#: locale=en ## Hotspot ### Text HotspotPanoramaOverlayTextImage_7719EDA2_6860_9D5E_41BC_02D7F2362D52.text = 24 forms of Vishnu HotspotPanoramaOverlayTextImage_7EE05457_6F0A_343F_41C2_29248A9B3D7A.text = A dancing goddess HotspotPanoramaOverlayTextImage_DFB5C45C_F9C3_5089_41D4_24BFA9579140.text = Adhisthana HotspotPanoramaOverlayTextImage_7CB021DA_68E0_E4E9_41D3_313552335C8A.text = Bhadra HotspotPanoramaOverlayTextImage_7A687D56_68E0_BDE6_41D6_630ECCDBFE2C.text = Bhadra HotspotPanoramaOverlayTextImage_7A43E9B0_68E0_A4B9_4198_153F3A32F1FA.text = Bhadra HotspotPanoramaOverlayTextImage_60F700B9_7275_D98A_41B9_DAA9BDBAD919.text = Bhuvaneshwari HotspotPanoramaOverlayTextImage_408140F8_5352_B50B_41C4_A5B1EB5BE8B1.text = Bitti HotspotPanoramaOverlayTextImage_638C3A20_721D_48BA_41DA_246AD233918F.text = Brahma HotspotPanoramaOverlayTextImage_60D85669_720D_788A_41BD_2C16ECA51634.text = Brahmani HotspotPanoramaOverlayTextImage_1391D18B_32CC_F31C_41AD_3D53F7934544.text = Chhadya 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HotspotPanoramaOverlayTextImage_89B41CC9_9A97_F6F0_41BB_4141D859A41F.text = Halayudha HotspotPanoramaOverlayTextImage_673E70ED_77D8_22DE_41BE_C64D6C031ED6.text = Halayudha HotspotPanoramaOverlayTextImage_6031E20F_7275_D886_41CE_5CA42ADC1A41.text = Halayudha HotspotPanoramaOverlayTextImage_D4D80EE2_C278_4769_41DB_05F82BDF14FB.text = Hari HotspotPanoramaOverlayTextImage_8F2A81E1_99EF_2EB1_41D0_B46D1D56E77C.text = Harihara HotspotPanoramaOverlayTextImage_6719208F_77D8_215A_41B1_F11DF62CBD9E.text = Harihara HotspotPanoramaOverlayTextImage_78C82597_7768_E34B_41D6_74FF8B807070.text = Harihara HotspotPanoramaOverlayTextImage_8919778E_9AB7_1373_41E1_D576A22E0D58.text = Harihara HotspotPanoramaOverlayTextImage_624E0A48_7217_488A_41DB_CED82B6360EE.text = Indra HotspotPanoramaOverlayTextImage_D94D3835_F9C3_D09B_41E4_E6E729F98671.text = Jagati HotspotPanoramaOverlayTextImage_771B3D96_6860_9D66_41C0_9544624EBF1E.text = Janardana 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HotspotPanoramaOverlayTextImage_633C7AF3_721C_C99E_41B6_FCAA587F404B.text = Vishnu HotspotPanoramaOverlayTextImage_60F3AC72_721B_489E_41D7_732431D6E385.text = Vishnu HotspotPanoramaOverlayTextImage_6163F2A9_720B_B98A_41D4_5912D141D93A.text = Vishnu HotspotPanoramaOverlayTextImage_A908D9DD_BD0A_F473_41E7_74744F067509.text = Vishnu HotspotPanoramaOverlayTextImage_899FE37F_9AB7_3391_41D5_BEB10D03CB7D.text = Vishnu HotspotPanoramaOverlayTextImage_89122053_9A91_2D91_41C2_F2973B6C1340.text = Vishnu HotspotPanoramaOverlayTextImage_66AC6490_7728_2146_41D4_3D510FB76DA6.text = Vishnu in Anjali mudra (92) HotspotPanoramaOverlayTextImage_675F894D_7728_23DE_41A0_3EA7538F8D56.text = Vishnu in Chin mudra HotspotPanoramaOverlayTextImage_7895FEDF_7758_5EFA_41D7_9DAF10BC5911.text = Vishnu with bow HotspotPanoramaOverlayTextImage_FFC17132_EDC3_845A_41EB_A5BBB90E0987.text = Vishnu with musala HotspotPanoramaOverlayTextImage_88299A5A_9AB1_1D93_41DC_62AB232E92BF.text = Yama HotspotPanoramaOverlayTextImage_63AF82D2_7277_599E_41B3_6288F177F5C3.text = Yoganarayana HotspotPanoramaOverlayTextImage_7A4229B0_68E0_A4B9_41D3_0B2532DC0345.text = Yoganarayana ## Media ### Audio audiores_18336855_04EA_B9E6_417B_BBBC3347AA59.mp3Url = media/audio_1E5D4DB3_04E9_DAA2_415D_BCC2CB669AAB_en.mp3 audiores_2657B0DF_05AA_6AE2_4194_2DCCC0E96E7C.mp3Url = media/audio_22367DDA_059E_5AED_4183_A1B20644AF72_en.mp3 audiores_6B732A8D_5824_E1A7_41BB_736CA85B0D2E.mp3Url = media/audio_6969AC83_5824_21A3_41CF_6265EB9F6B14_en.mp3 audiores_6FCB336F_78F3_26CB_41C4_4CCBBA7C9338.mp3Url = media/audio_6E6E06BF_78F3_2E4B_41A7_2EDAAD5AE05B_en.mp3 audiores_6FD36192_78F3_2255_41C1_EAA38004F12B.mp3Url = media/audio_6EEBB750_78F2_EED4_41D6_10F76EB29576_en.mp3 audiores_6FCAF2A8_78F3_2675_41D4_557366406E34.mp3Url = media/audio_6FEC6CEF_78F3_63CB_41D9_AF2EEB7A467F_en.mp3 audiores_8433B686_A30F_9F6C_41B7_E7FA56BCA1BC.mp3Url = media/audio_87984147_A300_95EC_41CB_FDB535ED1EAB_en.mp3 audiores_840AE852_A30F_93E5_41C6_78850D509DCB.mp3Url = media/audio_87E451FF_A300_949B_41CE_CE8EA4E0F426_en.mp3 audiores_840D897F_A30F_959C_41DB_B762D58C4882.mp3Url = media/audio_87E5326B_A300_97A4_41CB_F89C2C96CD77_en.mp3 ### Audio Subtitles ### Description photo_2A5D4D03_30DB_ABFE_41C4_DA2CC1388629.description = A battle scene - Dasharatha supports Indra against asuras // Warriors with a variety of weapons & shields. photo_2A5D4D03_30DB_ABFE_41C4_DA2CC1388629.description = A battle scene - Dasharatha supports Indra against asuras // Warriors with a variety of weapons & shields. album_44E2CBF7_63A4_F914_41D2_5CB2646CD062_0.description = A beautiful depiction of a battle with archers on chariots & swordsmen – difficult to ascertain which battle it refers to album_3B99E4D2_34C3_D1FB_419F_8ADE37AE8A4A.description = A grand welcome to Ayodhya // Dasharatha seated in his court with his 4 sons album_348D5B2B_39B0_C2EF_41B9_8E0075AE4436.description = A procession of cavalry & soldiers, perhaps depicting Dasharatha's victory // Note the 4 wheeled chariot & military band. album_664305C7_7281_C275_41B1_DC5763E7D954_0.description = A roaring lion at the corner // Prahalada praying // Hirayanakashipu seated // Hiranyakashipu counseling Prahalada album_4496859B_6265_891D_41C8_077D71D6AB0E_0.description = A tournament to showcase the skills of Pandava & Kaurava princes after their training in variety of weapons including swords, maces & archery – with their gurus & citizens in the audience album_4592A736_63AC_8917_41D7_71A90AE75C38_0.description = Arjuna sets fire to the Khandava forest that grew amidst the ruins of Khandavaprastha kingdom // Animals flee from the forest fire album_94A0A3E7_8129_85DE_41D3_2648D0F958F6_0.description = Banks of Yamuna river, depicted with a variety of trees & aquatic creatures album_45D3984C_63A3_877B_41BE_09AA076F7886_0.description = Bhima (with gada) fights Jarasandha to support Yudhisthira's Rajasuya yagna to become emperor // Bhima tears Jarasandha's body apart into 2 halves to slay him album_45A685C1_639C_896D_4198_5508F170ED69_0.description = Bhima drives a cart laden with food to the rakshasasa Bakasura, in lieu of his host // He fights & slays Bakasura album_556B05DF_4E98_DFF7_41AE_99CE2688B205_0.description = Celebrations after Mathura & Krishna's parents freed from Kamsa's tyranny // Krishna being anointed & felicitated photo_275DE0A3_34C3_7059_4189_9965C0E6DD2D.description = Celebrations in Ayodhya // the 4 princes on their mothers' laps. photo_275DE0A3_34C3_7059_4189_9965C0E6DD2D.description = Celebrations in Ayodhya // the 4 princes on their mothers' laps. album_20528C30_3E87_CEF1_41C5_F703054462D0_0.description = Crawling Krishna brings down Yamala-Arjuna twin trees liberating Kubera's two sons // Slays Trinavarta, an asura in the form of a whirlwind // Slays Bakasura // Yashoda making butter album_7FF9E443_6A0B_8975_41D6_758E25862D87_0.description = Dasharatha conducts Putrakamesthi yagna // Distributes payasam amongst his 3 queens // 4 princes are born. photo_27AEEBBB_30DD_AE0D_41B2_FE3CF7F65BD5.description = Dasharatha seated in his court surrounded by courtiers, horsemen, soldiers, camels, musicians etc. photo_27AEEBBB_30DD_AE0D_41B2_FE3CF7F65BD5.description = Dasharatha seated in his court surrounded by courtiers, horsemen, soldiers, camels, musicians etc. album_7AC066B5_590B_5272_41A4_E5AA1C8AE556_0.description = Each of the magnificent Shikhara is designed in the intricate plan of a 16-pointed star or a lotus—a unifying theme that flows seamlessly from the Adhisthana to the top.​ \ \ Notice the four levels of ornamental turrets, the small tower-like projections highlighted here in blue. These are richly adorned with carvings of Simhamukhas (lion faces), Kirtimukhas (faces depicting glory & protection), mythical Makaras, divine figures like Yakshas and Gandharvas, and delicate floral patterns.​ \ \ Above these, you’ll see three levels of squarish stone tiers, shaped like an inverted lotus, gracefully leading to the very pinnacle—the Kalasa, a round, symbolic finial that crowns this architectural masterpiece. album_45F7A55B_639C_891D_41D1_05440C1BB877_0.description = Ghatotkacha, son of Bhima & Hidimbi, is born in the forest and cradled from the trees album_211E3F7F_7383_5E15_41D1_98BCCE4B725D_0.description = Guards carrying sword & shield // Hiranyakashipu threatening his son Prahlada, seated on his lap album_45DDF8AB_63A4_873D_41B6_709C384AAC73_0.description = In the archery challenge at the swayamvara, Arjuna shown shooting the fish while looking at its reflection // Draupadi garlands & weds Arjuna photo_D04D4781_C0E3_3FA0_41DF_312CE6DE1C40.description = In the ceiling covering the sabhamantapa (picture at the top), just above the dikkapalakas is a gallery of round pillars supporting canopies. The dome consists of 32 curved beams, supported by 3 circular rows of rafters – which have lotus bud like elements lining their periphery. The central pendant is a bud, yet to open. ​ \ \ ​Around the navaranga, we can also see rafters in a star shaped pattern (12 or 16 pointed) or octagonal (as in the bottom 2 pictures), combined with different shapes of the bases. photo_D04D4781_C0E3_3FA0_41DF_312CE6DE1C40.description = In the ceiling covering the sabhamantapa (picture at the top), just above the dikkapalakas is a gallery of round pillars supporting canopies. The dome consists of 32 curved beams, supported by 3 circular rows of rafters – which have lotus bud like elements lining their periphery. The central pendant is a bud, yet to open. ​ \ \ ​Around the navaranga, we can also see rafters in a star shaped pattern (12 or 16 pointed) or octagonal (as in the bottom 2 pictures), combined with different shapes of the bases. photo_D3CE874F_C0E1_10BF_41C8_242EF9E9FC9E.description = In the roof of the Antarala, the antechamber of the garbagriha, we see ceiling panels with nine lotuses in different stages of bloom or different varieties. This design showcases the non-figural representation of the Ashtadikapalakas - the guardians of the 8 cardinal directions. photo_D3CE874F_C0E1_10BF_41C8_242EF9E9FC9E.description = In the roof of the Antarala, the antechamber of the garbagriha, we see ceiling panels with nine lotuses in different stages of bloom or different varieties. This design showcases the non-figural representation of the Ashtadikapalakas - the guardians of the 8 cardinal directions. album_265EB7A1_3E85_5990_41C9_A1DB69D29343_0.description = Infant Krishna crawling // Suckling & slaying the asuri, Putana // Kicking & killing the asura, Sakatasura album_46726F85_63AF_99F5_41B6_0371C9F7FCF1_0.description = Khandavaprastha is rebuilt & armies set up – renamed as Indraprastha, the capital of Yudhisthira​ album_24796810_7386_C1EC_41C5_D68E899F50E2_0.description = King Bali offering gift to Vamana avatar of Vishnu // Vishnu as Trivikrama,with his leg lifted & river Ganga flowing from it // Bali pleads with Rishi Shukra not to obstruct his offerings (Vamana in foreground) album_5A17BDC2_4E88_4FC8_41B5_FEB7ADA46592_0.description = Krishna & Balarama are admired & welcomed in Mathura // Delighted with the hunchback Trivakra's offerings, Krishna places his toe on hers & lifts her by the chin, removing her deformities album_556B40B4_4E98_5449_41B8_36771224BB7F_0.description = Krishna & Balarama defeat Chanura & other powerful wrestlers as Kamsa & audience watch on album_5593D51D_4E98_7C78_41D2_6B78507FDFD2_0.description = Krishna & Balarama fight Kamsa's brothers & soldiers who try to avenge his death album_490BA180_4449_B10D_41BA_1F05CFE3EEFC.description = Krishna & friends stealing butter // Likely depiction of Krishna showing his Vishwaroopa (Universal form) album_949609B0_8128_85B1_41B5_A6C8955AAD9C_0.description = Krishna & young friends practicing wrestling album_4AF87867_444B_5F14_41C4_A7140C1950DD.description = Krishna being brought up in Gokul under watchful eyes of gopis & gopas – being suckled // rocked in a cradle // with Yashoda & Nanda photo_EBF8B04C_F34E_3C82_41ED_3A7E50F1AB20.description = Krishna dives into Yamuna from a tree top // Defeats venomous serpent Kaliya, whose wives plead for mercy photo_EBF8B04C_F34E_3C82_41ED_3A7E50F1AB20.description = Krishna dives into Yamuna from a tree top // Defeats venomous serpent Kaliya, whose wives plead for mercy album_48BE949E_4449_D734_41C1_9AF0742EE05B.description = Krishna grows up & takes cattle for grazing along with other gopas (cowherds) album_327A92A4_3E8A_FB91_41C0_2467A78B389D.description = Krishna handed over to Nanda & Yashoda & exchanged for their newborn daughter, an avatar of Yogamaya // Daughter is then handed over to Devaki album_55848475_4E98_DCCB_41C2_C6A02A3176D7_0.description = Krishna killing the elephant Kuvalayapida instigated to trample him // Krishna lifts & breaks Shiva's ceremonial bow, fights guards​ album_4594168D_4963_F235_4147_C7D8BC870276.description = Krishna slays Aghasura, who disguised as a giant python, tries to swallow Krishna // Worshipping of Mount Govardhan instead of Lord Indra album_4593115D_4963_2ED5_41A8_0429A38781E2.description = Krishna slays Vatasura, an asura (demon) who came disguised as a calf // Balarama kills Dhenukasura who's disguised as a donkey album_F50F3C00_F865_A618_41D9_A517FA081EAE.description = Krishna thrusts his arm into the mouth of horse-demon Keshi & kills him // While playing a game of carrying each other on their shoulders, Balarama kills the disguised asura Pralamba. album_5A111E00_4E88_CC48_4189_F0EF6F40C5C0_0.description = Krishna travels to Mathura with gopas, after being invited by his evil uncle, the king Kamsa, for a wrestling match (a ruse to kill him) album_55610831_4E99_D44B_41D0_6985710551BC_0.description = Krishna wrestles with his evil uncle & king, Kamsa, eventually killing him album_59DE87DC_4E88_5BF9_41A8_AEAF25A3C541_0.description = Krishna's rasleela in Vrindavan – Playing the flute // Krishna seated on elephant // His replicas dancing alternately with gopis​ album_33B17696_3E85_5BB1_41CB_4F3AC763DA7F.description = Lakshmana disfigures Surpanakha // Rama slays with Khara, Dushana & Trisiras album_44E676DF_6265_8B15_41CE_6EBB7F9C7B24_0.description = Likely depiction of Kunti & the Pandavas being persuaded by king Dhritrashtra to attend festivities at Varanavrata (believed today to be at Barnawa, near Meerut) album_738BA023_4287_7697_4193_A3A1E9499636_0.description = Likely depiction of Rasleela – Krishna's dance with gopis – in the forests of Vrindavan album_447D61A2_63A5_892F_41B8_FBD159052DF2_0.description = Likely depiction of Yudhisthira being coronated as Emperor, surrounded by a massive army – armed soldiers, swordsmen, chariots, cavalry mounted on horses, elephants & camels etc. depicted album_45F36D9B_626D_F91D_41C0_B1E0DF7398E1_0.description = Likely depiction of continuation of the tournament or Duryodhana driving Karna away in his chariot after being insulted by the Pandavas album_452FA2CF_626C_8B75_41A6_EE2757F3CFA7_0.description = Likely depiction of counsel by the elders of the court to the youngsters; the bearded figures probably represent Bheeshma & Dronacharya. album_48BA3424_4448_B714_41AA_D009109146C0.description = Likely depiction of relocation from Gokul to Vrindavan with cattle & belongings album_673D470B_751C_CC72_41DA_0D42A3F84DDD_0.description = Likely depiction of teachers admonishing & coaxing Prahalada to give up his devotion to Vishnu album_44F7DFDE_6264_B917_41D7_7382232270B6_0.description = Likely depiction of the Hastinapur darbar, with Dhritarashtra ruling album_46F51ADA_63A3_BB1F_41D6_E39E2E2FBB80_0.description = Likely depictions of Hastinapur court, when Dhritrashtra invites the Pandavas back and offers them half of his kingdom album_4240F57B_6263_891D_41BF_A065713970FE_0.description = Likely depictions of Karna arriving at the tournament and challenging Arjuna to an archery contest photo_E4D1B166_C516_BE03_41D4_E380A3FE23F8.description = Mahishasuramardini // Lord Vishnu carried by a kneeling Garuda // Krishna as Venugopala // Krishna lifting Mount Govardhana photo_E4D1B166_C516_BE03_41D4_E380A3FE23F8.description = Mahishasuramardini // Lord Vishnu carried by a kneeling Garuda // Krishna as Venugopala // Krishna lifting Mount Govardhana album_F94F3F3C_E45D_18B0_41D7_1C3ED9FF8F01_0.description = Mahishasuramardini // Lord Vishnu carried by a kneeling Garuda // Krishna as Venugopala // Krishna lifting Mount Govardhana album_67B55937_7515_C492_41D7_D715F66FCEB3_0.description = Other unsuccessful attempts to kill Prahalada – flung into a roaring fire // by decapitating his head // being trampled by an elephant album_450FE326_639F_8937_4193_8B89ADE359D8_0.description = Pandavas go to Ekachakrapura following the counsel of Vyasa, and stay at a brahman's house, in the guise of brahmans album_452D0DE0_639D_992A_41C2_965966BD3F2A_0.description = Pandavas go to attend the swayamvara of Draupadi, daughter of King Drupada // Stay in disguise at a potter's house, who's shown working at his wheel album_45AAAB8E_6264_99F7_41C8_3C14FA4AB6C5_0.description = Pandavas hosted in lakshagriha - a palace of wax & other combustible material, as instructed by Duryodhana // Bhima premptively sets it afire & they escape through a tunnel album_45F182A4_639C_8B2B_41CA_1A162A64E3E5_0.description = Pandavas take refuge in a forest after their escape & roam about in disguise album_60858CA6_7281_4237_41A0_49C7B6E2250B_0.description = Prahalada being beaten // Attempt to drown Prahalada in the sea - surrounded by fishes & turtles, with rocks dumped on top of him (continuation from the other side) album_67C4B8C1_7514_45EE_41D2_4ED76A6BF95C_0.description = Prahalada being beaten – either by a guard or Hiranyakashipu // Poisoned food being given to Prahalada album_21F8552E_7383_C237_41C5_57D37B2BEA12_0.description = Prahalada guarded by rakshasas // Threatened with beheading by sword carrying guard album_615CC53B_7281_421D_41CA_C6821AF3B9E0_0.description = Prahalada praying to Vishnu // Probably carrying offerings for the Lord album_295E6E3D_3AD1_42EB_4182_046359EB0DB4_0.description = Procession returning to Ayodhya // En route, Rama is challenged by Parashurama album_1694FCD0_35C3_B1F8_41BD_2E756492E83B_0.description = Rama fights Subahu & Mareecha - the sons of Tataka; flings Mareecha to the ocean album_23B6194F_3AB7_4EA6_4172_8673E839C322_0.description = Rama pursues Mareecha disguised as a golden deer album_2BB524FD_3545_51A8_41B3_18F9DB1B16A3_0.description = Rama slays the rakshasi, Tataka, in Dandaka forest album_1700F3C0_35C3_77D8_41C5_C5955A74B2E6_0.description = Rama strings & breaks Shiva's bow owned by Janaka, winning the hand of Sita // Sita garlands Rama​ album_3B811B9E_34C3_F068_41C4_DB7B5F87738B.description = Rama weds Sita; at the same time his brothers Lakshmana, Bharata & Shatrughna wed Sita's sisters album_3B997D33_34C3_D0B8_41AA_330B6E1735D3.description = Rama, Sita & Lakshmana driven by Sumantra in a chariot to their exile // The trio cross a river // Visit rishis in ashrams​ album_4B9FD452_6AB6_100F_41C3_98EC25148B9D_0.description = Rama, Sita & Lakshmana shown crossing forests & rivers // Viradha kidnaps Sita & is later slain by Rama's arrows album_1D177EE9_3E77_C36B_41C2_7B9647158D0A_0.description = Ravana disguised as a rishi kidnaps Sita // Ravana, with caged Sita, fights with Jatayu album_6395B9B6_715F_E8A5_41B8_961B801C1073_0.description = Ravana fights with Jatayu // Display of his 10 heads // Vanaras find Sita's jewels // Vanaras befriend Rama & Lakshmana​ album_2BD1CA9B_3544_D069_41C7_FB34388FEF56_0.description = Rishi Vishwamitra arrives // Rama & Lakshmana accompany him to Dandaka forest album_60B6F2B7_715C_58A3_41B6_D20743B0A293_0.description = Seshasayee – Vishnu, with 4 hands, reclining on Ananta Shesha, with his consorts in the milky ocean amidst sea creatures & corals album_1B6B99D5_2D95_77EA_41BE_D41354707318_0.description = Soldiers threatening & persecuting Prahalada photo_D3FC7DD1_C0E3_13A3_41E1_B1DA264D41E6.description = Some ceiling domes feature serpentine bands, intertwining with the rafters. These bands are regarded as Ananta knots – or endless knots - that symbolize eternity (ananta = one with no end). They also represent karma and samsara – the eternal karmic cycle. \ A variation of the knot is known as Srivatsa and is present on the chest of Lord Vishnu, where his consort Lakshmi is believed to reside. These serpentine loops are also believed to represent Ananta Shesha – the celestial serpent that Vishnu relaxes on. photo_D3FC7DD1_C0E3_13A3_41E1_B1DA264D41E6.description = Some ceiling domes feature serpentine bands, intertwining with the rafters. These bands are regarded as Ananta knots – or endless knots - that symbolize eternity (ananta = one with no end). They also represent karma and samsara – the eternal karmic cycle. \ A variation of the knot is known as Srivatsa and is present on the chest of Lord Vishnu, where his consort Lakshmi is believed to reside. These serpentine loops are also believed to represent Ananta Shesha – the celestial serpent that Vishnu relaxes on. album_5A6E5ED3_4E88_CDC8_41C9_0113C1F589BF_0.description = Taking a break at before crossing river Kalindi (Yamuna) // Are welcomed by Mathura residents album_113E147A_35DC_D0AB_419E_828E7A200D39_0.description = The court of King Janaka in Mithila album_B599B44A_A632_60CF_41C6_1A76BCDDE030_0.description = The five Pandava brothers are seated in their court album_8BCEF4C4_9C46_115F_41C5_67DE8B48D602_0.description = The group of panels here probably represent the Pandavas & Kauravas on their chariots, with bows on the ready opposite each other, preparing for battle; with the panel in the center depicting Dhritrashtra and elders mediating between them to prevent it. album_20D062D9_34DF_51E9_41B9_3E758A191768_0.description = The princes being rocked in cradles // crawling on all fours. album_151786CF_3547_71E8_41A4_04061532B1B0_0.description = The princes receive military training in usage of different weapons album_46B8C5D3_639D_896D_41D7_033F8DC77778_0.description = The rakshasi, Hidimbi, disguised as a beautiful lady approaches Bhima, standing guard with his gada (mace) & proposes marriage // Bhima slays her brother, the hideous rakshasa, Hidimba album_7AC066B5_590B_5272_41A4_E5AA1C8AE556_1.description = This ornamental feature extends from the Shikhara, right above the Antarala—the vestibule connecting to the sanctum. Its name, literally meaning 'parrot's nose,' comes from its unique shape - that resembles the curve of a bird's beak. Here, you’ll notice