North Karnataka

North Karnataka is a relatively arid expanse of plateau, lying between 300 and 700 meters elevation. It covers the Belgaum District, Bellary District, Bidar District, Bijapur District, Bagalkot District Chikmagalur District, Chitradurga District, Hubli-Dharwad District, Gulbarga District, Raichur District, and Shimoga District. It is drained by the Krishna River and its tributaries the Bhima, Ghataprabha River, Malaprabha River, and Tungabhadra River. It mostly lies within the Deccan thorn scrub forests ecoregion, which extends north into eastern Maharashtra and east into the Telingana region of Andhra Pradesh.

History

• Western Chalukya

This dynasty is sometimes called the 'Kalyani Chalukya after its regal capital at Kalyani, today's Basavakalyan in Karnataka and alternatively the Later Chalukya from its theoretical relationship to the sixth century Chalukya dynasty of Badami.

The Western Chalukyas developed an architectural style known today as a transitional style, an architectural link between the style of the early Chalukya dynasty and that of the later Hoysala empire.

Core area of Western Chalukya architectural activity in modern Karnataka state, India

The Mahadeva Temple at Itagi in the Koppal district. The Kasivisvesvara Temple at Lakkundi in the Gadag district. The Mallikarjuna Temple at Kuruvatti and the Kallesvara Temple at Bagali, both in the Davangere district. The monuments notable for their craftsmanship are the Siddhesvara Temple at Haveri in the Haveri district, the Amrtesvara Temple at Annigeri in the Dharwad district, the Sarasvati Temple in Gadag, and the Dodda Basappa Temple at Dambal, both in the Gadag district.

• Gulbarga

Gulbarga and the area around it was a part of the ancient Chalukyan kingdom of Badami. The origin of the town of Gulbarga goes back to the local Kakatiya rulers of Warangal. It witnessed a lot of turmoil in the early medieval period. In the early part of the 14th century, it became the part of the Delhi Sultanate. It was captured by Ulugh Khan, one of the generals belonging to the Tughlaq dynasty of Delhi Sultanate, and later captured by Mohammed bin Tughlaq, the Sultan of Delhi. It remained a part of the Delhi Sultanate until the death of Mohammed bin Tughlaq. Later it became a part of the Bahamani kingdom. The Bahamani kings made it their capital from 1347 to 1428.In the 17th century, it was annexed by Aurangzeb, the last great Mughal ruler and inducted into the Mughal Empire. In the 18th century, Gulbarga came under the erstwhile rulers of Hyderabad.

• Bidar

The History of Bidar goes back to the days of the Mahabharata epic. It must have existed as a minor but powerful fort during the days of Kalyana Chalukyas (AD 1074- AD 1190). It passed on to the control of the Kakatiyas of Warrangal. In A.D.1322, Prince Ulugh Khan captured the town of Bidar. Subsequently, it was annexed by Sultan Muhammad-bin- Tughlaq of Delhi. With the establishment of the Bahmani dyanasty (AD 1347), Bidar was occupied by Sultan Alla-Ud-Din Bahman Shah Bahmani.During the rule of Ahmad Shah I(1422-1486 AD), Bidar was made the capital city of Bahmani Kingdom.

Tourist attractions of North karnataka

• Allmatti Dam Rock Garden

• Hampi

Hampi near Hospet, in Bellary district is a renowned world heritage centre.

HAMPI, the seat of the famed VIJAYANAGARA empire was the capital of the largest empire in post-mogul India, covering several states. The empire reigned supreme under Krishnadevaraya, the Emperor. The Vijayanagara empire stretched over at least three states - Karnataka, Maharashtra, and Andhra Pradesh. The destruction of Vijayanagar by marauding Moghul invaders was sudden, shocking and absolute. They reduced the city to ruins amid scenes of savage massacre and horrors beggaring description.

• Daroji Bear Sanctuary

The unique Sloth Bear sanctuary is situated very close to this heritage site. Situated only 15 kilometers from Hampi, Daroji Sloth Bear Sanctuary is the only sanctuary in North Karnataka

Reference : http://en.wikipedia.org/wiki/Western_Chalukya_architecture

• The Mahadeva Temple at Itagi in the Koppal district

Mahadeva built the Mahadeva temple at Itagi (koppal Dt.) the finest Chalukyan monument.

Mahadeva Temple at Itagi in the Koppal district

• Lakkundi

The Kasivisvesvara Temple at Lakkundi in the Gadag district

BRAHMA-JINALAYA BASTI at Lakkundi in the Gadag district

Jain temple at Lakkundi

• The Siddhesvara Temple at Haveri in the Haveri district

Siddhesvara Temple at Haveri, a staggered square plan with dravida articulation and superstructure, 11th century CE

Siddhesvara Temple at Haveri

• The Amrtesvara Temple at Annigeri in the Dharwad district

Amrtesvara Temple in Annigeri was built in the Dharwad district in 1050 CE with dravida articulation. This was the first temple made of soapstone

Amrtesvara Temple in Annigeri

• Gadag

Sarasvati Temple in Gadag

A famous centre of Kalyani Chalukya art. Veera Narayana Temple and Someshwara Temple. The large Trikuteshwara temple has a principal shrine that consists of three lingas mounted on the same stone. Inside the temple one can see beautiful stone screens and little fiburea carved exquisitely. The famous Sarswati shrine lies within the complex of the Trikuteshwara temple. It contains marvellous columns and an extremely beautiful idol of the goddess Saraswati.Someshwara is another notable Chalukyan temple.There is also a mosque of Mughal times in the town.

