Karnataka has innumerable sites in the Temple Map of India, with its some of its still surviving monuments going back to the 7th century CE. The Badami Chalukyas were the builders of rock cut caves and ancient temple complexes. At Pattadakal, there are Temples in the Dravidian style along with Temples in styles that were later adopted in Eastern and Central India. The sculptural quality in these temples is outstanding.The subordinate rulers of the Chalukyas were the Gangas and the Kadambas. The colossal monolithic statue of Gomateswara was built by the Gangas in the 10th century CE. The Badami Chalukyas were succeeded by the Rashtrakutas and the Kalyani Chalukyas. In Southern Karnataka, the Hoysalas reigned supreme. The Hoysalas (12th century CE) were great builders and they built great temples at Halebidu, Belur and Somanathapura.The Hoysalas built temples on raised complex star shaped platforms. This star shaped plan is carried all the way from the platform to the shikhara. Horizontal bands of sculptural motifs and monolithic pillars adorn these temples. There is a profusion of sculptural work in the Hoysala style of temple building. Also in Southern Karnataka, are temples which benefited from the patronage of the Chola rulers of Tamilnadu. A notable example is the Kolaramma temple at Kolar.Next, the Vijayanagar Empire founded in the 14th century CE marks the period of great Temple building activity in Karnataka and these temples are characterized by the building of pillared mandapas and lofty entrance towers. Vijayanagar temples have several of the features exhibited by the temples of Tamilnadu, such as a covered pradakshinapatha (circumambulatory path) around the sanctum, and a mahamandapam in front. The ornate pillars are a distinctive mark of the Vijayanagar style. Several of the monuments in the capital Vijayanagar - now in ruins at Hampi are attributed to Harihara II, Sadasiva and Krishna Deva Raya. The Vijayanagar Empire was destroyed by the Deccan Sultanates in the 16th century and the ruins can be seen at Hampi. The Mysore Maharajas (Wodeyars) who ruled from around 1400 CE through the British period, with the brief lapse during Tipu Sultans rule, have also made contributions to temples in this State, the Chamundeswari temple near Mysore being a point in illustration.The temples of the southern coastal/ghat region of Karnataka (such as Kollur) are markedly different in architectural styles and they resemble the Keralite temples to a larger extent.

BADAMI CAVES

Location : Badami, Karnataka Depicting : Various Mythological Characters Known For : Cave Temples

The capital of the Early Chalukyas, Badami is picturesquely situated at the mouth of a ravine between two rocky hills, Badami is famous for its cave temples - all hewn out of sand stone on the precipice of a hill.

Badami is an interesting place to visit in Karnataka what with its artificial lake, ancient temples, Museum and Hindu and Jain caves carved in the Sandstone hills. The largest and most ornamental is the third cave temple dedicated to Vishnu.

Overlooking the cave temples is a reservoir dotted with temples dedicated to Vishnu and Shiva. Also a must are the Bhutanath temples that lend their name to the lake beneath the cave temples. The main attractions of Badami are the caves found there.

The caves found here are as follows: Cave 1:

The first cave made of red sandstone, dates back to 578 A.D. and was probably the first to be carved. One has to climb up 40 odd steps to reach the colonnaded verandah, a hall with numerous pillars and a square shaped sanctum hollowed in the control back wall.

Column shafts are masterfully crafted. On the ceiling one can see the paintings of amorous couples. Shiva and his consort Parvati, and a coiled serpent. The 18-armed lord Nataraja can be seen in 81 dancing poses.

Cave 2: Dedicated to lord Vishnu depicted here as a dwarf or 'Trivikrama' of awesome dimensions with one foot mastering the Earth and the other the sky, the second cave is atop a sandstone hill.

Vishnu here is depicted as a dwarf or. Another form of Vishnu portrayed here is as 'Varaha' or as a boar. Then there is a frieze endearingly depicting Vishnu as Lord Krishna.

Cave 3:

Still going higher up one comes across this cave antedating 578 A.D. The facade of the cave is nearly 70 feet wide, on the plinth one can see the carvings of ganas. The sheer artistry and sculptural genius makes this cave the highlight of Deccan art.

