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Veera Narayana Temple, Belavadi, Chikmanguluru, Karnataka (view source)
Revision as of 16:39, 8 October 2018
, 16:39, 8 October 2018Images added
== Sthala Puranam ==
== Sthala Puranam ==
[[File:Veera Narayana Temple, Belavadi, Chikamagaluru, Karnataka.jpg|thumb|''Veera Narayana Temple, Belavadi, Chikamagaluru, Karnataka'']]
The Veera Narayana Temple, the temple undertaken in this study is a temple dedicated to Veera Narayana, a form of Lord Vishnu, in the village of Belavadi, Chikamagalur district, Karnataka. The temple was built in the 12<sup>th</sup> century CE by the Hindu dynasty of the Hoysalas, based at Halebidu. They also built the famous temples at Belur and Halebidu.
The Veera Narayana Temple, the temple undertaken in this study is a temple dedicated to Veera Narayana, a form of Lord Vishnu, in the village of Belavadi, Chikamagalur district, Karnataka. The temple was built in the 12<sup>th</sup> century CE by the Hindu dynasty of the Hoysalas, based at Halebidu. They also built the famous temples at Belur and Halebidu.
=== Belavadi – The Ek Chakra Nagara ===
=== Belavadi – The Ek Chakra Nagara ===
=== The Hoysala Temple ===
=== The Hoysala Temple ===
A Hoysala temple has many parts, interconnected to each other. Thus, unlike the Tamil Nadu temples, a Hoysala temple is a complete coherent whole; a connected building which does not break in continuity.
A Hoysala temple has many parts, interconnected to each other. Thus, unlike the Tamil Nadu temples, a Hoysala temple is a complete coherent whole; a connected building which does not break in continuity.
[[File:Plan of a Hoysala Temple – Veera Narayana, Belavadi.jpg|thumb|148x148px|''Plan of a Hoysala Temple – Veera Narayana, Belavadi'']]
The simplest form of Hoysala building consists of just the shrine of the primary deity and a ''mandapam'' attached to it, which can either be closed or open. In some bigger temples both open and closed halls are to be found. As discussed above, the ''sanctum'' is for the deity and the ''mandapam'' is for the devotees to gather and have ''darshan''. In most temples, between the ''mandapam'' and the ''garbha-griha'', there is ''antarala'', or the vestibule. In some bigger temples there are entrance porches, or ''mukha mandapams'' before the ''mandapams'' at the entrance of the temple. Thus there are five primary constituent parts of a Hoysala temple: ''garbha-griha'', ''antarala'', ''mandapam'' (closed), ''mandapam'' (open), ''mukha mandapam'' (porch).
The simplest form of Hoysala building consists of just the shrine of the primary deity and a ''mandapam'' attached to it, which can either be closed or open. In some bigger temples both open and closed halls are to be found. As discussed above, the ''sanctum'' is for the deity and the ''mandapam'' is for the devotees to gather and have ''darshan''. In most temples, between the ''mandapam'' and the ''garbha-griha'', there is ''antarala'', or the vestibule. In some bigger temples there are entrance porches, or ''mukha mandapams'' before the ''mandapams'' at the entrance of the temple. Thus there are five primary constituent parts of a Hoysala temple: ''garbha-griha'', ''antarala'', ''mandapam'' (closed), ''mandapam'' (open), ''mukha mandapam'' (porch).
