HOYSALA TEMPLE ARCHITECTURE AND GRANDEUR

Kesava Temple (1268 A.D), Somanathapura, Tirumakudlu-Narasipura Taluk, Mysore District.

2010-08-26T14:40:00.013+05:30

A typical tourist spot visited by locals and international tourists alike, Somanathapura is a small village, situated about 40 kms from Mysore on the banks of Cauvery. It’s a symbol of our glorious past. In fact, the Department of Tourism welcomes you to Somanathapura with a note to enjoy the glory of Hoysala architecture and beauty of the frescoes. This is rather intriguing as the belief goes that there are no paintings done in the fresco technique in India, making us wonder whether they could be murals. However, there is no scope to get more insights about it here, as the State library, which usually throws light on such matters, remains closed during most part of the day!

One cannot help but be amazed at the grandeur on seeing the magnificent Kesava temple here. It is a magnificent structure that has survived the onslaught of medieval and modern vandalism ever since it was built in 1268 AD by Somadandanayaka, a general during the reign of Nara-simha III. Known for its prosperity during the heydays, the town was named after the same general. Somanathapura is the last of the ornate agrahara settlements of the Hoysalas.

Like all Hoysala temples, the Kesava temple is also a treat to the eye, which the artisans of subsequent dynasties could not, probably, better any further. The Hoysala art is a translation of the artist’s expression of gay abandonment, enhanced by the ingenuity of the Hoysala Chalukyan artists. It is said that even the great Cholas could not get their artists to produce works with the same effervescence.

The affluence of the age is testified by the people and activities portrayed in the sculptures. Members of the royal family riding in richly-decorated chariots, soldiers and commoners commuting in horse, elephant, and camel-drawn vehicles, gods and goddesses entertained by dancers and musicians, hunters armed with bows and arrows heading towards the forest along with dogs are all portrayed through the sculptures.

Also seen on this lithic canvas are palaces of kings and houses of noblemen protected by armed guards, besides jewellery (intricately-carved necklaces, pendants, waistbands, and rings) and hairstyles sported by dancers during olden days. The paintings depict the epics of Ramayana, Bhagavata, and Mahabharata.

The legends appear on the outer walls of the triple-shrined temple. It is built on a stellate jagathi, typical of Hoysala architecture. The jagathi also serves as a path for the devotees to take a pradakshina of the deities installed in the sanctum. At the entrance guarding the sanctum are the dwarapalakas. Though the original image of Kesava is missing in the main shrine, it is compensated by two other charming deities - Janardhana and Venugopala - in the sub shrines, but unfortunately with broken limbs. Judging by the workmanship, it can be assumed that the Kesava image must have been a marvel. Fortunately, the Kesava deity can be seen on the inscription stone at the entrance porch along with two other sub-deities.

The sub shrines are connected to one another by navaranga, a pillared hall. Each pillar is a specimen of outstanding workmanship and artistry.

Equally interesting are the ceilings supported by these pillars, each with a distinctiveness of its own representing multi-petalled lotus, banana bud motifs based on stepped ponds, and ananta knots symbolising eternity.

One need not go too far to find out the artists of these great works as they have documented their works of art by inscribing their names, the guilds they belonged, the place from where they hailed and above all the titles they bore.

Carving in Ceiling

A careful look at the details reveals the diverse background of these artists. Apart from the sculptors, there were silversmiths, goldsmiths, ivory-carvers, cooks, carpenters, wood carvers, soldiers and others who also contributed their bit to the temple. This also speaks about the demand for artists to work on massive temple projects in the past. Many of these artists could even hardly spell their names correctly, which is evident from the conspicuous errors. The inscriptions are helpful in tracing these artists to various geographical regions. Pallavachari, Chola-vachari, and other names ending with ‘Chari’ are believed to have migrated from the Tamil country, while Mallithamma, Masanith-amma, Chameya, Rameya, Chau-deya, Nanjeya and others are said to have been localites.

As per the Mysore Archaeological Reports, Mallithama’s name appears in 40 places and mostly to do with the ornamentation of the temple. It appears he had no rivals in the art. He scribbled his name to the shortened variant of Malli or a simple Ma. It is reported that he participated in most of the major Hoysala projects of the 13th century.

Being well versed in the iconography of Vaishnavite structures, he is believed to have been a favourite amongst the wealthy Vaishnavite patrons. Hence he was given a call by Somadandanayaka to build a magnificent temple at Somanathapura. He used to select some portions to himself and allocate the rest to his associates. In Somanathapura, his work can be distinctly found on the northern tower.

It is quite unfortunate that the place is used for shooting films and other purposes, with scant regard for the safety and sanctity of the structure.

Keerthi-Narayana Temple (1117 A.D), Talakad, Tirumakudlu-Narasipura Taluk, Mysore District.

2010-08-26T14:36:00.002+05:30

The saga of temples in Talakad is supported by the rich history of the land. Of the ancient dynasties of south India, the Gangas (350-1050 AD) were one of the most illustrious who ruled over a greater part of Mysore, then known by the name Gangavadi. Along with the Kadambas, the Gangas rose to power and ruled over the southern part of Karnataka. They continued to rule over Gangavadi till the close of the 10th century. When the Cholas overpowered the Gangas during the 11th century, Talakadu was renamed as Rajapura. In 1117, Vishnuvardhana, one of the greatest rulers of the Hoysala dynasty seized Talakad from the Cholas and assumed the title of Talakadugonda. In commemoration of this achievement, he built the Keerthinarayana temple at Talakad.

Today, most of the magnificent temples of this ancient town are submerged in sand. All the stone pillars (square at the base and fitted into a wheel below the abacus) lie scattered throughout the town. Among the temples of Talakad, the Pathaleshwara, Maruleshwara, Arkeshwara, Vaidyanathee-shwara and Mallikarjuna temples form the pancha lingas. In honour of these five Shiva temples, a fair is held once in 12 years called Pancha Linga Darshana, which was last held in 1993. The Pancha Linga Darshana is held on a new moon day during the auspicious month of Karthika when there is a conjugate of the Khuha Yoga and the Vishaka star.

Besides the pancha lingas, there are many other magnificent temples in Talakad. The Kapileshwara temple is one such structure that has a navaranga with pillars, pierced stone windows and ornamented creepers with dancing figures. Another magnificent structure is the Keerthinarayana temple, which is the only temple in Talakad to have been constructed in the Hoysala style of architecture. A greater part of this temple is buried in sand. Other than the sanctum sanctorum, there is a sukanasi and a navaranga in this temple. Inside the sanctum sanctorum stands an eight-foot-tall statue of Keerthinarayana. Recent excavations in the temple complex have brought to light remains of earlier centuries. Among the findings are an intricately carved mantapa (with carvings of Ugranarasimha) made of stone, which is about 12 foot tall. A thulasikatte, remnants of a Garuda kamba, two stone inscriptions and walls of an unknown structure were also found here.

The efforts of the archaeological department are laudable in this regard. Each piece of stone has been numbered, and the mantapas are being rebuilt bit by bit. Work is still on at the site of excavation. The painstaking efforts of the archaeologists is bound to bring to light some more astounding facts about the structures that once stood in the precincts of the Keerthi-narayana temple. Currently, the repair work is on in the temple complex, for which the southern entrance has been sealed. It could probably bring to light some more facts that could enlighten us about the history of the temple. Although half-buried in sand, the Keerthinarayana temple still looks majestic.

The presence of a large mass of sand in Talakad amid lush green vegetation is something that is worth pondering. While geologists say that Talakad is filed with sand carried by the wind from the dry bed of river Cauvery, the locals still prefer to go by the age-old tale of Alamelamma and her curse.

Localite Rama Nayaka narrates the story rather dramatically. About 400 years ago, Srirangapatana is supposed to have been under the control of the mighty Vijayanagar Empire. Alamelamma was the wife of the king’s representative named Srirangaraya. Every Tuesday and Friday, Sri Ranganaya-kamma borrowed Alame-lamma’s jewels and returned it after the pooja. Meanwhile, Srirangaraya developed a tumour on his back, resembling the hood of a cobra (the disease is called Bennu Phani Roga or Raja Roga in Kannada). Srirangaraya, along with his wife, came to Talakad to worship Vaidyanatheshwara with the hope of being cured of his ailment. Srirangaraya, however, did not survive for long, and his wife settled down in a small village called Malangi. During this period, the Wodeyars took over Srirangapatna, and started demanding the jewels. When Alamelamma could not bear it no more, she sent a nose ring to Srirangapatana and jumped into a pond in Malangi with the remaining jewels. Before she ended her life, Alamelamma is supposed to have uttered three curses, of which one is “Talakadu Marulagi.” When translated to English, it means, “Let Talakadu be covered with sand.” The locals still believe that Alamelamma’s curse is the cause for the large mass of sand in Talakad.

Veera-Narayana Temple (1200 A.D), Belavadi, Chikkamagalur Taluk, Chikmagalur District.

2010-08-26T14:25:00.006+05:30

Belavadi is a small village situated 29 kilometres south east of Chikmagalur on Chikmagalur — Javagal Highway and 10 kilometres North West of Halebid. This temple, declared as a protected monument, is one of the largest Hoysala temples.

It is a Trikootachala structure with three cells dedicated to Veeranarayana, Venugopala and Yoga- Narasimha. The temple is a fine example of Hoysala architecture. The west side of the temple consists of a square garbhagriha, a sukanasi, navaranga and square mukhamantapa. The whole structure has been constructed on a raised platform. The Veeranarayana cell has a tower over the sanctum and a large stone kalasa on the shikara.

The navaranga has large bell shaped pillars. The ceiling of the sukhanasi is a dome with an octagonal gallery and circles above. Inside the garbhagriha an 8-foot Veeranarayana is placed on the Garuda pedestal. The image is elegantly carved and elaborately ornamented where the deity is standing in stanaka pose with four hands. The idol is said to be one of the best specimens of Hoysala art. 22 pillars, 20 of which are round bell-shaped ones, support the Mukhamantapa of the Veeranarayana shrine and the other two are star-shaped. An important feature of the temple is the stone bench which runs all round the edge of the mukhamantapa. It is ornamented with rosettes and plasters.

To the east of the temple is a sabhamantapa with sukanasi and a pair of garbhagrihas facing each other, containing the images of Venugopala and Yoganarasimha. The image of Venugopala is about 8ft in height inclusive of the Garuda pedestal and prabhavali. Venugopala stands cross-legged and his fingers are lifted as if playing the flute. The image of Yoganarasimha is about 7ft high with prabhavali where Narasimha, seated in yogic posture, has a band carved around it to help keep the legs in position. The image has a fine kreeta and protruding eyes. The towers of Venugopala and Yoganarasimha shrines are similar to the Veeranarayana shrine and have turrets, ornamented keerthimukhas and varied sculptures.

All the ceiling panels of the temple, except those of the veranda, are well carved. Some of these ceilings are flat while a majority of them are dome-like containing intricate geometrical patterns of various designs. The flat ceilings have the images of Krishna playing on the flute, Kalingamardhana and Kamsavadha in different postures. To the east of this Trikootachala temple is a large inverted cone-like structure on a high ground with a square hall and a spacious porch. This is the mahadwara or the main gateway of the temple. A pair of impressively carved elephants flanks both entrances of this structure.

Vasanthika Temple, Angadi, Mudigere Taluk - the birthplace of the Hoysalas

2010-08-26T14:19:00.004+05:30

“Hoy Sala " ( Strike Sala ! ) said the guru Sudatta Muni to his student , Sala who was in an armed combat with a tiger . The beast had just attached the duo who were immersed in rituals at a Durga or Vasantha Parameshwari temple in a village called Sasakapura or Sosevur. The student struck the animal in one blow, immortalizing himself and his victim . The guru was so pleased that he asked Sala to establish a kingdom and the Hoysala dynasty was established with Sosevur as the capital .

The story is believed to have happenned more than 1000 years ago. at Sasakapura or Sosevur which is today identified as Angadi, a small hamlet in Chikmagalur district in Karnataka The temple of the Goddess , along with the ruins of more temples and basadis is the only proof of this myth .The folklore however became so popular that every temple of the Hoysalas has this story carved in stone and it became the royal emblem of the dynasty.

The origin of Hoysalas

The Hoysalas were not born kings but they ruled for 300 years . They were natives of Malnad, Karnataka and were tribal chiefs who were subordinates of the Western Chalukyas. Some inscriptions show them as lords of the Male (hills) while some indicate that they were descendants of the Yadava clan. Historically though the first Hoysala family record is dated 950 and names Arekalla as the chieftain, followed by Maruga and Nripa Kama I (976).

But the kings who shaped the dynasties were Vishnuvardhan and Veera Bhallalla who became independent from the Chalukyas .Vishnuvardhan established his supremacy by defeating the Cholas in Talakadu . Historians claim that the story behind the Hoysala crest is a symbolic interpretation of this victory as the tiger , a symbol of the Cholas is shown subdued by a soldier.

But today the Hoysalas are remembered for their patronage to arts along with their exploits on the battlefield – a baffling 1500 temples built in 958 centres, of which the two famous ones are Belur and Halebid which were the capital cities of the dynasty. However, hardly a 100 survive today. Our trail had taken us down to 25 villages including Angadi , the original capital of the empire, where it all began.

Kesava Temple (1130 A.D), Marle, Chikkamagalur Taluk, Chikmagalur District.

