V"

V*V

Mysore Archtzological Series "^

ARCHITECTURE AND SCULPTURE IN MYSORE

No. I

THE KESAVA TEMPLE AT SOMANATHAPUR

BY

PRAKTANA-VIMARSA-VICHAKSHANA, BAG BAHADUR

E. NARASIMHACHAB, M.A., M.B.A.S.

Honorary Correspondent of the Government of India, Ardhaaologiea.1Department,Director of Archceological Researches in Mysore

tttt"et: flp axrifiortftiJcrfflj? ""yfai:nmsnt uf 1|ta T%iffje MaljaEaia nf

BANGALOEB:

FEINTED AT THE MYSORE G-OVEKNMENT PEESS

1917

On sale by the Curator, Government Book Depdt, Bangalore

Price Rs. 2 or 3s.

INTEODUCTOEY NOTE.

extraordinarywealth of the artistic products of Mysore, " as disclosed

by my Annual Eeports, has attracted considerable attention both in Indiaand outside. Considering its area, Mysore is extremely rich in the numberof its artistic structures, the majority of which are built in the stylenamed'Chalukyan' by Fergusson, and the rest in the Dravidian style* The name

Chalukyan is undoubtedly a misnomer so far as Mysore is concerned, seeingthat all the buildingsof this stylein Mysore were erected during the rule ofthe Hoysalas. According to Fergusson himself this styleattained its fullest

development and highest degree of perfectionin the dominions of the Mngsof the Hoysala dynasty. The name 'Hoysala'ought to be adopted as themore appropriatedesignationof the style. With very few exceptions,such

as the temples at Tonachi, Angadi,Belgami, Kuppatur and Chikka-Hanasoge,which go back to the eleventh century, all the Hoysala buildingsin Mysore

came into existence in the twelfth and thirteenth centuries. The periodof

the ornate structures of the Dravidian style in Mysore ranges from the

eighth to the sixteenth century.

The list,which is by no means exhaustive,of the monuments built in the

two stylesmentioned above, appended to this Note with some particularsre-lating

to them, is enough to give some idea of the richness of Mysore in

these artistic treasures. The dates given in a few cases are approximate.

Fergusson has brieflydescribed and illustrated about half a dozenof these

temples. Mr. and Mrs. Workman have similarlydealt with afew more.

Mr. Eice has brieflynoticed several others besides in his volumesof the

Epigraph" Carnatiea. But the descriptionsgivenby thesescholars cannot

but be incomplete, since the interior of most of the temples was asealed book

to them Further, they have scarcelypaid anyattention to the sculpture,

of the buildings. In my Annual Eeports I havenot only given much addi-tional

information concerning the templesdealt with by the above-mentionedscholars but have also described and illustrated a large

number of buildings

IV

not known before, I have,besides,furnished"

an immense amount of

entirelynew matter descriptiveofthe sculpture,"theillustration,especially,ofindividualworks ofart signedbythe artistshavingaroused considerable

interestamong scholarsin Europe.Still,as a glanceat the listwill show,

thereare many monuments which await and deserveto be describedand

illustrated,

A wish has been expressedin severalquartersthat the mass of litera-ture

bearingon templearchitectureand iconographywhich is increasinginvolume oughtto be embodied in permanentform removed from the pages of

the Annual Reports.It isunder contemplationto prepare and publisha

monographon Hoysalaarchitecturein Mysore, In the meantime it is

proposedto issueabout halfa dozen shortmonographswith suitableillustra-tions

on a few notablebuildingsof the Hoysalaand Dravidianstylesin theState,treatingofboth theirarchitectureand sculpture.The presentworkon the Kesava templeat Somanathapurforms the firstof the series, Theillustrationshave been preparedby Mr, T, NamassivayamPillai,thePhotographerand Draughtsmanof my Office,My thanks are due to Mr,C. H. Yates,Superintendent,GovernmentPress,for kind suggestionswithregardto the get-upof the book and the personalcare bestowed on 'the

arrangementand printingof theillustrations,

BANG"" B, NAEASIMHAOHAE,December 1916.