them beautifully placed in front of all three Shikharas – with an oblong projection containing a depiction of a dancing Vishnu (missing in the western shikhara). At times, even the space in the temple below it is referred to by the same name. ​ album_B38F03AC_A101_74BD_41DF_BA40F735667E_0.description = Two swordsmen try to behead Prahalada, who is praying to Vishnu album_67B64BBA_7514_5B92_41A7_EFC3EA36C826_0.description = Vishnu & Lakshmi seated // Krishna lifting Mount Govardhana // Krishna dancing on the head of the serpent, Kaliya album_215665F7_7382_C215_41DB_D7D84770DC5F_0.description = Vishnu as Narasimha fighting Hiranyakashipu // Narasimha ripping apart Hiranyakashipu on his thighs; Prahalada & Garuda praying at his feet photo_FE52C86C_E475_18D0_41E0_3C52E6036A37.description = Vishnu dancing, holding a bow & arrow photo_FE52C86C_E475_18D0_41E0_3C52E6036A37.description = Vishnu dancing, holding a bow & arrow album_327FD414_3E8A_DEB1_41C7_F1D12FFA92BE.description = Vishnu in darbar with Lakshmi // Reveals his celestial form before taking avatar // Protected by 7 hooded Sesha, Vasudeva crosses river Yamuna to go to Gokul album_210FB242_7381_466F_41D6_52684600FE2C_0.description = Vishnu seated // Kneeling Garuda, with finely detailed wings // Vishnu standing album_2BB64B1C_3545_F06F_41B4_E8F3C1024DB2_0.description = Vishwamitra & rishis continue their yagnas, with Rama & Lakshmana standing guard album_14A9CCF4_35C4_F1BF_41C3_32C2F25EE7D7_0.description = Vishwamitra leads Rama & Lakshmana to Mithila album_60AA9A3B_715C_2BA3_41D4_DBC0798FF4CE_0.description = Wedding of Vasudeva & Devaki and their procession; Kamsa drives their chariot album_9D32C1DE_8B8C_FA45_41DB_FD6E0E2552EB_0.description = Worship of Mount Govardhana // Krishna lifting Govardhana to protect Vrindavan residents from Indra's fury induced rains album_327F5A7D_3E8A_CB73_41C2_758279FCF6B6.description = Yogamaya, as newborn, escapes Kamsa's attempt to dash her against a rock, rises to the skies & warns him // Enraged Kamsa orders his army to kill all newborns album_4226593D_6264_9915_41AF_95E49456B098_0.description = Young Bhima shaking a tree, causing his Kaurava cousins to topple from it – symbolic of the early rivalry between Pandavas & Kauravas ### Floorplan ### Image imlevel_45DF1843_5B87_80AE_41D0_6547E61EBC31.url = media/map_7C86E603_6F36_1417_41D3_711530C523EE_en_0.png imlevel_45DF3843_5B87_80AE_41C7_0364B17AC20E.url = media/map_7C86E603_6F36_1417_41D3_711530C523EE_en_1.png imlevel_45DEF843_5B87_80AE_41D4_0284A2ABB58E.url = media/map_7C86E603_6F36_1417_41D3_711530C523EE_en_2.png imlevel_45DE8843_5B87_80AE_41D2_9955C13640BD.url = media/map_7C86E603_6F36_1417_41D3_711530C523EE_en_3.png imlevel_4607E873_5B87_816D_41CC_D80D5EAAC80B.url = media/map_D1C8E99A_C692_94AA_41E1_A2188D9E5955_en_0.png imlevel_4607C874_5B87_816A_41D1_895D873D394F.url = media/map_D1C8E99A_C692_94AA_41E1_A2188D9E5955_en_1.png imlevel_46073874_5B87_816A_41D6_C8CF364E2488.url = media/map_D1C8E99A_C692_94AA_41E1_A2188D9E5955_en_2.png imlevel_46072874_5B87_816A_41D2_A47ED2896DD9.url = media/map_D1C8E99A_C692_94AA_41E1_A2188D9E5955_en_3.png 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life-size statue of Venugopala is placed on a Garuda pedestal. Venu translates to flute in Kannada and Gopala to the protector of cows - a form of Lord Krishna portrayed as a divine flute player. ​ \ \ Venugopala stands in a mesmerizing tribhanga pose, his right foot elegantly crossing over his left, while his hands delicately hold his flute, perfectly aligned at his lips. Draped in a flowing, skirt-like garment, he is adorned with an ornate crown, large earrings, bracelets, armlets, anklets, necklaces, and a resplendent waistband —each detail meticulously sculpted.​ \ \ Around him, cows and gopikas (cow-herding girls) stand entranced, their devotion and earnestness captured beautifully in the gentle tilt of the cows' heads and the folded hands of the gopikas. Above, the torana (arched frame) is adorned with rishis (sages) in deep contemplation, with the ten avatars of Vishnu at the periphery. ​ \ \ ​At the centre of the pedestal is a relief depicting Lord Vishnu’s mount Garuda kneeling.​ panorama_3FDDEA39_2FAC_AE0A_41A2_6A44657F34FA.subtitle = As we step through the Mahadwara, we enter a spacious mantapa-like interior, where the magnificent three-tiered temple at the heart of the courtyard comes into view. Above us are octagonal and square-paneled ceilings, adorned with intricate floral designs, are the fine lathe-cut pillars—a signature element of Hoysala temple architecture.​ \ \ ​To the left, a 10-foot-tall stone slab stands as a testament to history, inscribed with nearly 200 lines in Sanskrit and Kannada, written in the old Kannada script. This ancient record details the temple’s patrons, grants, and guidelines for revenue generation and usage, offering a fascinating glimpse into the past.​ \ \ ​ Let’s now head towards the steps descending into the courtyard for a panoramic front view of this magnificent temple complex. To better appreciate the grandeur of the temple, it would be useful to look at a short clip highlighting some of the key features of Hoysala temple architecture ​ panorama_C3DAB67D_D750_D8FE_41E3_400E87A41110.subtitle = Flanking the staircase on either side, we see two small shrines that once likely housed idols of deities or Yakshas. Sadly, during various invasions, many of these sacred figures were either removed or defaced, leaving behind traces of their former glory.​ \ \ As you approach the entrance to the mantapa, we are greeted by two imposing dwarapalas —Jaya and Vijaya - the legendary gatekeepers of Vaikuntha, the celestial abode of Lord Vishnu. Traditionally depicted with four hands wielding weapons, these intricately carved and ornamented figures here bear visible signs of damage.​ \ \ Unlike the ornate carvings seen elsewhere in the temple, the entrance itself is modest, featuring simple door jambs and a plain lintel. \ \ As you step into the temple, look up at the exquisite ceiling that is immediately adjacent to the doorway - being one of the most intricate panels in the temple. Additional details of this panel are provided in the hotspot. We'll then look at a short clip about the interiors of the temple panorama_8974D735_9AB1_3391_41C2_7F4403FB3C04.subtitle = Highlights of this section include the formidable Yama, two mesmerizing depictions of a dancing Vishnu, the graceful Manmatha, and the intricately carved Lakshminarayana. .​ \ \ The smaller panels bring Krishna’s heroic saga to life, tracing his journey to Mathura and his triumph over the tyrant Kamsa, marking the conclusion of the Bhagavatam narrative near the second garbagriha. From here, the epic Mahabharata unfolds. Though many carvings are generic and difficult to identify, the early panels likely depict the Pandavas' childhood in Hastinapur. One particularly striking scene captures a young and powerful Bhima shaking a tree, sending his Kaurava cousins tumbling to the ground. panorama_68069073_7C6A_14B3_41AE_5CAB1AE414EE.subtitle = Highlights on the bitti include depictions of Vishnu as Rama, Varuna and Yoganarayana. \ \ Take a moment also to admire the stunningly intricate toranas that gracefully frame the images of all deities and their attendants, adding a sense of grandeur and reverence. They feature elegantly carved creepers laden with buds, fruits and flowers in a variety of forms and patterns. They are also botanically accurate — the level of detail reflects not just artistic brilliance but also a keen understanding of nature.​ \ \ The mythological frieze depicts Rama & Lakshmana proceeding to Mithila; Rama lifting & stringing Shiva's bow, thus winning Sita's hand in her swayamvara. panorama_D9ED456B_F9C3_508F_41D1_C6B0DF3539AE.subtitle = If you're eager to delve deeper into any of the architectural elements, click on the associated hotspots on this representative panorama to explore more nuances. We've also included a hotspot that elaborates the symbolism of Vishnu's iconography and his four attributes. ​ \ \ Click on the Next button when ready to continue our walk along the jagati, starting from the shrine entrance. panorama_FEE31A06_E111_BF0F_41D8_63FFF916902D.subtitle = Inside the northern garbagriha stands a finely detailed idol of Janardhana, about 4.5 feet tall and remarkably well-preserved. Janardhana, as Krishna is referred to in the Bhagavad Gita, represents his role as the preserver and protector of the universe, embodying his manifestation as Vishnu. The name itself translates to "the one who liberates people from suffering," making him one of the most powerful and revered forms of Krishna.​ \ \ Elegantly sculpted, Janardhana is depicted with four arms. In his right hands, he holds the chakra (discus) and padma (lotus), while in his left, he grasps the shankha (conch), with the other resting gracefully on his gada (mace) that is propped against the ground. Each of these attributes is adorned with intricate embellishments. He is flanked by his consorts and adorned with exquisitely detailed ornaments.​ \ \ ​Encircling him is a beautifully sculpted serpentine torana, featuring a bejeweled band on the inner side and carvings of Vishnu’s ten avatars along the outer periphery. Like the other deities, he is positioned on a pedestal, with a kneeling Garuda at its center, symbolizing devotion and service. \ \ Let's now explore the marvelous exteriors of the temple, starting with a short clip that explains the key architectural elements & their highlights. panorama_77350D6D_6860_9DAA_41AF_3B9FA810CB9E.subtitle = Let's start with a closer look at the deities and epic stories carved into the walls of this magnificent monument as we move in a clockwise direction on the pradakshina patha. ​ \ \ Starting at the top of the adhisthana, the railing panel illustrates scenes from the story of Prahlada next to the entrance, culminating in Vishnu’s Narasimha avatar slaying Hiranyakashipu. Further along, we see finely detailed depictions of King Bali’s encounter with Vishnu’s Vamana avatar.​ \ \ The mythological frieze starts illustrating events from the Ramayana. The section visible on your screen highlights key events leading up to the birth of the four princes of Ayodhya.​ \ \ Notable segments within these narrow panels are marked with hotspots, which automatically fade after a few seconds. You can reactivate them by clicking the blue "i" icon below the carousel.​ \ \ The larger wall sculptures on the bitti (wall) are labeled on your screen for easy reference. You can toggle these labels using the "Tags" button in the menu. For more details on specific carvings, click the encircled hotspots. ​ \ \ In this section, some of the most striking sculptures include Vaikuntha Narayana, Tandava Ganapati, and Nritya Sharada, each exuding remarkable artistic and spiritual significance.​ \ \ To continue your journey, click the "Next" arrow to proceed to the next section. panorama_D6142646_F83B_A218_41E9_8E17C75CDF07.subtitle = Many historians consider this to be the last major temple built by the Hoysala dynasty – and it truly marks the pinnacle of their artistic and architectural achievements. As we stroll around the prakara, take a moment to appreciate how each meticulously carved detail blends seamlessly into the whole, creating a breathtaking monument to devotion, craftsmanship, and timeless inspiration.