ராதே கிருஷ்ணா 30-10-2013
Hassan is a city and
district headquarters of Hassan district in the Indian state ofKarnataka. The town is situated 934
mts above sea level with fine weather similar to Bangalore.[2] The town is home
to the Master Control Facility. It was founded in the 11th century, by Channa
Krishnappa Naik, a Palegar (chieften). The place is called Hassan after the
Goddess "Hassanamba", the goddess and presiding deity of the town.
Hassan is derived from the name of presiding deity Goddess. It can be called
the temple-architectural capital of Karnataka.
History[edit]
Hasanamba temple in Karnataka
is now open
History
Temple complex
Temple plan
Shrine
Pillars and Sculptures
History
Temple plan
Sculptures
Horizontal treatment
Garuda pillar
Hasanamba temple in Karnataka
Hassan is a city and
district headquarters of Hassan district in the Indian state ofKarnataka. The town is situated 934
mts above sea level with fine weather similar to Bangalore.[2] The town is home
to the Master Control Facility. It was founded in the 11th century, by Channa
Krishnappa Naik, a Palegar (chieften). The place is called Hassan after the
Goddess "Hassanamba", the goddess and presiding deity of the town.
Hassan is derived from the name of presiding deity Goddess. It can be called
the temple-architectural capital of Karnataka.
History[edit]
Hassan, the main city in the
Hassan district,which has an area of 6814 km2 dates back to the 11th century, during
the Hoysala dynasty,
which lasted from the eleventh to the fourteenth century. Their capital was at
Dwarasamundra (Dwaravati-pura), the ruins of which are still to be seen
scattered round the town of Halebidu(ಹಳೆಬೀಡು).
The earlier kings were of the Jain faith, but the finest temples were
dedicated to Shiva by the later monarchs in the dynasty.
While theHoysalas were
at the zenith of their power, much of southern India was under their influence.
Belur is one of the famous tourist place
near Hassan. Belur was the early capital of the Hoysala Empire. With Halebidu which is only
16 km away, this is one of the major tourist destinations in Karnataka,
India. The main attraction in Belur is the Chennakesava temple complex which
contains the Chennakesava Temple (dedicated to Chennakeshava, meaning handsome
Vishnu) as the centre piece, surrounded by the Kappe Chennigraya temple built
by Shantaladevi, queen of king Vishnuvardhana.
Shravanabelagola is a city located in the Hassan
district in the Indian state of Karnataka and is 158 km from Bangalore. It
is one of the most important Jain pilgrim centers. It reached a peak in
architectural and sculptural activity under the patronage of Gangas of
Talakad.The 57 feet monolithic statue of the Bhagavan Gomateshwara Bahubali
is located on the Vindyagiri.[1] It is considered to be the world's largest
monolithic stone statue and was erected by Chavundaraya, a general of King
Gangaraya. The base of the statue has an inscription in Prakrit, dating from
981 AD. Every twelve years, thousands of devotees congregate here to perform
the Mahamastakabhisheka, a spectacular ceremony in which the statue is covered
with milk, curds, ghee, saffron and gold coins. The next Mahamastakabhisheka
will be held in 2018.
Hasanamba temple in Karnataka
is now open
The HinduThe historic temple in Hassan, which is
opened only for a few days every year, will remain open till November 5. Photo:
Prakash Hassan
The
historic Hasanamba temple here was opened for devotees on Thursday.
The temple
is opened only for a few days in a year during the Hindu month of Ashwayuja.
This year, it will remain open till November 5.
The doors
of the temple were opened around 12.30 p.m. in the presence of Deputy
Commissioner V. Anbukkumar, Hassan tahsildar V. Manjunath and many elected
representatives.
Hundreds
of devotees stood in queue to have the ‘darshan’ of the deity. Special arrangements
are in place for VIPs and those who purchase a pass of Rs. 250 to have darshan.
Hassan MLA
H.S. Prakash, Hassan Zilla Panchayat president Ambika Ramanna, Hassan CMC
president Srividya and District and Sessions judge J.S. Somashekhar were among
the VIPs who had the darshan within minutes after the temple opened.
The
district administration has deployed police personnel and Home Guards to ensure
smooth conduct of the Hasanamba Utsav.
Keywords: Hasanamba temple, Ashwayuja, Hassan temple open
Hasanamba
temple to open
By Express News Service - HASSAN
Published: 11th
October 2013 10:37 AM
Last
Updated: 11th October 2013 10:37 AM
Deputy Commissioner Anbukumar on Thursday said
the Hasanamba Temple will be open from October 24.