• The Dodda Basappa Temple at Dambal in the Gadag district

Dodda Basappa Temple at Dambal

Dodda Basappa Temple at Dambal, a unique 24-pointed, uninterrupted stellate (star-shaped), 7-tiered dravida plan, 12th century CE

• Badami

Tank at Badami

Badami has a set of four elaborately carved cave temples and one natural Buddhist temple. The caves are located half way up a low hill and can be approached by stairs.

the third cave quite interesting with its almost 3-metre high sculptures. Between the second and the third caves, there are stairs that go up to the top of the hill where there are some fortifications from the Chalukyan era.

The caves overlook the ancient Agatsyateerth pond, built sometime in the 5th century.

Just behind the archaeological museum, there is a long stairway that leads to the fortification on the top of the hill. Most people who come to Badami don't venture this way, this is the best thing about the place.

The pond shimmers in the glory of the early morning sun, reflecting the cliffs on the other side. A perfect Kodak moment. There are a couple of Chalukyan temples on the top covered with intricate carvings.

On the northern side of the pond, is a group of Shiva temples called the Bhoothnath temples, which are also worth exploring.

• Aihole

File:Durga temple Aihole.JPG

Durga temple at Aihole

There are more than a 100 temples in the village dating from the 6th to the 12th centuries. Of these around 30 temples are within an enclosed area and the others are spread all over the village.

Aihole was the first capital of the early Chalukyas and is a veritable treasure trove of ancient temples. Actually quite similar to Hampi, only much more ancient and much less publicized.

The most famous of the temples is the photogenic Durga temple within the enclosed complex, lying in the midst of lush green lawns. The temple is apsidal in plan, topped by a curvilinear shikhara. A pillared corridor runs around the temple. The pillars are beautifully carved with sculptures depicting incidents from the Ramayana. Another notable temple is the Lad Khan temple, also within the compound. The temple has beautifully carved pillars and is named after a Muslim saint who lived here sometime in the late 19th century. There are several other smaller shrines and a small museum within the same complex.

The Revalphadi Cave - dedicated to Shiva - is remarkable for its delicate details.

Not to be missed is the Konthi Temple Complex (Kwanthi Gudi), the Uma Maheswari Temple with a beautifully carved Brahma seated on a lotus, the austere Jain Meguti Temple and the two storeyed Buddhist Temple.

• Pattadakal

World heritage centre

Pattadkal was the second capital of the Chalukyas and it is where the kings were crowned. All the temples date to between the 7th and 8th centuries AD and are located on the banks of the scenic Malaprabha river.

It is basically a collection of nine temples, four of which are in the south Indian Dravidian style, four in the Nagara style of north India and the last one, the Papanatha temple represents a coming together of the two styles.

Pattadkal, perhaps one of the greatest ever experiments in the history of Indian temple architecture, is an art historian's delight.

The Sangameshwara, Chandrashekhara, Jambuling and Kadasideeshwara are the other major temples here, and Pattadakal has also a Jaina basadi of Rashtrakuta times with two beautiful elephants in this front. The Galaganath here which is dilapidated, has caurvilinear (rekhanagara) shikhara.

• Mahakoota

• Banashankari

• Bidar

Bidar boasts of several religious centers: The famous Nanak Jheera - the largest sikh temple atleast in Karnataka, carries the tale that Guru Nanak - the first guru of the Sikhs visited this place and got rid of the scarcity of drinking water in the region. A popular spot is the Sikh temple, Guru Nanak Jheera, where fresh crystal clear spring water appears from nowhere. To visit the Narasimha Jheera, you have to tread for atleast a furlong inside a cave with waist deep water ( and countless bats hanging from the roof!) to seek the a view of Lord Narasimha. Papanaash is a temple of Lord Shiva.....they say you can see snakes guarding the idol especially during Shivaraathri.

The historical fort of Bidar was a stronghold of the Bahamani Kings in the 14th and 15th centuries. The fort is surrounded by three miles of walls with 37 bastions, most of them surmounted with cannons. This fort was a source of irritation to the Mughal rulers of Delhi, and was finally conquered by Aurangazeb. The fort now lies in ruins.

Great personalities of north Karnataka

Basaveshwara

Basaveshwara, Saint, Reformer of Hinduism; declared that work was worship; noted Kannada poet who sang Vachana or Promise poems

The great mystic and social reformer, Mahatma Basaveshwara. In our history of social reform, Mahatma Basaveshwara stands out as an extraordinary personality. He wielded temporal power and, at the same time, had a spiritual bent of mind. He fought against ritualism and social rigidities and for a more human social order. He was a crusader against untouchability and worked to establish a classless and casteless society. It is a token of our admiration and deep regard for him that we are all gathered here today.

Mahatma Basaveshwara was a great son of India, and a great spiritual leader of Karnataka. He admitted people of all castes to his fold and stressed the importance of the equality of man. His religious academy, Anubhava Mandap, was a concrete example of social democracy. Its scope went beyond religious discourse. It was dedicated to the awakening of the consciousness of people.

