Narasimha sculpture - Belur Chennakeshava temple

One of the classical works of the Hoysala architecture is the carving of Narasimha avatar of Vishnu killing king Hiranyakashipu. This sculpture made from a single stone, adorns the wall of Chennakeshava temple, Belur, in Hassan district of Karnataka. This particular version of the scene is well preserved, compared to the many that have been done on the walls of Hoysaleswara temple, in Halebidu (guides say there are 14 sculptures of same scene of Narasimha there).

The imagination, skill, planning and execution are exemplary, parts of which I would like to highlight in this article. The ability to chalk out the idea of all the parts to be carved from this single stone, preserving it, while also removing pieces from nooks and corners behind all the hands, legs, fingers, objects held, etc., is amazing.

One of the first things we can notice is that the fierceness depicted in the face of Ugra Narasimha. Though the crown of Narasimha does not seem to be as well polished, it could be the deterioration due to exposure to nature - winds and rains.

To carve out the killing of Hiranyakashipu, as per the story, involves showing the ripping of the stomach and removal of intestines. Here, some of the intestines are shown just lying on the stomach and Narasimha disembowels the demon king. Also some of the intestine has been pulled up and worn like a victory garland, in the imagination of the sculptor.

One can also observe that one of the paws of Narasimha has dug deep into the leg of Hiranyakashipu, with the claws deep inside the skin, hidden away, while the rings on the fingers are nicely in place. Ornamentation on the dress of Hiranyakashipu is portrayed well too.

The mini sculptures on both sides of the scene are intricately worked too. Here is an illustration of Garuda, the vahana of Vishnu, paying obeisance to Narasimha, clearly indicated by the wings and the long nose.

In order to represent Hiranyakashipu as a demon, the canine teeth are shown protruding. He holds a sword in the right hand, which is firmly restrained by one of the hands of Narasimha. In the other hand he holds a shield, but lying in an awkward position as he is incapacitated, lying on the lap of Narasimha. The intricacy and attention to detail is seen in the pieces of rock behind the hands and the crown having been perfectly removed to give a realistic and proportional 3-dimensional work of art.

One of the challenges in the portrayal of the Hindu Gods and Goddesses, is to carve the many hands, legs, ornaments, weapons, tools, and other objects. Here is the superb work done on the right hand side arms and the weapons, though looking complex, faultless finger positions and ideal looking illustration of the hands.

The details on the conch, bell, clapper, etc., on the left hands, are even more stunning.

Finally we can look at the consummate form of a courtier of Hiranyakashipu attempting to help / defend against Narasimha, below the legs. Here the two legs highlighted in this portion of the photo show the ideal position of Narasimha's right foot resting on the floor, and Hiranyakashipu's left foot hanging, with intricate work on the toes, anklets, etc.

To get a real feel of being in Belur, you can view a stereogram (pair of photos giving 3-dimensional view) of this sculpture that I have uploaded to Wikimedia commons. A high resolution single picture can also be seen in their repository. The carvings at Halebidu are not that well maintained, especially the damaged portions of the garland of intestines, which are mostly missing.

Art lovers should definitely visit such places at leisure, to not only take in the details, but appreciate the skills and abilities of the people of this land. The real sculpture beholden with our own eyes is priceless.

Govinda, Janardhana, Chamunda, and Shiva at Belur

Belur was the early capital of Hoysala Empire, which was referred as Velur or Velapuri too. At Belur, we have one of the classical examples of Hoysala architecture, in the form of the Chennakeshava temple, built by the king Vishnuvardhana. This temple is said to have taken about a century to complete and is the home of the famous figurines, referred variously as Salabhanjikas, Madanikas or Shilabalikas.

Wall of Chennakeshava Temple, Belur - Govinda, Janardhana, Chamunda, and Shiva

In this post, we will look at the back-half of the temple's walls, with focus on one set of carvings and a pillar shown below. This photo includes Govinda on the left, Janardhana next, depiction of Chamunda, the 32 corner pillar (16 corner star seen), and Shiva killing a demon. Govinda and Janardhana are two of the 24 names of Vishnu, the depiction differing only by the hands holding the 4 items, namely, Shanku (conch), Chakra (disc), Padma (lotus) and Gadha (mace). Chamunda is the fierce form of Devi, usually depicted as an old lady (while Kali is not depicted as old).