​ \ \ ​As we end our journey through this incredible temple, we truly hope you enjoyed exploring its hidden corners and discovering the stories whispered in its stones. We also hope our tour has helped you appreciate not just its grandeur, but also the subtle beauty and intricate details that make it so special.​ \ \ Before you head off, we'd love to hear about your experience with our tour! Your feedback is invaluable to us, as it helps us make our tours even better. So, if you have a few moments, please click on the Exit button and share your thoughts – what you loved, what you think we could improve, anything at all! ​ \ \ Safe and happy travels! panorama_A6904EE2_B52A_6681_41E0_0F8AA7A2CC64.subtitle = Many historians consider this to be the last major temple built by the Hoysala dynasty – and it truly marks the pinnacle of their artistic and architectural achievements. As we stroll around the prakara, take a moment to appreciate how each meticulously carved detail blends seamlessly into the whole, creating a breathtaking monument to devotion, craftsmanship, and timeless inspiration.​ \ \ ​As we end our journey through this incredible temple, we truly hope you enjoyed exploring its hidden corners and discovering the stories whispered in its stones. We also hope our tour has helped you appreciate not just its grandeur, but also the subtle beauty and intricate details that make it so special.​ \ \ Before you head off, we'd love to hear about your experience with our tour! Your feedback is invaluable to us, as it helps us make our tours even better. So, if you have a few moments, please click on the Exit button and share your thoughts – what you loved, what you think we could improve, anything at all! ​ \ \ Safe and happy travels! panorama_7C879D74_68A3_FDBA_41C5_43DC580F161D.subtitle = On either side of the entrance to the western antarala, there are two sub-shrines that once likely housed the deities Ganesha and Mahishasuramardini. This is suggested by the small relief carvings on their canopies. However, the original idols were probably stolen or destroyed during invasions. Today, the left sub-shrine contains Lakshminarayana, which was likely placed there later, while the right sub-shrine remains empty.​ \ \ Above the entrance lintel of the antarala, there is a relief sculpture of a standing Keshava. Above him, Lakshmi is depicted inside a kirtimukha, with elephants on either side. Further up, Vaikuntha Narayana is shown seated on Ananta Sheshnag.​ \ \ The lintel of the garbagriha doorway features Lakshminarayana, and above it, Vishnu is shown sitting in sukhasana. On either side, Hoysala lions are carved in unique poses, different from those seen at the other antarala. panorama_8A603365_9971_13B1_41A6_72812139A009.subtitle = On the bitti, among the other images is a striking depiction of Venkateshwara— Vishnu standing with his left hand resting on his hip, exuding grace and authority.​ \ \ The mythological frieze has captivating scenes from Krishna’s legendary exploits. He is shown fearlessly slaying formidable asuras in Vrindavan, protecting his devotees by effortlessly lifting Mount Govardhana, and enchanting the gopis in the divine dance of Rasleela. panorama_BBB4442D_AEF7_9926_41E0_0AEF6A06358A.subtitle = On the bitti here, the first three Vishnu avatars—Matsya, Kurma, and Varaha—are uniquely styled. Unlike the typical portrayal with divine or human-like upper bodies and animal-like lower bodies, these carvings show them with distinctive animal heads and human-like torsos. Additionally, the dynamism depicted in the intricate craftsmanship of Parijata Apaharan and Lakshminarayana is particularly remarkable.​ \ \ ​The mythological frieze illustrates events from Rama's exile to Sita's kidnapping. The depiction of the Ramayana concludes with Rama's meeting with the Vanaras at the end of the first garbagriha, after which the narration of the Bhagavatam begins. panorama_6ADF0935_65B3_C232_41C7_360586A9AD81.subtitle = On the bitti, you can see a remarkable depiction of Venugopala – Krishna playing his flute as a gopala (cowherd). Also noteworthy is the depiction of Indra, with his Vajra (thunderbolt). ​ \ \ ​The mythological frieze depicts events leading upto Rama & Lakshmana accompanying Vishwamitra to liberate Dandaka vana. ​ \ \ ​Take a moment also to appreciate 4 of the common friezes around the entire temple containing Annapakshis, Makaras, Horses & Elephants. The depictions appear similar & repetitive at first glance – however, they are finely differentiated in details by postures, decorations or accompaniments all around. ​ \ \ ​Click on the Next arrow to view the next section. panorama_A97E38B7_A672_2046_41D6_C67BBAB2703E.subtitle = On the railing panel, we can see small but fairly detailed carvings of Govardhandhari - Krishna lifting Mount Govardhan - and Kalingamardana - Krishna defeating the 5 headed, venomous serpent Kalinga. On the side, there are vivid depictions of the attempts to set Prahalada on fire & trample him with an elephant. \ The narration of Mahabharata on the mythological frieze ends with the coronation of Yudhishthira as Emperor.. \ \ ​It would be remiss to not talk about the creators of this magnificient masterpiece in stone. As mentioned before, many of them have inscribed their names below their works. Among them, the name of Mallitamma stands out - who's worked on and perhaps guided - some of the most intricate carvings here.​ \ \ ​Next, let’s ascend to the prakara on the southern side for another pradakshina around the temple. From the elevated vantage points, you can admire the temple’s grandeur, architectural harmony and perfect proportions. panorama_B844D069_AE5A_792E_41E5_A67587D06A5D.subtitle = On the serene banks of the sacred Cauvery River lies the charming town of Somanathapura, home to one of the finest masterpieces of Chalukya-Hoysala architecture—the magnificent Prasanna Chennakesava Temple, also known simply as the Kesava Temple. Built in 1258 CE, this breathtaking shrine dedicated to Lord Vishnu stands as a testament to artistic brilliance and devotion. It is one of the three Hoysala temples proudly listed as a UNESCO World Heritage Site, alongside the famed temples of Belur and Halebidu.​ \ \ Through this interactive mobile guide, we invite you to embark on a journey through the wonders of this architectural gem. From its intricate carvings to its deep symbolic meanings and fascinating mythological tales visualized by master artisans of the era, this tour is designed to provide both a broad overview and a closer look at the mesmerizing details that capture your attention.​ \ \ To truly soak in its beauty, we recommend setting aside 1.5 to 2 hours for exploration. \ \ Let’s proceed towards the Mahadwara (grand entrance) of the temple, by clicking on the Next button. We'll start with a short video on the Hoysala dynasty.​​​ panorama_BBB45CC4_AEF7_E966_41AB_A412E3DB120A.subtitle = The bitti carries depictions of Vishnu in his many divine forms—Trivikrama, the towering conqueror; Parashurama, the warrior sage; and Halayudha, the plough-wielding protector; as also an image of Harihara, the fusion of Vishnu and Shiva. ​ \ \ Below, the mythological frieze unfolds the mesmerizing episodes from the Bhagavatam. It begins with Krishna’s miraculous birth and follows his playful childhood in Gokul. Following the move to Vrindavan—an escape from the relentless attempts of asuras to end his life – it captures his enchanting antics and adventures. panorama_C852BCDD_D149_D0A0_41CC_558C2724C1D5.subtitle = The Chennakeshava Temple is widely regarded as one of the finest Hoysala trikuta (three-towered) temples. It stands majestically on an elevated platform at the center of the courtyard, known as the jagati. ​ \ \ The temple’s three shikharas (towers) have remarkably withstood the test of time and invasions, remaining largely intact. Even from a distance, their intricate ornamentation stands out, reflecting the grandeur of Hoysala craftsmanship.​ \ \ Surrounding the temple, a prakara (enclosure wall) defines the courtyard’s periphery. However, the sections flanking the Mahadwara were damaged and later removed. Small subshrines line the prakara, though most now stand empty.​ \ \ ​ We'll first proceed to the main temple and then take a walk around the pradakshina patha ​ panorama_FC694108_E111_8D03_41E8_A589098D00CC.subtitle = The deity in the western sanctum is Keshava, another name for Vishnu and Krishna. The name Keshava refers to one with long, beautiful hair and also signifies the slayer of the demon Keshi.​ \ \ This deity is depicted as a chaturbhuja (four-armed form), standing on a Garuda pedestal. In his two right hands, he holds the Shankha (conch) and Padma (lotus), while his two left hands carry the Chakra (discus) and Gada (mace). These objects are key elements of Vishnu’s traditional iconography. At his feet, his consorts are depicted, and along the periphery of the torana, miniature carvings of rishis and other deities can be seen.​ \ \ The idol currently enshrined is not the original one— which was likely damaged or taken away during invasions. The present idol is a replica, sculpted based on the relief carving on the doorway’s lintel. While it preserves the form, the craftsmanship lacks the same level of flair and finesse of the two images in the other garbagrihas. panorama_7CD98CC1_68A0_9CDA_41D0_AAEC87717F2B.subtitle = The entrance to the antarala is guarded by the dwarapalas Bhadra and Subhadra. On the lintel above, a small carving of the main deity, Venugopala, is depicted standing in a group. Just above this, Lakshminarayana is shown seated in sukhasana, flanked by several lions—symbolizing the Hoysala dynasty. The ceiling also features intricate depictions of gandharvas and dikkapalaks.​ \ \ Moving further toward the garbagriha, the entrance is watched over by Jaya and Vijaya. The door lintel showcases a seated Vishnu, while the canopy above presents a unique depiction of Vishnu in a dynamic dancing posture. panorama_BBB41492_AEF6_99E2_41C9_3CCF710534FF.subtitle = The most remarkable feature of the mantapa – is that the intricacies and finesse of the ceiling is achieved in stone! ​ \ \ The dominical ceilings within the squares, with kirtimukhas for their corners, contain 4 to 6 tiers with rib-like elements, geometric patterns and elegant floral designs. Some ceilings have snake-like (ananta) knots that symbolize eternity (ananta = one with no end). The central pendants are flower buds in different stages of opening. These buds are interpreted differently by different scholars – some consider them as banana flowers, while some as lotus buds. There are also intricate miniature carvings of dancers, musicians and soldiers, alongside depictions of the deities. ​ \ \ The grand design of the mantapa showcases 3 distinct types of Hoysala pillars – elaborated further in the hotspot. In contrast to the exterior pillars, these are finished with a fine & smooth polish – very thoughtfully done to better reflect light within the dark interiors. ​ \ \ Take your time to stroll around the mantapa and marvel at the intricate artistry of the ceilings—each design a testament to the superb craftsmanship of the Hoysalas. Once you've soaked in the beauty above, let’s move to the sabhamantapa \ panorama_7C0F8C88_68A0_A36A_41CB_2DCC6D190C75.subtitle = The northern antarala closely resembles the others, with Bhadra and Subhadra standing as its guardians. Above the entrance lintel, Janardhana is depicted alongside his consorts, while Lakshmi Narasimha sits in the canopy above, flanked by the signature Hoysala lions.