The ''vimana'' of the Hoysala temple is extremely articulated, artistic and complex in nature and is what attracts the tourists most of all. Gerard Foekema explains:
The ''vimana'' of the Hoysala temple is extremely articulated, artistic and complex in nature and is what attracts the tourists most of all. Gerard Foekema explains:
[[File:Plans of the Hoysala Vimana - a-b) Full Star c-d) Half Star e-f) Staggered Square.png|thumb|113x113px|''Plans of the Hoysala Vimana - a-b) Full Star c-d) Half Star e-f) Staggered Square'']]
“Its inside forms a strong contrast to its outside: the inside is simply square in plan with plain walls, hence the name cella, the outside is complicated in plan and is profusely decorated. The outside plan is a star, a staggered square or a combination of star and square, and consequently the walls show many projections and recesses.”<ref>Foekema, Gerard. ''A Complete Guide to Hoysala Temples''. New Delhi: Abhinav Publications, 1996. p. 21.</ref>
“Its inside forms a strong contrast to its outside: the inside is simply square in plan with plain walls, hence the name cella, the outside is complicated in plan and is profusely decorated. The outside plan is a star, a staggered square or a combination of star and square, and consequently the walls show many projections and recesses.”<ref>Foekema, Gerard. ''A Complete Guide to Hoysala Temples''. New Delhi: Abhinav Publications, 1996. p. 21.</ref>
The ''antarala'' too is plain from the inside and has just the space for the priest to officiate between the devotee and the deity. Its walls are plain or barely decorated from the inside. The mandapams are divided into bays. Their ceilings are decorted with ''padma'' motifs, oral patterns and other decorative motifs. On the outside the walls are profusely decorated, but their decoration is integrated with that of the outer walls of the ''garbha-griha'' and is inconspicuous. It also has a roof in the form of a nose like structure protruding from the ''vimanas''. It is called ''shukanasika''.
The ''antarala'' too is plain from the inside and has just the space for the priest to officiate between the devotee and the deity. Its walls are plain or barely decorated from the inside. The mandapams are divided into bays. Their ceilings are decorted with ''padma'' motifs, oral patterns and other decorative motifs. On the outside the walls are profusely decorated, but their decoration is integrated with that of the outer walls of the ''garbha-griha'' and is inconspicuous. It also has a roof in the form of a nose like structure protruding from the ''vimanas''. It is called ''shukanasika''.
The open ''mandapam'' has an intricate plan. It is a staggered square of many sizes and variations. The number of pillars and bays vary here and the open ''mandapam'' of Veera Narayan temple Belavadi has one of the largest open ''mandapams'' of any Hoysala temple.
The open ''mandapam'' has an intricate plan. It is a staggered square of many sizes and variations. The number of pillars and bays vary here and the open ''mandapam'' of Veera Narayan temple Belavadi has one of the largest open ''mandapams'' of any Hoysala temple.
[[File:Plans of the Maha Mandapam.png|thumb|115x115px|''Plans of the Maha Mandapam'']]
As it is open it has only parapet walls on which many pillars rest. The inside of the parapet has ''kakshasana'' (seating bench). The ''mukha mandapam'' is very small, just an opening with a roof and two pillars supporting it.
As it is open it has only parapet walls on which many pillars rest. The inside of the parapet has ''kakshasana'' (seating bench). The ''mukha mandapam'' is very small, just an opening with a roof and two pillars supporting it.
=== Hoysala Sculpture ===
=== Hoysala Sculpture ===
[[File:Hoysala sculpture at Somnathapur, Mysore, Karnataka.png|thumb|''Hoysala sculpture at Somnathapur, Mysore, Karnataka'']]
In the Hindu temple, sculpture is inextricably enmeshed with architecture to the point where the boundary between them becomes unrecognizable. This is another feature which distinguishes the Hindu temple from other sacred architectures in the world. In the Hoysala architecture this feature becomes even more exaggerated. As Gerard Foekema says, in Karnataka, mainly in Kalyani Chalukya and Hoysala temples, architecture is decorated with architecture. These architectural parts are both functional and decorative. Since most of these parts are constructed by chiseling hence they are technically sculpture but play the function of architecture as well.
In the Hindu temple, sculpture is inextricably enmeshed with architecture to the point where the boundary between them becomes unrecognizable. This is another feature which distinguishes the Hindu temple from other sacred architectures in the world. In the Hoysala architecture this feature becomes even more exaggerated. As Gerard Foekema says, in Karnataka, mainly in Kalyani Chalukya and Hoysala temples, architecture is decorated with architecture. These architectural parts are both functional and decorative. Since most of these parts are constructed by chiseling hence they are technically sculpture but play the function of architecture as well.
