LORD HOYALESWARA OF HALEBIDU

Each contains Siva representations in dancing posture flanked by mythical makaras supporting an infinitely elaborate and aesthetically impressive designs bearing the rain god Varuna on their back accompanied by his consort. The sourthern one meant perhaps for royal visitors is made more allruing due to pouring out of the superb craftsmanship by those mahasilpis. Each piece detains for hours and affords enchantment by its beauty and splendour. As the sculptors were given full freedom in depiction of their skill, there are many odd pictures that are incongruent, like the dancing damsels wearing breeches. Even anachronisms too surface here and there, like a soldier using a telescope in the Kurukshetra war scene. Result of too much freedom decidedly. Yet, the total affect is unique, as nothing stands in comparison to it. None willingly leaves the hall without filling his souls with the divinity exuding from the twenty four representations of Sri Mahavishnu, eleven aspects of Rudra, twelve modes of Aditya, and the images of astadikpalakas. Another interesting feature found here is the sculptors' predilections for perpetuating their fame. They inscribed their names, together with labelling of the scenes of the epics they carved on the stones. A novelty. An off-shoot of liberty given to the artisites, perhaps.

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