Imagine being transported back in time to witness the grandeur and magnificence of temple architecture in the region of Karnataka, India. This is the essence of the Hoysala Art Temples in Ajjampura and Tarikere.
Let us explore a few examples of Hoysala architecture in the region of Ajjampura and Tarikere.
5 Significant Hoysala Art Temples In Ajjampura And Tarikere
Yoga Narshimha Temple
Yoga Narasimha temple at Baggavalli in Ajjampura taluk, there is a famous Amriteshwara temple at Amritapura in Tarikere taluk. In fact, the temple at Amritapura was renovated by the Archaeological Survey of India long ago and is still in good condition. The Baggavalli temple, which is tens of kilometres away, took a long time to get its present status, but its life span has been further enhanced by its present status. As a result of this delay, almost all the sculptures on the outer wall of the Baggavalli temple have been defaced. The erstwhile Bhargavapuri-Bhargavavalli-now Baggavalli can be thought of as the etymology of this place name. It was also known as Lakshminarasimhapura.
Since it was an agrahara, it was natural that there were more scholars. An idol of Saraswati is also seen in the temple to endorse this.The size of the temple seems to have been enlarged by the large porch facing east. There is also an entrance to the mandap from north and south. This open porch is the gift of Vijayanagara. The idea of a mukhamantapa was conceived at the time of construction of the temple, which dates back to the 12th century. The six-striped structure in the lower structures of the temple has provided the foundation for the existing mukhamantapa. There are elephants, lions and latapatties. The other three strips are not decorated. The mukha mandapa has strong bodhis, some of the pillars are carved with strips. The lower strips, followed by sculptures of deities, on top of which are three levels of simple circular structures. Though there is not much traffic on the roof, the sculptures are neatly arranged as much as they are.
Though it is a trikuta temple, on the surface it looks like a single kuta. Because there are no peaks on the other two sanctum sanctorums. There is an idol of Lord Keshava in the central sanctum sanctorum with beautiful jalandras. In the middle of its Makara Torana is a sculpture of Kalingamardana and below it is a sculpture of Gajalakshmi. To its right is a beautiful idol of Narasimha wearing a yoga strip. There is a sculpture of Gopalakrishna in the middle of the Makara Torana above this sanctum sanctorum. In its aura the Dasavataras are created. There is an idol of Goddess Saraswati in the sanctum sanctorum opposite. There is a sculpture of Saraswati in its Makaratorana. Below is Gajalakshmi.
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Gadihalli, a small village, is located on the way from Ajjampura to Hosadurga. Although it is now a small village, it was once a significant commercial place. It is explained that it got its name as Gadihalli because it was recognized as a boundary to other surrounding areas. Lakshmiranganatha Temple is located at the beginning of the town. On the face of it, it appears to be from the post-Vijayanagara period. The earliest temples here are two shiva temples facing east, which can be said to belong to the Chalukyan period. One is very dilapidated and crumbling, while the other is in a state of collapse. Since they are also difficult to repair, there is a possibility that they will be closed where they are.
The temple with the largest Shivalinga is called Bhogalingeshwara. As the ground floor has been destroyed, a small room is being constructed for the existing Shivalinga and rescue work is underway. Since the temple is covered in mud, the edges of the Panipeetha are blurred. The shape of the linga does not seem to have been destroyed. Though the idol of Nandi in front of it is no different, it looks like the Chalukyan style. The temple once had navarangas and mukhamantapas. Efforts are being made to revive it. To the right of this dilapidated temple is another Shiva temple. Its linga has no panipeetha. There are features of the sanctum sanctorum, navaranga and mukhamantapa. There is no polishing work on the outer wall. Nearby is a huge pillar of inscription whose letters have been erased.
A little further from this temple, there is a broken mandapa with a sculpture of Veerabhadra. It has a sculpture of the seven mothers. The broken pillars of the outer mandapa are visible. It is as if the restoration of this temple, which is in a very bad shape, is unrenovated. The fourth temple at Gadihalli is the Channakeshava Temple. It is undeniable that it was built by the Hoysalas. It has been revived and renewed due to the interest of the villagers. Reconstructed on a three-foot-high star-shaped verandah, the temple’s grandeur is enhanced by the shikhara built on it and the cement Garuda idols installed in four directions. The outer wall of the temple, which is not very tall and adorned with simple linear structures, is replaced by granite stones instead of fallen stones. The rest of the old parts are beautiful to look at as they are cleaned with sandblast.
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The temple originally had a sanctum sanctorum, antaraala, navarangas. Later, during the vijayanagara period, it had a 16-pillared mukhamantapa and a mini-mantapa in front of it. There is a Phansa-style peak on top of the sanctum sanctorum. Some fossils of the Hoysala period are also found in the temple premises. An idol of a kirtimukha and a goddess is pasted on the back wall. There are sculptures of serpents on the south wall of the sanctum sanctorum. On the western wall is a small carved relief of Bedara Kannappa. In the north is a sculpture of a snail of the Hoysala period. That too is getting eroded by the wind.