As per sources I found on the internet (PDF), the first sculpture on the left is that of Govinda. Govinda holds the chakra (disc) in right lower hand, and a gadha (mace) in the right upper hand. On the left hands Govinda holds a padma (lotus) on upper hand and the shanku (conch) in lower hand. The well preserved detail work is classic example of Hoysala carvings done on single stone.

The second sculpture from the left is that of Janardhana, as per the source, who holds the chakra (disc) in right upper hand, and a padma (lotus) in the right lower hand. Janardhana has a gadha (mace) on left lower hand and the shanku (conch) in left upper hand. One can refer to other pictures of Janardhana temple, from the internet websites, to confirm that this is the right depiction. The planning and execution of all the details of Vishnu and attendants, done as a relief from stone is mind boggling.

In the panel facing to the right is a sculpture of Ganesha, which is barely seen side-on - trunk of elephant, the hand holding Modhaks (dumplings). Next to this part we see the detail carving of the fierce Chamunda, who is a fierce form of Devi, but usually depicted as an old hag. The wrinkles of the skin is shown in all parts - the face, hands, legs, sagging parts of her body, etc. The detail carving of each hand, holding the different weapons, damaru (drum), staff (with skull head), etc., has been exquisitely done - though the wrinkled and horrific effect is the best part of the sculpture.

Scorpion carved on the belly, wrinkled skin

One other small item to note is that there is a scorpion depicted on the belly of Chamunda. The dresses, borders of the ornaments, jeweles like the anklets, have been beautifully done too. Some guides mention that this is a sculpture of a Vishakanya, which does not seem to be right as per all the information dug out from various websites.

One of the classic pillars of Hoysala architecture separate Chamunda sculpture from the Shiva sculpture. Many of the pillars are 16, 32 or 64 cornered star shaped works in the Hoysala style. This one is a 32 corner star structure, with 16 corners visible to us, facing us.

Shiva sculpture shows a demon being killed, which the guides mention is the destruction of Jalandhara. The detail work in showing the feet and toes in classic dance position, careful carving of the entire scene within a single stone, including the flying demon surrendering to Shiva, the bow, skull-headed staff, other weapons, etc., is typical of the attention to detail of this period.

Comparatively, Belur temple has sevaral frieze works, including blocks separately carved and inserted in place. Halebidu, a small sample of which was shown in last 4 posts, has lot more work, with not a bit of space left un-carved. The entire walls in Halebidu is one big exquisitely carved cover for the temple. In Belur, the front half shows sculptures of every day life, epics, animals, creepers, etc., while the back half has carvings of Gods, Goddesses, works displaying the various avatars.

A high resolution picture has been uploaded to Wikimedia Commons, along with some of the above details. One can also see pictures of the Madanikas there. 

Parijatha Chase and Gajendra Moksha

As we explore Hoysaleshwara temple, in Halebidu, further we see these brilliant relief works on the outside of the wall of the twin shrine (Hoysaleshwara, Shantaleshwara). Shown below on the left is the depiction of Krishna and Sathyabhama plucking (or having plucked) from the Parijatha tree in Indra's garden. Indra and Shachi, on hearing about this are rushing / giving chase, on their mount, Airavata. On the right side is a depiction of Gajendra Moksha, where Vishnu comes to save the elephant, Gajendra, from the crocodile.

Comparatively, this may be as good as any other sculpture / relief carved on the walls of temples, in the Hoysala Empire period. When we explore the work in detail, the nuances really stand out. In this, skill of workmanship probably seems less, but the visualization and imagination are top class.

Let us look at Krishna, Satyabhama and the tree. One can see quite a bit of difference between this depiction of tree, flowers, and fruits, compared to regular creepers and vines that adorn all the carvings in the Hoysala architecture. This stands out, to clearly differentiate the specialty of the Parijatha tree. Once again, the subtleties of the hands, rings, jewels, ornaments, position of legs, toes, etc., are perfect. Garuda is shown carrying Krishna and Sathyabhama here.

The crown of Garuda, the two-sided spear in its hand, the leg of Krishna hanging on one side of Garuda, the position of the toes, etc., are also superbly carved up. Unfortunate that there is quite a bit of damage.

When we observe the legs, dress, and jewels of Garuda, we find that the portrayal is that of it being in flight. The swinging of the ornaments, instead of hanging straight down, gives a clear indication of flight.

