Wednesday 13 February 2013

Melukote Narasimha Swamy Temple and Cheluva Narayana Swamy Temple

Early in 12th century, the great Srivaishnava saint Sri Ramanuja took up his residence and lived in this location for about 14 years. It thus became a prominent centre of the Srivaishnava sect of Brahmins, who obtained from the Hoysala king Vishnuvardhana, who had become a follower of the Acharya, an assignment of the fertile tracts of land in the neighbourhood, especially of the Ashta Gramas, on either bank of the Cauvery.
In the 14th century, the place suffered at the hands of Muslim invaders, who wrecked Dwarasamudra, and it was at Tondanur (Tonnur) at the southern foot of the hills, that the Hoysala king at first retired. It was subsequently restored, in about 1460, by Thimmanna Dannayaka, a chief of Nagamangala, who was an army commander of the Vijayanagar king Mallikarjuna or Immadi Prudhadeva Raya. The buildings must have been on a grand scale, as can be seen from the remains of the Gopal Raya gate on the South, which are of immense proportions. The Brahmins deserted Melukote, which was later plundered.

Cheluvanarayana Swamy Temple:
The principal temple is a square building of large dimensions but very plain, dedicated to Lord Cheluva-Narayana Swamy or Thirunarayana. The utsavamurthi, which is a metallic image, represents the deity who is called Shelvapillai, Cheluva Raya and Cheluvanarayana Swamy, whose original name appears to have been Ramapriya (meaning "Rama's Favourite"). It is believed that this utsavamurthi belonged to and was worshipped by Lord Rama and the kings of the surya vamsa Dynasty for generations. Later the same idol was given to a king of Chandra vamsam (the dynasty of Lord Krishna) and was worshipped by Lord Krishna and many generations. So CheluvaNarayana is so unique that he was worshipped by both Rama and Krishna.
According to a legend, this metallic image was lost and was recovered by Sri Ramanujacharya. The annual report of the Mysore Archeaelogical Department (p. 57) states on the strength of epigraphic evidence, that the presiding deity of this temple was already a well-known object of worship before Sri Ramanujacharya worshipped at the shrine, in December 1098, and even before he came to the Mysore region, and that very probably, he used his influence to rebuild or renovate the temple.
The temple is richly endowed, having been under the special patronage of the Mysore Rajas too, and it has a most valuable collection of jewels in its custody. As early as 1614, the Mysore king Raja Wodeyar (1578–1617) who first acquired Srirangapatna and adopted the Srivaishnava faith, handed over to the temple and the Brahmins at Melkote, the estate granted to him by Vijaynagar king Venkatapati Raya. On one of the pillars of navaranga of the Narayanaswami temple is a bas relief about 1.5 feet (0.46 m) high, of Raja Wodeyar, standing with folded hands, with the name inscribed on the base. He was said to be a great devotee of the presiding deity and a constant visitor to the temple. A gold crown set with precious jewels was presented by him to the temple. This crown is known as the Raja-mudi, after his name. A legend says that on the day of his death, he was observed entering the sanctum and was seen no more afterwards. From the inscriptions on some of the gold jewels and on gold and silver vessels in the temple, it is learnt that they were presents from Krishnaraja Wodeyar III and his queens. Krishnaraja Wodeyar III also presented to the temple a crown set with precious jewels. It is known after him, as Krishnaraja-mudi. Vairamudi or Vajramukuta, another crown of great value, seems to be older than Raja-mudi and Krishnaraja-mudi.
All the three crowns are kept in the safe custody of the Government at Mandya Treasury and brought to the temple on a specific annual occasion known as Vairamudi which literally means The Diamond Crown for adoring the image of Cheluvanarayana Swamy. The Vairamudi festival, which is the chief annual celebration, is attended by more than 400,000 people and growing every year. Jatras are held annually during March–April and more than one lakh people congregated here.
In 1785, Tipu Sultan gave some elephants to the temple.
A number of inscriptions and records of the place speak of the land grants and gifts to this shrine. Perhaps the fort on the hill was built during Hoysala period. The renovated temple has a beautiful gopura.