2010-08-26T14:12:00.008+05:30

BEAUTIFUL PHOTOS COURTESY: MR. DEEPAK SETTY of PANDURANGA COFFEE WORKS CHIKAMAGALUR

Marle belongs to Chikkamagalur district. A road connects Marle to Hiremagalur. During the region of Vishnuvardhana Raya, two temples have been built here - one a Kesava temple, and the other, a Siddeswara temple. On the outer surfaces of each of these temples several wall carvings are found. Two attractive elephants holding lotuses in their tusks capture the attention of every visitor near the portico of the Kesava Temple.

In between the two temples there stands a 12 feet high stone slab on which are inscribed the details regarding the history of their construction. It represents the treasure of inscriptions and sculpture abounding in our Karnataka state. In the Navarangas of both the temples round pillars, ceiling decorations in the form of Bhuvanaeswari, along with the retinue of the eight deities guarding the quarters (Ashtadikpalakas) do exist. Despite all these facts of exquisite figures and features, the place has remained unknown to many lovers of sculptural art, just for want of adequate advertisement by responsible people.

Narasimha Temple, Nijagallu, Tumkuru Taluk, Tumkur District.

2010-08-26T14:06:00.002+05:30

The Narasimha temple in Nijagallu Betta is one of those forgotten monuments. So much so that its name was not part of the list of ancient monuments. Situated close to Dobbaspet on the Bangalore-Tumkur road (NH 4), the hill is also called Siddhara Betta, as the 'Siddhas' were once believed to have meditated on its slopes.

The Narasimha Temple stands between the base and summit of the hill. One can get there by taking a left from the over bridge near Dobbspet bus stand. The visitor will have to take the small steps carved on the rock.

The ancient fort on the hill may have been built by Mysore king Chikkadevaraja Wodeyar in 1690-1694 AD, but now only the outer wall remains. And after crossing the small Darga the temple will be visible. There is a small fresh water pond called akka tangi in front of the darga, which is named after Syed Badshah Shah Kareem, a Sufi saint.

There is no precise history of the shrine, but carvings on the outer wall are similar to the Hoysala architecture and the temple itself resembles the Thirunarayana Shrine in Melkote. Localities believe it to be a Hoysala structure. It's shocking to notice the frontal being covered by thick overgrowth; entering the temple is therefore possible only from the left side.

However, the interiors of the temple are intact and in a good condition. There is a mantapa with fine carvings of Jaya and Vijaya, the two dwarapalakas of Vaikuntha, near the entrance. One enters the empty garbhagruha through a passage, which may have been built for the worshippers. The idol of Narasimha was shifted to a temple in nearby village.

Another fortification on the hill starts from the temple and goes on to the summit, where more monuments are located.

The hill contains another Darga (on the back of the temple). There's also a Shiva temple with statues of Ganesha, Subramanya and Veerabhadra on the outer wall. Inscriptions near the temple dating back to 1698 attribute the hill-fort to Chikkadeva. From here the scenes of the other hills are spectacular.

There is a cave temple dedicated to Lord Shiva with carvings of dikpalakas and Nataraja.

In 1771 AD Marathas led by young Peshwa Madhav Rao attacked this region. Hyder Ali was the army chief of Mysore and his forces were defeated. The battle took place in Nijagallu.

Lakshmi-Narasimha Temple (1286 A.D), Vigna-Sante, Tiptur Taluk, Tumkur District.

2010-08-26T13:58:00.001+05:30

The Lakshmi-Narasimha temple was built in 1286 A.D by three brothers who were generals of the Hoysala King Narasimha III : Appaya, Gopala and Madhava. It is three celled structure raised on a stellate parapet, with the western cell having a stone superstructure and a vestibule. The hall has four pillars.

Yoga Madhava Temple (1261 A.D), Settikere, Chikkanayakanahalli Taluk, Tumkur District.

2010-08-26T13:54:00.004+05:30

This temple is at Setti-Kere; The Yoga-Madhava temple is dedicted to an unusual form of Vishnu. The Santum houses an image about nine feet in height above a pedestal of Vishnu seated in the typical contemplative "Lotus Posture" {Padmasana}. Gopala Dandanayaka built this temple in 1261 A.D during the reign of Hoysala King Narasimha III. It is a Hoysala structure, raised on a stellate parapet, three foot high, with a square central hall. A stone superstructure adorns the sanctum.

Channigaraya Temple (1260 A.D), Turuvekere, Turuvekere Taluk, Tumkur District.

2010-08-26T13:32:00.004+05:30

This Ekakootachala temple was built in 1260 A.D during the reign of Narasimha III by Soma-Dandanayaka. The temple, which faces east is built in potstone and raised on a stellate three-foot high parapet. A stone superstructure with five storeys surrounds the sanctum, which is a stellate plan, and the final Kalasa is made of stone. The vestibule and the hall are square in form.

Chenna Kesava Temple (1250 A.D), Aralaguppe, Tiptur Taluk, Tumkur District.

2010-08-26T13:25:00.005+05:30

While traveling from Bangalore to Shimoga, after Kibbanahalli cross and 15 km before Tiptur a big signboard reads “Way to Chenna Kesava temple, Aralaguppe.” A couple of kilometers on this deviation bring us to the spellbinding 13th century architectural beauty of Hoysalas.

Aralaguppe was known as ‘Alariguppe’ according to inscriptions from the bygone era. The Chenna Kesava temple here has all the usual characteristics of the Hoysala architectural style, which is said to have been introduced first in the Hoysaleshwara temple, Halebid.

The raised platform following the contours of the stellate plan of the main temple, circumambulatory path ay to go round the temple, carved repetitive friezes for basement cornices, introduction of a second chadya or eave between the figure sculpture, turreted pilasters and decorative miniature towers, exuberant ornamentation of the figure sculptures, are all the predominant features of Hoysala architecture. In the absence of any inscription available, this style alone has helped the art historians to assign this temple to 13th century.

The Chenna Kesava temple stands on a raised platform in the centre of the village. This is Ekakootachala temple a single celled temple, with its star shaped garbhagriha and tower is of a simple ground plan consisting of an antarala (vestibule), navaranga and an entrance ankana fitted with pierced stone windows, which allows subdued light into the temple. The temple follows the contours of the vimana and has a flight of steps in the front flanked by two miniature towers on each side.

The decorative friezes running around the temple wall provides many spectacular scenes. The row of six friezes carved one above the other, separated horizontally by deeply cut recesses, consists of caparisoned elephants, horses, creepers, mythological frieze, makaras and lastly hamsas. The mythological friezes tell the story of Ramayana and Bhagavata. The lowest friezes of elephants and horses are picturesque representations of the turbulent wars fought by the Hoysalas to build and consolidate their empire. The makaras and hamsas are indicative of the peacetime prosperity, wealth and happiness of the subjects.

The wall decorations are as profuse as in any other ornate Hoysala temple.
Here also we see the regular scheme of dividing the outer wall into two portions by a horizontally running cornice. The lower half has the sculptures standing below a canopy of creepers. Most of them are the Chaturvimsati Murthy, the 24 forms of Vishnu and other deities with six hands and are the most spectacular iconographic specialty of this temple. Because normally they are shown only with four hands. Above these sculptures, the upper half of the wall shows varied forms of miniature towers, turrets on pilasters.

The vimana of this temple is in the shape of 16-pointed star and consists of koota aedicule each one rotated by 22.5 degrees, 45 degrees, and 22.5 degrees successively. The tower of the vimana with four talas has a vedike and koota roof at the top, which follows the contours of the sanctum below. The top kalasa is missing.

The outer wall of navaranga is of staggered squares and represents a saptaratha structure. Some of the sculptures here bear the name of 'Honnoja' on their pedestal while some others have only 'Ho' as a short form of the sculptor's name. This terse name without any titles or claims keeps us in darkness as far as the sculptor is concerned.

The navaranga is of the usual nine ankanas or divisions and has two niches containing Ganesha and Mahishasuramardini, both of exquisite workmanship.

A six-feet tall slightly damaged Kesava idol is kept in the navaranga and perhaps, was the original deity that adored the garbhagriha, but at present there is a smaller idol for worship. The pillars that support the navaranga and the ceilings are elaborately worked. The fine workmanship of the pillars is eye-catching.

But unfortunately the exquisite beauty of this temple has been marred by another temple, which is built for Ugra Narasimha, annexing the southern wall of the Chenna Kesava temple. Unless one has access to the garbhagriha of the Narasimha temple, it would be impossible to see the sculptural beauty of half the southern wall of Chenna Kesava temple.

Though Mysore archaeological report 1935, talks of removing this obstruction and building a separate temple for Narasimha, perhaps due to the unwillingness of the local villagers the project has remained on paper only. If not for this one flaw, the condition of this temple is fairly good.

Pre-Hoysala shrine

A pre-Hoysala shrine, the Kalleshwara temple attracted the attention of experts, as the Natesha in the middle of the ashtadikpalakas panels over the mukhamantapa ceiling, is considered the most beautiful sculpture found in the State.

Consisting of garbagriha, antarala, and a mukhamantapa (with three lateral shrines), the temple's sanctum sanctorum is adorned with a huge black-granite Shivalinga.

While the adhishtana is made of granites, the temple's walls and towers are constructed with bricks. The outer walls are insipid without projections and
recesses, but for the lone niche at the antarala that divides the vimana from the mukhamantapa. Pilasters built closer at the temple's interiors however, appears more refreshing.

The extraordinary ceiling of the mukhamantapa, with the Nolambas style portrayal of Umasahita (Shiva and Parvati together) at the central panel, is a stark contrast with the otherwise ordinary interior.

The image of Gajalakshmi on the doorway adds charm to the place. The four lathe-cum-pillars, with cubical bases, supports the navaranga's ceiling. Apart from the Shiva-Parvati panel, the ceiling has eight other carvings of ashtadikpalakas, depicted with their consorts and vehicles. Four vidyadharas, with garlands in their hands, face up to the Natesha (with the expression of approaching him from the corners of the panel's beams).

These garland-bearing vidyadharas are quite common to Nolamba architecture; a clear evidence of the elegance and comprehensiveness of their style. The Natesha, meanwhile, is a remarkable three-dimensional image, wearing jewels such as the katibandana and tassels. The dancing lord is accompanied by three bhutas playing a three-headed percussion instrument. They are also seen with ayut and other symbols.

The northern and eastern lateral shrines contain idols of Kesava and Surya, while the southern one contains the Umasahita mounted over a large stele with a lotus pedestal and a prabhavali with a couple of flying vidyadharas.

Located 20 kms above Tiptur, Aralaguppe can be reached by trains running in the Bangalore - Tiptur - Arasikere route. 120 kms from Bangalore, the village can also be reached by road from Tiptur.

Chenna Kesava Temple (1150 A.D), Kaidala, Tumkuru Taluk, Tumkur District.

2010-08-26T13:19:00.007+05:30

PHOTOS COURTESY: MR. DEEPAK SETTY of PANDURANGA COFFEE WORKS CHIKAMAGALUR

Those of us who have visited Belur and Halebid will surely remember being awestruck by the sheer magnificence of the temples, wondering and praising the master sculptor - Jakanachari. But how many of us have bothered to find out where Jakanachari was born and which are the other temples that bear his signature. Jakanachari, the master sculptor was born and brought up at Kaidala, a small non-descript village nearby.

Kaidala situated a mere 9 km from Tumkur town off Gulur village on the Kunigal road, hosts two exquisite temples sculpted by Jakanachari. According to historical records, Kaidala was called Kridapura and was the capital of the state. Jakanachari, the famous architect and sculptor to whose skills are attributed some of the finest temples in the State including those in Halebid and Belur is believed to have been a native of this village.

The legend

Jakanachari’s life story speaks of romance, love and dedication to art. The master craftsman’s career began during the reign of Nripa Haya, a local chieftain ruling Kaidala or Kridapura. Jakanachari, a young sculptor, leaves his wife behind at Kaidala and travels far and wide; seeking to perfect his art and attains fame. During the course of his travels, he builds several elegant temples including Belur and Halebid. Working and travelling, Jakanachari becomes so engrossed in sculpting new and beautiful temples that he forgets his wife.

Back home at Kaidala, a son is born to him and his wife names him Dankanachari. The young boy grows up to become a sculptor too. Attaining adulthood, Dankanachari sets out in search of his father. At Belur, he notices that a Chenna Kesava temple is being built and goes to inspect the same. At the site, he points out a blemish in one of the images and says that the flaw makes the idol unworthy of worship. The architect, none other than Jakanachari himself, hastily vows to cut off his right hand if any defect could be found in the image he had carved.

In order to test the matter, the figure is covered with sandal paste, which dries on every part except around the navel. On examination, a cavity containing a frog in sand and water is found. Mortified at the result, Jakanachari cuts off his right hand as promised. Curious about the young man, Jakanachari makes enquiries and discovers that Dankanachari is indeed his own son.

Subsequently, Jakanachari gets a vision directing him to dedicate a temple to lord Chenna Kesava in his native place, Kridapura. Accordingly, he returns to that place and legend says that no sooner was the temple completed than his right hand was restored. In commemoration of this incident, the place has ever since been called Kaidala.

Chenna Kesava temple

The sprawling Chenna Kesava temple complex is completely surrounded by a tall fort-like wall. The temple is a fine blend of Hoysala, Dravidian and Vijayanagara styles of architecture. It was probably built around 1150 A.D by Bachi, samanta raja of Hoysala King Narasimha I.