I will now dwell on what I felt was important, as also highlighted by the guides at Halebidu. The elephant, Airavata, is on a trot. The indication is that it is probably going on top speed. The front leg is bent to indicate that, while the more telling signs are the bells that have swung back due to the speed. The tail of the elephant is also shown flying up. In all this, the decorative ornaments of Airavata are also clearly carved with attention to detail.

Looking at the ears, the crown jewels of Airavata, as well as the work done on Indra, one can only marvel. Another highlight, which is mentioned by the guides, is that of Shachi shown a bit in the air, and not sitting on Airavata. The guides humorously mention that this is akin to pillion riders in modern 2 wheelers, thrown up by potholes / speed breakers, which has already been thought of by the 12th century sculptors.

For the second portion of this picture, on the right, we see the carving of the final scene of Gajendra Moksha. Shanku-chakra, gadha, bow, arrow and shield held in the 6 hands of Vishnu are done beautifully, as well as the traditional creeper-arch design above.

Garuda and the mid-portion of the single-stone carving seems quite damaged. I wonder how wonderful it would have been when it was pristine! One hand holding Vishnu's right thigh, while another holds his left foot, the ornaments swinging in the air, the detail carving of the jewels (and unfortunately broken portion of the face and beak), the wings, etc., are simply superb.

As we shift our gaze to the crocodile, we see that the sculptor has tried to indicate that this is in a pond - by showing water flowers, fish, turtle, etc., next to the crocodile, though they would not be in the air in this manner. I guess we have to give some leeway for the artistic license for such a method. The depiction includes the chakra (disc) that is seen hitting the crocodile, and a soul (?) praying to Vishnu as it departs from the crocodile (this last part my own additional guess). A small dampener in terms of perfection, but the intent of depiction is nice indeed.

The last highlight in this post will be about Gajendra's depiction, including the lotus bud held in its trunk, the position of the mouth indicating a moan / expression of pain. Again, though this portion may not be as perfect as other works, but within the constraints of a single stone work, these are indeed marvelous.

This portion of the wall of Hoysaleshwara temple, Halebidu, is also shown as part of a 3-dimensional photo uploaded to Wikimedia Commons category of 3-D photos, which gives a surreal feel for the architecture in times of Hoysala empire.

Incredible Imagination - not just Artistry

In this post, we will discuss the depiction of the 3rd Avatar of Vishnu, Varaha. The incredible imagination of the sculptors of the Hoysala Empire is shown in this work of Varaha lifting Bhudevi, after killing Hiranyaksha and his army. At the Hoysaleshwara temple, built in the 12th century at Halebidu (then called Dwarasamudra), is one of many sculptures of this event - yes, it is carved in different ways in 2 or 3 places along the walls of this temple (or more).

Here, I would like to highlight the pair of Reliefs carved out of the single stone (there is a carving of what looks like Garuda on the left, only partially visible). If carving one relief, of approximately 6 ft high and 3 feet square base, is amazing, imagine 2 in one stone (or maybe three / four - we have to visit the place to check the other sides of this stone work). The skill in digging out portions of the rock, deep behind hands, the demons, weapons, etc., to accurately depict the scene is mind boggling.

Let us start by examining the carving of Bhudevi, along with the hands of Varaha, one seen here holding the conch (shanku) and couple of them badly damaged. Bhudevi's depiction includes the beautiful carving of her dress, jewels, etc., as well as a small kalash in her hand (jug of holy water covered by leaves and a coconut). We can imagine the open mouth of the boar, as a victorious roar of Lord Vishnu after rescuing Bhudevi from Hiranyaksha.

Next, as we observe the work on Varaha, we see the detail handiwork on the crown, crown jewels. The dedication for perfection in carving out the hands in smooth manner, and the crown behind with the rock between them carefully removed, indicates the skill of the artisans.

As we move on, here is what I believe is one of the most incredible thoughts of the sculptor - the spear that has poked a demon. As one demon attacks Varaha from behind, he uses one weapon to smack the skull making the eyes of the demon bulge out at the blow. Below, we can see that Varaha has also poked the demon in the chest. This spear has entered on one side and is seen sticking out on the other side, with 4 whorls of intestine / body part hanging out. (circled in orange)

To have put together this depiction, sculptor definitely had a vivid imagination, as well as exhibited his/her design, planning, skill and workmanship. The demon holds a knife in his right hand, which is also made out well in the right proportions.

