Lakshmi Narasimha Temple, Nuggehalli

There are three sanctums, the temple being a TRIKOOTA ( ತ್ರಿಕೂಟ ).The South Cell has on a GARUDA PEETHA ( ಗರುಡ ಪೀಠ ) a beautiful image of VENUGOPALA ( ವೇಣುಗೋಪಾಲ ). The North Cell houses on a GARUDA PEETHA a LAKSHMEENARASIMH A ( ಲಕ್ಷ್ಮೀನರಸಿಂಹ ), seated in SUKHAASANA. The Central Cell facing east has an image of KESHAVA ( ಕೇಶವ ) ( S-C-G-P ) also on a GARUDA PEETHA. The image is about 4'6" in height. On the TORANA ( ತೋರಣ ) of each of the three images is carved the DASHAAVATAARAS ( ದಶಾವತಾರಗಳು ). A photo of each of the images in the sanctums is reproduced below. Lakshminarasimha in the Northern Cell Venugopala in the Southern Cell Keshava in the Central Cell

Only the central Cell housing KESHAVA has a SHUKANAASI ( ಶುಕನಾಸಿ ). The three cells have a common NAVARANGA ( ನವರಂಗ ). There are four pillars in the NAVARANGA but they are not very elaborately ornamented as in many other Hoysala temples. An image of GANAPATI and MAHISHAASURAMARDINI ( ಗಣಪತಿ ಮತ್ತು ಮಹಿಷಾಸುರಮರ್ಧಿನಿ ) are found in the western wall but they do not have niches to house them. There are nine beautiful BHUVANESHVARIS in the ceiling. A few photos of the BHUVANESHVARI are seen below.

The interior of a HOYSALA TEMPLE consists of three parts namely GARBHAGRIHA ( ಗರ್ಭಗೃಹ ), SHUKANAASI ( ಶುಕನಾಸಿ ) and NAVARANGA. 1. GARBHAGRIHA ( the Sanctum sanctorum ) is the most important part of a temple. It is a room in which the image of the deity is stationed in the geometrical centre. 2. Next to the Garbhagriha and contiguous to it is the ARDHA MANTAPA ( ಅರ್ಧಮಂಟಪ ) or SHUKANAASI. It is a narrow pavilion connecting the Garbhagriha with the NAVARANGA. It is  used to keep the articles of worship. Strictly speaking SHUKANAASI is an external ornamental feature over the entrance of the Garbhagriha, which in many cases looks like the beak of a parrot ( hence the name SHUKANAASI ). It sits on the face of the tower as a sort of an ante fix. Usually, it contains an image of the deity to whom the temple is dedicated. The room below the SHUKANAASI is also called by the same name. 3. The NAVARANGA also called MAHAA MANTAPA ( ಮಹಾ ಮಂಟಪ ) or NRITTA MANTAPA ( ನೃತ್ಯ ಮಂಟಪ ) is a

Doorway of the Temple The photo above is the DOORWAY of the temple under study. On the door-jambs may be noticed the DVAARAPAALAKAS who are standing in TRIBHANGA. Note : The appearance, the attributes and stance of the DVAARAPAALAKAS will be in tune with that of the presiding deity. The DVAARAPAALAKAS in a VISHNU TEMPLE are placid looking, modestly dressed and ornamented. They are adorned with the signs and emblems of VISHNU such as a TILAKA on their forehead, and OORDHVAPUNDRA ( ಊರ್ಧ್ವಪುಂಡ್ರ ) on their faces, arms and chest. They carry SHANKHA (conch ), CHAKRA ( discus ), GADAA (mace ) and PAASHAA ( noose ) in their hands. They are scaled in SAPTA TAALA or NAVA TAALA. The DWAARAPAALAKAS of VISHNU or SIVA TEMPLE have recognisable names and specified positions. Four pairs of Dvaarapaalakas guard a VISHNU TEMPLE namely CHANDA and PRACHANDA ( ಚಂಡ ಮತ್ತು ಪ್ರಚಂಡ ), DHAATRU and VIDHAATRU ( ಧಾತೃ ಮತ್ತು ವಿಧಾತೃ ), JAYA and VIJAYA and BHADRA and SUBHADRA. The first named in e

