Even before I decided to write anything at all on my blog again after a hiatus of about three years, I started reading my previous posts- to relive those moments that had inspired me to start writing about the kind of treasures that this Indian sub-continent holds for a travel enthusiast (more specifically for a person with interest in historical architectural monuments). The intent was clear- to document the love for photography and travel, whether someone saw it or not was secondary. The focus was to create a digital presence for the places that spoke for themselves.
Fascination towards historical monuments can never be a simple, straightforward path. As much a person is awed by the beauty and hard work in the making of the monument, one can never forget the atrocities the place had (or has) to undergo for its very survival.
The same holds true for this temple at Halebeedu too. A former capital of the Hoysala empire, the Hoysaleshwara temple at Halebeedu (formerly known as Dwarasamudra) stands as a testimony to the ruthless plunder and sacking by the Muslim rulers in 14th century.
The construction of the twin Shiva temples- Hoysaleshwara and Shantaleshwara was commissioned by a merchant Ketamalla in 1121 CE at the court of the King Vishnuvardhana. It proceeded further under the direction of chief architect Kedaroja and was completed around 1160 CE during the reign of Narasimha I. The rivalry between Narasimha III and Ramanatha during the mid-13th century fractured the kingdom to a considerable extent only to crumble further during the reign of Narasimha's son Veera Ballala III due to the threat that came from Malik Kafur (general of Alauddin Khilji). Malik Kafur remained in the city for twelve days and left with immense treasures- including 312 elephants, 20,000 horses and vast quantities of jewels. Dwarasamudra was left to ruins and compelling the king to retreat to Belur.
When the Delhi rulers again sacked Dwarasamudra in 1327 CE, Veera Ballala is said to have shifted his court to Thiruvannamalai. He was also said to have estabished the fortified city on the Tungabhadra river that later became the Vijayanagara empire (what is now the popular heritage site called Hampi). Hakka and Bukka were appointed to govern the new city Virupakshapattana.
According to Ibn Battuta, the Moroccan traveler, the king Ballala III met a brutal fate- his body was reportedly flayed, his skin stuffed with straw and displayed upon the walls of Madurai. The repeated invasions that reduced the once-flourishing capital to near ruin came to be known as Halebeedu (the old city).
The Hoysaleshwara temple consists of two shrines placed side by side unified by a common hall. One shrine dedicated to Hoysaleshwara (linked to the king Vishnuvardhana), the other shrine to Shanthaleshwara (to queen Shantala Devi) and named after the masculine and feminine aspect of Linga. Directly opposite to each shrine are two large Nandi sculptures (Shiva's vahana) adorned with bells and jewels. The entire structure is built on a raised platform that elevates the temple physically. The geometrical star-shaped platform was one of the hallmarks of Hoysala architecture that dramatically increased the surface area leaving room for minute structural details, ornamentation and clarity. The temple had towers on top of each sanctum that were destroyed and is missing now.
Carved out of soapstone due to its softness soon after quarrying and hardening with subsequent years, the material provided all the fundamental requirements to attain the refined details of the sculptures.
The design of the Hoysaleshvara temple’s exterior walls is divided into three parts. On the bottom are eight sculptural friezes (horizontal bands of imagery) depicting elephants, lions, vines, horses, narratives, makaras (mythical aquatic creatures, that has body of a pig, mouth of a crocodile, legs of a lion, eyes of a cow, trunk of an elephant, eyes of a monkey and feathers), and hamsas (geese). Above them is a succession of large figural images, carved into blocks more than five feet in height, representing Hindu deities, divine musicians and dancers, and other celestial beings. Along the top are schematic images of temple towers supported on pillars, separated from the figures below by an overhanging eave carved in a motif of jeweled garlands. This three-part design is seen on the western, northern, and southern sides of the temple, and on the central section of the eastern side. Along most of the eastern side, stone screens fill the space between the narrative friezes and the roofline.
The outer walls of the temple feature a staggering 340 large reliefs from the Hindu divine pantheon with each image of nearly 1.7 mts high. The friezes and wall images on the outer wall predominantly narrate the Ramayana, the Mahabharata, the Bhagavata Purana, the other major Shaiva and Vaishnava Puranas. Some of the main displays are Samudra Manthan, Prahlada Hiranyakashyapu Narasimha legend, Mahishasuramardini and many more.
Nandi carrying Shiva-Parvathi
What catches the eye in each of the large reliefs are the intricacy with which the gem and pearl studded ornaments have been carved out. The dexterity of fingers, attention to the minutest of details are unmissable.
While the exterior walls are extensively carved without leaving any room for plainness, the interior walls are kept plain in contrast. But what draws attention instead are the Dwarapalas-Jaya and Vijaya at the doorways and the ceilings. The precision in scale and dimension while maintaining the symmetry at all times is overwhelming.
The details of the weapons held by Dwarapalas inside the temple
The intricate carving of the ceiling inside the temple
The Nandi Mantapa located opposite to the Shiva shrine
One visit to this temple can never suffice. It is impossible absorb all the details with just a visit. It is an experience to be cherished over and over again slowly. A walk around the temple will not leave to contended. Rather, it leaves you inspired, overwhelmed and wanting to come back for more.
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