( wikipedia ).............
The Lakshminarayana Temple is located in Hosaholalu, a small town in the Mandya district of Karnataka state, India. It was built by King Vira Someshwara of the Hoysala Empire in 1250 C.E. The dating of the temple is based on the style of the sculptures and architecture that compares closely with the contemporary Hoysala monuments at Javagalu, Nuggehalli and Somanathapura. The town of Hosaholalu is about 60 kilometres (37 mi) from Hassan and 45 kilometres (28 mi) from the heritage city of Mysore, the cultural capital of Karnataka state
The Lakshminarayana Temple is located in Hosaholalu, a small town in the Mandya district of Karnataka state, India. It was built by King Vira Someshwara of the Hoysala Empire in 1250 C.E. The dating of the temple is based on the style of the sculptures and architecture that compares closely with the contemporary Hoysala monuments at Javagalu, Nuggehalli and Somanathapura. The town of Hosaholalu is about 60 kilometres (37 mi) from Hassan and 45 kilometres (28 mi) from the heritage city of Mysore, the cultural capital of Karnataka state
The temple is an splendid example of a trikuta vimana (three shrined) temple though only the central shrine exhibits a tower (superstructure or Sikhara) on top. The lateral shrines are square in construction with five projections and no special features. The central shrine is well decorated and its tower has a sukanasi (called "nose") which is actually a lower tower over the vestibule that connects the shrine (cella containing the image of the deity) to the hall (mantapa). The sukanasi looks like an extension of the main tower over the central shrine The material used for the temple construction is chloritic schist, more commonly known as Soapstone The temple is built on a jagati (platform), a Hoysala innovation that elevates the temple by about a metre.[According to art critic Gerard Foekema, the temple as a whole exhibits the "new style" and belongs to the 2nd phase of Hoysala building activity (13th century), with two sets of eaves, and six moldings at the base of the outer wall. The first eave is located where the superstructure meets the temple outer wall and the second eave runs around the temple and about a metre below the first eave. In between the two eaves are decorative miniature towers on pilasters (called Aedicule), with sculptured wall images of Hindu deities and their attendants below the second eave. Being a Vaishnava temple (a Hindu sect), most of the images represent some form of Hindu god Vishnu, his consort and his attendants. There are a hundred and twenty such images. In all there are twenty four sculptures of Vishnu standing upright holding in his four arms the four attributes, a conch, a wheel, a lotus and a mace in all possible permutations. Below the panel of deities is the base of the wall consisting of six decorative rectangular moldings of equal width which run all around the temple.
The six horizontal mouldings are intricately sculptured and are called friezes.Seen from top to bottom; the first frieze depicts birds (hansa), the second depicts aquatic monsters (makara), the third frieze has depictions of Hindu epics and other mythological and puranic stories narrated in the clockwise direction (direction of devotee circumabulation), the fourth frieze has leafy scrolls, the fifth and sixth friezes have a procession of horses and elephants respectively. In the frieze that depicts the epics, the Ramayana starts from the western corner of the southern shrine and the Mahabharata starts from the northern side of the central shrine vividly illustrating the demise of many heroes of the famous war between Pandavas and Kauravas.
The interior of the temple consists of a closed hall (mantapa) of modest size with four polished lathe turned pillars supporting the roof. The four central pillars divide the hall into nine equal "bays" (compartments) and nine decorated ceilings. The sanctum of the three shrines contain the images of Venugopala, Narayana in the middle and Lakshminarasimha; all forms (Avatar) of Vishnu
(Templesofkarnataka.com)...........
The temple of Sri.Lakshmi Narayana at Hosaholalu is another master piece of Hoysala art. The temple is situated at a distance of 2 kms from the taluk head quarters of Krishna Raja Pete in Mandya District.
This temple is a Trikutachala and is facing East direction. The temple complex houses Sri.Lakshmi Narayana facing East, Sri.Venu Gopala Swamy facing North and Sri.Lakshmi Narasimha facing South direction.