​ \ \ At the entrance to the garbagriha, a seated Lakshmi is carved—distinctly without elephants. Above her, Yoganarayana is depicted in a meditative yogasana posture, with Hoysala lions on either side differing in poses from those in the other two antaralas.​ \ \ All the antaralas and garbagrihas feature beautifully crafted pilasters adorned with bhadraka pillars. At the entrance, some of these pillars are further embellished with celestial beings at their tops—though, over time, a few of these figures have gone missing. panorama_B5F727CE_A100_9CFD_41D5_EE0DB123228F.subtitle = The prakara once encircled the entire temple and consisted of 64 small shrines. However, the sections flanking the mahadwara suffered damage and were eventually removed, leaving only 56 shrines now. Inscriptions reveal that each shrine was once home to exquisitely sculpted idols—each around four feet tall—depicting various forms and avatars of Vishnu. Today, however, almost all of these shrines stand empty. ​ \ \ Along its inner side stretches a long, elegant verandah, upheld by the Srikara-style, round, lathe-turned soapstone pillars of Hoysalas. However, particularly on the northern and western sides, where many of these pillars fell into ruin or destroyed, they were later substituted with square, granite pillars of the Vijayanagara style.​ \ \ ​Relish the walk along the pillared prakara, and take your time to appreciate the marvelous temple from different angles. Though invasion & destruction has left its scars, and despite not being a live temple, the echoes of devotion still linger within these sacred walls! ​ panorama_89DC6AD3_995D_E245_418F_46D6739EC90D.subtitle = The section of bitti here has depictions of Vishnu captured in serene postures —one with his hands in Chin Mudra, and another in Anjali Mudra.​ \ \ Below, the mythological frieze brings to life Krishna’s early years as a playful Gopala, herding cows and enchanting Vrindavan with his divine presence; followed by his legendary triumph over the venomous serpent, Kaliya, residing in the waters of Yamuna. panorama_71A7242C_6860_E3AA_4192_4279C7568F68.subtitle = The slightly elevated sabhamantapa once served as a vibrant dance hall, resonating with music and devotion. Connecting the sanctums to the navaranga is an ornately decorated Antarala (ante-chamber). Its entrance lintels feature exquisite miniature depictions of the deities within, offering a glimpse of the divine before one steps inside. \ \ The temple boasts three equally grand Garbhagrihas (sanctums), each dedicated to a unique form of Krishna: Venugopala in the South, Keshava in the West and Janardhana in the North. ​ \ \ The Venugopala and Janardhana idols, masterfully carved from Krishna Shilé (black stone), are the original monolithic sculptures, while the Keshava idol is a later replica of the lost original. \ \ Let’s proceed to explore the sanctum sanctorums, beginning with the enchanting Venugopala shrine​ panorama_D46EDC0A_C7FF_CF4A_41E6_BBD985F0551B.subtitle = The striking depiction of the Sun God, Surya Narayana, accompanied by his consorts, stands out in this section.​ \ \ The smaller panels vividly capture the escalating tension between the Kauravas and Pandavas, portraying the elders' earnest attempts to mediate and guide the feuding princes. Another highlight is the Pandavas' escape from Lakshagriha, the infamous palace of wax. panorama_CD1C2327_C208_7EF7_415D_79C26B4614FB.subtitle = This section includes a vibrant depiction of Goddess Lakshmi radiates joy as she dances gracefully. Nearby, a powerful image of Kalki, Vishnu’s prophesied future avatar, stands as a symbol of the promise of renewal.​ \ \ The mythological panels illustrates the Pandavas' eventful journey through the forest, Bhima’s encounter with Hidimba, and their eventual arrival at the grand court of King Drupada. panorama_7402384A_6F50_1554_41D2_4E9E4376F5CA.subtitle = Towards the end of the third garbagriha, we see the exquisite depictions of Mahishasuramardhini and a dancing goddess, unfortunately marred by significant damage. ​ \ \ ​The mythological panels illustrate Arjuna winning Draupadi's hand in the archery challenge and a spirited scene of a chariot battle. The narrative continues around the mukhamantapa, depicting the Pandavas' return to Hastinapur, followed by Yudhishthira's coronation as emperor with Khandavaprastha as his capital.​ \ \ ​The smaller images of deities around the mukhamantapa depict various forms of Vishnu but just like the other side, are damaged. The railing panel at the top features additional episodes showcasing the cajoling and persecution of Prahalada – the attempts to set him on fire & trample him with an elephant being quite vivid. \ \ ​Next, let’s ascend to the prakara on the southern side for another pradakshina. From the elevated vantage point, you can admire the temple’s grandeur, architectural harmony and perfect proportions. panorama_603612A1_7215_D9BB_41B3_5E6A04BE02A1.subtitle = We see a rare depiction of Dhanvantari – the God of Ayurveda, as also that of Balarama – both considered to be avatars of Vishnu. Alongside, we also can see fine depictions of Nritya Lakshmi and Brahma. ​ \ \ The mythological frieze depicts the wedding of the 4 princes & their return to Ayodhya. panorama_C45F0AD0_D1C9_D0A0_41E1_9F2BE266C330.subtitle = We’re welcomed into the walled temple complex by a surprisingly modest Mahadwara (main gateway) on the eastern side. Unlike many temple entrances adorned with towering gopurams or fierce dwarapalas, this one keeps it simple—almost as if guarding a secret, giving no clues to the breathtaking stone artistry inside.​ \ \ Though reconstructed over time, the Mahadwara has retained its understated elegance. Its shallow porch is supported by two lathe-cut pillars, and if you look up, you’ll spot a small yet striking statue of Vishnu gracing the roof. Once, two elephant statues stood proudly before the pillars, but they were likely destroyed during invasions. To its northern side, towers a 30 feet tall, granite Deepa stambha. ​​​​​ ### Title album_7AC066B5_590B_5272_41A4_E5AA1C8AE556_0.label = (1/2) Shikhara album_7AC066B5_590B_5272_41A4_E5AA1C8AE556_1.label = (2/2) Sukhanasi video_7003D440_59FC_E09E_41D1_58FF05F06178.label = 01. AI2 - Welcome pano (Mandaragiri hills) video_7E40C1C9_59FC_23AF_41C8_54746AD2D462.label = 02. 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Brahma
Lord Brahma, the lord of sacrifices, is depicted here with 4 hands and with well-shaped beards. Being associated with Creation, knowledge and the Vedas, he obviously does not hold any weapons. His right hands hold an akshamala (rosary of rudraksha beads) and a scepter in the form of a ladle, used to pour holy offerings into the sacrificial fire. Interestingly, the ladle is shown here with a boar-head. In his left hands, he's shown holding a pasa (noose), a kamandala (water pot) and a staff.
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Dhanavantari​
The God of Ayurveda, he is also considered to be an avatar of Vishnu. He is said to have emerged from the ocean of milk, during Samudra manthan (churning of the ocean) by the Devas & the Asuras, bearing Amrit (ambrosia or elixir of immortality). Here he is depicted seated in padmasana – with his right hand holding a kalasha – representing amrit; the left holding apupa (small food offerings like cakes or sweet pies) in a bowl.
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Halayudha​
This is a depiction of Balarama – considered by Vaishnavites to be the eighth avatar of Lord Vishnu. He is also known as Halayudha as his preferred choice of weapon is the Hala - plough. ​
He is depicted here with six hands hands: the right holding a hala (plough), chakra & spear (broken off); the left holding a pasa (noose), shankha & a shield.
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Jaya & Vijaya through their devotion to Vishnu became the two dwarapalas (guards) of his abode, Vaikuntha. Due to a misunderstanding, they got cursed by 4 rishis to be born on earth, and Vishnu gave them 2 options to overcome it – 7 births as Vishnu's devotees or 3 as his staunch enemies. Not able to bear the thought of being apart from their lord for a long time, they chose the latter option.
They were thereafter born as Hiranyaksha & Hiranyakashipu in their first birth – killed by Varaha & Narasimha avatars of Vishnu;
as Ravana & Kumbhakarna in their second – killed by Rama;
as Shishupala & Dantavakra in their third and final birth, killed by Krishna.
Thereafter, the curse on them got lifted and they were able to return to Vaikuntha to be close to their lord. ​
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Lathe pillars are a hallmark of Hoysala architecture. We can see these across the temple, all through the pillared hallways and mantapa. They are divided into 5 components – which are said to be crafted separately and then joined together through a Lock and Key system.​
Some historians believe that these pillars were shaped manually using hammers & chisels. However, if you look observe the pillars closely, you’ll notice the minute, perfectly circular imprints on the stone. Achieving such precise & fine details would be incredibly challenging to accomplish by hand alone. It is believed that a rotary mechanism - possibly even stronger than modern-day lathe machines - might have been used to craft these pillars. ​
Although this type of polishing and finishing is distinctive to the Hoysalas, other dynasties such as Kakatiyas and Chalukyas too had similar decorative pillars.
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The legendary sculptor ​- Mallitamma
With an extraordinary career spanning over seven decades (1196–1268 CE), Mallitamma's contributions to temple architecture and sculpture were stupendous, exceeding even the career length of the Italian legend Michelangelo. He continued until his nineties, with this temple believed to be his final, crowning achievement. However, it is also believed that he executed many of his later works through his students. Of over 20 artisans whose signatures appear in this temple, Mallitamma features at least 60 times - his mastery imprinted in stone in both wall and narrative sculptures. ​
​The master artist's names appears in many Hoysala temples and sculptures. Known for his imaginative artistry, Mallitamma depicted divinities in dynamic, dance-like poses – many for the first time in such poses. He was also known for creating his own designs and often depicted weapons with ornate motifs. He trained numerous students who contributed to his projects, ensuring his artistic legacy endures as a hallmark of India's rich cultural heritage.