The mahadwara or outer gate is surmounted by a massive gopura and has a large doorway flanked by beautifully anointed pillars. On the right pillar is a figure of Chenna Kesava, similar to the one inside the temple, with consorts on the side panels. The left pillar has a fine figure, about 11 ft tall, standing with folded hands, wearing an uttariya or upper cloth and a dagger, which is said to represent the celebrated sculptor Jakanachari. Another school of thought states that this figure represents the chief who sanctioned the construction of the temple or the mahadwara.

Enter through the main gate and the vastness and beauty of the temple complex strikes you. The large courtyard with its shady trees and lush green lawn provides a serene and harmonious ambiance ideal for spiritual thought and deliberation.

Two hero-stones are also placed to the right of the main entrance inside the temple courtyard. A short walk through the courtyard leads to the navaranga, which is supported by several artistically carved pillars.

The pillars and walls of the temple are adorned with carved relief images of dancing girls, sages, lions, elephants and demi-gods and incidents from Ramayana and Mahabharata.

The west-facing monolithic black-granite image of Lord Chenna Kesava is about 5½ ft tall and is installed on a 2½ feet high pedestal. The ten incarnations of Vishnu are carved on the prabhavali (representation of aura). Strikingly beautiful images of Sri Devi and Bhoo Devi – two consorts of Lord Chenna Kesava – flank the main image in the sanctum.

Gangadhareshwara Temple

The Gangeshvara or Gangadhareshvara shrine is situated adjacent to the Chenna Kesava temple. Though considerably smaller than the former, this quaint structure is in many ways grander.

The temple has only two parts, the navaranga, supported by four artistically carved black granite pillars and the garbha griha (sanctum). The outer wall of the temple has rows of intricately carved elephant figures and flower images adorning it. An exquisitely carved stone railing or parapet adorned with images of elephants, flowers and other relief flanks the navaranga. The pillars are strikingly beautiful and hold a stark resemblance to those in the Chenna Kesava temple at Belur, the Gangadhareshwara temple at Shivaganga, and the Virupaksha temple in Hampi among others.

This temple has two stone inscriptions in hale Kannada, which declare that a chief named Gule Bachi constructed these temples in 1150 AD during the reign of the Hoysala king Narasimha I. The name of the place is mentioned as ‘Kayadala.’

Travel to Tumkur and go past the town to reach the Tumkur-Kunigal road. Five km on this road is Gulur, turn right at the main circle and half a km later, you are at the Kaidala Chenna Kesava temple.

Pralaya-Varahanatha Swami Temple, Varahanatha Kallahalli, Krishnarajapete Teluk

2010-08-26T13:15:00.002+05:30

Gigantic Pralaya Varahantha temple situated at Kalahalli, Krishnarajpet taluk is of Hoysala times. The Pralaya Varaha is 15 feet tall and Bhoo Devi is 3.5 feet and is seated in his left thigh. Mandya district is home to several ancient Vaishnava temples, mostly linked to the Sri Vaishnava Sampradaya. While some such as Srirangapattana, Melukote, Maddur and Nagamangala are popular with temple tourists, there are quite a few temples waiting to be discovered. One such temple is located in the obscure village of Kalahalli.

But, getting to Kalahalli itself is no mean task, for one has to make several stops to ask the locals for directions. After driving past River Hemavathi, surrounded by paddy fields and grazing cows, one finally finds a simple white structure which, on first glance, can fool the visitor into thinking that it is an ordinary temple.

There are neither stone sculptures like the ones found in the Hoysala temples of Somnathpur and Belur, nor the red-white paint on the walls that mark most South Indian temples. Yet, the simple structure contains something worth a look, a sight not seen in most temples. This rare sight is a 15 ft high black stone image of one of Lord Vishnu's lesser known incarnations, Bhoovaraha or the third avatar where the Lord appeared as a boar to rescue Mother Earth from the demon Hiranyaksha.

Only a few temples in India are dedicated to Lord Vishnu's Varaha avatar, mainly because the other incarnations of Narasimha, Rama and Krishna are more popular.

According to history, the image in this temple was installed by sage Gautama over 2,000 years ago and is under the management of the Parakal Math. The image has Lord Bhoovaraha with Bhoomidevi seated on his left leg. The conch and discus in the deity's hands are quite different in design from sculptures in other temples. The moolamoorthi is Salagrama Shila and the moorthi has Sudarshana Chakra on the back.

Due to the image's towering height, a wooden plank is placed in front of the deity to enable the temple's only priest to attend to dressing and offering flowers. A small Hanuman sculpture too sits under the Bhoovaraha image.

A visit to this temple is truly a step back in time, a time when people visited temples only to think of and glorify God.

To get to Kalahalli, one has to first get to Krishnarajpet, which is about 53 km from Mysore. From there, proceed to Vittalapura, which is 8 km away.

Continue driving straight down the road, till you pass Kattahalli. Kalahalli is 2 km from Kattahalli.

Birth star of deity is Revathy a major festival is organized on the day of appearance of Varaha - Masika Revathy (1008 Kalasa Abhishekam). Rivers in proximity are Cauvery, Hemavathi, Guptavahini. Temple timing: 10 am to 5 pm.

Adi-Madhava-Raya Temple (1270 A.D), Belluru, Nagamangala Taluk, Mandya District.

2010-08-26T13:12:00.003+05:30

Madhava Raya Temple built in 1270 A.D is a Trikootachala, three celled temple raised on a stellate parapet. The main cell houses a fine image of Adi-Madhava (one of the 24 forms of Maha Vishnu). The unique feature of the form is that the Lord holds Chakra in upper right hand and Shanka in the upper left. The lower right hand holds Gada and the lower left has Padma. To the left of Adi-Madhava we find Janardhana image and to the left we see Venu-gopala.

How to reach: On Bangalore- Hassan road, take a right turn at Belluru Cross to go to Belluru.

Padmanabha Temple (1250 A.D), Hosa Budanuru, Mandya Taluk, Mandya District.

2010-08-26T13:08:00.004+05:30

Padmanabha Temple built in 1250 A.D is an Ekakootachala, one celled temple raised on a stellate parapet. The main cell houses a fine image of Padmanabha (one of the 24 forms of Maha Vishnu). The unique feature of the form is that the Lord holds Padma in upper right hand and Chakra in the upper left. The lower right hand holds Gada and the lower left has Shanka.

How to reach: On Bangalore- Mysore road, about 3 Kms before reaching Mandya take a right turn to Hosa Budanuru.

Panchalingeswara Temple (1250 A.D), Govindanahalli, Krishnarajapete Taluk, Mandya District.

2010-08-26T12:59:00.004+05:30

Belongs to the Mandya District and is situated near Kikkeri, near the border of Hassan District. This village harbors a Hoysala style Sivalaya. There is one long Navaranga in common to the five sanctuaries arranged one beside the other here. In the outer ring wall of this simple - looking temple the 24 Vishnu Caturvimsati forms on the eastern side and various forms of deities on the other sides have been accommodated. For the sake of entry there are two doors on the east with their respective Mukha Mantapas. At each of these entrances there are the images of two doorkeepers made by the sculptor Mallitamma. Nandi image is also installed in the portico.

In the five sanctums are installed 5 oblong sivalingas representing the quintuple facets of Iswara Viz Sadyojatha, Vaamadeva, Aghora, Tatpurusha, and Eshana. Every sanctum has a separate sikahara of its own.

Lakshmi-Narayana Temple (1250 A.D), Hosaholalu, Krishnarajapete Taluk, Mandya District.

2010-08-26T12:34:00.015+05:30

Known as the ‘Motherland of Hoysala temples’, the Krishnarajapet taluk in Mandya district has a large number of shrines built during the Hoysala period. Among them, the Lakshminarayana temple is well known for its sculptural splendour.

Situated at Hosabolalu, a tiny village about three kms towards the east of Krishnarajapet, the temple is a fine specimen depicting the glory of Hoysala architecture. The place was once an agrahara, where you can still find the remains of a Hoysala fort that was altered during the Vijayanagar period.

The Lakshminarayana Temple at Hosaholalu is equated with the temples of Somanathapur, Nuggehalli, Javagal, Hirenallur and Aralukuppe for its elaborate sculptural work. Though the date of construction is unknown, historians place the temple to the middle of 13th century, taking into consideration the style of architecture. It is a Trikootachala or a three-celled temple built on a star-shaped, raised platform. The main temple rises with in the platform leaving a broad terrace around it, which serves as the pradakshinapatha.

The temple has three sanctorums and a navaranga or pillared-hall in the middle. The central sanctorum has the idol of Lakshminarayana, the main deity of the temple, while the other sanctorums consist of Lakshminarasimha and utsava idols.

In the navaranga are lathe-turned pillars, where groups of dancing girls with accompaniments in impressive poses adorn their capitals. The ceilings of the navaranga decorated with fine carvings are noteworthy.

The outer walls of the temple are richly ornamented with the friezes of elephants, horses, scrolls, scenes from epics, capricorns, swans and a number of gods and godesses with their attendants. The scenes from the epics depict stories from Ramayana, Mahabharata and Bhagavata.

The figures of Yoga-Madhava, Dhanvanthri, Dakshinamurthy, dancing Saraswathi, Kalinga-Mardhana, Para-Vasudeva, dancers and musicians are highly appealing to the eye.

The outer walls of the temple are also decorated with aregambas and aregopuras. There is a five-stepped tower over the central sanctorum. The arrangement made over the roof of the temple for rainwater drainage is quite interesting.

Mallikarjuna Temple (1234 A.D), Basralu, Mandya Taluk, Mandya District.

2010-08-26T12:25:00.005+05:30

Though a very small structure, the Mallikarjuna temple is splendour in stone, depicting the architecture of the Hoysala period. Constructed under the patronage of Harihara Dandanayaka, a commander in 1234 AD during the regime of Narasimha-II, the temple is situated at Basralu; a small village situated about 24 kms from Mandya town.

The temple was built completely in the Hoysala style, right from the mahadwara to the ashtadipalaka. The structure stands on a four-foot jagathi, and has a stallite plan like many other Hoysala temples. Though the temple faces east, the entrance faces the south direction. There are three garbagrihas of which only the central one has a shukanasi. The Mallikarjuna linga adorns the central garbagriha, and to the front is a small navaranga. In the other two garbagrihas are images of Surya and a Nagadevatha couple. But these images do not belong to these garbagrihas. If we observe the figure of Garuda carved on the pedestal of the left garbagriha, we can conclude that there must have originally been a Kesava image here.

There are four niches in the navaranga housing attractive sculptures of Ganesha, Saraswathi and Mahishamardini. One of these niches is empty. The lintel in the doorway of the navaranga has an elaborate carving of Nataraja surrounded by his attendants. There are sculptures of Shaivite dwarapalakas on either side of the rather short doorway. In front of this navaranga is a big closed porch, with a Nandi image in the centre.

The jagathi is plain, with stairs leading to the temple on either side. The bitthi, as in any other Hoysala temple, is decorated with friezes of floral patterns, horses, elephants and so on. The koshtas on this bitthi have elegant sculptures of Ganesha, manifestations of Shiva and Vishnu, themes like Arjuna aiming the Matsya yanthra and others.

There is a sculpture of a male deity on the southern wall, which seems to be peculiar. This sculpture has been identified as Shiva. But it seems to be a rare sculpture, probably of the celestial Rahu. The fourhanded image holds a trident in the lower right hand, a three-hooded serpent in the upper right hand, a battle-axe in the lower left hand and a soorpa (winnow) in the upper left hand. This winnow is mentioned as chamara (fan). But the shape and weaved portions are so clearly carved that we can conclude that it is a winnow and not a fan. However, this sculpture is not commonly seen in other Hoysala temples.

Brahmeshvara Temple (1171 A.D), Kikkeri, Krishnarajapete Taluk, Mandya District

2010-08-26T12:19:00.004+05:30

Brahmeshvara temple in Kikkeri, 20 Kms from Krishnarajpet is a fine specimen of the Hoysala style of architecture. Built in 1171, during the reign of Narasimha I, this Ekakootachala, single-celled temple has an impressive stone tower. The figures carved on its pillars are of extraordinary workmanship. This Temple was built during 12th century by local chieftain Chennamma Nayaki. She wanted to build a Temple for Lord Brahma but was advised against by scholars. The reason was that Brahma was not worshipped anywhere. She had a dream where Lord Ishwara asked her to construct a Temple for him. Hence the name of the Temple was “Brahmeshwara”. Apparently the Temple was not fully completed. The priest showed me several places where the sculptures and carvings were half completed. The reason was not known. A possibility can be some local disturbance during that time or an enemy attack.

One of the highlight of the Temple is the shilabalikas. There are several of them in the Temple.

Saumya Kesava Temple (1170 A.D), Nagamangala, Nagamangala Taluk, Mandya District

2010-08-26T12:05:00.007+05:30

This temple is at proper Nagamangala, Mandya District. The Saumya Kesava temple is a large and splendid temple, which was built in 1170 A.D. The three-celled temple raised on a stellate parapet has the image of Saumya Kesava is a fine piece of sculpture, which is six feet in height. The sanctum to the left houses an image of Lakshmi-Narasimha, while the one on the left has the image of Venu-Gopala.

The central hall is very ornate, elegant and impressive, resting on twelve finely carved columns and having lovely ceilings: the enclosure has many shrines including that of Goddess Saumya-nayaki. The Garudagamba in front of the temple is fifty-five feet and considered finest sculptured column in Karnataka.