Vimaana of the Lakshminarasimha Temple The main tower, a photo of which is seen above, is composed of three rows of turrets and is surmounted by a stone KALASHA ( ಕಲಶ ). Its face has a KIRTIMUKHA ( ಕೀರ್ತಿಮುಖ ) with GARUDA ( ಗರುಡ ) in the centre ( the attached photo does not show this part ). Below the KIRTIMUKHA is a four- armed YAKSHA. Various forms of VISHNU ( ವಿಷ್ಣು ) have been carved on the other three faces. There are two other towers - one each on the other two sanctums but they are later additions and out of harmony with the main tower.

The term VIMAANA has various interpretations. For our purposes it refers to the TOWER or SHIKHARA above the sanctum. The body of a VIMAANA is complex and multi-layered and they rise up in six stages. Each layer is called a VARGA. While the sculptures on the DWAARA GOPURAS could house any subject, the VIMAANA has to be austere and can carry only the prescribed divinities associated with the presiding deity of the temple. The crowning glory of the VIMANA is called KALASHA ( ಕಲಶ ). The KALASHA is not imbedded into the structure by packing it with mortar or cement but placed in position by a hollow rod that juts out of the centre of the tower. There are several symbolisms associated with KALASHA.

Face 18 The eighteenth Face has has two images the first of which is HARI ( C - P - G - S ), the twenty third CHATURVIMSHATI MURTI. The second image is that of a two-handed VISHNU ( ವಿಷ್ಣು ) seated in PADMAASANA holding a bowl in the right hand and a KALASHA ( ಕಲಶ ) in the left. CHAKRA ( ಚಕ್ರ ) in field on the right, SHANKHA ( ಶಂಖ ) on the left, the DASHAAVATAARAS on the TORANA ( ತೋರಣ ) and GARUDA on the pedestal may also be noticed. There is a Kannada inscription which reads ; MALLITAMMA ( the photo does not clearly show it ).

Face 17 The seventeenth Face has three images ( from your right ) namely : 1. HAYAGREEVA with a fallen raakshasa on the pedestal. The deity has eight hands ( arrows, gadaa, chakra, sword, shankha, shield, bow and padma ). On his right is a lady with a long tailed bird perched on her right hand. 2. UPENDRA ( ಉಪೇಂದ್ರ ) (G - C - P - S ), the twenty second CHATURVIMSHATI MURTI. 3. KODANDARAAMA ( ಕೋದಂಡರಾಮ ) with LAKSHMANA ( ಲಕ್ಷ್ಮಣ ) and HANUMANTA ( ಹನುಮಂತ ) to his right and SEETAA to the left.

Face 16 The sixteenth Face has eight images. They are from the right : 1. Goddess, probably LAKSHMEE ( ಲಕ್ಷ್ಮೀ ) standing in SAMABHANGA with DAKSHINAAMURTI ( ದಕ್ಷಿಣಾಮೂರ್ತಿ ) to the right. The goddess has four hands ( phala - gada - shield - bowl ). 2. MOHINEE ( ಮೊಹಿನೀ )molested by a monkey ( figure in the recess ). 3. ACHYUTA ( P - C - S - G ), the twentieth of the CHATURVIMSHATI MURTIS. 4. PARASHURAAMA in the recess. 5. LAKSHMEENAARAAYANA in SUKHAASANA. 6. JANAARDANA ( C - S - G - P ), the twenty first CHATURVIMSHATI MURTI. 7. Mother with a child on her hip. 8. Ashtabhuja NRITYA SHAARADAA ( ನೃತ್ಯ ಶಾರದಾ ) with Akshamaala ( rosary ), phala, ankusha ( goad ), swargahasta, paasha ( noose ), Padma, lamba-hasta, and pustaka.

Face 15 There are three important images in the fifteenth face. They are from your right : 1. KAALINGAMARDANA ( ಕಾಳಿಂಗಮರ್ದನ ) with a NAAGINI ( ನಾಗಿನಿ )on either side. 2. NARASIMHA ( P - G - S - C ) 3. ARJUNA shooting the MATSYA YANTRA ( ಮತ್ಸ್ಯಯಂತ್ರ ) with an oil bowl below. HANUMADHWAJA and DRAUPADI with garland to the left.