It gives a virtual insight into the art and culture of the 6th century like costumes, jewelry hairstyle lifestyle etc. The other attractions to be looked carefully in this cave are the high relief of Vishnu with a serpent, Vishnu as Narasimha (Vishnu as Man-Lion) Varaha, Harihara (Shiva Vishnu) and Vishnu as Trivikrama.

Cave 4: The only Jain cave, the construction of Cave four started in the 6th century and completed after nearly 100 years later then the earlier three caves.

Here one can see the carvings of the Tirthankara Parshavnatha with a serpent at his feet; Mahavira in a sitting posture also can be seen in the shrine.

VIRUPAKSHA TEMPLE

Location : Hampi, Karnataka Also Known As : Pampapati Temple. Dedicated To : Lord Shiva Main Festival : Car Festival

The Virupaksha Temple, located in Hampi is one of the few temples amidst ruins, still in worship. This temple is dedicated to Shiva, known here as Virupaksha or Pampapati. His consort Pampa is often associated with the Tungabhadra River. The Virupaksha or Pampapati temple has been considered throughout centuries to be the most sacred of the temples at Hampi. Pampapati means the lord of Pampa, the daughter of Brahma or the lord of the Pampa-tirtha.

The Tungabhadra here is known as the Pampanadi. The Pampapati temple is situated in picturesque surroundings on the southern bank of the Tungabhadra, immediately to the north of the Hemkuta hill. The various parts of the temple complex are within a long rectangular enclosure divided into two large courts.

There is evidence of additions to the temple made in late Chalukyan and Hoysala period but most of the buildings are attributed to the Vijayanagar period. The eastern gateway, which is the largest, is 50 m high.

Gopuram: The Gateway To The Temple The lofty eastern gopuram gives access to the outer court, while a smaller inner east gopuram leads to the inner court containing the main 'vimana' with its numerous subsidiary shrines. From the account left by Paes, who visited Vijayanagara in AD 1520, it may be inferred that the temple complex has assumed its present form even by about the time of his visit. The temple faces east and overlooks the long and broad Hampi Bazaar with the dilapidated remains of many ancient 'mandapas' and two-storeyed stone buildings on either side.

The lofty east 'gopuram', the main entrance to the temple, is well-proportioned nine-storeyed structure 52 metres high with the usual two-tiered stone base and a superstructure in brick. In the gopuram-chamber are a few early-type heavy square pillars with bands of scroll decoration at the base and flat carved slabs in place of the corbels. From literary evidences it may be inferred that Proluganti Tippa, an officer of Deva Raya II (AD 1422-46), probably built the 'gopuram'. Krishnadeva Raya later repaired it in AD 1510.

From the east gopuram one enters the large outer court containing many sub-shrines and a large number of 'mandapas' including what are termed the 'phalapuja mandapas'. The so-called old 'phalapuja mandapa' at the southwest corner of the court is in Vijayanagara style with composite pillars, while the new 'phalapuja mandapa' at the northwest, although so named, has earlier styles of pillars.

An interesting feature is that a narrow channel of the Tungabhadra flows along the terrace of the temple then descends to the temple-kitchen and finally flows through the outer court.

The small three-storeyed inner east 'gopuram', named after Krishnadeva Raya forms the entrance to the inner court. It was built by Krishnadeva Raya about AD 1510. The inner court has a pillared cloister along the four sides, with a number of subshrines, while the main sanctum of Virupaksha with its axial 'mandapa' is situated in the central part of the court and faces east.

The Sanctum The sanctum of Virupaksha has in front an 'antarala', an 'ardha-mandapa' and a large 'maha-mandapa', which is referred to in inscriptions as the 'ranga-mandapa'. This 'ranga-mandapa' is a highly ornate Vijayanagara structure built by Krishnadeva Raya in about AD 1510. It is a five-aisled 'mandapa' with various types of composite pillars. The sixteen pillars of the central rectangle have rampant 'yalis' with chains hanging from their mouths, 'makaras' below their feet, and riders, on their backs.