Kitturu rani channamma

Rani Channamma, the warior queen of Kitur who waged a heroic freedom struggle against te British was born in 1778. Rani Channamma was married to Raja Mallasarja, one of the most illustrious rulers of Kittur, a small princely state in Belgaum District. After her husband's death in 1816, Rani Channamma took over the reins of the State though the nominal head was Mallasarja's son Shivalinga Rudrasarja who was an invalied. After the latter's death in September 1824, she continued as Regent of the State on behalf of Shivalinga Rudrasarja's adopted son, Shivalingappa. The British authorities questioned the validity of the adoption of Shivalingappa and ordered his expulsion which was defied by Rani Channaamma. Thereupon the members of the royal family were kept under watch and humiliated. Exasperated, Rani Channamma personally led her forces to resist the alien dimination. In a grim battle that ensured, the British army was defeated and Thackeray, their Chief, was killed on October 23, 1824. Several British soldiers and their families were taken captives but they were treated generously by Rani Channamma. Chaplin, Commissioner of Deccan thereupon callected a considerabe force from Pune, Madras, Mysore, etc. and again attacked Kittur in December 1824. The British followed a divide and rule policy and overpowered the Kittur army. Rani Channamma was kept as prisoner in Bailhongal Fort where she died on February 21, 1829. Even in captivity Rani Channamma pined for Kittur's freedom and tried to organize the forces of neighbouring rulers to carry on the fight. Thevalour, sacrifice and indomitable spirit displayed by her from a glorious chapter in the nation's history.

Kittur Channamma - film

Sangolli rayanna

KRANTIVEERA SANGOLLI RAYANNA - Film

Santa Shishunal Sharif

Santa Shishunal Sharif -film

Sarvgna

Sarvagna was a poet in the Kannada language. He is famous for his pithy three-lined poems (tripadis or vachanas).

The period of Sarvagna's life has not been determined accurately, and very little is known about him. Based on studies of his literary style and the references of later writers, historians estimate that he might have lived during the first half of the 17th century. Some references in his works indicate that his real name was Pushpadatta - Sarvagna appears to have been his penname.

Kanaka dasaru

Kanakadaasa - He was born in 1508 and died in 1606. He hailed from Kaginele, in Dharwad district in north Karnataka. Kanaka Daasa was a devotee of Lord Vishnu and was highly attached to a beautiful Vishnu temple in Kaginele. One of the great Bhagavatha Maha Purushas Karnataka gave,Thimmappa , son of Birappa, a poligar chief of Kuruba community came to be called 'Kanaka Nayaka' as he found a treasure-trove of gold. He was initiated by Vyasaraya. He lived at Tirupathi in his last days. He has composed Hari Bhakti Sara, Nala Charitra, Mohana Tarangini, Nara Simhastava, and devotional songs in Kannada like 'Krishna Nee Begane' (Yaman) His devotional songs and devoted work elevated the backward communities. His signatures were 'Kagineli Kesava', 'Velapuri Kesava', etc.

Mudras: udupi, AadikEshavaa, Kaaginele AadikEshavaa, Kagineli Kesava, Velapuri Kesava

Sri Siddharudha Swami

Sri Siddharudha Swami, Siddhappa was the youngest son of Guru Shantappa and Devi Mallamma. He was born and brought up in the town of Vanshadurga (Bidarkoti). Like his parents Siddhappa was a devotee of Shiva. As a child he learnt philosophy from Vedas and Upanishads from Virabhadra Swami. Even as a child he realised the need of a Guru. One day he left his home in search of a Guru. After moving from town to town, Siddhappa came to Aamargudda (near Srishail). Here Siddhappa met the head of the matth; Guru Gajadanda Swami. The Swami initiated Siddhappa and gave him the mantra "Om Namah Shivay". Later Guru Gajadanda swami asked Siddhappa to travel around teaching people the path of Namasmaran.

Siddharudha travelled many places and finally settled in Hubli. For days Siddharudha would assume moun, and meditate. He would sit under some tree far away from the town, so that nobody would disturb him. People and some evil passerbys thought of him as a madman and treated him so. Still the Swami had nothing but love for everyone.

People realised who he was, when one day he corrected a Shastri who was giving a speech on a Vedic Rucha. The Shastri was pleased and asked Swami to conduct a seven day lecture. From then on, Swami found many followers.

He built a mattha in Hubli. Swami taught the importance of namasmaran. He also taught the way to practice namasmaran the day to day life.

Dr.D.R.Bendre

Dr.D.R.Bendre

Bendre is considered as colossal of modern Kannada poetry. Progenitor of bhavgeets or lyrical poems, many veterans in both English and Kannada languages think that some of his poems deserve a place in world literature. "Bendre's poetry shows vivid imagination, grace and power of expression characteristic of the best poetry" has said Masti Venkatesha Iyengar, a great short story writer of Kannada.

Bendre was born of a culturally rich but materially very poor Chitpavan Brahmin family in 1896 in Dharwad. His Grand father was a Dasagranthi (Master of ten volumes of sacred lore) and scholar in Sanskrit classical literature. His father was also learned in Sanskrit. But he caught scrofula (TB of lymphatic glands of neck) and after twelve years of suffering and also mental illness, died when Dattatraya was twelve. His Granny (mother's mother) and mother ran a khanavali (eatery) to support and educate the family. Both the brave women left a lasting impression on this brilliant lad who later paid rare poetic tribute to his granny Godubai. He adopted the pen-name of Ambikatanayadatta (Datta, son of Ambika) after his mother and immortalized her.

Dr Gangubai Hangal

File:Gangubai-and-Krishna Hangal .jpg

Dr Gangubai Hangal

Dr Gangubai Hangal was born in the family of musicians on 5th March 1913 at Dharwad. Her mother Smt Ambabai was a renowned carnatic singer and father Sri Chikkurao Nadiger of Ranebennur was an agriculturist.

