.wikipedia.org/wiki/Chalukya_dynastyhttps://en.wikipedia.org/wiki/Malnadhttps://en.wikipedia.org/wiki/Southern_Indiahttps://en.wikipedia.org/wiki/Indo-Aryanshttps://en.wikipedia.org/wiki/Lakshmi_Narasimha_Temple,_Nuggehallihttps://en.wikipedia.org/wiki/Brahmeshvara_Temple,_Kikkerihttps://en.wikipedia.org/wiki/Mallikarjuna_Temple,_Basaraluhttps://en.wikipedia.org/wiki/Ishvara_Temple_(Arasikere)https://en.wikipedia.org/wiki/Nageshvara-Chennakeshava_Temple_complex,_Mosalehttps://en.wikipedia.org/wiki/Lakshminarayana_Temple_(Hosaholalu)https://en.wikipedia.org/wiki/Amrutesvara_Temple,_Amruthapurahttps://en.wikipedia.org/wiki/Veera_Narayana_Temple,_Belavadihttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/Chennakesava_Temple_at_Somanathapurahttps://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/Hoysaleswara_Templehttps://en.wikipedia.org/wiki/Belurhttps://en.wikipedia.org/wiki/Chennakesava_Templehttps://en.wikipedia.org/wiki/Deccan_Plateauhttps://en.wikipedia.org/wiki/States_and_territories_of_Indiahttps://en.wikipedia.org/wiki/Karnatakahttps://en.wikipedia.org/wiki/Hoysala_Empirehttps://en.wikipedia.org/wiki/Wikipedia:Featured_articleshttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/File:Close_up_of_Hoysala_style_shrine_and_sikhara_with_decorative_molding_frieze_in_the_Chennakeshava_temple_at_Somanathapura.jpg
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Vishnu with Lakshmi
( Lakshminarayana) at
Halebidu
Shiva, Parvati, Nandi at
Halebidu
5 Notable craftsmen6 List of notable temples from the Hoysala era7 See also8 Notes9 References
Temple deitiesHinduism is a combination of secular and sacred beliefs, rituals, daily
practices and traditions that has evolved over the course of over two
thousand years and embodies complex symbolism combining the natural
world with philosophy. Hindu temples began as simple shrines housing a
deity and by the time of the Hoysalas had evolved into well articulated
edifices in which worshippers sought transcendence of the daily world.
Hoysala temples were not limited to any specific organised tradition of
Hinduism and encouraged pilgrims of different Hindu devotional
movements. The Hoysalas usually dedicated their temples to Shiva or toVishnu (two of the popular Hindu gods), but they occasionally built
some temples dedicated to the Jain faith as well. Worshippers of Shiva
are called Shaivas and worshippers of Vishnu are called Vaishnavas.[9][10]
While King Vishnuvardhana and his descendants were Vaishnava by
faith,[11] records show that the Hoysalas maintained religious harmony
by building as many temples dedicated to Shiva as they did to Vishnu.[12]
Most of these temples have secular features with broad themes depicted
in their sculptures. This can be seen in the famous Chennakesava Temple
at Belur dedicated to Vishnu and in the Hoysaleswara temple at Halebidudedicated to Shiva. The Kesava temple at Somanathapura is different in
that its ornamentation is strictly Vaishnavan.[13] Generally Vaishnava
temples are dedicated to Keshava (or to Chennakeshava, meaning
"Beautiful Vishnu") while a small number are dedicated to
Lakshminarayana and Lakshminarasimha (Narayana and Narasimha both
being Avatars, or physical manifestations, of Vishnu) with Lakshmi,
consort of Vishnu, seated at his feet. Temples dedicated to Vishnu are
always named after the deity. The Shaiva temples have a Shiva linga,
symbol of fertility and the universal symbol of Shiva, in the shrine. The
names of Shiva temples can end with the suffix eshwara meaning "Lord
of". The name "Hoysaleswara", for instance, means "Lord of Hoysala".
The temple can also be named after the devotee who commissioned the
construction of the temple, an example being the Bucesvara temple at
Koravangala, named after the devotee Buci.[14] The most striking
sculptural decorations are the horizontal rows of moldings with detailed
relief, and intricately carved images of gods, goddesses and their
attendants on the outer temple wall panels.[15]
The Doddagaddavalli Lakshmi Devi ("Goddess of Wealth") Temple is an exception as it is dedicated toneither Vishnu nor Shiva. The defeat of the Jain Western Ganga Dynasty (of present-day south
Karnataka) by the Cholas in the early 11th century and the rising numbers of followers of Vaishnava
Hinduism and Virashaivism in the 12th century was mirrored by a decreased interest in Jainism.[16]
https://en.wikipedia.org/wiki/Jainismhttps://en.wikipedia.org/wiki/Virashaivismhttps://en.wikipedia.org/wiki/Vaishnavahttps://en.wikipedia.org/wiki/Western_Ganga_Dynastyhttps://en.wikipedia.org/wiki/Doddagaddavallihttps://en.wikipedia.org/wiki/Reliefhttps://en.wikipedia.org/wiki/Shrinehttps://en.wikipedia.org/wiki/Lingamhttps://en.wikipedia.org/wiki/Shaivismhttps://en.wikipedia.org/wiki/Lakshmihttps://en.wikipedia.org/wiki/Avatarhttps://en.wikipedia.org/wiki/Keshavahttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/Hoysaleswara_templehttps://en.wikipedia.org/wiki/Belurhttps://en.wikipedia.org/wiki/Chennakesava_Templehttps://en.wikipedia.org/wiki/Secularhttps://en.wikipedia.org/wiki/Vishnuvardhanahttps://en.wikipedia.org/wiki/Vaishnavahttps://en.wikipedia.org/wiki/Vishnuhttps://en.wikipedia.org/wiki/Shivahttps://en.wikipedia.org/wiki/Devotional_movementshttps://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/File:Relief_sculpture_of_the_Hindu_god_Shiva_with_his_consort_Parvati_riding_Nandi_the_bull_in_the_Hoysaleshwara_temple_at_Halebidu.jpghttps://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/File:Relief_sculpture_of_the_Hindu_god_Narayana_with_his_consort_Lakshmi_(Lakshminarayana)_in_the_Hoysaleshwara_temple_at_Halebidu.jpg
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Hoysala stepped temple tank
( Kalyani) at Hulikere, Karnataka
However, two notable locations of Jain worship in the Hoysala territory were Shravanabelagola and
Kambadahalli. The Hoysalas built Jain temples to satisfy the needs of its Jain population, a few of which
have survived in Halebidu containing icons of Jain tirthankaras. They constructed stepped wells called
Pushkarni or Kalyani, the ornate tank at Hulikere being an example. The tank has twelve minor shrines
containing Hindu deities.[17]
The two main deities found in Hoysala temple sculpture are Shiva and Vishnu in their various forms and
avatars (incarnations). Shiva is usually shown with four arms holding a trident and a small drum amongother emblems that symbolize objects worshiped independently of the divine image with which they are