At a meeting of Revenue, Endowment
Departments officials and elected representatives here, he said the
revenue officials and tahsildar should provide basic facilities, including
drinking water and toilets for the devotees visiting the temple which open only
for 12 days. He directed the police and CMC Commissioner to provide parking
facility at the Exhibition Grounds belonging to the CMC.
He said steps will be taken to serve laddu, puliyogare and
pongal as prasadam on all 12 days.
Chennakesava Temple
The Chennakesava
Temple, (Kannada: ಶ್ರೀ ಚೆನ್ನಕೇಶವ ದೇವಸ್ಥಾನ)
originally called Vijayanarayana
Temple (Kannada: ವಿಜಯನಾರಾಯಣ ದೇವಸ್ಥಾನ), was built on
the banks of the Yagachi River in Belur, by the Hoysala Empire King Vishnuvardhana. Belur, which was an early Hoysala capital is in
theHassan
district of
Karnataka state, India. It is 40 km from Hassan city and 220 km from Bangalore. Chennakesava (lit, "handsome Kesava") is a
form of the Hindu god Vishnu. Belur is
well known for its marvelous temples built during the rule of the Hoysala dynasty, making it and nearby Halebidufavored
tourist destinations in Karnataka state. These temple complexes have been
proposed to be listed under UNESCO
World Heritage Sites.
History
Shrine
outer wall with friezes on vertical sections below eves
The temple was commissioned by
King Vishnuvardhana in 1117 AD. Scholars are divided about
the reasons for the construction of the temple. The military successes of
Vishnuvardhana is considered a probable reason.[1] Some
scholars believe Vishnuvardhana commissioned the temple to surpass his
overlord, King Vikramaditya VI of the Western Chalukya
Empire (who ruled from Basavakalyan), after his initial military
victories against the Chalukyas.[2] According
to another theory, Vishnuvardhana was celebrating his famous victory against
the Chola dynasty of Tamil country in the battle of Talakad(1116 AD), which resulted in the
annexation of Gangavadi (modern southern Karnataka) by the Hoysalas.[3] Another
theory points to Vishnuvardhana's conversion from Jainism to Vaishnavism (a
sect of Hinduism) after coming under the influence of saint Ramanujacharya, considering this is a
predominantly Vaishnava temple in sculptural iconography.[4] The
Hoysalas employed many noted architects and artisans who developed a new
architectural tradition, which art critic Adam Hardy called the Karnata Dravida tradition.[5]In all 118 inscriptions have been
recovered from the temple complex, covering the period 1117 AD to the 18th
century, giving historians details of the artists employed, grants made to the
temple and renovations committed during later times.
Temple complex
The main entrance to the complex
is crowned by a Rayagopura (superstructure
over entrance) built during the days of the Vijayanagar empire.[6] Within
the complex, the Chennakesava temple is at the centre, facing east, and is
flanked by the Kappe Channigraya temple on its right, and a small Sowmyanayaki
(form of the goddess Lakshmi) temple set slightly back. On its
left, also set slightly back is the Ranganayaki (Andal)
temple. Two main sthambha (pillar) exist here. The pillar facing
the main temple, the Garuda (eagle) sthambha was erected in the Vijayanagar period while the pillar on the right,
the Deepa sthambha (pillar with lamp) dates from the
Hoysala period. This is the first great Hoysala temple, though according to the
art critic and historian Settar, the artistic idiom and signature is still Western Chalukyan. Hence, the over-decoration
which is seen in later Hoysala temples (including the Hoysaleswara temple at Halebidu and
the Keshava temple at Somanathapura) is not visible here. According
to Settar, during later years, the Hoysala art took an inclination towards
craftsmanship, with a weakness for minutia.[2] The
Chennakesava temple has three entrances and their doorways have decorated
sculptures called dvarapalaka (doorkeepers) on either side. While
the Kappe Channigraya temple is smaller than the Chennakesava temple, it is
architecturally significant, though it lacks any sculptural features. The Kappe
Chennigraya temple became a dvikuta (two shrined temple) with the later
addition of a shrine to its original plan. The original shrine has a
star-shaped plan while the additional shrine is a simple square. The image
inside is also that of Kesava ( a form of the god Krishna) and was commissioned by Shantala
Devi, the noted queen of King Vishnuvardhana.[2]
Temple plan
Miniature
shrines withBhumija style superstructure
The building material used in the
Chennakesava temple is chloritic schist, more commonly known as (soapstone) or potstone,[7][8] and
is essentially a simple Hoysala plan built with extraordinary detail. What
differentiates this temple from other Hoysala temples of the same plan is the
unusually large size of the basic parts of the temple.[9][10][11] The
temple is a ekakuta vimana design
(single shrine) of 10.5 m by 10.5 m size. A large vestibule connects the shrine to the mandapa (hall)
which is one of the main attractions of the temple. The mandapa has
60 "bays" (compartments).[12] The
superstructure (tower or Sikhara) on top of the vimana has been lost over time. The temple is
built on a jagati (platform
for circumabulation).[13][14] There
is one flight of steps leading to the jagati and another flight of steps to the mantapa. The jagati provides the devotee the opportunity
to do apradakshina (circumambulation) around the temple
before entering it. The jagati carefully follows the staggered square
design of the mantapa[15] and
the star shape of the shrine. The mantapa here was originally an open one. A
visitor would have been able to see the ornate pillars of the open mantapafrom the platform.