References: Articles from New Indian Express, Deccan Herald
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The legendary sculptor ​- Mallitamma
With an extraordinary career spanning over seven decades (1196–1268 CE), Mallitamma's contributions to temple architecture and sculpture were stupendous, exceeding even the career length of the Italian legend Michelangelo. He continued until his nineties, with this temple believed to be his final, crowning achievement. However, it is also believed that he executed many of his later works through his students. Of over 20 artisans whose signatures appear in this temple, Mallitamma features at least 60 times - his mastery imprinted in stone in both wall and narrative sculptures. ​
​The master artist's names appears in many Hoysala temples and sculptures. Known for his imaginative artistry, Mallitamma depicted divinities in dynamic, dance-like poses – many for the first time in such poses. He was also known for creating his own designs and often depicted weapons with ornate motifs. He trained numerous students who contributed to his projects, ensuring his artistic legacy endures as a hallmark of India's rich cultural heritage.
References: Articles from New Indian Express, Deccan Herald
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​Also, known as Brahmi, the goddess is considered to be the female form of Brahma or his consort. She's considered to have emerged from Brahma's body, and is believed to have played a crucial role in helping him in the creation process. She is depicted here with four hands: holding an ankusha (goad), padma, kalasha and pasa (noose).
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​In the sculpted panel on the top, under a kirtimukha (lion face motif), we can see an image of Keshava - a form of Lord Vishnu - in the center. On the left we can see the form of Venugopala under a torana, kneeling Garuda (the vehicle of Vishnu) and the Sun. On the right, we can see the form of Janardhana, a cow suckling its calf and the moon. ​
​The inscription contains 4 records – 2 each from the reigns of the Hoysala king Narsimha III and King Ballala III, ranging from 1268 to 1326 CE. These specify the gifts offered to the temple, the allocation of land and revenues, distribution of income and responsibilities.
The standee on the left, put up by Archaeological Survey of India, has a translated summary of the records. It has also been provided as a hotspot in the tour, for reference.
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​Dancing Lakshmi​
The Goddess of Wealth and consort of Vishnu, Lakshmi, is depicted in a dancing pose with a drummer flanking her on both sides. She is depicted with six hands: the right hands in svarga mudra, holding chakra & phala; left hands holding padma, sankha & lamba-hasta (hand hanging freely)
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A beautiful & detailed engraving – despite the damage inflicted - of Lord Vishnu seated in a relaxed pose on his asana, with his consort Lakshmi seated on his lap. 3 hands are broken, and the remaining left one is holding a gada (mace). Lakshmi is holding a kalasha (water pot) and a padma (broken), with her foot resting on a lotus – which in turn is propped up by an elephant with its trunk. On their right, with folded hands (head broken off) is likely to be Garuda; and another attendant on the left. The pedestal is also finely decorated with floral design.
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A celestial showdown ! A dramatic depiction of the episode where Krishna defies Indra to bring the celestial Parijata tree to earth. ​
On the left, Krishna and his consort, Satyabhama, soar through the heavens atop the mighty King of birds, Garuda. Garuda clutches a purloined Parijata branch in his left hand while brandishing a weapon in his right, to fend off Indra’s attacks. ​
On the right, a furious Indra is readying to strike with his weapon Vajra (thunderbolt), astride his white elephant, Airavata. His wife, Sachi devi seated inside a howdah (saddle on an elephant) is accompanying him to reclaim their treasured Parijata. The armored & decorated Airavata is charging forward, holding a lotus in its trunk.
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A depiction of Manmatha – also known as Kamadeva - the God of love & desire, standing gracefully in the tribhanga pose. He is considered to be the son of Vishnu & Lakshmi. He is usually portrayed with Ikshu danda - a bow made of of sugarcane, string made of bees - and 5 floral arrows in his quiver that represent the 5 senses.
The sculpture here depicts a well ornamented Manmatha holding a sugarcane bow (now broken) in his left hand and arrows in his right. His consort, Rati, is likely depicted to his left; while the figure of his assistant, Vasant, can be seen near his feet (head broken off). ​
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A dynamic depiction of Lakshmi dancing with a captivating smile, that stands out despite the mutilation. Only four of her eight arms can be seen now – carrying a chakra & phala, with the other two in abhaya & dana mudras. Drummers standing on both sides have been destroyed. ​
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A fairly well preserved depiction of Parashurama, shown here with 6 hands. In his right hands, he is carrying a pasa (noose), gada (mace) and shankha (conch). In his left hands, he is carrying his Parashu (battle axe), padma (lotus) and chakra (discus).
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A very fine depiction, despite the damage inflicted, of Mahishasuramardhini – the event of Goddess Durga slaying Mahishasura, the evil asura with a buffalo form.(Mahisha = buffalo in Sanskrit).
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In this dramatic depiction, Durga is shown with 8 hands – 3 of which are broken. In a triumphant pose, she has one foot planted on the buffalo's back, wherefrom the real form of Mahishasura is seen emerging. With one hand restraining the asura's head, the other is piercing her Trishul (Trident) into his abdomen. In very graphic detail, he is shown disembowelled with intestines spurting forth. Another asura is shown transfixed and dangling by a sword in another hand. Her upper hands are holding a chakra and shield. Durga's vahana, the lion, is depicted in the bottom corner, attacking another asura holding a broken sword & shield.
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During Samudra manthan - the churning of the ocean by devas and asuras to access amrit (elixir of immortality) - Lord Vishnu took the avatar of a kurma (tortoise) to support the Mandar parvata (mountain) that was used as a churning rod, on his back. He is depicted here with four hands – the rear ones holding a shankha & chakra, and the front ones holding an oblong object – probably symbolizing Mandar parvata.
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Each corner of the 16-pointed star of the Jagati has a large pedestal, with 2 smaller ones on either side. The larger ones have elaborately ornamented elephants (many are damaged or entirely missing), with their mahouts (caretakers) or soldiers near their feet. The 3 pranalas (drain outlet carrying water or milk poured over the deities from the garbagriha) are supported by one of the elephants on that side. This can be seen at the Western & Northern pranalas, while the southern one is broken. ​
The smaller pedestals are believed to have smaller sized stone images of yakshas or nagas – all of which are now missing, except for the holes & grooves where they may have been fixed. Only a few of these smaller images are yet present around the jagati.
This thoughtful arrangement reflects a deeper symbolism: the elephants at the corners represent their role in supporting the earth's surface, while the yakshas and nagas beneath signify the netherworld—all coming together to portray the Jagati as a worldly platform .​
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Each of the small shrine in the Prakara has a simple but typical Hoysala doorway, opening to the verandah flanked by bhadraka form pillars. Their lintels are ornamented with drops and turrets of varying design. The roofs in front of them are panelled and decorated with floral designs.
Each shrine had a large granite base, on which were placed embellished soap-stone pedestals, topped by approximately 4-feet tall finely sculpted images of various deities.
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Goddess Sharada or Saraswati is depicted in a dancing pose, with six hands. Her rear right hands hold a mala (rosary), ankusha (goad), while the left carry a manuscript, pasha (noose); the front hands are carrying a veena.
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Harihara is a composite form of Shiva & Vishnu. He is depicted here with 8 hands – 4 of which are broken. The remaining hands are holding Sarpa (Serpent), shankha, ankusha (goad) and in the dana mudra.
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He is considered to be the 10th & final avatar of Vishnu, to arrive in the future. He's believed to take the avatar to end the current Kali yuga (era), and usher in the Satya yuga. He has been mentioned in scriptures like Mahabharata and Garuda Purana, to be riding a white horse called Devadutta, carrying a flaming sword and a protective shield. ​
Here, this avatar is depicted with 4 hands. The rear ones carry a shankha & chakra like the other forms of Vishnu. The front right holds a sword (now broken) and the front left is shown resting on a long, rectangular shield.
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He is depicted here with 4 hands – the rear two carrying chakra & sankha; the front left is in dana mudra while the right holds his pasa - the spiral lasso that is regarded as being used by him to claim souls.
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In this form, Vishnu is depicted with 4 hands. He is shown carrying a shankha & gada in his right hands; and padma & chakra (broken) in his left hands.
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Lord Ganesha is shown in a joyful dancing posture. In one his bejewelled right hands, he's shown holding his broken tusk as a stylus; the left hands hold a bowl of modaka (a type of sweet) & a conch. The three-headed serpent, Vasuki, is shown encircling his waist. ​The deity or attendant to his left is shown playing on a type of drum called davane (in Kannada). Musicians playing drums & cymbals are shown on his sides. ​
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Lord Vishnu is depicted here with one hand in Abhaya mudra, and second on his waist with the elbow bent – in the Kati hasta mudra - a posture commonly associated with Lord Venkateshwara. This mudra signifies supreme authority & an assurance of protection. The other two hands are broken- but likely carried shankha and chakra.
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Lord Vishnu is depicted in striking, dancing tribhanga poses in the 2 adjacent sculptures. Tribhanga is a depiction where the body is slightly bent at 3 different points – often forming a gentle S curve – lending dynamism to the depiction. The tilt of the head, the bends in the knees & at the hips impart action to the figures, enhanced further by the flowing robes. ​
The depiction on the right shows him with 4 hands – with chakra & shankha in his rear hands, and the front with a veena (now partially broken). ​
The depiction on the left shows him with 6 hands - holding a mala (rosary), a kalasha (water pot) and shankha, one hand in lamba hasta mudra (hanging freely). One hand & the fingers of another are broken.
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Lord Vishnu is shown here with his front hand in chin mudra – a pose where the tip of the forefinger is touched to the tip of the thumb, forming a circle. The left hands hold a broken musala and a shankha.
Chin means consciousness, and the chin mudra represents a connection between the individual and universal consciousness. It is called Gnana mudra, when the palm is facing downwards.
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Lord Vishnu is shown seated in the Padmasana posture. His hands on the back are shown holding the shankha and chakra, while the front hands are folded on his laps in Yogamudra. ​
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Lord Vishnu is shown seated on the coils of the serpent, Anant Sheshanag, whose seven heads are seen above him. Vishnu is depicted in a relaxed seating pose, with right hand resting on the seat, the left on his knee & two holding his shankha & chakra. He is surrounded by deities & attendants.
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Lord Vishnu took the Narasimha avatar to protect his devotee Prahalada from his evil father, King Hiranyakashipu. The avatar - a hybrid of human & lion forms - is shown seated, with his consort Lakshmi on his lap. The sculpture is disfigured, but we can see Narasimha holding his chakra (discus) in the right hand and shankha (conch) in his left. Lakshmi is shown holding a padma (lotus) in her hand, and her foot resting on a lotus. Prahlad is depicted on the right, with hands folded in prayer. ​
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Lord Vishnu took the avatar of a boar to slay the demon Hiranyaksha and rescue Bhudevi. The sculpture here is depicted with a boar's head and six hands, one of which is broken. The others are shown holding a chakra, padma, umbrella, sankha and a goad.
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Lord Vishnu took this avatar to rescue the first man, Vaivasvata Manu, the seven great sages and the Vedas during the Great Flood that could have destroyed life on earth. The avatar is depicted here with the head of a fish and a human like body, with six hands. One hand is broken off – but the rest are depicted holding a padma, shankha, mala, gada & chakra. ​
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Lord Vishnu with 6 hands is depicted standing in a relaxed pose . He's holding a shankha & chakra in his rear hands. One front hand is in abhaya mudra - note the delicate flower etched on his palm; while the other is resting on his gada (mace). 2 of the hands are broken. ​
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Many deities and attendants in the sculptures here hold a phala (fruit). It symbolizes prosperity, karmic rewards, and spiritual enlightenment bestowed by deities. It also represents offerings to the divine and nourishment for devotees.
