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Hoysala architecture is the building style 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.〔Hardy (1995), pp243–245〕〔Foekema (1996), p47, p59, p87〕 Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli.〔Hardy (1995), p320, p321, p324, p325, p329, p332, p334, p339, p340, p346〕〔Foekema (1996), p53, p37, p71, p81, p41, p43, p83〕 Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.〔Percy Brown in Kamath (2001), p134〕 Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Chalukyan art but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. Some three hundred temples are known to survive in present-day Karnataka state and many more are mentioned in inscriptions, though only about seventy have been documented. The greatest concentration of these are in the Malnad (hill) districts, the native home of the Hoysala kings.〔Hardy (1995), p244〕 The ''Karnata Dravida'' tradition which covers a period of about seven centuries began in the 7th century under the patronage of the Chalukya dynasty of Badami, developed further under the Rashtrakutas of Manyakheta during the 9th and 10th centuries and the Western Chalukyas (or Later Chalukyas) of Basavakalyan in the 11th and 12th centuries. Its final development stage and transformation into an independent style was during the rule of the Hoysalas in the 12th and 13th centuries.〔Hardy (1995), pp6-7, section ''Introduction-Dynasties and Periods''〕 Medieval inscriptions displayed prominently at temple locations give information about donations made toward the maintenance of the temple, details of consecration and on occasion, even architectural details.〔Foekema (2003), p18〕 ==Temple deities== Hinduism is a combination of secular and sacred beliefs, rituals, daily practices and traditions that has evolved over the course of over two thousand years and embodies complex symbolism combining the natural world with philosophy. Hindu temples began as simple shrines housing a deity and by the time of the Hoysalas had evolved into well articulated edifices in which worshippers sought transcendence of the daily world. Hoysala temples were not limited to any specific organised tradition of Hinduism and encouraged pilgrims of different Hindu devotional movements. The Hoysalas usually dedicated their temples to Shiva or to Vishnu (two of the popular Hindu gods), but they occasionally built some temples dedicated to the Jain faith as well. Worshippers of Shiva are called Shaivas and worshippers of Vishnu are called Vaishnavas.〔Foekema (1996), pp19-20, chapter-''The dedications and names of temples''〕〔Hardy (1995), p245〕 While King Vishnuvardhana and his descendants were Vaishnava by faith,〔Kamath (2001), p132〕 records show that the Hoysalas maintained religious harmony by building as many temples dedicated to Shiva as they did to Vishnu.〔Foekema (1996), p19〕 Most of these temples have secular features with broad themes depicted in their sculptures. This can be seen in the famous Chennakesava Temple at Belur dedicated to Vishnu and in the Hoysaleswara temple at Halebidu dedicated to Shiva. The Kesava temple at Somanathapura is different in that its ornamentation is strictly Vaishnavan. Generally Vaishnava temples are dedicated to Keshava (or to Chennakeshava, meaning "Beautiful Vishnu") while a small number are dedicated to Lakshminarayana and Lakshminarasimha (Narayana and Narasimha both being Avatars, or physical manifestations, of Vishnu) with Lakshmi, consort of Vishnu, seated at his feet. Temples dedicated to Vishnu are always named after the deity. The Shaiva temples have a Shiva linga, symbol of fertility and the universal symbol of Shiva, in the shrine. The names of Shiva temples can end with the suffix ''eshwara'' meaning "Lord of". The name "Hoysaleswara", for instance, means "Lord of Hoysala". The temple can also be named after the devotee who commissioned the construction of the temple, an example being the Bucesvara temple at Koravangala, named after the devotee Buci.〔Foekema (1996), p19–20〕 The most striking sculptural decorations are the horizontal rows of moldings with detailed relief, and intricately carved images of gods, goddesses and their attendants on the outer temple wall panels.〔Kamath (2001), p134〕 The Doddagaddavalli Lakshmi Devi ("Goddess of Wealth") Temple is an exception as it is dedicated to neither Vishnu nor Shiva. The defeat of the Jain Western Ganga Dynasty (of present-day south Karnataka) by the Cholas in the early 11th century and the rising numbers of followers of Vaishnava Hinduism and Virashaivism in the 12th century was mirrored by a decreased interest in Jainism.〔Kamath (2001), pp 112, 132〕 However, two notable locations of Jain worship in the Hoysala territory were Shravanabelagola and Kambadahalli. The Hoysalas built Jain temples to satisfy the needs of its Jain population, a few of which have survived in Halebidu containing icons of Jain tirthankaras. They constructed stepped wells called ''Pushkarni'' or ''Kalyani'', the ornate tank at Hulikere being an example. The tank has twelve minor shrines containing Hindu deities.〔Foekema (1996), plate 27〕 The two main deities found in Hoysala temple sculpture are Shiva and Vishnu in their various forms and avatars (incarnations). Shiva is usually shown with four arms holding a trident and a small drum among other emblems that symbolize objects worshiped independently of the divine image with which they are associated.〔Foekema (1996), p31, chapter:''Recognizing the most important deities''〕 Any male icon portrayed in this way is Shiva although a female icon may sometimes be portrayed with these attributes as Shiva's consort, Parvati. Various depictions of Lord Shiva exist: showing him naked (fully or partially), in action such as slaying a demon (Andhaka) or dancing on the head of a slain elephant (Gajasura) and holding its skin up behind his back. He is often accompanied by his consort Parvati or shown with Nandi the bull. He may be represented as Bhairava, another of Shiva's many manifestations.〔 A male figure depicted holding certain objects such as a conch (symbol of eternal, heavenly space) and a wheel (eternal time and destructive power) is Vishnu. If a female figure is depicted holding these objects, she is seen as his consort, Lakshmi. In all the depictions Vishnu is holding four objects: a conch, a wheel, a lotus and a mace. These can be held in any of the icon's hands, making possible twenty-four different forms of Vishnu, each with a unique name.〔Foekema (1996), p32, chapter:''Recognizing the most important deities''〕 Apart from these, Vishnu is depicted in any of his ''ten avataras'', which include Vishnu sitting on Anantha (the celestial snake and keeper of life energy also known as Shesha), Vishnu with Lakshmi seated on his lap (Lakshminarayana), with the head of a lion disemboweling a demon on his lap (Lakshminarasimha), with head of a boar walking over a demon (Varaha), in the Krishna avatar (as Venugopala or the cow herder playing the Venu (flute), dancing on the head of the snake Kaliya, lifting a hill such as Govardhana), with his feet over head of a small figure (''Vamana''), along with Indra riding an elephant, with Lakshmi seated on Garuda, and the eagle (stealing the parijata tree).〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Hoysala architecture」の詳細全文を読む スポンサード リンク
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