hoysala architecture - classic example with somnathpura temple

8/18/2019 Hoysala Architecture - Classic Example With Somnathpura Temple

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4/2/2016 Hoysala architecture - Wikipedia, the free encyclopedia

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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

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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


9/15



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


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


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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Wikimedia Commons has

media related to

Architecture of the Hoysala

Empire.

Architecture of Karnataka

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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(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"

https://en.wikipedia.org/w/index.php?title=Hoysala_architecture&oldid=712594648https://en.wikipedia.org/wiki/Dravidian_architecturehttps://en.wikipedia.org/wiki/Church_architecturehttps://en.wikipedia.org/wiki/Gothic_Revival_architecturehttps://en.wikipedia.org/wiki/Bangalorehttps://en.wikipedia.org/wiki/Bidarhttps://en.wikipedia.org/wiki/Sikhhttps://en.wikipedia.org/wiki/Bylakuppehttps://en.wikipedia.org/wiki/Tibetan_architecturehttps://en.wikipedia.org/wiki/Tibetan_Culturehttps://en.wikipedia.org/wiki/Viharahttps://en.wikipedia.org/wiki/Buddhisthttps://en.wikipedia.org/wiki/Tippu_Sultanhttps://en.wikipedia.org/wiki/Muslimhttps://en.wikipedia.org/wiki/Indo-Sarcenichttps://en.wikipedia.org/wiki/Gothic_architecturehttps://en.wikipedia.org/wiki/Rajputhttps://en.wikipedia.org/wiki/Muslimhttps://en.wikipedia.org/wiki/Hinduhttps://en.wikipedia.org/wiki/Kingdom_of_Mysorehttps://en.wikipedia.org/wiki/Keladi_Nayakahttps://en.wikipedia.org/wiki/Bijapur_Sultanatehttps://en.wikipedia.org/wiki/Islamichttps://en.wikipedia.org/wiki/Vijayanagar_Empirehttps://en.wikipedia.org/wiki/Vijayanagara_architecturehttps://en.wikipedia.org/wiki/Hoysala_Empirehttps://en.wikipedia.org/wiki/Gadaghttps://en.wikipedia.org/wiki/Western_Chalukya_architecturehttps://en.wikipedia.org/wiki/Rashtrakutashttps://en.wikipedia.org/wiki/Dravidian_architecturehttps://en.wikipedia.org/wiki/Vesarahttps://en.wikipedia.org/wiki/Badami_Chalukya_architecturehttps://en.wikipedia.org/wiki/Western_Ganga_Dynastyhttps://en.wikipedia.org/wiki/Dravidian_architecturehttps://en.wikipedia.org/wiki/Kadamba_architecturehttps://en.wikipedia.org/wiki/Architecture_of_Karnatakahttps://en.wikipedia.org/wiki/File:GBerunda.JPG


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Categories: Indian architectural styles Hoysala Empire Indian architectural history


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hoysala architecture - classic example with somnathpura temple

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