Yoga-Narasimha Swamy Temple:
On the top of the hill is an attractive Melkote Narasimha temple dedicated to Lord Yoga Narasimha. It is believed that the image of Yoga Narasimha temple at melkote was installed by Prahlada himself. Krishnaraja Wodeyar III presented a gold crown to Lord Yoga Narasimha.

Vairamudi Brahmotsava:
Vairamudi Brahmostava is an annual festival which gathers more than 3-4 lakh devotees of Lord Cheluva Narayana. Thirunarayana Puram another name for Melkote adorns a festive grandeur on this day when the Lord adorns the legendary diamond studded crown, the Vaira Mudi. It is believed that Lord Krishna Himself presented this crown to Cheluva Narayana. The Lord is taken in procession on the golden Garuda with His divine consorts Sridevi & Bhudevi, around the main streets of the city.
Vairamudi, the diamond crown, was stolen from Sriman Narayana, when he was asleep at his abode in the Ksheera Sagara (Milky Ocean), by Virochana. Virochana was the king of demons and the son of Bhakta Prahlada. Garuda was asked by the lord’s devotees to bring back the crown. Garuda went after Virochana to the nether world, fought with the demon king and flew back with the crown.
According to the legend it is believed that Vairamudi lost its blue gem on the crest while Garuda was bringing it. The blue gem is believed to have fallen near Nachiar Koil, a temple town in Thanjavur district of Tamil Nadu. The gem turned into a stream, called the Manimuttaru, which to this day flows in Thanjavur. On his way, he saw Bala Krishna playing with his friends in the mid day sun at Brindavana. Garuda protected the Bala Krishna from the sun by placing his wings as the shade & placed the crown on his head. The local legends of Melkote claim that Krishna presented Cheluva Narayana with this crown. It is believed that Cheluva Narayana, was also worshipped by Lord Rama, the King of Ayodhya.
Thirunarayan Puram now Melkote has the temple of Lord Narasimha which was consecrated by Prahlada. This has been a birthplace for many Vaishanvite Acharyas. There is a research center for spiritual learning and Sanskrit Academy in the sylvan setting of Melkote.
Large number of devotees throng Mandya district, on the previous night to witness the Procession of the Lord. The whole town of Mandya prepares for the event.
The preparation for the Brahmotsava starts well before 2 weeks. Actual celebrations take place for 13 days. Garudotsava is celebrated a day before the Brahmotsava at Melkote. The district administration of Mandya makes rigorous arrangements for bringing the Vairamudi crown from Mandya treasury to the temple amidst stringent security measures. It is believed that the crown must not be exposed to daylight. Hence it will be placed in a special casket. Under vigilance of Mandya police it arrives at the boundaries of the town. It is from here taken up to the temple with honors in a special palanquin. It reaches the temple by evening.
The crown is placed in front of sanctum of Sri Acharya Ramanuja and the head priest places the Vaira Mudi and fits it to the statue of the Lord Cheluva Narayana. It is tradition that even the head priest should not look at the Vaira Mudi in naked eyes till it is fitted to the Lord. Hence the priest covers his eyes with a silk cloth while fitting the crown.
This takes place in the night and then the Lord and his consorts are traditionally decorated and procession continues to the dawn of the next day. The quiet town of Melkote comes to life with the grandeur and majesty of the procession. Rajamudi, another crown studded with precious stones is adorned on the Lord on the next day of the Brahmotsava.
During the 13-day celebration, Kalyanotsava, Nagavalli Mahotsava will be held in the Holy Kalyani, followed by Maharatotsava.

