The crest of Hoysala Kingdom and its variations in their Temples:

The crest of Hoysala Kingdom and its variations in their Temples:

Compilation by B.L.Manohar Arasu VU2UR

1.0 The greatest contribution to temple architecture in south India, especially the state of Karnataka is, by the two kingdoms of Chalukyas and Hosysalas.

1.1 The Chalukyas ruled earlier (6th to 12th Century AD) and their work in the various temples they built, and some destroyed by the Islam followers, have opened the eyes of the world and attained the UNESCO Heritage Status (Pattadakal Temple). They built cave and other temples for the followers of Buddhism, Jainism, Shaivism and Vaishnavism. The stone used for the sculpture, unfortunately, has undergone atmospheric erosion during the centuries.

1.2 The Hoysalas have come later on between the 10th and 14th centuries. Here, the Hoysala kings and other dignitories have encouraged in their reign, the Shaivites, Vaishnavites and Jainism and they built marvellous temples for them. The sculptures in these temples have withered, but less, due to atmosphere of the centuries, but, the Islamic vandals have done some damage here too. Fortunately, Hoysalas used the Chloritic schist (also known as Soapstone), which the sculptors transformed successfully depicting feminine beauty, grace and physique. The depiction of the ornaments worn by males, females, gods and goddesses are unsurpassed, with the proportionality maintained. Even the animals in long lines and friezes, shown near the floor area have been carved with the same expertise in showing their ornamental dressings .

2.0 The sculptors/sthapatis for Hoysala kingdom, came from diverse geographical backgrounds, including famous locals. Prolific architects included Amarashilpi Jakanachari, a native of Kaidala in Tumkur district, who also built temples for the Western Chalukyas.

2.1 Ruvari Mallithamma built the Kesava temple at Somanathapura and worked on forty other monuments, including the Amriteshwara temple at Amritapura. These were the first few sculptors who signed their works.

2.2 Malithamma specialized in ornamentation, and his works span six decades. He typically signed his sculptures in shorthand as Malli or simply Ma. Dasoja and his son Chavana from Balligavi worked as the architects for Chennakesava Temple at Belur, Kedaroja performed as the chief architect of the Hoysaleswara temple at Halebidu.Their influence appears in other temples built by the Hoysalas as well. Names of other locals found in inscriptions include Maridamma, Baicoja, Caudaya, Nanjaya and Bama, Malloja, Nadoja, Siddoja, Masanithamma, Chameya and Rameya. Artists from Tamil country included Pallavachari and Cholavachari.

3.0 The Hoysala dynasty, its beginning and its crest:

3.1 " Ragi Mudde" in his “The Alluring history of Hoysalas” writes “There is an interesting story associated with how the Hoysala dynasty was named. It is said that a young boy named Sala and his teacher were in a temple in Angadi when a tiger (??) approached them menacingly. The teacher handed Sala an iron rod(??) and said “Poy Sala” which translates to ‘strike Sala’. Sala took the rod( ??) and killed the Tiger(??) with a single blow. Sala went on to set up a vast kingdom and took his teacher’s cry as his family name…..”

3.2 Very often, those who write about the origin of Hoysla Dynasty, with the story of Sala killing on the orders of his guru, the attacking carnivore with an iron rod. But, some of them wrote that the animal was tiger, and in other cases as lion. It is not out of place here, to try and identify the correct animal, as the sculptors were told and understood to sculpt..

3.3 Lions, particularly male lions, have been an important symbol of strength for thousands of years and appear as a theme in cultures across Europe, Asia, and Africa. Despite the recorded incidents of attacks on humans, lions enjoy positive depiction in popular culture as creatures that appear strong, but gentle at the same time. The most consistent depiction is in keeping with their image of "king of the jungle" or "king of the beasts", hence lions are popular symbols of royalty and stateliness and a symbol of bravery. In Indian sculpture, lions have been sculpted extensively and denotes the foremost amongst all animals. The lions are rampant , rearing over a small object, like a warrior as in the Hoysala crest which is placed on the platform of sukhanasi, in Hoysala temples.

3.4 While the tiger theory, does not have enough evidence, the observation that it was only a LION, is confirmed from the sculpures at different temples. The sculpture of Ugra Narasimha of Hampi, Narasimha depiction in Hoysala Temples, lions depicted on pillars in the temples elsewhere, are enough to convince. The Hoysala Crest (logo/ symbol /emblem) shows the lion. The sculptors never made mistakes, and they have shown the "mane" of the lion round its neck, very clearly, in two or three layers. The sculpting of the mane can be compared to the beard of Brahma and they are alike. (Fig. 1 to 4) (All the referenced photos have been shown at the end of the compilation please). It is very much possible that the lions of the present day Gujarat were roaming in South India a thousand years ago.