associated.[18] Any male icon portrayed in this way is Shiva although a female icon may sometimes be
portrayed with these attributes as Shiva's consort, Parvati. Various depictions of Lord Shiva exist:
showing him naked (fully or partially), in action such as slaying a demon (Andhaka) or dancing on the
head of a slain elephant (Gajasura) and holding its skin up behind his back. He is often accompanied by
his consort Parvati or shown with Nandi the bull. He may be represented as Bhairava, another of Shiva's
many manifestations.[18]
A male figure depicted holding certain objects such as a conch (symbol of eternal, heavenly space) and a
wheel (eternal time and destructive power) is Vishnu. If a female figure is depicted holding theseobjects, she is seen as his consort, Lakshmi. In all the depictions Vishnu is holding four objects: a conch,
a wheel, a lotus and a mace. These can be held in any of the icon's hands, making possible twenty-four
different forms of Vishnu, each with a unique name.[19] Apart from these, Vishnu is depicted in any of
his ten avataras, which include Vishnu sitting on Anantha (the celestial snake and keeper of life energy
also known as Shesha), Vishnu with Lakshmi seated on his lap (Lakshminarayana), with the head of a
lion disemboweling a demon on his lap (Lakshminarasimha), with head of a boar walking over a demon
(Varaha), in the Krishna avatar (as Venugopala or the cow herder playing the Venu (flute), dancing on
the head of the snake Kaliya, lifting a hill such as Govardhana), with his feet over head of a small figure
(Vamana), along with Indra riding an elephant, with Lakshmi seated on Garuda, and the eagle (stealingthe parijata tree).[19]
Temple complex
The focus of a temple is the centre or sanctum sanctorum
(garbhagriha) where the image of the deity resides, so temple
architecture is designed to move the devotee from outside to the
garbhagriha through ambulatory passageways for
circumambulation and halls or chambers (mantapas) that becomeincreasingly sacred as the deity is approached. Hoysala temples
have distinct parts that are merged to form a unified organic
whole, in contrast to the temples of Tamil country where
different parts of a temple stand independently.[20] Although
superficially unique, Hoysala temples resemble each other
structurally. They are characterised by a complex profusion of
sculpture decorating all the temple parts chiseled of soft
soapstone (chloritic schist), a good material for intricate carving,
executed mostly by local craftsmen, and exhibit architectural features that distinguish them from other
temple architectures of South India.[21]
Most Hoysala temples have a plain covered entrance porch supported by lathe turned (circular or bell-
shaped) pillars which were sometimes further carved with deep fluting and moulded with decorative
motifs. The temples may be built upon a platform raised by about a metre called a "jagati". The jagati,
https://en.wikipedia.org/wiki/Jagati_(temple)https://en.wikipedia.org/wiki/Columnshttps://en.wikipedia.org/wiki/Lathehttps://en.wikipedia.org/wiki/Porchhttps://en.wikipedia.org/wiki/Stone_carvinghttps://en.wikipedia.org/wiki/Soapstonehttps://en.wikipedia.org/wiki/Tamil_Naduhttps://en.wikipedia.org/wiki/Mantapahttps://en.wikipedia.org/wiki/Circumambulationhttps://en.wikipedia.org/wiki/Garbhagrihahttps://en.wikipedia.org/wiki/Sanctum_sanctorumhttps://en.wikipedia.org/wiki/Parijatahttps://en.wikipedia.org/wiki/Garudahttps://en.wikipedia.org/wiki/Lakshmihttps://en.wikipedia.org/wiki/Indrahttps://en.wikipedia.org/wiki/Vamanahttps://en.wikipedia.org/wiki/Govardhanahttps://en.wikipedia.org/wiki/Kaliyahttps://en.wikipedia.org/wiki/Venuhttps://en.wikipedia.org/wiki/Sree_Venugopalahttps://en.wikipedia.org/wiki/Krishnahttps://en.wikipedia.org/wiki/Varahahttps://en.wikipedia.org/wiki/Narasimhahttps://en.wikipedia.org/wiki/Sheshahttps://en.wikipedia.org/wiki/Dashavatarahttps://en.wikipedia.org/wiki/Mace_(club)https://en.wikipedia.org/wiki/Nelumbo_nuciferahttps://en.wikipedia.org/wiki/Lakshmihttps://en.wikipedia.org/wiki/Conchhttps://en.wikipedia.org/wiki/Shivahttps://en.wikipedia.org/wiki/Bhairavahttps://en.wikipedia.org/wiki/Nandi_(bull)https://en.wikipedia.org/wiki/Gajasurahttps://en.wikipedia.org/wiki/Andhakahttps://en.wikipedia.org/wiki/Shivahttps://en.wikipedia.org/wiki/Parvatihttps://en.wikipedia.org/wiki/Tridenthttps://en.wikipedia.org/wiki/Temple_tankhttps://en.wikipedia.org/wiki/Tirthankarashttps://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/Jainhttps://en.wikipedia.org/wiki/Kambadahallihttps://en.wikipedia.org/wiki/Shravanabelagolahttps://en.wikipedia.org/wiki/File:Hulikere_Hoysala_Kalyani(tank)_altered.jpg
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Temple profile — staggered square
plan mantapa at Kedareshvara
Temple, Balligavi
Symmetrical architecture on jagati at
Somanathapura
Ornate lintel over mantapa entrance
in Chennakeshava temple, Belur
Ornate bay ceiling in
mantapa in the Veera
Narayana Temple, Belavadi,
a common feature in Hoysala
temples
apart from giving a raised look to the temple, serves as a
radakshinapatha or "circumambulation path" for
circumambulation around the temple, as the garbagriha (inner
sanctum) provides no such feature.[22] Such temples will have an
additional set of steps leading to an open mantapa (open hall)
with parapet walls. A good example of this style is the Kesava
Temple at Somanathapura. The jagati which is in unity with the
rest of the temple[23] follows a star-shaped design and the walls
of the temple follow a zig-zag pattern, a Hoysala innovation.[24]
Devotees can first complete a ritual circumambulation on the
agati starting from the main entrance by walking in a clockwise
direction (towards the left) before entering the mantapa,
following the sculptural clockwise-sequenced reliefs on the outer
temple walls depicting a sequence of epic scenes from the Hindu
epics. Temples that are not built on a jagati can have steps
flanked by elephant balustrades (parapets) that lead to the
mantapa from ground level. An example of a temple that does
not exhibit the raised platform is the Bucesvara temple in
Korvangla, Hassan District. In temples with two shrines
(dvikuta), the vimanas (the shrines or cellae) may be placed
either next to each other or on opposite sides.[25] The
Lakshmidevi temple at Doddagaddavalli is unique to Hoysala
architecture as it has four shrines around a common center and a