According to art critic Gerard Foekema, the mantapa is perhaps the most magnificent one in
all of medieval India.[16] The
open mantapa was converted into a closed one after about fifty years, during
the Hoysala rule. This was done by erecting walls with pierced window screens.
The window screens are on top of 2 m high walls. There are twenty eight
such windows, with star-shaped perforations and bands of foliage, figures and
mythological subjects. On one such screen, King Vishnuvardhana and his queen
Shanatala Devi are depicted. Another icon depicts the king in a standing
posture.[17]
Shrine
The vimana (shrine) is at the back of the mantapa. Each side of the vimana measures 10.5 m and has five
vertical sections. Each vertical section comprises a large double storeyed
niche in the centre and two heavy pillar-like sections on either side. The two
pillar-like sections adjoining the niche are rotated about their vertical axis
to produce a star-shaped plan for the shrine.[18] The
pillar-like section and the niche bear many ornate sculptures, belonging to an
earlier style. There are some sixty large sculptures of deities from both Vaishnava and Shaiva faiths.
From the shape of the vimana it has been inferred that the tower
above it would have been of the Bhumija style when it existed and not the
regular star shaped tower that followed the shape of the vimana. The Bhumija towers, which are intact on the
miniature shrines at the entrance of the hall are actually a type of nagara (North Indian) tower, being
curvilinear in shape.[19] This
shape of tower is quite uncommon in pure dravidianarchitecture.
The shrine has a life size (about 6 ft) image of Keshava (a form of
Vishnu) with four hands. Each hand holds an attribute; the discus (chakra),
the mace (gadha), the lotus-flower (padma) and the conch (Shanka),
in clockwise direction. The entrance to the shrine is flanked by life size
sculptures of door guardians (dvarapalaka).
Ornate
pillars in mantapa (hall)
Pillars and Sculptures
The pillars inside the hall are
an attraction and the most popular one is the Narasimha pillar
which at one time could have revolved on its ball bearings.[20] According
to the historian Kamath, there is a rich diversity about the pillar styles
here. While all the forty eight pillars are unique and the many ceiling
sections are well decorated, nothing surpasses the finish of the four central
pillars and the ceiling they support. These pillars may have been hand chiseled
while the others were lathe turned.[21] All
of these four pillars bear madanikas (Salabhanjika–celestial damsels). There are
42 of them in the temple complex, one each on the four central pillars inside
the hall and the remaining 38 are outside, between the eaves on the outer walls
of the hall.[22] They
are also called shilabalika and represent the ideal female form.
