Misplaced Pages

Revision as of 16:16, 9 January 2007

Hoysala architecture is the distinctive building style that developed under the aegis of the Hoysala Empire in the state of Karnataka, India between the 11th century and 14th century. The Hoysalas dominated Southern Deccan while at their peak in the 13th century. The many temples built in this era, large and small are the notable relics of the architectural idiom. The most notable examples of their art are the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura, all in present-day Karnataka. Other examples of fine Hoysala workmanship are the temples at Belavadi, Amrithapura,Nuggehalli etc. One of the most popular tourist destinations in Karnataka, Hoysala temples offer an excellent opportunity to marvel at medieval Hindu architecture in the Karnata Dravida tradition for pilgrims and students of architecture alike. Medieval Kannada language inscriptions displayed prominently at most temple locations give details of the temple and valuable information to the student about the of history of the powerful Hoysala dynasty.

Dedication

The Hoysalas built temples as dedication to either Lord Shiva or Lord Vishnu, occasionally choosing a different deity. The followers of Shiva are called Shaivas or Lingayats and the followers of Vishnu are called Vaishnavas. While King Vishnuvardhana and his followers were Vaishnava by faith, records indicate the Hoysalas built as many temples dedicated to Shiva as they did for Vishnu, maintaining religious harmony. Most of these temples are however secular with broad themes depicted in their sculptures. Examples of each type are the famous Chennakeshava temple at Belur, dedicated to Vishnu and the Hoysaleswara temple at Halebidu, dedicated to Shiva. The Keshava temple at Somanathapura temple is however different in that it is strictly Vaishnava. Most of the Vaishnava temples are dedicated to Keshava or Chennakeshava (Beautiful Vishnu) and some to Lakshminarayana and Lakshminarasimha with Lakshmi, consort of Vishnu seated at his feet. The Shaiva temples have a Shiva linga, the universal symbol of Shiva in the shrine. The names of Shiva temples end with the suffix eshwara meaning Lord of. The Doddagaddavalli Lakshmi Devi temple is an exception which neither deifies Vishnu nor Shiva. The Hoysalas also built some Jain temples, a few have survived in Halebidu.

Basic elements of Hoysala architecture

Hoysala temples have many parts that are always connected together to form a whole. This is one main difference with temples of Tamil country where different parts of a temple stand independently. All Hoysala temples have a strong resemblance to each other, even though they may look unique. The temples are made of a very soft soapstone (Chloritic schist), a material that is favourable to intricate carving and exhibit several architectural features that set them apart from other temple architectures of South India. What looks complicated to a casual onlooker though is the profusion of sculpture that decorates all parts of the temple.

The temples often have a covered entrance porch which are rather plain but supported by lathe turned (circular or bell shaped) pillars. Many temples have a stepped entrance onto the jagati (platform) with an additional set of steps leading to a mantapa (hall) which is open (with only parapet walls) unless the temple is small where only a closed mantapa exists (walls extending all the way to the ceiling). Devotees can first complete a ritual circumambulation on the jagati walking in clockwise direction before entering the mantapa, the sculptural depictions of the hindu epics afollows a clockwise direction as well. The height of the jagati is at least a meter. Temples that are not built on a jagati have steps with parapets (decorated with an elephant on either side) leading to the mantapa from ground level. The open mantapa have seating areas made of stone with the parapet wall of the mantapa acting as back rest. The seats may follow the staggered-square shape of the parapet wall. The entrance to the mantapa normally have a highly ornate overhead decoration called makaratorana. In temples that have two shrines (dvikuta), the vimana (shrine or cella) may be placed next to each other or opposite to each other. The Lakshmidevi temple at Doddagaddavalli has minor shrines at the four corners of the walled temple complex in addition to five major shrines. Most temples exhibit minor shrines with their own tower. Pillars and wall sculptures are most attractive features of Hoysala temples.