Library and Sanskrit College:
The private library of his holiness the Yatirajaswamigalu of Melkote contains a large number of Sanskrit and Kannada works bearing on the Vishishtadvaita school of philosophy, a few works bearing on logic, rheotic, mathematics, astronomy, astrology, ritual, architecture, Panchatantra, Dharmashastras, Grihya and Dharmasutra. There is also a Sanskrit college here named Sri Veda Vedantha Bodhini Sanskrita Mahapatashala (Govt. Sanskrit College) which was established as early as in 1854 and which is one of the oldest institutions of its kind in the state. Melkote has contributed many literary figures like Pu Ti Narasimhachar, Tirumalaraya, Chikkupadhyaya and Devashikhamani AlasingacharJaggu Vakulabhooshana, Areyar Srinivasa Iyangar, Areyar Srirama Sharma...

Melkote Temple Wildlife Sanctuary:
Melkote is also the location of the Melkote Temple Wildlife Sanctuary. This Sanctuary was created on 17 June 1974, primarily to house wolves. Other mammals found in this sanctuary include the Jungle Cat, Leopard, Bonnet Macaque, Langur and Pangolin. It is also an ornithologist's paradise, with around 200 species of birds indigenous to the area. Also a walk early in the morning in the surrounding areas will guarantee peacock sightings. Melkote Temple Wildlife Sanctuary has been known for its once abundant Cycas Circinalis species,which in the recent time has been over exploited by the flower decorators and local doctors.

Tuesday 12 February 2013

Mithuna(erotic) Sculptures in Hoysalas Temple

Hoysaleswara Temple Halebidu
Hoysaleswara Temple Halebidu
 Lakshminarasimha Temple in Javagal
Basaralu mallikarjuna Temple
Basaralu mallikarjuna Temple
 Hoysaleswara Temple Halebidu 
 Hoysaleswara Temple Halebidu



Amrutheshwara Temple,Amruthapura

Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi
Tripurantaka Temple Balligavi

Monday 11 February 2013

Hoysala Empire


The Hoysala empire  was a prominent South Indian Kannadiga empire that ruled most of the modern day state of Karnataka between the 10th and the 14th centuries. The capital of the Hoysalas was initially located at Belur but was later moved to Halebidu.
The Hoysala rulers were originally from Malnad Karnataka, an elevated region in the Western Ghats range. In the 12th century, taking advantage of the internecine warfare between the then ruling Western Chalukyas and Kalachuri kingdoms, they annexed areas of present day Karnataka and the fertile areas north of the Kaveri River delta in present day Tamil Nadu. By the 13th century, they governed most of present-day Karnataka, minor parts of Tamil Nadu and parts of western Andhra Pradesh in Deccan India.
The Hoysala era was an important period in the development of art, architecture, and religion in South India. The empire is remembered today primarily for its temple architecture. Over a hundred surviving temples are scattered across Karnataka, including the well known Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. The Hoysala rulers also patronised the fine arts, encouraging literature to flourish in Kannada and Sanskrit.