fifth shrine within the same complex for the deity Bhairava (a
form of Shiva).[26] In addition, four minor shrines exist at each
corner of the courtyard ( prakaram).[27]
Architectural elements
Mantapa
The mantapa is the hall where
groups of people gather during
prayers. The entrance to the
mantapa normally has a highlyornate overhead lintel called a
makaratorana (makara is an
imaginary beast and torana is an
overhead decoration).[22] The
open mantapa which serves the
purpose of an outer hall (outer
mantapa) is a regular feature in
larger Hoysala temples leading to
an inner small closed mantapa
and the shrine(s). The open mantapas which are often spacious have seating areas (asana) made of stone
with the mantapa's parapet wall acting as a back rest. The seats may follow the same staggered square
shape of the parapet wall.[28][29] The ceiling here is supported by numerous pillars that create many
bays.[30] The shape of the open mantapa is best described as staggered-square and is the style used in
https://en.wikipedia.org/wiki/Lintelhttps://en.wikipedia.org/wiki/Mantapahttps://en.wikipedia.org/wiki/Prakaramhttps://en.wikipedia.org/wiki/Doddagaddavallihttps://en.wikipedia.org/wiki/Cellahttps://en.wikipedia.org/wiki/Vimana_(shrine)https://en.wikipedia.org/wiki/Hassan_Districthttps://en.wikipedia.org/wiki/Parapethttps://en.wikipedia.org/wiki/Reliefshttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/Chennakesava_Temple_at_Somanathapurahttps://en.wikipedia.org/wiki/Parapethttps://en.wikipedia.org/wiki/Mantapahttps://en.wikipedia.org/wiki/Sanctum_sanctorumhttps://en.wikipedia.org/wiki/Garbhagrihahttps://en.wikipedia.org/wiki/Circumambulationhttps://en.wikipedia.org/wiki/Pradakshinahttps://en.wikipedia.org/wiki/Veera_Narayana_Temple,_Belavadihttps://en.wikipedia.org/wiki/File:Domical_bay_ceiling_art_in_outer_mantapa_of_Veeranarayana_temple_at_Belavadi.JPGhttps://en.wikipedia.org/wiki/Lintel_(architecture)https://en.wikipedia.org/wiki/File:Belur2_retouched.jpghttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/Jagati_(temple)https://en.wikipedia.org/wiki/File:Somanathapura_Keshava_temple_altered.JPGhttps://en.wikipedia.org/wiki/Kedareshvara_Temple,_Balligavihttps://en.wikipedia.org/wiki/File:Balligavi_Kedareshwara_profile_retouched.JPG
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Open Mantapa with shining,
lathe-turned pillars at
Amrutesvara Temple,
Amruthapura
most Hoysala temples.[31] Even the smallest open mantapa has 13 bays. The walls have parapets that
have half pillars supporting the outer ends of the roof which allow plenty of light making all the
sculptural details visible. The mantapa ceiling is generally ornate with sculptures, both mythological and
floral. The ceiling consists of deep and domical surfaces and contains sculptural depictions of banana
bud motifs and other such decorations.[32]
If the temple is small it will consist of only a closed mantapa (enclosed
with walls extending all the way to the ceiling) and the shrine. Theclosed mantapa, well decorated inside and out, is larger than the
vestibule connecting the shrine and the mantapa and has four lathe-
turned pillars to support the ceiling, which may be deeply domed. The
four pillars divide the hall into nine bays. The nine bays result in nine
decorated ceilings.[33] Pierced stone screens ( Jali or Latticework) that
serve as windows in the navaranga (hall) and Sabhamantapa
(congregation hall) is a characteristic Hoysala stylistic element.[34]
A porch adorns the entrance to a closed mantapa, consisting of an
awning supported by two half-pillars (engaged columns) and two
parapets, all richly decorated. The closed mantapa is connected to the
shrine(s) by a vestibule, a square area that also connects the shrines. Its outer walls are decorated, but as
the size the vestibule is not large, this may not be a conspicuous part of the temple. The vestibule also
has a short tower called the sukanasi or "nose" upon which is mounted the Hoysala emblem. In Belur
and Halebidu, these sculptures are quite large and are placed at all doorways. [35]
The outer and inner mantapa (open and closed) have circular lathe-turned pillars[36] having four brackets
at the top. Over each bracket stands sculptured figure(s) called salabhanjika or madanika. The pillars
may also exhibit ornamental carvings on the surface and no two pillars are alike. [37] This is how Hoysalaart differs from the work of their early overlords, the Western Chalukyas, who added sculptural details to
the circular pillar base and left the top plain. The lathe-turned pillars are 16, 32, or 64-pointed; some are
bell-shaped and have properties that reflect light. The Parsvanatha Basadi at Halebidu is a good
example.[38] According to Brown, the pillars with four monolithic brackets above them carry images of
alabhanjikas and madanikas (sculpture of a woman, displaying stylized feminine features). This is a
common feature of Chalukya-Hoysala temples. According to Sastri, the shape of the pillar and its
capital, the base of which is square and whose shaft is a monolith that is lathe turned to render different
shapes, is a "remarkable feature" of Hoysala art.[39][40]
Vimana
The vimana, also called the cella, contains the most sacred shrine wherein resides the image of the
presiding deity. The vimana is often topped by a tower which is quite different on the outside than on the
inside. Inside, the vimana is plain and square, whereas outside it is profusely decorated and can be either
stellate ("star-shaped") or shaped as a staggered square, or feature a combination of these designs, giving
it many projections and recesses that seem to multiply as the light falls on it.[20] Each projection and
recess has a complete decorative articulation that is rhythmic and repetitive and composed of blocks and
mouldings, obscuring the tower profile. Depending on the number of shrines (and hence on the number
of towers), the temples are classified as ekakuta (one), dvikuta (two), trikuta (three), chatushkuta (four)and panchakuta (five). Most Hoysala temples are ekakuta, dvikuta or trikuta, the Vaishnava ones mostly
being trikuta.[41][42] There are cases where a temple is trikuta but has only one tower over the main