Beginning from the top, the Hoysala temple has the quintessential ''kalasha'', containing the temple seed. It was built in stone, but in most temples it was lost during Islamic invasions, but some like temples at Mosale have their ''kalasha'' intact. The Veera Narayana temple, Belavadi also has the ''kalashas'' intact in all three of its shrines. The temples that have lost their ''kalasha'' have replaced it with a metal one.
Beginning from the top, the Hoysala temple has the quintessential ''kalasha'', containing the temple seed. It was built in stone, but in most temples it was lost during Islamic invasions, but some like temples at Mosale have their ''kalasha'' intact. The Veera Narayana temple, Belavadi also has the ''kalashas'' intact in all three of its shrines. The temples that have lost their ''kalasha'' have replaced it with a metal one.
Below the ''kalasha'' there is the domed roof, which is actually a sculpted stone and given the shape of the roof. It is square if the plan of the ''garbha-griha'' and ''shikhara'' is square and star if the plan is that of a star.
Below the ''kalasha'' there is the domed roof, which is actually a sculpted stone and given the shape of the roof. It is square if the plan of the ''garbha-griha'' and ''shikhara'' is square and star if the plan is that of a star.
“Below this giant topping roof, the tower consists of many more domed roofs with square plan, all of them much smaller, and also crowned by ''kalasas''. They are mixed with other small roofs of different shapes, most of them finely decorated. The top of the wall of a closed hall also shows this kind of decorated miniature roofs, but only one single row of them, and also above the heavy eaves of open halls and porches one row of them can be found. The tower of the shrine mostly consists of three or four of this kind of rows, the top of the nose mostly of two or three of them.”<ref>Ibid. p. 28.</ref>
“Below this giant topping roof, the tower consists of many more domed roofs with square plan, all of them much smaller, and also crowned by ''kalasas''. They are mixed with other small roofs of different shapes, most of them finely decorated. The top of the wall of a closed hall also shows this kind of decorated miniature roofs, but only one single row of them, and also above the heavy eaves of open halls and porches one row of them can be found. The tower of the shrine mostly consists of three or four of this kind of rows, the top of the nose mostly of two or three of them.”<ref>Ibid. p. 28.</ref>
[[File:Hoysala Sculpture, Aralaguppe, Tumkuru, Karnataka.png|thumb|''Hoysala Sculpture, Aralaguppe, Tumkuru, Karnataka'']]
The Vesara style has evolved basically from the south Indian Dravida style with some Nagara embellishment. Hence, essentially it is a Dravida style which later evolved into a separate branch. This is why the Dravida feature of the ''vimana'' having many ''talas'' are also present in the Vesara styles. The rows of decorated miniature roofs that Foekema talks about in the above excerpt are actually these ''talas'' which are so decorated and so deeply enmeshed into each other that they look like a single structure.
The Vesara style has evolved basically from the south Indian Dravida style with some Nagara embellishment. Hence, essentially it is a Dravida style which later evolved into a separate branch. This is why the Dravida feature of the ''vimana'' having many ''talas'' are also present in the Vesara styles. The rows of decorated miniature roofs that Foekema talks about in the above excerpt are actually these ''talas'' which are so decorated and so deeply enmeshed into each other that they look like a single structure.
Below the ''vimana'' there is the hanging eave which is often half a metre long and is very heavy. It provides the shade to the sculpture on the walls. Below this eave two different architectural idioms are usually found. They are called the Old Hoysala type and the New Hoysala type. The Old Hoysala is very similar to the Chalukya style. The New Hoysala style features many innovations and it is this style which gave the Hoysala temples their characteristic touch. Foekema explains the differences between the two types:
Below the ''vimana'' there is the hanging eave which is often half a metre long and is very heavy. It provides the shade to the sculpture on the walls. Below this eave two different architectural idioms are usually found. They are called the Old Hoysala type and the New Hoysala type. The Old Hoysala is very similar to the Chalukya style. The New Hoysala style features many innovations and it is this style which gave the Hoysala temples their characteristic touch. Foekema explains the differences between the two types:
More importantly, in the Hoysala temples, Vishnu is variously depicted as holding four major ''ayudhas'': ''shankha, chakra, gada, padma''. He wields them in four hands. Different permutations of these four ''ayudhas'' in four hands make 24 representations of Vishnu, each with a different name and attribute, as described in the table below. The list tallies to the list given in the Patala-Khanda of the ''Padma Purana'':
More importantly, in the Hoysala temples, Vishnu is variously depicted as holding four major ''ayudhas'': ''shankha, chakra, gada, padma''. He wields them in four hands. Different permutations of these four ''ayudhas'' in four hands make 24 representations of Vishnu, each with a different name and attribute, as described in the table below. The list tallies to the list given in the Patala-Khanda of the ''Padma Purana'':
{| class="wikitable"
|+
!