Story behind this temple:

During Mahabharatha, Lord Krishna planned to start war but he worried about Nagasthra of Karna. If the war starts, Karna could kill Arjuna by using Nagasthra which is very powerful. Suddenly Lord Krishna controlled all the nagas of this world in his Shank and the war is also started. So the whole control of Nagas came under Shank. In this temple you can see the Shank (which controls all Nagas) and Lord Krishna appears with Shank in his right hand (which is rare)..This shank controls all the nagas of this world by its power. This is the only place in which adhisesha is on top.

Adhi Shesha is sitting in Mandala akara. In the whole world you will not find the Adhi Shesha Sitting in Mandala akara on top of mantapa. Our Adhi Shesha is sitting on a big Shanku which appears as if it is placed on heap of 108 Shanku. This is a unique feature and no where in the world you will find the Adhi Seshan sitting in Mandala Akara Position beneath the Bhuvaneshwari Mantapam sitting atop of Shanku

In one angle if you see You will see as if Adhi Seshan is Perched on top of a Very Big Shanku, then if you ,move to the central point you will see as if the Adhi Seshan is in top of Reversed Lotus Bud. Bhattar says Once you have darshan of Keshavan all your problem will disappear like Slokam Keshava Klesha Nashana.

How to reach Nagamangala Temple:

Route:
1. Bangalore to Belur Cross [Take 'Bangalore to Hassan Bus' and get down at Belure Cross] [It takes around 2 hrs]

2. From Belur Cross, many share autos, Government and Private buses available to reach Nagamangala [It is just 15mts to reach Nagamangala from Belur Cross)

Allalanatha Temple (1150 A.D) , Madduru, Mandya Taluk, Mandya District.

2010-08-26T11:48:00.006+05:30

Called by many names and associated with many stories, this busy town, 64 kms from Bangalore, situated on the right bank of the Shimsha River, is a fine tourist destination. According to one version, Maddur is a corrupted version of Marudur, an ancient name.

Another version is that Maddur derives itself from the word ‘maddu’ (gunpowder) as it was a storehouse for explosives and gunpowder. The town flourished till the end of the 18th century and it is learnt that there was a fort there, which served as the stronghold of a succession of Mysore rulers followed by Hyder Ali and later destroyed by Lord Cornwallis.

Madduru is also referred to as Arjunapuri after a legend from the Mahabharatha, according to which Arjuna once requested Krishna to display the Ugra Narasimha avatara.

Krishna felt the avatara would be too powerful to see directly and created the image in stone. The temple of Ugra Narasimha is an example of architectural splendor. The seven-ft tall image of Narasimha in shining black stone, with eight hands and three eyes, slaying Hiranyakashipu and wearing his intestine as a garland is fearful indeed. There are numerous shrines in the temple complex and the inner walls are decorated with attractive frescoes. The sculptures in the temple are also in fine shape, a reflection of the craftsmanship and skill of the creators.

Adjacent to this stands the Varadaraja Swamy temple. According to the inscriptions here, during the Hoysala period, King Vishnuvardhana’s mother wanted to visit Kanchi to worship Varadaraja Swamy.

As her age and infirmity prevented her from undertaking the journey, the King built a temple in the town for his mother. The specialty here is the idol of Varadaraja also referred to as Allalanatha, has a rich carving even behind the idol, which is why they say “Ella devara mundhe nodu; Allalanathana hindhe nodu” meaning “See all the idols from the front, see Allalanatha from behind.”

Drive on Mysore Road till Maddur or take one of the buses from the City.

Nambi Narayana Temple (1120 A.D), Tondanuru, Pandavapura Taluk, Mandya District.

2010-08-26T11:38:00.004+05:30

Unable to withstand the torments of Chola King Kulothunga, Ramanujacharya, the saint-philosopher, who propounded the Vishistadvaitha philosophy had fled Srirangam in Tamil Nadu. He took refuge at Thonnur, a small village near Melkote in Pandavapura taluk of Mandya district. Many scholars give different versions about how long he stayed there, but it seems that he had a lengthy sojourn here going by many events and legends connected with him. Bittideva, the Jain King of the Hoysala dynasty, was attracted by Ramanujacharya's teachings and became a Vaishnavite and called himself Vishnuvardhana. It is said that Thonnur became the second capital of Hoysalas during this period.

The two temples that capture the attention of visitors here are the Nambi Narayanaswamy Temple and the Venugopalaswamy Temple. Legend has it that the temple of Nambi Narayanaswamy got this name as Lord Narayana graced Nambi, a disciple. This temple was constructed in the 12 th century AD during the regime of Vishnuvardhana to commemorate his victory over the Cholas at Talakadu. According to an inscription, Suragi Nagaiah, one of the generals of King Vishnuvardhana, built this shrine. The temple has a Navaranga, a Maharanga Mantapa, an Ardha Mantapa, a Shukanaasi, a Garbha Griha (Sanctum Sanctorum) and a big Paataalankana.

To the right of Narayanaswamy, there is an image of Lakshmi. Gadha (Mace) and Padma are found on the upper hands. Sridevi and Bhudevi flank the nine-foot high main deity on the right and left sides respectively. The images of Narayanaswamy, Sridevi and Bhudevi are carved out of a single stone.

In Navaranga, among other pillars, four are in soft stone. The remaining is in granite. Ornate designs of flowers and beads are carved on these pillars. According to experts, the four similar soft stone pillars were forerunners to the pillars found in Belur and Halebeedu temples.

The images of astadikpaalakaas are also found here. The Ardhamantapa has the padukaas of Ramanujacharya. The Vimana of the shrine is in Dravidian style and built of mortar.

Fifty pillars adorn the Maharanga Mantapa. The Paataalankana has 40 octagonal-faced pillars. 45 feet high Garudagamba lies in front of this shrine. Some scholars are of the opinion that the Paataalankana and the Maharangamantapa are subsequent additions.

The Venugopalaswamy Shrine, located opposite to the Nambi Narayanaswamy Temple, has a basadi-like Gopuram. The temple has a Shukanaasi, a Navaranga, a Mukhamantapa and a Garbha Griha. Parthasarathy is the main deity here. Sridevi and Bhudevi idols are found to the left and right of the main image.

There are Tamil and Kannada inscriptions in the Mukhamantapa. An idol of Aravinda Nayaki lies in the second praakara with lotuses in two upper arms. The other two show abhaya and varada mudras. In front of this idol lies the Kalyana Mantapa, where Kalyanotsava is held.

A big pillar, used for swinging idols during important occasions, is seen outside the temple. Historians opine that this shrine is older than the Nambi Narayanaswamy Temple. It is also said that four generals carried out extension work in this temple.

Mandya district has many temples built in Hoysala style. But shrines in Thonnur are special, as they are built in Chola style. It is said that many Tamilians settled here after Ramanujacharya's arrival. Probably, this factor might have influenced temple construction in a particular style.

Chaluvaraya Swamy Temple (1120 A.D), Melkote, Pandavapura Taluk, Mandya District.

2010-08-26T11:33:00.005+05:30

Fascinating landscapes, lakes, wildlife and two great temples. All these are found at Melkote, a small sleepy town at about 145 kms away. The shortest route to reach this place is to drive upto Mandya on Mysore Road and take the road to the west. As you near the town a ghat section with few sharp curves on a gradient is encountered and you will drive along a placid lake on the right. The conical hill with big boulders and the temple Gopuram at the top appears closer.

Melkote looks like a one road town with the guesthouses, choultries, bus stand, eateries and temples all lined up on the main road. But spread apart are quite a few things to see like the Rayagopura, Dhanushkodi, Akka Thangi Kola, Panchakalyani, etc., besides the temple on a hill and a temple below.

To begin with the less strenuous you can visit the large temple of Chaluvaraya swamy at the end of the road. The entrance leads to a huge quadrangle followed by a large Mantapa and the Garbhagriha. Apart from the image of Chaluvaraya Swamy the shrines of Lakshmi and Ramanujacharya are also interesting. It is worth taking a walk around a temple, the outer walls of which are supported by a line of pillars and topped by a series of Sukhanasis with well-sculpted figures representing epic stories.
Just across the street is the Badrinarayana temple, another huge stone pillared shrine. From here you can walk up a 100 Mtrs or so to the south to find Akka —Thangi Kola, two uniform square tanks with steps, adjacent to each other. The green waters are clean and clear. However, if you need todrink the Thangi kola on the far side is suggested.

The road continues further to a few steps on the left leading to Rayagopura. This is a cluster of very tall pillars with carvings of beautiful damsels at the base. These resemble in a way the tall stone pillars found in an excavation at Hampi. Centuries ago Chola kings wanted to build a tall temple overnight so as to view Srirangapatna from here. The work went on briskly through the night, but when a cock crowed, they left the temple as it was thinking it was already dawn.

Dhanushkodi is an interesting spot about 1½ kms further. The peafowl calls seem to beckon. The cool shady path in the midst of eucalyptus grove is even more inviting. A short flight of steps at the end of the walk brings you to this enclosure guarded by huge boulders.

According to legend, Sita, while passing through this area needed water, Lakshmana struck an arrow into the rock but the water did not come. When Rama used Varunastra the water at once came out. There are two fissures in the rock. This spot is on a high cliff with good views, but take care. The temple on the hill opens at 4 pm and you can walk up leisurely. Vehicles can go up halfway. As you climb up the steps look back to have a wonderful view of the large Pushkarani below.

You can also see the Kalyani at the far right. At the top the cool rejuvenating breeze sweeps over. Having darshan of Yoganarasimha, you can climb to the top to have a panoramic view of the surroundings. Even the distant Tonnur Lake is visible.

Drive on Mysore road to Mandya and take the road to Melkote. A number of buses ply from Bangalore and Mandya.

Pattabhirama Temple, Ramanathapura, Arakalgudu Taluk, Hassan District.

2010-08-26T11:23:00.007+05:30

This is a nice place of pilgrimage on the bank of the Cauvery situated in a pleasant peaceful environment. The Hoysalas' style Rameswara Temple can be found here along with five other temples. The name of the town has however been derived from the famous Pattabhirama Temple of this place. Rudrapattana situated near this town is supposed to be the abode of classical musicians. The temple also excels in artistic sculpture. Besides the finely carved pillars inside, the ornate gopura and intricately latticed walls with rows of parakeets above mantapas are eye-catching. Walk behind the temple to the western side and the wide steps lead to the river. The familiar sight here is the children offering beaten rice and groundnuts for fish in the water. A stretch of one km each on either side has been declared a protected zone and fishing is banned.

Gorur Yoga Narasimha Temple:

Panchakoota Basadi (900 A.D), Kambadahalli, Nagamangala Taluk, Mandya District.

2010-08-26T11:23:00.005+05:30

Kambadahalli close to Nagamangala is a lesser-known Jain centre in the State. With well-sculpted and renovated basadis, hillocks and rustic beauty, this place situated around 135 kms from Bangalore can be a quiet weekend destination. To reach here one has to drive on the beautiful Hassan Road till Bellur Cross (105 kms) and turn left to reach Nagamangala, 17 kms away. Kambadahalli lies 15 km to the west from here on the Shravanabelagola Road. A deviation to the right from the main road after 14 km, will lead you to the village.

Popularly called Athishaya Kshetra, this place seems to be the oldest shrine. It seems there were as many as 72 basadis in the 9th century itself when Saint Ananthaveerya Muni visited here. Though only a few of them remain today, they have recently been renovated and are in good shape, under the patronage of Swasthishree Bhanukeerthi Bhattaraka Swamiji. Take a disciple of the Math along to guide you through the area.

The five basadis or mantapas are a cluster. The first one on the right is for Chandranatha. Facing this is the shrine for Shanthinatha, the outer wall of which has a neatly carved Kalpavruksha. Going further a group of three basadis called Trikoota is reached where the central sanctum has Adinatha flanked by standing images of Parshwanatha. To the northeast is the large Bhandara Basadi on a raised platform.

The unique feature of the statue of Mahaveera here is that it produces different sounds at different parts of the body when struck with a coin. Also the exquisitely carved image of Kooshmandini and the intricate door designs are not to be missed. In the front yard of the Math premises stands a 50-foot Brahmasthambha with an image of Brahma Yaksha. This is what the village is named after. Except during January when special poojas and abhishekas take place, the surroundings are quiet.

Drive on Hassan Road (NH 48) to Bellur Cross (105 kms) via Kunigal and Yediyur. At Bellur cross take the road on the left to reach Nagamangala (17kms). Proceed 14 kms on Shravanabelagola road and turn right for one km.

Bhairava Temple, Pushpagiri, Hassan District.

2010-08-26T11:22:00.003+05:30

BEAUTIFUL PHOTOS COURTESY: MR. DEEPAK SETTY of CHIKMAGALUR

Pushpagiri is a little hill station endowed with the nature's bounty in the form of the splendorous greenery of the forests. There are here a few temple of the Hoysala Age along with a modern Ranga Mandira (open air theatre). Pushpagiri can be used as a middle class area of rock climbing ventures. Just opposite this hill there is another one with a temple on its peak. Even that peak is suited for rock climbing feats. In the broad open area in the midst of the hill there are temple of Mallikarjuna, Bhairava, and so on. The Bhairava temple is on the neighboring hill. In the valley between these two peaks is found a pond of rough stones. A Saiva mutt has been carrying out religious rituals every day. A marriage hall (Kalyana Mantap) exists here. A broad Ranga Mandira (open air theatre) has also been built by the Government of Karnataka at a slightly lower level then the mutt.