The 'mandapa' is of considerable height with the roof of the central aisle raised up further as a clerestory. On all the four sides along the beams of the clerestory and above there had been originally friezes with many figures in bas relief. But at present they are mostly hidden behind large modern painted stucco groups. The ceiling of the 'ranga mandapas' noted for its numerous panels of Vijayanagara paintings. The figures depicted include sage Vidyaranya going in procession; Arjuna shooting the 'matsya yantra' to win the hand of Draupadi; the Dasavataras; the Dikpalas; Siva as Kamadahanamurti; Tripurari and Kalyanasundara. The panels are in a fair state of preservation and are noteworthy as one of the few remaining original specimens of Vijayanagara painting.

To the west of the 'ranga mandapa' is the 'ardha mandapa', the entrance to which is flanked by a fine pair of huge four-armed 'dvarapalas' of granite, about 2.7 metres high. Stylistically the 'ardha-mandapa' is also a Vijayanagara structure, with its exterior walls decorated with many bas-reliefs as in the Hazara Rama temple and with a multi-petalled lotus motif in the central ceiling.

The Garbha-Griha The 'garbha-griha' is enclosed by a narrow covered 'pradakshina prakara'. The exterior of the 'prakara' walls is finished in a coarse style. The sanctum is a 'tri-tala vimana' with a square domical 'sikhara' and a large central stupi with four smaller stupas at the corners. The walls of the garbha-griha are made of large plain neatly dressed slabs. The sanctum enshrines the well-known Virupaksha linga.

There are a large number of subsidiary shrines in the inner court including those of the 'Mukti Narasimha, 'Patalesvara' and 'Nava Durga'. In the Suryanarayana shrine there is a southern form of the deity. The Mukhi Narasimha shrine nearby has a small seated deity. The image is a fine specimen of Chalukyan sculpture. Next to it is the Tarakesvara shrine with a small figure of Siva with Parvati seated on his lap. Near the southwest corner of the court is a Sarasvati shrine with a small and graceful blackstone image of a two-armed seated Devi playing on a 'Vina'. An ornate 'Prabhavali' with pierced stonework surrounds the figure. The icon is in the Chalukyan style.

The western corridor contains a much worn-out black stone figure of a six-armed Mahishamardini. Behind the west corridor of the temple is a small shrine dedicated to sage Vidyaranya, and said to have been built by Harihara II (AD 1377-1404). The north corridor contains two of the earliest extant structures of the temple, namely, the Parvati and Bhubanesvari shrines. Both have the highly ornate and decorated blackstone pillars of the lathe turned type, carved ceiling and wide door-jambs with elaborate pierced cut-work, characteristic of the later Chalukyan period. On grounds of style, the two shrines may be assigned to about the twelfth century AD.

The tall five-storeyed north 'gopuram', known as the Kangiri Gopuram, is ornamented with many decorative pilasters.

VITHALA TEMPLE

Location : Southern Bank Of The Tungabhadra River, Karnataka. Dedicated to : Lord Vithala. Made Of : Hard Granite Attraction : Stone Chariot.

The Vithala Temple is situated on the southern bank of the Tungabhadra River. The most magnificent of the religious edifices at Hampi, it can be reached from the west by walking on from Hampi Bazaar along the riverbank, or from the east through the Talarigattu Gateway. Its reputation is well deserved both in the variety of styles that characterize the shrines within the temple courtyard and in the fineness of the carvings that embellish them.

The temple stands in a large rectangular enclosure. The three lofty Vijayanagara gopurams on the east, north and south sides are now dilapidated. Of these the south 'gopuram' is the most ornate. Along the interior of the enclosing wall ran a pillared colonnade. The enclosed courtyard contains in the centre the god's sanctum with its axial 'mandapa' and around it the 'Amman' sanctum, the 'kalyana mandapa', an 'utsava mandapa', a hundred-pillared 'mandapa' and a stone 'ratha' (car). Originally there was a lofty 'kipa-stambha' (12.2 m high) in front of the east 'gopuram', but now it lies on the ground, broken in pieces.

The main temple was dedicated to Vishnu as Vithala. Facing east, the sanctum of the god along with its axial 'mandapa' forms a long and low structural group, about 7.6 metres in height and 70 metres in length. The group comprises the open 'maha mandapa', a closed 'ardha-mandapa' with side-porches and a covered 'pradakshina-prakara' enclosing the 'antarala' and 'garbha griha'.

