Kalleshwara Temple | |
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Village | |
Kalleshwara temple (1057 A.D.) at Hire Hadagali in Bellary district | |
Coordinates: 14°55′31″N75°49′52″E / 14.92528°N 75.83111°E Coordinates: 14°55′31″N75°49′52″E / 14.92528°N 75.83111°E | |
Country | |
State | Karnataka |
District | Bellary district |
Taluk | Hoovina Hadagali |
Languages | |
• Official | Kannada |
Time zone | UTC+5:30 (IST) |
The Kalleshwara temple (also spelt Kalleshvara or Kallesvara) is located in the town of Hire Hadagali of the Hoovina Hadagalitaluk in Bellary district of Karnataka state, India.
The temple was constructed by Demarasa, prime minister (or mahamatya) to Western Chalukya Empire King Someshvara I (who had the honorific Trailokya Malladeva or "Lord of three worlds"), who reigned from 1042–1068 CE. [1] Art historian Adam Hardy refers to the temple as Kattesvara and classifies it as a "close to mainstream" Western Chalukya architecture (also called Later or Kalyani Chalukya), with the tower over the shrine being a later day re-construction. The basic material used for the original construction is soapstone. [2]
According to art historian Ajay Sinha, an old Kannada inscription (c. 1057) at the temple calls it Bhimesvara-Demesvara. The inscription gives information about the genealogy of the Chalukya dynasty and refers to Vikramaditya VI as a kumara (prince). Another old Kannada inscription (c. 1108) from the rule of Vikramaditya VI gives further details about the consecration of the temple by Udayaditya under the orders of Demarasa. [3] [4] A third poetic Kannada inscription (c. 1212) on the premises belongs to the rule of Hoysala King Veera Ballala II. [5] The temple is protected as a monument of national importance by the Archaeological Survey of India. [6]
The temple is two shrined (dvikuta, though only one shrine has a superstructure or shikhara ), [7] each with a sanctum ( garbhagriha ) and a vestibule ( antarala ) that connects to a common four pillared closed hall (navaranga or sabhamantapa , lit meaning "gathering hall"). In the original plan, a large "main hall" (mukhamantapa) existed, connecting the closed hall to the outside of the temple, form the southern direction. Outside the main temple complex, an open hall (called nandimantapa) containing a sculpture of Nandi (the bull, a companion of the god Shiva) has been converted into a shrine. [1]
The decorativeness of the outer walls of the main shrine and its closed hall exemplify Chalukyan art. Projections and recesses with niches have been created and used skillfully to accommodate pilasters whose niches contains Hindu deities in relief, depicting the gods Indra, Shiva, his consort Parvati, Lakshmi and others. [1] The doorway to the vestibule has artistic carvings of dvarapalas (door keepers), the goddess of love Rati, and god of love Manmatha. The door lintel (lalata) has an image of Gajalakshmi (Lakshmi flanked by elephants on either side). The eaves over the door has fine images of the Hindu deities Brahma, Keshava (a form of Vishnu) and Shiva. [1] According to Sinha, the exuberance of sculptural articulation seen here is actually a southern Karnataka Hoysala influence on Chalukyan architecture. [3]
Hoysala architecture is the building style in Hindu temple architecture developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.
Vikramaditya VI became the Western Chalukya King after deposing his elder brother Someshvara II, a political move he made by gaining the support of Chalukya vassals during the Chola invasion of Chalukya territory. Vikramaditya's reign is marked with the abolishment of the Saka era and the start of the Chalukya-Vikrama era. He was the greatest of the Western Chalukya kings and had the longest reign in the dynasty. He earned the title Permadideva and Tribhuvanamalla. He had several queens who ably assisted him in administration. One of his queens, Chandala Devi, a princess from the Shilahara ruling family of Karad was called Abhinava Saraswati for her skills as an artist. Queen Kethala Devi administered the Siruguppa region and Savala Devi was in charge of an Agrahara in Naregal. According to the historian Kamath, Vikramaditya VI was a "great king who ruled over South India" and he finds a "pride of place in Karnataka history". More inscriptions in Kannada are attributed to Vikramaditya VI than any other king prior to the Vijayanagara era.
Western Chalukya architecture, also known as Kalyani Chalukya or Later Chalukya architecture, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of modern central Karnataka, India, during the 11th and 12th centuries. Western Chalukyan political influence was at its peak in the Deccan Plateau during this period. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing dravida temples, form a climax to the wider regional temple architecture tradition called Vesara or Karnata dravida. Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style.
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