Chandramouleshwara Temple, Garuda Nagari, Arasikere Taluk Hassan District.

2010-08-26T11:21:00.001+05:30

On the lonely hillock to the north of the Hirekallugudda (near the town of Garudanagari) there is a fort of stonewalls belonging to the age of the Nayaks. In this Giri Durga (invincible hill station) there are a few temples. The hill peak is suitable for mountaineering. The fort has two walls of different ages. This is the right place for studying the art of constructing forts that was being practiced in this State of Karnataka. The place is 12 kms from Banavara on the road towards Panchanahalli.

Garudanagiri, a scenic hill in Arsikere taluk of Hassan District, has been propagating communal harmony and brotherhood among Hindus and Muslims for years. People from both the communities offer prayers at a temple here. The Chandramouleshwara Temple at Garudanagiri is a symbol of Hindu-Muslim amity. One portion of it has a resemblance of a mosque and the other of a temple. There is a tree here called "Putrajaji Vriksha". Except Bababudangiri in Chikmagalur District, nowhere in the State this tree could be found. There is a tomb of a yogi, which is being worshiped by Hindus and Muslims.

Garundanagiri, a hill fort that is 3,680 ft. above the mean sea level, is 27 km. from Arsikere and 69 km. from Hassan. It was originally called Nonabanakal, but assumed the present name on being fortified in 1660 by the rulers of Mysore for the protection of forests on the other side. In 1770, it was occupied by the Marathas under Trayambak Mama, but was resorted to the rulers of Mysore later. After the fall of Tipu Sultan, it was taken over by the British. But the people of the region have different stories to prove that the place promoted amity between Hindus and Muslims. Garundanagiri is also a hill climber's paradise. The fort here resembles a "Garuda" and because of this, it was named Garudanagiri.

The fort has a history of 400 years. The "Elu Suttina Kote" here has been a puzzle for historians and engineers. The fort and its environs have made the place a major tourist spot although it lacks facilities.

It is said Garuda, a bodyguard of Vishnuvardhana Raya, Hoysala King, built the fort. Later, Madakari Nayaka and Palegar of Tarikere Sarja, Hanumantha Nayaka, ruled Garudanagiri.

The "Elu Suttina Kote" with cannons and small windows narrates the rise and fall of empires in Gardudanagiri to the visitors. There is a tank and a Chandramouleswara Temple constructed by Hyder Ali. Along with the Chandramouleswara Temple, there are Swamy Lingeswara and Nonaba Lingeswara temples.

Lakshmi-Narayana Temple, Adagooru, Belur Taluk Hassan District.

2010-08-26T11:17:00.007+05:30

This is a village 8 Km from Halebeedu towards Hassan city. A Lakshmi-Narayana Temple exists here, but the deity is known by the name Vadaga Narayana. This is a Trikootachala, Lakshmi-Narayana idol being in one of them and a Sarswathi in another. Though there is a Venugopal idol in the other Sanctum, it is very unlikely to have been the original idol. The navaranga is attractive. There are no wall sculptures on the outside. A beautiful pinnacle looks elegant on the top.

Lakshmi-Narasimha Temple (1246 A.D), Nuggehalli, Channarayapattana Taluk, Hassan District.

2010-08-26T10:54:00.004+05:30

The present Nuggehalli in Channarayapatna taluk of Hassan district is a home to two elegant temples dedicated to Lord Vishnu and Shiva, belonging to the Hoysala period. This place has a historical past dating back to the early 1246 AD, during which, Hoysala King Someshwara ruled the region.

Present day Nuggehalli was earlier known as Vijaya Somanathapura, an agrahara founded by Bommanna Donnayaka in the year 1246 AD. He served under King Someshwara. Nuggehalli chieftains belonged to the Pudur Vamsha (dynasty) and one of their titles meant that the chief was “Champion over thirteen kings.”

Their genealogy dates back to Thirumalya, the son-in-law of Prauhda Devaraya of Vijayanagara. Further, it is an ancient place near which a Chola king is said to have built Jayagondeshwara temple to which King Vishnuvardhan gave some grants in the year 1121 AD.
Inscriptions

The inscriptions found in the temples of Nuggehalli attribute the time and construction of the temples of Lakshmi-Narasimha and Sadashiva as 1246 AD and 1249 AD respectively and to Bommanna Dannayaka during the reign of King Someshwara. The two temples are of very different type, but are of equal importance from the point of view of architecture. Both the temples are well preserved.

Sadashiva Temple

This temple is an Ekakoota type, with a highly remarkable stellate mulaprasada having a completely original super structure. It is the most beautiful Hoysala nagara temple that survives today. It conforms to the nagara style architecturally with the presence of nagara and the absence of harantara recesses.

The whole temple stands on a platform, which is in conformity with the outline of the temple including the mulaprasada. A careful observation reveals that the tower above the mulaprasada is a little out of proportion.
A bhumija element of architecture is reflected in the tower and the original temple consisted of a sanctum, a sukanasi, navaranga with porches and a Nandi mantapa. There is also a big hall with a shrine for the goddess, another hall on a lower level and a lofty Maha Dwara that exists today, were added to this original structure.

Lakshmi-Narasimha Temple

This ornate Trikoota temple with its exquisite carvings, giant wall - shrines, friezes, an embellished tower and a sukanasi - all standing on a platform, are bewitching to one’s eye. The central vimana only has the original tower while the other towers on the lateral vimanas are the latter additions made to the existing roof. The steps originally provided to the platform in the eastern section, is now enclosed by latter extensions of the frontal portion. Thus, it has lost its functional unity with the temple.

Three walled-shrines in the surrounding walls of the central vimana add to its splendor, enhancing the overall beauty of the temple. A cornice divides the outer walls horizontally. The lower portion is embellished with around 120 large wall images depicting anecdotes from popular epics of
Mahabharata and other puranas.

These wall - images are mainly the work of the then popular sculptors Mallitamma and Baichoja. This fact is supported by the attestation borne by these images. Vishnu as Vamana, Varaha, and Arjuna shooting the fish, are a few images, among many, are outstanding examples of fine sculpting by these master sculptors. On friezes, apart from the usual makaras, hansas, elephants, we find stories associated with Lord Krishna.

The central sanctum with an antharala enshrines cult-image of Kesava. In the northern and southern shrines (both without the antharala), we find cult-images of Lakshmi-Narasimha and Venugopala respectively.

Nuggehalli is not only a pilgrimage spot, but also a school of temple architecture. These temples are open to devotees on all the days and the daily pooja and special poojas are performed in this temple.

Nuggehalli is situated at the mid-point on the Tiptur-Channarayapatna state highway, the distance between them being around 60 kms. As both Channarayapatna and Tiptur are situated on the National highway, they are well connected to Bangalore city.

Allalanatha Temple, Kondajji, Hassan Taluk Hassan District.

2010-04-23T19:20:00.012+05:30

BEAUTIFUL PHOTOS COURTESY: MR. DEEPAK SETTY of PANDURANGA COFFEE WORKS CHIKAMAGALUR

Kondajji is noted for temple of Chennakeshava (Allalanatha). There is an extraordinary image enshrined in a very ordinary granite temple. The image is about 18ft tall, made out of black stone. This most exquisite deity bearing the beautifull conch (Sankha), the Cakra, the Gade (the mace) and the Lotus, has been taken as Varadaraja Swamy by most of the people. Allala Natha is another favourite name given to this Lord by the localites.

The decorative features found on the beautiful form of the Lord, the inexplicably delicate nicety of the sculptural work and the uniquely exquisite facial expression -every one of these aspects captivate the mind and heart of the spectator.

Both to the sanctuary and on to the loft built for the sake of pooja and Abhisheka, visitors have unrestricted access and this is a speciality of only this place.

The back and the backside of this varadaraja murthy are highly attractive in all aspects including sculptural ornamentations

Sridhara Temple (1250 A.D), Javagallu, Arasikere Taluk Hassan District.

2010-04-23T15:25:00.013+05:30

While traversing the Belur-Halebedu-Banavara stretch, a tiny village called Javagallu catches one’s attention. This small, obscure village was once the flourishing town of the Hoysalas.

Lakshmi Narasimha temple at Javagallu, constructed in 13th century A D. Although the prototype of this style was available as early as A D 1121, in the Hoysaleswara temple in Halebedu, it took a century to catch the imagination of the architects. However the 13th century saw a spurt of temples constructed in keeping with this architectural style in Aralaguppe, Hosaholalu, Javagallu, and Somanathapura.

The Lakshmi Narasimha temple has three sanctums. The deity adorning the central sanctum is Vishnu in the form of Sridhara, a rare feature in itself as no other Hoysala temple has Sridhara as a central deity, followed by Venugopala in the southern sanctum and Lakshmi Narasimha in the northern sanctum. Only the central sanctum has the antarala (vestibule) connecting the navaranga and the sanctum. The basement of the temple has six carved friezes of elephants, horses, scroll, mythological scenes, makaras, and hamsas. Look carefully and one can identify scenes from Ramayana, Mahabharata and Puranas. However, no inscription has been found regarding the consecration of the temple. The inimitable sculptor Mallitamma, who had worked on half-a-dozen temples built over a period of seven decades starting from Amritapura to Somanathapura, had a major role to play in the construction of this temple. Chika Mallitamma and Pamayana assisted him.

The outer walls exhibit the Chaturvimsati Murthy the 24 forms of Vishnu, leaving little place for the other gods and goddesses such as Brahma, Harihara, Parvati, and Mahisamardini.

The central vimana has staggering walls projecting forward to indicate the composition of pancharatha formation, with a three-tala tower vaulting high crowned by a modern kalasa. The other two vimanas are identical to the central vimana except for the latter's tower and sukanasi.

The navaranga consists of nine ankanas, divided by round pillars and the nine ceilings of concentric circles. Two niches in the navaranga contain Ganesa and Chamundi. A high compound wall surrounds the temple and a mahadwara built during the Vijayanagar period is the only entrance to the temple.

Hoysala Temples in 19th century and in 2009

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Belur Temple in 1868 and 2009

Halebid Temple, in 1856 - in 2009

Halebid Temple, in 1865 - in 2009

Halebid Temple, in 1856 - in 2009

Somanathapura Temple, in 1865 - in 2009

Somanathapura Temple, in 1865 - in 2009

Somanathapura Temple, in 1968 - in 2009

Somanathapura Temple, in 1965 - in 2009

Chenna Kesava Temple & Someshwara Temple (1234 A.D), Haranahalli, Arasikere Taluk Hassan District.

2010-04-22T12:33:00.008+05:30

Haranahalli is a small town situated about eight kilometers to the south of Arsikere on the main road leading towards Hassan. This town is called by various other names. While some people call it Haruvanahalli, the others refer to it as Hiriya Somanathapura. Haranahalli is well known for its beautiful temples, the prominent ones among them being the Kesava and the Someshvara temples that are renowned for the Hoysala style of architecture.

The Kesava temple (popularly known as Lakshmi Narasimha temple) is situated in the center of this old Hoysala town. The records reveal that three brothers -Peddanna Heggade, Somanna and Keshanna- obtained a free site from the natives and constructed the temple in 1234 AD. The Hoysala king Narasimha II bestowed the brothers with more acres of land later for the development of the temple.

Mallitamma, one of the best-known Hoysala sculptors of the 13th century, is the main sculptor of the Kesava temple. He is believed to have worked for the Nuggehalli, Hosaholalu and Somanathapura temples also.

The wall above the basement is horizontally divided into two halves. Above the cornice is a row of turrets borne on single or double pilasters. The Kesava temple is constructed on a platform, which is about four feet tall. The basement is divided horizontally into five flat cornices each bearing a frieze of sculptures. This includes a long creeper scroll band and separate rows of yakshas and yakshinis, horsemen, makaras and swans.

The lower half of the wall has 140 images including those of Dharani Varaha with Hiranyaksha, Dakshinmurthi, Bhairava, Kalingamardhana, Rati Manmatha, Govardhanadhari, Durga, Harihara, Vamana, the six-handed Veenasaraswati, Brahma, Lord Vishnu with Lakshmi, Mahishasuramardhini, Kodanda Rama, Lakshmi Narasimha, Parashurama, Balarama, Trivikrama, Kesava, Mohini and Arjuna, among others.

The hall, navaranga, with an extra ankana on the east has niches of Saraswati, Ganesha, Lakshmi and Bhudevi. The four pillars of the navaranga have the usual lathe turned bell-shaped designs with fine beaded work. The ceilings are artistically done in various shapes such as concentric circles, eight-pointed star, eight-petalled concentric padmas etc.

The south cell doorway flanked by dwarapalas has finely-done jambs with star-shaped pilasters. On the Garuda pedestal in the cell stands a fine image of Venugopala. The doorway of the north cell has a sculpture of Lakshmi Narasimha, who is flanked by Prahlada, Garuda and a large numbers of devotees. The sanctum doorway of the temple is beautifully carved to perfection.

The Someshvara temple situated about 200 meters to the northeast of Kesava temple is also very similar in workmanship, but different in architectural plan. While the Kesava temple has three cells and one entrance, the Someshvara temple has only one cell and three entrances. Though there is no mention about the year of construction of the temple in any inscription, it is believed to have been built around the same time the Kesava temple was constructed.