https://en.wikipedia.org/wiki/Molding_(decorative)https://en.wikipedia.org/wiki/Cellahttps://en.wikipedia.org/wiki/Vimana_(shrine)https://en.wikipedia.org/wiki/Western_Chalukyashttps://en.wikipedia.org/wiki/Salabhanjikahttps://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/Belurhttps://en.wikipedia.org/wiki/Engaged_columnhttps://en.wikipedia.org/wiki/Latticeworkhttps://en.wikipedia.org/wiki/Jalihttps://en.wikipedia.org/wiki/Amrutesvara_Temple,_Amruthapurahttps://en.wikipedia.org/wiki/File:Chikkamagalur_Amritheswara_navaranga_retouched.JPG
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Star shaped Vimana (shrine)
at Hosaholalu
Outer wall panel with six horizontal
mouldings at Somanathapura
shrine (in the middle). So the terminology trikuta may not be literally
accurate.[43] In temples with multiple disconnected shrines, such as the
twin temples at Mosale, all essential parts are duplicated for symmetry
and balance.[44][29]
The highest point of the temple (kalasa) has the shape of a water pot and
stands on top of the tower. This portion of the vimana is often lost due to
age and has been replaced with a metallic pinnacle. Below the kalasa is alarge, highly- sculptured structure resembling a dome which is made
from large stones and looks like a helmet.[45] It may be 2 m by 2 m in
size and follows the shape of the shrine. Below this structure are domed
roofs in a square plan, all of them much smaller and crowned with small
kalasas. They are mixed with other small roofs of different shapes and
are ornately decorated. The tower of the shrine usually has three or four
tiers of rows of decorative roofs while the tower on top of the sukanasi
has one less tier, making the tower look like an extension of the main
tower (Foekema calls it the "nose"). One decorated roof tier runs on top of the wall of a closed mantapa
above the heavy eaves of an open mantapa and above the porches.[46]
Below the superstructure of the vimana are temple "eaves"[47]
projecting half a meter from the wall. Below the eaves two
different decorative schemes may be found, depending on
whether a temple was built in the early or the later period of the
empire. In the early temples built prior to the 13th century, there
is one eave and below this are decorative miniature towers. A
panel of Hindu deities and their attendants are below these
towers, followed by a set of five different mouldings forming the base of the wall. In the later temples there is a second eave
running about a metre below the upper eaves with decorative
miniature towers placed between them. The wall images of gods
are below the lower eaves, followed by six different mouldings
of equal size. This is broadly termed "horizontal treatment".[48] The six mouldings at the base are
divided in two sections. Going from the very base of the wall, the first horizontal layer contains a
procession of elephants, above which are horsemen and then a band of foliage. The second horizontal
section has depictions of the Hindu epics and Puranic scenes executed with detail. Above this are two
friezes of yallis or makaras (imaginary beasts) and hamsas (swans). The vimana (tower) is divided into
three horizontal sections and is even more ornate than the walls.[49]
Sculpture
In Hoysala art Hardy identifies two conspicuous departures from the more austere Western (Later)
Chalukya art:ornamental elaboration and a profusion of iconography with figure sculptures, both of
which are found in abundance even on the superstructure over the shrine. Their medium, the soft chlorite
schist (Soapstone) enabled a virtuoso carving style.[50] Hoysala artists are noted for their attention to
sculptural detail be it in the depiction of themes from the Hindu epics and deities or in their use of motifs
such as yalli, kirtimukha (gargoyles), aedicula (miniature decorative towers) on pilaster, makara (aquaticmonster), birds (hamsa), spiral foliage, animals such as lions, elephants and horses, and even general
aspects of daily life such as hair styles in vogue.[51]
https://en.wikipedia.org/wiki/Pilasterhttps://en.wikipedia.org/wiki/Aediculahttps://en.wikipedia.org/wiki/Kirtimukhahttps://en.wikipedia.org/wiki/Yalli_(motif)https://en.wikipedia.org/wiki/Motif_(visual_arts)https://en.wikipedia.org/wiki/Hinduhttps://en.wikipedia.org/wiki/Yalli_(motif)https://en.wikipedia.org/wiki/Puranashttps://en.wikipedia.org/wiki/Eavehttps://en.wikipedia.org/wiki/Vimana_(tower)https://en.wikipedia.org/wiki/Nageshvara-Chennakeshava_Temple_complex,_Mosalehttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/File:Wall_sculptures_and_molding_frieze_in_relief_in_the_Chennakeshava_temple_at_Somanathapura.jpghttps://en.wikipedia.org/wiki/Lakshminarayana_Temple,_Hosaholaluhttps://en.wikipedia.org/wiki/File:Stellate_shrine_outer_wall_with_relief_in_Lakshminarayana_temple_at_Hosaholalu.jpg
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Sthamba buttalika, Hoysala
art at Belur
Madanika bracket at Belur
Salabhanjika, a common form of Hoysala sculpture, is an old Indian
tradition going back to Buddhist sculpture. Sala is the sala tree and
bhanjika is the chaste maiden. In the Hoysala idiom, madanika figures
are decorative objects put at an angle on the outer walls of the temple
near the roof so that worshipers circumambulating the temple can view
them.[52]
The sthamba buttalikas are pillar images that show traces of Chola art inthe Chalukyan touches. Some of the artists working for the Hoysalas
may have been from Chola country, a result of the expansion of the
empire into Tamil-speaking regions of Southern India. The image of
mohini on one of the pillars in the mantapa (closed hall) of the
Chennakeshava temple is an example of Chola art.[52]
General life themes are portrayed on wall panels such as the way horses
were reined, the type of stirrup used, the depiction of dancers, musicians,
instrumentalists, and rows of animals such as lions and elephants (where
no two animals are identical). Perhaps no other temple in the countrydepicts the Ramayana and Mahabharata epics more effectively than the
Hoysaleshwara temple at Halebidu.[52][53]
Erotica was a subject the Hoysala artist handled with discretion. There is
no exhibitionism in this, and erotic themes were carved into recesses and
niches, generally miniature in form, making them inconspicuous. These
erotic representations are associated with the Shakta practice.[54]
Apart from these sculptures, entire sequences from the Hindu epics
(commonly the Ramayana and the Mahabharata) have been sculpted in a
clockwise direction starting at the main entrance.[55] The right to left
sequence is the same direction taken by the devotees in their ritual
circumambulation as they wind inward toward the inner sanctum.