History The existence of the temple may be traced at least to the time of Devaraya II (AD 1422-46). Though the general opinion is that the temple was neither finished nor consecrated, epigraphic and literary evidences show that it remained in worship at least till the time of the battle of 'Rakshasi tangdi'. The Vithala temple portrays the high watermark of perfection of the Vijayanagara style, and one may well say that there is no other building, which could stand comparison with it in florid magnificence.

Style of Architecture Hard granite has been persuaded to sway, to flow, to rise up in columns so that the texture of the stone itself seems to have changed and become elastic. The main pavilion contains 56 pillars, each of which has been carved out of a single granite block in a rich structural unit with a cluster of slender colonettes raised on crouching animals. When struck, some of them produce musical notes as though from different percussion instruments.

The large 'maha-mandapa' has symmetrically recessed sides. It measures 30.5 metres at its greatest length and breadth. The 'mandapa' stands on a highly ornate 'adhishthana' (1.5 metres high) with sculptured friezes of horses and warriors and 'hamsa'. At intervals along the base, there are ornate miniature 'vimana' projections with figures of the 'Dasavataras' inside. The standing figure of 'Kalki' is depicted with a horse's head. The steps to the 'mandapa' have an elephant-balustrade on the east but those on the north and south have 'surul yalis'.

A prominent feature of the 'mandapa' is the huge and deep cyma-recta cornice with a continuous frieze of bas-reliefs of deities and other figures. Thick stone rings are at the corners for holding stone chains, which are no longer there. Fragments of the original decorative parapet of brick and mortar with niches, niche-figures and 'karna-kutas', are to be seen here and there.

The 'mandapa' contains fifty-six pillars, each 3.6 metres high, forty of which are regularly disposed to form an aisle all round the three sides, while the remaining sixteen form a rectangular court in the centre. Each pillar is a massive composite sculptural unit measuring as much as 1.5 metres across and may be termed a monolithic sculptural group. The types of pillars vary according to their position in the 'mandapa'. Thus most of the pillars along the outer edges are composite ones with a large number of slender columnettes forming part of the main pillar. The two pillars at the centre of each side are of the yali type.

In the interior, most of the pillars on the south side are of the yali type, while those on the north contain various forms of Narasimha. Some of the inner pillars on the east contain figures of women, dancers and drummers. The pillars have heavy 'pushpa-podigai' corbels. The ceiling of the 'mandapa' is divided into sections and carved beautifully with lotus-motifs. Many sections have flat multi-petalled lotus carvings. Those on the north and south are shaped like shallow domes with lotus-petals and bud.

Mandapa A large rectangular ceiling on the east front has a high dome with a pendant lotus built in the middle with sculptured parrots pecking at it. The central court is now roofless. One of its huge roof-slabs, with part of its lotus motif, stands in site, while another lies broken on the ground. Remnants of painted work are seen here and there in the ceiling on the south side of the 'mandapa'. The five-aisled 'ardha-mandapa' is dilapidated and open to the skies. In one corner of the 'mandapa' is a large but broken granite figure of a 'dvarapala', nearly 2.7 metres high. It is a fine specimen of Vijayanagara sculpture.

The 'ardha mandapa' leads to a covered 'pradakshina-prakara' running round the 'garbha-griha' and the 'antarala'. The 'tritala vimana' of the sanctum is well finished in an ornate style. The wall of the shrine has ornate 'deva-koshthas', large and well-proportioned 'kumbha panjaras' in bold relief and early curved cornice with fine Vijayanagara kudus along with some earlier type kudus also. A frieze of 'bhuta ganas' is above the 'deva-koshthas'. The brick superstructure of the 'vimana' with its domical 'sikhara' is now much dilapidated. The 'garbha-griha' is now empty except for two 'pithas'.

The Amman sanctum has an 'antarala', a closed 'ardha-mandapa' and 'maha-mandapa'. The 'ardha-mandapa' has a sub shrine on the north, facing south. The 'garbha-griha' has no superstructure extant. Its exterior is rather plain.

