An “outstanding example of Hindu architecture” and the “supreme climax of Indian architecture.”

~ Percy Brown

……..no facets of the Indian temple are the same; every convolution of every scroll is different. No two canopies in the whole building are alike, and every part exhibits a joyous exuberance of fancy scorning every mechanical restraint. All that is wild in human faith or warm in human feeling is found portrayed in these walls……..

~ James Fergusson (1876)

Continuing the description of my visit to the Hoysala temples in my initial blog, this is a follow-up post on the Hoysaleshwara Temple.

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Hoysaleshwara Temple is a 12th-century Shaivite temple, the largest monument in Halebidu, the former capital of the Hoysala Empire. It is unique for the richness of the carved friezes that adorn its exterior walls, of great finesse and beauty. There is no other equivalent of such an artistic achievement across the country. 

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The temple was built on the banks of a large man-made lake and sponsored by King Vishnuvardhana of the Hoysala Empire. Halebidu was originally called Dvarasamudra (or Dorasamudra), a name derived from two Sanskrit words “Dvara” (gateway, door) and Samudra (ocean, sea, large water body). 

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Our visit to this hallowed site was one of the most amazing trips I have made anywhere! The grandeur of the temple and profusion of such unmatched sculptures was beyond imagination, totally overwhelming everyone in our group. As are the masterpieces beyond words to express, so are they beyond photographs to be captured. Only a physical experience can absorb the breathtaking beauty of the place. And then one realises that for the master craftsmen who made the sculptures, it was not just another assignment but the result of their divine offering from the very depths of their being.

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The temple’s construction started around 1121 CE and was completed in 1160 CE. It was principally constructed under the patronage of wealthy local Shaiva merchants and aristocrats.

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The breathtaking architectural style and grandeur of the temple add to its mystique and classifies it as one of the most unique stone-carved monuments in the world.

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The lintels of the entrance gates feature the most beautiful carved frescoes of the temple. Of such intricate beauty that takes one’s breath away!

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Though a Shaivite monument, it reverentially includes many themes from Vaishnavism and Shaktism tradition of Hinduism, as well as images from Jainism. A reminder of the openness of religious beliefs in those days. In this dvikuta (temple with two shrines) Shaiva temple, the two garbha grihas (sanctum sanctorum) are found connected by a mandapa (porch) forming a large open hall. 

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The temple has an extensive iconographic representation of episodes from the epics. It must be remembered that in temple architecture these do not merely serve a decorative purpose, but are essential to the integrity and composition of the structure.

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The temple is dedicated to Hoysaleswara and Santaleswara Shiva lingas, named after the masculine and feminine aspects, both equal and joined at their transept.

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It has two Nandi shrines outside, where each seated Nandi faces the respective Shiva linga inside. The temple includes a smaller sanctum for Surya Bhagwan. This temple has a 7-foot tall statue of the Surya.

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The temple once had superstructure towers, but they were destroyed and no longer exist, giving the temple a flat look. During the early 14th century, Halebidu was sacked and plundered by the Muslim armies of the Delhi Sultanate under Alauddin Khilji. In 1326 CE another Delhi Sultanate army of Sultan Muhammad bin Tughlaq plundered the temples of Belur and Halibedu and it became a near-ruin for many years thereafter. The capital was abandoned and the site became known as “Halebidu” (literally, “old camp or capital”).

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More sculpturally and artistically sophisticated than any other Hoysala temple, it is notable for its sculptures, intricate reliefs, detailed friezes as well its history, iconography, and inscriptions in North Indian and South Indian scripts.

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The temple outer walls are intricately carved. The carved banded plinths, a distinguishing characteristic of all Hoysala temples, comprise a series of horizontal courses that run as rectangular strips all around the temple with narrow recesses between them.

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Its lowest layers consist of bands with friezes that consist of (from bottom to top) elephants, lions, scrolls with nature and miniature dancers, horses, scrolls, scenes from Hindu texts, scriptural animals (makara – crocodile) and swans. 

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According to Shadakshari Settar, the artwork shows “no two lions are alike in the entire span that covers more than a furlong (200 metres).”

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The uppermost band has been artfully tilted forward so that the carvings can be viewed easily from below.

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The Hoysaleshwara temple is most renowned for the more than 340 large reliefs depicting Hindu theology that run all along the outer walls.

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Numerous smaller friezes narrate incidents from Hindu texts such as the Ramayana, the Mahabharata and the Bhagavata Purana.

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Some friezes in the bands below the large reliefs portray its narrative episodes.

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One of the exceptional incidents portrayed is of Abhimanyu fighting inside the Chakravyuh, along with a rare diagram of this complex fighting formation.

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These reliefs preserve one of the finest achievements of Hoysala craftsmen and constitute an exhaustive lesson of Hindu art.

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The temple structure of the Hoysaleswara temple is considered to be very complex due to the presence of projections and recesses.

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This temple has been described by Percy Brown as an “outstanding example of Hindu architecture” and as the “supreme climax of Indian architecture“.