Depictions from mythology such as the epic hero Arjuna shooting fish,
the elephant-headed god Ganesha, the Sun god Surya, the weather and
war god Indra, and Brahma with Sarasvati are common. Also frequently
seen in these temples is Durga, with several arms holding weapons given to her by other gods, in the act
of killing a buffalo (a demon in a buffalo's form) and Harihara (a fusion of Shiva and Vishnu) holding a
conch, wheel and trident. Many of these friezes were signed by the artisans, the first known instance of signed artwork in India.[56]
Research
According to Settar, surveys in modern times have indicated that 1000–1500 structures were built by the
Hoysalas, of which about a hundred temples have survived to date.[11][57] The Hoysala style is an
offshoot of the Western Chalukya style, which was popular in the 10th and 11th centuries. [48] It is
distinctively Dravidian, and according to Brown, owing to its features, Hoysala architecture qualifies as
an independent style.[58] While the Hoysalas introduced innovative features into their architecture, they
also borrowed features from earlier builders of Karnata like the Kadambas, Western Chalukyas. These
features included the use of chloritic schist or soapstone as a basic building material. [59][60] Other
features were the stepped style of vimana tower called the Kadamba shikhara, which was inherited from
https://en.wikipedia.org/wiki/Soapstonehttps://en.wikipedia.org/wiki/Western_Chalukyashttps://en.wikipedia.org/wiki/Kadamba_Dynastyhttps://en.wikipedia.org/wiki/Dravidian_architecturehttps://en.wikipedia.org/wiki/Western_Chalukyahttps://en.wikipedia.org/wiki/Hariharahttps://en.wikipedia.org/wiki/Durgahttps://en.wikipedia.org/wiki/Sarasvatihttps://en.wikipedia.org/wiki/Brahmahttps://en.wikipedia.org/wiki/Indrahttps://en.wikipedia.org/wiki/Suryahttps://en.wikipedia.org/wiki/Ganeshahttps://en.wikipedia.org/wiki/Arjunahttps://en.wikipedia.org/wiki/Mahabharatahttps://en.wikipedia.org/wiki/Ramayanahttps://en.wikipedia.org/wiki/Hinduhttps://en.wikipedia.org/wiki/Mahabharatahttps://en.wikipedia.org/wiki/Ramayanahttps://en.wikipedia.org/wiki/Mandapahttps://en.wikipedia.org/wiki/Cholahttps://en.wikipedia.org/wiki/Sal_treehttps://en.wikipedia.org/wiki/Salabhanjikahttps://en.wikipedia.org/wiki/Belur,_Karnatakahttps://en.wikipedia.org/wiki/Bracket_(architecture)https://en.wikipedia.org/wiki/File:Shilabaalika_on_pillar_bracket_in_Chennakeshava_Temple_at_Belur1.jpghttps://en.wikipedia.org/wiki/Belur,_Karnatakahttps://en.wikipedia.org/wiki/File:Sthambha_buttalika_sculpture_in_Chennakesava_temple_at_Belur.jpg
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Kirtimukha decoration
(demon faces) on tower at
Amrutesvara Temple,
Amruthapura
Ornate lintel and door jamb
relief at entrance to inner
mantapa in the
Harihareshwara Temple at
Harihar
Elephant balustrades in the
Bucesvara temple. A temple
plan without jagati at
Korvangla
Vasantha mantapa, an ornate 13th
century contribution from the
Hoysala era to the pre-existing
Uma-Maheshvara shrine at the
Bhoga Nandeeshwara Temple
complex, Chikkaballapura district
the Kadambas.[61] Hoysala sculptors
made use of the effect of light and shade
on carved walls, which poses a challenge
for photography of the temples.[52] The
artistry of the Hoysalas in stone has been
compared to the finesse of an ivory
worker or a goldsmith. The abundance of
jewellery worn by the sculpted figuresand the variety of hairstyles and
headdresses depicted give a fair idea of
the lifestyles of the Hoysala times.[62]
Notable craftsmen
While medieval Indian artisans preferred
to remain anonymous, Hoysala artisans
signed their works, which has givenresearchers details about their lives,
families, guilds, etc. Apart from the
architects and sculptors, people of
other guilds such as goldsmiths,
ivory carvers, carpenters, and
silversmiths also contributed to the
completion of temples. The artisans
were from diverse geographical
backgrounds and included famous
locals. Prolific architects included
Amarashilpi Jakanachari,[63] a native
of Kaidala in Tumkur district, who
also built temples for the Western
Chalukyas. Ruvari Malithamma built
the Kesava Temple at
Somanathapura and worked on forty
other monuments, including the
Amruteshwara temple at Amruthapura. Malithamma specialised in
ornamentation, and his works span six decades. His sculptures weretypically signed in shorthand as Malli or simply Ma.[64][65] Dasoja and his son Chavana from Balligavi
were the architects of Chennakesava Temple at Belur; Kedaroja was the chief architect of the
Hoysaleswara Temple at Halebidu.[22] Their influence is seen in other temples built by the Hoysalas as
well. Names of other locals found in inscriptions are Maridamma, Baicoja, Caudaya, Nanjaya and
Bama,[22][66] Malloja, Nadoja, Siddoja,[67] Masanithamma, Chameya and Rameya. Artists from Tamil
country included Pallavachari and Cholavachari.[68]
List of notable temples from the Hoysala era
https://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/Hoysaleswara_Templehttps://en.wikipedia.org/wiki/Balligavihttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/Ruvari_Malithammahttps://en.wikipedia.org/wiki/Western_Chalukyashttps://en.wikipedia.org/wiki/Tumkur_districthttps://en.wikipedia.org/wiki/Amarashilpi_Jakanacharihttps://en.wikipedia.org/wiki/Kadamba_Dynastyhttps://en.wikipedia.org/wiki/Chikkaballapura_districthttps://en.wikipedia.org/wiki/Bhoga_Nandeeshwara_Templehttps://en.wikipedia.org/wiki/File:Vasantha_mantapa_with_ornate_pillars_in_soap_stone-a_13th_century_Hoysala_contribution_to_the_Bhoga_Nandeeshwara_temple_complex.jpghttps://en.wikipedia.org/wiki/Bucesvara_Temple,_Koravangalahttps://en.wikipedia.org/wiki/File:Elephant_baluster_at_entrance_into_Buchesvara_temple_in_Korvangala.jpghttps://en.wikipedia.org/wiki/Harihareshwara_Templehttps://en.wikipedia.org/wiki/File:Ornate_lintel_and_door_jamb_relief_at_entrance_to_inner_mantapa_in_the_Harihareshwara_temple_at_Harihar.JPGhttps://en.wikipedia.org/wiki/Amrutesvara_Temple,_Amruthapurahttps://en.wikipedia.org/wiki/Kirtimukhahttps://en.wikipedia.org/wiki/File:Chikkamagalur_Amruthapura_kirthimukha_retouched.jpg
