Eternal India
encyclopedia
ARCHITECTURE
Narasimha, Siva as Nandivahana, Varaha, Mahishasuramardhini
and Harihara.
The Ladhkhan temple has a Shivalinga with a Nandi in the main
shrine. The temple, built about 450 A.D., gets its name from a
Muslim prince who converted it into his residence.
Other temples are unconventional such as the Durga temple
with an apsidal shrine (in the form of a Buddhist
chaitya
) and an
unusual variation in the addition of an ambulatory passage. The
large number of
mithunas
and sculptures of Durga, Vishnu and
Shiva in Gupta style are interesting and controversial. The most
fully developed southern style of the Western Chalukyan temples
is the Virupaksha temple at Pattadakal (the 2nd capital of the Cha-
lukyas) built by the architect Sutradhari Gunda for Lokamahadevi,
sister of Trilokyamahadevi (the two queens of Vikramaditya II) to
commemorate his conquest of Kanchipuram. It is said to be mod-
elled after the Raj Simhesvara temple at Kanchipuram. Its features
can be seen as a logical growth of the architectural form that had
been developing in the Chalukyan area at Aihole (but not a copy of
the Kanchipuram temple). A substantial Gopura (gateway with
southern tower) and an independent Nandi Mandapa (square -
shrine in front), deep niches with dynamically posed figures on the
exterior wall are its important features in which the interior contains
narrative panels from the epics. Famous architects of the Cha-
lukyan era were Gobhanadeva, Sarvasiddhi and Sutradhari Gunda.
Gobhanadeva built the temple of Satrunjaya during the 13th cen-
tury. Sarvasiddhi's name is mentioned in an inscription in the Viru-
paksha temple at Pattadakal. His disciple Revadi Ovajja worked on
the sculptural decoration of the Papanatha temple which was built
at the end of the 7th century at Pattadakal. An inscription on the
eastern portico of the Trailokyesvara temple at Pattadakal cites
Sutradhari Gunda as the architect of this temple.
HALEBID
Halebid was the ancient capital of the Hoysala Empire known
then as Dwarasamudra. It was founded in the early eleventh cen-
tury A.D. and sacked by the armies of the Delhi Sultanate in 1311
and 1327. Later it came to be called Halebid. Very few temples have
survived Muslim invasions. Notable among them is the great
Hoysaleswara temple dedicated to Lord Shiva.
The building of the temple was started in 1121 A.D. by Ket-
amalla, a general of King Vishnuvardhana of the Hoysala dynasty.
There are two shrines dedicated to Lord Shiva, at Hoysaleswara
and Shantaleswara. The outer wall of the temple is completely
covered with friezes depicting scenes from the
Ramayana
and
Mahabharata.
There is a frieze depicting Vishnu in his incarnation of Nar-
asimha (half man-half lion) killing Hiranyakash. The Hoysalas who
came to power in Mysore in the 11 th Century after defeating the
Chalukyas built temples which are star-shaped. The finest of their
temples is the Hoysaleswara at Halebid in Hassan district. It is a
double temple. The star shape of the vimanas has been used to
present a large number of sculptures of deities.
The exterior of the temple is a riot of carving that almost defies
description. The lower section of the temple consists of a tall
vertical wall some 9 to 10 ft. high. This is made up of a number of
bands and continuous animated designs running right around the
building.
In decorative niches, are innumerable carved figures of various
gods and goddesses, finely cut and ornamented in minute detail. All
the Hindu gods, complete with accessories, attributes and symbols
are on display.
The Chennakesava temple at Belur in Hassan District was built
by Vishnuvardhana, the Hoysala king who was converted from
Jainism by Ramanuja. His queen Santala, although a Jain, was en-
thusiastically involved in the project. The temple is a veritable mu-
seum of sculptures, large and small, and intricate vegetal, floral and
animal carvings. It is a triple shrine with three star-shaped
vimanas
radiating from a long-pillared hall to make the temple look cruciform
in plan.
Of the three great Hoysala temples in Karnataka (one at Belur
and one at Halebid) the third one is at Somnathpur. It is of modest
dimensions, 87 feet long and 82 feet wide. The plan is in the shape
of a cross and consists of a central pillared hall with a shrine
attached to three of its sides. Above each of the shrines is a tower,
only about 30 feet high, but well proportioned. The motifs that make
up the shrine towers consist of a grouping of miniature shriiies and
niches. From the outside, the temple reveals a star-like contour.
The temple is set on a chiselled plinth guarded at intervals by mini-
ature elephants. Most of the friezes are narrow bands running the
whole way around the temple: intricately carved rows of capari-
soned elephants, horsemen, swans, mythological beasts and
scrolls, many not over 12 inches high. The scenes are from the
Ramayana
,
Mahabharata
,
Bhagvadgita
and the life and times of
Hoysala Kings.
Another important development, contemporaneous to the Cha-
lukyas was Pallava art in South India with their capital at Kanchipu-
ram. Although the Pallavas and Chalukyas reflect certain borrowed
elements (due to political contact) each evolved a highly distinctive
art. The figural style of the Pallavas shows influences of
Satavahana and Ikshavaku art (Buddhist) although the Pallavas
were primarily Shaivites. Their artistic energy was due to royal
patronage as well as religious developments particularly the Alvar
Tamil Vaisnavite poet-saints and Nayanmars. It is assumed that
the early phase of architecture was in rock-cut monuments, while
the later phase is dominated by structural buildings, although the
two phases were one of shift in emphasis than abandonment.
A group of nine 8th century temples at Alampur, in the Kurnool
district of Andhra Pradesh on the banks of the Tungabhadra river
near its confluence with the Krishna, belongs to the early Western
Chalukyan period. The style is similar to the temples of the same
period at Pattadakal. Some of the temples have
sikharas
that are
entirely ribbed. Other temples, in the Southern style, have an
octagonal sikhara like that of the Virupaksha temple at