Jagati

Many Hoysala Temples were normally built upon a raised platform called jagati. The jagati apart from giving a raised look to the temple serves as a Pradakshinapatha for circumambulation around the temple as the garbagriha (inner sanctum) provides no such feature. Some temples however do not exhibit the raised platform, like the Bucheshwara temple in Korvangla, Hassan District. The jagati which is in unity with the rest of the temple follows a star-shape design and the walls of the temple follow a zig-zag pattern, a Hoysala innovation.

Mandapa

The mandapa is the hall where small groups of people gather during prayers. Closed mantapa which is well decorated inside and outside is larger than the vestibule that connects the shrine and the mantapa and have 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 ceilings which are also well decorated. The open mantapa is the largest part of the temple and is the place that can support 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 hall has 13 bays. The walls have parapets that have half pillars supporting the outer ends of the roof allowing plenty of light entry 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 contain sculputral depictions of banana bud motifs and other such decorations. The Amritheswara temple in Chikmagalur district has forty eight domes in the mahamantapa (great open hall). A porch adorns the entrance to a closed mantapa consisting of an awning supported by two half pillars and two parapets all of which are richly decorated. The mantapa is connected to the shrine(s) by a vestibule. It is a square area that connects the shrines also. Its outer walls are well decorated but because 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.

Vimana

The vimana is also called the cella and contains the shrine. The vimana often bears a tower on top which are quite different outside and inside. Inside the cella is plain and square while outside it is profusely decorated. The outside of the vimana is either star shaped or staggered square or a star-square design and exude many projections and recesses making it multigonal. Each projection and recess has a complete decorative articulation, rhythmic and repetitive comprising of of blocks and mouldings. Depending on the number of shrines (and hence 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. 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 true. Smaller shrines attached to the outer walls and facing outwards from a larger vimana is a common feature.

The highest point of the temple is called kalasa, has the shape of a beautiful water pot and stands on top of the tower. Often due to age, this portion of the vimana is lost and replaced with a metallic pinnacle. Below the kalasa is a large highly sculptured dome like structure which is actually 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 many more domed roofs of square plan all of them much smaller and crowned with small kalasas. They are mixed with other small roofs of different shapes and are finely decorated. The tower of the shrine mostly has 3 or 4 tiers of these 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 ("nose"). One tier of decorated roof runs on top of the wall of a closed mantapa, above the heavy eaves of an open mantapa and above porches.

Pillars

The outer and inner mantapa (open and closed) have numerous circular lathe turned pillars which have four brackets at the top. Atop each bracket stands sculptured figure(s) called salabhanjika or madanika. The pillars exibit fine ornamental carvings as well on the surface and no two pillars are alike. This is where Hoysala art is different from the work of their early overlords, the Western Chalukyas who added sculptural details to the circular pillar base and let the top be plain. The lathe turned pillars are either 16, 32 or 64 pointed, some are bell shaped and have light reflection properties. The Parsvanatha Basadi at Halebidu is a good example. The shaft of the pillar is a monolith with the base left as a square while beautifully sculptured figures adorn the top of the pillar.

Sculpture

Hoysala artists are famous for their sculptural detail, be it the depiction of the Hindu epics, deities, eroticism or daily life. Their workmanship shows a weakness for minutiae and attention to detail. Everything down to the finger nail or toe nail was finished to detail.

Madanika or salabhanjika, a common form of Hoysala sculpture are an old Indian tradition going back to Buddhist sculpture. Sala is the Sala tree and bhanjika the chaste maiden. In the Hoysala idiom, madanika figures are decorative objects, put at an angle on the outer walls of the temples near the roof so worshipers who circumambulate the temple could view them. They served the purpose of bracket figures to pillars inside the mantapa also. These madanika were sculpted to exhibit artistic skills such as music (holding musical instruments) and dance. Kirthimukhas (demon faces) adorn the towers of vimana in some temples. Sometimes, the artists left behind their signature on the sculpture they created.

The sthamba buttalikas are essentially pillar images and are in fact traces of Chola art in Hoysala temples bearing Chalukyan touches. It is believed that some of the artists working for the Hoysalas may have been from Chola country. The image of mohini on one of the pillars in the mantapa (closed hall) of the Chennakeshava temple is a fine specimen of Chola art.

