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Hoyasala Temple Architecture (view source)
Revision as of 13:29, 25 March 2019
, 13:29, 25 March 2019no edit summary
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.[[File:Splitting.png|thumb|Splitting|link=http://dharmawiki.org/index.php/File:Splitting.png|327x327px]][[File:Bursting of Boundaries.png|thumb|''Bursting of Boundaries''|link=http://dharmawiki.org/index.php/File:Bursting_of_Boundaries.png|left]]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.
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.[[File:Splitting.png|thumb|Splitting|link=http://dharmawiki.org/index.php/File:Splitting.png|327x327px]][[File:Bursting of Boundaries.png|thumb|''Bursting of Boundaries''|link=http://dharmawiki.org/index.php/File:Bursting_of_Boundaries.png|left]]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.
Progressive multiplication - Starting from top to bottom, a whole aedicule is multiplied successively, starting from top and then descending in ever increasing numbers.[[File:Progressive Multiplication.png|thumb|Progressive Multiplication|link=http://dharmawiki.org/index.php/File:Progressive_Multiplication.png|233x233px]]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.
Progressive multiplication - Starting from top to bottom, a whole aedicule is multiplied successively, starting from top and then descending in ever increasing numbers.[[File:Progressive Multiplication.png|thumb|Progressive Multiplication|link=http://dharmawiki.org/index.php/File:Progressive_Multiplication.png|233x233px]]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. But most of the Hoysala temples are more complex than this and the central ''shala'' is staggered and its center is occupied by a ''panjara'' which nestles the image of a deity or a celestial figure. The staggered ''shala'' would add more ''shala'' elements. If it is staggered once then the scheme would be k-s-s-p-s-s-k and so on.
==Hoysala Sculpture==
This is the terminology in which the ''hara'' decoration of the parapet and ''vimana'' of a Hoysala temple are described. In light of this, it would be easy to understand the description of the ''vimana'' of the oldest shrine housing Veera Narayana, by Gerard Foekema, in following words:<blockquote>“The square ''vimana'' shows k-sspss-k in three talas and is crowned with giant vedika and kuta roof; the latter, in turn, is crowned by a ''kalasa''. The ''sukanasi'' exhibits –p- in the first tala and –k-spsk in the second. The closed hall shows k-sp-sssspssss-ps-k. The open hall shows k and sps as a hara of pavilions only.”</blockquote>There is an eave running round it. Above the eave, the ''vimana'' is profusely decorated and below it the walls are plain. There are two explanations of it.
1. That the ''vimana'' was decorated later, when the other two shrines were created.
2. That it was done purposefully to show that the ''garbha-griha'' is a place for meditation, even from the outside and hence does not reflect the complexity of the world.
The two lateral shrines are completely decorated from top to bottom, except the moulding of the base. The ''vimanas'' are profusely decorated, and so are the wall sections below the second eave. These two ''vimanas'' were built in the later Hoysala period and hence they have two eaves, one directly below the parapet and second a little below it. Between the two eaves are ''stambha'' frames of different kinds. Both the shrines have ''antarala'' and ''shukanasika''.
These two ''vimanas'' are different in a crucial way. The southern shrine of Venu-Gopala facing north has a Dravida ''vimana''. It is 4.9 metre of height. It is a ''triratha'' square with k-sspss-k articulation. The northern shrine of Yoga-Narasimha facing south has a Vesara ''vimana''. It is a ''triratha'' half star with k-.-ksspssk-.-k articulation on its vimanas. Its height is 4.7 metre.
While the ''shukansika'' of the southern shrine is square with k-sps-k articulation in its second tala, the ''shukanasika'' of the northern shrine is more complex as its plan is of a full star. The center of both the vimanas are decorated with the ''panjara'' aedicule and an additional decorative ''panjara'' is added in the ''vedika'' and ''vyalamala'' section, interrupting them, but consequently giving the impression of a vertical band of panjara aedicule in the forum of ''kirtimukha''.
===Hoysala Sculpture===
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.[[File:Hoysala sculpture at Somnathapur, Mysore, Karnataka.png|thumb|Hoysala sculpture at Somnathapur, Mysore, Karnataka|link=http://dharmawiki.org/index.php/File:Hoysala_sculpture_at_Somnathapur,_Mysore,_Karnataka.png|left|400x400px]]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.
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.[[File:Hoysala sculpture at Somnathapur, Mysore, Karnataka.png|thumb|Hoysala sculpture at Somnathapur, Mysore, Karnataka|link=http://dharmawiki.org/index.php/File:Hoysala_sculpture_at_Somnathapur,_Mysore,_Karnataka.png|left|400x400px]]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.
In the New kind of Hoysala architecture, these five traditional mouldings are replaced with six bands of sculptured rows. They are called friezes. From top to bottom they show ''hansa'', ''makara'', stories from epics, vegetal scroll, horses and the elephants. There are a few exceptions to this like the Halebidu Hoysaleshwar temple which has eight friezes instead of six.
In the New kind of Hoysala architecture, these five traditional mouldings are replaced with six bands of sculptured rows. They are called friezes. From top to bottom they show ''hansa'', ''makara'', stories from epics, vegetal scroll, horses and the elephants. There are a few exceptions to this like the Halebidu Hoysaleshwar temple which has eight friezes instead of six.
== Temple Deities ==
=== Temple Deities ===
The Hoysala temples are mainly dedicated to either a form of Shiva or that of Vishnu. In temples with more than one shrine some individual shrines are dedicated to Surya or Lakshmi. Vaishnava ''trikutas'' always have all three shrines dedicated to a form of Vishnu, while Shaiva ''trikutas'' have one shrine dedicated to Shiva while two others to Vishnu and Surya. Images of other gods and goddesses like Surya, Brahma, Durga, Ganesha etc. are also found in the temples but entire temples are seldom dedicated to them.
The Hoysala temples are mainly dedicated to either a form of Shiva or that of Vishnu. In temples with more than one shrine some individual shrines are dedicated to Surya or Lakshmi. Vaishnava ''trikutas'' always have all three shrines dedicated to a form of Vishnu, while Shaiva ''trikutas'' have one shrine dedicated to Shiva while two others to Vishnu and Surya. Images of other gods and goddesses like Surya, Brahma, Durga, Ganesha etc. are also found in the temples but entire temples are seldom dedicated to them.