Shivagange – a Historical Study
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Hoysala King Ballala Iii (1291-1342 A.D)
FINAL REPORT UGC MINOR RESEARCH PROJECT on LIFE AND ACHIEVEMENTS: HOYSALA KING BALLALA III (1291-1342 A.D) Submitted by DR.N.SAVITHRI Associate Professor Department of History Mallamma Marimallappa Women’s Arts and Commerce College, Mysore-24 Submitted to UNIVERSITY GRANTS COMMISSION South Western Regional Office P.K.Block, Gandhinagar, Bangalore-560009 2017 1 ACKNOWLEDGEMENT First of all, I would like to Express My Gratitude and Indebtedness to University Grants Commission, New Delhi for awarding Minor Research Project in History. My Sincere thanks are due to Sri.Paramashivaiah.S, President of Marimallappa Educational Institutions. I am Grateful to Prof.Panchaksharaswamy.K.N, Honorary Secretary of Marimallappa Educational Institutions. I owe special thanks to Principal Sri.Dhananjaya.Y.D., Vice Principal Prapulla Chandra Kumar.S., Dr.Saraswathi.N., Sri Purushothama.K, Teaching and Non-Teaching Staff, members of Mallamma Marimallappa Women’s College, Mysore. I also thank K.B.Communications, Mysore has taken a lot of strain in computerszing my project work. I am Thankful to the Authorizes of the libraries in Karnataka for giving me permission to consult the necessary documents and books, pertaining to my project work. I thank all the temple guides and curators of minor Hoysala temples like Belur, Halebidu. Somanathapura, Thalkad, Melkote, Hosaholalu, kikkeri, Govindahalli, Nuggehalli, ext…. Several individuals and institution have helped me during the course of this study by generously sharing documents and other reference materials. I am thankful to all of them. Dr.N.Savithri Place: Date: 2 CERTIFICATE I Dr.N. Savithri Certify that the project entitled “LIFE AND ACHIEVEMENTS: HOYSALA KING BALLALA iii (1299-1342 A.D)” sponsored by University Grants Commission New Delhi under Minor Research Project is successfully completed by me. -
Laxmi Devi Temple: Hoysala
Laxmi Devi Temple: Hoysala drishtiias.com/printpdf/laxmi-devi-temple-hoysala Why in News Recently, a Hoysala-era idol of Goddess Kali of the Lakshmi Devi Temple at Doddagaddavalli, Karnataka has been found damaged. Key Points Lakshmi Devi Temple: Lakshmi Devi temple was built by the Hoysalas in the year 1114 CE during the rule of king Vishnuvardhana. The building material is Chloritic schist, more commonly known as soapstone. The temple does not stand on a jagati (platform), a feature which became popular in later Hoysala temples. The temple is a chatuskuta construction (4 shrine and tower). The towers are in Kadamba nagara style. The mantapa is open and square. The reason for the square plan is the presence of shrines on all four sides of the mantapa. There is a separate fifth shrine of Bhairava, an avatar of Lord Shiva. The main deity is Goddess Lakshmi whereas all Hoysala temples are dedicated to either Lord Vishnu, Lord Shiva and in some cases to Jains. An archaeological Survey of India (ASI) monument and is also among the monuments proposed for the UNESCO World Heritage Site. 1/4 2/4 Hoysala Temple Architecture: It is the building style developed under the rule of the Hoysalas and is mostly concentrated in southern Karnataka. Hoysala temples are sometimes called hybrid or vesara as their unique style seems neither completely dravida nor nagara, but somewhere in between. They are easily distinguishable from other medieval temples by their highly original star-like ground-plans and a profusion of decorative carvings. The temples, instead of consisting of a simple inner chamber with its pillared hall, contain multiple shrines grouped around a central pillared hall and laid out in the shape of an intricately-designed star. -
Pattadakal Text 3
