Banashankari Temple, Amargol
Banashankari Temple of Amargol is an ancient temple dedicated to Banashankari. Amargol is located in between Dharwad and Hubli, about 9 km from Hubli city centre and adjacent to Navanagar. Banashankari Temple at Amargol is 4 km from Unkal lake and Chandramouleshwara Temple Hubli. Near to the Banashankari Temple at Amargol there is a temple of Shankarlinga built by Jakkanacharya. In the early 13th century, the temples of this period have nagara articulation, built in the stepped diamond and the square plan natural to a nagara superstructure. Notable among temples with a stepped-diamond style are the Ganesha Temple at Hangal, the Banashankari Temple at Amargol, a small shrine, a part of the ensemble at the Mahadeva Temple Conservation and restoration work is in progress, belongs to Archaeological Survey of India. Western Chalukya architecture Chandramouleshwara Temple Hubli Kundgol Annigeri Gadag Lakkundi North Karnataka Tourism in North Karnataka
Amrutesvara Temple, Amruthapura
The Amruteshvara temple spelt "Amrutesvara" or "Amruteshwara", is located in the village of Amruthapura, 67 km north of Chikmagalur town in the Chikkamagaluru district of the Karnataka state, India. Located 110 km from Hassan and 35 km from Shimoga on NH 206, Amruthapura is known for the Amruteshvara temple; the temple was built in 1196 C. E. by Amrutheshwara Dandanayaka under Hoysala King Veera Ballala II. The temple is a built according to Hoysala architecture with a wide open mantapa; the temple has an original outer wall with enique spaced circular carvings. The temple has one vimana and therefore is a ekakuta design, has a closed mantapa that connects the sanctum to the large open mantapa, it is medium-sized Hoysala temple with certain vastu features similar to the Veera Narayana Temple, Belavadi in mantapa structure and size. The open mantapa has twenty nine bays, the closed mantapa has nine bays with a side porch that leads to a separate shrine on the south side; the shrine is square in shape has the original superstructure, adorned with sculptures of Kirtimukhas, miniature decorative towers.
Below the superstructure, the seen panel of Hindu deities is absent. The base of the wall has five mouldings which according to art critic Foekema is an "older Hoysala style"; the sukanasi, the tower on top of the vestibule that connects the sanctum to the closed mantapa, has the original Hoysala emblem of "Sala" fighting the lion. The rows of shining lathe turned pillars that support the ceiling of the mantapa is a Hoysala-Chalukya decorative idiom; the mantapa has many domed inner ceiling structures adorned with floral designs. The outer parapet wall of the open mantapa has a total of hundred and forty panel sculptures with depictions from the Hindu epics. Unlike many Hoysala temples where the panels are small and carvings in miniature, these panels are comparatively larger; the Ramayana is sculpted on the south side wall on seventy panels, with the story proceeding quite unusually, in anti-clockwise direction. On the north side wall, all depictions are clockwise. Twenty five panels depict the life of the Hindu god Krishna and the remaining forty five panels depict scenes from the epic Mahabharata.
Ruvari Mallitamma, the well known sculptor and architect is known to have started his career here working on the domed ceilings in the main mantapa. The large stone inscription near the porch contains poems composed by medieval Kannada poet Janna who had the hororific Kavichakravarti. Hoysala architecture Chikkamagaluru District Gerard Foekema, A Complete Guide to Hoysala Temples, Abhinav, 1996 ISBN 978-81-7017-345-8 Suryanath U. Kamath, A Concise history of Karnataka from pre-historic times to the present, Jupiter books, 2001, MCC, Bangalore LCCN 80-905179, OCLC 7796041. Architectural marvel
Bucesvara Temple, Koravangala
The Bucesvara temple is a simple yet elegant specimen of 12th century of Hoysala architecture. It is located in the village of Korvangla, 10 km from Hassan city, in Hassan district or Karnataka state, India; the temple was built in 1173 A. D. by a rich officer called Buci, to celebrate the coronation of Hoysala King Veera Ballala II. Nearby are two more temples that are in ruins. From the inscriptions on the premises, it is evident that these two temples had been commissioned by Buci's older brothers and Naka; this temple is protected as a monument of national importance by the Archaeological Survey of India. By plan, the temple is a divikuta; these shrines are connected by an open mantapa. One shrine appears much dimmer in lighting than the other. At the eastern end of the complex is a small shrine whose deity is the Bhairava, a form of the Hindu god Shiva; the western shrine facing the east, containing an image of Surya has a staggered square plan, its kalasa (decorative water-pot on top of the tower over the shrine, Hoysala crest standing above the sukanasa are intact, the decorative features on the shikhara and the outer walls are "conventional" by Hoysala standards.