A high platform with five cornices runs across the temple following the outline. The basement has five flat-faced cornices with friezes of elephants, horsemen, swans, etc. The wall is divided into upper and lower halves, above which is the usual row of pilasters bearing turrets of varied shapes.

Some of the images on the wall include those of Tandava Ganesha, Mohini, Dharani-Varaha, Harihara, Trivikrama, Lakshmi, Durga, Bhairava, Govard-hanadhari, Mahishasuramardhini, Venugopala, the eight-handed dancing Saraswati, Parvati standing with Ganesha and Kumara, the six-handed dancing Shiva, Kalingamardhana, the three-headed beardless Brahma and the six-handed Tandaveshwara, among others.

The tower of the temple made of soapstone has four tiers of turrets, which are ornamented with images of Yaksha, Tandaveshwara and others. The projection over the tower is ornamented with fine-beaded work.

The navaranga has nine ankanas and three extensions to the east, south and north. It also has six niches including those of Saptamatrika, Saraswati, Mahishasuramardhini, Ganesha, Shanmuka etc. The four central pillars are in the shape of a round bell, while the remaining six are star-shaped. The two pillars near the doorway (east) are more ornate and their bases have sculptured panels of Kailasa lifting Ravana, Govardhanagiridhari, Venugopala and others.

The navaranga has twelve artistic ceilings in varied shapes such as octagonal circles, concentric circles and octagons. The sanctum doorway has a flat padma ceiling.

Kedaraeshwara Temple (1219 A.D), Halebidu, Belur Taluk , Hassan District.

2010-04-22T12:28:00.003+05:30

This is another beautiful temple on the banks of the tank Dorasamudra. It is as far as five hundred meters (500mtrs) east of Basadi village. As per the tradition of the Hoysala architecture, the temple stands on a raised pedestal, and is girdled by bands of Elephants, Horses, lions, crocodiles, Swans and mythological stories, creepers and so on arranged in different tiers. In the front entrance there are the stone meshes of artistic work (Jalandra). On the other three sides there are idols of gods and demi gods.

The sculptural masterpieces of Vrshabharoodha (the ox rider) the Gajasuramardana (the slayer of the elephant demon), the Kaliyamardana (the slayer of the Kalinga Serpent) and others are exceptionally fine. Inside has navaranga containing beautiful round pillars and Bhuvaneshwari ceiling too. There are two sanctum which are both empty. Around the temple gardening has been done well. The Kalyani (Sacred pool of water) on the north - east corner has been completely covered up now.

Veera Ballala II and his younger Queen Abhinva Ketala Devi built the temple of Kedareshwara in 1319 A.D. This temple was praised by Ferguson two centuries ago as "Gem of Indian Architecture". He expressed that if this temple had been illustrated in any thing like completeness there was probably nothing in India which would have conveyed a better idea of what its architecture was capable of doing. Unfortunately portions of the temple collapsed more than 70 years ago and it was not possible to bring it to its original shape.

In the beginning, its Navaranga hall a smaller shrine on either side while over the main shrine raised a beautiful star-shaped vimana of smooth stone. The other walls, the tower, the doorway and the ceiling were more magnificently carved and the temple looked like a divine piece of jewellery than a building. The basement of the temple which stands on a high platform has a large number of sculptured friezes showing the marching of elephants, charging horse, lion, mythical animal, swans and finally designed creeper scrolls, they are all from stories of Ramayana,Mahabharatha and Bhagavad-Gita in a large sculptured band.

The upper part of the wall has nearly 180 beautifully carved images of various Gods and Goddesses. Those Gods and Goddesses stand under elegantly designed floral arches and some of them are finely shaped and finished. Inside the temple, we can see a few elegantly carved star-shaped pillars but the ceilings are of greater interest. Mostly they are some simple dances full of carvings. The doorway also shows a greatness of fine workmanship.

Betteshwara Temple (1209 A.D), Agraharabelguli, Channarayapatana Taluk, Hassan District.

2010-04-22T12:23:00.002+05:30

Agraharabelguli is an enchanting hamlet situated about 25 kms from Channarayapattana in Hassan district. It houses the magnificent temple of Kesaveshwara, which is popularly known as Betteshwara. An inscription near the main entrance of this Hoysala structure, which was consecrated in 1209 AD, serves as a useful record for obtaining many important details about the temple. It makes a mention of Kesiraja, a commander under the Hoysala Emperor Ballala II, who is believed to have constructed the temple.

The main attraction here is the magnificent Keshava image 5 1/2 ft high, installed in the northern Garbhagriha, with four hands each adorned with conch, disc, club and lotus. Within the temple complex lie two spaciously decorated porches where a Nandimantapa is attached with a 4 ft tall Nandi. Another notable feature of the temple is the existence of a two-storied mahadwara of the Hoysala period.

There is also a reference to an agrahara called Kesavapura, which was built, at the same spot. The inscription also makes a mention of two tanks called Kesava Samudra and Lakshmi Samudra, which were excavated here.

The majestic temple has a starlet plan facing the east. Though the temple has plain exteriors, the interiors are highly decorative, with the makara thoranas of the sanctum and sukhanasi being highly ornamental. The navaranga, like in any other Hoysala temple, has nine different Bhuvaneshvari with floral decorations and intricate carvings. The Ashtadikpalakas in the central Bhuvaneshvari is noteworthy for its fine details. There are four lathe-turned pillars of the typical Hoysala style, which are much taller when compared to other pillars. Elegant sculptures of Saraswati, Bhairava, Ganapati and Sapatamatrikas adorn this temple, where the linga is placed in the main sanctorum.

The main attraction of the temple is, however, the magnificent five and half foot tall Kesava image installed in the northern sanctum. Standing on a two-and-a-half foot high pedestal, it is one of the best representations of Kesava in Hoysala style, with a restrained look on the face and the four hands adorned with shanka, chakra, gada and padma. The highly ornamental prabhavali depicts the ten manifestations of Vishnu, with the representations of Matsya and Kurma shown as fish and tortoise, respectively. Buddha is represented here as the ninth manifestation of Lord Vishnu. There are two porches in the temple, one facing east and the other facing south. The eastern porch is a spacious one with has an entrance leading to the south. There is a Nandimantapa attached to the porch, with a four feet tall bull.

Another notable feature of the temple is the existence of a two-storeyed Maha Dwara of the Hoysala period. This temple is a complete Hoysala structure, but for the mortar shikhara added in the later days.

Catteshwara Temple (1200 A.D), Catacatti Halli, Belur Taluk, Hassan District.

2010-04-22T12:11:00.002+05:30

This village 4 km of northeast of Halebedu is a Trikootachala (a triplet of sanctums) of Catteshwara. One Cattaiah Perumale constructed this. The linga in this temple is known as Cattleshwara Linga. In a sanctuary situated in front of this 6 ft high idol of Sun God is found installed. In-between these two sanctums there are other sanctums containing the idols of Harihara. On the outer surface of the walls there are no special sculptural features. Yet the outlook is beautiful. The temple has become weak and is beginning to crack.

Hulikere Kalyani (1163 A.D), Hulikere, Arasikere Taluk Hassan District.

2010-04-22T12:05:00.005+05:30

BEAUTIFUL PHOTOS COURTESY MR. DEEPAK SETTY of PANDURANGA COFFEE WORKS CHIKMAGALUR

This can be taken as a milestone in the art of constructing Kalyanis or Pushkarinis. This beautiful sacred pool of water is situated in a small village called Hulikere, 5 Km from Halebeedu. In this pushkarini, constructed like a well under the ground level, there are stone stairs up to the mid height from the bottom on all the four sides. Above that level there are 12 sanctums with pinnacles (Shikhara's). Amidst them are also 14 sanctums without peaks are pinnacles. In the place of another possible sanctum there are the down taking steps.

The 12 sanctums of this Kalyani may be most probably representing the twelve Zodiac constellations. While the total number of sanctuaries may be standing for the 27 stellar constellations. So goes the surmise done by connoisseurs. In that case there existed a unique architectural design in this pushkarini representing the celestial sphere and its different constellations. Then this discovery marks a very new astounding fact of the Hoysala architecture. As this great pool is filled ¾ with water during the rainy season, its full beauty is discernible only during the summer season.

Hulikere is 5 kms from Halebidu on Halebidu – Hagare road. Hagare is on Hassan – Belur road. There is a signboard mentioning about the Kalyani which can be easily missed. Take a left here and after a km is the Kalyani.

Iswara Temple (1200 A.D), Arsikere, Arsikere Taluk, Hassan District.

2010-04-22T11:54:00.003+05:30

Arasikere, a prosperous commercial hub of Karnataka on Bangalore-Shimoga road has its own place in history from time immemorial. It derives its name from a large water tank built in 11 century AD by Mahadevi, queen of Hoysala King Ereyanga. It was also the birthplace of Umadevi, queen of Ballala II.

With such royal connections, it is no wonder that the place has witnessed the glory of the Hoysala Empire. Several inscriptions recognize the place as Sarvagnapuri, Jayagonda Ballalapura, and Vira Vijaya Ballalapura etc. Famous medieval poets like Devaparya, Trivikrama Pandita, Santinatha among others have showered abundant praises about its place, people, tanks and lush green fields and farms. Art, wisdom, and wealth had brought this place the epithet of "Ayyavole of South" in line with the Aihole of the Chalukyas.

Though the inscriptions are full of details of innumerable temples built by sculptors like Ketoja of Sarasvati Ganadasi, Echoja of Puligere, Singoja today only a Siva temple stands in the center of the town as a testimony for the past pride and glory, exuberance and grandeur.

The Sivalaya is a rare architectural marvel in the entire line of Hoysala temples. It looks like three stars, in one line forming a unique constellation of their own. This Ekakoota temple with a single cell, antarala (vestibule), and navaranga is connected to an open mantapa through a porch. The vimana, navaranga and mantapa are all star shaped and two lateral entrances through the porch provide access to the temple and to the open mantapa.

The vimana is the cynosure of this splendiferous architectural achievement. The 16-pointed star shaped vimana is famous for its geometric combination of three different kinds of aedicules consisting of eight-pointed stambha, followed by another one rotated by 22.5 degrees, and the third one rotated by 45 degrees.

The vimana rests on a pedestal of several molded cornices, above that stand majestically sculptures of deities. In between two stambha aedicules, the harantara section has small sculptures of attendants, standing below a variety of decorative towers. It was a matter of pride for the medieval sculptors to exhibit their knowledge of silpasastra by decorating the exterior walls of the vimana with varied styles of temple like Nagara, Dravida and Bhumija in miniature forms and this Sivalaya too has several such decorations.

The tower above the main cell rises majestically in five talas capped by a beautiful padma above which a modem metal kalasa is fixed. The large bull sitting on the sukanasi, perhaps not an original one takes the place of the usual Hoysala crest of Sala killing the tiger.

The exterior walls of the navaranga too have the unusual feature of stambhas rotated by 45 degrees giving an impression of a semi star shape to this part of the temple too.

In all other Hoysala temples either staggered squares, or indented squares form the outer walls of the halls. Here in the center of the walls have small shrines forming a niche for the deities, and some of them show even 2-3 talas resting on one another. Other decorations follow the vimana described earlier.

The architects' obsession for stellate plan, perhaps, had found its best expression in the open mantapa, which is in the shape of a 16-pointed star. The inside of this open hall has eight round shaped exquisitely carved pillars to support the ceiling. The stone benches follow contour of the star supported by 24 small elephants.

The usual slanting railing provides the necessary backrest for the dignitaries who would watch pooja and other performances. While the large circular ceiling of the mantapa has five rows of carvings and sculptures, the Ashtadikpalas form part of the ceiling of the little open porch leading into navaranga.

The interior of the navaranga is none too less important in its exuberance with eight wall shrines. Nobody seems to know when these ornate niches in the navaranga were denuded of their sculptures.

Today only emptiness greets the visitor. The pillars and ceilings of this temple can only testify the ingenuity of the unknown sculptor who unlike other sculptors of his time has left nothing behind about himself except his expert craftsmanship.

The builder of this structure was Raejimayya Danda nayaka.

Chenna Kesava & Nageshwara Temple (1200 A.D), Mosale Hosahalli, Hassana Taluk, Hassan District.

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BEAUTIFUL PHOTO COURTESY MR. DEEPAK SETTY of PANDURANGA COFFEE WORKS CHIKMAGALUR

Mosala or Mosale Hosahalli, a small hamlet lies amidst the fascinating natural scenery of Hassan taluk, holds two unique temples noted for its rich architectural value.

Mosale is situated at about 12 kms from Hassan town on the Hassan-Holenarasipura Road. Old stories say that in ancient days sage Jamadagni had a hermitage in this place and the village was earlier called as Musala, which means a pestle. The two temples are good examples of Hoysala Art. The antiquities of these temples are not yet known. However, from their architectural character and style, they may belong to 13th century AD.

Constructed on the lines of Hoysala architecture, the twin temples (Trikootachala type) dedicated to Nageshwara and Chenna Kesava respectively stand side-by-side, a few feet apart, is identical in design and workmanship.

The temples made of soapstone consist of a sanctum, a sukanasi, a navaranga and a porch (mukhamantapa) with a jagathi on either side. The sanctum of Chenna Kesava temple holds six-feted Chenna Kesava idol beautifully sculpted.

The prabhavali placed behind Chenna Kesava has the images of Matsya, Koorma, and Varaha etc representing incarnations of Lord Vishnu.