Dr Gangubai was Initiated into music by her mother. She learnt music under the guidance of Sri Krishnamacharya Hulgur and later under Sri Sawai Gandharv alias Sri Rambhau Kundgolkar a disciple of late Ustad Abdul Karim Khan, the main architect of kirana gharana school of music.

Sudha Murthy

Did anybody know that there was a strong Tata connection to Infosys?

Meet Ms Sudha Murthy, the better half of the Infosys chairman, NR Narayana Murthy. On a down-the-memory-lane visit here after 25 years, Ms Murthy, who is now heading the Infosys Foundation, said it was a chance association with the house of Tatas when after topping the graduating class in computer science from the Indian Institute of Science, Bangalore, she came across a job advertisement in February 1974, which said Telco (Tata Engineering and Locomotive Company) wanted bright young graduates.However, much to her disappointment, she found in the footnote it was written "female candidates need not apply." Her ego deeply hurt, she shot off a 'postcard' to JRD Tata asking him how a leading and progressive house like the Tatas, "which always thought ahead of time, could put such a restriction." "After posting it I forgot about it," she said. A pleasant surprise awaited her. A telegram soon arrived asking her to appear for an interview "with a promise of reimbursement of first class fare both ways," she said.

Selected as a GT (graduate trainee) and as the first lady technical officer at Telco, she was first posted to Pune and was later shifted to Telco Jamshedpur "for a short stint." She was thereafter shifted to Bombay House, She had later learnt that JRD had himself intervened in the matter following her letter and had instructed the board that "if she was found up to the mark in her subjects, she should be taken." She recalls how after having put in her papers in February 1982, after having served Telco for eight years, she wanted to meet JRD to convey her gratitude.

• M.Tech in Computer Science (secured I Rank) in 1974 from Indian Institute of Science, Bangalore

• BE in Electrical (secured I Rank) in all semesters in 1972 from BVB College of Engineering, Hubli

• SSLC with highest marks in 1966 from New Education Society Girls English School, Hubli

Dr. Shrinivas Kulkarni

An Astrophysicist based in California. The John D. and Catherine T. McArthur professor of astronomy and planetary science at Caltech discovered the millisecond pulsar-distant stars emitting very high-frequency radio waves-and has conducted stand-out observational astronomy in virtually the entire electromagnetic spectrum. Shrini also discovered brown dwarfs-stars whose radii are less than the Chandrashekhar Limit (the theory that won Subrahmanyam Chandrashekhar the Nobel) and which decay into less luminous (brown), smaller gas masses instead of collapsing into black holes. Shrini's primary interests are the study of neutron stars and gamma-ray bursts, and the search for extra-solar planets through interferometric and adaptive techniques. Dr. Shrini is related to Narayana Murthy (Sudha Murty's brother) and Gururaj "Desh" Deshpande.

Arun Netravali

Arun Netravali, the ninth president in Bell Labs' history, was also Lucent's chief technology officer and chief network architect during his tenure. Netravali, now Lucent's chief scientist, continues to work with the academic and investment communities to identify new technologies that will be relevant to Lucent's mission, and acts as an advisor to Lucent's senior management on technical and customer issues.

Born in a small town, Ankola in Karnataka, Netravali grew up in Matunga, Mumbai. After five years in municipal school, he joined King George High School and later Elphinstone College. After a brilliant career in IIT Bombay, where he graduated with a BTech in EE in 1967, Netravali went to Rice University, Houston for his PhD. After his graduate school, he joined NASA for two years before he landed up in the Mecca of research, Bell Labs, in 1972. Since then he has steadily risen to now become its president.

Gururaj Deshpande

Co-founder and Chairman of Sycamore Networks, Inc. Born and brought up in Dharwad, Karnataka. Sycamore is his third start-up. He left Coral Networks, his first venture, after differences with his partner in 1990; Cascade Communications was his second. Deshpande grew up in a middle-class family; his father was a labor commissioner in the first post-British Indian government. After a degree in electrical engineering from IIT, Madras, he enrolled in the University of New Brunswick's graduate-level engineering program at the age of 22. His next stop was Queen's University in Kingston, Ont. for PhD studies in data communications. His goal at that time was to teach at the Massachusetts Institute of Technology or Bell Labs. Peter Brackett, an entrepreneur-turned-Queen's professor, lured Deshpande away from academia.

Nandan Nilekani

Nandan Nilekani is the co-founder and co-chairman of Infosys Technologies Ltd, an information technology services company in India. He is also the co-founder of National Association of Software and Service Companies (NASSCOM) and chairperson of Bangalore Agenda Task Force (BATF). He was born in Sirsi, Karnataka.

Natural resources of North karnataka

Hatti Gold mine

Well-known cities of North Karnataka

Hubli

Hubli City, situated about 20 km east of Dharwad, is the commercial centre of the district. Cotton and peanuts (called groundnuts locally) are grown aplenty in the surrounding rural areas, and Hubli is a major trading center for both commodities. Fish from Karwar, a coastal town 165 km away, is packed and shipped from Hubli. It is also an important city for the Indian Railways, being the zonal headquarters of South Western Railway and the Hubli Division. It also has a wagon workshop.

Hubli is and important industrial centre, with more than 1000 allied small and medium industries already established. There are machine tools industries, electrical, steel furnitures, food products, rubber and leather industries and tanning industries. With the establishment of Bhoruka textile Mill, N.G.E.F and K.M.F. it has gathered momentum in industrial development.