The 'kalyana-mandapa' of the temple to the south east of the courtyard, is particularly find and almost surpasses the 'maha-mandapa'. It is also an open-pillared 'mandapa', symmetrically planned with deeply recessed sides and is in many ways similar to the 'maha-mandapa'. It has the usual arrangement of various types of composite pillars, balustrades, etc. and beautifully carved and highly ornate ceilings. This 'mandapa' contains vestiges of original Vijayanagara paintings.

The 'utsava-mandapa' to the north-east of the courtyard is similar to the 'kalyana-mandapa' in its general style. Abutting the southern wall of the courtyard is a hundred- pillared 'mandapa' with three inscriptions in three different languages stating that it was built by Krishnadeva Raya in AD 1516. The 'mandapa' is rather plain.

UGRA NARASIMHA TEMPLE

Location : Hampi, Karnataka Height : 8/9 Metres Tall Represents : The Benign Aspect Of Lord Vishnu

The gigantic 8/9 metres tall image of Ugra Narasimha is located in the south of the Hemakuta group of temples that includes the Virupaksha Temple. The Narasimha is a four-armed figure seated under the canopy of a seven-hooded snake.

Beyond the Krishna Temple Complex is the celebrated but badly damaged sculpture of Narasimha, carved out of a single boulder. The recent discovery of the detached figure of Lakshmi identified this massive sculpture as Yoga Lakshmi Narasimha.

Now in a damaged state, the awesome image depicts the benign aspect of the god since a part of the right hand goddess Lakshmi skirts around the Narasimha suggesting that goddess Lakshmi was originally seated on his lap. The monolith s disfigured but its significance is undisputed.

PATTADAKKAL

Location : 17 Kms From Bijapur, Karnataka Attraction : Banashankari Temple Best season : October to February Main Languages : Kannada, Hindi, English

Situated on the left bank of the Malaprabha River, Pattadakkal is a World Heritage Centre. The town has 10 major temples representing early Chalukyan architecture.

This place reached its pinnacle of glory under the Chalukyas from the seventh to the ninth centuries functioning as a royal commemorative site. The biggest temple here, dedicated to Virupaksha, has a massive gateway and several inscriptions.

PRIME ATTRACTIONS Banashankari Temple: The quaint hamlet taking its name from the goddess Banashankari lies enroute to Badami. The powerful eight-armed goddess on a snarling gold lion guards the village where a huge fair is held, attracting thousands of devotees.

Virupaksha Temple: The biggest temple dedicated to Virupaksha is enclosed in a large quadrangle surrounded by small cells, has a massive gateway and several inscriptions.

According to one of these inscriptions, Lokamahadevi, wife of Vikramaditya II in commemoration of his conquest of Kanchi, built the temple.

Besides scenes from Mahabharata and Ramayana, there is a wonderful carving designed to look like an elephant from one side and buffalo from the other.

Mallikarjuna and Papanatha temples: These temples are dedicated to Virupaksha. In front of the temple, is a majestic 2.6 metres high Nandi. The Mallikarjuna and Papanatha temples are delicately chiseled, and rich in detail.

Besides these temples is a group of temples remarkable primarily, for representing two chief styles of Indian architecture, side by side.

Aihole

DURGA TEMPLE

Location : Aihole, Karnataka Noted For : Sanctum Attractions : Intricate Carvings From Hindu Mythology

The Durga Temple located inside the fort in Aihole is notable for its semi-circular apse, elevated plinth and the gallery that encircles the sanctum.

Fascinating carvings of Chamundi Devi trampling the buffalo demon; Narasimha, the 'half-man-half-lion god'; the Ardhanari, half man and half woman deity; Mahishasura Mardini and many more sculptures can be seen here.

In the same complex, is the first model of an intricately carved lathe turned pillar.

CHENNAKESAVA TEMPLE

Location : Belur, Karnataka Built By : Hoysala King Built In : 1117 AD To Commemorate : An Important Military Victory

The Chennakesava Temple in Belur is one of the most remarkable monuments from Hoysala times and region.

The temple stands in a compound with several smaller temples and a pond It was commissioned by the Hoysala king himself to celebrate an important military victory in 1117 AD.

The king wanted an extraordinary temple because it has been built in an architectural style foreign to the region. Moreover the monument is exceptionally large and its decoration very lavish.