Sridevi and Bhudevi placed on either side of Chenna Kesava are attractive. The doorway of sanctum has a Gajalakshmi. Rangamantapa has a lotus-shaped, artistically designed ceiling carved with the figures of Indra, Agni, Varuna, and Vaayu - the Astadikpalakas sitting on their vehicle.

The Nageshwara temple has a sanctum, a sukanasi, navaranga and a mantapa. One can see a beautifully sculpted Nandi idol here. The Nageshwara and Chenna Kesava temples have an elaborately carved with intricate geometrical patters and marvel designed ceilings.

As you move around the temple, the images of gods and goddesses are seen on the walls of the temple. The exquisitely carved figures of Saraswathi, Ugra-Narasimha, Kalingamardhana, Madanika, Apsara and Giridhara are neatly arranged on the outer walls of the temple attract the attention of tourists. Each temple has an elegant tower in front, which is carved a fine figure of sala with the tiger. The creeper torana, windows, panels and pillars are very attractive.

Bucheshwara Temple (1173 A.D), Koravangala, Hassana Taluk, Hassan District.

2010-04-22T11:25:00.008+05:30

A small village about 12 kms north east of Hassan town, Koravangala's green and lively landscape would fascinate any visitor. Among its picturesque settings is a 12th century Shiva temple that stands as a masterpiece in Hoysala architecture. Originally known as Kora Mangala, the place was a flourishing Agrahara. Out of three Shiva temples in the place, two were dilapidated and the biggest of them called Bhooteshwar or Bucheshwara has survived to this day. Inscriptions around the temple site give us an idea of the temple's construction and the various grants it received. One of them specifies the name of Bhutanatha Raja or Buchi Raja, a Brahmin officer from the family that serves Hoysala king Narasimha I, as the man who constructed it.

The inscription also states consecration of the temple coincided with the coronation of King Ballala in 1173. Located at the center of the village, the temple has a large tank on the side called Mukasamudra. Though originally built over a large platform, today it stands almost equal to the ground.

Apart from a porch, the temple consists of a Mukhamantapa, a grand Navaranga, an open Sukhanasi and Garbhagriha. A small shrine for Surya is also connected with the main shrine.

The Mukhamantapa is supported by 32 pillars and adorned with thirteen ceilings carved with flat lotus flowers. It has two entrances facing north and south.

Made in different sizes, the pillars are shaped like bells and lathe, with finely carved beads all round. Pilasters carved elegantly with scrollwork support porches at the entrance. The south entrance has an imposing presence with soap stone elephants at the sides, and Dwarapalakas with female Chamaradharis on the jambs.

The Navaranga has neatly carved ceilings. The northern part of it has an enticing image of Krishna. On the lintel, above the entrance to Navaranga, a fine image of Gaja Lakshmi is also found. Idols of Ganapathi, Saraswathi and Saptha Matrikas adorn the corners of the Navaranga. On the right side is a figure of Dashina Murthy.

The Vimana above the Garbhagriha is made of soapstone. It consists of turrets in four tears with numerous sculptures. An exquisite Hoysala crest adorns the Vimana's facade. The sanctum sanctorum has a huge Shivalinga made of Blackstone. Every section of the temple has wonderful sculptures that mark this temple out from many others.

A row of large idols carved in single and double pilasters with turrets above them adorn the outer walls. Figures of Vishnu, Narasimha, Varaha, Venugopala, Natya Saraswathi, Kaliyamardana Krishna, etc can be found there. On the wall panel the carving of the Gajendramoksha sequence is absolute marvel.

Koravangala can be reached easily through the road cutting off from Hassan-Arasikere road. Several local buses and taxies are available from Hassan.

Kesava Temple (1163 A.D), Hullekere, Arasikere Taluk Hassan District.

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Is a small village near Gandasi. It lies on the Arasikere - Tiptur road. On a mound on the backside of this village stands a Kesava temple of the Hoysala style. As it stands high on a mound a pedestal has not been provided. There are verandas on all the four sides as in the Somanathapura temple and there is a portico on the eastern side.

The temple is small in size but very handsome. Even though the sculptural features on the surfaces of the outer walls are not much, there are 12 forms of Vishnu on the southern side and the 12 remaining forms on the northern side. On the west there are the sculptural works of Dharani-Varaha. Over the head of the temple there is an attractive sikhara. In the sikhara the
special feature of sala's brave posture is incorporated as the main symbol of the Hoysalas. At the entrance door (main entrance) there are two mammoths and a huge inscription, in stone. Inside are the navaranga and a sanctum with the image of Sree Kesava.

Hoysaleshwara – Shantaleswara Temple (1141 A.D), Halebedu, Belur Taluk, Hassan District.

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BEAUTIFUL PHOTOS COURTESY: MR. DEEPAK of PANDURANGA COFFEE WORKS CHIKMAGALUR

Today's Halebedu was the then capital of the Hoysalas. It stood aloft inside a long stone fort running for about 10Kms. Dorasamudra was the name attached to that big town. Though there were many sculptural niceties in the form of temples and other buildings filled with art and architecture, mostly what we see today are only their remains. Nevertheless as a live symbol of Hoysala Architecture, the twin temple of Hoysaleshwara – Shantaleswara can be witnessed all most relieved even today. During the reign of Vishnuvardhana Raya this temple was erected by commander in chief Ketha Malla about 1120 AD though the first phase of the temple appeared to be completed in 1141 A.D. It has centrifuged all most all the beauty of Hoysala style of Architecture into itself and thus has proven to be a great gem in that lineage. The stone carvings standing along the length and breath walls reflect devotion in the Gods. The delineation in literally solid figures of the serials of the Ramayana and the Mahabharatha epics have been presenting hundreds of morals and models for the life of every one infused with real humanity in him. These themselves are the unwritten, big epics touching the mind and heart of even illiterates.

The idols of the door guards are very tall and drawing our attention inescapably to themselves because of the delicate artistic ornamentations over them. On the southeast corner there exists a little museum of sculptural art. On the east there is the biggest tank of Halebedu beside the temple. In the inscriptions it has been designated as Dorasamudra. The name "Adobe of the Dora Samudra " for the capital of the Hoysalas was derived from this tank itself In the 13th Century the dam was built across the Yagachi near Belur in order to canalize water into the Dorasamudra tank. This fact has been discovered through the inscriptions and relics left over.

A separate Maha Dwara (Main entrance) and a Navaranga (the long and broad interior hall) always precede the sanctum in each temple. Inside the northern sanctum there is the Siva linga going by the name Shantaleshwara. And inside the other sanctum - sanctorum is the Hoysaleswara Siva linga. In front of the eastern entrance of each temple there is a colossal idol of Nandi, carved out of monolithic stone. In addition to the above two sanctums, one of Sun God is also found existing where in shines a seven ft high idol of the Sun God.

There exist four entrances to the twin temple, out of which the southern one is especially bedecked with the beauty of very delicate artwork unimaginable in a stone plate. In front of this entrance there lays an eye capturing 8 ft. lofty Ganapati idol in a hefty form. The eastern entrances are also attractive.

Around this very temple rows or bands of elephants, horses, lions, crocodiles, creepers and swans are found in the form of solid roll models, the bands being arranged one over the other along the enveloping the wall surfaces. There are also arrays of idols depicting the epics in a continuously rolling serial fashion. Beautiful sculptural masterpieces have been contained as engraving in the walls themselves.

Jain Basadis, Basadihalli, Hassan District.

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Even though this countryside looks like a separate village situated near Halebedu, it was prominent part of Dorasamudra during the rule of the Hoysalas. Within this well-established area on the east of the inner fortress, there were several huge and highly rich Basadis (Jinalayas). Most of them have been ruined, and today there are Basadis of the Hoysala age only within one single compound.

Parshwanatha Basadi (1133 A.D)

The big Basadi Facing the entrance of the compound is called Vijaya Parshwanatha Basadi. This was completed in memory of Ganga Raja, the commander of Vishnuvardhana Raya 1113 AD, by his son Boppadeva. Originally as a memoir of the title of Ganga Raja it had the nomenclature styled as Dhrohagharatta Jinalaya (Dhohagharatta, 'the pulveriser of treachery' was perhaps the title of Ganga Raja). During the opening ceremony of the Jinalaya, Vishnuvardhana Raya became victorious in the battle of Bankapura. So this was renamed as Vijaya Parswanatha Jinalaya and was honored with royal donations for its maintenance. This Basadi looks simple at the outside, but possesses very rich decorations inside. The sculpture of the underside sealing, called Bhuvaneshwari, is very attractive. The round pillars of nice splendid black stone found in the navaranga portion. There is a special place for such exquisite pillars in Hoysala architecture, there stands in the sanctum - sanctorum a 14 ft high idol of Parshwanatha in the sthanaka posture.

Attached to the walls of the navaranga there are in all 24 peethas (seats) indicating the erstwhile existence of the idols of 24 Teerthankaras there. They have all vanished today. Infront of this basadi there is a Mukha Mantapa (Portico Hall) comprising many pillars, along with a big inscription describing the construction of this Jinalaya. Many more inscriptions found here have become official records of the Government.

Adinatha Basadi

Adinatha Basadi to the right of the Parshwanatha Basadi is another one of a very simple style. Devara Heggade Malli Mayya built it. It is a little one containing proportionately a little navaranga and a little sanctuary. A Saraswathy idol exists in the Deva Koshtha (House of Gods) of the navaranga. Since the original idol of the sanctuary is broken, it has been deposited in the neighboring Santinatha Basadi.

Saantinatha Basadi

This is a high and broad Basadi situated on the right of the Adinatha Basadi. One going by the name Madhukanna Vijayanna built this beautiful Jinalaya in 1256 AD with the substantial encouragement offered by the association of the businessmen of Dorasamudra. The outer wall of this Basadi is of course very simple. But here too, in the navaranga portion, there is huge shining round pillars taking their appropriate positions.

A monolithic 15ft idol of Santhinatha stands in sanctum in the sthanaka posture. Once in 12 years the Head Bathing Festival (Maha Masthakabhisheka) takes place here. Facilitating the bathing performance brick steps have been built in a convenient way. In front of the Basadi entrance there is a measuring column call Manastambha as lofty as 30ft.

All these three Basadi’s comprehended with in one compound have common Pushkarini on the north -east corner of the compound.

Yoga Narasimha Temple (1122 A.D), Santigrama, Hassana Taluk Hassan District.

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Among the Hoysala temples of this place the Yoganarsimha Temple has been built by one called Acala Prakasa Muni during reign of Veera Ballala. The ring of nine forms of Narasimha (Nava Narasimha Vritta) incorporated in the ceiling of the Portico of the temple is a rare sculptural work. This vritta is supposed to have mystic powers. Narasingimayya father of the Hoysala Queen Santala-Devi built the Dharmeshwara Temple in 1122AD. Visitors who enter Santhigrama are first welcomed at the end of the main road by the commanding appearance of the Kesava Temple which is standing high on a raised pedestal.This Santhigrama village was donated to Shantala- Devi the loving Queen of Vishnuvardhana Raya.

Prasanna Chenna Kesava Temple (1117 A.D), Beluru, Belur Taluk,, Hassan District.

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Hassan district is the crown of Karnataka's Sculpture Kingdom. The invaluable Kohinoor of this crown happens to be the temple of Sree Chenna Kesava at Belur. This has exploited all the beauty available in the world sculpture, was established on 10-03-1117 A-D by king Vishnuvardhana Raya of the Hoysala Empire. The successors in the lineage of Belur administrators have protected and refined continuously this unique treasure and have brought it to the present stage with a spirit of dedicated maintenance. This town Belur was the capital of the Hoysala Kingdom in its inception stages. Previously this town was being alternatively called Belahuru, Baelaa Pura and Vaelapura. To begin with the sacred Sanctums of Vijaya Narayana (Chenna Kesava), Kappe Chenniga Raya (Kesava) and Lakshmi Narayana were established. Eventually they have been followed up with the construction of many more Sanctums (Garbhagruhas) like those of Veera Narayana, Soumya Nayaki, Sree Rama, Anjaneya, Alwars and so on, along with the regular features of a Vaishnava Temple such as the Garuda Gamba, the Gopura, the Balipeeta, & the Deepastamba, the Store Room (Bhandara), the Sacred Kitchen section (Pakasala), the Yoga sala and the Kalyana Mantapa. The delicacies of minute details delineated through the Hoysala Art, inch by inch, on the stone screens of the walls and ceilings of the temple of Sree Chenna Kesava, seem to be inexhaustible, even if the visitors are allowed days and months to go through in a spirit of devoted speciation and study for their genuine experience of surprise and ecstasy. Through this temple the world has availed the unparallel benefit of top class feminine beauty captured and impounded forever in permanent structure in the form of the matchless dames in Litho Art renowned as Silabaalika's.

