the hoysala temples poetry in stone

Tel / Fax : +91‐22–26121322, Cell :+ 91 0 9869420322 / + 91 0 9820253565 Email : [email protected], [email protected] | Website: www.parikramaholidays.com

THE HOYSALA TEMPLES

POETRY IN STONE

The Hoysala Temple

Across lush green paddy fields & sky scraping palm groves, the visual splendour of the

Hoysala Temples reveals itself. Here the celebration of life finds expression in stone & is frozen in the eternity of art. Built over a span of 350 years, these temples are unique examples of highly sophisticated sculptural expression that seek to represent the myriad faces of everyday life. Although there are about 1,521 Temples spread over a number of sites like Somnathpura, Nuggihalli, Mosale – Marle, Harnahalli, Javagal, Santigrama & others, the Temples at Belur & Halebeed are perhaps the two most beautiful.

The Hoysala Symbol Hoysala Logo

Most of the temples were built during the reign of King Vishnuvardhana [1106 & 1142

AD] who is considered to be one of the most illustrious of the Hoysala Kings. He had these


magnificent Temples built in order to celebrate a series of war victories & to pay obeisance to the divine power that had crowned his exploits. In fact, the very name ‘Hoysala’ was born during his reign. In 1117 AD; he felt the need to trace his descent to an uncommon ancestor & so he invented a legend in which the hero Sala exhibits extraordinary courage & defends a meditating sage from a tiger’s attack. Since the sage bade Sala to strike, he also blessed the Warrior with a new name Hoysala – ‘Hoy’ meaning ‘To Strike’ & ‘Sala’ meaning the Striker – and a land to rule. So was born the Hoysala Dynasty of Vishnuvardhana.

Bell Shaped Pillars

Belur & Halebeed did not share the same religious leanings. While Belur was dominated

by the Shri Vaishnavas [devotees of Vishnu], with some Shiva Temple also located in the town. Halebeed on the other hand was dominated by the Shaivas [devotees of Shiva] with positions of importance also enjoyed by the Jains. A typical Hoysala Settlement was planned to accommodate followers of more than one faith, care worship, ensuring religious & social life without any sort of hindrance.

The Temple at Belur was built under the personal supervision of King Vishnuvardhana.

This is perhaps the reason why it radiates the spirit of royal grandeur. On the other hand, the Hoysaleshwara Temple at Halebeed, which is the largest ever Temple built by the Hoysalas was built by the Shaivas as a mark of respect for their beloved King.

Interestingly, the Hoysalas built Temples in imitation of what they believed to be abodes

of Gods, imbuing them with awe-inspiring elements that were designed to create in worshippers the overwhelming feeling of being in the presence for the wedding of Shiva & Parvati with images & relief representing a joyous gathering of Gods, including Indra, witnessing this event. The ornate temples are decked from the base to the pinnacle with variegated & floral designs, carvings depicting stories from the epics as well as of wars between Gods & giants & enhanced by fascinating foliage, startling creeper designs, bell motifs & groups of statuettes. THE GRAND PLAN

The satellite appearance of the Hoysala structure was its chief hallmark. Construction

was done in 3 stages. In the middle was a wall of earth & rubble. This was encased between granite stones & then came the outer wall dressed with chloritic schist, the stone most abundantly available in the region. The Hoysala architect exploited schist to the fullest. This stone not only determined the shape of the structure but also its artistic quality. Greenish or Bluish or creamy-gold in colour, schist was known for its homogenous texture & was eminently


suited for carving. Thus it was used for intricate carving while it was soft & served structural purposes when conditioned by the sun, wind & rain, following which it gained metallic strength.

A variety of temples were built. The simplest was the single Sanctum one [like that at

Belur], & the most complex ones had five sanctums dedicated to five different deities, connected to one another by a common hall. The Hoysaleshwara Temple at Halebeed has two sanctums, which are structurally linked together to form a single unit. Not only the size but also its structural alignment makes this temple unique.

Few monuments of medieval India could match the Hoysala Temples in their intricate &

richly detailed miniaturized sculpture. Due to the elaborate narrative & exquisite detailing the Hoysala Artists came to be known as the most expressive artists in the history of Indian Art. The outer walls of these temples have ornate bases, intricately carved horizontal & vertical blocks, windows, railings & doorways. The blocks were laid in a manner that resembled a star. The central portion of the outer wall is dominated by alternately projecting & recessing vertical divisions in close accordance with the ground plan. Between each division is an ornamental pattern. Endless rows of images set up on rows of friezes of the base as well as the ornate railings with miniature images make these temples unsurpassed for delicate detail by any in the world.

