Jain hoysala complex in Halebidu, Hassan district, Karnataka, India.
Consists of three Jain Basadis (Basti or temples) dedicated to the Jain
Tirthankars Parshvanatha, Shantinatha and Adinatha.
These temples were constructed in the 12th century during the reign of Hoysala
Empire along with Kedareshwara temple and Hoysaleswara Temple.
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Entrance to the Jain temples
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Elephant next to the entrance gate
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In Jainism, elephants symbolize strength, wisdom, and peacefulness.
The elephant also appears in various Jain scriptures and is associated
with certain Tirthankaras (spiritual teachers), often depicted as a
symbol of their grandeur and divine attributes. For instance, the
emblem of the 16th Tirthankara, Shantinatha, is an elephant, which
signifies serenity and power.
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In Hinduism, elephants are primarily revered through the deity
Ganesha, who has an elephant's head and is worshipped as the remover
of obstacles, the god of wisdom, and the patron of arts and sciences.
Elephants are also sacred in Hindu mythology, particularly Airavata,
the white elephant who carries the deity Indra.
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While both religions respect elephants and consider them symbols of
strength and wisdom, their contexts differ. In Jainism, the elephant
is more of a representation of the Tirthankaras' attributes, while in
Hinduism, it is directly connected to divine figures like Ganesha and
plays a prominent role in various mythological stories.
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Parshvanatha Temple (Parshvanatha Basadi)
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Parsvanatha Basadi, Halebidu
«This basadi was built by
Boppadeva, son of Gangaraja and consecrated by pontiff
Nayakirtti-siddhanta chakravartti, during the reign of Hoysala
Vishnuvardhana in 1133 CE. The construction and consecration of the
temple coincided with the victory of the ruler and the birth of his son
Narasimha I, thereby the deity being named as Vijaya Parsvanatha. This
basadi dedicated to Parsvanatha is built of schist stone. It faces north
and has on plan a garbhagriha (sanctum), antarala or sukanasi
(antechamber), navaranga (pillared hall) and mukhamandapa (entrance
hall). The mukhamandapa is not structurally connected with the
navaranga.»
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Elephant at the entrance of the half-open hall (Ardhamandapa)
- Parshvanatha Basadi is notable for its architecture.
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This temple is famous for the beautiful navaranga halls and exquisite
carvings on the lathe-turned pillars.
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These pillars are massive placed to each other, which according to
Kurt Bruhn signifies "the many layers karma that way us down with
their black colour representing timelessness like it is for
tirthankars".
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Ceiling of the half-open hall (Ardhamandapa)
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The ceiling of the mandapa and mahamandapa is ornate with the
sculpture of yaksha Dharanendra at the centre.
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Indologist Klaus Fisher describes the intricate artwork that
embellishes the temple's ceiling as the most elaborate in all of
Halebidu.
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Panorama of the half-open hall (Ardhamandapa)
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Entrance to the great hall (Mahamandapa)
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Great hall (Mahamandapa)
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The temple has a Ardhamandapa ("half hall") and a Mahamandapa ("great
hall") with a monolithic 5.5 m (18 ft) idol of Parshvanatha in
Kayotsarga posture.
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Sculptures of yaksha Dharanendra and yakshi Padmavati are present in
the mahamandapa.
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This temple is the largest and considered the most architecturally
significant in the basadi complex.
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Along with being rich in sculptures, the temple also features carvings
of the life-scenes of Tirthankaras on the ceiling panel of
mukhamandapa.
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Ceiling of the great hall (Mahamandapa)
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Image of Padmavati
There is a famous image of Padmavati with
three hooded cobra over her head and with fruits in three hands and a
weapon in fourth.
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Vertical panorama of Padmavati
She is the yakshini (female
attendant deity) of the 23rd Tirthankara, Lord Parshvanatha.
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As a yakshini, Padmavati is believed to protect and spread the
teachings of Lord Parshvanatha.
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Padmavati is associated with wealth and prosperity, and Jains often
worship her to seek blessings for material and spiritual well-being.
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She is also revered for her ability to cure snakebites, which is
particularly significant in regions where snakebites are common.
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Padmavati is especially venerated in Karnataka, with significant
centers of worship in places like Hombuja (Humcha) and Shravana
Belgola.
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Spiritual teachers and saviors (Tirthankaras)
The temple
also features niches for idols of the 24 tirthankaras.
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In Jainism, Tirthankaras are spiritual teachers and saviors who have
achieved perfect enlightenment. They establish the four-fold order of
Jain community, consisting of monks, nuns, laymen, and laywomen, and
help guide others on the path to liberation (moksha).