Face 14 - A  There are seven images in the fourteenth Face and for convenience sake it is divided into two parts : 14-A and 14-B. FACE 14-A has the following images ( from your right ) : 1. ANIRUDDHA ( G - S - P - C ) the sixteenth of the CHATURVIMSHATI MURTIS. Goddess USHAS who is on his left is dancing holding her two long tresses, one in each hand. 2. HALAAYUDHA i.e., the one who holds the plough or BALARAAMA, in the recess. 3. PURUSHOTTAMA ( ಪುರುಷೋತ್ತಮ ) ( P - S - G - C ), the seventeenth of the CHATURVIMSHATI MURTIS. 4. ASHTABHUJA LAKSHMEE ( ಅಷ್ಟಭುಜ ಲಕ್ಷ್ಮೀ ) in dancing pose ( abhaya, padma, cakra i.e., discus, swargahasta, shankha i.e., conch, phala, lambahasta, and daanahasta ). On either side of her are the percussionists. Face 14 - B The second part of the Fourteenth Face i.e., 14 - B has three images namely : 1. MAHISHAASURAMARDINI (Mallitamma's work ).The kannada inscription says that it is DURGEE ( ದುರ್ಗೀ ). 2. MOHINEE ( in the

Face 13 FACE 13 a photo of which is seen above has four images. They are, from your right : 1. PRADYUMNA ( S - G - P - C ), the fifteenth of the CHATURVIMSHATI MURTIS. 2. DHARANEE-VARAAHA. 3. VENUGOPAALA ( ವೇಣುಗೋಪಾಲ ) 4. GARUDA ( ಗರುಡ )

Front Elevation of the North Niche ( FACE  12 ) The photo above is the front portion of the NORTH NICHE. The NICHE takes the shape of a temple with all the parts beautifully executed. Inside the niche is an AASEENA SHAARADAA ( ಆಸೀನ ಶಾರದಾ ) ( zoom to see the image ). Left Wall of the North Niche The left wall of the niche, ( i.e., the portion that faces west ) a photo of which is seen above has an image of YOGANAARAAYANA in the middle. To his left is LAKSHMEE ( ಲಕ್ಷ್ಮೀ ) ( Padma, Ankusha, Paasha, Padma ) and to his right is BHOOMEE ( ಭೂಮೀ ) ( Padma, Ankusha, Paasha, Kalasha ) Right Wall of the North Niche The right wall of the niche ( i.e., the portion which faces east ), a photo of which is seen above has an image of HAYAGREEVA ( Yogamudre, akshamaale, pustaka, phala ) seated in the middle. To his left is SARASVATEE ( ಸರಸ್ವತೀ ) and to his right is GANAPATI.

Face 11 (First Part) Two images are found on the projected portion of this face. To your right is SANKARSHANA ( ಸಂಕರ್ಷಣ ) ( S - P - C - G ), the thirteenth of the CHATURVIMSHATI MURTIS. On the pedestal may be noticed a Kannada inscription which reads SANKARUSHANA ( ಸಂಕರುಷಣ ) The second image is that of INDRA and SHACHEE ( ಇಂದ್ರ ಮತ್ತು ಶಚೀ ) on their vahana, the elephant. There is a Kannada inscription which reads MALLITAMMA ( ಮಲ್ಲಿತಂಮ ), being the name of the sculptor. Face 11 (Second Part) The second part of Face 11 also has two images namely : 1. To your right is KRISHNA and SATYABHAAMAA being carried by GARUDA ( ಗರುಡ ). In the left hand of Garuda is seen a PAARIJAATA branch. 2. VAASUDEVA ( ವಾಸುದೇವ ) ( S - C - P - G ), the fourteenh of the CHATURVIMSHATI MURTIS. Note :  PAARIJAATA is a wish-yielding tree said to have been born out of the ocean during SAMUDRAMATHANA.