There is a structural addition to the main entrance built during the Vijayanagara times and one can easily identify the structure which are similar to Dravidian style of construction. The Garuda Khamba is missing or not present and it needs to be either rebuilt.
The moment one enters the temple, one can find fine carvings on the pillar at the entrance, with 16 corners, 32 corners and 64 corners respectively, the first four pillars are star shaped and the remaining four pillars in the Navaranga are bell shaped with extra ordinary carvings on them.
As we go around the Navaranga, one can find an intrinsic work executed in the roof and enjoy the beauty of the same, each roof top is different from the other and posses unique design and locking mechanism such as single washer, double washer, hexagonal nut, etc.,
As we enter the temple from East, one can spot the Ganesh idol being carved and housed between the Sri.Venu Gopala Swamy and Sri.Lakshmi Narayana, the intent of this is to have a look at Ganesha at the first instance and then proceed towards watching Venu Gopala.
The original Venu Gopala Swamy has been restored at Kanamabadi, but recently during 1950's a new image was sculpted and restored here. One can see the small idol of the original image on the door way of the same.
The Lakshmi Narayana idol is very beautiful and one can observe the Dashavathara being sculpted in the Prabhavali. The idol itself is very cute and attracts ones attention by the delicate work executed. On the entrance of the Garbhagirha, one can find the Dwarapalakas, who are standing with greater details of the ornaments and clothes they are wearing. Also they are housed in a mantapa which is decorated with Nagara, Dravida, Kalinga, Vesera and Bhumija style of Gopuras or Vimanas.
Also, one can find the fine lace work or embroidery work being executed on the entrance of the Garbha griha. A small idol representing Vishnu has been identified on the roof top as well.
After we proceed from Lakshmi Narayana, one can spot the Parvathi idol in the form of Mahishasura Mardini and the craftsmenship is at its peak. One can clearly find the rib cage of Mahishasura being crushed due to the extreme pressure exerted from the foot of Mahishasura Mardhini.
The Lakshmi Narasimha idol is beautifully carved and Sri.Lakshmi is seated on the left thigh of Sri.Narasimha.
After having a view of the temple from inside, one has to see the very minute information present on the pillars and the roof. With a keen sight, one can find Sri.Anajeneya Swamy drinking Coconut water on the Right Hand side pillar before the entrance of Sri.Lakshmi Narayana Garbhagirha. The carving is so small and it can be covered with a thumb.
While coming out of the temple one really feels the workmanship executed on the pillars especially and each pillar is having unique design, also to the surprise, there is one masterpiece which is executed on the pillar with 64 corners, one can insert a small pin behind the corners and also on the top of it, one can see the intricate design work being executed and the hollow behind the work is simply amazing.
As one walks out with so much detailing present every where, you will be really excited to take a walk along the Pradakshin patha on the pedestal.
The whole Pradakshina Patha is covered with intense details of Bhagavatha, Ramayana & Mahabharatha in great depths on the railings. The images of Vishnu, Lakshmi, Parvathi, Shiva, Brahma, Ganapathi, etc., along with other dieties can be found across the temple.
This is one place where great details regarding the Ramayana and Mahabharatha epics are present. One can find a similar work executed at Amrithapura and Halebeedu, but they appear to be incomplete and some of the scenes appears to be missing. It really takes you by surprise as you understand each scene and thorough understanding of these epics is not required as the picture by themselves are self explanatory.
The Samudra Manthana image is very intact and it is well preserved, else where at Hoyasaleshwara temple and Kedareshewara temple at Halebeedu has been partially ruined.
Although the temple complex is small, one can get greater details as one zooms in. The Astha Bhuja Lakshmi is a very rare occurance, Mandakini who is completely dressed is also a rare occurance which can be observed at this temple.