PBOVISIONAL LIST OF AETISTIC BUILDINGS OE THE HOYSALA AND

DEAVIDIAN STYLES IN MYSOKE.

HOYSALA.

VI

HOYSALA" concld.

DRAVIDIAN.

LIST OF PLATES.

" "*.

Facing page

I. EAST VIEW OF THE KESAVA TEMPLE AT SOMANATHAPUR (Frontispiece.)

II, PLAN OF DO DO...

... ......

2

III. NORTH TOWER OF DO DO...

... ...

4

IV. SOUTH TOWER OF DO DO... ... ...

...

ib.

V. BAILED PARAPET ON THE NORTH WALL OF THE KESAVA TEMPLE...

6

VI. DO ON THE SOUTH DO DO WITH

PERFORATED SCREENS ABOVE... ...

...

ib.

VII. DO ON THE SOUTH WALL OF THE KESAVA TEMPLE, EN-LARGED,

OMITTING FIRST TWO FRD3ZES ib.

VIII. BOTTOM OF THE SOUTH TOWER OF THE KESAVA TEMPLE...

...

8

IX. NORTH WALL OF THE KESAVA TEMPLE... ...

ib.

X. LARGE IMAGES ON THE SOUTH WALL OF THE KESAVA TEMPLE../

ib.

XL STANDING AND SEATED FIGURES OF VISHNU... ...

10

XII. JANARDANA IN THE NORTH CELL...... ...

... ...

ib.

XIII. VENUGOPALA IN THE SOUTH CELL... ... ...

ib.

XIV. CEILING... ...

... ... ...... ...

12

XV". Do... ...

... ... ...

ib.

XVIft. Do...

...... ... ...

ib.

XVI". DO ib.

XVII. PILLARS OF THE FRONT HALL... ...

...

ib.

XVIII. SIGNED IMAGES......

... ...... ... ...

14

XIX. Do...

...... ...

...

ib.

XX. SARASVATI... ...

... ...... ... ...

ib.

XXI. INSCRIBED SLAB IN THE ENTRANCE PORCH...

...

16

XXIIa. BUINED NARASIMHA TEMPLE...

...... ... ...

ib.

XXII". KUINED PANCHALINGA TEMPLE...

". ...

ib.

PLATE I.

ARCHITECTURE AND SCULPTURE IN MYSORE,

No, I.

THE KESAVA TEMPLE AT SOMANATHAPUR.

Ql OMANATHAPUR is a small villagein the Tirumakudalu-NarsipurTalukk3 of the Mysore District in the Mysore State,situated about half a mile

from the left bank of the river Kaveri. It is about 20 miles to the south-east

of the historic town of Seringapatam, The Kesava temple in the villageis a splendidexample of the so-called Chalukyan, but more correctlyHoysala,styleof architecture. From the fine inscription1on a slab in the entranceporch of the temple (PlateXXI), we learn that Soma or Somanatha, a highofficerunder the Hoysala king Narasimha III (A.D. 1254-1291),establishedthe villageas an agrah"ra or rent-free settlement of Brahmans, naming it

Somanathapura after himself,and built the Kesava temple in itin A. D. 1268.There is also another inscriptionat Harihar,2which refers to the construc-tion

of this temple and gives the same date. The objectof the latterinscriptionis primarilyto record another work of pietyby the same officer,namely, the construction of a gopura or towervof five storeys,adorned with

goldenJcalaSas or finials,in front of the Hariharesvara temple at Harihar,atown on the rightbank of the Tungabhadra,in the Davangere Taluk of theChitaldrugDistrict in the Mysore State,and it alludes incidentallyto hiserection of the Kesava temple also.

The Kesava temple is situated in the middle of a courtyard',about 215feet by 177 feet,surrounded by an open veranda, which contains 64 cells(PlateII). It stands on a raised terrace,about 3 feet high,which closely

1Epigraphia Garnatica, III,Tirumaktidalu-Narsipur97.

g Ibid.,XI, Davangere 36.