West Niche ( Face 10 ) The west niche the front portion of which is seen above is also carved like a temple. On the door jambs are seen the DWAARAPAALAKAS. Inside the niche is found a sthaanaka HARIHARA ( not properly visible in the photo ) holding in his hands AKSHAMAALA ( ಅಕ್ಷಮಾಲ ) i.e., rosary, TRISHOOLA ( ತ್ರಿಶೂಲ ) i.e., trident, CHAKRA ( ಚಕ್ರ ) i.e., disc and a BOWL. A small figure of CHANDIKESHA is also found inside the niche. Left Wall of the West Niche The left wall of the niche, a photo of which is seen above has an aaseena NAARAAYANA ( P - G - C - S ) with a consort on either side. Right wall of the West Niche The right wall of the niche, a photo of which is seen above, has three aaseena images. They are from your right : 1. PAARVATEE ( ಪಾರ್ವತೀ ) with AKSHAMAALA, TRISHOOLA and PHALA i.e., fruit. A Kannada inscription on the pedestal reads : ROOVAARI MALLITAMMANA BAAVA BAAGIYA ROOVAARI ( ರೂವಾರಿ ಮಲ್ಲಿತಮ್ಮನ ಭಾವ ಬಾಗಿಯ ರೂವಾರಿ ) meaning that

Face 9 (First Part) The photo above is the first part of the 9th Face which has two images. To your right stands PADMANAABHA ( P - C - G - S ), the eleventh of the Chaturvimshatimurtis and to your left is VENUGOPALA. Face 9 (Second Part) The second part of the 9th Face, a photo of which is seen above also has two images. To your right is SOORYA ( ಸೂರ್ಯ ) with rishis, accompaniments and guards. On either side is seen CHAAYAA ( ಛಾಯಾ ) and on the pedestal is found ARUNA driving the seven horses. DAAMODARA ( S - G - C - P ), the 12th of the Chaturvimshatimuris is found next to SOORYA.

The SOUTH NICHE - FACE  8 The temple is provided with three single storied niches, one each on the south, west and north. They are carved like beautiful temples. They act as buttresses against the central tower of the temple. The photo above is that of the South niche. On the door jambs of this temple-like niche are seen the DWAARAPALAKAS also. All the other parts of a temple are provided too. The figures on the niche walls are small for want of space. Inside the niche is seen an aaseena DURGAA ( zoom to see ). VARAAHA wih consorts The left wall of the niche has an aaseena VARAAHA with consorts ( see the photo above ). Aaaseena NARASIMHA The right wall of the niche has an aaseena NARASIMHA ( see the photo above ).

Face 7 of the wall Note : All the images are identified from your right to left. The images are : 1. GOVARDHANADHAARI. On the pedestal is a Kannada inscription which reads : HARI BIRIDA ROOVAARI GIRIVAJRADANDA VIRIDA PRASAADI MASTAKASHOOLA ROOVAARI NANDIYA BAICHOJA MAADIDA SRI SRI SRI ( ಹರಿ ಬಿರಿದ ರೂವಾರಿ ಗಿರಿ ವಜ್ರ ದಂಡ ವಿರಿದ ಪ್ರಸಾದಿ ಮಸ್ತಕ ಶೊಲ ರೂವಾರಿ ನಂದಿಯ ಬೈಚೋಜ ಮಾಡಿದ ರೂವಾರಿ ಶ್ರೀ ಶ್ರೀ ಶ್ರೀ ) meaning that it is the work of BAICHOJA of NANDI. 2. UGRA NARASIMHA with GARUDA ( ಗರುಡ ) to his left, LAKSHMEE ( ಲಕ್ಷ್ಮೀ ) to his right and PRAHLADA below. 3. HRISHEEKESHA ( ಹೃಷಿಕೇಶ ) ( C - P - S - G ) the tenth of the twenty-four forms of VISHNU ( ವಿಷ್ಣು )

FACE 6 : FIRST PART Note : All the images are identified from your right to left. The photo above is the first part of FACE 6 of the central wall. The images are : 1. TRIVIKRAMA ( ತ್ರಿವಿಕ್ರಮ ) ( G - C - S - P ) on the projected portion.To his left is a NAGA-KANYE holding a jewelled necklace. 2. BHAIRAVA with a goblin to his left. FACE 6 : SECOND PART The above photo is the second part of FACE 6. The images are : 1. Shadbhuja (six armed ) DURGAA ( ದುರ್ಗಾ ) dancing with skeleton body. A goblin is seen to her right. 2. VAAMANA ( C - G - P - S ) the eighth of the chaturvimshati murtis. 3. SREEDHARA ( ಶ್ರೀಧರ ) ( C - G - S - P ), the ninth of the Chaturvimshati murtis. 4. Two monkeys fighting for a fruit.