They are depicted in various forms, such as dancers, musicians and drummers,
and are rarely erotic in nature. Some madanikas that usually are popular with tourists
are the Darpana Sundari (lit,"beauty with
mirror"), "The lady with the parrot", "The huntress"
and Bhasma mohini.[20] Other
interesting sculptures inside the mantapa areSthamba buttalika (pillar with an image in frieze) which
is more in the Chola style indicating that the Hoysalas may
have employed Chola craftsman along with locals. These images have less decor
than regular Hoysala sculptures, the mohini pillar being an example.[2]
Ornate
pillars in mantapa
At the base of the outer walls
are friezes[23] of
charging elephants (six hundred and fifty of them) which symbolize stability
and strength, above which are lions which symbolize courage, and further up are
horses which symbolize speed. Above the horses are panels with floral designs
signifying beauty above which are sculptures with depictions from the Hindu
epics, the Ramayana and
the Mahabharata. According to Kamath, this style
ofarticulation is called horizontal treatment with
friezes.[24] Hoysala
artisans preferred to be discreet about eroticism, mingling miniature erotic
sculptures in not so conspicuous places such as recesses and niches. Sculptures
depict daily life in a broad sense.[2]
Gajasurasamhara: A frieze depicting the god
Shiva slayingGajasura the
demon, Chennakeshava temple
The doorways to the mantapa have on both sides an image of
"Sala" slaying a lion.[25] Historian
Kamath claims this is a tiger. Though Sala is known to be the founder of the
Hoysala empire in popular legend, there is no support for this theory from
scholars such as D.M. Durrett, B.R. Joshi and Hayavadhana Rao. Normally this
image is placed on the sukanasi (tower over the vestibule) adjoining
the main tower. Legend has it that Sala killed the lion (or tiger) which was
about to pounce on a meditating saint who sought Sala's help. Some historians
speculate that the legend may have gained importance after King
Vishnuvardhana's victory over the Chola dynasty in the battle of Talakad, the
tiger being the royal emblem of the Cholas.[26][27]
Other important sculptures here
are the Narasimha (a
form of Vishnu) image in the south western corner, Gajasurasamhara (Hindu god Shiva slaying demon in form
of elephant) on the western side, the winged Garuda, a consort of the god Vishnu standing facing the
temple, dancing Kali (a form ofDurga),
a seated Ganesha (son
of Shiva), a boy with an umbrella and a king (the Vamana Avatar or
incarnation of Vishnu), Ravana shaking Mount Kailash, Durga slaying demon Mahishasura, standingBrahma, Varaha (avatar of Vishnu), Shiva dancing on demon
(Andhakasura), Bhairava (avatar of
Shiva), Pandava prince Arjuna shooting
a fish seeing its reflection, and the Sun god Surya.
The sculptural style of the wall images bear similarities with wall sculptures
in contemporary temples of northern Karnataka and adjacent Maharashtra.
Hoysaleswara Temple
Hoysaleswara
temple is a temple dedicated to Hindu god Shiva. It was
built inHalebidu (in modern Karnataka state, India) during the rule of King Vishnuvardhana of the Hoysala Empire in the 12th century. The construction was
completed in 1121 CE. During the early 14th century, Halebidu was sacked and
looted by Muslim invaders
from northern India and the temple fell into a state of ruin and neglect.
Previously known as Dorasamudra or Dwarasamudra, Halebidu is 16 km from Belur,
31 km from Hassanand 149 km from Mysore, in the
state of Karnataka, India.
History
Siva and
Parvathi at Hoysaleswara temple
Pilgrims
on a guided tour at the temple complex
According to art critic and
historian S. Settar, from contemporary inscriptions it is known that the temple
derives its name from the Hoysala ruler at that time, King Vishnuvardhana
Hoysaleswara, though interestingly, the construction of the temple was
initiated and financed by wealthy Shaiva (a
Hindu sect) citizens of the city, prominent among who were Ketamalla and
Kesarasetti.[1] The
temple building activity was taken up in competition to the construction of the
Chennakesava Temple at Belur, a Vaishnava (a
Hindu sect) temple. It faces a large tank which
was built in the middle of the 11th century and received water through channels
from an ancient anecut (dam) built over the Yagachi River.[2] The
tank preceded the temple by nearly 75 years. It is one of the largest temples
dedicated to the god Shiva in South India.
Temple plan
Decoratd
pillar, Hoysaleshwara Temple, Halebidu
The temple is a simple dvikuta vimana (plan with two shrines and two
superstructures), one for "Hoysaleswara" (the king) and the other for
"Shantaleswara" (named after Shantala Devi, queen of King
Vishnuvardhana) and is built with chloritic chist (more commonly known as Soapstone or
potstone).[3][4] The
temple complex as a whole is elevated on a jagati (platform),
which according to historian Kamath, is a feature that became popular in
contemporary Hoysala constructions.[5][6]According to art critic Foekema, the
two shrines which are adjoining, face east and each have amantapa (hall)
in front. The two mantapas are connected giving a large and
imposing view of the hall. Individually, each shrine is smaller than the one at
the Chennakesava Temple at Belur and contains a simple linga,
the universal symbol of the god Shiva. The plan of the inside of the temple is
simple but the exterior looks different because of the introduction of many
projections and recesses in the walls. The towers of the shrines that are
missing must have followed the star shape of the shrine, just as in many
existing well-preserved towers in other Hoysala temples.[7] The
superstructure over thevestibule which connects the shrine to the mantapa, called sukanasi (a low tower that looks like an
extension of the main tower),[8] and
the row of decorated miniature roofs above the eaves of the hall are all
missing.[9] The
temple was built at a height that provided the architects sufficient horizontal
and vertical space to depict large and small sculptures. According to the art critic
James Fergusson, the overall effect of the vertical and horizontal lines, the
play of the outline, the effect of light and shade and the plan of the
projections and recesses all amounts to a "marvellous exhibition of human
labor to be found even in the patient east and surpasses anything in Gothic art".[10] The
outer walls of these temples contain an intricate array of stone sculptures.