Moving on to the dress and ornaments of Varaha, a complete work of drilling of the rock is visible - sculptor had cleared up all the unwanted portions, and given a realistic 3-dimensional sculpture!

Shifting our attention to the bottom left corner of the picture, we see the demons with drawn knives and swords, leg of Varaha with anklets, toe-rings, and the toes neatly depicted, and the detail of how each are holding on to the ground & weapons in natural manner.

Finally let us glance on Hiranyaksha under the foot of Varaha. The perfect wrap of the foot on the crown of Hiranyaksha, the bulging eyes as the pressure shows up in the face, and hand holding the sword but in an uncomfortable angle being pinned down - all of them showing the artistic work of the period. The attention to detail on the crown of Hiranyaksha, and the jewels hanging in awkward angles because of the position, are further proof of the marvelous carving - one of the hundreds in this temple.

It is unfortunate that this set of pictures is not as sharp as a portrait can be - but it is enough for me to dwell on and imbibe the beauty of art in India. More pictures are available in Wikimedia Commons, including my click of a wider part of this wall of the temple, and elsewhere on the internet.

I am itching for a repeat visit to this place to glance at the sculptures, capture them in my mind, as well as in digital media. However, there are millions more places to visit too - only time will tell which will take priority - a repeat visit to same places, or exploring other awesome places in India.

PS: Here is a different view of the sculpture, highlighting both the sides of this huge single stone sculpture!

Varaha described in this post is on right side, while on the left it seems like Garuda (wings are carved)

Govardhana giridhara - Hoysaleshwara temple

In the Mahabharatha, Krishna lifts Govardhana Giri (hill), in order to provide shelter to the people and animals. A big thunderstorm that occurred in the area. Lord Krishna lifted this hill to save / rescue them. That is when Krishna came to their rescue.

Govardhana Giridhara

This event has provided a fertile imagination to the sculptors of the Hoysala Empire. Halebidu, which is very famous for the Hoysala time temples, has one such exquisite sculpture displaying the workmanship. At the Hoysaleshwara temple this specific sculpture of Krishna lifting Govardhana Hill is both beautiful as well as well preserved. Here, I would like to highlight the Relief work, on the West wall (back) of Hoysaleshwara temple, adjacent to the South Royal entrance.

This sculpture has been completed on a single-stone piece. The workmanship shows the imagination, design, planning, skill and execution of the art work. Here are some highlights of the sculpture, in no particular order of importance, beauty, or difficulty of carving.

On the top right of the carving a monkey is depicted climbing a tree, adjacent to a banana tree, which has borne fruit. It has turned its head eyeing the bananas.

Monkey gawking at bananas

Immediate to the left of that we can see a lion (or similar feline) eating another animal, part of it already inside the mouth. A man is seen climbing the rocks on the mountain and between him and the lion is another reptile crawling up.

Further left, still in the top portion, we can see a bear eyeing a bird, which itself seems to be swallowing a snake (tail hanging out of its mouth). Just next to it we see an animal entering a cave - only body, tail and hind legs seen, while rest is already inside the cave. Above the bear's head we can see a lizard crawling up the rocks, while next to it a weird animal seems seated - body of a monkey, but long mouth resembling a crocodile.

In the middle of the mountain part, we can see a hunter who has shot an arrow, at a boar which is nearby. Also in this part, we can see how the sculptor has carved trees of different species.

Further to the right, we see two birds eating - one upright, another pecking at the plants. Behind the birds, another lizard is clambering up the rocks. The variety of trees and creepers included takes our breath away.

Below these, on the right, below the mountain, we can see people from different professions taking rest. The turbans (headgear) that they are wearing, as well as the tools of their profession are intricately put together.

Now let me describe one beautiful 4-by-6 legs depiction for the 3 humans carved on the left. 1-by-2 coffee, 2-by-3 soup are common in the last few decades. However, this artistic work, is simply superb to show 3 musician-dancers, facing 3 different directions, while the 4 legs carved make perfect positioning for the 3 people when looked at separately! See this one below, with all musician-dancers wearing anklets. Also note the scales marked on the snakes hanging from the mountain, above these people.

3 musicians - 4 legs

Further below on the right, we see the cows and bulls carved out of the same stone. One can see that to make the legs, the portions of rock behind it have been chipped out, making many hollow areas. Imagine the skill to ensure that the right amount is chipped out, while not damaging any important portion of the sculpture!