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It is believed that the Chennakesava Temple was built during this time and was a Vaishnava temple. The Hoysaleswara temple was constructed by the Shaivas to compete with the Chennakesava Temple.

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Shiva dances inside the elephant Gajasura after slaying it, which was actually the rakshas (demon) Nila in disguise. The sculptor has captured the details perfectly, the open belly of the elephant can be seen with the eyes of the elephant turned upward watching Shiva, and it is at peace having attained moksha. The multiple arms are uncommon in Shiva’s iconography and are exclusively used in his combative forms.

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Another marvel of the Hoysaleswara temple is the set of sculptures of Ganesha. While the right part of the external wall of the temple starts with an image of a dancing Ganesha, there are almost 240 images of Ganesha in different poses.

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Where there is Shiva, Nandi will always be nearby. Being a twin-shrine temple, there are two Nandi’s one facing each shrine. Outside on the east side of the main temples are two smaller shrines for the seated Nandis.

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The Nandis are huge, monolithic sculptures, each beautifully adorned with garlands of flowers and small bells.

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The Nandi shrines are also exquisitely decorated with intricate carvings and lathe-polished columns. The roofs have their own detailed artwork engraved in stone.

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The symbolism of the seated Nandi facing towards the sanctum in Shiva temples represents an individual jiva (soul) and the message that the jiva should always be focused on the Parameshwara. For eternity. From the yogic perspective, Nandi is the mind dedicated to Shiva, the absolute.

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While the exteriors of the temple are adorned with fine sculptures, the interiors of the temple are comparatively simple except for the exquisite polished lathe-turned pillars that dash in rows flanked by the north and south doorways.

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Each of the four pillars in the central navaranga of each shrine has four standing madanakai figures. These are beautifully carved damsels, looking down on the devotees below.

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Apsara-Devangana, popularly known as Madanika, are the damsels depicted in sculptural forms in temples. 

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The shrines have a Shivalinga, which is worshipped even today.

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The garbh griha entrance is flanked by Dwarapalas, as is usual in all temples. These are also as intricately carved as the Dwarapalas at the entrance of the temple.

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The ceilings of the garbh griha are beautifully carved, with each bay having a different design. Which is a normal feature of all the temples we visited.

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The temple premises include a museum managed by the ASI. It contains pieces of ruins and temple artwork recovered from the site and surrounding areas.

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The temple premise also has the Garuda Sthambh (pillar) to the south but it is damaged. This Pillar is an important part of the temple. Garudas refer to the bodyguards of the monarchs and their queens. These inseparable guards used to commit suicide (siditale-godu) with the death of their master. This complete story is depicted on the Garuda Pillar, where the guards are seen cutting their heads with knives.

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There is also an inscription engraved over the pillar which commemorates the death of one such guard, Kuruva Lakshma, the bodyguard of King Veera Ballala II.

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The temple is a masterpiece of construction and reflects the glorious history of ancient India. It has been listed as a heritage site by UNESCO.

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Halebidu, along with Belur, were once the crown jewels of the Hoysala Empire. Today they attract well-deserved attention from tourists, scholars, and devotees alike from different parts of the country and the world at large.

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Despite the irreparable losses suffered at the hands of time and mercenary invaders, the grandeur of these structures and the piety that went into their construction continues to inspire reverence from the silent beholder to this day.

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How to Reach

Located at Halebidu, Hoysaleshwara Temple can be easily reached from Belur (16 kms), Hassan (31 kms) and Mysore (149 kms) in Karnataka. Apart from these cities, Halebidu is accessible from almost every city and town of Karnataka by regular buses and hired taxis.

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Note for Visitors

The visit to the temple complex requires taking off one’s footwear. The complex requires extensive walking on stone surfaces and so visits should be avoided during peak summer when the stone becomes too hot to walk upon. And otherwise also always preferable to plan a visit in the early mornings. Visitor timings are from 6:30 am to 9:00 pm.

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Nearby Temples

Close to the Hoysalewara Temple is the Jain Basadi complex, which is definitely worth a visit. Just one kilometre from Hoysaleshwar is another Shaiva temple, the Kedareswara temple. This too has magnificent sculptures and the temple is a must-see.

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The photographs in this blog bring out the design and the richness of the sculptures.

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My blogs of the other Hoysala temples I visited can be seen at:

1. Chandramouleswara Temple, Arasikere
2. Amrutheshwara Temple, Amruthapura
3. Lakshmi Devi Temple, Doddagaddavalli
4. Sri Veera Narayana Swamy Temple, Belavadi
5. Kedareshwara Temple, Halebidu
6. Parshvanatha Jain Temple, Halebidu
7. Chennakeshava Temple, Belur
8. Chennakeshava Temple, Arakere
9. Sri Lakshmi Narsimha Temple, Javagal

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Note: All photographs displayed above are my exclusive property and copyright; their use is prohibited without explicit consent, in writing.