1 ŚAIVA MONUMENTS at PAṬṬ ADAKAL Vasundhara Filliozat architecture by Pierre-Sylvain Filliozat 2 Scheme of transliteration from n āgar ī and kanna ḍa scripts Special n āgar ī letters ° ā £ ī • ū ¶ ṛ ṝ ḷ ṅ ñ ṭ ṭh – ḍ — ḍh “ ṇ ś ṣ Special kanna ḍa letters K ē N ō ¼ ḷ 3 S TABLE OF CONTENTS List of figures Introduction I. History History and chronology of Calukya kings Pulike śin II (A.D. 610-642) Vikram āditya II II. Architecture The site of Pa ṭṭ adakal The Karn āṭa-Nāgara temples at Pa ṭṭ adakal The temple of K āḍasiddhe śvara The temple of Jambuli ṅge śvara The temple of K āśī vi śvan ātha The temple of Galagan ātha The temple of P āpan ātha (M ūlasth ānamah ādeva) Miniature temples at Pa ṭṭ adakal The Candra śekhara temple The Karn āṭa-Dr āvi ḍa monuments at Pa ṭṭ adakal The temple of Vijaye śvara (Sa ṃgame śvara) The temple of Loke śvara (Vir ūpākṣa) Pr āsāda Interior Pr āsāda Exterior The Temple of Trailokye śvara (Mallik ārjuna) III. Iconography The temple of Vijaye śvara The Temple of Loke śvara External façades Loke śvara Temple, interior The temple of Trailokye śvara The temple of K āśī vi śve śvara The temple of P āpan ātha The temple of K āḍasiddhe śvara The temple of Jambuli ṅge śvara The temple of Galagan ātha IV. Epigraphy V. Conclusion Works referred to Glossary Glossary of special words in inscriptions Index 4 List of figures Photographs are by the authors assisted by Shalva Pillai Iyengar, unless otherwise stated. -
Some Bhumija Temples of Karnataka
Some Bhumija Temples of Karnataka Priyamvada R Sharma Designation: Ph.D Research Student, Mobile: +917387777501 Email: [email protected] Abstract The article deals with a style of temple architecture called Bhumija, which originated and developed in Central India, and spread over a vast area comprising Rajasthan, Gujarat, Madhya Pradesh, Maharashtra, Andhra Pradesh and Karnataka with regional overtones. It explains the meaning of the term Bhumija, mentions Silpa texts which give details of this style and considers examples of temples which have this style of Sikhara on the mulaprasada (shrine proper) and of its models on the walls of the temples in Karnataka. Four temples, i.e., Kasivisvesvara temple at Lakkundi, Siddhesvara temple at Haveri and Nagesvara and Chennakesava temples at Mosale Hosahalli are described as they have Bhumija style of Sikhara as models on their walls. Here I have classified the type of Bhumija according to the description given in the Silpa texts along with the illustrations of the models present on the walls of temples. A reference is made to the only inscription which mentions Bhumija style. A table containing information about sub-types of Bhumija as described in the two Silpa texts Samaranganasutradhara and Aparajitaprccha. Introduction The Bhumija style of temple architecture belongs to the Central Indian School of temple architecture. Though conforming in certain details to Nagara style, the sikhara obtains distinguishing feature of a Bhumija temple. It is generally believed that the Bhumija style originated in Malwa region. But the style was extensive in the space and time and spread across the region of Rajasthan, Gujarat, Madhya Pradesh, Maharashtra, Andhra Pradesh and Karnataka in early medieval times. -
Hoysala Traveler
ullavaru shivalaya maaduvaru naanena maadali badavanayya, enna kaale kamba dehave degula shirave honna kalashavayya Koodala Sangama Deva kelayya sthavarakkalivuntu jangamakalivilla The rich will make temples for Shiva. What shall I, a poor man, do? My legs are pillars, The body the shrine, HOYSALA The head a cupola of gold. Listen, O lord of the meeting rivers, Things standing shall fall, But the moving ever shall stay. TRAVELER Basavanna’s Vachanas (1134 – 1196 A.D) Basava (also known as Basaveshwara) was a philosopher and a radical social reformer. A true visionary with ideas ahead of his time, he envisioned a society that ourished enriching one and all. Many great yogis and mystics of the time joined his movement enriching it with the essence of divine experience in the form Published by Srishti School of Art, Design & Technology, of Vachanas (rational hymns in Kannada) Bangalore that gave a rational view to human living. Distributed by Karnataka Tourism Derpartment Copywright Designed by Srishti School of Art, Design & Technology, Bangalore Original book concept devised by Jyoti Hosagraha, UNESCO Production by