Lakshminarasimha Temple, Vighnasathe

We reached Vighnasathe easily through the road after a small journey from Nonavinakere. Among its picturesque settings is a 12th century Lakshminarasimha temple which is Trikutachala that stands as a masterpiece in Hoysala architecture. Originally known as Igganasanthe in inscriptions about 14 km south-east of Tiptur.

Inscriptions gave us an idea of the temples was constructed in 1286 A.D. This was built during the time of the Hoysala king Narasimha III by his generals. The main cell has a fine image of Chennakeshava but weren't able to sight the inner part of the temple.

The outer entrance door carved elegantly with scrollwork support porches at the entrance. The entrance has an imposing presence with two attractive elephants at the sides without the frontal Mandapa component. On the outer surfaces of temple several wall carvings are found but not much carving.

An exquisite Hoysala crest adorns the Vimana's facade. It consists of turrets in four tears with numerous sculptures. Each projection and recess has a complete decorative articulation that is rhythmic and repetitive and composed of blocks and moldings obscuring the tower profile.

Below the Kalasa is a large, highly- sculptured structure resembling a dome which is made from large stones and looks like a helmet. They are mixed with other small roofs of different shapes and are ornately decorated.

Despite all these facts of exquisite figures and features, the place has remained unknown to many lovers of sculptural art and still need of adequate improvement and conservation by responsible department.

Keshava Temple –Aralaguppe

The Old Testament there was a physically glorious work which was replaced by a spiritually glorious work. We sea that it was harder for those who saw the previous temple (Kalleswara) to be content when they saw the Chenna Kesava temple in Arasikere.

 

This temple was constructed in 13th century AD during the Hoysala period and its stands on a raised platform (4 feet high Jagati) in the centre of the village.

 
This is Ekakootachala temple a single celled temple, with its star shaped Garbhagriha and tower is of a simple ground plan consisting of an Antarala (vestibule), Navaranga and an entrance Ankana with an entrance porch at east and it fitted with pierced stone windows, which allows subdued light into the temple. The temple follows the contours of the Vimana and has a flight of steps in the front flanked by two miniature towers on each side.

 

A separate shrine is built for Narasimha at south. The wall decorations are as profuse as in any other ornate Hoysala temple the upper half of the wall shows varied forms of miniature towers, turrets on pilasters. The basement of the temple consists of the friezes of rows of elephants, Horses, Scrolls and Depiction of Puranic scenes. The walls are embellished with sculpture of Vishnu in his 24 forms flanked by other secular themes all under Patralata-torana.

The noteworthy sculptures are Naryana, Lakshmi, Dancing Ganesh, Mohini, Shadbuja-Saraswati, Venugopala, Krishna, Lakshmi-Narasimha and Ugra-Narasimha etc. Many of these sculptures have the name of the sculpture as Honnoja inscribed below them.

The Garbhagriha has a beautiful Shikara in 4 tiers of Vesara type. It is decorated with miniature turrets. At the interior the Navaranga has beautiful pillars of Hoysala architectural features. The niches on the walls have sculptures of Ganesh and Mahishamardini. There is also a sculpture of Keshava about 6 feet high. The central celing (Bhuvaneshvari) has a row of Yakshas and sculpture of Narayana flanked by Miniature turrets.

 

The Garbhagriha houses sculpture of Keshava of Hoysala period. The Prabhavali has miniature sculptures of Dasavataras of Vishnu. The pillars that support the navaranga and the ceilings are elaborately worked. The fine workmanship of the pillars is eye-catching.

 

 

 

The Vimana of this temple is in the shape of 16-pointed star and consists of Koota aedicule each one rotated by 22.5 degrees, 45 degrees, and 22.5 degrees successively. The tower of the Vimana with four Talas has a Vedike and Koota roof at the top, which follows the contours of the sanctum below. The top Kalasa is missing.

The Old Testament there was a physically glorious work which was replaced by a spiritually glorious work. We see that it was harder for those we saw the previous temple (Kalleswara) to be content when we saw the Chenna Kesava temple in Arasikere.

Kalleshwara temple - Aralaguppe.

The Aralaguppe stands on an extensive mound and was a place of considerable importance between the 8th and 10th century AD under the Nolambas & pre- Hoysala’s Emperors. Kalleshwara temple is one of the major popular temples in this place and was built by Nolambas style of the 9^th century A.D. It represents the architectural features in which the Nolamba craftsmen show a high order of excellence and that warrant inclusion in an art historical account.

Kalleswara temple was dedicated to Lord Shiva and there is huge Lingam in the Sanctum. The Kalleshwara temple has two attractions which are worth many a visit -The extraordinary ceiling intricately carved and the sculpture of Umamaheshwara.

 

While the Adhishtana is made of granites, the temple's walls and towers are constructed with bricks may be a later day addition. There is an idol of Nandi in front of the main Deity of dark granite, 6 ft. in length and 4ft.in height is at the entrance.

 

 

The wall at a number of places has been ornamented by carved human figures. Its Mukhamantapa ceiling is considered the most beautiful sculpture found in the State which is something to be seen to be believed.  It’s amazing but proved difficult to capture of the nine panels on the ceiling it has in Nolambas style portrayal of wonderful dancing Shiva (Tandaveswara) sculpture with musical accompanists and eight Dikpalas surrounding him depicted with their paraphernalia and vehicles.

 

Another unique feature of this ceiling is the flying Vidyadharas (Gandharvas), Four, with garlands in their hands at each corner of the panel. These garland-bearing Vidyadharas are quite common to Nolamba architecture; a clear evidence of the elegance and comprehensiveness of their style. The Nataraja (Tandaveswara) meanwhile, is a remarkable three-dimensional image, wearing jewels such as the Katibandana and tassels. The dancing lord is accompanied by three Bhutas playing a three-headed percussion instrument. They are also seen with Ayut and other symbols.

 

The northern and eastern lateral shrines contain idols of Keshava and Surya, while the southern one contains the Umasahita mounted over a large stele with a lotus pedestal and a Prabhavali with a couple of flying Vidyadharas. The extraordinary ceiling of the mukhamantapa, with the Nolambas style portrayal of Umamaheshwara at Consisting of garbagriha, antarala, and a mukhamantapa, the temple's sanctum sanctorum is adorned with a huge black-granite Shivalinga.

The outer walls are insipid without projections and recesses, but for the lone niche at the antarala that divides the Vimana from the Mukhamantapa. Pilasters built closer at the temple's interiors however, appears more refreshing.

There is also a small temple in the main temple complex which dedicated to Lord Uma Maheshwara and two more temples dedicated to the Ganapathi and Subramanya. The image of Gajalakshmi on the doorway adds charm to the place. This temple maintained by modern style but not in a systematic way.