Hoyasala: Art and Architecture

• The Hoysala period (1026 CE – 1343 CE) is remembered as one of the most illustrious phases in the history of Indian art and architecture.
• During this time:
  • Temple construction reached a high level of artistic refinement
  • Architecture became more ornate, complex and decorative
• The Hoysalas emerged as great builders:
  • Their temples are noted for:
    • Precision of workmanship
    • Rich surface decoration
    • Distinct regional character

Temple Architecture under the Hoysalas

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• A later and major phase of temple architecture in the Deccan is associated with the Hoysala dynasty.
• The Hoysalas ruled over:
  • Southern Karnataka
  • With their capital at Dwarasamudra (modern Halebid)
• The temple architecture developed under the Hoysalas:
  • Did not arise suddenly
  • It was a continuation of architectural patterns that had developed earlier under:
    • The Chalukyas of Kalyani (Western Chalukyas)
• The Karnata Dravidian tradition:
  • First developed in the 7th century under the patronage of the:
    • Badami Chalukyas
  • Reached a stage of maturity under:
    • The Western Chalukyas (Kalyani Chalukyas) in the 11th century
• Under the Hoyalas in the 13th century:
  • The Chalukya style achieved perfection
  • It emerged as a distinct and independent architectural style
• This mature architectural tradition is known for:
  • Highly detailed sculptural work
  • Balanced proportions
  • Sophisticated structural planning
• Important Centres of Hoysala Temple Architecture
  • The remains of the most important Hoysala temples are found at:
    • Halebid
    • Belur
    • Somnathpur
  • These centres became:
    • Major hubs of temple construction
    • Symbols of Hoysala artistic excellence
  • The temples at these places:
    • Reflect the culmination of the Karnata Dravidian style
    • Display the full maturity of Hoysala architectural skill

Features of Hoysala Temple Architecture

Shrines (Garbhagriha Units)

• Hoysala temples generally contain one or more shrines depending on the size and importance of the temple.
• On the basis of the number of shrines, the temples are classified as:
  • Ekakuta – temples with one shrine
  • Dvikuta – temples with two shrines
  • Trikuta – temples having three garbhagrihas
  • In some cases, even more shrines are found
• The shrines are mostly built on a stellate (star-shaped) plan, which is a distinctive feature of Hoysala architecture.
• In some temples, a staggered square plan is also visible.

Garbha Griha (Sanctum Sanctorum)

• The garbha griha is a cuboid-shaped cell which forms the most sacred part of the temple.
• It houses:
  • A centrally placed murti (enshrined image)
  • Installed on a pitha (pedestal)
• The sanctum is:
  • Simple in structure
  • Internally plain
  • But forms the spiritual core of the temple.

Shikhara and Amalaka

• The shikhara (superstructure) rises directly over the garbha griha.
• Together, the shikhara and sanctum form the:
  • Vimana or Mulaprasada of the temple.
• The shikharas in Hoysala temples are:
  • Not very high
  • More compact and proportionate
• Some shikharas represent:
  • A hybrid of Nagara and Dravida styles
• Others appear:
  • Pyramidal in shape
• At the top of the shikhara is placed:
  • A ribbed stone known as the amalaka
  • With a kalasha (finial) at the very top.

Antarala (Vestibule)

• The antarala is an intermediate chamber which connects:
  • The garbha griha
  • With the mandapa in front
• It acts as:
  • A transitional space between the sanctum and the pillared hall
• Most temples are oriented:
  • Facing the east
  • Sometimes also the north

Mandapa (Hall)

• Hoysala temples possess both:
  • Open mantapa (outer hall)
  • Closed mantapa (inner hall)
• The mandapas serve as:
  • Gathering places for devotees
  • Spaces for ritual and ceremonial activities
• The ceilings of the mandapas are:
  • Highly ornate
  • Decorated with:
    • Mythological figures
    • Floral and geometric designs
• Each ceiling panel is carved with:
  • Great precision
  • Minute decorative detailing

Pillars

• The mantapas of Hoysala temples contain:
  • Circular, lathe-turned pillars
• Each pillar generally carries:
  • Four sculpted brackets at the top
• These brackets bear:
  • Finely carved figures of divine beings, attendants, or dancers
• The bases and capitals of the pillars are specially noted for:
  • Their beautiful mouldings
  • Polished surface finish

Gopurams (Entrance Towers)

• Entry into the temple complex is often through:
  • Gigantic and ornate gopurams
• These gopurams:
  • Tower over each doorway
  • Serve as monumental entrance gateways
• Though not as massive as later South Indian gopurams:
  • They still mark the ceremonial approach to the shrine.