4.0 The crest/logo of any kingdom is an important identity. This is shown everywhere- the same, may be with lesser or greater detailing, or size. Showing a mirror image or a greater identifiable change in the parts of the crest, were not practised at different parts of their kingdom.

4.1 But Hoysala Crest in their temples have shown subtle changes, were they due to the different ruvaris or with any other purpose is not understood ?. Coming to the Crest proper, the best depiction is in the Belur temple around the floor level.

4.2. Sala is with all ornaments in the ears, neck,shoulders, arms, waist and wrists. His head is bare with a simple hair-band. The weapon he is using is a medium sized broad, double edged sword, which is neither a dagger nor a long sword used in duels and wars. It is CERTAINLY NOT AN IRON ROD, as mostly told. Sala, as an ordinary man living in the area of jungles is likely carrying such a weapon while escorting his guru, through the jungles. He is shown in the kneeling (veeramandi) pose with the right knee to the ground and the left one lifted and getting injured. The tip of the broad sword is thrusted to the right side of the neck of the lion.(Fig 5)

4.3 The lion has the "usual temple architecture" head, which does not resemble a real lion's head, which could have been eaily sculpted by those experts. Two bulging eyes, a broad nose, two upper canines are shown clearly.The two comparatively large ears are shown in the front of decorations on the head. It has three layers of mane. Four claws of the left fore leg are shown. It has an unusually long tail. There is always loop of the tail on the lion's back. The loop shows some human being in the circular filling. This filling of the loop was required to keep the loop from breaking. After looping, the rest of the tail portion passes over the left side of its stomach and the tip touches the ground.

4.4 At Belur the temple, the crest is shown in three types at floor level :

(a) lion's left paw is attacking Sala's left knee, sword is in the mouth of the lion, the tip of the tail is to the left side, with a human figure inside the loop. Sala's left hand is possibly resisting the right paw of the lion.

(b) lion's right paw attacking Sala's right knee, Sala's sword is vandalised and missing, the tail is to the right of the lion and has 8 petalled flower inside the loop, but a section of tail with the tip is missing. Sala's left hand is also in action. Note his left hand below the neck chain he is wearing. (Fig. 6)

(c) lion's left paw is attcking Sala's right knee, sword is in the mouth of the lion, the tip of the tail ends to the right side with a 8 petalled flower inside the loop. Sala's left hand is possibly resisting the right paw of the lion. Two layers of mane clearly visible. (Fig 7)

4.5 At Halebeedu temple, the crest is also shown at floor level, and lion's right paw is in Sala's left hand, whereas right hand with the sword is piercing the area above the left eye of the lion, lion's tail loop shows a plain disc, the tail ends up on the right hind leg. (Fig. 8)

4.6 These detailed crests, appear as if they are posed for the tourist to photograph the action, whereas those at sukhanasis at a height, rarely pose for the tourist.

5.0 The shikhara with/without Kalasha , sukhanasi and the location of crest on it are further viewed. Sukhanasi is referred to the exclusive space just below the shikhara, with a platform. This is what is interesting me more. Ground level sukhanasis are NOT referred here.

5.1 The ekakuta, dwikuta, trikuta, chatushkuta and panchakuta shikharas built for any Shaiva temple with sukhnasis, have shown at least one crest on each shikhara. The Lakhsmi Temple at Doddagaddavalli chatushkuta temple shows four crests, one on each of the shikharas.The Basaralu temple, which is of trikuta type construction has three crests. At Mosale Temple, you can find two crests one on each shikhara of the dwikuta temple. But, the panchakuta temple of Panchalingeswara at Govindanahalli, has blank sukhanasi platforms. Ekakuta Mahalingeswara Temple at Santhebachahalli, also has a blank Sukhanasi platform.

5.2 Generally the Hoysala Vaishnava temple and never a Jaina temple SHOWS any Crest mounted at the Sukhanasi, except for the Chennakeshava Temple at Mosale. It is mostly shown in all Shaiva temples built by them,except in one where a "Nandi" and "Kartikeya on a Peacock" are placed.

6.0 The common aspects of the variations in all the crests whether at the floor level or at the sukhnasi are :

a). Sala in kneeling posture b). Short Sword c). Lion with a loop of tail on its back.