Kannada folklore tells a tale of a young man Sala, who saved his Jain guru Sudatta by striking dead a tiger he encountered near the temple of the Goddess Vasantika at Sosevur. The word "strike" literally translates to "hoy" in Hale Kannada (Old Kannada), hence the name "Hoy-sala". This legend first appeared in the Belur inscription of Vishnuvardhana (1117), but owing to several inconsistencies in the Sala story it remains in the realm of folklore.The legend may have come into existence or gained popularity after King Vishnuvardhana's victory over the Cholas at Talakad as the Hoysala emblem depicts the fight between the mythical Sala and a tiger, the emblem of the Cholas.
Early inscriptions, dated 1078 and 1090, have implied that the Hoysalas were descendants of the Yadava by referring to the Yadava vamsa (clan) as Hoysala vamsa. But there are no early records directly linking the Hoysalas to the Yadavas of North India.
Historians refer to the founders of the dynasty as natives of Malnad Karnataka, based on numerous inscriptions calling them Maleparolganda or "Lord of the Male (hills) chiefs" (Malepas). This title in the Kannada language was proudly used by the Hoysala kings as their royal signature in their inscriptions. Literary sources from that time in Kannada (Jatakatilaka) and Sanskrit (Gadyakarnamrita) have also helped confirm they were natives of the region known today as Karnataka.
The first Hoysala family record is dated 950 and names Arekalla as the chieftain, followed by Maruga and Nripa Kama I (976). The next ruler, Munda (1006–1026), was succeeded by Nripa Kama II who held such titles as Permanadi that show an early alliance with the Western Ganga dynasty. From these modest beginnings, the Hoysala dynasty began its transformation into a strong subordinate of the Western Chalukyas.Through Vishnuvardhana's expansive military conquests, the Hoysalas achieved the status of a real kingdom for the first time. He wrested Gangavadi from the Cholas in 1116 and moved the capital from Belur to Halebidu.
Vishnuvardhana's ambition of creating an independent empire was fulfilled by his grandson Veera Ballala II, who freed the Hoysalas from subordination in 1187–1193. Thus the Hoysalas began as subordinates of the Western Chalukyas and gradually established their own empire in Karnataka with such strong Hoysala kings as Vishnuvardhana, Veera Ballala II and later Veera Ballala III. During this time, peninsular India saw a four way struggle for hegemony – Pandya, Kakatiya and Seuna Yadavas of Devagiri being the other kingdoms. Veera Ballala II defeated the aggressive Pandya when they invaded the Chola kingdom. He assumed the title "Establisher of the Chola Kingdom" (Cholarajyapratishtacharya), "Emperor of the south" (Dakshina Chakravarthi) and "Hoysala emperor" (Hoysala Chakravarthi). He founded the city of Bangalore according to Kannada folklore.
The Hoysalas extended their foothold in areas known today as Tamil Nadu around 1225, making the city of Kannanur Kuppam near Srirangam a provincial capital and giving them control over South Indian politics that began a period of Hoysala hegemony in the southern Deccan. Vira Narasimha II's son Vira Someshwara earned the honorific "uncle" (Mamadi) from the Pandyas and Cholas. The Hoysala influence spread over Pandya kingdom also.Toward the end of 13th century, Veera Ballala III recaptured territory in the Tamil country which had been lost to the Pandya uprising, thus uniting the northern and southern portions of the kingdom.Major political changes were taking place in the Deccan region in the early 14th century when significant areas of northern India were under Muslim rule. Alla-ud-din Khilji, the Sultan of Delhi, was determined to bring isolated South India under his domain and sent his commander, Malik Kafur, on a southern expedition to plunder the Seuna capital Devagiri in 1311. The Seuna empire was subjugated by 1318 and the Hoysala capital Halebidu (also called Dorasamudra or Dwarasamudra) was sacked twice, in 1311 and 1327.
By 1336, the Sultan had conquered the Pandyas of Madurai, the Kakatiyas of Warangal and the tiny kingdom of Kampili. The Hoysalas were the only remaining Hindu empire who resisted the invading armies.Veera Ballala III stationed himself at Tiruvannamalai and offered stiff resistance to invasions from the north and the Sultanate of Madurai to the south. Then, after nearly three decades of resistance, Veera Ballala III was killed at the battle of Madurai in 1343, and the sovereign territories of the Hoysala empire were merged with the areas administered by Harihara I in the Tungabhadra region.This new Hindu kingdom resisted the northern invasions and would later prosper and come to be known as the Vijayanagara Empire

Hoysala Kings (1026–1343)
Nripa Kama II(1026–1047)
Hoysala Vinayaditya(1047–1098)
Ereyanga(1098–1102)
Veera Ballala I(1102–1108)
Vishnuvardhana(1108–1152)
Narasimha I(1152–1173)
Veera Ballala II(1173–1220)
Vira Narasimha II(1220–1235)
Vira Someshwara(1235–1254)
Narasimha III(1254–1291)
Veera Ballala III(1292–1343)

Hoysala Architecture

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. Other examples of fine Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.

