Architecture of Karnataka

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Architecture of Karnataka
(345 to present)
Type Period
Kadamba architecture – synthesis of several schools (345 to 525)
Western Ganga Dynasty
)		 (350 to 550)
Badami Chalukya architecture or the Vesara style (543 to 753)
Rashtrakutas
 (753 to 973)
Kalyani Chalukyas
)		 (1000 and 1200)
Hoysala Empire
 (1100 and 1400)
Vijayanagar Empire
 (1336 to 1648)
Indo-Islamic architecture of the Deccan Sultanates (1490 to 1686)
Keladi Nayaka
architecture of the Nayaka kingdoms		 (1499 – 1763)
Architecture of Kingdom of Mysore –
Blends of Hindu, Indo-Islamic, Rajput, and Gothic styles of architecture		 (1399 to 1947)
Tippu Sultan
 (1780)
Tibetan architecture at Bylakuppe
 (1953 to present)
Sikh architecture of Bidar & Bangalore
 (1512 to present)
Neo-Gothic church architecture (1933 to 1956)
Neo-Dravidian architecture (1947 to present)
Part of
Culture of Karnataka
Emblem of Karnataka
History


Vijayanagara:
(

Military. Haridasa. Battle of Raichur. Battle of Talikota
)

Sultanate
:
People
Languages

Dialects:
(Kundagannada. Havigannada. Arebhashe)

In cities:
(
Mangalore Kannada
)
Mythology
Cuisine
Festivals
Religion

Jainism:
(In Karnataka. In North Karnataka. Jain Bunt)
Art
  • Tourism:
    (
    Mysore
    )
Literature
Music and Performing arts
Media
Sport
  • Tennis:
    (
    Bangalore Open
    )
  • Badminton:
    (CBL)
Monuments
  • National interest monuments:
    (
    North Kanara. Raichur
    )
Symbols
Organisations

The antiquity of architecture of Karnataka (

Indo-Greek and Indo-British style palaces were built in Mysore, the city of palaces. Sikh architecture at Bidar (1512) and also in Bangalore
in 1956 can also be cited as having an impact on the architectural composition of the state.

Apart from the ancient traditional

Murudeshwar
are the witnesses to the Neo–Dravidian architectural influences which have evolved since independence. The chronology of the architecture of Karnataka is elaborated in the right-hand box.

Kadamba architecture

Main article: Kadamba architecture
Synthesis of several schools of architecture during Kadamba Dynasty
Kadamba shikara (tower) with Kalasa (pinnacle) on top
Madhukeshwara Temple

The

Kadambas of Banavasi were the ancient royal dynasty of Karnataka from 345 to 525, and made a significant early contribution to the architectural heritage of Karnataka.[5][6]
Dr. G. M. Moraes opines that apart from using some unique features, the Kadambas incorporated a diversity of styles in their architecture (
Chalukyas to the rulers of Sonda. "Kadambotsava", an annual cultural festival is held here in the month of December.[9]

Dravidian architecture

Main article: Dravidian architecture
Dravidian architecture
Cave temples and surface structural temples. Blend of North Indian Nagara style and South Indian Dravidian style
Ganga Dynasty
rulers in the ninth century

Various temples in the

Vaishnava temples were built by the Gangas, such as the Narayanaswami temples in Nanjangud, Sattur and Hangala, in the modern Mysore district.[10]

Gomateshwara

Gomateshwara (983), situated in Shravanabelagola is a monolithic statue standing 17.8 metres (58 ft) high above a hill (618 steps climb leads to this monolith), and is visible from a distance of 30 kilometres (19 mi) and regarded as one of the largest monolithic statues in the world. The statue was built by the Ganga minister and commander Chavundaraya (940–989) in honour of Lord Bahubali. Carved from fine-grained white granite, the image stands on a lotus. It has no support up to the thighs and is 60 feet (18 m) tall with the face measuring 6.5 feet (2.0 m). With the serene expression on the face of the image, its curled hair with graceful locks, its proportional anatomy, the monolith size, and the combination of its artistry and craftsmanship have led it to be called the mightiest achievement in sculptural art in medieval Karnataka.[11] It is the largest monolithic statue in the world.[12]

Panchakuta basadi (Jain basadi)

