Prof. Dr. Nagarajaiah Hampana
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[57] Hoysaḷeśvara temple, Haḷebīḍu |
2. The two dancing images of Sarasvatī on the outer wall of Haḷebiḍu Hoysaḷeśvara temple need a special mention in the sequel. It is an extraordinary piece of art in the context of dancing sculptures. The air of divine grace shown in goddess's face is remarkable. As usual with contemporary images, she is decorated cap-a-pie with necklace, armlets, wristlets, anklets, waistband, breast ornament and other attributes. The two symbols of pāśa and aṅkuśa are conspicuous with their absence in this image.
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[58] Laksmi, Halebidu |
These magnificent four-armed nāṭya Sarasvatī images on the outer bhitti, 'wall', of the glorious Hoysaḷeśvara Devālaya are sui-generis. Sarasvatī is deeply immersed in the act Hoysaḷeśvara temple, Haḷebīḍu of performing nṛtta, 'dance', denoting sentiments through gesticulation with the support of tāḷa, 'concordance of beating metal cymbals', and laya, 'rhythm'.
Standing on viśva-padma, 'the full-bloomed double lotus', in the typical dancing posture, the four-armed Sarasvatī wears a karaṇḍa-mukuṭa, 'boxed-crown'. Above the crown is an embellished umbrella with a reversed lotus bud in the centre. Still above the umbrella is the makara-toraṇa with a vignette row of foliate motif. Her right lower arm is in the posture of abhayākṣamālā, '(holding) rosary in the fear-not palm'. Her left lower arm is the palm-leaf book, suggesting she is the deity of knowledge. The two upper hands are depicted as nṛtta-hastas. The right upper arm lifted upwards is in vismaya-hasta or svarga-hasta, i.e., posture of marvel. The gracefully stretched left arm is in gaja-hasta, 'elephant's trunk-like arm' posture. Both the arms are ornamented with ratna-kaṅkaṇas, 'diamond studded bracelets', and the elongated nail-polished fingers with rings look attractive. Her up raised and bent right leg depicts gentle gait of dance. Her right leg is firmly placed on the ground.