Face 5 of the wall Note : All the images are identified from your right to left. 1. HARIHARA also called SHANKARANAARAAYANA. He is a fusion of HARI and HARA. He is seen holding a TRISHOOLA ( trident ) in his right upper hand ( HARA ) and a CHAKRA ( disc ) in his left upper hand ( HARI ). 2. MADHUSOODANA ( S - P - G - C ), the sixth of the CHATURVIMSHATI MOORTIS. To his right is his consort ( KAMALAALAYA ) holding a PAASHA and KALASHA. 3. TRIVIKRAMA with his right leg lifted. 4. VAAMANA receiving gift from BALI. SHUKRA standing to the right of BALI.

Face 4 of the wall Note : All the images are identified from your right to left. 1. AMARANAARAAYANA or PARAVAASUDEVA seated on ANANTA. On the pedestal is the Kannada inscription : SRI AADIMOORTI DEVARANU NANDIYA BAICHOJA MAADIDA KANDIRE ( ಶ್ರೀ ಆದಿ ಮೂರ್ತಿ ದೇವರನು ನಂದಿಯ ಬೈಚೋಜ ಮಾಡಿದ ಕಂಡಿರೆ ). Below the god are GARUDA ( ಗರುಡ ), PRAHLAADA, and the other gods. 2. GOVINDA (G - P - S - C ), the fourth form of VISHNU with a consort to his right. 3. YOGAANARASIMHA with two consorts. GARUDA ( ಗರುಡ ) and PRAHLAADA below. 4. VISHNU ( P - S - C - G ) with consort. 5. Aaseena Chaturbhuja VARADARAAJA ( abhaya hasta, chakra, shankha and daana hasta ).

MUDRA is a sign. It is usually a symbolic gesture of hands and fingers. There are two types of MUDRAS namely ONE HANDED MUDRAS called ASAMYUKTA ( ಅಸಂಯುಕ್ತ ) or KEVALA ( ಕೇವಲ ) MUDRAS; and TWO HANDED MUDRAS called SAMYUKTA ( ಸಂಯುಕ್ತ ) MUDRAS. Mudras again may be SAANKETIKA ( ಸಾಂಕೇತಿಕ ), VASTUROOPA, and AAYUDHAGRAHANA ( ಆಯುಧಗ್ರಹಣ ). ABHAYAMUDRA, VARADA (DAANA) MUDRA and VYAAKHYAANA MUDRA are the most popular SAANKETIKA MUDRAS. In ABHAYA MUDRA the right palm fingers point upwards assuring protection.  In VARADAMUDRA the fingers point downwards and in VYAAKHYAANAMUDRA the right hand fingers are held as while teaching or explaining. SAANKETIKA MUDRAS are single hand mudras. In the VASTUROOPA MUDRAS some thing is held in the hands. SARASVATI playing the VEENA or SHIVA holding the DAMARU ( ಡಮರು ) are examples of VASTUROOPA MUDRAS. The AAYUDHA MUDRAS are those where the god holds an object such as PAASHA ( rope ), or ANKUSHA ( hook ) as in the case of GANAPATI.

Face 3 of the wall Note : All the images are identified from your right to left. 1. DOLOTSAVA ( ಡೋಲೋತ್ಸವ ) - Probably KRISHNA with consort being swung on a swing-board hung with ropes from a beam supported by two plantain trees. Monkeys are seen playing on the TORANAS ( ತೋರಣಗಳು ) 2. RATI and MANMATHA. To their right is seen a horse - headed musician carrying betel bags. 3. MAADHAVA ( C - S - P - G ) with LAKSHMEE holding flower bunches to his left. 4. ASHTABHUJA TAANDAVA GANAPATI ( holding in his hands tusk, chakra, parashu, shankha, padma and apoopa; and the the other two hands are in the SWARGAH ASTA and LAMBA HASTA posture ). Ganapati's Vaahana, the MOUSE and musicians with their musical instruments ( look at the MRIDANGA ) are seen below.