Further information:
Kambadahalli

This is one of the most elegant monuments built in Dravidian,

Adinatha flanked by Neminatha shrine to the east and Shanthinatha shrine containing a 3 metres (9.8 ft) tall idol of the tirthankara to the west. The other two shrines, which are disconnected and lie to the north of the trikuta cluster (three shrines), are also dedicated to tirthankaras. These are two different monuments.[13]

Talakad

Hoysala period (12th–13th century), and was also an important trade centre during the reign of Gangas (from the 6th century for about 400 years) and Cholas (close of 10th century) and the Hoysalas from 1116. Towards the early 15th century it came under the Vijayanagara rule, and remained with them until the end of the 16th century. There are about a dozen temples spread over a small area of 4 square kilometres (1.5 sq mi), perhaps reflecting the rich art, culture, trade and human activities that once existed there. The town now looks abandoned, except during the time of pilgrimage held once every few years. The temples, whose deities are regularly worshipped, such as the Kirthinarayana Temple, are either uncovered frequently or are protected continuously from accumulation of sand. The sand is removed to uncover them for a specific worship and an important pilgrimage held every five to twelve years; the recent Panchalinga Darshana pilgrimage was held during December 2006.[14]

Nanjangud Temple

The temple, located at

Ganga Dynasty rulers in the 9th century during their occupation of this region. It has undergone extensions during the reign of Cholas, Hoysalas, and Wodeyars from the 9th to 19th centuries. It is one of the biggest temples in Karnataka with an area of 560 square feet (52 m2) and with a Gopura (tower) of 36.576 metres (120.00 ft) height, which has seven stories with seven gold plated Kalasas on top of the Gopura.[15]

The uniqueness of the temple is that it has 66 idols of

Tippu Sultan. It is inscribed in the temple history that on the priests' special prayers to the deity, eyesight of the royal elephant was restored, where after the Sultan had a linga made of jade along with an emerald necklace and donated it to the temple.[15]

Badami Chalukya architecture

Main article: Badami Chalukya architecture
Badami Chalukya Architecture, Badami cave temples
Adisesha (serpent) in the Badami cave temple
Bahubali in Badami
cave number 4

The architecture is of a temple building idiom that evolved in the time period of 5th to 8th centuries in the area of

Badami Chalukyas
were feudatories of the Kadambas of Banavasi are also reflected during this period. According to historians, the Badami Chalukya contribution to temple building matched their valour and their achievements in battle. Their style included two types of monuments, namely the rock cut halls (caves) or cave temple features and the surface structural monuments.

Badami Chalukya Architecture, Aihole cave temple
Lad Khan Temple at Aihole North Karnataka
Durga temple at Aihole North Karnataka

Cave temples

Cave temple architecture is found in the Badami cave temples at

Vedic faith and the fourth cave is the only Jain temple at Badami.[18]

The cave temples architecture is a blend of

murals

Dravidian and Rekhanagara style of architecture of Rashtrakutas

The Rashtrakutas who ruled the Deccan from Manyakheta, Kalaburagi district, Karnataka in the period 753–973 created the Dravidian style and Rekhanagara style of architectural monuments. One of the richest traditions in Indian architecture took shape in the Deccan during this time and one writer calls it Karnataka Dravida style as opposed to traditional Dravida style.[19] Pattadakal UNESCO World Heritage Site and the Navalinga temples are the structural types of the Rashtrakutas.

Pattadakal

Pattadakal, UNESCO Heritage Monument
Group of 10 temples of
Nagara and mixed styles of architecture
  • Virupaksha temple in Dravidian style
  • Mallikarjuna and Kasivisvanatha temples in Dravida and
    Nagara
    styles
  • Papanatha temple – fusion of southern and northern Vesara styles
  • Sangameshvara temple in Dravidian style

A group of monuments at

UNESCO World Heritage Site, is located in the Bagalkot district of Karnataka. The temples of this group are the finest structural temples of this period and these are the Jaina, Dolmen, Kadasiddheswara, Jambulingeswara, Galaganatha, Chandrashekhara, Sangameswara, Kasivisweswara, Mallikarjuna, Virupaksha and Papanatha Temples.[20]
The uniqueness of this place derives from the presence of both the Dravidian or the Southern and the Nagara or the Northern (Indo-Aryan) styles of temple architecture. Of the ten temples in Pattadakal, six are in Dravidian style and four in Rekhanagara style. The most famous temples are the Virupaksha Temple, Jain Narayana Temple and the Kashivishvanatha Temple at Pattadakal.