The eastern shrine, which contains a linga has a similar plan. However its main tower is missing and it is unclear if the tower was a part of the original plan or not; the temple decorative features can be said to belong to the "old kind" prevalent before the Hoysala times. In this type of decoration, below the superstructure, an eaves that projects about half a meter runs all around the temple. Below the eaves are decorative miniature towers on pilasters; the miniature towers are in various styles. In the "old kind", the large wall images of deities and their attendants are placed below these decorative towers; these images include among others. Below these images, the base of the wall comprises five different horizontal moldings, one of, a row of blocks; the halls are adjoining. The closed hall is complete in design but the open hall is not, it has no structure above its eaves and provides two side entrances into the temple, the southern entrance being flanked by two small elephant balustrades.
The outer wall of the closed hall has, in addition to usual Hindu iconography, some unusual reliefs, depicting animals devouring animals. The ceiling art in the open hall is of fine quality and the pillars have a glossy finish; the pillars of the mantapa are bell shaped, a design achieved by turning with lathes. Gerard Foekema, A Complete Guide to Hoysala Temples, Abhinav, 1996 ISBN 81-7017-345-0 Kamath, Suryanath U.. A concise history of Karnataka: from pre-historic times to the present. Bangalore: Jupiter books. LCCN 80905179. OCLC 7796041. "Buchesvara Temple". ASI Bengaluru Circle. Archaeological Survey of India. Retrieved 6 July 2012. Blazing Trail of Golden Era - Tourist Guide of Hassan District, Karnataka tourism Hassan District Tourism
Halasi called as Halsi or Halshi, is a town in Khanapur Taluk, Belgaum District in Karnataka, India. It is about 25 km from Kittur, it is known for having been the capital of a branch of Kadamba Dynasty. The town is near Khanapur. Halasi is in the background of the Western Ghats, was the second capital of the Kadambas of Banavasi; the huge Bhuvaraha Narasimha temple has tall images of Varaha, Narasimha and Surya. The place has a fort, temples of Gokarneshswara, Kapileshwara and Hatakeshwara. Halasi has groups of monuments like Kalmeswara, Suvarneswara and Bhuvaraha temples; the Archaeological Survey of India is looking after this ancient structure. Halasi was called Palasika in ancient times and the Bhoo Varaha Laxmi Narasimha Temple is one of the best examples of the Kadamba style of architecture; the 50 feet tall tower of the inner shrine or garbhagruha is similar to the Madhukeswar temple in Banavasi built by them. According to historians, it was built during the Kadamba period or 5th century AD, inscriptions inside the temple support this.
As per the records, it was built by Shivachitta. In 1169 AD, the deity of Ananta Viravikrama Narasimha installed by Matayogi. According to a legend associated with this shrine, Pandavas built this temple overnight during their exile and worshiped Lord Vishnu here. According to the temple priest, the two feet tall deity of Narasimha, on the left side of Vishnu, is swayambhu or udbhava and not sculpted by anybody. Inside the templeThere are two garbhagruhas facing each other. In the right one is the four feet deity of Lord Shri Vishnu in a sitting posture; the deity of Suryanarayana and Mahalaxmi are just behind the main deity. The garbhagruha on the left side has the deity of Bhuvaraha Swamy. In 1186-87, a 5 feet standing deity of Varaha was installed by Vijayaditya III. Lord Vishnu's Varaha avatar, where he carries Mother Earth on his tusk, can be seen; the carved lotus on the ceiling goes to prove that the Kadambas patronised and developed their own art form. Just outside the main temple are smaller temples dedicated to Ganesha and Vitthala.