The temple of Halebidu, has been described by art critics James Fergusson and
Percy Brown as an "outstanding example of Hindu architecture" and as
the "supreme climax of Indian architecture".[11][12]
_in_Hoysaleshvara_Temple_at_Halebidu.jpg)
Lathe
turned pillars Halebidu
The temple has four porches for
entry and the one normally used by visitors as main entry is actually a lateral
entrance (north). There is one entry on the south side and two on the east
side, facing two large detached open pavilions whose ceiling is supported by lathe turned pillars. All entry porches have
miniature shrines as flanking. In addition there is a sanctuary for the Sun god Surya,
whose image stands 7 ft (2.1 m) tall. The pavilions enshrine large
images of Nandi, the bull, an attendant of Shiva. The
pavilions share the same jagati as
the main temple. As in the Chennakesava temple, this temple originally had an
open mantapa to which outer walls with pierced
window screens made with the same material were erected, making the mantapa a closed one.[7] The
window screens are devoid of any art work.[13] The
interior of the temple is quite plain except for the lathe turned pillars that
run in rows between the north and south entrances.[14] According
to Settar, the four pillars in front of each shrine are the most ornate and the
only ones that have the madanika(chaste maidens) sculptures in
their pillar brackets.[15] There
are no other madanikas in the temple.
Sculptures
A
sculpture at Hoysaleshwara Temple, Halebidu
The Hoysaleswara temple is most
well known for its sculptures that run all along the outer wall, starting with
an dancing image of the god Ganesha on
the left side of the south entrance and ending with another image of Ganesha on
the right hand side of the north entrance. In all there are two hundred and
forty such images. According to the art critic Gerard Foekema, perhaps no other
Hoysala temple is as articulate in sculpture as this is and these sculptures
are "second to none in all of India".[7] The
most intricate of all sculptures are found in the lintels over two of the
doorways, one on the south side doorway and the other on one of the eastern
doorways.
Horizontal treatment
The base
of the temple walls consist of moldings with friezes that consist of (from
bottom to top) elephants, lions, scrolls, horses, scrolls, puranic scenes,
mythical beasts (makara) and swans
In this temple the Hoysala
architects have broken from the tradition of using five moldings with friezes (which is the "old
stlye") at the base of the temple, below the large wall sculptures and the
window screens.[16] The
outer walls have two eaves that run around the temple. The top
eaves is at the roof of the temple where the superstructure meets the wall, and
the second eaves is about a meter below. In between there are decorated
miniature towers (aedicule). Below the
lower eaves are the wall sculptures and below them, the eight moldings.
Historian Kamath calls this type of relief work "horizontal
treatment".[17] Each
of the eight friezes carries an array of decoration. Going from the bottom
where the temple wall meets the platform, the lowest frieze depicts charging
elephants which symbolize strength and stability, above which, in order, are
friezes with lions which symbolize courage, floral scrolls as decoration,
horses symbolizing speed, another band of floral scrolls, depictions from the
Hindu epics, mythical beasts called makara and finally a frieze with hansas(swans). According to
Foekema, no two animals are alike in a total frieze span of over 200 m. In
the epic frieze, the epics are not continuous as they are mixed with other
depictions.[18] After
the construction of this temple, Hoysala architects used this new kind of
horizontal treatment only fifty years later, making it a standard style, though
they reduced it to six molding friezes.[19]
Garuda pillar
Another interesting object in the
temple complex is the rare Garuda
Sthamba (Garuda pillar).
According to Settar, these are different from virgals (Hero stone). Garudas were elite bodyguards of
the kings and queens. They moved and lived with the royal family and their only
purpose was to protect their master. Upon the death of their master, they committed
suicide.[1] The
rare pillar on the south side depicts heroes brandishing knives and cutting
their own heads. The inscription honors Kuruva Lakshma, a bodyguard of Veera Ballala II. A devoted officer, he took
his life and that of his wife and other bodyguards after the death of his
master. This event is narrated in an old Kannada inscription on the pillar. A
8 ft (2.4 m) tall sculpture of Ganesha including
the platform rests at the South entrance.
கருத்துகள் இல்லை:
கருத்துரையிடுக