Minor Shrines and Prakaram

• Within the prakaram (temple courtyard):
  • Several minor shrines and outbuildings are often present.
• These subsidiary shrines:
  • House attendant deities
  • Add to the ritual and architectural complexity of the temple complex.

Vimanas and External Ornamentation

• The vimanas in Hoysala temples are:
  • Stellate
  • Semi-stellate
  • Or orthogonal in plan
• The interior of the vimana is:
  • Plain and unadorned
• In contrast, the exterior is:
  • Profusely elaborated with sculptures
• A striking feature of Hoysala temples is:
  • The strong sense of horizontality
  • Clearly visible through:
    • Continuous horizontal lines
    • Repeated mouldings
• Large-scale use of mouldings is a unique feature:
  • Seen on:
    • Walls
    • Pillars
    • Platforms
• The banded plinths at the base of the temples consist of:
  • A series of horizontal courses
  • Running as rectangular strips
  • With narrow recesses in between
• Many temples are erected on a raised platform called jagati:
  • It serves as a pradakshinapatha (circumambulatory path)
  • Leaves a broad flat surface all around the temple
• The temples are especially noted for:
  • Extremely fine, delicate and highly detailed carvings
  • Executed on:
    • Walls
    • Ceilings
• Almost the entire temple surface is covered with:
  • Figure sculpture
• This reflects a return to extensive iconographic representation
  • Especially of episodes from:
    • Ramayana
    • Mahabharata
    • Puranas
• Such elaborate narrative decoration is more developed than in later Western Chalukyan architecture.

Building Material: Soapstone

• A special type of stone was extensively used in Hoysala temples:
  • Greenish or blackish chloritic schist
  • Commonly known as soapstone
• This stone is:
  • Fine-grained and soft when quarried
  • Easily carved into intricate forms
• With prolonged exposure to air and sunlight:
  • The stone gradually becomes very hard
• Large deposits of this stone were available in:
  • The southern districts of Karnataka
• This ensured that:
  • The Hoysalas never faced any shortage of building material
• Very rarely, Hoysala temples were constructed in:
  • Granite
• For example:
  • The Hoysala temples at Tonnur are built of granite
• In regions near Tamil Nadu:
  • Hoysala temples were also built in granite
• This was probably because:
  • Granite was locally available in abundance
  • Local craftsmen were skilled in granite carving due to:
    • The earlier Chola tradition of temple architecture

Sculptural Themes and Decorative Panels

• The walls of Hoysala temples are richly decorated with:
  • Scenes from the Ramayana
  • Episodes from the Mahabharata
  • Figures from the Puranas
• At the main entrance:
  • Mythological scenes are arranged:
    • In a sequential order
    • In a clockwise direction
• Apart from mythological themes:
  • The walls also display:
    • Panels of musicians
    • Dancers
    • Animals
    • Scenes of everyday life
• In some Hoysala temples:
  • Erotic sculptures are also found
• These are associated with:
  • The influence of the Shakta tradition prevalent during the period

Salabhanjika Figures

• A Salabhanjika is a:
  • Mythical female figure
  • With stylised feminine features
• She is usually shown:
  • Standing near a tree
  • Or grasping a branch
• This figure is a:
  • Distinctive feature of Hoysala sculpture
• Its artistic origin can be traced back to:
  • Buddhist sculptural tradition
• In some cases:
  • Salabhanjikas are shown:
    • Playing musical instruments
    • Dancing
    • Engaging in artistic activity
• These figures are carved:
  • On the four brackets at the top of each pillar
  • On both sides of the main entrance in large numbers

Jalandharas (Pierced Stone Windows)