Dharwad

Dharwad is the cultural capital of Northern Karnataka. It is home of great maestros of Hindustani classical music such as Kumar Gandharva, Basavaraj Rajguru, Gangubai Hanagal, Bhimsen Joshi, Mallikarjun Mansur and soon...

Belagavi / Belgaum

This Beautiful city is famous for Belgaum Kunda.

Organization those made North Karnataka proud

• KLE

• VRL

• SDM

• HKE Society

Internet groups

NKTechies

North Karnataka Techies is mailing List for North Karnataka techies Specially from BELGUM, BIJAPUR, BAGALKOT, BIDAR, GULBARGA, HUBLI, DHARWAD, RAICHUR, BELLARY,GADAG, HAVERI, DAVANGERE and KOPPAL districts The objective of this list is for sharing Job Openings and Valuable info, which would help people of North Karnataka .

HubliCity

This is an elite group of members consisting of HDMC Commissioner, CM, BVB College Principal Mr. Ashok Shettar, NRI’s from this area, who are all working for one thing, i.e. Development of North Karnataka.

North Karnataka Cuisine

The wheat and jowar rottis (unleavened bread made of millet) are the popular delicacies of North Karnataka. Here, one can find a wide range of rottis like Jolada rotti, thali peet, khadak rotti and sajji rotti (bajra rotti). They are mainly served with a variety of chutneys or spicy curries. Other dishes with which these rottis are served are the yenne badanekayi, kaalu palya, soppu palya, usli (made from spicy sprouted gram) and jholka (made from channa dal flour).

Major festivals and foods of North Karnataka

Sankranti (January) (Festival of harvest): Madeli, Holige of gingelly seeds, Bengal gram dhal,Ground nut; Jowar roti, Bajra roti, Bharta, Chutney powders of niger, linseed, ground nut.

Shivarathri (February / March) (Foods consumed after a day’s fast): Godhi huggi, Allittu, Bengal gram usali, Moth bean usali and Holige.

Holi (March) (Destruction of evil): Holige, Jowar wade, Pumpkin gargi (some caste groups prepare nonvegetarian curry.

Ugadi (April / May) (New year of Kannadigas): Holige, Karigadabu, Vermicelli payasam, Bevu bella, and Godhi huggi.

Basava jayanti (May) (Birth day of regional religious leader of 12th century)  : Holige, Karigadabu and mango Shikarane.

Karahunnive (June) (Bullocks worshipped): Holige, Karigadabu, Jowar wade, Pumpkin gargi, Kodabale and mango Shikarane.

Mannettina amavasye (June) (Clay bullocks worshipped): Karigadabu, Holige, Jowar wade, Sajjaka, Pumpkin gargi and Vermicelli payasam.

Nagarapanchami (July) (Cobras worshipped): Laddu of semolina, Bunde, Besan, Sev, Ground nuts, Gingelly seeds, Gulladki, Puffed jowar, Kuchagadabu,Allittu, Bengal gram usali, Moth bean usali, Bajra roti and Jowar roti.

Ganesh chaturthi (August ) (Ganesha worshipped): Godhi huggi, Holige, Modaka, Vermicelli payasam, Sajjaka, Jowar roti, Mesta bhaji, Curds rice,Panchakajjaya, Karigadabu, and Gudagana huggi.

Dasara/ Mahanavami (September) (Durga puja): Holige, Karigadabu, Sajjakada holige, Sajjaka, Durga puja Taraga, Foxtail millet holige, Karachikayi, Pumpkin gargi and Jowar wade.

Shigehunnive (October) (Farmer’s festival; Worship of standing crop) : Foxtail millet holige, Chakli, Akki huggi, Kodabale, Holige, Karigadabu, Undigadabu, Kuchchida khara, Bhaji of capsicum, cluster beans, pumpkin; Chutney powders of niger, linseed, ground nut (some caste groups prepare nonvegetarian curry)

Diwali (October) ( Lakshmi puja) : Holige, Karigadabu, Karachikayi, Laddu of semolina, Besan and Sajjakada holige.

North Karnataka special Snacks

Dharwad Peda

Gokak Kardantu

Belgaum / Belagavi Kunda

North Karnataka Crafts

Cushion covers, bedspreads, quilts, dinner mats, and bags; accessories such as spectacle cases, pouches and purses; traditional garments; ornaments made from dyed and block printed fabric; mirrors, beads, and traditional jewellery; and Lambani crafts can be found in Bijapur, Sandur, and Gulbarga in North Karnataka.

Bidar Bidriware

Bidar in North Karnataka is a famous centre for Bidriware, a well-developed craft that involves the use of metal plate on an alloy made of zinc, copper, tin, and lead. Finely crafted hookahs, goblets, paan boxes, bowls, plates, pen holders, letter openers, and bangles exquisitely embellished with interwoven vines and floral patterns are a treat to the eye. The effect of the delicate silver filigree against the metallic ebony background is striking.

Embroidery

Kasuti, a form of embroidery practised especially in Dharwad and Hubli districts, is known for its intricate and stunning workmanship. Four kinds of stitches are commonly used in Kasuti, and the designs are many and intricate. They are influenced by the architectural patterns of temples and are symbolic of rituals and life around temples. The other style of embroidery is the Banjara style, popularised in Sandur.

Bijapur sarees, jewellery and handlooms

Handlooms from Guledgudda (Khancholi,) handwoven Ilkal sarees, clay toys, Kinnala Paintings, and Lambani jewellery are specialities of North Karnataka.