Many of the decorations were added later in the 12th century by the grandson and successor of the founder. The ornamental gopuram of the Chennakesava Temple appears unexpectedly around a bend. Hawkers sell antique jewellery.

In a corner of the vast courtyard are tossed a golden horse and a temple chariot. The winged figure of Garuda, Lord Vishnu's carrier, stands at the entrance, facing the temple palms touching in homage.

Everything is carved in a gleaming, polished black stone, which looks like metal. The breathtaking temple reigns on a star-shaped pedestal. Every possible surface is covered with the most perfectly proportioned figures.

Pillars: Inside, in the startling darkness gleam the beautiful handlathe-turned rounded pillars, each unique in its filigreed splendour. The Narasimha Pillar revolved on its ball bearings once.

A small space has been left on it to be sculpted by anyone who has the talent. It remains untouched till date.

Madanikas (Bracket Figures): The four famous bracket figures on the ornate ceiling are worth seeing. All these figures have been inspired by Shantala Devi's voluptuous beauty. Sculpted limbs undulate in lyrical lines. A dancer's fingers become flowers.

One sculptured beauty communicates with a pet parrot whose tail is peacock-like while another wrings water from her long hair and one can see the drops collected on hair-ends.

The 650 elephants charging on the frieze around the walls outside are all different from each other. The 38 Bracket figures on the walls are beautiful, pensive, playful and amorous women, lifting the temple to unprecedented heights of excellence.

At the lovely feet of a sensuous spy, crawls a scorpion. She was gradually fed venom with milk till her body was saturated with it, then sent forth to put an end to the enemies of the Hoysalas with the kiss of death.

Gods perform miracles, demons do their bit and the life of the era is reflected in the carvings.

Shantala Devi: The jewellery is hollow and movable. The delicacy and attention to the tiniest details here are incredible. Each feature, bangle, strand of hair is carved with care.

On the smooth circular platform in front of the shrine, the beautiful, talented Shantala Devi, queen of king Vishnuvardhana, danced in homage to Lord Chennakesava or Lord Krishna, beloved flute-playing deity of the Hindus.

Jakkanachari: The story behind the statues There is a beautiful story about the master sculptor and architect Jakkanachari, who left his wife and son to travel in his quest for a living and fame. Eventually, he approached the Hoysala King, Vishnuvardhana, a patron of the arts, and was employed to create the marvels of Belur.

There is an enormous Ganesha here, which proved to be the last of Jakkanachari's art. The image was so beautiful that people from all over the country thronged to admire it.

The auspicious day for installing it, was fixed. With rituals, stone becomes a personification of god. Everything was about to begin when a young boy from the crowd pronounced the statue unfit for worship.

There was an amazed murmur from the crowd. Jakkanachari challenged the stranger to reveal the defect, for he could see none, and vowed to cut off his right arm if he were proved wrong. The boy struck Ganesha's navel, which shattered to unveil a frog swatting inside the damp stone.

The stone selection was obviously defective and the artist cut off his arm amidst great mourning. The boy was no other than his forgotten son who had grown up to know the art to perfection.

Halibid Halebid the ancient Hoysala capital houses the ornate Hoysaleswara and Kedareswara temples, and is one of the well visited tourist attractions of Karnataka. Halebid is located at a distance of 149 km from Mysore and 31 km from Hassan. The Karnataka State Tourism Bureau offers a rather hectic tour package (from Mysore) covering Sravanabelagola, Halebid and Belur in one day.

The Hoysaleswara temple dates back to the 12th century CE. It was built by Ketamalla a minister of Vishnuvardhana the Hoysala ruler who also built the Belur temple and the Mahabaleshwar temple at Chamundi Hills near Mysore. Halebid was sacked by the armies of Malik Kafur in early fourteenth century, after which it fell into a state of disrepair and neglect. The Hoysaleswara temple enshrines Hoysaleswara and Santaleswara. Hoysaleswara is named after the builder Vishnuvardhana Hoysala and Santaleswara after his wife, Queen Santala. The sancta are built on a stellar plan, with a sukhanasi, navaranga and Nandi Mandapa. Each of these (temples) resembles the Belur Chennakesava temple in plan. The Hoysaleswara temple is a masterpiece, studded with a profusion of carvings. Thousands of figures appear on its walls. The basement of the temple has the most richly sculptured friezes. Horsemen charge, war elephants charge, all in stone. Scenes from the Ramayana and the Mahabharata add to the grandeur.

