Hoysala architecture

Hoysala architecture is the building style in Hindu temple architecture developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura.^[1][2] These three temples were accorded UNESCO world heritage site status in 2023.^[3] Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli.^[4][5] Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.^[6]

Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Western Chalukya architecture but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. Some three hundred temples are known to survive in present-day Karnataka state and many more are mentioned in inscriptions, though only about seventy have been documented. The greatest concentration of these are in the Malnad (hill) districts, the native home of the Hoysala kings.^[7]

Hoysala architecture is classified by the influential scholar Adam Hardy as part of the Karnata Dravida tradition, a trend within Dravidian architecture in the Deccan that is distinct from the Tamil style of further south. Other terms for the tradition are Vesara, and Chalukya architecture, divided into early Badami Chalukya architecture and the Western Chalukya architecture which immediately preceded the Hoysalas. The whole tradition covers a period of about seven centuries began in the 7th century under the patronage of the Chalukya dynasty of Badami, developed further under the Rashtrakutas of Manyakheta during the 9th and 10th centuries and the Western Chalukyas (or Later Chalukyas) of Basavakalyan in the 11th and 12th centuries. Its final development stage and transformation into an independent style was during the rule of the Hoysalas in the 12th and 13th centuries.^[8] Medieval inscriptions displayed prominently at temple locations give information about donations made toward the maintenance of the temple, details of consecration and on occasion, even architectural details.^[9]

Hinduism is a combination of secular and sacred beliefs, rituals, daily practices and traditions that has evolved over the course of over two thousand years and embodies complex symbolism combining the natural world with philosophy.

Hindu temples began as simple shrines housing a deity and by the time of the Hoysalas had evolved into well-articulated edifices in which worshippers sought transcendence of the daily world. Hoysala temples were not limited to any specifically organised tradition of Hinduism and encouraged pilgrims of different Hindu devotional movements. The Hoysalas usually dedicated their temples to Shiva or Vishnu (two of the popular Hindu gods), but they occasionally built some temples dedicated to the Jain faith as well. Worshippers of Shiva are called Shaivas and worshippers of Vishnu are called Vaishnavas.^[10][11] While King Vishnuvardhana and his descendants were Vaishnava by faith,^[12] records show that the Hoysalas maintained religious harmony by building as many temples dedicated to Shiva as they did to Vishnu.^[13]

Most of these temples have secular features with broad themes depicted in their sculptures. This can be seen in the famous Chennakesava Temple at Belur dedicated to Vishnu and in the Hoysaleswara temple at Halebidu dedicated to Shiva. The Kesava temple at Somanathapura is different in that its ornamentation is strictly Vaishnava. Generally Vaishnava temples are dedicated to Keshava (or to Chennakeshava, meaning "Beautiful Vishnu") while a small number are dedicated to Lakshminarayana and Lakshminarasimha (Narayana and Narasimha both being Avatars, or physical manifestations, of Vishnu) with Lakshmi, consort of Vishnu, seated at his feet. Temples dedicated to Vishnu are always named after the deity.^[14]

The Shaiva temples have a Shiva linga, symbol of fertility and the universal symbol of Shiva, in the shrine. The names of Shiva temples can end with the suffix eshwara meaning "Lord of". The name "Hoysaleswara", for instance, means "Lord of Hoysala". The temple can also be named after the devotee who commissioned the construction of the temple, an example being the Bucesvara temple at Koravangala, named after the devotee Buci.^[15] The most striking sculptural decorations are the horizontal rows of mouldings with detailed relief, and intricately carved images of gods, goddesses and their attendants on the outer temple wall panels.^[16]

The Doddagaddavalli Lakshmi Devi ("Goddess of Wealth") Temple is an exception as it is dedicated to neither Vishnu nor Shiva. The defeat of the Jain Western Ganga Dynasty (of present-day south Karnataka) by the Cholas in the early 11th century and the rising numbers of followers of Vaishnava Hinduism and Virashaivism in the 12th century was mirrored by a decreased interest in Jainism.^[17] However, two notable locations of Jain worship in the Hoysala territory were Shravanabelagola and Kambadahalli. The Hoysalas built Jain temples to satisfy the needs of its Jain population, a few of which have survived in Halebidu containing icons of Jain tirthankaras. They constructed stepped wells called Pushkarni or Kalyani, the ornate tank at Hulikere being an example. The tank has twelve minor shrines containing Hindu deities.^[18]

The two main deities found in Hoysala temple sculpture are Shiva and Vishnu in their various forms and avatars (incarnations). Shiva is usually shown with four arms holding a trident and a small drum among other emblems that symbolise objects worshiped independently of the divine image with which they are associated.^[19] Any male icon portrayed in this way is Shiva although a female icon may sometimes be portrayed with these attributes as Shiva's consort, Parvati. Various depictions of Shiva exist: showing him naked (fully or partially), in activities such as slaying a demon (Andhaka) or dancing on the head of a slain elephant (Gajasura) and holding its skin up behind his back. He is often accompanied by his consort Parvati or shown with Nandi the bull. He may be represented as Bhairava, another of Shiva's many manifestations.^[19]