Gokak toys

Bright, colourful replicas of vegetables and fruits, images of deities, cradles, toys, masks, and palanquins are available at Gokak in Belgaum District. Exquisite pottery, and gold and silver jewellery are also available.

Kinhal craft

Kinhal, located 13 kms. from Koppal, in the Bellary district of northern Karnataka is home to this craft.

There are approximately 30 craftspersons who practise this craft. Hereditary artisans called chitragaras ( literally one who draws or paints) produce a range of products such as painted murals and wall hangings on Puranic themes like Dasavataras, Navagrahas, and Ashta-Dikhapalas ( guardians of the directions).

It is believed that the art of Kinhal painted woodenware dates to the Vijayanagar empire founded in 1500. The craft flourished due to the patronage of the Vijayanagar rulers in whose reign the arts had reached their zenith.

Textiles of Northern Karnataka

Ilkal Saree

The Ilkal saree enjoyed a pride of place in festivities and weddings in North Karnataka and towns of Maharashtra bordering Karnataka. A must in every bride's trousseau was a Chandrakali saree - a blue-black indigo-hued saree with a crimson border and a pallu with a crimson tope-teni design. This was presented to her on the day of Sankranti.

A typical accompaniment to the llkal saree is the blouse piece that ideally suits its knotted choli style. The blouse pieces and khannas are a speciality of Guledagudda, a town just 50 km from llkal. This material is characterised by a maroon border with two bands of white thread work, while the body has silk thread brocade. The width is shorter than the usual 36 inches.

Ilkal town in the Bagalkot district of Karnataka was, since the 18th century, a well-known centre for weaving and natural dyes, famous for its numerous clay indigo vats. Black, red and yellow were common colours obtained from vegetable sources like the indigo plant, madder and turmeric roots. Traditional dyers belonged to a community called bannagar.

The saree was dipped 14 times in the indigo vat to get the particular hue of black-blue. The water of the local Hirehalla nala added a special sheen to the blue.

The signature feature of the Ilkal saree is the pallu or serigu made of red silk with patterns in white. The monotony is relieved by various styles of teni or spokes at the extremities of the white band of the pallu. These spokes are named after their shapes like hanige or comb tooth, koti kammli or fort ramparts, tope-teni or jowar/ sorghum-shaped and rampa or the shape of a mountain range. The pallu and body are joined by a technique called kondi or locking, deftly executed by hand. The other striking feature of the Ilkal saree is the border - four to six inches broad, in the auspicious colours of maroon or red with distinct designs, patterned in ochre. A variation of the Ilkal is the chaduranga chikki (chess spots), which is Ilkal with finely woven checks.

A Navalgund novelty, Jazzy jamkhanas

The jamkahana industry is dominated entirely by women, predominantly Muslim. The jamkhanas are woven in punja looms. The raw unbleached yarn is bought from Pali in Rajasthan and dyed in various colours at Gajendragad, some 80 km from Navalgund. They are then distributed to the weavers according to the design of the jamkhanas. The women then wrap the yarn on a charkha wheel called rattinam to remove tangles.

In the past, since the colour pigments were derived only from vegetable sources, original jamkhanas had a limited palette of colours like yellow, red, ochre, black, green and off-white. But now, modern synthetic colours have given many choices to the weavers to create new designs with a card shade of up to 26 colours.

The beauty of displaying jamkhanas in the drawing room is unparallelled. Equally fascinating is the history of these floor coverings and their origin.

Lambani embroidery Sandur

Sandur’s best-known line is Lambani embroidery, which is done by Lambani women from the region. The women continue to wear their striking traditional costumes. These are adorned with distinctive bold embroidery that makes use of mirrors and also other embellishments such as shells and buttons. Sandur combines contemporary design with the skills of the Lambani women to put together products that suit urban tastes.

The crafts people associated with Sandur Kushala Kala Kendra all belong to Sandur region of Karnataka.

Bellary HANDLOOMS

Textile Industry is one of the major industries in Bellary District. Around 4,800 families are engaged in this activity.As per 1995/96 Census, there are 2402 Handlooms in the district, out of which 220 are Silk Looms, 840 Cotton Looms and 1342 Woolen Looms. About 6500 people are working in these looms and allied activities. There are 21 Handloom Weavers Co-operative Societies and 3 KHDC Sub-Centres engaged in Handloom Weaving activity.

Bellary is well known for Ready-Made-Garments: Especially for Jeans pants. There are about 260 Garment units in Bellary and nearly 3000 families are working in these units.

There are the two spinning mills in the district, out of which, one is at Kottur and another mill is at Bellary. Both the mills produce lower counts yarn.

Cotton is the major agriculture product in Bellary District. There are about 115 Ginning mills working in cotton ginning and pressing. About 2500 people are working in these units. Most of the units are using Platt and Bajaj Ginning Machines.

Textile Park, Bellary District. Mundaragi & Guggarahatti Village , Bellary Tq.,

It is proposed to established a Textile Park in the Jeans cluster & the park focuses on stitching of Jeans & processing units in Bellary Dist.

Art and culture

JAINA MONUMENTS IN NORTH KARNATAKA

At the outset it is necessary to clarify that the division of Karnataka Into South and North is only for the sake of convenience. In this connection north Karnataka is taken as the area comprising the present Karnataka excluding the old Mysore State. The monuments in these districts have been considered in a chronological manner taking the dynasties also into consideration.

