I need to know sculptors not vishnuvardana
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The Hoysalas borrowed freely from the Chalukya and Chola traditions and created a style unique in many ways.
IN the medieval period, Indian kings began to directly patronise the making of temples. Unlike the smaller temples of the ancient period in which the art was sublime, the emphasis was more on making vast temples, whose grandeur reflected the glory of the Divine as also that of the king who built it.
By the 11th and 12th centuries, in northern and central India, great temples were being made in the Nagara style. The Dravida, or southern Indian, style prevailed in the magnificent temples that were being constructed in what is now Tamil Nadu. In the Deccan, which lies between North and South India, the Hoysalas, hill chieftains, gradually came to power, creating a kingdom in what is now southern Karnataka. Hoysala history is clear from the time of King Vishnuvardhana, who ruled from A.D. 1108 to A.D. 1142. Inscriptions show that the king, his wife and his ministers were generous patrons of temples.
The walls of the Hoysalesvara temple have the most profusely decorative sculptures of deities.-
Vishnuvardhana defeated the imperial Cholas in A.D. 1116. This was a landmark in the establishment of his dynasty. To commemorate his victory, he built a temple for Kesava, or Chennakesava, at Belur, and named it the Vijayanarayana, or the victorious Vishnu, temple.
The temple is a classic example of the ornate style of temple art under the Hoysalas. They inherited a rich tradition of temple building from the Chalukyas and the Cholas. The Chalukyas had made magnificent temples at Pattadakkal in the 8th century and at other sites. Further south, the Cholas had created great temples in the region that is now Tamil Nadu. The Hoysalas borrowed freely from both traditions and created a style that is a rich blend of northern and southern influences.
THE CHENNAKESAVA TEMPLE, Belur, is well known for nayikas, or beautiful women, made as bracket figures. These are called madanakais.-
The Kesava temple, dedicated in A.D. 1117, stands in a large courtyard and has a pillared mandapa, or hall, an antechamber and a shrine. It rests on a plinth, which follows the shape of the temple itself. The shikhara, or tower, is no longer there and this gives the temple a flat appearance today.
The mandapa was originally a pillared, open hall. A later Hoysala king, Ballala II, added carved window screens and these give the mandapa a more closed feeling. Such screens continue the tradition of western Chalukyan temples in the Deccan, such as the Lad Khan temple in Aihole.
The exterior of the temple is profusely sculpted in a manner that has come to be known as the ornate Hoysala style. Horizontal rows of carvings run around the structure in an ordered and highly organised design. Every inch of wall surface is sculpted, often in miniaturised detail. The temple has the richest surface texture seen in any temple in India. The bands of carving that go around the temple run for over 700 feet (210 metres). The lower bands have about 2,000 elephants carved on them.
THE HOYSALESVARA TEMPLE was built between A.D. 1121 and A.D. 1160 in the area of Halebid, known then as Dorasamudra. It was the capital of the Hoysalas.-
The exterior walls present the world of forms: the material universe around one. Here, this world is seen as a manifestation of the Truth beyond, which is in the garbha-griha, or womb-chamber, deep inside the temple. The Hoysala artist paid the greatest attention to detail. Every limb of each figure, every decorative design, shows this preoccupation and is remarkable for its intricacy, depth of detail and skilful craftsmanship. However, the sense of fluid movement and balance to be found in other contemporaneous Indian sculpture is not seen here.
The figures and decorative motifs are deeply undercut and stand out effectively against the dark shadows. The best-known sculptures here are of the madanakais, the bracket figures beneath the overhanging roof of the mandapa. Figures carved on pillar brackets are also a theme that continues from the art of the western Chalukyas of the Deccan. These are nayikas, or beautiful women, who are seen in Indic art from early times. They represent the fertile abundance of nature. T
Explanation:
Answer:
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.[1][2] Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli.[3][4] Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.[5]