Broad themes of life are depicted on wall panels. The way the horses were reined, the type of stirrup used, the depiction of dancers, musicians, instrumentalists, rows of animals like lions, elephants and such (where no two animals are identical) are standard features. Perhaps no other temple in the country depicts the epics Ramayana and Mahabharata 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 and are generally miniature in form making them inconspicuous. Many of the erotic representations are associated with the Shakta practice. The temple doorway is heavily engraved with decoration called Makaratorana (makara or imaginary beast) and either side of the doorway exhibit sculptured Salabanjika (maidens).

Below the superstructure of the vimana run "eaves" all round the temple. It projects about half a meter from the wall. Below the eaves two different decorative schemes are found depending on whether the temples were built in early or later period of the empire. In the early temples built prior to the 13th century, there is one eaves and below this are decorative miniature towers. A panel of Hindu deities and their attendants are below this eaves followed by a set of five different mouldings forming the base of the wall. In the later temples, there is a second eaves running about a meter 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 broadly is called "horizontal treatment". The six mouldings of the base is divided into two sections. Going from the very base of the wall, the first horizontal layer contains procession of elephants, above which are a horsemen and then a band of foliage. The second horizontal section has depictions from the Hindu epics and puranic scenes executed with detail. Above this are two friezes of yalis (or makara, an imaginary beast) and hamsas (swans). The vimana (tower) is divided into three horizontal sections and is even more ornate than the walls.

Depiction of Deities

The most striking sculptural decoration of Hoysala architecture is the horizontal row of outer wall panel images of Gods, Goddesses and their attendants. The two main types of deities found in Hoysala sculpture are Lord Shiva and Lord Vishnu in various forms and avatars. Shiva is normally depicted with four arms holding among other things, a trident and a small drum. Any male icon seen with this depiction is Shiva and even a female icon is sometimes seen with these attributes and considered Shiva's consort, Parvathi. Various depictions of Lord Shiva include him dancing, slaying a demon, with his consort Parvati, with Nandi the bull or dancing on the head of an elephant or Bhairava, another of Shiva's many manifestations.

If any male icon is depicted holding a conch and a wheel, it is Vishnu. If a female icon is with these attributes, it is considered his consort Lakshmi. In all, Vishnu is depicted with four attributes, conch, wheel, lotus and mace. These attributes can be in any of the hands making possible twenty four different icon types and forms of Visnu each with an unique name. Apart from these, Vishnu is depicted in any of his ten avataras which include, Vishnu with Anantha (sitting on a coil of snake), Lakshminarayana (with Lakshmi seated on his lap), Lakshminarasimha (with the head of a lion), Narasimha (disemboweling a demon on his lap), Varaha (with head of a boar walking over a demon), Krishna (playing a flute as Venugopala, dancing on a head Kaliya snake, lifting a mountain as Govardhana), Vamana (Vishnu with his feet over head of a small figure), Vishnu with Lakshmi seated on Garuda, the eagle (stealing the parijata tree).

Apart from these sculptures, entire sequences from Ramayana an Mahabharata are common, sculptured in clockwise direction. These sequences go right to left, in the direction of circumambulation by devotees. Depictions from mythology like that of Arjuna shooting fish, the elephant headed God Ganesha, Surya the sun God, Indra, Brahma with Sarasvati are also common. Apart from these, Durga with several arms holding weapons given to her by many Gods and killing a buffalo (a demon in a buffalo's form) and Harihara (fusion Shiva and Vishnu) holding a conch, wheel and trident is seen in some temples.

Research notes

Of the 1500 structures said to have been built by the Hoysalas, about a hundred temples have survived to date. The Hoysala style in many ways is an offshoot of the Western Chalukya style. It is distinctively Dravidian and owing to its many unique features, Hoysala architecture qualifies as an independent style. While the Hoysalas introduced many innovative features into their architecture they also borrowed many features from the earlier great builders of Karnataka like the Kadambas, Western Chalukyas. These features were the use of Chloritic schist or Soapstone as basic building material, pierced window screens which were very popular in Hoysala temples, and the vimana which follows a star shaped pattern. All these features were very 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 art of the Hoysalas on stone is compared to the finesse of an ivory worker or a goldsmith. The abundance of jewelry worn by the sculpted figures, the variety of hairstyles and head dresses depicted gives a fair idea of the social life styles of the Hoysala times.