BEGINNERS

The origin of Jaina architecture in north Karnataka is still uncertain as the vestiges of the early period have not come down to us. Jaina structures contemporary to the sojourn of Bhadrabahu to Sravanbelgola have not been found here so far. Even the early historic excavations which exhibit Satavahana culture as at Vadagaon Madhavpur and Sannati have not yielded any antiquity or structure that can be associated with Jainism. However, it has to be noted that the antiquities and structures of the former site have yet to be studied in detail and the latter site is yet to be fully excavated. This leaves us with the Kadambas of Banavasi who were known to be patrons of Jainism as evidenced by their inscriptions.

KADAMBA PERIOD

The existance of Jaina temples during the period of the Banavasi Kadambas is amply evidenced by their epigraphs. The earliest references to a grant by a Kadamba king to a Jaina saint is found in the Halasi copper plate of kakusthavarman.1 It mentions that the granted village Khatagrama belonged to arhanta. However, a reference to a Jain temple (Chaityalaya) is found in the Devagiri copper plate of Mrigesavarman.2 The insription states that Mrigesavarman gave a grant for the sammarjana, upalepana, archana and bhagnasamskara of the Chaityalaya located at Brihatparalur. Further he also donated for the enclosure of the Chaityalaya one nivartana of land. This clearly shows that the above Chaityalaya was big enough to have an enclosure also. In the Devagiri inscription of Vijaya Siva Mrigesavarman a reference is made to arhat sale where an image of Jinendra was kept. 3 Mrigesavarman's Halasi inscription of 8th regnal year states that the king built a Jinalaya in memory of his father in Palasika and granted lands to saints of Yapaniya, nirgrantha and kurchaka sangha.4 Ravivarma's eleventh regnal year inscription found at Halasi refers to a grant for the abhisheka of Jinendra.5 Obviously this refers to a, Jaina temple. Another inscription of the same king refers to the worship of Jinendra for which four nivartanas of land was granted .6

The famous Gudnapur inscription of Ravivarman is more explicit on this point.7 According to this inscription King Ravivarma built a temple, kamajinalaya for Manmatha, very' near the palace (rajavesma) and arranged for its worship by granting lands. At the same time he also gave grants to Kamajinalaya at Hakinipalli and Padmavati temple at Kalliligrama. Dr. B.R. Gopal who has edited this inscription has suggested that this Kamajinalaya is a temple for Bahubali, as Bahubali is described as Manmatha. If this is so, the tradition of erecting gommata sculptures goes back to the period of Kadambas and to sixth century A.D. itself. However, Dr. A. Sundara has discovered a sculpture of Rati and Manmatha at the same place. Whether this was the sculpture worshipped in the Kamajinalya cannot be ascertained. What is more important is the tradition of building Jaina temples for Manmatha and even Padmavati.

The Halasi inscription of Ravivarma refers to interesting information.8 It states that the income from the gifted village should be used for eight-day festival in Kartikamasa in the Jinalaya at Palasikanagara. It states at the end wherever Jinendra worship takes place properly, that place will prosper without any fear from enemies and the prowess of the king will improve. The Devagiri plates of prince Devavarma refers to gifts for the worship in the Chaityalaya and for the repairs of the Chaityalaya.9

All the inscriptions referred to above mention gifts for worship and repair to Jaina temples. However, many of them refer to a Jaina temple at Halasi. The Jaina temple' now standing at Halasi can not go back to a period earlier than eleventh century A.D. Then the question is what happened to the basadis referred to in the inscriptions. Perhaps they might have been built by wood and obviously perished. A. Sundara's field work at Halasi throws very important light on this point.1O Very close to the Kallesvara temple at Halasi, he discovered an ancient site going back to megalithic and early historic periods. A large number of brick walls of the ancient period have been noticed by him in and around and abviously he thinks that this represents the Jaina temple built during the Kadamba period. Full scale excavations at Halasi and Gudnapur are bound to yield the brick temples of this early period. That would, show the contribution of the Kadambas of Banavasi to the Jaina architecture of Karnataka.

BADAMI CHALUKYAN PERIOD

After the rule of the Kadambas of Banavasi most parts of north Karnataka came under the rule of the early or Badami Chalukyan kings. Their contribution to architecture and sculpture is not only well known but unprecedented. Most kings of this powerful dynasty patronised Jainism also though they were the followere of Vedic Hinduism. This is attested to by many inscriptions including that of the Aihole inscription of Pulakesi II, composed by the famous poet Ravikirti. The Jaina architectural beginnings made earlier by the Kadambas of Banavasi, crystalised into better structures in stone during the early Chalukyan period. As they used stone as the medium of their architecture, they have come down to us in good numbers.

The Chalukyas of Badami ate known for their rock cut temples as well as structural temples. At Badami there are four rock cut temples belonging to Saiva, Vaishnava and Jaina faiths. Incidentally this is an eloquent testimony to the religious tolerance of the kings and the people during the period. The fourth cave is the Jaina cave dedicated to Adinatha Tirthankara. He is seated on the lion pedestal, reclining slightly on the smooth cushion. There is a triple umbrella (mukkode) over his head in relief. There are two Chamaradharis attending on the Tirthankara. On the left wall is a standing sculpture of Suparsvanatha with a seven hooded snake over him. To his right is a Yakshi holding a Chatra; to the left is a Yaksha sitting. On the opposite wall is the sculpture of Bahubali intertwined with creepers. In the inner mandapa on both sides are found two sculptures of Mahavira. In addition there are sculptures of twenty eight Jinas. The whole cave is 31 ft. wide and the depth is 16 ft. The entire composition is very elegant.