The Hoysala Symbol Perforated Windows Perforated screens or windows found on either side of the doorways to the inner cells,

link the railings to the beams. While the screens are covered with abstract geometrical patterns, the brackets linking the railings have figures carved on them. All doorways have door attendants or Dvarpals. The arch above the doorway is embellished with an extremely intricate sculptural frieze. The frieze consists of a Dancing God or Goddess with the entourage assembled around the deity.

The Interiors of the Temples are as beautiful as the exteriors. A slightly raised floor

formed into a Dais is invariably found in the center. The 4 Pillars which stand at the corners of this Dais bear the central ceiling. Stone benches made of heavy schist slabs, well paved & polished, line the interiors & are a feature unique to these temples. The ceilings are delicately carved with figurines of dancers, musicians, warriors as well as cult deities, their consorts & attendants. Audience Galleries meant for royal families find a place of importance in the interiors & as a recorded slice of history we have the names of donors inscribed on the walls of the niches & the mini Temples inside the main sanctum sanctorum.

A remarkable feature of the architect is the appearance of pillars that are popularly

known as “Lathe-turned Pillars”. Made of Schist these pillars have an exquisite finish & appear to have been turned on some kind of primitive lathe. Each Pillar is divided into five sections: the


base, the shaft, the capital, the abacus & the corbel. There are star shaped & bell shaped pillars as well as those that are around, octagonal & sixteen sided. MASTER SCULPTORS

The Exterior Work Shiva Dancing

All the sculpture decorating the temples at Belur & Halebeed is governed by uniform

decorative, anatomical & stylistic principles. The themes that appealed to the Hoysala Artist seem to be human & animal forms, floral & geometric patterns in different architectural contexts. On the ceilings & perforated screens one finds abstract patterns while the doorways, basements & railings are embellished with smaller figures, scrolls & motifs. The outer walls are filled with large reliefs of divinities & their entourages.

Perhaps more than passion or romance it is female beauty that is celebrated. Young

women engaged in music, dance, sport & self-adulation adorn the surfaces. These reflecting feminine vanity in one way or another. These young women or ‘Sursundaris’ as they were known, epitomize the concept of female beauty. Human or divine, their many of physical beauty are captivating. We find for example, a series of a lady admiring or adorning herself, plucking fruits, feeding a parrot, dancing or surrounded by nature. As is evident by their sheer numbers, sculptors seemed to favour dancers in various postures, celebrating the vibrant lines their bodies made. They are an embodiment of life & death, good & evil, of love & desire.

Bejwelled from head to toe Narsimha Avatar


It is evident that ornaments were important features of the sculptures. The entire body, male & female, is bedecked with intricately carved ornaments studded with jewels, stones & strings of pearls. There is a specific ornament for each part of the body, from head to toe & every inch of the body is covered. The most conspicuous & unusual ornament is the ‘Vaijayanti’, a long string resembling a waist band which emerges from the back of the hip, curves widely on the knees & disappears below the left vertical portion of the ‘Hara’ or the necklace. Most often there are 3 varieties of necklaces worn by the figures. The individuality of the Hoysala School stands out in the detailed, intricate & elaborate finish of the ornaments. This is seen even in the other accessories worn by the figures, such as pendants, crowns, weapons, etc.

Most of the figures on the outer walls are those of cult deities & their attendants. The

group consisting of Brahma, Vishnu & Mahesh [the divine trilogy of the Creator, Protector & Destroyer], the Dashavatar or the 10 Incarnations of Vishnu or the popular couple of Shiva with his consort Parvati are the favourite subjects. There are also the figures of Yakshas [Divine Courtiers], either in miniature relief around the deities or in large size guarding the doorways. All deities are flanked by 2 or more miniature attendants & stand on curved but plain pedestals. The sculptors used dance & music, play & sport to lend rhythmic movement to the sculptures & so all the figures are lifelike. Even the creeper canopies surrounding the deities have their own characteristic features & stand apart one from the other.

Yaksha Varaha

The mouldings of the basements of the Temples are decorated with motifs of animals.