The plan of the temple divides the external walls into 19 Faces. Of these, a part of the first and the nineteenth Faces have been concealed by later constructions. Seventeen Faces are therefore fully visible. The temple faces east and the Faces are counted moving clockwise from the east keeping the temple wall to the right. The photo below is that of the SECOND FACE. Face 2 of the wall Note : All the images are identified from your right to left. 1. Bearded BRAHMA standing on a lotus. To his right is a woman with CHAMARA. 2. NAARAAYANA ( P - G - C - S ). 3. MOHINI dancing, with DAKSHINAMURTI to her right. He wears a KULAAVI ( ಕುಲಾವಿ ) cap, long coat, and sandals, and also holds a DANDA ( ದಂಡ ) and CHAKRA.

It may be noted that all the 24 forms of VISHNU are : STHAANAKA ( standing in posture ) ; SAMASTHAANAKA ( without bends ) ; SHAANTA or SAUMYA VAKTRA( pacific in countenance ) ; and CHATURBHUJA ( four armed ). They have a tall crown, a VANAMAALA ...( garland of wild flowers ) and KAUSTUBHA MANI ( Kaustubha gem ) on the chest. They are also bedecked with with ornaments like wristlets, armlets, necklaces and earpieces. A picture of ANIRUDDHA ( sixteenth form of VISHNU ) is also posted below for a closer study of the iconographical features of the Chaturvimshatimurtis. ANIRUDDHA ( G - S - P - C ) on the wall of the temple under study

The central walls of the temple under study have 75 large images. These include the twenty-four classical forms of VISHNU popularly known as the CHATURVIMSHATI MURTIS. VISHNU ( see the photo below ) is four armed and in each of his hands holds a weapon. In his upper right hand is Lotus i.e., PADMA ( P ), in his upper left hand is Conch i.e., SHANKHA ( S ), in his lower left hand is Discus i.e., CHAKRA ( C ) and in his lower right hand is Mace i.e., GADAA ( G ). These four weapons can be arranged in 24 different ways ( 4 Factorial ) and each different arrangement represents a different form of VISHNU. The order in which the arrangement is to be noticed is : upper right hand, upper left hand, lower left hand and lower right hand. The 24 forms of VISHNU are : Keshava, Narayana, Madhava, Govinda, Vishnu, Madhusudana, Trivikrama, Vamana, Sridhara, Hrishikesha, Padmanabha, Damodara, Sankarshana,Vasudeva, Pradyumna, Aniruddha, Purushottama, Adhokshaja, Narasimha, Achyuta, Janardana,

The central portion of the external walls of the temple is adorned with the images of gods and goddesses. The images are beautiful and well proportioned. Most of the images are STHAANAKA ( ಸ್ಥಾನಕ ) i.e., STANDING in posture while some are AASEENA ( ಆಸೀನ ) i.e., in SITTING posture. The images on the southern wall are carved by BAICHOJA ( ಬೈಚೋಜ ) while those on the northern wall are the works of MALLITAMMA ( ಮಲ್ಲಿತಮ್ಮ ). What is very interesting about these images is the fact that the the two sculptors have inscribed their names below most of the images that they have carved. Look at the AASEENA AMARANAARAAYA NA ( ಆಸೀನ ಅಮರನಾರಾಯಣ ) below now. Zoom it and on the pedestal you find the Kannada inscription SRI AADIMOORTI DEVARANU NANDIYA BAICHOJA MAADIDA KANDIRE ( ಶ್ರೀ ಆದಿ ಮೂರ್ತಿ ದೇವರನು ನಂದಿಯ ಬೈಚೋಜ ಮಾಡಿದ ಕಂಡಿರೆ )meaning that it is the work of BAICHOJA of NANDI. AMARANAARAYANA on the Southern wall The ASHTABHUJA NAATYA LAKSHMI ( ಅಷ್ಟಭುಜ ನಾಟ್ಯ ಲಕ್ಷ್ಮಿ ), (eight armed da