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Kadamba shikara (tower)with Kalasa
(pinnacle) on top at Lakshmi Devi
Temple, Doddagaddavalli
Pierced stone window screens at
Somanathapura
Stellate plan of shrine in
Chennakeshava Temple,
Aralaguppe, Karnataka
https://en.wikipedia.org/wiki/Chennakeshava_Temple,_Aralaguppehttps://en.wiktionary.org/wiki/stellatehttps://en.wikipedia.org/wiki/File:Chennakeshava_Temple_at_Aralaguppe(stellate_shrine_wall).JPGhttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/File:Wall_Decoration_at_Kesava_Temple_in_Somanathapura_retouched.jpghttps://en.wikipedia.org/wiki/Lakshmi_Devi_Temple,_Doddagaddavallihttps://en.wikipedia.org/wiki/File:Doddagaddavalli_Lakshmidevi_temple1_retouched.JPG
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Name Location Period King Deity
Lakshmidevi[69][70] Doddagaddavalli 1113 Vishnuvardhana Lakshmi
Chennakesava[71][72] Belur 1117 Vishnuvardhana Vishnu
Hoysaleswara[73][74] Halebidu 1120 Vishnuvardhana Shiva
Basadi complex[74][75] Halebidu 1133 Vishnuvardhana Parshvanatha
Rameshvara[76][77] Koodli 12th c. Vishnuvardhana Shiva
Brahmeshwara[76][78] Kikkeri 1171 Narasimha I Shiva
Bucheshvara[79][76] Koravangala 1173 Veera Ballala II Shiva
Akkana Basadi[80][81] Shravanabelagola 1181 Veera Ballala II Parshvanatha
Amruteshwara[82][83] Amruthapura 1196 Veera Ballala II Shiva
Shantinatha[76] Jinanathapura 1200 Veera Ballala II Shantinatha
Nageshvara[84][85] Mosale 1200 Veera Ballala II Shiva,Vishnu
Veeranarayana[86][87] Belavadi 1200 Veera Ballala II Vishnu
Kedareshwara[88][74] Halebidu 1200 Veera Ballala II Shiva
Ishvara (Shiva)[89][90] Arsikere 1220 Veera Ballala II Shiva
Harihareshwara[91][92] Harihar 1224 Vira Narasimha II Shiva,Vishnu
Mallikarjuna[93][87] Basaralu 1234 Vira Narasimha II Shiva
Someshvara[94][91] Haranhalli 1235 Vira Someshwara Shiva
Lakshminarasimha[94][91]
Haranhalli 1235 Vira Someshwara VishnuPanchalingeshwara[95][96] Govindanhalli 1238 Vira Someshwara Shiva
Lakshminarasimha[97][98] Nuggehalli 1246 Vira Someshwara Vishnu
Sadashiva[97][98] Nuggehalli 1249 Vira Someshwara Shiva
Lakshminarayana[99][100] Hosaholalu 1250 Vira Someshwara Vishnu
Lakshminarasimha[101][102] Javagallu 1250 Vira Someshwara Vishnu
Chennakesava[103][90] Aralaguppe 1250 Vira Someshwara Vishnu
Kesava[104][105] Somanathapura 1268 Narasimha III Vishnu
See also
Indian ArchitectureVijayanagara architectureBadami Chalukya ArchitectureWestern Chalukya Architecture
Notes
1. Hardy (1995), pp243–245
2. Foekema (1996), p47, p59, p87
https://en.wikipedia.org/wiki/Western_Chalukya_Architecturehttps://en.wikipedia.org/wiki/Badami_Chalukya_Architecturehttps://en.wikipedia.org/wiki/Vijayanagara_architecturehttps://en.wikipedia.org/wiki/Indian_Architecturehttps://en.wikipedia.org/wiki/Narasimha_IIIhttps://en.wikipedia.org/wiki/Somanathapurahttps://en.wikipedia.org/wiki/Chennakesava_Temple,_Somanathapurahttps://en.wikipedia.org/wiki/Vira_Someshwarahttps://en.wikipedia.org/wiki/Aralaguppehttps://en.wikipedia.org/wiki/Chennakeshava_Temple,_Aralaguppehttps://en.wikipedia.org/wiki/Lakshminarasimha_Temple,_Javagalhttps://en.wikipedia.org/wiki/Lakshminarayana_Temple,_Hosaholaluhttps://en.wikipedia.org/wiki/Sadasiva_Temple,_Nuggehallihttps://en.wikipedia.org/wiki/Lakshmi_Narasimha_Temple,_Nuggehallihttps://en.wikipedia.org/wiki/Panchalingeshwara_Temple,_Govindanahallihttps://en.wikipedia.org/wiki/Haranhallihttps://en.wikipedia.org/wiki/Lakshminarasimha_Temple,_Haranhallihttps://en.wikipedia.org/wiki/Vira_Someshwarahttps://en.wikipedia.org/wiki/Haranhallihttps://en.wikipedia.org/wiki/Someshvara_Temple,_Haranhallihttps://en.wikipedia.org/wiki/Vira_Narasimha_IIhttps://en.wikipedia.org/wiki/Basaraluhttps://en.wikipedia.org/wiki/Mallikarjuna_Temple,_Basaraluhttps://en.wikipedia.org/wiki/Hariharhttps://en.wikipedia.org/wiki/Harihareshwara_Templehttps://en.wikipedia.org/wiki/Arsikerehttps://en.wikipedia.org/wiki/Ishvara_Temple_(Arasikere)https://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/Kedareshwara_Temple,_Halebiduhttps://en.wikipedia.org/wiki/Belavadihttps://en.wikipedia.org/wiki/Veera_Narayana_Temple,_Belavadihttps://en.wikipedia.org/wiki/Nageshvara-Chennakeshava_Temple_complex,_Mosalehttps://en.wikipedia.org/wiki/Shantinatha_Basadi,_Jinanathapurahttps://en.wikipedia.org/wiki/Veera_Ballala_IIhttps://en.wikipedia.org/wiki/Amruthapurahttps://en.wikipedia.org/wiki/Amrutesvara_Temple,_Amruthapurahttps://en.wikipedia.org/wiki/Shravanabelagolahttps://en.wikipedia.org/wiki/Akkana_Basadi,_Shravanabelagolahttps://en.wikipedia.org/wiki/Bucesvara_Temple,_Koravangalahttps://en.wikipedia.org/wiki/Brahmeshvara_Temple,_Kikkerihttps://en.wikipedia.org/wiki/Koodlihttps://en.wikipedia.org/wiki/Rameshvara_Temple,_Koodlihttps://en.wikipedia.org/wiki/Halebiduhttps://en.wikipedia.org/wiki/Hoysaleswara_Templehttps://en.wikipedia.org/wiki/Vishnuvardhanahttps://en.wikipedia.org/wiki/Belurhttps://en.wikipedia.org/wiki/Chennakesava_Templehttps://en.wikipedia.org/wiki/Lakshmi_Devi_Temple,_Doddagaddavalli
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3. Hardy (1995), p320, p321, p324, p325, p329, p332, p334, p339, p340, p346
4. Foekema (1996), p53, p37, p71, p81, p41, p43, p83
5. Percy Brown in Kamath (2001), p134
6. Hardy (1995), p244
7. Hardy (1995), pp6-7, section Introduction-Dynasties and Periods
8. Foekema (2003), p18
9. Foekema (1996), pp19-20, chapter-The dedications and names of temples
10. Hardy (1995), p245
11. Kamath (2001), p13212. Foekema (1996), p19
13. Settar S. "Hoysala Heritage". Frontline, Volume 20 - Issue 08, April 12–25, 2003. Frontline, From the
publishers of the Hindu. Retrieved 2006-11-13.
14. Foekema (1996), p19–20
15. Kamath (2001), p134
16. Kamath (2001), pp 112, 132
17. Foekema (1996), plate 27
18. Foekema (1996), p31, chapter: Recognizing the most important deities
19. Foekema (1996), p32, chapter: Recognizing the most important deities
20. Foekema (1996), p21
21. Kamath (2001), p13622. Kamath (2001), p135
23. Foekema (1996), p25
24. Arthikaje. "History of Karnataka-Religion, Literature, Art and Architecture in Hoysala Empire". 1998–2000
OurKarnataka.Com, Inc. Archived from the original on 2006-11-04. Retrieved 2006-11-13.
