Unraveling the Stories Behind Hoysaleswara Sculptures

Picking up where we left off in the previous blog post, let me now unveil more from the captivating array of sculptures discovered during my immersive visit to the Hoysaleswara Temple in Halebidu. 

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Each step within the sacred premises revealed a treasure trove of artistic marvels, transporting me to a realm where gods and goddesses materialized in stone. 

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The sculptures are not only beautiful, but they also tell a story. They tell the story of the Hoysala Empire, a powerful kingdom that ruled over much of southern India in the 12th century. They tell the story of the Hindu faith, and the importance of art and spirituality in Hindu culture. 

Come join me as my imagination dances amidst the tapestry of Hindu mythology and ancient tales that enshroud each creation. 

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The sculpture of Goddess Lakshmi with wealth flowing from her palm serves as a visual representation of the Hindu belief that worshiping and honoring the goddess brings fortune and prosperity to one's life. 

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The original sculpture of Goddess Saraswati, depicting her playing the Veena with her limbs intact, would have been a captivating portrayal. 

Although the upper part of the Veena, which connects the strings to the resonator, remains intact, it is deeply distressing to see the mutilated state of the rest of the Veena and the limbs of the sculpture. 

It would have been preferable if the Muslim invaders had exercised their judgment and refrained from defacing these valuable works of art. If the sight of idols was offensive to them, they could have chosen to respectfully cover them with a veil, at the very least.

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The sculpture portrays a beautiful scene of Shilabalikas under a tree. Shilabalikas, also known as celestial maidens or celestial nymphs, are mythological figures commonly depicted in Indian temple art.  

One figure stands out as she cradles an infant in her arms. This particular portrayal adds a touch of maternal tenderness and nurturance to the scene.

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Shiva and Parvati seated on Nandi, the sacred bull. 

According to an intriguing legend associated with this sculpture, Nandi, who is considered a devoted devotee of Lord Shiva, did not initially accept Parvati riding on him. 

Nandi believed that only Shiva was worthy of sitting atop him, and he sought to make Parvati uncomfortable.

As a result, the sculptor cleverly depicted Nandi's stride in a slightly different manner that creates a slight discomfort for Parvati. 

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A scene of musicians performing for Lord Shiva. 

In this intricate artwork, musicians are shown playing various musical instruments to entertain and please the divine presence of Shiva. 

Notice how intricately the tuning rope around the drum is carved and the fingers passing under the rope.

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The sculpture portrays Lord Shiva in a dynamic dancing pose known as Nataraja.

In this depiction, Lord Shiva is shown with multiple arms adorned with various weapons, engaged in a rhythmic dance. 

His left foot is raised gracefully, while his right foot firmly presses down upon a defeated demon.

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The sculpture depicts the powerful and awe-inspiring scene of Lord Vishnu's avatar, Narasimha, slaying the demon Hiranyakashipu. 

Narasimha is shown in a half-man and half-lion form, emerging ferociously from a pillar or column. 

 The depiction captures the intense moment of his encounter with Hiranyakashipu, who was a tyrannical demon king. 

The sculpture is quite violent. You can notice on the left, eye balls are attached to the ripped portion of a demon's face. It's pretty gruesome.

Also see how Narasimha is using his leg to lock the shield held by Hiranyakashipu.

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There are many sculptures depicting  different stages of Hiranyakashipu's disembowelment. Here's one.

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The sculpture portrays the powerful and iconic depiction of Goddess Durga as Mahishasura Mardini, the slayer of the buffalo demon Mahishasura.  

Durga is depicted with multiple arms, each holding a different weapon. One of her arms pierces the chest of a soldier with a trident, while simultaneously, another hand deftly retrieves an arrow from her quiver, preparing to deliver the decisive and final strike to the buffalo demon. 

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In this striking sculpture, an intense and fierce manifestation of Lord Shiva is depicted as he dances atop a vanquished demon.

Among the weapons held by Shiva, a notable one is a skull staff, entwined by a snake. In the upper right of the photo, Lord Shiva can be seen piercing a small adversary with his trident.

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Vamana, dwarf avatar of Lord Vishnu, where he approaches King Bali to request land that he can cover in three strides. 

Lord Vishnu, in his Vamana form, stands before King Bali with a gentle and yet determined demeanor. 