2 EXTEEIOB OF THE TEMPLE

follows the contour of the structure and is supportedat the anglesby figuresof elephantsfacing outwards (PlateI). There are two empty pavilions at

the sides in front of the entrance, the upper partsof which are gone. Around

the terrace there are, besides the elephants mentioned above, free images

representingVishnu and other gods and goddessesleaningagainstit. Several

of these images and elephantshave been removed from their pedestals,onlytwelve in each class of sculpturesbeing now left. Of the twelve images, eight

representVishnu, one G-anapati,one a Naga, and two seated goddesses. The

temple is a trikfttacliala or three-celled structure, the main cell facing east

and the other two, which are opposite to each other,facing north and south

respectively.The three cells are surmounted by three elegantlycarved towerswhich are identical in designand execution (PlatesIII and IV). These withtheir towers are attached to the navaranga or middle hall,to which again is

attached, without any partition,the muhha-mantapa or front hall. The

front of the temple with its three towers presents an imposing appearanceand has often been selected as a model for silver and gold caskets.

On both sides of the entrance, runs around the front hall a jagaii orrailed parapet, on which, beginning from the bottom, are sculptured in suc-cession

the following horizontal friezes : (1) elephants,(2) horsemen, (3)scroll work, (4)scenes from the epicsand the Puranas, (5)turretted pilasters,with small images and lions interveningbetween them, and (6)a rail dividedinto panelsby double columns, containing figures,sometimes indelicate,be-tween

neatly ornamented bands (Plate V). Above these come piercedstonewindows or perforatedscreens (PlateVI). Plate VII shows the above friezesexcept the first two on an enlarged scale. Most of the images in the fifthfrieze represent Vishnu. A largeportion of the rail illustrates the story ofPrahlada,as related in the Puranas (Plate V). From the corners on bothsides of the entrance where the railed parapet ends, begins,in the middle ofthe outer walls,a row of large images with various kinds of ornamentalcanopies,and continues round the remaining portion of the temple (PlatesVHT and IX). On Plate X are exhibited a few of the images on an enlargedscale. Below this row of images come six horizontal friezes. The first fourof these are identical with those on the railed parapet; but in place of friezes5 and 6 on the latter,the walls have a frieze of makaras or mythological beasts,surmounted by a frieze of swans. Above the row of largeimages runs a fine

'^^iS^P?^^s3^fPWfi#Sj'i"Sfe NM^i ^k^iH^aiMi fi^ iisg^i^ S^i

o -

INTERIOB OF THE TEMPLE d

cornice ornamented with bead work, and above this,again,a row of miniature

turrets over singleor double pilasters,surmounted by ornamental eaves. The

number of large images on the outer walls is 194, of which 114 are female.

Their position is as follows :" around the south cell 54, 32 female and 22

male ; at the corner between the south and west cells 14, 9 female and 5

male ; around the west cell 58, 32 female and 26 male ; at the corner between

the west and north cells 14, 8 female and 6 male ; and around the north cell

54, 33 female and 21 male. The gods and goddesses of the Hindu pantheon

representedby the majority of the figuresare Vishnu and his forms such asNarasimha, Varaha, Hayagriva, Venugopala and Paravasudeva ; Brahma,

Siva, Ganapati, Indra, Manmatha, Surya, Garuda, Lakshmi, Sarasvati and

Mahishasuramardmi. A few of the figuresworthy of note may be mentioned :G-aruda bearing on his left shoulder Narayana and Lakshmi; Indra seated

with his consort iSachi on the elephant Airavata ; dancing Vishnu and

Ganapati ; dancing Lakshmi and Sarasvati ; a four-handed standing figurewith the face of a monkey, two of the hands holding a discus and a conch,the other two holding between them what looks like a fruit (Plate XI, 1); andanother four-handed seated figurewith a discus and a conch in two hands,while the other two are placed palm over palm in the fashion of a Jaina

tlrtliankara but with this difference that the right hand also shows the

yoga-mudra or attitude of meditation (PlateXI, 2)1. Of the fourth frieze fromthe bottom, which may be called the Puranic frieze,the portion runninground the south cell represents scenes from the Bamayana, that around the

west cell,scenes from the Bhagavata-purana and that round the north cell,

scenes from the Mahabharata.