25. The Hoysaleswara shrine and the Shantaleswara shrine in the Hoysaleswara Temple in Halebidu are examples.
(Foekema 1996, p59)
26. Foekema (1996), p25, p57, section: Dodda Gadduvalli
27. Hardy (1995), p246
28. Foekema (1996), pp22-23
29. Sastri (1955), p428
30. A bay is a square or rectangular compartment in the hall (Foekema 1996, p93)31. This is also called "cross-in-square" style and is not a square (Foekema, 1996, p22)
32. Githa U.B. (May 11, 2004). "Here, the past unfolds itself in all its glory & might—Hoyasala architecture in
Somanathapura". Deccan Herald . Chitralakshana. Retrieved 2006-11-13.
33. The four pillars and nine bays of a closed mantapa is a norm in Hoysala temples (Foekema 1996, p22)
34. Kamath (2001), p135
35. It is called a "nose" because it looks like an extension of the main tower (Foekema 1996, p22)
36. This is a common feature of Western Chalukya-Hoysala temples: (Kamath 2001, p117)
37. It is possible that the Hoysalas encouraged different groups of artists to execute pillars and these groups may
have been in competition to produce unique pillars, (Sastri 1955, p429)
38. Arthikaje. "Architecture in Hoysala Empire". 1998–2000 OurKarnataka.Com, Inc. Archived from the original
on 2006-11-04. Retrieved 2006-12-28.39. Brown in Kamath (2001), p135
40. Sastri (1955), p429
41. Sometimes a trikuta may not literally mean "three towers", as only the central shrine has a tower (Foekema
1996, p25)
42. Hardy (1995), p245
43. Foekema (1996), p25
44. Foekema (1996), p81, section: Mosale
45. Foekema (1996), p27
46. Foekema (1996), p22, p28, section:The plan of the temples
47. under the projecting roof overhanging the wall (Foekema 1996, p93)
48. Kamath (2001), p13449. Art critic Percy Brown calls this one of the distinguishing features of Hoysala art. (Kamath 2001, p134)
50. Hardy (1995), p245
51. Sastri (1955), pp428-429; Foekema (1996), pp28-29; Kamath (2001), p135
https://en.wikipedia.org/wiki/Percy_Brown_(scholar)http://www.ourkarnataka.com/history.htmhttp://web.archive.org/web/20061104095148/http://www.ourkarnataka.com/history.htmhttps://en.wikipedia.org/wiki/Deccan_Heraldhttp://www.chitralakshana.com/hoysalas.htmlhttp://web.archive.org/web/20061104095148/http://www.ourkarnataka.com/history.htmhttp://web.archive.org/web/20061104095148/http://www.ourkarnataka.com/history.htmhttp://www.frontline.in/static/html/fl2008/stories/20030425000206700.htmhttps://en.wikipedia.org/wiki/Percy_Brown_(scholar)
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52. Settar S. "Hoysala Heritage". Frontline, Volume 20 – Issue 08, April 12–25, 2003. Frontline, From the
publishers of the Hindu. Retrieved 2006-11-13.
53. The epic frieze is the most exciting feature of their sculptures (Foekema 1996, p29)
54. Settar S. "Hoysala Heritage". Frontline, Volume 20 – Issue 08, April 12–25, 2003. Frontline, From the
publishers of the Hindu. Retrieved 2006-11-13.
55. Foekema (1996), p29
56. Thapar, Binda (2004). Introduction to Indian Architecture. Singapore: Periplus Editions. p. 69. ISBN 0-7946-
0011-5.
57. 1,500 temples in 958 centres were built, according to historical records, between 1000–1346 CE. Settar S."Hoysala Heritage". Frontline, Volume 20 – Issue 08, April 12–25, 2003. Frontline, From the publishers of
the Hindu. Retrieved 2006-11-13.
58. According to Percy Brown, Hoysala architecture and sculpture have been called a "phenomenal effort of
human concentration, skill and religious consciousness" (Percy Brown in Kamath 2001, p134)
59. Kamath (2001) p136
60. Kamiya Takeo. "Architecture of the Indian Subcontinent, 1996". Architecture Autonomous , Bardez, Goa,
India. Gerard da Cunha. Retrieved 2006-11-13. — The Western Chalukya carvings were done in green schist
(soapstone), a technique adopted by the Hoysalas
61. The most prominent feature of Kadamba architecture is their shikhara, called "Kadamba shikhara". The
shikhara is pyramid-shaped and rises in steps without any decoration and has a stupika or kalasha on the top
(Kamath 2001, p38)62. Sastri (1955), p429
63. Raghavendra, Srinidhi. "In need of support". Deccan Herald, Spectrum, Tuesday, August 9, 2005. Deccan
Herald. Retrieved 2006-11-13.
64. Githa U.B. (May 11, 2004). "Here, the past unfolds itself in all its glory & might-Hoyasala architecture in
Somanathapura". Deccan Herald . Chitralakshana. Retrieved 2006-11-13.
65. Premkumar P.B. (January 20, 2004). "Architectural marvel". Spectrum, Deccan Herald . Deccan Herald.
Archived from the original on January 22, 2008. Retrieved 2006-11-13.
66. Sastri (1955), p299
67. Chandragutti, Raghavendra (January 25, 2005). "A glimpse of the lost grandeur". Spectrum, Deccan Herald .
Deccan Herald. Retrieved 2006-11-13.
68. Githa U.B. (May 11, 2004). "Here, the past unfolds itself in all its glory & might-Hoyasala architecture inSomanathapura". Deccan Herald . Retrieved 2006-11-13.
69. Foekema (1996), p57
70. Hardy (1995), p326
71. Foekema (1996), p47
72. Hardy (1995), p325
73. Foekema (1996), p59
74. Hardy (1995), p329
75. "Parsvanatha Basti". Archaeological Survey of India, Bengaluru Circle. ASI Bengaluru Circle. Retrieved
15 August 2015.
76. Hardy (1995), p334
77. "Rameshvara Temple". Archaeological Survey of India, Bengaluru Circle. ASI Bengaluru Circle. Retrieved15 August 2015.
78. Foekema (2003), p59,p72
79. Foekema (1996), p77
80. Hardy (1995), p343
81. Foekema (2003), p37
82. Foekema (1996), p37
83. Hardy (1995), p320
84. Foekema (1996), p81
85. Hardy (1995), p339
86. Foekema (1996), p53
87. Hardy (1995), p32488. Foekema (1996), pp62-63
89. Foekema (1996), p41
90. Hardy (1995), p321
91. Hardy (1995), p331
http://asibengalurucircle.org/shimoga-17.htmlhttp://asibengalurucircle.org/hassan-8.htmlhttp://www.chitralakshana.com/hoysalas.htmlhttp://archive.deccanherald.com/Deccanherald/jan252005/spt7.asphttp://www.deccanherald.com/Archives/jan202004/spt6.asphttp://web.archive.org/web/20080122161428/http://www.deccanherald.com/Archives/jan202004/spt6.asphttp://www.chitralakshana.com/hoysalas.htmlhttp://archive.deccanherald.com/Deccanherald/aug92005/spectrum92548200588.asphttps://en.wikipedia.org/wiki/Sikharahttps://en.wikipedia.org/wiki/Kadamba_Dynastyhttps://en.wikipedia.org/wiki/Western_Chalukyahttp://www.indoarch.org/https://en.wikipedia.org/wiki/Percy_Brown_(scholar)http://www.frontline.in/static/html/fl2008/stories/20030425000206700.htmhttps://en.wikipedia.org/wiki/Special:BookSources/0-7946-0011-5https://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://www.frontline.in/static/html/fl2008/stories/20030425000206700.htmhttps://en.wikipedia.org/wiki/Friezehttp://www.frontline.in/static/html/fl2008/stories/20030425000206700.htm
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References
Book
Cousens, Henry (1996) [1926]. The Chalukyan Architecture of
Kanarese Districts. New Delhi: Archaeological Survey of India.