One statue of Radha Krishna can be seen in a smaller shrine. Halasi Bhoo Varaha Laxmi Narasimha Temple complex on Google Maps
Chennakeshava Temple, Belur
The Chennakeshava Temple referred to as Keshava, Kesava or Vijayanarayana Temple of Belur, is a 12th-century Hindu temple in the Hassan district of Karnataka state, India. It was commissioned by King Vishnuvardhana in 1117 CE, on the banks of the Yagachi River in Belur called Velapura, an early Hoysala Empire capital; the temple took 103 years to finish. It was damaged and plundered during wars rebuilt and repaired over its history, it is about 200 km from Bengaluru. Chennakesava is a form of the Hindu god Vishnu; the temple has been an active Hindu temple since its founding. It is reverentially described in medieval Hindu texts, remains an important pilgrimage site in Vaishnavism; the temple is remarkable for its architecture, reliefs, friezes as well its iconography and history. The temple artwork depicts scenes of secular life in the 12th century and musicians, as well as a pictorial narration of Hindu texts such as the Ramayana, the Mahabharata and the Puranas through numerous friezes, it is a Vaishnava temple that reverentially includes many themes from Shaivism and Shaktism, as well as images of a Jina from Jainism and the Buddha from Buddhism.
The Chennakeshava temple is a testimony to the artistic and theological perspectives in 12th century South India and the Hoysala Empire rule. The Belur temple complex along with the nearby Hindu and Jain Temples at Halebidu have been proposed to be listed under UNESCO World Heritage Sites; the Chennakeshava Temple is located in Belur taluk in Hassan district of the Indian state of Karnataka. It is about 35 kilometres northwest of Hassan; the temple is about 16 kilometres from Halebidu temples. Belur has no nearby airport, is about 200 kilometres west of Bengaluru, about 3.5 hours drive accessible with a four lane NH75 highway. Hassan is the closest city near Belur, connected by railway network to major cities of Karnataka; the Chennakeshava Temple is a major Vaishnava pilgrimage site. It is located on the banks of a tributary of Hemavati River; the Hoysala period of South Indian history began about 1000 CE and continued through 1346 CE. In this period, they built around 1,500 temples in 958 centres.
Belur is called Velur or Velapura in old inscriptions and medieval era texts. It was the early capital of the Hoysala kings; the city was so esteemed by the Hoysalas that it is referred to as "earthly Vaikuntha" and "dakshina Varanasi" in inscriptions. One of the Hoyasala kings was Vishnuvardhana, who came to power in 1110 CE, he commissioned the Chennakeshava temple dedicated to Vishnu in 1117 CE after an important military victory in 1116 CE. According to a mythology, Vishnuvardhana built this temple to mark his conversion to Sri Vaishnavism after coming under the influence of Ramanuja, but states Shadakshari Settar, the historical records do not support this theory; the Chennakeshava temple at Belur took 103 years to build. Vishnuvardhana moved his capital to Dvarasamudra, where he started the construction of the Hoysaleswara Temple dedicated to Shiva, its construction continued till he died in 1140 CE. His legacy was continued by his descendants who completed the Hoysaleswara Temple in 1150 CE, the Chennakesava Temple, Somanathapura in 1258 CE.
The Hoysalas employed many noted architects and artisans who developed a new architectural tradition, which art critic Adam Hardy called the Karnata Dravida tradition. The Hoysala Empire and its capital was invaded and destroyed in the early 14th century by Malik Kafur, a commander of the Delhi Sultanate ruler Alauddin Khalji. Belur and Halebidu became the target of plunder and destruction in 1326 CE by another Delhi Sultanate army; the territory was taken over by the Vijayanagara Empire. The Hoysala style, states James C. Harle, came to an end in the mid 14th century, when King Ballala II was killed in a war with the Muslim army led by Malik Kafur. Historians have found 118 inscriptions in the temple complex, dated between 1117 CE to the 18th century, which provide a history of the temple, the grants made to the Chennakeshava temple for its upkeep and the repairs during times. An inscription found on the east wall near the north entrance of the temple's main mandapa states that Vishnuvardhana commissioned the temple for god Vijayanarayana in 1117 CE.