6.1 In the other temples where the crest is shown at the top slightly below the Kalasha, at Sukhanasi level:

1) Lion with both fore legs free, tail having 8 petal flower inside loop, tail on the left side of its stoamch, Sala's sword in the left shoulder of lion, Sala is kneeling: (Fig 9) Doddagaddavalli T

2) Lion attacking with right fore paw, tail on the right side of stomach, loop is broken Sala's sword piercing the chest of lion; Sala's knees are free: (Fig 10) Doddagaddavalli T

3) Lion with both the paws attacking,tail having 8 petalled flower inside the loop, tail on the right side of its stomach, Sala's both the hands are active near lion's chest, and Sala is kneeling, (zoom Fig 10 right side) Doddagaddavalli T.

4) Lion's left paw attacking left knee of Sala,tail having 8 petal flower inside the loop, tail on the left side of stomach, the tip of his sword is on the ground; lion's right paw on Sala's left shoulder: (Fig 11) Doddagaddavalli T

5) Lion's left paw on the right knee of Sala, the sword of Sala in the left shoulder of lion; Sala is almost sitting and his other hand is in the mouth of lion; tail tip on the rightside (Fig 12)

6) Lion's left paw on Sala's left knee, Sword nearer to the left paw; left hand of Sala is in the mouth of lion; tip of tail to the left side, loop has some other motif: Fig.13 Mosale Temple.

7) Lion with raised left paw, tail having 8 petal flower inside loop, on the left side of its stomach, Sala's sword in the chest of the lion: Fig 14. Koravangala Temple,

6.2 The crests are different at the Sukhanasi in the following temples:

(a) Nandi is shown at Sukhanasi in the Ishwara Temple at Arsikere. Fig.15

(b) Garuda and Karthikeya with peacock at Hirenallur Temple. Fig.16

6.3 There are temples with nothing at the sukhnasi platform. It might have been intentionally left blank, possibly for any later additions. Local people, might have added Nandi etc, later.

1) The twin Sukhanasis of Keshava Temple at Somanathpura, show blanks. Fig 17

2) The space shows nothing as in Hosaholalu temple. Fig.18

3 ) The Brahmeswara temple at Kikkeri UNUSUALLY has a blank sukhanasi platform. Fig 19

4 ) The temple at Javagal is also blank at the sukhanasi platform. Fig. 20

5) Someshwara Temple at Haranahalli has a blank sukhanasi, but, a nandi is mounted later at the main entrance to the temple. Fig.21

6) Kedareswara Temple at Balligavi has the crest but, the loop of tail missing, lion's right paw is on the left knee of Sala, sword is at the chest of lion. Fig 22

7) Kaitabheswara Temple at Kubatur, has no crest. You can see a Nandi lower down. Fig 23

8) At Amriteswara Temple, you can see the crest. Fig.24

9) Mallikarjuna Temple at Hirenallur, shows the crest Fig 25.

10) Rameswara Temple at Koodli shows the crest. Fig 26.

11) At Nuggehalli temple, the crest can be seen Fig 27. Etc.,.

From "Mosale, a hidden gem --Gouri Satya, May 31, 2016, DHNS 0:02 IST" the following is taken: ""Both the temples have graceful towers, with a figure of Hoysala crest atop each of them. The towers of these ekakuta temples are in good condition. The Sala (slaying the tiger) figures stand on a projection above the sukhanasi ceiling of the temples. They stand in front of each other and make for a beautiful image when viewed against the blue sky. (???) The beautifully sculpted kalashas at the top of the apex of the shrines further enrich the completeness of the 2 temples. On the towers, the dancing figures of the gods, to whom the temples are dedicated, are seen.""

(( My notes: for ???-- the crests are seeing a fixed a direction, NOT facing each other))

7.0 Though I have visited the Hoysala temples at Talakaadu, Spmanathpura,Basaraalu, Belur and Halebeedu, I had never taken a keen look at the crests. Only after visiting Basaraalu Temple and seeing the crests there, I got interested to see them carefully.

7.1 There are two crests at the tops, in this temple. Both are slightly different when you look very carefully. Only here, Sala is using a shield in his left hand, which is very unusual, along with his broad sword in the right hand.. Both the fore-legs of the lion are in the attacking mode, yet to touch knee of Sala. The lion’s tail which is looped on its back, has a 4 petal flower, and the tip of the tail is curved towards the chest of the lion and supports there. Fig 28 and 29.

7.1 Very few photographers have taken a close look at these crests and all such pictures available in the web pages for each of the temples and all Hoysala temples as a whole, have inspired me. I thank all those photographers whose identities are many a time unknown and the copyright symbols on the photos themselves tell it, at other times. The good photographs by S.Nagarajan, Team BHP, Aravind GJ, Explore My trip, Dreamstime.com, Alamy Stock photo and others unknown, are highly appreciated. Through their telescopic sights, I have tried my best to see closely, and sometimes have failed.

7.2 Your comments are appreciated to improve this compilation.