The best known

Ellora
.

The Virupaksha Temple is rich in sculptures like those of Lingodbhava, Nataraja, Ravananugraha and Ugranarasimha. It is stated by the Archaeological Survey of India that the tall vimana with axial mandapas and peripheral sub-shrines round the court, enclosed by a wall with gopura-entrances in front and behind were all designed and completed at one time. Adoptions from the Shore Temple at Mahabalipuram in the form of kuta and said–heads has an impressive view from a distance.[20]

Sangameshvara Temple

Sangameshvara Temple built by King Vijayaditya Satyashraya is incomplete, yet attractive. It is the oldest temple built by Vijayaditya Satyashraya (697–733) exhibits in its vimana a large degree of the contemporary Pallava temples in the southerly elements, as in the Virupaksha and Mallikarjuna temples. The temple is square on plan from the base to shikhara similar to Virupaksha Temple, has no sukanasika but the vimana has three storeys. The lowermost storey is surrounded by two walls, the inner and outer, the second storey being an upward projection of the inner wall, while the outer wall encloses the covered circumambulatory round the sanctum.[20]

Galaganatha Temple

Galaganatha Temple, facing east, built around 750, in the finely evolved rekha-nagara prasada style of architecture contains a sculpture of Lord

trisula).[21]

Papanatha Temple

The Papanatha Temple, built around 740, as per Archaeological Survey of India (ASI) records, is in the Vesara style. The temple was started in

Alampur, Andhra Pradesh
, which were also built by the same dynasty.

Archaeological studies of all the Pattadakal temples show that some have the stellar (multigonal) plan later to be used profusely by the Hoysalas of Belur and Halebidu.[23] Another fine monument at Pattadakal is the Navalinga temple at Kuknur.

Navalinga Temple

The

linga, the universal symbol of Hindu God Shiva, and hence the name Navalinga (lit nine lingas).[24][25]

Western Chalukya architecture

Brahma Jinalaya, Lakkundi
Mahadeva Temple at Itagi
Siddhesvara Temple at Haveri
Twin Towered Temple at Sudi
Amrtesvara Temple at Annigeri
Kirtimukha decoration at Kasivisvesvara Temple, Lakkundi

Tungabhadra region, where large medieval workshops built numerous monuments.[26] These monuments, regional variants of pre-existing Dravida (South Indian) temples, defined the Karnata dravida tradition.[27][28]

Temples of all sizes built by the Chalukyan architects during this era remain today, known as a transitional style and provides an architectural link between the style of the early Chalukya dynasty and that of the later

Hoysala Empire
.

Lakkundi temples

Further information:
Gadag

Tungabhadra
region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing Dravida (South Indian) temples, defined the Karnataka Dravida tradition.

Kashivisvanatha Temple

A great deal of care has gone into the construction of the Kashivisvanatha Temple in Lakkundi, which deifies Shiva. This temple has a unique feature: a small Surya (Sun) shrine faces the main shrine on the west. There is a common platform between both, which must have been an open mandapa originally. Hence, the Kashivisvanatha Temple has an entrance on the east side and south side of the mandapa. The entrance doorway and the towers are covered with close intricate carvings. The shikhara (dome) is in the North-Indian style and it looks like a lathe must have been used to make the complex circular pillars.[29]

Brahma Jainalaya

Brahma Jaina Basti built by queen Attimabbe is the largest and oldest of many Jain temples in Lakkundi. This temple is dedicated to Mahavira, the most revered saint of Jainism. The temple has a garbhagriha shrine and mandapa style with deep beams on the mandapa from where the eaves are cantilevered.[30] The large Jaina temple, among the many temples at

Gadag, is perhaps one of the earliest examples of temples in this area built of a kind of fine-textured chloritic schist as distinct from the hitherto-used sandstone of this region.[30]

The new material, because of its less thick quarry-sizes and tractability, reacted on the workmanship, with the result that the masonry-courses became reduced in size and the carvings more delicate and highly finished. The temple, perhaps built in the latter half of the 11th century, has a five-storeyed vimana (tower), square on plan from the base to the shikhara, and had originally a closed square navaranga in front, though an open mandapa was added in front later on. The central bay of the navaranga is a larger square than the peripheral eight around it. The second storey, as in the Jaina temple at Pattadakkal, is functional and has an antarala-mantapa in front over the vestibule of the lower storey. This raises the total height of the vimana considerably.[30]

