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Sculptures as the Trademark of Sovereignty in the Hoysala Kingdom

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Bignami C.

Cracow Indological Studies

2016

vol. 18: Cosmopolitanism andRegionalism in Indian Cultural Dynamics

169-209

Among the various sculptures created by Hoysaḷa artists between the 12th and 13th centuries emerges a curious iconographic couple: a man wearing a long robe and an unusual headdress, accompanied by a woman, completely naked, with sandals on her feet, surrounded by snakes. Both these figures have a stick. The recurrence of this subject in many temples and the important position in the register of sculptures suggest that this iconography was already codified in the early 12th century, that is during the rise of the dynasty. The focus of my study is to analyze the development of these representations in correlation with the religious and political context: at the beginning the two iconographies were sculpted together, while in the course of time they began to be carved separately. This new exploration adds to the iconographic analysis and the study of the epigraphic sources and it aims at relating the artistic production with the construction and legitimation of the dynasty. Controversial interpretations of the meaning of these representations open up a lively debate about local cults in medieval Karnataka and the versatile royalty of the Hoysaḷa dynasty.

Talking Stones: Royal Inscriptions in Medieval Karnātaka

75%

Mucciarelli E.

Cracow Indological Studies

2016

vol. 18: Cosmopolitanism andRegionalism in Indian Cultural Dynamics

265-298

The specific motivation of the medieval Hoysaḷa king Viṣṇuvardhana for a program of inscriptions that included both local and trans-regional elements was the necessity to present his lineage as a strong dynasty comparable to that of his forerunners. On the top of it, he chose a particularly shiny stone, the sandstone: this element of unicity in his program might be understood in relation to the necessity of the king to differentiate himself from other lineages and to make his presence on the territory quite noticeable. If the epigraphic sources—together with the temples, the sacred areas, and the literary courtly production—are to be considered as forms of media of communication, even of “mass-media”, we must read them in the space where they are located, as part of a broader cultural and political process.

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2 Cracow Indological Studies

2 2016

1 Bignami C.

1 Mucciarelli E.

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Sculptures as the Trademark of Sovereignty in the Hoysala Kingdom

Talking Stones: Royal Inscriptions in Medieval Karnātaka