Editing Hoysala architecture (section)

===Mantapa===
[[Image:Belur2 retouched.jpg|thumb|right|Ornate [[lintel (architecture)|lintel]] over mantapa entrance in Chennakeshava temple, Belur]]
[[File:Domical bay ceiling art in outer mantapa of Veeranarayana temple at Belavadi.JPG|thumb|upright|Ornate bay ceiling in mantapa in the [[Veera Narayana Temple, Belavadi]], a common feature in Hoysala temples]]
The ''[[mantapa]]'' is the hall where groups of people gather during prayers. The entrance to the ''mantapa'' normally has a highly ornate overhead [[lintel]] called a ''makaratorana'' (''makara'' is an imaginary beast and ''torana'' is an overhead decoration).<ref name="pradakshina" /> The open ''mantapa'' which serves the purpose of an outer hall (outer ''mantapa'') is a regular feature in larger Hoysala temples leading to an inner small closed ''mantapa'' and the shrines. The open ''mantapas'' which are often spacious have seating areas (''asana'') made of stone with the ''mantapa's'' parapet wall acting as a back rest. The seats may follow the same staggered square shape of the parapet wall.<ref name="space">Foekema (1996), pp. 22–23</ref><ref name="quad"/> The ceiling here is supported by numerous pillars that create many bays.<ref name="bay">A bay is a square or rectangular compartment in the hall (Foekema 1996, p. 93)</ref> The shape of the open ''mantapa'' is best described as staggered-square and is the style used in most Hoysala temples.<ref name="stagger">This is also called "cross-in-square" style and is not a square (Foekema, 1996, p. 22)</ref> Even the smallest open ''mantapa'' has 13 bays. The walls have parapets that have half pillars supporting the outer ends of the roof which allow plenty of light making all the sculptural details visible. The ''mantapa'' ceiling is generally ornate with sculptures, both mythological and floral. The ceiling consists of deep and domical surfaces and contains sculptural depictions of banana bud motifs and other such decorations.<ref name="banana">{{Cite web |title=Here, the past unfolds itself in all its glory & might—Hoyasala architecture in Somanathapura |url=http://www.chitralakshana.com/hoysalas.html |author=Githa U.B. |publisher=Chitralakshana |work=[[Deccan Herald]] |date=11 May 2004 |access-date=13 November 2006 |archive-date=4 December 2007 |archive-url=https://web.archive.org/web/20071204180025/http://www.chitralakshana.com/hoysalas.html |url-status=dead }}</ref>

[[Image:Chikkamagalur Amritheswara navaranga retouched.JPG|left|thumb|upright|Open ''Mantapa'' with shining, lathe-turned pillars at [[Amrutesvara Temple, Amruthapura]]]]

If the temple is small it will consist of only a closed ''mantapa'' (enclosed with walls extending all the way to the ceiling) and the shrine. The closed ''mantapa'', well decorated inside and out, is larger than the vestibule connecting the shrine and the ''mantapa'' and has four lathe-turned pillars to support the ceiling, which may be deeply domed. The four pillars divide the hall into nine bays. The nine bays result in nine decorated ceilings.<ref name="nine">The four pillars and nine bays of a closed ''mantapa'' is a norm in Hoysala temples (Foekema 1996, p. 22)</ref> Pierced stone screens (''[[Jali]]'' or [[Latticework]]) that serve as windows in the ''navaranga'' (hall) and ''Sabhamantapa'' (congregation hall) is a characteristic Hoysala stylistic element.<ref name="pradakshina">Kamath (2001), p. 135</ref>

A porch adorns the entrance to a closed ''mantapa'', consisting of an awning supported by two half-pillars ([[engaged column]]s) and two parapets, all richly decorated. The closed ''mantapa'' is connected to the shrines by a vestibule, a square area that also connects the shrines. Its outer walls are decorated, but as the size the vestibule is not large, this may not be a conspicuous part of the temple. The vestibule also has a short tower called the ''[[sukanasa|sukanasi]]'' or "nose" upon which is mounted the Hoysala emblem. In [[Belur, Karnataka|Belur]] and [[Halebidu]], these sculptures are quite large and are placed at all doorways.<ref name="nose">It is called a "nose" because it projects from the main tower over the entrance to it (Foekema 1996, p. 22)</ref>

The outer and inner ''mantapa'' (open and closed) have circular lathe-turned pillars<ref name="lathe">This is a common feature of Western Chalukya-Hoysala temples: (Kamath 2001, p. 117)</ref> having four brackets at the top. Over each bracket stands sculptured figures called ''[[salabhanjika]]'' or ''madanika''. The pillars may also exhibit ornamental carvings on the surface and no two pillars are alike.<ref name="unique">It is possible that the Hoysalas encouraged different groups of artists to execute pillars and these groups may have been in competition to produce unique pillars, (Sastri 1955, p. 429)</ref> This is how Hoysala art differs from the work of their early overlords, the [[Western Chalukyas]], who added sculptural details to the circular pillar base and left the top plain. The lathe-turned pillars are 16, 32, or 64-pointed; some are bell-shaped and have properties that reflect light. The Parsvanatha Basadi at Halebidu is a good example.<ref name="lightreflection">{{Cite web |title=Architecture in Hoysala Empire |url=http://www.ourkarnataka.com/history.htm |author=Arthikaje |publisher=1998–2000 OurKarnataka.Com, Inc |access-date=28 December 2006 |archive-url=https://web.archive.org/web/20061104095148/http://www.ourkarnataka.com/history.htm <!--Added by H3llBot--> |archive-date=4 November 2006}}</ref> According to Brown, the pillars with four monolithic brackets above them carry images of ''salabhanjikas'' and ''madanikas'' (sculpture of a woman, displaying stylised feminine features). This is a common feature of Chalukya-Hoysala temples. According to Sastri, the shape of the pillar and its capital, the base of which is square and whose shaft is a monolith that is lathe turned to render different shapes, is a "remarkable feature" of Hoysala art.<ref name="madanika">Brown in Kamath (2001), p. 135</ref><ref name="capital">Sastri (1955), p. 429</ref>