|'''NAME OF VISHNU'''
|'''UPPER RIGHT HAND'''
|'''UPPER LEFT HAND'''
|'''LOWER LEFT HAND'''
|'''LOWER RIGHT HAND'''
|-
|1.
|Keshava
|Shankha
|Chakra
|Gada
|Padma
|-
|2.
|Narayana
|Padma
|Gada
|Chakra
|Shankha
|-
|3.
|Madhava
|Chakra
|Shankha
|Padma
|Gada
|-
|4.
|Govinda
|Gada
|Padma
|Sankha
|Chakra
|-
|5.
|Vishnu
|Padma
|Sankha
|Chakra
|Gada
|-
|6.
|Madhusudana
|Sankha
|Padma
|Gada
|Chakra
|-
|7.
|Trivikrama
|Gada
|Chakra
|Sankha
|Padma
|-
|8.
|Vamana
|Chakra
|Gada
|Padma
|Sankha
|-
|9.
|Sridhara
|Chakra
|Padma
|Shankha
|Gada
|-
|10.
|Hrishikesha
|Chakra
|Gada
|Shankha
|Padma
|-
|11.
|Padmanabha
|Padma
|Sankha
|Gada
|Chakra
|-
|12.
|Damodara
|Sankha
|Gada
|Chakra
|Padma
|-
|13.
|Samkarshana
|Sankha
|Padma
|Chakra
|Gada
|-
|14.
|Vasudeva
|Chakra
|Sankha
|Gada
|Padma
|-
|15.
|Pradyumn
|Sankha
|Chakra
|Gada
|Padma
|-
|16.
|Aniruddha
|Gada
|Shankha
|Padma
|Chakra
|-
|17.
|Purushottama
|Padma
|Shankha
|Gada
|Chakra
|-
|18.
|Adhokshaja
|Gada
|Shankha
|Chakra
|Padma
|-
|19.
|Narasimha
|Padma
|Gada
|Shankha
|Chakra
|-
|20.
|Achyuta
|Padma
|Chakra
|Shankha
|Gada
|-
|21.
|Janardana
|Padma
|Chakra
|Shankha
|Gada
|-
|22.
|Upendra
|Shankha
|Gada
|Chakra
|Padma
|-
|23.
|Hari
|Shankha
|Chakra
|Padma
|Gada
|-
|24.
|Sri Krishna
|Gada
|Padma
|Chakra
|Shankha
|}
These representations are found all over the Hoysala temples, including the Veera Narayan temple, Belavadi. The Chenna Keshav temple at Belur has the representations of all twenty-four forms of ''Chaturvimshati Murti'', the 24 forms of Vishnu.
These representations are found all over the Hoysala temples, including the Veera Narayan temple, Belavadi. The Chenna Keshav temple at Belur has the representations of all twenty-four forms of ''Chaturvimshati Murti'', the 24 forms of Vishnu.
== DESCRIPTION OF THE TEMPLE DEITY ==
== Description of the temple deity ==
=== Veera Narayana ===
=== Veera Narayana ===
=== The Plan ===
=== The Plan ===
[[File:Plan of Veera Narayana Temple, Belavadi.png|thumb|120x120px|''Plan of Veera Narayana Temple, Belavadi'']]
The Veera Narayana temple, Belavadi is a ''trikuta'' temple, meaning it has three shrines dedicated to Veera Narayana, Venu-Gopala and Yoga-Narasimha respectively. The temple was built in two steps. First an ''ekakuta'', temple with one ''garbha-griha'' was built. A closed hall and an open hall were attached to it. This was built in the earlier age of Hoysala architecture and the walls of the shrine from the outside are completely plain, similar to earliest of Hoysala architecture.