Elephants seem to have held a special place in the hearts of the Hoysala as extensively & elaborately. The reason for this could be that the artists of the time lived in a land that even today is famous for Wild Elephants. As such they must have had first hand experience & knowledge of this majestic animal. There are around 1248 elephants depicted on the outer walls of the temples at Halebeed. With or without Mahouts, in war or at play, they all have the same sort of conspicuous decorations adoring them.


Makara Elephant Motif

Horses too seem favoured. They appear as embellished representations of those that

were a part of the cavalry units of the Hoysala Army. Vivid & realistic, they express the sheer spirit of the animals of those times carrying in their saddles weapon – wielding warriors. The powerful & expressive depiction by sculptors of the different ways in which riders & horses attack or succumb to their enemies & the ways in which they ride & charge into battle suggest that as much as imagination, experience seems to have played its role in guiding the hand of creation. This is further evidence by their attention to proportion & detail. Besides being proportionate in size, the horses are dressed & decorated with restraint, fitted with a saddle, bridle, reins, stirrups & bells.

The Lion, being the symbol of the dynasty, holds a place of special importance. Apart

from the crest, 1460 Lions appear on friezes at Halebeed. Unlike the manner in which horses & elephants are treated, the lion takes on exaggerated expression. Perhaps because of its symbolic nature, this splendid creature goes beyond realistic representation, moving instead into symbolic realms. To the Hoysala Sculptor, the Lion is a fantastic creature.

Another animal that makes its appearance is born from the world of imagination. It is

known as the Makara or Sea Elephant. Local legend says that it is a combination of 7 Animals, each symbolic of some virtue. For example – a Crocodile’s mouth for ‘grip’ or a Monkey’s eyes for ‘Sharpness’. It is invariably presented with its upraised head or snout, wide open jaws revealing long sharp teeth & the tongue & tail resembling bursting flames.

Apart from this fantastic creature, bulls too find a place of importance especially as the

vehicle of Shiva. The two Nandis at the Hoysaleshwara Temple at Halebeed are apt tributes to the power & beauty of this animal. Carved out of monolithic stone blocks of eight or nine feet, and exquisitely carved to highlight the finest of detail including the folds of the skin and adorned with elaborate ornamentation, these Bulls are awesome in their appearance.

Other animals such as Monkeys, Camels, Mice, Buffalos, Rams and Birds like Peacocks,

Swans & small Birds too are present in most reliefs. The artists have used an infinite variety of stylized foliage and scroll creepers. Vegetative motifs & floral patterns surrounding deities in which you can see monkeys playing & birds flying seem to compete with nature itself. The finish given to every minute detail is amazing. You can see here the nail of the deity piercing through the skin of the elephant, appearing on the other side. Or the fingers of the drummer through the ropes on the drum…the skin of stone relenting to the magical touch of master sculptors.


Goverdhan Girdhari The Divine Trilogy

The most remarkable feature of these temples is the reliefs which present continuous

narratives, entire episodes captured in single compositions. Although the epics have always played a major role in Indian Art through the centuries, nowhere else would one find entire stories depicted in sculptures as one does on the outer walls of the temple at Halebeed. Not only are complete stories from the Bhagvad Gita & the Mahabharat & Ramayan depicted in a series of reliefs but sometimes a single relief is enough to recount the entire story. For example the story of Krishna lifting mountain of Govardhan or Narasimha annihilating Hiranyakashyapu. These reliefs served a triple purpose. Not only did they enhance the beauty of the structure but they also revealed various manifestations of the Lord to his devotees & entertained & educated them by means of stories.

That the artists who worked on these temples were masters of their craft is obvious. But

their commitment & artistry would have come to naught if & patronage. The Hoysala society accorded them respect & patronage. The Hoysala society accorded agreeable conditions of work & good fortune to the artists of the time. Only men of great skill & patience whose work was valued by society at that time could have produced such master pieces. Just as warriors were needed to defend boundaries, artists were required by the Hoysalas to promote their religious & social interests. They were considered an important part of society. Notable amongst them are Dasoja & his Son Canava as also Mallitamma. It is thanks to them & so many others like them that we have these amazing temples that continue to inspire “joy, awe & stunned surprise.”

the hoysala temples poetry in stone

Documents

hoysala hoy

hoysala symbol hoysala

parikrama temples

hoysala kings

ornate temples

shiva temple

typical hoysala settlement

hoysaleshwara temple