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Jain tradition holds that there have been 24 Tirthankaras in this
current time cycle. Each Tirthankara is a historical figure who has
achieved liberation through self-realization and ascetic practices.
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The 24th and most recent Tirthankara, Mahavira, is one of the most
well-known. He lived around the 6th century BCE and is often
considered the founder of the contemporary Jain community.
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The first Tirthankara, Rishabhanatha (or Adinatha), is also
significant and is believed to have lived many centuries before
Mahavira.
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Each Tirthankara has a unique symbol associated with them, such as a
lion for Mahavira, and a bull for Rishabhanatha. These symbols help in
identifying their idols in Jain temples.
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Tirthankaras are highly revered in Jainism, and their teachings form
the core of Jain philosophy. Their images and statues are found in
Jain temples across the world.
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Leaving Parshvanatha temple
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Adinatha Temple (Adinatha Basadi)
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Adinatha Temple (Adinatha Basadi)
Adinatha Basadi is a small
non-ornate temple consisting of garbhagriha, mandapa ("hall") with the
image of the Adinatha and beautifully carved the Hindu goddess
Saraswati.
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The original idol of Adinatha was a stout figure in lotus position;
however, kept in navaranga hall after it broke.
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There is a statue of Jina equal in the height to the other two basadi.
- The sanctum is bereft of superstructure.
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Shantinatha Temple (Shantinatha Basadi)
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Panorama of Shantinatha temple
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Shantinatha Basadi or Santisvara basadi consist of a garbhagriha
("sanctum"), ardhamandapa, mahamandapa, large granite pillars with the
inner sanctum consisting of a block stone 5.5 m (18 ft) image of
Shantinatha, the sixteenth tirthankar.
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The merloned structure is supported by a square pillared porch with
granite pillars.
- The adhisthana moldings are similar to Parsvanatha Basti.
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Entering Shantinatha temple
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Entrance to the great hall (Mahamandapa)
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Panorama of the great hall (Mahamandapa)
A series of
lathe-turned pillars supports the ceiling.
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Ceiling of the great hall (Mahamandapa)
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Image of Shantinatha, the sixteenth tirthankar
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Vertical panorama of Shantinatha
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As his name "Shantinatha" suggests, he is known as the Lord of Peace.
His teachings emphasize peace, non-violence, and tranquility.
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According to Jain texts, Shantinatha lived many centuries ago and
achieved enlightenment through intense meditation and ascetic
practices. His life serves as an example of the Jain path to
liberation.
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Shantinatha is often depicted in statues and images with his symbol,
the deer, which represents gentleness and peace. His images are found
in many Jain temples.
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Devotees of Jainism often pray to Shantinatha for peace, harmony, and
well-being. His teachings are integral to the spiritual practices of
many Jains.
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Spiritual teacher and savior (Tirthankar)
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Leaving Shantinatha temple
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Brahmadeva pillar
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Shanthinatha Manasthambha
The temple complex also includes a
Brahmadeva pillar erected outside the temple.
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The Shanthinatha Manasthambha is a pillar of honor (manasthambha)
dedicated to Lord Shanthinatha, the 16th Tirthankara in Jainism.
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These pillars are often found in front of Jain temples and are
significant for their historical, religious, and architectural value.
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Inscriptions
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First Inscription, Halebidu
«This inscription dated to 954
CE belonging to the rule of Butuga, the Ganga king records the setting
up of a nisidi as Parokshavineya in memory of Moni-bhatara, a disciple
of Gunachandra-bhatara, who was himself the disciple of Gunasagara
bhatara of the Kondakundanvaya. It was caused by Kiriya Moni-bhatara,
the disciple of Abhayanandi-pandita. Further, it states that
Moni-bhatara received Kellangere from Ballapa, more by pleasing him than
by valour. The record was written by Sridharayya and engraved by
Balluga, son of Poleyammoja, the sculptor of the Basadi and dated to 954
CE during the rule of Butuga, the Ganga king.»
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Second Inscription, Halebidu
«This inscription records the
visit of King Narashima Ill on 2th November 1254 CE to the Parsavanatha
Basadi. He made an offering to God Vijaya-Parsva and saw the epigraph
installed there which mentioned the genealogy of his family and the same
was read over to him. Then, having learnt that the enclosure built by
Mayiduna Padmideva had fallen into ruins since long, he got it repaired
and made it over for the services of God Vijaya-Parsvadeva for the
prosperity of the kingdom.»
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See Also
Source
Location
Shravanabelagola, Shravanbela Gola (Rural)
Hoysala Village Resort, Hassan
Hoysaleswara Temple, Halebidu
Chennakeshava Temple, Belur