A male figure depicted holding certain objects such as a conch (symbol of eternal, heavenly space) and a wheel (eternal time and destructive power) is Vishnu. If a female figure is depicted holding these objects, she is seen as his consort, Lakshmi. In all of the depictions Vishnu is holding four objects: a conch, a wheel, a lotus and a Kaumodaki (mace). These can be held in any of the icon's hands, making possible twenty-four different forms of Vishnu, each with a unique name.^[20] Apart from these, Vishnu is depicted in any of his ten avataras, which include Vishnu sitting on Anantha (the celestial snake and keeper of life energy also known as Shesha), Vishnu with Lakshmi seated on his lap (Lakshminarayana), with the head of a lion disembowelling a demon on his lap (Lakshminarasimha), with head of a boar walking over a demon (Varaha), in the Krishna avatar (as Venugopala or the cow herder playing the Venu (flute), dancing on the head of the snake Kaliya, lifting a hill such as Govardhana), with his feet over head of a small figure (Vamana), along with Indra riding an elephant, with Lakshmi seated on Garuda, and the eagle (stealing the parijata tree).^[20]

The focus of a temple is the centre or sanctum sanctorum (garbhagriha) where the image of the deity resides, so temple architecture is designed to move the devotee from outside to the garbhagriha through ambulatory passageways for circumambulation and halls or chambers (mantapas) that become increasingly sacred as the deity is approached. Hoysala temples have distinct parts that are merged to form a unified organic whole, in contrast to the temples of Tamil country where different parts of a temple stand independently.^[21] Although superficially unique, Hoysala temples resemble each other structurally. They are characterised by a complex profusion of sculpture decorating all the temple parts chiselled of soft soapstone (chloritic schist), a good material for intricate carving, executed mostly by local craftsmen, and exhibit architectural features that distinguish them from other temple architectures of South India.^[22]

Most Hoysala temples have a plain covered entrance porch supported by lathe turned (circular or bell-shaped) pillars which were sometimes further carved with deep fluting and moulded with decorative motifs. The temples may be built upon a platform raised by about a metre called a "jagati". The jagati, apart from giving a raised look to the temple, serves as a pradakshinapatha or "circumambulation path" for circumambulation around the temple, as the garbagriha (inner sanctum) provides no such feature.^[23] Such temples will have an additional set of steps leading to an open mantapa (open hall) with parapet walls. A good example of this style is the Kesava Temple at Somanathapura. The jagati which is in unity with the rest of the temple^[24] follows a star-shaped design and the walls of the temple follow a zig-zag pattern, a Hoysala innovation.^[25]

Devotees can first complete a ritual circumambulation on the jagati starting from the main entrance by walking in a clockwise direction (towards the left) before entering the mantapa, following the sculptural clockwise-sequenced reliefs on the outer temple walls depicting a sequence of epic scenes from the Hindu epics. Temples that are not built on a jagati can have steps flanked by elephant balustrades (parapets) that lead to the mantapa from ground level. An example of a temple that does not exhibit the raised platform is the Bucesvara temple in Korvangla, Hassan District. In temples with two shrines (dvikuta), the vimanas (the shrines or cellae) may be placed either next to each other or on opposite sides.^[26] The Lakshmidevi temple at Doddagaddavalli is unique to Hoysala architecture as it has four shrines around a common centre and a fifth shrine within the same complex for the deity Bhairava (a form of Shiva).^[27] In addition, four minor shrines exist at each corner of the courtyard (prakaram).^[28]

According to Settar, surveys in modern times have indicated that 1000–1500 structures were built by the Hoysalas, of which about a hundred temples have survived to date.^[12][51] The Hoysala style is an offshoot of the Western Chalukya style, which was popular in the 10th and 11th centuries.^[16] It is distinctively Dravidian, and according to Brown, owing to its features, Hoysala architecture qualifies as an independent style.^[52] While the Hoysalas introduced innovative features into their architecture, they also borrowed features from earlier builders of Karnata like the Kadambas, Western Chalukyas. These features included the use of chloritic schist or soapstone as a basic building material.^[53][54]

Other features were the stepped style of vimana tower called the Kadamba shikhara, which was inherited from the Kadambas.^[55] Hoysala sculptors made use of the effect of light and shade on carved walls, which poses a challenge for photography of the temples.^[14] The artistry of the Hoysalas in stone has been compared to the finesse of an ivory worker or a goldsmith. The abundance of jewellery worn by the sculpted figures and the variety of hairstyles and headdresses depicted give a fair idea of the lifestyles of the Hoysala times.^[40]

While medieval Indian artisans preferred to remain anonymous, Hoysala artisans signed their works, which has given researchers details about their lives, families, guilds, etc. Apart from the architects and sculptors, people of other guilds such as goldsmiths, ivory carvers, carpenters, and silversmiths also contributed to the completion of temples. The artisans were from diverse geographical backgrounds and included famous locals. Prolific architects included Amarashilpi Jakanachari,^[56] a native of Kaidala in Tumkur district, who also built temples for the Western Chalukyas. Ruvari Malithamma built the Kesava Temple at Somanathapura and worked on forty other monuments, including the Amruteshwara temple at Amruthapura. Malithamma specialised in ornamentation, and his works span six decades. His sculptures were typically signed in shorthand as Malli or simply Ma.^[57][58]

Dasoja and his son Chavana from Balligavi were the architects of Chennakesava Temple at Belur; Kedaroja was the chief architect of the Hoysaleswara Temple at Halebidu.^[23] Their influence is seen in other temples built by the Hoysalas as well. Names of other locals found in inscriptions are Maridamma, Baicoja, Caudaya, Nanjaya and Bama,^[23][59] Malloja, Nadoja, Siddoja,^[60] Masanithamma, Chameya and Rameya. Artists from Tamil country included Pallavachari and Cholavachari.^[61]

• Architecture of India
• Vijayanagara architecture