Some historians have interpreted this inscription as stating that the Chennakeshava Temple was completed in 1117 CE. The Chennigaraya temple was built concurrently with the main temple, the queen sponsored it. Narasimha I of Hoysala dynasty made grants to the temple for its operation. Ballala II in 1175 CE added temple buildings for kitchen and grain storage in the southeast corner, a water tank in the northeast corner of the temple; the original temple was without boundary wall. The main mandapa was open for the devotees to view and appreciate the intricate carvings inside the temple. For security of the temple, a high wall was constructed around the temple, a wood-and-brick gateway and doors added by Somayya Danayaka during the rule of Veera Ballala III, as well as the open mandapa was covered with perforated stone screens; the new screens darkened the inside of the temple making it difficult to see the artwork but allowed enough light for the darshana of the garbha griya. The temple was raided and its gateway was burnt down in a raid by a Muslim general Salar and his army working for Muhammed bin Tughlaq.
The temple was repaired by the Vijayanagar
Gajendragad is a town and a taluk place in Gadag District, India. The name Gajendragad has its own history; this place is known for its hill hill strip. Highest populated city after Gadag in the district, it is about 55 kilometers from Gadag, 110 kilometers from Hubballi and 450 kilometers from Bengaluru. Gajendragad, is a historical place in the Gadag district; the name Gajendragad is a combination of a fort. This is. Local people call it as Gada, it is one of the big town in the Gadag District. Gajendragad is known for film shooting because of its land on its hills, it is a place. Several Kannada films including Veera Madakari, Raate, Bahuparak, Bheema teeradalli, Rakshit Shetty's Avane Shrimannaraya and many more. Telugu movies like Damarugam, Alludu seenu, Balupu Bharjeri and many more are shot here. Gajendragad is a pilgrimage destination due to its Kalakaleshwara temple, it is known for the long hill strip, hill station, film shooting spots, kalakaleshwara temple, market for Javali / Dress Materials for marriage and festivals, Handloom, Gajendragad Kubusa Kana.
Gajendragad is surrounded by the historical places associated with Badami Chalukyas and Western Chalukya and the places are Badami, Pattadakal, Banashankari, Mahadeva Temple at Itagi and Kudalasangama. Rastrakuta Monuments at Kuknur. Gajendragad Fort was renewed by Shivaji. Founder of the Ghorpade family was Shri Valabhasinh Cholaraj Ghorpade and the descended Bahirjirao Ghorpade The Royal families of Kapsi and Gajendragad owe their origin to Vallabhasinha and the Chiefs of Sondur are descended from the third son of Cholraj. After the 2nd Mysore War, Tippu Sultan had to engage in an armed conflict with the Marathas and the Nizam; the war concluded with the treaty of Gajendragad. Mysore was ceded Badami to the Marathas; the fort and Taluka of Gajendragad, taken by Fate Alikhan was retaken by Government. Half the province was surrendered to the Nawab according to Treaty of Gajendragad. Remaining was made over to Dawalatrao Ghorpade; the pilgrim Kalakaleshwara temple, is a huge mountain with the temple carved into it.
This is a weekend destination. One can see many windmills lined on the hill opposite the hill. A little known pilgrim of North Karnataka. Gajendragad is a small town lying amidst hills, in one of, encapsulated Kalakaleshwara temple of Lord Shiva, worshipped in the form of Kalakaleswara. There are some large steps, it is a traditional temple with Udhbhava Lingu. There we can find God Virabhadra temple in the same premises, but one would be amazed at the story in which the significance of the destination lies. Just outside the temple exit is a small square water reservoir called AtharaGange, it is an evergreen water resource that falls along the roots of Peepal tree into the pond all throughout the year. It is said to be flowing in the peaks of summer season and has an unknown root. More amazing is the story attached to this destination that has taken a few lives too; these were the daring people who wanted to try to learn more about a miracle that happens on the previous night of Ugadi, New Year of Kannadigas.