The Veera Narayana temple, Belavadi is a ''trikuta'' temple, meaning it has three shrines dedicated to Veera Narayana, Venu-Gopala and Yoga-Narasimha respectively. The temple was built in two steps. First an ''ekakuta'', temple with one ''garbha-griha'' was built. A closed hall and an open hall were attached to it. This was built in the earlier age of Hoysala architecture and the walls of the shrine from the outside are completely plain, similar to earliest of Hoysala architecture.
[[File:Shala 1) North-east shrine 2) South-east Shrine.png|thumb|251x251px|''Shala 1) North-east shrine 2) South-east Shrine'']]
In a later age, the temple was converted to ''trikuta'', when two lateral shrines were added to it, taking the number of shrines to three. First an exceptionally large ''mandapam'' of staggered square shape was added to the open ''mandapam'' of the earlier shrine and on the two lateral sides of this ''mandapam'', facing north and south, the two shrines were built. Of the three ''vimanas'', the Veera Narayan is the smallest, Venugopal bigger than that and that of Narasimha the highest of all. Although the difference is imperceptible from a distance.
In a later age, the temple was converted to ''trikuta'', when two lateral shrines were added to it, taking the number of shrines to three. First an exceptionally large ''mandapam'' of staggered square shape was added to the open ''mandapam'' of the earlier shrine and on the two lateral sides of this ''mandapam'', facing north and south, the two shrines were built. Of the three ''vimanas'', the Veera Narayan is the smallest, Venugopal bigger than that and that of Narasimha the highest of all. Although the difference is imperceptible from a distance.
The effect is spectacular. This is the only ''trikuta'' Hoysala temple in which the three shrines are not attached to each other but are separated by three mandapams. Gerard Foekema calls this temple having “the most majestic temple front in all Hoysala architecture”.<ref>Foekema, Gerard. ''Hoysala Architecture: Medieval Temples of Southern Karnataka Built During Hoysala Rule (2 Vol)''. New Delhi: Aryan Books, 2014. p. 108.</ref> The larger hall (''mandapam'') is so majestic that it is seldom matched in Hoysala architecture. Gerard Foekema gushes forth about it:
The effect is spectacular. This is the only ''trikuta'' Hoysala temple in which the three shrines are not attached to each other but are separated by three mandapams. Gerard Foekema calls this temple having “the most majestic temple front in all Hoysala architecture”.<ref>Foekema, Gerard. ''Hoysala Architecture: Medieval Temples of Southern Karnataka Built During Hoysala Rule (2 Vol)''. New Delhi: Aryan Books, 2014. p. 108.</ref> The larger hall (''mandapam'') is so majestic that it is seldom matched in Hoysala architecture. Gerard Foekema gushes forth about it:
To describe the ''vimana'' of a Hindu temple certain terminology is necessary. The walls of the ''garbha-griha'', ''antarala'' and ''mandapam'' support ''vimanas'' of different kinds. These ''vimanas'' are built of aediculae. Between the ''vimana'' and the walls a horizontal section of the parapet is decorated with elements which are also present in the ''vimana''.
To describe the ''vimana'' of a Hindu temple certain terminology is necessary. The walls of the ''garbha-griha'', ''antarala'' and ''mandapam'' support ''vimanas'' of different kinds. These ''vimanas'' are built of aediculae. Between the ''vimana'' and the walls a horizontal section of the parapet is decorated with elements which are also present in the ''vimana''.
[[File:Vimana a) roof tower b) kuta roof c) shala roof d) kapota.png|thumb|''Vimana a) roof tower b) kuta roof c) shala roof d) kapota'']]
This decoration, above the parapet, generally consists of elements such as ''kuta, shala, panjara'' and a chain of them called a ''hara''. These aediculae are nothing but miniature forms of various kinds of vimanas. ''Kuta'' is the square domed ''vimana'' aedicule is called ''kuta'' and is generally found at the corner of the ''vimana''. ''Shala'' is the barrel-roofed and rectangular roof of the ''vimana'' of a ''gopuram'' in south India. Its miniature form in aedicule is called ''shala''. Finally, ''panjara'' is the cross-section of a ''shala'' vimana, generally which is visible in the vimanas roofs of ''gopurams''.