OCLC 37526233.
Foekema, Gerard (1996). Complete Guide to Hoysala Temples.
New Delhi: Abhinav. ISBN 81-7017-345-0.
Foekema, Gerard (2003) [2003]. Architecture decorated with architecture: Later medieval temples of
Karnataka, 1000–1300 AD. New Delhi: Munshiram Manoharlal Publishers Pvt. Ltd. ISBN 81-215-1089-9.
Hardy, Adam (1995) [1995]. Indian Temple Architecture: Form and Transformation : the Karṇāṭa Drāviḍa
Tradition, 7th to 13th Centuries. New Delhi: Abhinav. ISBN 81-7017-312-4.
Kamath, Suryanath U. (2001) [1980]. A concise history of Karnataka: from pre-historic times to the present .
Bangalore: Jupiter books. LCCN 80905179. OCLC 7796041.
Sastry, K.A. Nilakanta (2002) [1955]. A history of South India from prehistoric times to the fall of
Vijayanagar . New Delhi: Indian Branch, Oxford University Press. ISBN 0-19-560686-8.
Web
Settar S. "Hoysala heritage". history and craftsmanship of Belur and Halebid temples . Frontline. Retrieved
2006-11-13.
"Monuments of Bangalore Circle". Archaeological Survey of India, Bengaluru Circle. ASI Bengaluru Circle.
Retrieved 15 August 2015.
Arthikaje. "Architecture in Hoysala Empire". History of karnataka. OurKarnataka.Com. Archived from the
original on November 4, 2006. Retrieved 2006-11-13.
Kamiya Takeo. "Architecture of Indian Subcontinent". Indian Architecture. Architecture Autonomous.
Retrieved 2006-11-13.
Ragavendra, Srinidhi. "In need of support". Spectrum. Retrieved 2006-11-13.
Githa U.B. "Hoyasala architecture in Somanathapura". History of Indian art . chitralakshana. Archived from
the original on 2007-04-03. Retrieved 2006-11-13.
Hardy, Adam. "Indian Temple Architecture: Form and Transformation—The Karnata Dravida Tradition 7th to
13th Centuries". Art History 58: 358–362. JSTOR 3250027.
Premakumar, B.P. "Architectural marvel". Deccan Herald . Spectrum. Retrieved 2006-11-12.
Retrieved from
92. Cousens (1926), p93
93. Foekema (1996), p43
94. Foekema (1996), p67
95. Hardy (1995), p328
96. "Panchalingeshvara Temple". Archaeological Survey of India, Bengaluru Circle. ASI Bengaluru Circle.
Retrieved 15 August 2015.
97. Foekema (1996), p83
98. Hardy (1995), p340
99. Foekema (1996), p71100. Hardy (1995), p332
101. Foekema (1996), p73
102. Hardy (1995), p333
103. Foekema (1996), p39
104. Foekema (1996), p87
105. Hardy (1995), p346
http://asibengalurucircle.org/mandya-3.htmlhttp://archive.deccanherald.com/Deccanherald/jan202004/spt6.asphttps://www.jstor.org/stable/3250027https://en.wikipedia.org/wiki/JSTORhttp://www.chitralakshana.com/articles/UB%20githa/hoysala.htmhttp://www.chitralakshana.com/hoysalas.htmlhttp://archive.deccanherald.com/Deccanherald/aug92005/spectrum92548200588.asphttp://www.indoarch.org/place.php?placelink=R%3D5%2BS%3D18%2BP%3D0%2BM%3D0http://www.ourkarnataka.com/history.htmhttps://web.archive.org/web/20061104095148/http://www.ourkarnataka.com/history.htmhttp://asibengalurucircle.org/monuments.htmlhttp://www.frontline.in/static/html/fl2008/stories/20030425000206700.htmhttps://en.wikipedia.org/wiki/Special:BookSources/0-19-560686-8https://en.wikipedia.org/wiki/International_Standard_Book_Numberhttps://www.worldcat.org/oclc/7796041https://en.wikipedia.org/wiki/OCLChttps://lccn.loc.gov/80905179https://en.wikipedia.org/wiki/Library_of_Congress_Control_Numberhttps://en.wikipedia.org/wiki/Special:BookSources/81-7017-312-4https://en.wikipedia.org/wiki/International_Standard_Book_Numberhttps://en.wikipedia.org/wiki/Special:BookSources/81-215-1089-9https://en.wikipedia.org/wiki/International_Standard_Book_Numberhttps://en.wikipedia.org/wiki/Special:BookSources/81-7017-345-0https://en.wikipedia.org/wiki/International_Standard_Book_Numberhttps://www.worldcat.org/oclc/37526233https://en.wikipedia.org/wiki/OCLChttps://commons.wikimedia.org/wiki/Category:Architecture_of_the_Hoysala_Empire
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Architecture of Karnataka
(345 to present)
Kadamba architecture – synthesis of several schools
(345 to 525)
Dravidian architecture (Western Ganga Dynasty)
(350 to 550)
Badami Chalukya architecture or the Vesara style
(543 to 753)
Dravidian & Rekhanagara architecture of Rashtrakutas
(753 to 973)
Western Chalukya architecture (Gadag style of architecture)
(1000 and 1200)
Hoysala architecture of the Hoysala Empire
(1100 and 1400)
Vijayanagara architecture of the Vijayanagar Empire
(1336 to 1648)
Islamic architecture of Bijapur Sultanate
(1490 to 1686)
Keladi Nayaka architecture of the Nayaka kingdoms
(1499 – 1763)
Architecture of Kingdom of Mysore –
Blends of Hindu, Muslim, Rajput, and Gothic styles of architecture
(1399 to 1947)
Indo-Sarcenic and Muslim architecture of Tippu Sultan
(1780)
Buddhist Viharas, Tibetan Culture & Tibetan architecture at Bylakuppe
(1953 to present)
Sikh architecture of Bidar & Bangalore
(1512 to present)
Neo-Gothic church architecture
(1933 to 1956)
Neo-Dravidian architecture
(1947 to present)
"https://en.wikipedia.org/w/index.php?title=Hoysala_architecture&oldid=712594648"
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Categories: Indian architectural styles Hoysala Empire Indian architectural history
Architecture of Karnataka
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