The pandit/pujari of the temple prepares a solution of limestone, keeps it ready for application along with a brush, inside the temple. The next morning, the jobs done, but the temple is painted on its own and this happens without fail every year. A hookah, kept along with it seems to be used when seen the next morning. Legend has it and so do elderly people that there used to be a bell equivalent to the size of soaked kidney beans that fit into 22 gunny bags. In the 1970s, it so happened that the bell vanished all of a sudden towards the heavens and sounds of the bell echoing and resonating in into the blue skies, and there was an epidemic of plague that spread across the place, which people blame was due the bells act of vanishing. Mallikarjuna Temple, Twin Towered Temple, Ishwara in a stone made shelter and Naga Kunda are prime attractions of Sudi; the temple of Bhimambika, about 13 km from Gajendragad It is known for temple of Banashankari, Annual car festival. Badami Aihole Pattadakal MahakutaMahakuta is the source of an important Badami Chalukya inscription called Mahakuta Pillar inscription.
MahaMaya temple, Navalinga Temples at Kuknur. At Kudalasangama the rivers Krishna and Malaprabha merge here, This place is associated with the 12th-century poet and social reformer Basavanna. There is a temple dedicated to Lord Sangameswara, worshipped in the form of a linga; the temple is an ancient monument built in the Chalukya style architecture. This place is well developed as one of the great tourism place. Minerals & Metals Trading Corporation Limited under the ministry of commerce and industry. MMTC's Gajendragad plant Started in 2007, the plant has delivered electricity power of over 102 million units to Hubli Electricity Supply Company Limited; the plant generate a total capacity of 15 MW of power, with 25 wind energy generators, can each generate 600 KV. Windmills set up to generate wind energy, are posing a threat to the existence of rare hyenas and wolves at Gajendragad. Earlier Gajendragad was recognised as a safe haven for endangered species like the Indian grey wolf and striped hyenas, but came wind farming
Bhutanatha group of temples, Badami
The Bhutanatha group of temples is a cluster of sandstone shrines dedicated to the deity Bhutanatha, in Badami town of Karnataka state, India. There are two major temples here. Temple No.1, on the east side of the lake, called the Bhutanatha temple has a superstructure that resembles early South Indian style or North Indian style with its open mantapa extending into the lake, while the smaller Temple No.2 on the north-east side of the lake, sometimes called the Mallikarjuna group of temples, has a stepped superstructure found in Kalyani Chalukya constructions. The inner shrine and mantapa of Temple No.1 were constructed in the late 7th century, during the reign of the Badami Chalukyas. While the outer mantapa, facing the Badami tank, was completed during the rule of the Kalyani Chalukyas of the 11th century. Hence the Bhutanatha temple contain architectural forms from different periods. Studies show that these Kalyani Chalukya architects could have belonged to the same early phase workshop, that built the nearby Yellamma temple and the Mallikarjuna group of temples.
In the inner hall of the Bhutanatha temple, a heavy architrave above the columns divides the hall into a central nave and two aisles. The pillars are massive and the bays in the ceiling of the nave is decorated with lotus rosette. Perforated windows bring dim light into the inner mantapa. On either side of the foot of the shrine doorway is an image of goddess Ganga on her vehicle, the makara, on the right, on the left, that of goddesses Yamuna riding the tortoise. There is no dedicatory block upon the lintel to indicate to which deity the initial dedication was for; the Shiva linga in the shrine appears to be a addition after the original deity in the sanctum was removed. The temple is unfinished and at the base of the superstructure, are vestiges of Jain architecture; the image niches on the wall of the shrine and the hall are now empty though some decorative elements like makharas with long tails still remain. To the north of the hall is a small shrine, consecrated for Vishnu. Following Jain modifications, the temple was taken over by the followers of Lingayatism who built an outer hall and installed a Nandi and a Shiva linga inside the sanctum.
The Mallikarjuna group exhibits topological features popularised by the Kalyani Chalukya architects, including plain walls, angled eaves over the open mantapa and pyramid shaped superstructures made of spaced horizontal tiers. Cousens, Henry; the Chalukyan Architecture of Kanarese Districts. New Delhi: Archaeological Survey of India. OCLC 37526233. Hardy, Adam. Indian Temple Architecture: Form and Transformation-The Karnata Dravida Tradition 7th to 13th Centuries. Abhinav Publications. ISBN 81-7017-312-4