• Another important feature of Hoysala temples is the presence of:
  • Pierced stone windows, known as jalandharas
• Similar windows were earlier seen in:
  • The early Chalukyan temple at Ladkhan, Aihole
• The main purpose of jalandharas was to:
  • Allow sufficient air
  • Provide natural light to the interior of the temple
• The Hoysala sculptors transformed even these functional windows into:
  • Highly ornamental and sculptural elements
• The jalandharas display:
  • Geometric perforations
  • Figurative decorations
  • Floral patterns

Hoysaleshvara temple:

• The most imposing shrine at Halebid is the 12th century Hoysaleshvara temple.
• It was principally constructed under the patronage of wealthy local merchants and aristocrats
• This consists of two separate shrines (dvikuta) with a cruciform plan, resting on cruciform-shaped (star shaped) plinths.
  • The two shrines are almost identical to each other and are joined together with a covered passage.
  • Built of grey soap-stone, best suited for fine carving, each of the shrines has star shaped vimanas with projections on three sides.

• The inner arms connect the two shrines.
• There are four entrances to the twin temple with miniature vimanas flanking them on either side. Two adjunct shrines, one for Nandi (bull) and another for Surya (sun) are also built on the same jagati.
• Both of shrines are preceded by a Nandi pavilion, containing profusely ornamented but sympathetically and realistically carved sculptures of Nandi bulls.
• The shikharas of the two temples are missing.
• The mandapa ceilings and the pillars in the hall are intricately carved.
  • The entire base is covered with running lengths of carved friezes of tigers, elephants, horses, birds and celestial beings-each frieze more beautiful than the other.
  • The ceilings, interior and exterior walls of the temple have beautiful sculptures carved on them.
  • The exquisite friezes on temple walls eloquently render stories from Ramayana, Mahabharata and Bhagavata Purana.

Chenna Keshava temple at Belur:

• The Keshava temple at Belur consists of a complex of shrines in a large courtyard.
  • This is an ekakuta, i.e., a temple with one shrine.
• The main shrine was built in the early 12th century by Vishnuvardhana of the Hoysala Dynasty to commemorate a victory won over the Cholas at Talkad.
• It is dedicated to the deity Chenna Kesava.
  • Inside the sanctum sanctorum is 2 meter high idol of Chenna Kesava.
• The temple stands in a spacious courtyard surrounded by a covered passage and compound with a gopura entrance.
  • Later, other small temples were built in the courtyard around the main temple.
• The whole complex stands on a wide, raised star-shaped terrace with space enough for circumambulation.
  • The star-shaped base has elephants in different poses adorning it.
  • The pillared mandapa is cruciform in plan and rests on a plinth of the same shape.
•  It has an east–west orientation set on a jagati.
• The intricate carvings on the outer and inner walls, pillars, screens, and bracket figures are remarkable for their finesse.
  • The basement of the vimana is profusely carved with narrative friezes from the Ramayana, Mahabharata and Bhagavat Purana.
  • The walls are covered with sculptures of miniature shrines, animated female figures and animals.
  • The main entrances have a flight of steps from the courtyard and are flanked by two small vimanas. The ceiling and the pillars inside are elegantly carved.
  • The superstructure on the main vimana is lost.
• The shikhara of the shrine is no longer extant.

Keshava temple at Somnathpur:

• The 13th century Keshava temple at Somnathpur represents the high point of temple architecture and sculpture of the Hoysala period.
• The temple’s plan is more complex than that of earlier ones.
• It is a triple shrine, with the three shrines consisting of star-shaped projections on three sides, the shape of the plinth following the intricate outline of the shrine.
• The shikhara is of moderate height, and stands stylistically midway between the Nagara and Dravida temple towers.
• The walls and ceilings of the temple are richly carved in the manner of other Hoysala temples, including, however, a number of erotic themes.
• The three images housed in the three shrines are
  • Keshava (the main image),
  • Krishna as Venugopala (playing the flute), and
  • Janardhana Vishnu.