As stated above, the temple is triple,that is,it has three cells,and each

cell consists of a garWia-griJiaor adytum and a sukhanasi or vestibule. The

chief cell,that opposite the entrance, once enshrined an image of the god

Kesava, after whom the temple was named ; but the image is no longer in

existence. A few images of modern make are now kept in the cell. Theyconsist of a seated figureof Lakshmmarayana, a standing figureof Laksh-

mana, and two seated figuresof different sizes representingLakshmi. The1

north cell has an image of the god Janardana (PlateXII) and the south cell,,an image of the god Venugopala or Krishna playingon the flute (PlateXIII)..

1 Such a figureappears to be known as Yoga-Narayana.

PLATE III.

Mysore ^^mzoloyicalSurvey."]NORTH TOWEE.

THE SOULPTOBS AND SIGNED IMAGES 5

in the lower, a seated figureof Vishnu holding a discus, a conch, a water-vessel and a fruit. The lintel of the sukhanasi doorway has a figure of

Lakshmlnarayana above and a figure of Venugopala below. It is,indeed,fortunate that the sculptured semi-circular panel at the top of the inscribed

slab in the entrance porch (Plate XXI) contains miniature representationsof

all the three images of the temple, so that, though the image of Kesava has

now disappeared,we are in a positionto form some idea of its workmanship.The navaranga or middle hall has six ceilingpanels and the mukka-mantapa

or front hall nine. Every one of them is nearly three feet deep and veryartisticallyexecuted, no two of them being similar in design. Plates XIV,XV and XVI show five of these ceilings. Four pillarssupport the navarangaand fourteen,the muTcha-maniapa. Two of the latter are shown on PlateXVII. A narrow veranda runs round the front hall,whose walls have

perforatedscreens all round (Plate VI). In spiteof these screens the interiorof the temple is very dark.

It is worthy of note that many of the large images on the outer wallabear inscribed on their pedestals the names of the artists who executed

them. Such labels have also been found in a few other temples of this

stylein the Mysore State, such as those at Belur, Halebld, Nuggihalli,etc.Among the names of the sculptorsthat are engraved in the Kesava templeat Somanathapur may be mentioned Mallitamma (also called Malli in twocases),Baleya, Chaudeya, Bamaya, Masanitamma, Bharmaya, Nanjaya andYalamasaya. The first name occurs below 40 sculptures,the second below

6, the third below 5, the fourth below 4, the fifth below 3, the sixth below

2, and the seventh and eighth below 1 each. From the above it will be

seen that the artist Mallitamma had most to do with the ornamentation of

the temple. He is evidently identical with the Mallitamma whose name

occurs below several images on the north wall of the Lakshminarasimba

temple at Nuggihalliin the Channarayapatna Taluk of the Hassan District,which was built in A. D. 12491,only 19 years before this temple. The habit

that the Mysore sculptorshad of signing their works is of specialvalue to

the historian of art. Elsewhere the names of artists are very rarelyrecorded.

The figureson Plates XVIII and XIX represent five such signed images,the first two executed by Masanitamma and the remaining three by

1Mysore ArchtzoloQicalReport for 1909, para. 84= ; also Beport for 1913, para. 9.

2

6 THL CELLS AROUND THE TEMPLE

Chaudeya, Mallitamma and Yalamasaya respectively. The figuresrepresent

respectivelyLakshromarayana, Manmatha or Cupid,Vishnu, Mahishasura-

mardini and Sarasvati. In this connection it may be mentioned that the

stories popularlyrelated of a sculptor named Jakanachari, who is believed

to have built all the Hoysala temples in and around Mysore, are purely

imaginary. No such name has been met with in any temple there. The

word is merely a corruptionof the Sanskrit DdksTiin"c'h"rya,i.e.,a sculptorof the southern school3and does not denote any particularartist. Plate XXshows an elegantlycarved figureof Sarasvati on an enlargedscale. It bearsno label.