Art historian James Fergusson writes of Halebid thus The Hoysaleswara temple may be probably considered as one of the most marvellous exhibitions of human labor to be found even the patient east. The mode in which the eastern face is broken up by the larger masses, so as to give height and play of light and shade, is a better way of accomplishing what the Gothc artists attempted by their projections. This however is surpassed by the western front, where the variety of outline and arrangement and subordination of the various facets in which it is disposed, must be considered as a masterpiece of design in its class.

If the friezes were to be spread olong a plain surface, it would lose more than half its effect, while the vertical angles, without interfering with the continuity of the frieze give height and strength to the whole composition. The disposition of the horizontal lines of the lower friezes is equally effective. Here again, the artistic combination of horizongal and vertical lines and the play of outline and of light and shate far surpass anything in gothic art. There are pierced windows on the walls, about a meter high each, with divinities set on pedestals with canopies above. The south door is beautifully sculptured.

The Kedareswara temple built by King Ballala II, at Halebid now in ruins is considered to be a a gem of architecture. As with the Hoysaleswara temple, this temple has classic friezes, and scenes from the epics. There are a hundred and eighty images set under floral toranas in the upper parts of the walls. Also nearby, are Jain temples dedicated to Parsvanatha, Santhanatha and Adinatha.

SOMNATHPUR: KESAVA TEMPLE

Location : South West Of Bangalore, Karnataka. Consecrated In : 1268 A.D Built By : Somnath Dedicated To : Lord Keshava

"There is a stillness and everlastingness about the past, it changes not and has a touch of eternity," wrote Pt. Jawaharlal Nehru in his "Discovery of India." These words somehow hold true when one arrives at Somnathpur, a tiny village on the banks of the Kaveri, 140 kms, south-west of Bangalore. Here in this everlasting rural stillness, like a milestone to eternity, stood one of the last and the grandest of Hoysala monuments - the Kesava Temple built 740 years ago.

In the dust and turmoil of history, India was witnessing the Golden Age of the mighty Cholas, Pandyas and the Hoysalas. The last named dynasty which ruled Karnataka for nearly 350 years, was founded in 1006 A.D., soon after the collapse of the Ganga Dynasty.

By the year 1268 A.D., the year in which the Kesava temple at Somnathpur was built, the Hoysala rule had completed 260 years. The riches and splendour of the Hoysala court were already evident in their grand temples at Belur and Dvarasamudra (present day, Halebid).

Coming to the temple at Somnathpur, one need not search far for its history. An inscribed stone slab, in old Kannada, at the entrance says it all. The reigning monarch was Narasimha III (1254-91 A.D.) whose full regal title runs into a sizeable paragraph: "Sri Vishnuvaradhana, Pratapa Chakravarti, Hoysala Bhujabala, Sri Vira Narasimha, Maharajadhiraja, Raja Paramesvara, Sanivarasiddhi, Giridurgamalla etc.

The Temple The temple, however, was not built by the king but by his celebrated army commander, Somnath. Some year ago he had founded a village on the left bank of the Kaveri River, which he named Somnathpur, after himself. Now in a bid for further immortality, Somnath petitioned the king to grand him the permission and resources for his project of setting up a grand temple to glorify Hoysala craftsmanship.

The king not only bestowed Somnath with his largesse, but also sanctioned an annual grant of 3,000 gold coins for the temple's upkeep and maintenance. All these facts are duly mentioned on the slab and appear as though to have happened yesterday!

Soon work began. The best sculptors in the realm were commissioned for the task. There came sculptors whose wizardry with the hammer and chisel was almost legendary. Among them was the famous Mallitamma. Then there were sculptors: Ballayya, Chaudayya, Bharmayya, Kamayya and the Nanjayya. Of the 194 carved images on the outer walls, Mallitamma's contribution was forty. We know this because all the sculptors have signed their works - a practice unusual for its times, but also evident in Hoysala temples at Belur and Halebid.