Mahadeva Temple

Itagi in the Koppal district, built in 1112, is an example of Dravida articulation with a nagara superstructure, dedicated to Shiva and is among the larger temples built by the Western Chalukyas and perhaps the most famous. Inscriptions hail it as the 'Emperor among temples'.[31] Here, the main temple, the sanctum of which has a linga, is surrounded by thirteen minor shrines, each with its own linga. The temple has two other shrines, dedicated to Murthinarayana and Chandraleshwari, parents of Mahadeva, the Chalukya commanders who consecrated the temple in 1112.[32]

Siddhesvara Temple

mantapa (hall).[35]

Dodda Basappa Temple

The

vimana with so many star points that it almost becomes circular in appearance.[36]
Each right angle is divided into four 22.5 degrees angles. Then each angle is again divided and covered with intricate carvings.[37]

Trikuteshwara Shiva Temple

The

Gadag, dated between 1050 and 1200, has ornate pillars with intricate sculpture with three Shivalingas enshrined in the sanctum. It has three lingas mounted on the same stone. Beautifully chiselled stone screens and carved figurines are also seen in the temple. The Saraswati shrine within the Trikuteshwara temple complex has exquisite stone columns.[38]

Sudi monuments

Further information: Ron, Karnataka

Sudi is famous for rare stone-carved monuments like twin-towered temple with large well built stone carvings. At one time it was a key town of the Kalyani Chalukyas, during 1000. Besides these structures there is a tower (called Hude in native language) located in the centre of the Sudi village. Several stone temples built by Maha Samanthadhipati Naga Deva in 1100 have caught the attention of Karnataka State Archaeological Department. Quite a few of these structures have been cleaned up.

Hoysala architecture

mantapa (hall)
Siva and Parvathi – Hoysaleswara Temple
Akkana Basadi
Kedareshvara Temple, Balligavi

The

Western Chalukya style, which was popular in the 10th and 11th centuries.[39][40] It is distinctively Dravidian, and owing to its unique features, Hoysala architecture qualifies as an independent style.[41] The Hoysala sculpture in all its richness is said to be a challenge to photography.[42] The artistry of the Hoysalas in stone has been compared to the finesse of an ivory worker or a goldsmith
. The abundance of jewellery worn by the sculpted figures and the variety of hairstyles and headdresses depicted give a fair idea of the lifestyles of the Hoysala times.

Some of the famous temples of the Hoysala architectural style are the Kesava Temple at

Melkote
.

Somanathapura

Somanathapura is famous for the Chennakeshava Temple, Somanathapura (also called Kesava or Keshava Temple) built by Soma, a dandanayaka (commander) in 1268 under Hoysala king Narasimha III, when the Hoysalas were the major power in South India. The Keshava Temple is one of the finest examples of Hoysala architecture and is in a very well preserved condition. Somnathpur, however, is truly unique in design, perfect in symmetry and the stone carvings are remarkable marvels in stone.[43]

Chennakesava Temple at Belur

The Chennakesava Temple at Belur, originally called Vijayanarayana Temple, built on the banks of the Yagachi River in Belur, an early capital of the Hoysala Empire, is one of the finest examples of Hoysala architecture. It was built by king Vishnuvardhana in commemoration of his victory over the Cholas at Talakad in 1117. The facade of the temple is filled with intricate sculptures and friezes with no portion left blank. Inside the temple are a number of ornate pillars. The temple is about 30 metres (98 ft) in height and has an impressive entrance gopuram (tower), built in Dravidian style. A group of subsidiary shrines surround the main shrine in the centre of a rectangular navaranga (hall). The navaranga (hall) supported by forty-six pillars, each of a different design, has three entrances guarded by decorated doorkeepers.[44]

Hoysaleswara Temple

The

basadis
. It enshrines Hoysaleswara and Shantaleswara, named after the temple builder Vishnuvardhana Hoysala and his wife, Queen Shantala.