This decoration, above the parapet, generally consists of elements such as ''kuta, shala, panjara'' and a chain of them called a ''hara''. These aediculae are nothing but miniature forms of various kinds of vimanas. ''Kuta'' is the square domed ''vimana'' aedicule is called ''kuta'' and is generally found at the corner of the ''vimana''. ''Shala'' is the barrel-roofed and rectangular roof of the ''vimana'' of a ''gopuram'' in south India. Its miniature form in aedicule is called ''shala''. Finally, ''panjara'' is the cross-section of a ''shala'' vimana, generally which is visible in the vimanas roofs of ''gopurams''.
These are the basic aediculae which make up the ''vimana'', but there are some other techniques with which the design of the ''vimana'' is made even more complex. Most common of them are staggering and splitting. Staggering is defined by Adam Hardy as:
These are the basic aediculae which make up the ''vimana'', but there are some other techniques with which the design of the ''vimana'' is made even more complex. Most common of them are staggering and splitting. Staggering is defined by Adam Hardy as:
[[File:Staggering.png|thumb|''Staggering'']]
[[File:Splitting.png|thumb|''Splitting'']]
“Staggering, or progressive stepping out, suggests expansion in stages, a serial emanation. Closely bunched offsets can also create the impression of vibration (''spanda'') as if with inner energy. A staggered sequence of forms, embedded one within another, can be entirely at one level (in which case the elements slide out like an unfolding telescope) or step down as they step out.”
“Staggering, or progressive stepping out, suggests expansion in stages, a serial emanation. Closely bunched offsets can also create the impression of vibration (''spanda'') as if with inner energy. A staggered sequence of forms, embedded one within another, can be entirely at one level (in which case the elements slide out like an unfolding telescope) or step down as they step out.”
Splitting is another technique in which an aedicule or architectural motif such as a ''panjara'', or a ''stambha'' is split into half with the intervening space either remaining empty or containing a niche figure.
Splitting is another technique in which an aedicule or architectural motif such as a ''panjara'', or a ''stambha'' is split into half with the intervening space either remaining empty or containing a niche figure.
Bursting of Boundaries - When a form which is projecting and enshrined within a frame, actually bursts over in its expansion, and overstepping its boundaries appears to be leaving the confines of its frame. It suggests a greater sense of movement and expansion.
Bursting of Boundaries - When a form which is projecting and enshrined within a frame, actually bursts over in its expansion, and overstepping its boundaries appears to be leaving the confines of its frame. It suggests a greater sense of movement and expansion.
[[File:Bursting of Boundaries.png|thumb|''Bursting of Boundaries'']]
[[File:Progressive Multiplication.png|thumb|''Progressive Multiplication'']]
Progressive multiplication - Starting from top to bottom, a whole aedicule is multiplied successively, starting from top and then descending in ever increasing numbers.
Progressive multiplication - Starting from top to bottom, a whole aedicule is multiplied successively, starting from top and then descending in ever increasing numbers.
The vimanas are decorated with these aediculae. A ''hara'' is a chain of the aediculae comprising ''kuta, shala'' and ''panjara'' and their staggering. Starting from one end a ''vimana tala'' may have a ''kuta'' at the corner, a ''shala'' in the center and a ''kuta'' at the other corner. This scheme would be called a k-s-k scheme. If a ''panjara'' is added at the center of the ''shala'' then the scheme would be: k-s-p-s-k.
The vimanas are decorated with these aediculae. A ''hara'' is a chain of the aediculae comprising ''kuta, shala'' and ''panjara'' and their staggering. Starting from one end a ''vimana tala'' may have a ''kuta'' at the corner, a ''shala'' in the center and a ''kuta'' at the other corner. This scheme would be called a k-s-k scheme. If a ''panjara'' is added at the center of the ''shala'' then the scheme would be: k-s-p-s-k.