The cells in the open veranda surroundingthe temple, which are sixty-four in number, are all empty at present. But from the inscriptionin the

temple we learn that they once enshrined sixty-fourdeities as detailedbelow :" six deities comprising Brahma and five others ; twelve comprisingKesava and eleven others ; twelve comprising Hamsa-Narayana and elevenothers ; ten comprising the Pish incarnation of Vishnu and nine others ;twelve comprising Sankarshana and eleven others ; and twelve relatingtothe incarnation of Vishnu as Krishna. It may be noted here that the

Garudagamba (orstone pillarwith a figureof G-aruda sculpturedon it)ofthis temple,shown in Plate IV, is not exactlyoppositethe entrance as usual,but a little to the north-east. This peculiarityis traditionallyaccountedfor as follows. When the temple was completed by Jakanachari,it lookedso grand and beautiful that the gods,thinking that it was too good to beon the earth, wanted to transport it to Indra's heaven. Accordingly,thestructure began to rise from the earth. Jakanachari was amazed at the sightand, in his eagerness to avert the calamity, set about mutilating some ofthe images on the outer walls, whereupon the building descended andoccupied its present position.

A few words may now be said about the inscriptionsrelatingto thetemple. The inscribed slab in the entrance porch (PlateXXI) has four in-scriptions

of different dates incised in Kannada characters,two on the frontface,one below the other,one on the west side and one on the east side.These are publishedas Tirumakudalu-NarsipurNos. 97; 100, 98 and 99 re-spectively

in Volume III of the fipigraphiaCarnatica, the dates of the epi-graphsbeingrespectivelyA. D. 1269, 1281, 1300 and 1325. Of these,No. 97

PLATE VI.

PLATE VIL

Hi

INSCRIPTIONS BELATING TO THE TEMPLE 7

is the most important, as it was inscribed soon after the consecration of the

temple and gives details about the gods that were set up and about the pro-visionmade for the services in the temple and for the livelihood of the

temple servants, It is a long inscriptionconsisting of 91 lines,the first

seventeen being in the Sanskrit language and the rest in Kannada. After

two invocatory verses in praise of the Boar incarnation of Vishnu, the epi-graph

proceeds to give the usual account of the rise of the Hoysalas and their

genealogy down to Narasimha III. We are then told that, when king Na*

rasimha was one day seated in the council chamber in his capitalDora-

samudra (Halebid),the minister Soma rose from his seat along with hisnephews Malli-deva and Chikka-Ketaya and made obeisance to the king,

whereupon the king understood his desire and gave him all he wished, besides

making an annual grant of 3,000 (gold pieces)for the worship of theimages of Vishnu set up in the agrahara which he had founded. The

Sanskrit portioncloses with the statement that Soma made a worthy distri-butionof the grant, as described further on in the Kannada language. The

Kannada portion of the record tells us that, when the refugeof all the world,favourite of earth and fortune,maharQJ"dliir"ja,r"ja-paraml^vara^lord of theexcellent cityof Dvaravati, sun in the sky of the Yadava family,crest-jewelof the all-knowing,king of the hill chiefs,champion over the Malapas,terrible to warriors,fierce in war, sole warrior, firm in the field of battle,Sanivarasiddhi,G-iridurgamalla,a Rama in firmness of character,a lion tothe elephantshis enemies, a Kandarpa of unprecedented beauty, establisherof the Chola king, raiser up of the Pandya kingdom, uprooter of the Magara

kingdom, setter up of pillarsof victory at Setu and the Vindhya mountains,profuselymunificent in givingwealth and land,Sn-Vishnuvardhana-pratapa-chakravarti Hoysala-bhujabala-sri-vira-Narasimha-Devarasawas in theresidence of Dorasamudra, ruling the kingdom in peace and wisdom, on.