For the inscription on the stone slab, it becomes fairly evident that the magnificent temple was completed and consecrated in 1268 A.D. The shrine stands in the middle of a walled compound, around which runs an open verandah with 64 cells. The temple itself, stellar in shape, has three profusely carved pinnacles with a common Navranga and stands on a raised platform. The three sanctums once housed beautifully carved idols of Kesava, Janardhana and Venugopala. Today the idol of Lord Kesava is missing, but the other two still adorn the sanctums in their original form.

Interestingly, the earliest Hoysala monarchs were Jains. It was the great Vishnuvardhana (1108-42) who embraced Vaishnavism under the influence of the celebrated Vaishnava reformer Ramanuja. Later Hoysala rulers even became Saivites. But general tolerance of all faiths was typical of their rule. The Hoysala Dynasty finally came to an end around 1346 A.D. when the Vijayanagar Empire rose to power. Today Somnathpur is like any other Lackadaisical Indian village surrounded by farms of millet and sugarcane. Not as famous as Belur and Halebid, the Hoysala temple at Somnathpur, however, is truly unique in design, perfect in symmetry and the stone carvings are remarkable marvels in stone.

SARAVANABELAGOLA This is one of the most popular Jain pilgrimage center in South India, an is known for its collossal monolithic statue of Gomateswara, on top of a hill. Sravanbelagola is at a distance of 93km from Mysore. The nearest railhead is Hassan (49km). Belur is at a distance of 86 km from here. The Karnataka State Tourism Office, organizes day trips which cover Sravanabelagola, Halebidu and Belur in a single day. The temple to Gomateswara is built on top of a hill, in between two hills - at a height of 3000 feet above sea level. A flight of 500 steps provides access to this temple. Views of the neighborhood from the top of the hill are spectacular.

The image of Gomateswara is an awe inspiring one. Carved out of a single block of granite, this 50 feet high statue, stands majestically on top of the hill. This image was created during the period of Chamundaraya, a minister of the Ganga King Rajamalla. The neighboring area abounds in Jaina bastis and several images of the Jaina Theerthankaras. Festivals: The Mahamastakabhishekam festival is held once in 12 years, when the image of Gomateswara is bathed in milk, curds, ghee, saffron and gold coins.

MANJUNATHA TEMPLE

Location : Dharamsthala, Karnataka Dates Back To : 1068 AD Style Of Architecture : Vijaynagar Style Dedicated To : Lord Shiva

The Manjunath Temple, at the foot of Kadri Hills near Dharmasthala attracts devotees and tourists in thousands. Dating back to about 1068 AD, the Manjunath Temple here attracts thousands of people all through the year.

Built in the Vijaynagara style of architecture, Manjunath Temple is neat and middle-sized with a homogenous main building that imparts a squarish look to the temple. During 'Laksha Deepotsava', one-lakh lamps are lit and literary and religious discourses are held.

Every person who comes here irrespective of caste or creed is welcomed and given a free meal. The temple has traces of Buddhist influence. This is evident from the presence of images of the Buddha with reliefs of Garuda.

The presiding deity is Shree Manjunath, Udbhava Linga, which is a natural stone slab found almost parallel to the level of the floor of the 'garbha griha'. An amazing fact is that any amount of water poured on it disappears immediately.

There are two figures, one of which is that of Matsyendranatha in the southern niche seated having his palms held one over the other on his folded right leg.

The other figure is that of Sringinatha, which has a three-hooded serpent over its well-carved krita, which is ornamented with three tiers behind it. The central niche, on the western side, has a male figure said to be that of Gorakhanath, which is nearly six feet tall.

The sub-deities in the temple are Durgaparmeshwari, Ganapathi, Shastavee and Gomukha Ganpathi, Trilokeshwara, Vyasa Muni and Vishnu. Each of these sub-deities has a smaller shrine dedicated to them.

A tall wooden 'deepa sthamba' with a bronze covering greets you as you climb up to the temple. The huge bronze statue of Trilokeshwara that catches one's attention in the temple dates way back to 968 AD.

This life size, three-faced, six-armed figure of the seated Bodhisathva with enameled eyes and an intricately carved crown is surrounded by a well curved prabhavali and two attendants--giving the idol an aura of divinity.