To the lower right of the sculpture, Shukracharya, the sage and advisor to King Bali, can be seen. He dissuades Bali from granting Vamana's request, recognizing the true identity of Vamana as Lord Vishnu and understanding the implications of fulfilling his wish.

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The sculpture depicts a moment from the Vamana-Mahabali legend, showcasing Lord Vishnu in his Trivikrama form. 

In this scene, Lord Vishnu, as Vamana, takes one of his three momentous steps. 

To the left of the sculpture stands Mahabali, the generous and noble demon king, with folded hands, acknowledging the divinity of Lord Vishnu. 

Lord Vishnu raises his foot in the step, symbolically reaching the heavens, represented symbolically by Brahma, the three-headed creator deity.

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Natya Saraswati, represents the divine aspect of Goddess Saraswati associated with the performing arts, specifically dance and music. 

Unlike the traditional depictions of Saraswati with a veena, Natya Saraswati is often portrayed holding various weapons. Notice her vahan (vehicle) - beautifully carved hamsa (swan) below. 

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The arrangement of the figurines in close proximity to each other showcases the remarkable optimization of space in the artistic display.

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The next three sculptures beautifully portray the epic battle between Lord Krishna, also known as Shri Hari, and Lord Indra over the celestial Parijat tree. 

The story behind this battle is rooted in the desire of Satyabhama, Krishna's consort, to possess the divine Parijat tree and Krishna's decision to fulfill her wish while imparting a lesson to Indra.

Lord Krishna riding to Earth while holding the sacred Parijata tree. Krishna's appearance shows his readiness for battle, and Garuda, his celestial mount, is also prepared to launch weapons.

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Following Krishna's descent to Earth with the Parijata tree, the divine couple, Indra and Indrani, riding atop the celestial elephant Airavata follows him. 

Notice the elephant with its tail held high, charging forward in full motion and Indrani is suspended in the air taking the bumpy ride.

Both Indra and Indrani are shown wielding the powerful Vajra, a thunderbolt-like weapon associated with Indra's might.

Indra is eventually defeated, and the Parijata tree remains on Earth.

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The poignant tale of Gajendra Moksham, where Lord Vishnu, also known as Shri Hari, comes to the rescue of Gajendra, a devoted elephant, when he is attacked by a crocodile. 

The sculptures beautifully capture the key moments of this divine intervention. 

As Hari approaches riding on Garuda, the elephant welcomes him by offering a lotus. 

With a single strike of the chakra(divine discus), he defeats the crocodile, freeing Gajendra from its grip.

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The performance of Ananda Tandava(joyful dance) by Mahadeva (Lord Shiva) is a captivating sight to behold. 

It's carved from a single stone and every tiny detail, from Shiva's features, skull shaft with snake crawling on it, the intricate waste-band to the musicians, is simply marvelous. 

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The sculpture of Visha Kanya, or "The Poison Girl". 

Vishakanyas are often portrayed as young attractive women who have been exposed to toxic substances or venom from a young age, rendering their bodies poisonous.

According to legends, their touch or presence can be lethal. 

In this particular portrayal, she is shown in a nude, voluptuous form with her legs chained by a serpent that coils around her and extends all the way up to her right shoulder. 

Notice the fashionable footwear and hairstyle depicted in the carving. 

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An ensemble of musicians and dancers. 

In my opinion, the sculpture on the right is the best portrayal of a dancer caught in the middle of a performance. 

The intricate hand gestures, feet position, elegant posture, and captivating jewelry are truly mesmerizing. 

It's as if the dancer suddenly turned to face the audience and got immortalized in stone, preserving that moment forever. 

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Towards the right side, there is a carving portraying a foreigner. 

The foreigner is depicted with distinct clothing and hairstyles that differ from traditional Indian attire. 

The figure might represent a trader or emissary who visited the Hoysala court.  

Notice that the foreigner is depicted without shoes, which is a common Indian practice indoors. This suggests that the foreigner respected and adhered to the local customs during the visits to the Hoysala court.

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Goddess Chamunda Devi, also known as Matrika, represents one of the most fearsome forms of Devi, the Supreme Goddess. 

She embodies the female energy of Yama, the God of Death. 

Unlike the other Matrikas who are considered energies of male divinities, Devi Chamunda is believed to have emerged directly from and embodies the energy of the Supreme Goddess, rather than being associated with a male deity.