Wednesday, the 12th lunar day of the bright fortnightof Ashadha in the

year Sukla correspondingto the Saka year 1192,he made a grant of the rev-enuesof certain placesto providefor the services,festivals,repairsand the-

livelihood of servants of the Ke"ava temple caused to be erected by Soma-

darmayaka in the great agrahara established by him in his own name. The-

inscriptionthen records the grant of the revenues of certain other places by

Soma, the names of his parents being given as Hemmeya-dandanatha and

PLATE VIII.

ELEVATION OF THE KESAVA TEMPLE NORTitWEST COBNBR.

Jfysure Arvh"olotjwal Svf ,j a g.4- FEET.

PLATE X.

10 OTHER PIOUS ACTS OP SOMA-DANDANATHA

the village.The Kannada portionnames five of them set up in the north-eastof the village. They are Bijjalesvara,Pergadesvara, Bevalesvara,

Bayiralesvaraand Somanatha, the second and third being named afterSoma's father and mother and the fifth after himself. These lingas areenshrined in a temple known as the Panchalinga, which is mostly in ruins.This is a large structure built of granite,containing five cells which standin a line (PlateXXII, #),and there is also a fine inscription* here,similar tothe one at the entrance porch of the Kesava temple and bearingthe same date.The record then tells us that Soma's elder brother was Melaya, his nephewMalli-deva and his family guru G-angadhararya. After a few verses in praiseof the god Harihara, the Sanskrit portioncloses with the statement that inthe year Vibhava correspondingto the ""aka year 1191 (A. D. 1268) Soma-natha

had a tower with golden JcalaSas made at the gate of the temple ofHarihara. The Kannada portion adds that the tower was of five storeysand appliesthe following additional titles to Soma :" a jewel of ministers

,

a Chanakya in policy,a Yogandhara in business, champion over traitors totheir lord. It concludes thus: " When (with titles as given in a previousparagraph) Narasimha-Devarasa was ruling the kingdom in peace andwisdom, his servant (with titles as given above),Soma-dandanatha, in theabove-mentioned year, having founded the agrah"ra Vidyanidhi-prasanna-Somanathapura, built "aiva and Yaishnava temples there and set up thegods in them, made a tower at the eastern gateway of the Harihara templein Harihara with five storeys and five golden kalaSas.

It may also be mentioned here that the above were not the only acts ofpiety of Soma-dandanatha. From some inscriptions2at Turuvekere,Tumkur District,we learn that he also founded Turuvekere as an agrahdraunder the name of Sarvajna-sri-vijaya-Narasimhapuraafter his master Nara-simha III about the middle of the 13th century. The same inscriptionsalsolead us to suppose that the Ghennakesava and Mule-Sankaresvaratemples atTuruvekere, which are also in the Hoysala styles,were caused to be erectedby him.

1 Epigraphia Carnatiea,III, Tirumakudalu-Narslpur 101.*

Ibid.tXII, Tiptur 2, 4 and 8.

"MysoreArchaokgical Report for 1916, paras. 8 and 90.

PLATE XL

PLATE XII-

JAXA1UUNA IN THE NORTH CELL.

ctilcitjii'dlSurvey.]

PLATE XIII.

IN THE SOUTH CETLL.

Mysore Ai-"-7ttci"lagical Survey, ,]

EXPEBT OPINION ON THE TEMPLE 11

The Sanskrit portionsof Tirumakudalu-Narsipur No. 97 and the Harihar

inscriptionare given in the Appendix at the end.

Fergusson, the great authority on architecture,whose work contains awoodcut 1 of one of the -towers of the Zesava temple at Somanathapur,

says :"

" The followingwoodcut will give an idea " an imperfectone, it mustbe confessed " of the eleganceof outline and marvellous elaboration of detail

that characterises these shrines. Its height seems to be only about 30 feet,which, if it stood in the open, would be almost too small for architectural

effect;but in the centre of an enclosed court, and where there are no larger

objects to contrast with it,it is sufficient,when judiciouslytreated,toproduce a considerable impressionof grandeur,and apparentlydoes so in thisinstance."