Famous architects

While the Hoysalas had the services of many great architects and sculptors, some names stand out in their history. While medieval Indian artists preferred to remain anonymous, Hoysala artists proudly signing their works, which has given researchers fascinating details of their lives, family, guild etc. Apart from the architects and sculptors, people of other guilds like goldsmiths, ivory carvers, carpenters, silversmiths have also contributed their bit to the completion of temples. The artists were from diverse geographical backgrounds including famous locals. Famous local architects were Amarashilpi Jakanachari, a native of Kaidala in Tumkur district who built temples for the Western Chalukyas as well, Ruvari Malithamma who built the Kesava temple at Somanathapura and worked on forty other monuments including the Amriteshwara temple at Amritapura. His expertise was in ornamentation in a contribution spanning six decades, his sculptures usually signed in shorthand as Malli or just 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, and artists from Balligavi in Shimoga district were Malloja, Nadoja, Siddoja. Other locals were Masanithamma, Chameya, Rameya and artists from Tamil country included Pallavachari, Cholavachari etc.

Famous temples

Template:Famous Hoysala temples

See also

Indian Architecture
Hoysala
Amarashilpi Jakanachari
Badami Chalukya Architecture

Notes

1. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC, (Reprinted 2002), p132
2. Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p19
3. S. Settar. "Hoysala Heritage". Frontline, Volume 20 - Issue 08, April 12 - 25, 2003. Frontline, From the publishers of the Hindu. Retrieved 2006-11-13.
4. Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p21
5. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p136
6. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p135
7. The Hoysaleswara shrine and Shantaleswara shrine in the Hoysaleswara temple in Halebidu is an example, Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p59
8. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p135
9. According to Gerard Foekema, A Complete Guide To Hoysala Temples, p25
10. Arthikaje, Mangalore. "History of Karnataka-Religion, Literature, Art and Architecture in Hoysala Empire". © 1998-00 OurKarnataka.Com, Inc. Retrieved 2006-11-13.
11. A bay is a square or rectangular compartment in the hall, Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p93
12. This is also called "cross-in-square" style and is not a square, Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p22
13. U.B Githa. "Here, the past unfolds itself in all its glory & might -Hoyasala architecture in Somanathapura". Deccan Herald, Tuesday, May 11, 2004. Chitralakshana. Retrieved 2006-11-13.
14. It is called "nose" because it looks like an extension of the main tower, Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p22
15. Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p21
16. Sometimes a trikuta may not literally mean three towers as only the central shrine has a tower, Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p25
17. Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p27
18. This is a common feature of Western Chalukya-Hoysala temples, Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p117
19. 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, Nilakanta Sastri, K.A. (1955), A History of South India, From Prehistoric times to fall of Vijayanagar, OUP, (Reprinted 2002), p429
20. Arthikaje. "Architecture in Hoysala Empire". 1998-2000 OurKarnataka.Com,Inc. Retrieved 2006-12-28.
21. S. Settar. "Hoysala Heritage". Frontline, Volume 20 - Issue 08, April 12 - 25, 2003. Frontline, From the publishers of the Hindu. Retrieved 2006-11-13.
22. S. Settar. "Hoysala Heritage". Frontline, Volume 20 - Issue 08, April 12 - 25, 2003. Frontline, From the publishers of the Hindu. Retrieved 2006-11-13.
23. The epic frieze is the most exciting feature of their sculptures, Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p29
24. S.Settar. "Hoysala Heritage". Frontline, Volume 20 - Issue 08, April 12 - 25, 2003. Frontline, From the publishers of the Hindu. Retrieved 2006-11-13.