This temple is a Trikutachala and is facing East direction. The temple complex houses Sri.Lakshmi Narayana facing East, Sri.Venu Gopala Swamy facing North and Sri.Lakshmi Narasimha facing South direction.
There is a structural addition to the main entrance built during the Vijayanagara times and one can easily identify the structure which are similar to Dravidian style of construction. The Garuda Khamba is missing or not present and it needs to be either rebuilt.
The moment one enters the temple, one can find fine carvings on the pillar at the entrance, with 16 corners, 32 corners and 64 corners respectively, the first four pillars are star shaped and the remaining four pillars in the Navaranga are bell shaped with extra ordinary carvings on them.
As we go around the Navaranga, one can find an intrinsic work executed in the roof and enjoy the beauty of the same, each roof top is different from the other and posses unique design and locking mechanism such as single washer, double washer, hexagonal nut, etc.,
As we enter the temple from East, one can spot the Ganesh idol being carved and housed between the Sri.Venu Gopala Swamy and Sri.Lakshmi Narayana, the intent of this is to have a look at Ganesha at the first instance and then proceed towards watching Venu Gopala.
The original Venu Gopala Swamy has been restored at Kanamabadi, but recently during 1950's a new image was sculpted and restored here. One can see the small idol of the original image on the door way of the same.
The Lakshmi Narayana idol is very beautiful and one can observe the Dashavathara being sculpted in the Prabhavali. The idol itself is very cute and attracts ones attention by the delicate work executed. On the entrance of the Garbhagirha, one can find the Dwarapalakas, who are standing with greater details of the ornaments and clothes they are wearing. Also they are housed in a mantapa which is decorated with Nagara, Dravida, Kalinga, Vesera and Bhumija style of Gopuras or Vimanas.
Also, one can find the fine lace work or embroidery work being executed on the entrance of the Garbha griha. A small idol representing Vishnu has been identified on the roof top as well.
After we proceed from Lakshmi Narayana, one can spot the Parvathi idol in the form of Mahishasura Mardini and the craftsmenship is at its peak. One can clearly find the rib cage of Mahishasura being crushed due to the extreme pressure exerted from the foot of Mahishasura Mardhini.
The Lakshmi Narasimha idol is beautifully carved and Sri.Lakshmi is seated on the left thigh of Sri.Narasimha.
After having a view of the temple from inside, one has to see the very minute information present on the pillars and the roof. With a keen sight, one can find Sri.Anajeneya Swamy drinking Coconut water on the Right Hand side pillar before the entrance of Sri.Lakshmi Narayana Garbhagirha. The carving is so small and it can be covered with a thumb.
While coming out of the temple one really feels the workmanship executed on the pillars especially and each pillar is having unique design, also to the surprise, there is one masterpiece which is executed on the pillar with 64 corners, one can insert a small pin behind the corners and also on the top of it, one can see the intricate design work being executed and the hollow behind the work is simply amazing.
As one walks out with so much detailing present every where, you will be really excited to take a walk along the Pradakshin patha on the pedestal.
The whole Pradakshina Patha is covered with intense details of Bhagavatha, Ramayana & Mahabharatha in great depths on the railings. The images of Vishnu, Lakshmi, Parvathi, Shiva, Brahma, Ganapathi, etc., along with other dieties can be found across the temple.
This is one place where great details regarding the Ramayana and Mahabharatha epics are present. One can find a similar work executed at Amrithapura and Halebeedu, but they appear to be incomplete and some of the scenes appears to be missing. It really takes you by surprise as you understand each scene and thorough understanding of these epics is not required as the picture by themselves are self explanatory.
The Samudra Manthana image is very intact and it is well preserved, else where at Hoyasaleshwara temple and Kedareshewara temple at Halebeedu has been partially ruined.
Although the temple complex is small, one can get greater details as one zooms in. The Astha Bhuja Lakshmi is a very rare occurance, Mandakini who is completely dressed is also a rare occurance which can be observed at this temple.
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