In Workman's Through Town and Jungle, which contains a few moredetails about the same temple,the followingremarks occur: "

"The most complete and symmetrical, although the smallest of thethree temples in Mysore, is at the villageof Somanathapur.

If any parts can be called finer than others,the palm must be given tothe three stellate towers. Their height from the plinthis about 32 feet,and not a square inch of their surface 18 without decoration

These towers absolutelycaptivate the mind by their profusion of detail and

perfection of outline ; and there is no suggestion of superfluityin theendless concourse of figuresand designs.

To construct a building of less than 35 feet in height,load it frombottom to top with carving,and produce the effect not only of beauty and

perfectsymmetry but also of impressiveness, shows supreme talent on the

part of the architects."

1History of Indian and Eastern Architecture*I, 438.

PLATE XIV.

CEILING.

Mysore ArcliccologiculSurvey.]

PLATE XVa.

CEILIXCr.

PLATE

CEILING.

Mysore ArchaeologicalSurvey.]

PLATE XTIa.

CEILING.

Mysore ArcJiiroloyicalSurvey.]

PILLARS IN THE MUKHA- MANTAFA OR FRONT HALL.PI.XVJI.

Jffygorn

SCALE 12

APPENDIX

A,

The Sanskrit portion (lines 1"17) of Tirumakudalu-Narasipur No, 97

at the Kesava temple, Somanathapur.

8

9

qrsnr9r. TOT: sra; *ift*T?r:

2

3

4

?T5W srra

5

6 srwcfm M"^ci gsr^rt ja

14

10 fen1 fl^rf^ nr^rnr ^T^TTI^^rc"r STF"I s^r%^ 37^n I

n

r%

12

13

14

15 sTTtEF^ishi i ^rft^frr"r"^^: ^"niy^44ftrT^T r: I)

16 r*iwj*iil^^isn^'R ^r cf^r wfyfenf^rH 5f"r Irasr^ckniiiXafir-

17

B.

The San-skrit portion (lines1"42) of the inscriptionat Harihar.

'- H

2 ^^rrT ^r*r%II

4 ^ ?T: ftfcftW^'-rf^'Slfe^flfSs-fl'fSs^jft^sn Httar ftrar-

PLATE XV 'III.

SIGNED IMAGES.

1. LAKSHMINABAYANA, EXECUTED HY MASANITAMMA. 2. MANMATHA, EXECUTED BY MASANITAMMA.

Mysore ArcliieologicnlSurvey.]

PLATE XIX

to

HO

02

02

PLATE XX.

SARASVATI.

Mysore Arcli ecological8invcy.~\

15

9 ^r^sf: crr^t ^: 3^^ I) sftcfciTf^mfer^" ^Tcnrs^^RfSrt IT?:5^^^*Tfcresrs*n""rrt-

10 11^3" I

J i

13^4e^H{^chK^c^ivf;nTi5f^

15

: i

"(^R *^m""i -17

lo

19 "" tiT^^i^:u a^m1cjfa^M^jfa^"ai*fo^

16

20^JT irr^ ^ "NoiiciRrfcj'di^irerr

26 sargn;: ^R^fer^ n arrfo

f*"! f -

27 ft^t^t^cfTJi srrfo^rfir

28

29

t n

30 gtgrr ^Kwair scr^JT srr^rtg

31 ?

32 ^rfwT^r: i

33

22 ?r:m^ ^F^R 'atifrsrnrcr "sr sTiRd^urN^?n^^^i^y; n

24 ^fts^dWft ^c^eriwlr^*IHIWI ^ifcr ftsnr^ ^rf^fN^rftq-n ^ ^44 ^^HI-

"r: sft-

25"i

PLATE XXL

Mysore ArclucoloflicalSurvey.}

INSCEIBED SLAB IN THE ENTRANCE PORCH.