25. An eaves is a projecting roof, overhanging the wall, Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p93
26. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p134
27. Art critic Percy Brown calls this one of the distinguishing features of Hoysala art, Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p134,
28. Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p31
29. Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p32
30. Gerard Foekema, A Complete Guide To Hoysala Temples, 1996, Abhinav, p29
31. Around 1,500 temples in 958 centres were built, according to historical records, during the Hoysala period - between 1000-1346 CE. S.Settar. "Hoysala Heritage". Frontline, Volume 20 - Issue 08, April 12 - 25, 2003. Frontline, From the publishers of the Hindu. Retrieved 2006-11-13.
32. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p134
33. James Fergusson and Henry Cousens also opine the Hoysala style has many features in common to Western Chalukya style, Arthikaje, Mangalore. "History of Karnataka-Religion, Literature, Art and Architecture in Hoysala Empire". © 1998-00 OurKarnataka.Com, Inc. Retrieved 2006-11-13.
34. According to art critic Percy Brown, Hoysala architecture and sculpture is a phenomenal effort of human concentration, skill and religious consciousness, Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p134
35. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p136
36. The Western Chalukya carvings were done on green schist (Soapstone), a technique adopted by the Hoysalas too.Takeyo Kamiya. "Architecture of the Indian Subcontinent, 1996". Architecture Autonomous , Bardez, Goa, India. Gerard da Cunha. Retrieved 2006-11-13. {{cite web}}: line feed character in |work= at position 24 (help)
37. This is very commonly found in earlier Western Chalukya temples also, Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p116
38. The Western Chalukya architecture has a star-shaped plan for the vimana. The Doddabasappa temple in Dambal has so many star points that it almost looks circular, Takeyo Kamiya. "Architecture of the Indian Subcontinent, 1996". Architecture Autonomous , Bardez, Goa, India. Gerard da Cunha. Retrieved 2006-11-13. {{cite web}}: line feed character in |work= at position 24 (help)
39. Early Hoysala temples such as the Lakshmidevi temple at Doddagaddavalli in Hassan district have three undecorated stepped towers and one decorated tower in a chatushkuta construction (four shrined). The most prominent feature of the Kadamba architecture, basic as it was, is their Shikhara called Kadamba Shikhara. The Shikhara is pyramid shaped and rises in steps without any decoration with a stupika or kalasha at the top, Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p38
40. S.Settar. "Hoysala Heritage". Frontline, Volume 20 - Issue 08, April 12 - 25, 2003. Frontline, From the publishers of the Hindu. Retrieved 2006-11-13.
41. Nilakanta Sastri, K.A. (1955), A History of South India, From Prehistoric times to fall of Vijayanagar, OUP, (Reprinted 2002), p429
42. Srinidhi Raghavendra. "In need of support". Deccan Herald, Spectrum, Tuesday, August 9, 2005. Deccan Herald. Retrieved 2006-11-13.
43. U.B Githa. "Here, the past unfolds itself in all its glory & might -Hoyasala architecture in Somanathapura". Deccan Herald, Tuesday, May 11, 2004. Chitralakshana. Retrieved 2006-11-13.
44. B.P. Premkumar. "Architectural marvel". Spectrum, Deccan Herald, Tuesday, January 20, 2004. Deccan Herald. Retrieved 2006-11-13.
45. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p135
46. Nilakanta Sastri, K.A. (1955), A History of South India, From Prehistoric times to fall of Vijayanagar, OUP, (Reprinted 2002), p299
47. Suryanath U. Kamath, A Concise History of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC,(Reprinted 2002), p135
48. Raghavendra Chandragutti. "A glimpse of the lost grandeur". Spectrum, Deccan Herald, Tuesday, January 25, 2005. Deccan Herald. Retrieved 2006-11-13.
49. U.B Githa. "Here, the past unfolds itself in all its glory & might -Hoyasala architecture in Somanathapura". Deccan Herald, Tuesday, May 11, 2004. Chitralakshana. Retrieved 2006-11-13.

References

• Indian architecture
• Architectural styles
• History of Karnataka
• Architecture of Karnataka