There is a sculpture of Bhairavapada at the base of the mandapa to the north. A devotee is depicted standing in front of it with folded hands. But this Bhairavapada seems to have brought here what was elsewhere. In front of the mukha mandapa in the east, there is a 15-18 feet high lamp post. There is a system to light a lamp on it. The town has now grown ahead of the temple. In the past, the town was behind the temple. The navaranga of the temple has been raised and carpets have been laid out. The cornerstones of the navaranga below it are left prominent. These were locally known as sandstones. Due to the closure of these cornerstones, when there was no rain for three-four years, the closed stones were made visible outside. Legend has it that it rained after that.
Since the outer walls were later arranged in the dark, the inner structures remained intact. While farming outside the village, a sculpture of Veerabhadra was found. Since that too was not damaged, it was brought and a mandapa was constructed adjacent to the north of the Ramalingeswara temple and installed there. This beautifully carved idol is attractive. The front door of the interior is decorated with jalandras. The four navaranga pillars made of rotating machine, which are in good condition without the carving elements, and the star-shaped pillars around it are beautiful. There are eight short Bhuvaneswaris all around, including the artistic Bhuvaneswari in the middle. The structures resembling a banana flower are in the middle and everything is in good condition.
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Sompura, located near Tarikere in Chikkamagaluru district, derives its name from the Sri Someshwara Temple here. There are inscriptional records that it was formerly known as Narasimhapura. The Narasimha temple here may have been famous then. That is why the name Narasimhapura must have been in vogue. Of these two temples, which belong to the 13th century, only the Someshwara temple remains after renovation. The Narasimha temple, unable to withstand the shock of time, has been completely digested by the flood of the river. Its remains are scattered in the river bed.
the Someshwara Linga here is facing west. The linga is not very tall. The doors are designed to have access from east, north and south directions. At the beginning of the two gates there are idols of elephants and at the other gate there is a manual of yali. The elephants do not appear to belong to the Hoysala period. The Yali depicts the Vijayanagara style. The taladesign of this temple is also unique. One of the gates, which enter from three directions, opens to the navaranga and the other two open to the hall. The pillars of Navaranga are beautiful. There are no carvings on the roof, nor are there devakoshtas. The sculptures of Saptamatrika, Ganapathi and Nandi in Navaranga at the time of repairing the temple have been removed as they were different.
The Hoysala-style Ganapati, which has now been demolished under the peepal tree in front of the temple, is attractive, though it is broken.The temple is accessible from the west and a Vijayanagar-style mandapa is seen in the front. It could be a festival hall of god. It is called bhogamantapa. In front of it is an idol of Nandi installed on a pillar. It is named gadinandi. Stone inscriptions and hero stones are preserved in the temple premises. The pillars of the hall for this temple are made of granite. The carvings on a couple of pillars are impressive. There is no uniformity in the pillars. There are square and circular pillars.The stone bani, which is now placed in the hall itself, has a handle at the top. It may have been used to store water for the worshippers. There are idols of Bhairava and Veerabhadra in the hall itself.
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The temple built by Somanatha Dandanayaka at Somanathapura near Mysore, popularly known as Somnatheshwara Temple, is said to have been built by Amitayya in 1196. At the same time, there are records that Veeraballala II won a place called Hallavur in battle and his general Amitayya built it and Ballala II installed the Amriteshwara Linga here. Ballala II was S.U. When he died in 1220, Amitayya continued to be the commander-in-chief of his son Narasimha II when he became king. Although it started in 1196, the temple was completed by 1206. It is said that Amitayya later died fighting the Gurjaras at Itagi. Having been in the service of the Hoysalas for nearly a quarter of a century, the temples and villages here naturally developed in his name.
This is a monolithic temple. Though many of the Hoysala temples have spacious interiors and dance mandapas, the temple has an open mantapa. Unlike other temples, it does not stand on a star-shaped verandah. The temple, which is also of great artistic value, has all the constructions from the flooring to the ceiling of the temple, which are intricately carved. The outer paoli of the temple is mentioned in this issue. Today, only a few Hoysala temples have a prakara. Most of the prakaras were composed during the Vijayanagara period and the original temple was protected. In Amritapura, the prakara and the sculptures on it are neatly arranged. This has increased the overall strength of the temple. Looking at the present state of the western gate, it can be inferred that it was so in all four directions. Large sculptures are not visible on the outer wall. The peaks, tower structures cover the bottom.
the outer wall of Amritapura is also special. In most of the Hoysala temples, where sculpture is generally displayed, the first parts such as Bhit, Jyadyakumbha, Karnika, Kapota, Kantaka, Vedi, etc., are at the lower level. Though the same symptoms are visible here too, the Jangha area is covered by Kakshasana at the front, while the jangha in the rear part does not have Leela idols. The kuta chadya at the top of it has a simple design. The carvings at Punarjangha, which appear later, are very complex in some places. The mallachadhya on top of it is large and therefore gives protection to the lower wall. The vertical structures found in some parts are very complex.
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