KolorKode, Bangalore, India Chennakeshava Temple Hoysala Kotte The temple, the religious and cultural center stood at the heart of a Hoysala Heritage Region town. A Fort wall or Kotte encircle the town as protection from invasion. The Cultural Heritage of the Hoysala The Hoysala Legend 04 rulers is primarily in the settlements and Reign and Extent 06 towns in and around Belur and Halebeedu of the Empire in Karnataka. Back in the 12 century, Architechture 08 a traveler passing through the region, Literature 18 could easily spot the imposing gopuram Life in the Hoysala 19 (monumental tower) of the temple on its Kingdom raised platform. -
Review of Dr J. D. M. Derrett's “The Hoysalas: a Medieval Indian Royal
REVIEW OF DR. J. DUNCAN. M. DERRETT’S BOOK ‘THE HOYSALAS: A MEDIEVAL INDIAN ROYAL DYNASTY’ BY DR S. SRIKANTA SASTRI Review of Dr J. D. M. Derrett’s “The Hoysalas: A Medieval Indian Royal Dynasty” by Dr S. Srikanta Sastri Many factual errors found on almost every page THE HOYSALAS. (A medieval Indian royal dynasty) by J. Duncan M. Derrett. (Oxford University Press. 1957. Price Rs. 12. Pp. 257). The Hoysalas of Mysore occupy an important place in the annals of South India for nearly two and a half centuries. South India was divided between the two great empires of the Western Chalukyas of Kalyani and the Cholas at the rise of the Hoysala power in Southern Mysore and the Hoysalas in the south and the Chalukyas, the Yadavas of Devagiri, the Cholas, the Pandyas, the Kalachuryas and minor dynasties, before the Muslim invasions. The Hoysalas themselves were destined to be eclipsed by the Vijayanagara Empire, which for the first time brought the country south of the Krishna under a single rule. The long reign of Vikramaditya VI saw the rise of powerful subordinate dynasties like the Yadavas of Devagiri in the northern part of Karnataka, the Kalachuryas in the centre, the Hoysalas in the south and the Kakatiyas in the east. To reconstruct the history of the Hoysalas the whole context should be kept in view and the sources, literary and archaeological, should be critically evaluated. Since Fleet and Lewis Rice collected the Karnataka inscriptions, numerous epigraphs and literary works in Samskrit, Kannada, Telugu and Tamil, as well as Persian and Arabic, have come to light. -
Review of Research Issn: 2249-894X Impact Factor : 5.7631(Uif) Ugc Approved Journal No
Review of ReseaRch issN: 2249-894X impact factoR : 5.7631(Uif) UGc appRoved JoURNal No. 48514 volUme - 8 | issUe - 9 | JUNe - 2019 A STUDY ON ARCHITECTURAL STYLES OF CHENNAKESHAVA TEMPLE AT BELURU Dileep Kumar S. MA(English),MA(History),MA(Economics) B.Ed, DCA, Graduate Primary Teacher, Govt. Upper Higher Primary School, Onthradka, Kodimbal Post, Puttur Taluk, Dakshina Kannada, Mangalore. ABSTRACT: The architecture of the Hoysalas is world – famous. The Hoyslas got their innumerable temples built in soap stone. There are five features that can be seen in all their temples. They have the stare shaped sanctum sanctorum, upa peetha, decorative panels, shikara and pillars. The Hoysalas developed a new style of architecture different from that of the Chalukyas. The temples they built were polygonal star shaped in plan, having richly carved plinths. The towers of the temples were pyramidal in shape and were often attached together. The Hoysala buildings were generally ornamented with an enormous mass of sculpture and statues of very good quality. KEYWORDS: architecture, sculpture, Vaikuntha, shrines, monuments, vimana, jagati, INTRODUCTION its magnificent shrines and came atmosphere. To maintain the Belur is located in Hassan to be known as the ‘modern shine of the temples, the stone is district of Karnataka. It was Vaikuntha of the earth. treated with a chemical wash and the early capital of Hoysala The Hoysala temples are then wax polished once in ten Dynasty. According to some characterized by typical star years. inscription, it was earlier shaped ground plan and are Today, this small town basking in known as Velapuri. The usually set on a platform. -
Shimoga District Profile.Pdf