The phala in the sculptures here resembles maize or corn, with visible kernels. While some believe maize was introduced to India from Mexico, others believe that an indigenous variety existed in abundance in Karnataka before the 12th century CE – before the Hoysalas gained prominence - making it a symbol of agricultural fertility and divine significance. Alternatively, it may represent a type of millet.
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Surya Narayana, or the Sun God, is considered to be a manifestation of Lord Vishnu. Here he is carrying padma (lotus) flowers in his upper hands. The front hands are in Abhaya and Dana mudra.
On either side are depicted his consorts, Usha & Pratyusha with their bows, shooting rays of light. Usha is considered to shoot the arrows of dawn – (the first morning sun rays), while Pratyusha – the arrows of dusk (the last sun rays of the day)
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The shikharas represented in the bitti over some images here are different from the ones seen earlier. Without the cornice or railing, they are formed on top of halves of 16-pointed stars, mimicking the stellate plans of shikharas. ​
Some of these are miniature replicas of the shikharas of this very temple – with multiple turrets arranged in tiers of reducing sizes to form a star shaped tower.
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The King of Devas is depicted with four hands. The rear ones are holding sankha and chakra; while his front right is shown holding his vajra (thunderbolt) and front left with his danda (staff). ​
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The choice of Chloritic Schist, more commonly known as soapstone, played a crucial role in shaping Hoysala architecture. Unlike granite and sandstone, which were widely used in other ancient temples, soapstone is much softer when freshly quarried, making it easier for artisans to carve intricate designs. Over time, it hardens, ensuring durability while remaining chemically inert—helping the sculptures withstand weathering and invasions for centuries.​
However, the softness of soapstone comes with a trade-off. Its lower load-bearing capacity required the temples to have sturdier, shorter pillars and a reduced overall height compared to those built with harder stones. Despite this limitation, its workability allowed for the breathtakingly detailed carvings that define Hoysala architecture.​
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The concept of the 24 forms of Lord Vishnu rooted in the Mahabharata. These forms, called Chaturvimshati murtis, represent his Vyaktarupas (manifest forms), while Vishnu himself, the 25th form, is Avyaktha (formless).​
Vishnu's 4 primary attributes held in his four hands are arranged in various combinations, which define his 24 distinct forms.​
Sudarshana Chakra: Serrated edge discus that destroys enemies; also symbolizes time​
Panchajanya Shankha: produces the primordial sound of creation; Represents the five elements that are the basis of all cosmic creation​
Padma (Lotus): Represents purity, dharma, and cosmic order, emerging from impure waters towards the sun.​
Kaumodaki Gada: Embodies strength and is one of his oldest weapons.​
​Sculptures depict Vishnu with 4, 6, or 8 hands (Chaturbhuja, Shadbhuja, Ashtabhuja). His free hands are most commonly in:​
Abhaya Mudra: Open palm upwards, symbolizing protection and bliss.​
Varada or Dana Mudra: Open palm downwards, representing generosity and granting boons.
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The concept of the 24 forms of Lord Vishnu rooted in the Mahabharata. These forms, called Chaturvimshati murtis, represent his Vyaktarupas (manifest forms), while Vishnu himself, the 25th form, is Avyaktha (formless).​
Vishnu's 4 primary attributes held in his four hands are arranged in various combinations, which define his 24 distinct forms.​
Sudarshana Chakra: Serrated edge discus that destroys enemies; also symbolizes time​
Panchajanya Shankha: produces the primordial sound of creation; Represents the five elements that are the basis of all cosmic creation​
Padma (Lotus): Represents purity, dharma, and cosmic order, emerging from impure waters towards the sun.​
Kaumodaki Gada: Embodies strength and is one of his oldest weapons.​
​Sculptures depict Vishnu with 4, 6, or 8 hands (Chaturbhuja, Shadbhuja, Ashtabhuja). His free hands are most commonly in:​
Abhaya Mudra: Open palm upwards, symbolizing protection and bliss.​
Varada or Dana Mudra: Open palm downwards, representing generosity and granting boons.
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The depiction of horses in this temple offers a fascinating glimpse into history. Horses played a crucial role in the Hoysala cavalry, and compared to earlier Hoysala temples, the ones carved here appear far better equipped. Many of them sport detailed headgear, bridles, curved saddles, martingales (used to control movement), and even specialized horseshoes.
This upgrade is believed to have been influenced by imports from West Asia and Turkey, where the Hoysalas sourced fine horses.
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The element features two levels of mouldings. The lower one, called Kapota, marks the end of the bitti and is adorned with floral motifs and dangling lotus bud pendants. The upper moulding, Hara, signals the beginning of the shikhara and is lined with foliated kudu—decorative arch-shaped elements that create rhythm and visual appeal in the chhadya.​
The underside of the chhadya is equally fascinating, designed to mimic wooden rafters and intricately carved with floral patterns at junctions and select spaces.​
Rafters, originally wooden, played both structural and aesthetic roles in temple architecture. As temple construction evolved, more durable stone replaced wood. This transition can be traced back to the Mauryan period, with wooden rafters seen in palaces and temples, while the Gupta period marks the shift from wood to stone.
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The exquisite pillars not only support the structure but also showcase the craftsmanship of Hoysala artisans. We can see three distinct types of pillars, with embellishments to add variety.
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Srikara – these cylindrical, lathe cut pillars abound the temple. Those around the sabhamantapa have holders near the capital for lighting oil lamps & also have yakshas at their bases.​
Bhadraka – are squarish in form. These can be seen on either side of the entrance to the navaranga, as well as the entrance to the antarala & garbagrihas. ​
Indrakantha – are in the shape of elaborate 32 pointed star, with alternate rays of different sizes. Here, they mark the transition from the mukhamantapa to the sabhamantapa.
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The impressive granite tower rises about 30 feet high and rests on a sturdy square platform. The base transitions from a square to an octagon and then into a 16-sided fluted shaft, topped with a finely crafted 16-sided wheel. Above a lotus base sits a square abacus, where lamps would have been traditionally lit during festive occasions. ​
​The inscription contains 4 records – 2 each from the reigns of the Hoysala king Narsimha III and King Ballala III, ranging from 1268 to 1326 CE. These specify the gifts offered to the temple, the allocation of land and revenues, distribution of income and responsibilities.
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The ingenious Hoysala architects used an interlocking system that allowed them to assemble intricately carved stone modules with remarkable precision.​
This engineering technique featured various types of joints such as mortise and tenon joints, tongue and groove mechanisms (couple of examples illustrated above), horizontal layering, and keystone locking blocks—all designed to create a seamless, stable structure.​
Rather than using mortar, which can weaken over time and leave visible seams, the Hoysalas relied on a jigsaw puzzle-like assembly of stone blocks. This not only enhanced the aesthetic appeal but also provided flexibility, strength, and long-lasting durability, ensuring their temples stood the test of time.​
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The lowest section of the bitti features beautifully carved elephants, most of them marching in a clockwise direction. Some are depicted in a playful mood, while others carry one or two riders, adorned with decorative elements and protective armor.​
The elephants are shown in various dynamic poses—holding the tail of the one in front, carrying riders, trampling or goring soldiers, and even grasping tree branches. Their placement at the base is symbolic of elephants carrying the weight of the temple on their backs.​
A striking highlight is found at the corners, where masterfully sculpted elephants appear with two bodies but a single shared head, showcasing the extraordinary skill of the artisans.
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The remains of another very fine depiction of a dancing goddess. 6 of her 8 arms have been broken off by invaders, which makes it difficult to determine which goddess is referred to here. With a radiant smile on her face, her two hands are in abhaya and dana mudras, holding a flower. The details of her crown, necklaces & other jewellery are captured vividly. Musicians on her sides are playing drums and cymbals.
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The scroll frieze consists of floral decorations depicting a variety of creepers, flowers & fruits. The corners are decorated with fierce looking kirtimukhas. These ferocious depictions - literally meaning "face of glory", with bulging eyes, stout horns, gaping mouth & protruding fangs – are considered to be symbols of protection and for consuming the evils of negativity, ego & greed. ​
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The second last frieze shows a long line of horsemen, mostly moving in the clockwise direction. They're depicted in different poses – jumping, prancing, rearing, cantering, trotting or trampling on soldiers. Their riders too are variously depicted – carrying different types of weapons & shields, engaged in duel or escorted by guards. The steeds are shown variously with decorations, armour and saddles. ​
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The second row of friezes consist of Makaras – more or less uniform in their depiction across. Makaras are mythical dragon like aquatic creatures. They are considered to be the vahana of the river goddess Ganga devi, as well as that of Varuna, the Lord of the Seas. ​
Makaras are a hybrid of aquatic and terrestrial creatures. They are often depicted as a creature with the body like a crocodile, trunk like an elephant, paws like a lion, tusks like a boar, horns like a goat and a bushy tail like that of a peacock.
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The top frieze of the adhisthana contains a variety of elaborately carved Annapakshis. Mostly they are depicted marching clockwise – but there are several places where they are shown pecking themselves or others, or with their heads turned or feeding themselves or their young ones. ​
Annapakshi is a mythical bird with the beak & body of a swan and the elegant plumage of a peacock. It is the vahana of Saraswati, the goddess of knowledge. It may be shown holding a flowering vine in its beak, which is symbolic of abundance.
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This beautifully intricate carving showcases Lord Krishna, richly adorned and gracefully playing his flute. Surrounding his head, symbolic emblems of divinity—the gada (mace), chakra (discus), shankha (conch), and padma (lotus)—are delicately sculpted.​
The scene comes to life with gopis, cowherds, and cows, all enraptured by the mesmerizing melody of his flute. Even a cobra, coiled near his feet, appears to be listening in devotion, adding a mystical touch to this exquisite depiction.​
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This depiction is of a goddess seated in sukhasana, carrying a chakra and padma in her right hands. The left hands are broken, making it difficult to identify the form of the deity. ​
This likely could be a depiction of Lakshmi, the consort of Lord Vishnu. It could also be that of Mohini, considered to be an avatar of Vishnu – who emerged at the time of Samudra manthan (churning of the ocean) – to charm the asuras to part with the amrit (elixir of immortality) and hand it over to the devas.
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This depiction of 6 handed Vishnu is likely to be Harihara - the composite form of Shiva and Vishnu. 4 of the hands are broken; however the trishul (trident), which is a weapon of Shiva, and lotus are partially visible.
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This is a 4 handed depiction of Balarama. His rear right hand is holding his preferred weapon – Hala, the plough - with his chakra in the front right. The rear left hand is holding a musala (club) and left front in dana mudra.
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This is likely a depiction of Harihara – composite of Vishnu & Shiva. He is depicted with 8 hands, of which only 3 are visible now. These carry a shankha, padma and a sword – this is likely to be the powerful Chandrahasa sword of Lord Shiva.
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Vishnu here is shown with his front hands in Anjali mudra – where the palms are pressed together, fingers facing upwards – the same as our Namaste gesture. The rear right hand is broken, while the left holds his shankha. ​
While there are several symbolisms, the Anjali mudra mainly indicates respect & devotion - a salutation to the divinity in the other; as also composure and balance by bringing the hands together at the center.