The vigorous temple building activity of the Hoysala Empire was due to the social, cultural and political events of the period. The stylistic transformation of the Karnata temple building tradition reflected religious trends popularized by the Vaishnava and Virashaiva philosophers as well as the growing military prowess of the Hoysala kings who desired to surpass their Western Chalukya overlords in artistic achievement. Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Chalukyan art but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. About one hundred temples have survived in present-day Karnataka state, mostly in the Malnad (hill) districts, the native home of the Hoysala kings.

As popular tourist destinations in Karnataka, Hoysala temples offer an opportunity for pilgrims and students of architecture to examine medieval Hindu architecture in the Karnata Dravida tradition. This tradition began in the 7th century under the patronage of the Chalukya dynasty of Badami, developed further under the Western Chalukyas of Basavakalyan in the 11th century and finally transformed into an independent style by the 12th century during the reign of the Hoysalas. Medieval Kannada language inscriptions displayed prominently at temple locations give details of the temples and offer information about the history of the Hoysala dynasty.

Hinduism 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 Lord Shiva or to Lord Vishnu (two of the major Hindu gods), but they occasionally chose a different deity. Worshippers of Shiva are called Shaivas or Lingayats and worshippers of Vishnu are called Vaishnavas. While King Vishnuvardhana and his descendants were Vaishnava by faith, records show that the Hoysalas maintained religious harmony by building as many temples dedicated to Shiva as they did to Vishnu.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 Halebidu dedicated to Shiva. The Kesava temple at Somanathapura is different in that its ornamentation is strictly Vaishnavan. 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. The most striking sculptural decorations are the horizontal rows of exquisitely detailed, intricately carved images of gods, goddesses and their attendants on the outer temple wall panels. The Doddagaddavalli Lakshmi Devi ("Goddess of Wealth") Temple is an exception as it is dedicated to neither 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. 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.

The two main deities found in Hoysala temple sculpture are Lord Shiva and Lord Vishnu in their various forms and avatars (incarnations). Shiva is usually shown with four arms holding a trident and a small drum among other emblems that symbolise objects worshiped independently of the divine image with which they are associated. 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 show him in action, such as slaying a demon or dancing on the head of an elephant. 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.

 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 these objects, 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. 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), 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), with Lakshmi seated on Garuda, and the eagle (stealing the parijata tree).

A Hindu temple is a place of contact between the gods or deities and man. 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 become increasingly 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.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

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, apart from giving a raised look to the temple, serves as a pradakshinapatha or "circumambulation path" for circumambulation around the temple, as the garbagriha (inner sanctum) provides no such feature.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 follows a star-shaped design and the walls of the temple follow a zig-zag pattern, a Hoysala innovation. A pair of small shrines, each with a deity and a miniature tower directly facing the entrance, could adorn either side of steps of the jagati. This would be repeated for all entrances leading to the jagati. Devotees can first complete a ritual circumambulation on the jagati 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. The Lakshmidevi temple at Doddagaddavalli has a minor shrine at each of the four corners of the walled temple complex in addition to five major shrines.

Architectural elements
1.Mantapa:
The mantapa is the hall where groups of people gather during prayers. The entrance to the mantapa normally has a highly ornate overhead lintel called a makaratorana (makara is an imaginary beast and torana is an overhead decoration). 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 have seating areas 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. The open mantapa is the largest part of the temple and is the place supporting larger congregations of people. The ceiling here is supported by numerous pillars that create many bays. The shape of the open mantapa is best described as staggered-square and is the style used in most Hoysala temples. 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. The Amruteswara temple in Chikmagalur district has forty-eight domes in the mahamantapa ("great open hall")