Further to the left, at the bottom, we see more cows and bulls. Next them is a snake, which seems to have fallen from the hill. Also, the designs of the anklets, the toes, toe-nails, toe-rings, etc., are exquisite.

When we look at the torso of Krishna, we can only marvel at the designs. Flower garland, the dress, the jewels, the ornaments adorning various parts of the body, fingers, nails, the ring, etc., are just some of the intricacies worked out by the sculptor.

Switching to the Krishna's crown, jewels and the hand holding the hill, we can see the perfection in proportions. What caught my eye are the details in the palm - nails, the ring and the root / snake (or whatever that is wrapped on a portion) on the hand. See the image below, on the right.

I have uploaded a full resolution picture of the entire carving to Wikimedia Commons, where you can see more photographs by others too.

Can I sit and just gawk at this temple for hours? Yes, but not enough... need days just for this one temple!

After writing this blog, I realize one other thing - that we can take in little during the visit. However, for some sculptures, clicking good photos can be very useful - we can get to see in detail, what we cannot observe that well, due to the location, height or distance, of some sculptures. Still, having seen this in person, and now going through the details in the photos, gives tremendous appreciation to the architectural marvels in India.

Ganesha - at Dwarasamudra

Dwarasamudra is the name of the town that is now called Halebidu. It was the capital of the Hoysala Empire, in the 12th Century.

Ganesha
Hoysaleshwara Temple
Halebidu (Dwarasamudra)
 

Halebidu is very famous for the Hoysala time temples, which had exquisite sculptures and workmanship. Some of the temples were destroyed and others were damaged. Of those that have survived, Hoysaleshwara temple and Kedareshwara temple in this town, are exquisite, and parts are quite well preserved.

In this first post, I would like to highlight one such sculpture - that of a Ganesha Relief work, on the South wall of Hoysaleshwara temple. The south entrance to this twin-temple (two main deities, Hoysaleshwara and Shantaleshwara, both Shivalinga forms, named after the King and Queen of the empire), is considered a Royal entrance, leading to the bigger sanctum of Hoysaleshwara lingam.

To our left of the entrance, as we go towards it, next to the Dwarapalaka (gatekeeper), are two superb carvings of Karthikeya sitting on his vahana, a peacock, and Ganesha standing (or dancing) on his vahana, a mouse (shrew).

Most of the reliefs, friezes and sculptures have been done on single-stone pieces. The workmanship shows the imagination, design, planning, skill and execution of the art work. Multiple parts of the entire sculpture have been carved out keeping entire picture accurate with respect to proportions, positions and detail.

Crown of Ganesha

I would like to highlight the intricate details designed for the crown and jewels of Ganesha.

👈Multiple rows of work in the crown

👈Standard lion symbol (Yali) - middle jewel

👈Beads in the jewels and symmetry in the work done

👈Serrations in the patterns

Jewels, Snake, Toes

Next, we can look at the details covered with respect to the dress, the ornamentation of the dress, etc.

 👉A detail garland /ornament carving, probably representing the big decorations on elephants, hanging on the right side and curving at the bottom

👉Short necklace with ornaments

👉Long necklaces off beads

👉A Snake wrapped around the sacred thread

👉Attention to detail in the carving of the toes of Ganesha

Mouse (Shrew) and its details

Thirdly, but not the least, the attention to detail of the depiction of the mouse.

👉Ornaments, decoration, and even a saddle/ sheet on the mouse.

👉Detail work in depicting Ganesha's toes, nails, etc.

👉The mouse has mouth open - the guides all point to this stating that the weight of Ganesha is making it moan - as supposedly imagined by the sculptor.

👉The weight falling on the rear of the mouse, is shown with rear leg pressing down on the ground even, which seems to have been depressed.

The entire temple was supposed to have taken many decades to develop. It was not complete, when the Delhi Sultanate attacked and brought the empire under its control. Many temples, structures were destroyed in those times, and some of the destructive effects, as well as incomplete works can be seen.

It is unfortunate that even during time of British rule, and immediately after independence, more damage was inflicted, either by occupiers / out of ignorance or some even out of malice.

See Wikimedia Commons for more photographs

If one were to stop and take in the detail works in each of these temples, it would probably take us days for each temple and weeks to cover each city/town in each area of India. These pictures, blogs, available videos, etc., cannot do justice to what the work can do to our hearts & minds, when we see them in person.