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Vishnu in this form is depicted with 4 hands. The rear right hand carries a musala (a form of club) and the front is in abhaya mudra. The left hands carry a shankha and chakra. This form is representative of Trivikrama, the Lord of the 3 worlds. ​
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Vishnu in this form is shown in sambhanga pose, holding his chakra & shankha in his right and left hands, with left front hand in dana mudra. The right front hand is damaged. ​
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Vishnu is shown with 4 hands here. His right hand is shown holding Parashu – the battle axe. The left front hand is holding a musala (a type of club) - the top half is broken. The other hands are holding a padma (lotus) and chakra (discus).
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Vishnu's Rama avatar is shown with six bejewelled hands – holding sankha, arrow, padma & his dhanush (bow), and front palms in abhaya & varada (dana) mudra. ​
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We see a goddess depicted here with 6 hands. Along with padma, shankha & chakra, she's also shown carrying ankusa (goad) in her right hand; pasa (noose) and phala in her left. This is probably a depiction of Bhuvaneshvari devi.
The pasa (noose) symbolizes her ability to bind devotees to her with love and compassion. The ankusa (goad) represents her power to remove obstacles and steer the believers towards spiritual growth.​
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​Above the toranas crowning the deities, we see an ornamental cornice with lotus bud like pendants adding to the intricate detailing. Above this, runs a perforated railing with delicately crafted floral embellishments. ​
Above each major image of a deity, we see two pilasters (columns) that support a shikhara, with a miniature image between them. In contrast, above each minor figure of an attendant, we see a single pilaster supporting a smaller shikhara. ​
The shikharas themselves are a marvel of variation—some have straight or curvilinear outlines; have square or star-shaped forms with multiple indentations; with different numbers of tiers and architectural styles.
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​Goddess Saraswati, the deity of knowledge & arts, is shown here with eight arms in a dancing pose, holding a veena. Unfortunately, several details have been broken off or mutilated. Her right hands hold a japamala (rosary), an ankusha (goad) and a lekhani (stylus). 2 of her left hands are broken, but the 3rd left hand is shown holding palm leaves manuscripts, representing the Vedas. The sculpture is adorned with elaborate jewellery – including crown, earrings, necklace, bangles, rings & anklets. ​
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​There are 4 common friezes around the temple, and additional 2 around the garbagrihas. ​
The common friezes from the base up are: ​
Elephants frieze – Elephants in various poses and decorations, marching in the clockwise direction. ​
Cavalry frieze – Comprising row of armed riders, mounted on horses or camels ​
Scroll frieze – comprising various lion faces, flowers & fruits and some peacocks ​
Mythological frieze – Narrations of various episodes from Ramayana, Mahabharata & Puranas​
Around the garbagrihas, the 2 additional friezes are: ​
Makara frieze – a rather uniform looking series of the mythical sea creature, Makara ​
Annapakshi frieze – elaborately carved mythical birds, annapakshis, in a variety of poses ​
The demarcation can be clearly observed at the junction of the mukhamantapa and garbagrihas.
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​This ceiling is the most intricate and elaborate in the temple. At the base of the domical ceiling, you’ll find the Ashta Dikkapalakas, the guardians of the eight directions, accompanied by their entourage of soldiers, musicians, and dancers. Above them is a gallery of musicians and dancers, seemingly peering over the edge in lifelike detail.​
Beyond this, 32 pilasters adorned with towers form a stunning gallery. Between these towers are deities representing various forms of Vishnu, while lions stand majestically between the towers.​
Above the pilasters are three levels of horseshoe-shaped semi-domes, with each of its edge having an intricately carved miniature image. At the very center, surrounded by discs with floral decorations, hangs a large pendant - interpreted either as a lotus bud or a banana flower - adding to the ceiling’s exquisite beauty.
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​Navaranga is a unique element of Hoysala architecture, meaning nine sectors (Nava = Nine; ranga = sector/stage in Kannada).
Conceptually, it is a rectangle geometrically divided into a grid of 3x3, to reflect the cosmic space. The 8 outer blocks reflect the 4 cardinal & 4 inter-cardinal directions, and the central block - the individual. ​
The term "Navaranga" is mostly associated with Vaastu Shastra and traditional temple design, where it plays an important role in the overall design and purpose of the temple. These chambers or halls are often found in temples with elaborate architecture and contribute to the spatial organization of the temple. The Navaranga may serve as spaces for different kinds of rituals, gatherings or performances. For instance, it can be used for dance and music during temple festivals or daily worship. ​
Here the Sabhamantapa sits at the center of the Navaranga, and the Mukhamantapa is an extension of Navaranga. ​​
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​The remarkable bitti around the garbagrihas contains 90 groups of large wall images, each depicting a chief deity and their consorts or attendants - totaling 194 images, chiefly Vaishnovite. They include Chaturvimsati Vishnu – the 24 forms of Lord Vishnu – as well as Dashavatar – the 10 avatars of Vishnu. ​
The chief deities are distinct and can be identified, while those of the consorts or attendants are quite similar in their attributes. The images are topped with a variety of elaborate toranas (canopies) of flowering and fruit bearing foliage. The bases are relatively simple lotus pedestals. You might even spot the names of the sculptors engraved on some bases – around 20 of the artisans who contributed to this masterpiece have been identified, such as Mallitamma, Chaudiah & Lohita. ​
A chhadya (ornamental canopy), running across above the foliated canopies, splits the bitti into two. Miniature shikharas in various styles create a layered elegance at the top of the bitti. A more prominent chhadya at the top demarcates the bitti and the shikharas. ​
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​​Broadly, there are 3 primary styles of Shikharas (towers) in Indian temple architecture. ​
Nagara – Predominant in North India and features a curvilinear shape. Variations such as Bhumija or Shekhari, have smaller towers in tiers on or around the main tower, creating a mountain like effect. ​
Dravida - Predominant in South India, with a pyramid shaped, stepped structure on a squarish base. It often features ornate carvings & celestial beings. ​
Vesara – Hybrid of Nagara & Dravida styles, often found at the intersection of North & South Indian traditions – star shaped base, moves in steps towards a conical top, and also features ornate carvings & turrets. ​
The 3 main shikharas of this temple are of the Vesara style. However, you can observe different styles of shikharas (examples shown above) carved on the walls here - above the images of deities in the bitti & adhisthana. ​
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​​Each of these majestic Shikharas is a marvel of design, crafted in the intricate geometry of a 16-pointed star. This unifying motif flows harmoniously from the jagati (platform) to the soaring pinnacle of the Shikhara, embodying symmetry and craftsmanship.​
Take a closer look at the four cascading levels of ornamental turrets, highlighted here in blue. These small, tower-like projections are a feast for the eyes, adorned with intricate carvings of Simhamukhas (lion faces), fierce Kirtimukhas (symbols of protection and glory), mythical Makaras, celestial Yakshas, Gandharvas, and an array of exquisite floral patterns. ​
Above these turrets, highlighted in yellow, we see the Amalaka. Here, it consists of three elegant geometric stone tiers, shaped like an inverted lotus. This graceful element seamlessly leads to the crowning glory of the Shikhara - the Kalasa, a round finial symbolizing the temple’s spiritual essence and marking its pinnacle of perfection.
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​​The top part consists of Jalandras - perforated stone blocks along the walls that allow light and ventilation into the dark interiors. These are beautifully crafted in different geometric shapes & designs, and a few clusters have toranas (ornamental arches) above them. ​
​Below the Jalandra, we see a slightly forward-leaning railing panel, that forms the seat back of the Kakshasana (the ledge inside for seating devotees). The panels, separated by double pilasters (columns), feature stories relating to Prahlad, deities like Garuda and Bali, as well as some sensual carvings. ​
Below that are panels with small sculptures of different forms of Vishnu, separated by pilasters. These small images are covered by multi-layered shikharas of various styles. Lions (some say tiger!) - the emblem of the Hoysalas – in various poses are carved in the gaps between the shikharas.
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​​This ornamental feature extends from the Shikhara, and is positioned right above the Antarala—the vestibule connecting to the sanctum. Its name, literally meaning 'parrot's nose,' comes from its unique shape - that resembles the curve of a bird's beak.
Here, you’ll notice them beautifully placed in front of all three Shikharas – with an oblong projection containing a depiction of a dancing Vishnu (missing in the western shikhara).
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Naga Shrine
Nagas are semi-divine entities, half-human and half-serpent and are believed to reside in Patala (netherworld).
In Hindu iconography, they are typically depicted in three forms: as entirely human adorned with snakes from head to toe, as half-human, half-snake or as a serpent.
In India, they are worshipped as nature spirits. They are often associated with water bodies, wealth and treasures, and most importantly worshipped by women as a symbol of fertility.
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Kalyanis are a source of ground water and constructed in alignment with the natural flow of water down the hill tops, acting as a natural reservoir.
This is one of the three kalyanis in the temple: the other one is just behind the mantapa at the entrance, and the largest & main kalyani is to the north of the main temple complex, adjacent to the Vasanta mantapa.
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The intricately carved Yali pillars can be seen near the entrance. Inside the mantapa there is a raised platform where the deity might have been placed for the ritualistic bath. All the pillars in the mantapa have carvings of deities, sages, animals, and scenes from daily lives of people, enhancing the beauty of the Mantapa.
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This panel depicts Shiva Parvati along with Nandi in human form, and madanikas who seem to be welcoming them. ​


Beautifully carved birds can be seen on the upper part of the panel and ganas are depicted on the lower part.
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Mahanavami dibba
The term "Dibba" in Telugu means a "mound," which essentially describes it as a raised platform. The King or elders would be seated on this platform, and it played a central role during festivals like Dasara and Mahanavami, serving as a stage for viewing grand processions. ​
This structure appears to be a smaller version of the Mahanavami Dibba in Hampi.


The Mahanavami Dibba in Hampi, built by the Vijayanagara rulers, is an important historical structure.
Located near the market area, this elevated platform is adorned with intricate carvings. What's intriguing about the dibba at Hampi is that there's a hidden door that leads to an underground tunnel connecting directly to the royal palace, likely for safe & convenient travel.
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There are ornate engravings on the panels and walls behind​ the Umamaheshwara shrine. ​One of the panels depicts Saptarishis with the Trimurtis (Brahma, Vishnu, Shiva) and another panel depicts a set of deities.


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This kalyani or water tank was constructed by the Vijayanagaras as a part of horizontal expansion. This is a specific feature of the Vijayanagaras.
This kalyani was mostly used for the ritualistic bathing of the temple deity. The water from here might have been carried to the Vasantha mantapa for the ritualistic bath. ​


The Kalyanis may have not just been of ritualistic importance but also as a part of social importance. ​
Research was conducted on the subterranean water flow and its points of discharge, with the aim of comprehending the strategic locations for the construction of Kalyanis.​


This is the largest kalyani in the temple complex. The Kalyani has 20 steps, and a pillared porch on an elevated platform surrounding it, with doorways at four directions. ​


Initially the gopura on top was constructed from bricks but it did not stand the test of time. The ASI has rigorously & scientifically reconstructed the gopuras as they were, without any changes and to the same dimensions as before.


It is believed that the kalyani may also have been used by the devotees considering the entrance into the kalyani is directly from the outside of the temple complex. Also considering the architecture of the kalyani and the courtyard surrounding it, It may also have served as a resting space for devotees or a social space for the people of neighboring villages.
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The second kalyani of the temple is just behind the mantapa at the entrance. The exact date of construction of this kalyani is unknown. However, the walls surrounding it likely are from a later period. Access to this kalyani is from the inner premises of the temple - it suggests that it probably was for use only by the priests of the temple.


Please watch your step - access to the kalyani is difficult due to the broken walls & weakening terrace.
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## Tour ### Description ### Title tour.name = Somanathpura (200425)