Contents S. No. Topic Page No. 1. General Characteristics of the District 1-2 1.1 Location & Geographical Area 3 1.2 Topography 3 1.3 Availability of Minerals. 4 1.4 Forest 4 1.5 Administrative set up 4 2. District at a glance 5-6 2.1 Existing Status of Industrial Area in the District 7 3. Industrial Scenario of Shimoga District 8 3.1 Industry at a Glance 8 3.2 Year Wise Trend of Units Registered 8 3.3 Details of Existing Micro & Small Enterprises & Artisan Units 9 in the District 3.4 Large Scale Industries / Public Sector undertakings 10 3.5 Major Exportable Item 10 3.6 Growth Trend 10 3.7 Vendorisation / Ancillarisation of the Industry 10 3.8 Medium Scale Enterprises 11 3.9 Service Enterprises 11 3.9.1 Potentials areas for service industry 11 3.9.2 Service Enterprises having scope in Shimoga district. 11 3.10 Potential for new MSMEs 11-12 4. Existing Clusters of Micro & Small Enterprise 12 4.1 Details of Major Clusters 12 4.1.1 Manufacturing Sector 12 4.1.2 Service Sector 12 4.2 Details of Identified cluster 12 4.1.2 Service Sector 12 5. General issues raised by industry association during the course of 15 meeting 6. Steps to set up MSME 16 Brief Industrial Profile of District 1. General Characteristics of the District: Shimoga, the district head quarter, as per traditional derivations, the name pertains to Lord Shiva (‘Shiva – Mukha’ – Face of Shiva, “Shivana – Mogu’ – Nose of Shiva, ‘Shivana – Mogge’ – Buds of flowers meant for Shiva). -
Gandaberunda: Aesthetic Representation of the Mythical Bird
International Journal of Innovative Technology and Exploring Engineering (IJITEE) ISSN: 2278-3075, Volume-8, Issue- 7C2, May 2019 Gandaberunda: Aesthetic Representation of the Mythical Bird Gomathi Gowda passage to the left of the figure. It may be mentioned that the Abstract— Indian Art is predominantly decorative in donor, Bhaktiraja, enjoyed the title Gaṇḍabheruṇḍa. Mostly character and birds occupy an important position in plastic and confined to Andhra, it is noticed in the same form in the pictorial representation. Birds such as the Garuda, Peacock and Tripurantakam (Kurnool district) inscription (saka 1310) of others are connected with important mythological stories and in Annadeva, Vinukonda (district Guntur) inscription (Saka the stories of Jataka, most other birds are carved, painted as an integral part of the design. 1377). (Sarkar. H and Pande B.M 1999: 75) Of the mythical birds, Garuda, the vehicle of Vishnu, is The Gaṇḍabheruṇḍa had strange associations and scholars well-represented in medieval records. In south, another kind of have suggested various origins of it. Marshall contended that mythical bird is noticed in the inscription known as this double-headed eagle occurs for the first time in the gaṇḍabheruṇḍa. In Sanskrit the word bheruṇḍa means terrific, Hittite sculptures in Western Asia, that it is also found on an frightful, terrible, a species of bird while gaṇḍa is understood to early ivory of the Geometric period from Sparta and that later imply a warrior or hero. The term gaṇḍabheruṇḍa was adopted on the Scythians introduced it to taxila (Taksasila). From as a title by the Chalukyas, Kadambas and the Vijayanagara rulers. -
Epigraphy 02
STUDY MATERIAL FOR B.A HISTORY EPIGARPHY SEMESTER - VI, ACADEMIC YEAR 2020 - 21 UNIT CONTENTS PAGE Nr I INTRODUCTION TO EPIGRAPHY 02 II EVOLUTION OF SCRIPTS 09 III DATING SYSTEM 20 IV EMINENT EPIGRAPHISTS 22 V INSCRIPTIONS AND COPPER PLATES 28 Page 1 of 32 STUDY MATERIAL FOR B.A HISTORY EPIGARPHY SEMESTER - VI, ACADEMIC YEAR 2020 - 21 UNIT - I INDIAN EPIGRAPHY Epigraphy is a sine qua non for constructing the political and cultural history of ancient India. Generally, historical information is acknowledged as true when it is substantiated by an epigraphical record. In the study of the history of literature and language, epigraphy has a vital role to play. What is an inscription? The word epigraphy is derived from two Greek words viz., ‘epi’ which means ‘ upon’ and ‘graphie’ meaning ‘to write’. Epigraphy may be defined as any descriptive and analytical study of the inscriptions. The word ‘Inscription’ is most commonly used as a synonymous with epigraph. This word has been derived from a Latin word Inscribere, which also gives the meaning ‘to write upon.’ According to Dr. D. C. Sircar, “Inscription literally means only writing engraved on some object.” The Encyclopedia Britanica states that “Inscriptions are the documents, incised on some hard permanent material in the form of letters or other conventional signs, for the purpose of conveying some information or preserving a record. J. F. Fleet has tried to present a summed up description of inscription, like this: “The inscription are notifications, very frequently of an official character and generally more or less of a public nature, which recite facts, simple or complex, with or without dates and were intended to be lasting records of the matters to which they refer.” In India, rocks as well as lithic, metallic, earthen or wooden pillars, tablets, plates and pots and also bricks, sheets, ivory plaques and other objects were generally used for incising inscriptions. -
Sur Les Chemins D'onagre
Sur les chemins d’Onagre Histoire et archéologie orientales Hommage à Monik Kervran édité par Claire Hardy-Guilbert, Hélène Renel, Axelle Rougeulle et Eric Vallet Avec les contributions de Vincent Bernard, Michel Boivin, Eloïse Brac de la Perrière, Dejanirah Couto, Julien Cuny, Ryka Gyselen, Claire Hardy-Guilbert, Elizabeth Lambourn, Fabien Lesguer, Pierre Lombard, Michel Mouton, Alastair Northedge, Valeria Piacentini Fiorani, Stéphane Pradines, Hélène Renel, Axelle Rougeulle, Jean-François Salles, Pierre Siméon, Vanessa Van Renterghem, Donald Whitcomb, Farzaneh Zareie Archaeopress Archaeology © Archaeopress and the authors, 2019. Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978-1-78491-984-9 ISBN 978-1-78491-985-6 (e-Pdf) © Archaeopress and the authors 2018 Cover illustration : Le château de Suse depuis le chantier de la Ville des Artisans, 1976 (© A. Rougeulle) All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electro- nic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com © Archaeopress and the authors, 2019. Sommaire Editeurs et contributeurs �����������������������������������������������������������������������������������������������������������������������������������������iii Avant – Propos ������������������������������������������������������������������������������������������������������������������������������������������������������������ -
Chapter 4.9 Later Chalukyas and Hoysalas I. Answer The
CHAPTER 4.9 LATER CHALUKYAS AND HOYSALAS I. ANSWER THE FOLLOWING IN A WORD OR SENTENCE EACH. 1. Who was the founder of Chalukyas of Kalyana? A:Tailappa II. 2. Which was the first capital of Chalukyas of Kalyana? A: Manyakheta. 3. Who was the patron of Ranna? A: Sathyashraya. 4. Who had the title ‘Kavichakravarthi’? A: Ranna. 5. Which work is considered as ‘The First Encyclopedia of Sanskrit’? A: Manasollasa. 6. Who was the founder of the Hoysala kingdom? A: Sala 7. What was the royal emblem of the Hoysalas? A: Sala killing a tiger. II. ANSWER THE FOLLOWING IN TWO WORDS OR TWO SENTENCES EACH. 1. Who started ‘Vikarama Era’ and when? A: a) Vikramaditya VI b) 1076 CE. 2. Mention any two titles of Vikramaditya VI. A: a) Permadideva. b) Tribhuvanamalla. 3. Name any two works of Ranna. A: a) Ajitanatha Purana. b) Sahasa Bhima Vijaya. 4. Who was the court poet of Vikramiditya VI? Name his work. A: a) Bilhana b) ‘Vikramankadeva Charitham’ 5. Name any two capitals of Hoysalas. A: a) Belur b) Dwarasamudra. 6. Mention any two titles of Vishnuvardhana. A: a) Mahamandaleshwara. b) Maleparolganda. 7. Name any two famous temples of Hoysalas. A: a) Hoysaleshwara at Halebeedu b) Chennakesahava at Belur. III. ANSWER THE FOLLOWING IN 15 TO 20 SENTENCES EACH. 1. Explain the cultural contributions of Chalukyas of Kalyana. A: The Chalukyas of Kalyana followed the great tradition of the Chalukyas of Badami and made rich cultural contributions: Literature: Kannada and Sanskrit literature developed during this period. Jain writers wrote scholarly literature in Kannada.