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. The closed 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 finely decorated ceilings. Pierced stone latticework screens placed between pillars to filter the light is a characteristic Hoysala stylistic element.
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 finely 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.
The outer and inner mantapa (open and closed) have circular lathe-turned pillars having four brackets at the top. Over each bracket stands sculptured figure(s) called salabhanjika or madanika. The pillars may also exhibit fine ornamental carvings on the surface and no two pillars are alike. This is how Hoysala art 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. The shaft of the pillar is a monolith with the base left as a square and with well-sculpted figures adorning the top.
2.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. 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. In temples with multiple shrines, all essential parts are duplicated for symmetry and balance. A temple's minor shrine usually has its own tower. There are cases where a temple is trikuta but has only one tower over the main shrine (in the middle). So the terminology trikuta may not be literally accurate. Smaller shrines attached to the outer walls and facing outward from a larger vimana are a common feature.
The highest point of the temple (kalasa) has the shape of a beautiful 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 a large, highly- sculptured structure resembling a dome which is made from large stones and looks like a helmet. 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 (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
Below the superstructure of the vimana are temple "eaves" 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".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
3.Sculpture
Hoysala artists are famous for their sculptural detail, be it in the depiction of the Hindu epics, yallis, deities, kirthimukha(gargoyles), eroticism or aspects of daily life. Their medium, the soft chlorite schist, enabled a virtuoso carving style. Their workmanship shows an attention paid to precise detail. Every aspect down to a fingernail or toenail is perfected.
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.They served the function of bracket figures to pillars inside the mantapa. These madanika were sculpted as seemingly engaged in artistic activities such as music (holding musical instruments) and dance. Kirthimukhas (demon faces) adorn the towers of vimanas in some temples. Sometimes the artists left behind their signatures on the sculptures they created.
The sthamba buttalikas are pillar images that show traces of Chola art in the 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 a fine example of Chola art.
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 country depicts the Ramayana and Mahabharata epics more effectively than the Hoysaleshwara temple at Halebidu.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. The temple doorway is heavily engraved with ornamentation called Makaratorana (makara being an imaginary beast) and each side of the doorway exhibits sculptured Salabhanjika (maidens).
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.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.

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. The Hoysala style is an offshoot of the Western Chalukya style, which was popular in the 10th and 11th centuries. It is distinctively Dravidian, and owing to its unique features, Hoysala architecture qualifies as an independent style. While the Hoysalas introduced innovative features into their architecture, they also borrowed features from the earlier great builders of Karnata like the Kadambas, Western Chalukyas. These features were the use of chloritic schist or soapstone as a basic building material, pierced stone window screens which were very popular in Hoysala temples, and the vimana which follows a stellate pattern. All these features were popular with their early overlords, the Western Chalukyas. Other features were the stepped style of vimana tower called the Kadamba shikhara, which was inherited from the Kadambas. Engrained in the craftsmanship of Hoysala sculptors was their knowledge of the effect of light and shade on carved walls, which they used to maximum effect in their sculptures in the numerous projections and recesses. The Hoysala sculpture in all its richness is said to be a challenge to photography. The artistry of the Hoysalas in stone has been compared to the finesse of an ivory worker or a goldsmith. The abundance of jewelry worn by the sculpted figures and the variety of hairstyles and headdresses depicted give a fair idea of the lifestyles of the Hoysala times

While the Hoysalas had the services of great architects and sculptors, some names stand out in their history. While medieval Indian artisans preferred to remain anonymous, Hoysala artisans signed their works, which has given researchers fascinating 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,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 were typically signed in shorthand as Malli or simply Ma. 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. 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, Malloja, Nadoja, Siddoja, Masanithamma, Chameya and Rameya. Artists from Tamil country included Pallavachari and Cholavachari


Lakshminarasimha temple Nuggehalli

Hoysaleswara temple Halebid


 Veera Narayana Temple Belavadi




 Lakshmi devi temple Doddagaddavalli

 Lakshminarasimha temple at Javagal




Kesava Temple at Haranahalli


Someshwara Temple Haranahalli


Sadashiva Temple Nuggehalli





Venugopalaswamy Temple, KRS


Mallikarjuna Temple Basaralu


Shivalaya Temple,Arsikere


 Keshava Temple,Somnathpur


Lakshmi Narayana Temple Hosaholalu


Brahmeshvara Temple,kikkeri


Panchalingeshwara,Govindanahalli