The Hoysaleswara Temple, dating back to the 1121, is astounding for its wealth of sculptural details. The temple is a simple dvikuta vimana (two-shrined), one for "Hoysaleswara" and the other for "Shantaleswara" (after Shantala Devi, queen of king Vishnuvardhana) and is built with chloritic schist (also known as

Nandi Bull
was never completed, despite 86 years of labour. The temple of Halebidu, has been described as an "outstanding example of Hindu architecture" and as the "supreme climax of Indian architecture".

Ishvara Temple

The Ishvara Temple in

mantapa (hall), in addition to an asymmetrical star shaped shrine, whose star points are of three different types.[45]

The temple, which faces east like all Hoysala constructions, uses

aedicules
–miniature towers) carved on the outer walls are noteworthy.

Melkote Cheluvanarayana Swamy Temple

The Cheluvanarayana Swamy Temple, located in

Wodeyars, and has a most valuable collection of jewels.[49][50]

Lakshminarasimha Swamy Temple

The Lakshminarasimha Swamy Temple is a good example of a richly decorated Hoysala temple built in the trikuta (three towers) vimana (prayer hall) style with fine sculptures adorning the walls.[51] The material used is Chloritic Schist (Soapstone) and the temple is built on a jagati (platform) that closely follows the plan of the temple. This is a Hoysala innovation.[52] The Jagati is in perfect unity with the rest of the temple and the temple is built on a jagati (platform) that closely follows the plan of the temple. The size of the original temple can be considered small, to which a larger open mantapa (hall) was later added. The three shrines are located around a central closed mantapa with 9 bays.[53] The ceiling of the closed mantapa is supported by four lathe turned pillars and is deeply domed in the centre. The ceiling of the closed mantapa is supported by four lathe turned pillars and is deeply domed in the centre.[54] The central shrine is the most prominent and has a large tower. This shrine has a vestibule that connects the shrine to the mandapa. Consequently, the vestibule also has a tower that looks like an extension of the main tower and is called the sukanasi or nose.[55] The other two shrines have smaller towers and because they have no vestibule to connect them to the central mantapa, they have no sukanasi.

Vijayanagara architecture

Vijayanagara architecture
Chola styles
Vitthala temple with musical pillars, Hoysala style multigonal base, Hampi
Pillars with Hippogryphs at Hampi
Temple wall, Hoysala style carvings at Hampi
Unearthed Underground Vishnu temple
Vijayanagar Raja Gopura at Hampi
Saavira Kambada Basadi
Further information: Kishkindha and Krishnadevaraya

Chola styles, idioms that prospered in previous centuries.[56][57]

Ruins of

UNESCO World Heritage Site Virupaksha Temple, Krishna Temple, Vittala Temple, Ugra Narasimha and Kodandarama Temple are some of the famous monuments of the Vijayanagar style.[58]

Its legacy of sculpture, architecture and painting influenced the development of the arts long after the empire came to an end. Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage hall), Vasanthamantapa (open pillared halls) and the Rajagopura (tower). While the empire's monuments are spread over the whole of Southern India, nothing surpasses the vast open-air theatre of monuments at its capital at Vijayanagara, a UNESCO World Heritage Site.[59]

In the 14th century the kings continued to build Vesara or Deccan style monuments but later incorporated dravida-style gopurams to meet their ritualistic needs. The Prasanna Virupaksha Temple (underground temple) of Bukka Raya I and the Hazare Rama Temple of Deva Raya I are examples of Deccan architecture.[60] The varied and intricate ornamentation of the pillars is a mark of their work.[61] At Hampi, though the Vitthala Temple is the best example of their pillared Kalyanamantapa style, the Hazara Ramaswamy Temple is a modest but perfectly finished example.[62] A grand specimen of Vijayanagara art, the Vitthala Temple, took several decades to complete during the reign of the Tuluva kings.[63]

Another element of the Vijayanagara style is the carving of large monoliths such as the Sasivekalu (

Kanchi.[64] This mingling of the South Indian styles resulted in a richness not seen in earlier centuries, a focus on reliefs in addition to sculpture that surpasses that previously in India.[65]

An aspect of Vijayanagara architecture that shows the cosmopolitanism of the great city is the presence of many secular structures bearing

Muslim kingdoms.[67] The "Great Platform" (Mahanavami dibba) has relief carvings in which the figures seem to have the facial features of central Asian Turks who were known to have been employed as royal attendants.[68]

Archaeological Survey of India's recent excavations in Hampi have revealed a large number of palatial complexes and basements of several platforms including a large number of stone images, beautiful terracotta objects and stucco figures. Ceramics and variety of porcelain and inscribed Buddhist sculptures of 2nd–3rd century have also been unearthed.[58]

The structures at Hampi would have had significant colouring unlike the sandstone tint these structures have today.