The temple of Sree Chenna Kesava, which was built during the Hoysala regime of Vishnuvardhana Raya, was developed in due course by his son Narasimha Raya and his grand son Veera Ballala. They decorated the temple with Jalandhras (the stone mesh windows) the entrance doorframe art, the special pillar and the thorana. During the time of Veera Ballala, the Vasudeva Pushkarani, Dhanyaagaara (storehouse of grains), and Pakasala (sacred kitchen) were constructed. A few more special additions were accommodated during the reign of the rulers of Vijayanagara following the decline of the Hoysalas. Mainly it was during the time of Harihara Raya, (1395 AD) that, one by name Gunda Danda Nayaka raised the beautiful 7 (Seven) storeyed Gopura out of stones and burnt bricks bound by lime mortar. And then during the reign of King Deva Raya his commander Bice Dandanayaka (1414 AD) prepared and installed the unique tall Lamppost, the Kartika Deepotsava Stambha. Unfounded in the ground but simply placed over a stone platform, this tall Monolithic granite column is symbolic of the excellence of architectural science possessed by the Vijayanagara reign architects. Even today this column, by its stature and stability, baffles the visitors from the entire world over. The big tank of

Belur is known as Vishnu Samudra. It was built during the time of Narasimha Raya under the circumspection of Padmarasa.

Later in the so called golden age of the Vijayanagara reign at the time of Krishnadeva Raya, a chief by name Basappa Nayaka of Utpatanahalli made the north end of Vishnu Samudra quadrangular, arranged comfortable steps on all three sides to climb down to edge of the water, and thus converted it into a comfortable Pushkarni for the devotees to use the sacred water for the daily austerities. He also built an Island Mantapa in the midst of the Pushkarani for the sake of the sacred Float Festival, and choultries too on the banks of the tank for the camping facilities of travelers who would visit for partaking in the different festivals and pooja of the place. These can be found even today. During the rule of the Vijayanagara kings themselves the smaller temples of Saumya Nayaki and Ranga Nayaki were brought to existence on both the sides of Sree Chenna Kesava's main temple, representing the divinely graceful loving presence of both Sreedevi and Bhoodevi beside the lord.In addition to these many other temples rose up in Belur during the rule of the Hoysalas and the Vijayanagara Kings.Belur had a beautiful girdle of a mud Fortress. This was constructed while Belur was still the capital even before Dorasamudra could be the relic of the fortress containing broken stumps of the huge and high mud walls, and the deep trenches surrounding them, can be seen even today.

Maha Lakshmi Temple (1114 A.D), Doddagaddavalli, Hassana Taluk, Hassan District.

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As you drive down from Hassan enroute Belur, you will find a small hamlet called Doddagaddavalli, situated just 16 kms away from the Hassan town. The Doddagaddavalli temple here is considered to be one of the first temples built in the Hoysala style. It is a Chatuskootachala or four-celled temple and probably the only Hoysala structure of its kind in Karnataka. In fact, it is said that a merchant called Kullahana Rahuta and his wife Sahaja Devi in 1114 AD constructed this temple. The Lakshmi Devi temple here is situated in a courtyard, enclosed by a seven-feet-high stonewall. The temple has two main entrances - one facing east and the other facing west. Some of the main attractions of the temple here are the four small shrines surmounted by stone towers and the Hoysala crests found at the corners of the enclosure. The groups of stone towers are constructed on the lines of Kadamba Naagara style, resembling pyramids from one end, and 18 carved pillars support the mantapa in the front.

Although this temple is not built on a star-shaped, three feet platform, which is usually the case with the Hoysala style of construction, it is resplendent in the unique architectural style of the Hoysala period. The main sanctum of this temple has the presiding goddess Lakshmi Devi, beautifully sculptured, measuring about 3 feet high, with an attendant on either side.

The other ceilings have floral designs in the middle besides circular panels carved with the figures of regents of the eight directions (Ashta Dikpalakas). These carvings represent a workmanship of high order. While the sculptures of Gajalakshmi, Thandaveshwara and Yoganarasimha on the sanctum doorway are fascinating, the doors of the east mahadwara are highly decorated. One of the main attractions of the temple is the elegantly carved goblins or Betalas, situated in the vestibule (sukanasi) of the eight-handed Kali shrine.

Rectangular in shape, the temple has four cells attached to a common hall. While Maha Lakshmi and Bhutanatha linga occupy east and west cells, Kali and Bhairava are located on the north and south cells respectively. The Bhairava appears to have replaced Vishnu, probably in the later years, as the carving of Garuda at the entrance indicates. The main idol - Maha Lakshmi is in standing posture and is a little more than one meter in height. Flanked by chowri bearers, she has four hands with Shankha, Chakra, Rosary and Mace in each of them. The idol of Kali is a terrific figure about a meter high with eight hands, seated on a demon. The temple was derelict and remained unknown for a long time. Recently though, it was fully renovated by the Archeological Department as it is considered an important monument.

The shrine of Kali is designed as per Hindu mythology. Two nude Goblins one of whom hold a raised sword on one hand and head of a human on the other; guard either side of the entrance. The four tall towers of the shrine enhance the temple’s beauty. Apart from the main shrines, an additional structure is found in the northeastern direction. Protected by stonewall, the shrine has four small cells with towers, similar to the main shrines. Judging from the manner of its construction, this must have been a hasty late addition to the existing cluster of shrines. A pratoli type porch near the west gate of the enclosure has an exquisite sealing with stone pillars on all the sides. The center of the sealing has a fine carving of Thandaveshwara. The eastern entrance leads to a lotus pond, located adjacent to the temple complex. If an additional tower is built near the temple, it is possible to view all the nine towers of the shrines here, which, without doubt, would offer a spectacular view of the complex. The temple is located 20 km northwest of Hassan town, 13 km off Hassan-Belur road. The road that goes on the left would lead to the monument.

HOYSALA EMBLEM

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The Hoysalas History

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The origin of the Hoysalas is a matter of much interesting speculation and controversy. Like their distinguished contemporaries, the Seunas, the Hoysalas too claim their descent from Yadu (Lunar Dynasty) and call themselves the Yadavas. The conventional titles like, "Yadavanarayana", "Yadavakutambrad-yumani" and "Dvaravatipura-varadhisvara" are common to both the Seunas and the Hoysalas. The scholars, however, have not been able to accept the Hoysala association with the legendary family nor could they agree with the theory the Hoysalas hailed from Dwaraka in Gujarat.

The story relating to the founder of the kingdom named Sala, tries to explain the family designation "Hoysala" by splitting the term into "poy" or " hoy" and "sala". According to this tale Sala, a young student was directed by his teacher Sudatta Muni, who asked him to smash tiger (poy-sala i.e., "smash, oh Sala), when it rushed in the precincts of the temple of goddess Vasantika (Vaishnavi Devi, tutelary deity of Hoysala Monarchs) at Sosevur (Angadi, Mudigere Taluk, Chikkamagalur District). Sala is said to have hit the ferocious tiger and killed it, winning thereby the appreciation and blessings of Guru, who commanded him to establish a kingdom. This account became so popular that it is narrated in all the elaborate Hoysala epigraphs, which describe the hero Sala as the originator of the family. The event gained prominence that the figure representing the story of Sala attacking the tiger with a dagger, became the royal emblem of the family, and it is seen almost in every Hoysala temple.

Sala Nripa Kama or Kama Hoysala (C. 1000 - 1045. A. D.) was the first known ruler of the Hoysala family. He is said to have fought several encounters against the Cholas, sometimes in association with the Kadambas and perhaps with the Gangas. His son and successor was Vinayaditya (C. 1045 - 1098 A. D.) and his reign, constituted period in which the strength and resources of the Hoysala territory was conserved and consolidated. His policy was on friendship and collaboration with his Chalukya overlords, whom he assisted against the Cholas. He maintained matrimonial relations with the Chalukyas, and his son Ereyanga remained in the Chalukya capital to render his master valuable military assistance against the rivals.

After Vinayaditya's death, his son Ereyanga ruled for a brief, uneventful period (C. 1098 - 1100 A. D.). His eldest son, Veera Ballala I (C.1100 -1108 A. D.) however, must have made a bold bid for independence by disobeying the Chalukya authority; and also by undertaking daring schemes of conquests. But Chalukya Vikramaditya VI was able to secure the submission of Veera Ballala I, who was forced to abandon his bid for independence. Veera Ballala I died issueless. His younger brother Vishnuvardhana Raya succeeded him in 1108 A.D.

The Hoysalas patronized Jainism. The legend has it that the founder of the kingdom, Sala was blessed by Sudatta Muni a Jaina Teacher. Vinayaditya and Ereyanga were devout Jains; so was Vishnuvardhana Raya’s queen Santaladevi who was a disciple of Prabhachanda Siddantadeva.

The generals of Vishnuvardhana Raya like Gangaraja Mariyane, Bharata and Punisa were all jains. The entry of Sri Ramanujacharya into Karnataka inaugurated a period of popularity for Srivaishnavism.

The reign of Vishnuvardhana Raya witnessed the advert of Sri Vaishnavism into Karnataka. According to traditions, Vishnuvardhana Raya who was formerly a Jain and known as Bittideva came under the influence of Sri Ramanujacharya and became a Srivaishnava. Numbers of Vaishnava temples were built during this period at Belur, Talakad, Melkote, Tonnur, Gadag and other places.

However, Vishnuvardhana Raya’s chief queen, Shantala Devi, remained a devout Jaina, and they provided for succeeding generation a fine example of religious tolerance.

Many of his generals, including the redoubtable Gangaraja, were jains; and many basadis were constructed and generous grants given during his rule. Vishnuvardhana Raya transferred his capital from Belur to Halebid, which was then known as Dorasamudra.

He was an enthusiastic builder of temples; fine arts were fostered by royal patronage, and his queen Shantala Devi was well – versed in music and dance. Vishnuvardhana Raya was aware that his duty was “Dushta Nigraha” and “Sishta Rakshana”, that is, punishing the wicked and protecting the pious ones.

In short, the reign of Vishnuvardhana Raya saw the Hoysala kingdom maturing into a position of strength, from where it could forge ahead into wider regions of opportunities and achievements.

Vishnuvardhana Raya was succeeded by his son Narasimha I (C 1152 – 1173 AD) who found greater pleasure in his teeming and sumptuous harem than in the strenuous duties of administration. The kingdom was threatened by the uncompromising feudatories and by the invasions of Kalachuri Bijjala. When Narasimha failed to tackle the situation, his indignant son, Ballala II (C 1173 – 1220 AD) seized the throne.

His rule marked the pinnacle of Hoysala fortunes. He not only subdued many refractory chiefs like the Kongalvas Chengalvas and the Pandyas of Uchchangi, but also registered a remarkable victory over the Seuna ruler, Bhillama V in the battle of Soratur (1190 AD).

It brought him, for a period, sovereignty over Belavola.
Ballala II entered into matrimonial allegiance with the Chola ruler Kulothunga III. When his Pandya vassal overthrew Kulothunga, Ballala sent his crown prince Narasimha II to the Chola King’s rescue, and after successfully accomplishing the task, justifiably assumed the title, “Cholarajyapratishtapanacharya”.

Thus a new dawned in which the Hoysalas were increasingly sucked into the whirlpool of Tamil politics. Ballala II was, beyond question, an outstanding ruler of the dynasty, who brought to his kingdom an unprecedented military glory and consolidated it with a wise, sober administration.

Ballala II was succeeded by his son, Narasimha II (C 1220 – 1235 AD). More than once did he rush to the help of the Chola ruler, Raja Raja III, whose position had been rendered precarious by his turbulent feudatories.

In fact, Hoysala army, which was called Berunda, was permanently placed in the Tamil country for the protection of the hapless Chola ruler, who gave up Kannanur to the Hoysala King. Narasimha II also had to fight against the Seuna ruler, Singhana but not with conspicuous success.
Narasimha’s son and successor Vira Someshwara (1235 – 1253 AD) was brought up in the Tamil country, and so he more often than not remained at Kannanur, involving himself in the intricate politics of the region. The northern regions of the Hoysala kingdom must have suffered neglect, and the Seunas who chewed up some areas exploited the situation.

Vira Someshwara partitioned his kingdom between his two sons; Narasimha III (1253 – 1292 AD) ruled from Dorasamudra while Ramanatha (1253 – 1295) ruled from Kannanur. Their rule witnessed on exhausting civil war, and the Hoysala kingdom was indeed the worse for it.

Narasimha III ’s successor, Ballala III (1292 – 1342 AD) was the last great ruler of the dynasty. He reunified the Hoysala kingdom, fought against the Seunas and the Raja of Kampili, and sought to play the role of an arbiter in the Pandya politics. But his rule witnessed two sweeping waves of Muslim invasions from the North.

In 1311 Malik Kafur, the all conquering general of Ala - Ud - Din Khilji, swooped down on Dorasamudra, Ballala had to bow before the hurricane and purchase peace at a huge cost of wealth. In 1327 – 28, the forces of the Delhi sultan Muhammad - Bin - Tughaluq reached the Hoysala capital and Ballala again thought it was right to submit to the superior might of the invader. However, Ballala III met his end in his conflict with the Sultan of Madura. In the battle of Koppam Kannanur (1342 A. D.), Ballala was killed and though his son Ballala IV celebrated his coronation in 1343 the Hoysala kingdom soon lost its identity. Most of its dominions were merged into the newly established kingdom of Viajanagara.

Hoysala Empire (1000 – 1346 A.D)

Sala Nripa Kama (1000 - 1045)

Vinayaditya (1045 - 1098)

Ereyanga (1098 - 1100)

Veera Ballala I (1100 -1108)

Vishnuvardhana Raya (1108 - 1152)

Narasimha I (1152 – 1173)

Veera Ballala II (1173 – 1220)

Narasimha II (1220 – 1235)

Vira Someshwara (1235 – 1253)

Narasimha III (1253 – 1292)

Ramanatha (1253 – 1295)

Veera Ballala III (1292 – 1342)