Kedareshwara temple of Halebidu

• This Shaiva trikuta (temple with three shrines) temple is located near Hoysaleshwara. It was built under the patronage of King Veer Ballala II and Queen Ketala Devi.
• Designed following a stellate plan, the central shrine is connected to the other two laterally positioned shrines by a common mandapa.
• The sculptural details illustrate beautifully executed Bhairava, Vishnu as Bharadwaj and Kaliyadamana among others

Kalyani Tank, Hulikere

• In the suburb of Halebidu, present day Hulikere, this splendidly decorated tank was built for a Shaiva temple during the reign of emperor Narasimha I (1152 CE – 1173 CE).
• Ironically, no trace of the temple could be found today, but this tank still survives. This stepped pond is adorned with 27 miniature shrines, some even carrying a superstructure atop.

Jain Temples in Bastihalli

• Further south from Kedareshwara, in Bastihalli, lies a group of three Jain temples.
• These temples are dedicated to Jain tirthankars Adinath, Parsvanath and Shantinatha.
• Each temple enshrines an image of the respective tirthankar in their garbha griha.
• Parsvanath Basti was built in 1133 CE by King Vishnuvardhan to celebrate the birth of his son, Narasimha I.
  • Aligned along the north-south axis, all of these structures faithfully follow the general architectural pattern of the Hoysalas.
• Of these, the Adinath Basti, built in the late 12th century CE, is the smallest in size.
  • It carries a beautifully decorated image of Saraswati inside its vestibule

Sculpture in Hoysala Temples

• Hoysala artists achieved great fame for their extraordinary sculptural detail.
• Their sculptures depict a wide range of themes such as:
  • Episodes from the Hindu epics
  • Yali (mythical creature)
  • Deities
  • Kirthimukha (gargoyle or demon face)
  • Erotic figures
  • Scenes from daily life
• Their chief medium was soft soapstone, which:
  • Allowed extremely fine and delicate carving
  • Enabled the artists to achieve a virtuoso carving style
• The workmanship reflects:
  • Extreme attention to precision
  • Every minor detail such as:
    • Fingernails
    • Toenails
    • Facial expressions
    • Ornaments
      was carved with absolute perfection.
• Kirthimukhas (demon faces) are seen adorning:
  • The towers of the vimana in some temples
• In some sculptures:
  • The artists have also left their personal signatures.
• Sthamba buttalikas:
  • Refer to pillar sculptures
  • These images show a clear influence of Chola art
  • At the same time, they retain Chalukyan stylistic features
• Some of the artists working under the Hoysalas:
  • Are believed to have come from Chola country
  • This was possibly a result of:
    • The expansion of the Hoysala empire into the Tamil-speaking regions of Southern India
• The famous image of Mohini on one of the pillars:
  • Located in the mantapa (closed hall) of the Chennakeshava temple
  • Represents a fine example of Chola artistic influence
• Wall panels depict scenes from general life, such as:
  • The act of reining horses
  • The type of stirrup used
  • Dancers in performance
  • Musicians and instrumentalists
  • Rows of animals like:
    • Lions
    • Elephants
• The Hoysaleshwara temple at Halebidu presents:
  • Perhaps the best sculptural depiction of the Ramayana and Mahabharata in temple art
• The Hoysala artist handled erotic sculpture with restraint and discretion:
  • They avoided:
    • Open exhibitionism
  • Erotic themes were usually:
    • Carved into recesses and niches
    • Miniature in size
    • Made deliberately inconspicuous
• These erotic representations are associated with:
  • The Shakta tradition
• The temple doorway displays:
  • Heavy engraved ornamentation called Makaratorana
  • This consists of:
    • Makara or imaginary beast motifs
• On each side of the doorway:
  • Sculptured Salabhanjika (maidens) are displayed
• Apart from individual figures:
  • Entire narrative sequences from the Hindu epics are sculptured:
    • Commonly from the Ramayana
    • And the Mahabharata
  • These are arranged:
    • In a clockwise direction
    • Beginning from the main entrance
• Common mythological depictions include:
  • Arjuna shooting fish
  • Ganesha, the elephant-headed god
  • Surya, the Sun God
  • Indra, the weather and war god
  • Brahma with Sarasvati
• Durga appears frequently:
  • Shown with:
    • Several arms
    • Holding various weapons
  • Depicted in the act of:
    • Killing a water buffalo demon
• Harihara, the composite form of:
  • Shiva and Vishnu
  • Is shown holding:
    • Conch
    • Wheel
    • Trident