Brahma Jinalaya are considerest the most important Jain centers in Karnataka.[73][74]

Indo-Islamic architecture

Bijapur
One of the Barid Shahi tombs at Bidar
Mahmud Gawan Madrasa at Bidar, built during the 15th century by the Bahmani Sultanate[75]

The Bahmani Sultanate ruled from its capital, Bidar from the 14th century.

Bahmani Sultanate

The Bahmani Sultanate built the Bidar Fort, and Mahmud Gawan Madrasa.

Deccan Sultanates

Bidar Sultanate

The Bidar Sultanate ruled from the former Bahmani capital of Bidar, where they made significant additions to several Bahmani buildings. The Barid Shahi tombs were built by the Bidar Sultanate.

Bijapur Sultanate

Sultanate of Bijapur from 1490 to 1686. The tomb, located in the city of Bijapur was built in 1659 by the famous architect, Yaqut of Dabul. The construction of this building was completed and the deceased king was interred in this building in 1656 and contains the sepulcher containing the tombs of Muhammad Adil Shah and his wives and daughters.[76] The structure, built of grey basalt and decorated plaster,[77] consists of a massive square chamber measuring nearly 50 metres (160 ft) on each side and covered by a huge dome 37.9 metres (124 ft) with thickness varying from 3.05 metres (10.0 ft) near the base to 2.74 metres (9.0 ft) near the top, and has a floor area of 1,703.56 square metres (18,337.0 sq ft).[76][78]

The acoustics of the enclosed place make it a whispering gallery where even the smallest sound is heard across the other side of the Gumbaz. Each tower consists of seven storeys, and the upper floor of each opens on to a round gallery which surrounds the dome. In the centre of the chamber is a square raised podium approached by steps in the centre of each side.[76][79]

Keladi Nayaka art of the Nayaka kingdoms

Further information:
Shivamogga district
Kadamba
style
Rameshwara Temple, Hoysala-Dravida style

Rameshwara Temple at Keladi

The

Keladi Nayakas (period: 1499–1763) built some fine temples in Ikkeri and Keladi using a combination of late Kadamba, Hoysala, Vijayanagara and Dravida styles. The use of granite for their construction shows that they simply followed the Vijayanagar model of architecture. The Aghoreshwara Temple at Ikkeri and the Rameshwara Temple at Keladi are the best examples of the Nayakas' art. Vijayanagar-style pillars with hippogryphs are common; called yali columns (depiction of horses and lions as seen in Hampi) is found here. These are pillars with lions, either with their forepaws raised or simply in a sitting position, and pillars with a mythical horse-like animal with front legs raised, balancing on its rear legs, and with an armed rider on its back. A roof sculpture depicting a Gandaberunda
(see image in infobox), the mythical two-headed bird of Karnataka, symbol of the state, is found in Keladi.

Aghoreshwara Temple

At Ikkeri, in the citadel, a palace was built with mud and timber, adorned with carvings. Today what remains is the Aghoreshvara Temple (one of the several names of Lord Shiva), in Ikkeri (was the capital of Keladi Nayakas). It is a large and well-proportioned stone-building, constructed in a mixed style with a unique conception. There are carvings and sculptures such as Temple Relief (sculpture consisting of shapes carved on a surface so as to stand out from the surrounding background), erotica, figurines, old Kannada Manuscript, sculpted elephant, etc. There are intricate carvings on the stone walls of the temple.[80]

Yalis
sculpted on the pillars of the Aghoreswara and Rameshwara temples depict mythical lion and it has been widely used in south Indian sculpture. Description and references to yalis is very old, but its depiction in the south Indian sculpture became prominent from the 16th century as seen in the Nayaka period temples. Yalis are believed to be more powerful than the lion or the elephant.

The Rameshwara Temple at Keladi was built in the Hoysala-Dravida style. This temple is made of stone and is on the banks of the Tunga River. The sanctum sanctorum of the temple has a Lingam, which is said to have been installed by Sage Parashurama himself.

Architecture of Kingdom of Mysore

Architecture of
Hoysala and Vijayanagara
styles