Halebīd represents the ancient city of Dvarasamudrā, the capital of the Hoysala Empire of ancient India .aintained lawns border the be leading to the temple which is drawn up, as in Belur, on a high platform of spangled form. In fact, it consists of two temples coupled: the temple of Shantaleshvara or temple of the queen, and the temple of Hoysaleshvara, or temple of the king. Both are devoted to Shiva and were built about 1121-1160.
The
outer circular route walls of the mandapa of the temple are decorated with
series with planks which are stretched throughout their lower part. Bottom
upwards, follows one another the series thus of
the elephant, symbol of force and stability
the lion, symbol of courage
the flower, image of the beauty
the horse, models speed will makara, animal mythical with the composite body
the swan, mounting of the Brāhma god
and finally musicians and dancers.
Of place in place also medallions meet where mythological scenes such as the churning of sea are described, épopée of Mahābhārata, as well as small erotic images.
One should not be astonished to see of such representations on the walls of the temples. First of all, they are placed at the circumference of the mandapa, room which precedes more crowned interior part temple. The mandapa is thus decorated scenes of the human life "normal". On the contrary, with the periphery of will shikhara, turn which rises above the crowned interior part of the temple, one sees only representations of gods, goddesses and their guides usual.
It should in addition be remembered that the temples were formerly regarded as true stone books. The visitor or the pilgrim, once made his prayers and offerings with the divinities, could inform, by traversing them, of realities so much human (more or less historical myths, activities of the life, including the sex) that relating to the higher worlds (divine).
Thus, on the balustrade, one finds illustrated the four components of the life, according to the Hindu design: dharma, artha, kāma, moksha
With the top of the gate Is, in a splendid composition, the gods are surrounded by gigantic will makara. This mythical animal, has legs of lion with which it goes discreetly, a body of pig which allows him all to digest, a trunk elephant, arms frightening, a mouth of crocodile which does not release what it catches, of the eyes of monkey, very sharp, of the ears of cow, attentive, and a tail of peacock deployed, symbol of beauty. These mythical animals also find themselves with the southern gate.
The interior of the temple shelters both cella kept by two frightening stone Dvārapāla accompanied maidservants carrying a drive out-fly. The mandapa of the two temples communicate between them by a long corridor whose jig-sawn columns shine in the half-light. Fine black stone statues decorate the higher part of some of these columns, the missing ones having been flights by English at the 19th century. The ceilings out of box are worked in the shape of flowers of lotus, banana tree, etc. One of these boxes represents Shiva Natarāja surrounded of eight Dikpala
In the east, Indra on its elephant symbolizes the force
In the North-East, Ishana represents agriculture
In north, Kubera on its horse is the god of the richnesses
In the North-West, Vayu on a deer is the god of the air
In the west, Varuna on will makara symbolizes water
In south-west, Nirutti whose vehicle is a man, represents the rain of monsoon
In the south, Yama, on a buffalo, is the god of death
In south-east, Agni on a ram is fire.
Outside of the southern gate, one will admire two splendid sculptures of big size, of Ganesh and Kārtikeya whose six heads (three are visible) symbolize the five directions plus the spirit which must be able to control the directions. It is in the southern part of the temple that the most beautiful mural sculptures are gods and goddesses: Vishnu in various forms (Krishna Venugopala, Varāha, Narasimha, Vāmana, Trivikrama, Chennakeshava and its ffemale forms like Laxmi.
Multiple forms, very complex, of Shiva are also present: Shiva Natarāja, Bhairava, Shiva crushing the Anduka demon, Shiva embanking the Gajāsura demon with body of elephant..., like its female forms: Pārvatī accompanied by its mongoose, Kālī, Kāla Bhairavi, etc.
Beyond the southern gate, in the garden, large and majestic Ganesh, sitted on a pedestal, accomodates the visitor.
With the northern gate, which constitutes the usual entry besides, one finds a fort beautiful Ganesh with the horn turned towards the line, position which one regards as auspicieuse.
In the North-East of the temple, a small Museum deserves the visit. A good series of parts is installed in the garden, others are rather correctly exposed in a room.
Apart from the enclosure of the principal temple, to a few hundred meters, one will also visit a group of Jains temples. Most significant is dedicated to Tirthankara Parshvanath, the two others in Shantinath and Adinath. The large statues of the Masters are impressive of majesty, full with force and presence. The pillars of the mandapa which precede to them cella are of Hoysala type and admirable of smoothness.
A little further, one will not neglect to go to see the temple of Kedareshvar (Shiva) of which mural sculptures, less prestigious than those of the principal temple, are nevertheless extremely interesting.