While the other Matrikas resemble their male counterparts in appearance, mounts, and weapons they carry, Chamunda Devi enjoys her own independence. 

She is the only Matrika who is worshipped individually, while the others are mostly worshipped together. 

Devi Chamunda is associated with demanding animal and human sacrifices, as well as the consumption of liquor. She is also considered as the chief yogini.

The iconography of Devi Chamunda is a testament to the practices and beliefs prevalent in Tantrism during a certain period. 

Her sculpture features four arms and three eyes. She is depicted with a fiery red complexion, adorned with abundant thick red hair that resembles flames, with snakes protruding and coiling upwards. Her hair is tied in a chignon adorned with a tiara of skulls and a crescent moon.

Devi Chamunda's eyes are prominent and menacing, as if capable of burning evil through her gaze. 

She wears a necklace of snakes, their coils echoing the rings of decaying flesh. 

Sculpted with sagging flesh beneath her collar bone, she wears a mundmala, a garland of human skulls, as a sacred thread. 

Her body appears withered and emaciated, instilling fear and horror with her protruding ribs, veins, and shriveled, sunken breasts.

The expressions on Devi Chamunda's face are frightening, with tusks protruding from the corners of her mouth. 

She wears Kundala, earrings made of conch shells, while her elongated earlobes rest on her shoulders. A terrifying grin adorns her broad face. 

She is often accompanied by Preta (spirits of the departed) and ghosts.

The carving of Devi Chamunda depicts her holding various symbolic objects, including a Damaru (drum), trishul (trident), sword, snake, skull-mace (khatvanga), thunderbolt, severed head, and either a panapatra (drinking vessel) or skull-cup (kapala) filled with blood. 

These objects represent her powers and attributes associated with her fierce and formidable nature.

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Let me introduce you to Bhikshatana Bhairava, a unique figure that combines the fierce form of Shiva-Bhairava with the calmness of a monk Bhikshatana.

In this depiction, you can spot the monk's sandals, while Bhairava is represented by forked teeth, a garland made of skulls, and a severed head.

Interestingly, in the lower right corner, there's a ghoul, breast feeding her child while looking up lovingly at Bhikshatana Bhairava. It's truly a fascinating mix of contrasting elements and a heartwarming moment of motherhood in the divine realm!

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Ravananugraha is a compassionate form of the Hindu deity Shiva. 

In this depiction, Shiva is seated on his sacred abode, Mount Kailash, alongside his consort Parvati. Meanwhile, the ten-headed demon-king Ravana of Lanka endeavors to uproot the mountain. 

According to Hindu scriptures, Ravana once attempted to lift Mount Kailash, but Shiva effortlessly pressed the mountain back into place with his big toe, trapping Ravana beneath it.

Ravana gave a loud cry in pain. Since Ravana cried, he was given the name "Ravana" – one who cried.

During his thousand-year-long captivity, Ravana sang hymns praising Shiva, who eventually bestowed his blessings upon him. 

As a gesture of benevolence, Shiva granted Ravana an invincible sword and a powerful linga, which is Shiva's symbolic representation, known as the Atmalinga, for him to worship.

The depiction of Mount Kailash is absolutely stunning! The structure is a four-tiered pyramid. It's filled with lots of attendants called ganas and lush plants covering different parts of the mountain. 

In the sculpture, we can see Mahadeva(Shiva), pulling Devi (Goddess Parvati) close to provide comfort. Ravana's feet are firmly pressed against the ground, exerting great effort to lift the heavy weight.

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Who are the sculptors?

The temple artwork panels feature signatures or statements by the artists or their guilds. 

There are recurring names of artists such as Manibalaki, Mabala, Ballana, Bochana, Ketana, Bama, Balaki, and Revoja. 

These artists, who were nearly forgotten by history, remain unknown unless one pays meticulous attention to the pedestals. 

The Hoysaleswara Temple sculptures are a testament to the skill, dedication, and creativity of these artists who created them. 

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I have more sculptures to share in my next blog post. Don't forget to comment below and let me know your thoughts.

Please find below the links to all three parts for your convenience:

Part 1: Mesmerizing sculptures of Halebidu

Part 2: Unraveling the Stories Behind Hoysaleswara Sculptures

Part 3: A Tapestry of Wonder

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