Another Jaina cave is in Aihole. It has an open mandapa and a Sabhamandapa. In the garbhgriha is the sculpture of Mahavira in Padmasana. On the sides are yaksha and yakshi standing. In the open mandapa are found high relief sculptures of Parsvanatha and Bahubali. However, this cave is not as refined and elegant as that of Badami.

Now we may refer to the structural temples built by the Chalukayas of Badami. The following are noteworthy among them. They are - Meguti Jinalaya at Aihole; the jinalaya built by Kumkuma Mahadevi at Lakshmesvar; during the period of Kirtivarman II. Kaliyamma built a temple at Annigeri; the Jinalaya at Hallur; the Jinalaya built by Dharmagamunda at Adur in Hangal taluk. The Meguti Jinendralaya was built in 634 A. D. by Ravikirti The temple has a garbhagriha, antarala and a mukhamandapa perhaps a later addition. There is a narrow pradakshinapatha around the garbhagriha. In the garbhagriha attached to the wall is the sculpture of Mahavira. In the antarala was a fine sculpture of Yakshi Ambika sitting in ardha lalitasana. Over the garbhagriha is another garbhagriha which also has a sculpture of Tirthankara. The adhisthana has miniature decorations.

The Sankha Jinalaya at Lakshmesvar is dedicated to Neminatha. Sendraka Durgasakti, a feudatory of Pulakesi II is said to have given gifts to this temple.u It is possible that it may be earlier or atleast contemporary to the Meguti temple. Many other inscriptions show that this was an important Jaina temple during the period. an inscription of Vinayaditya dated 686 A.D. refers to a grant to Jaina acharya of Devagana and mulasangha.12 Another epigraph of the time of Vijayaditya dated 729 A. D. mentions a grant to Niravadya Pandita who was to house pupil of Sri PUjyapada.13 Still another inscription of the time of Vikramaditya II dated 734 A. D. mentions gifts to Sveta Jinalaya.14

The Jain temple at Hallur has garbhagriha, antarala, and rectanular Sabhamandap. The garbhagriha has an upper storey and is similar to Meguti temple. The Sabhamandapa is bigger than garbhagriha and antarala and has a seperate mukhamandapa which is in ruins. Thus it shows a more developed architectural feature. The outer walls of the Sabhamandapa has low relief sculptures of Jaina Tirthankaras. Thus the Chalukyas of Badami contributed in ample measure to the development of Jaina temple architecture and laid firm foundations for further development during the Rashtrakuta period.

RASHTRAKUTA PERIOD

Altekar ,characterises the Rastrakuta period as the golden age of Jainsim in Karnataka. This is amply demonstrated by a large number of Jaina epigraphs and also generous grants to Jaina temples. Amoghavarsha I used to consider himself purified by the very remembrance of his guru Jinasenacharya.15 He is also described as a follower of Syadvada.16 He had appointed the famous Jaina saint Gunabhadra as the teacher for his son Krishna.17 Krishna gave liberal donations to the Jaina temple at Mulgund. Indra IV was a devoted Jaina and he died committing Sallekhana.18 Many of the Rashtrakuta feudatories like Rattas of Saundatti were staunch supporters of Jainism, From all these evidences Altekar estimates that atleast one third of the total population of the Deccan during the period were Jains.19

The Jaina monuments of the Rashrakuta period are found at Pattadakal, Malkhed, Lakshmesvar, Koppala, Bankur, in the present day karnataka and at Ellora in Maharastra which was included in the Rastrakuta empire, The jaina temple at Pattadakal consists of a garbhagriha, pradakshinapatha, antarala, Sabhamandapa and mukhamandapa, The garbhgriha door jambh has a fine makara torana, Opposite walls of antarala have Devakoshthas to house Yaksha and Yakshis, The sabhamandapa is square and has four pillars in the centre, The mukhamanadapa has been provided with Kakshasanas, The garbhagriha has a dvitala Nagara sikhara, it has another garbhagriha on the first floor like the Meguti temple, The outer walls in the western and northern sides have Jina sculptures which confirm that this is a Jaina temple, It is believed that this temple was built either during the time of Amoghavarsha I (814-874 A.D.) or Krishna I (c. 770 A.D.). From the stylistic features ninth century A,D, seems' to be reasonable for this temple.

The Jaina basadi at Konnur in Dharwad district was built during the period of Amoghavarsha I, by Bankesa in 860 A.D, It has a garbhagriha, antarala, sabhamandapa and a ruined mukhmandapa, The unique feature of this temple is the star shaped gabhagriha, which later became a unique feature of the Hoysala temples in southern Karnataka- There are three niches .in the garbhagriha which is also rare, The antarala has two pillars while the Sabhamandapa has twelve pillars, The latter also has two stone Jalandhras, Th.e mukhamandapa is reached through flight of steps.

The Jaina temple at Naregal in Ron taluk of Dharwad district was built during the period of Krishna III, by Padmabbarasi, the queen of Ganga Permadi Bhutayya in 950 A.D. (Now it is referred to as Narayana temple), It is the biggest Rashtrakuta temple in Karnataka, It has a sikhara of Dravida vimana type over the garbhagriha, Acutally it is a trikuta, The main garbhagriha of this temple was meant for a Jina, and is square, The other two garbhagriha are rectangular, and have rectangular pedestals from wall to wall with twenty-four holes indicating that both of them were meant for establishing twenty-four Tirthankara sculptures, This is also a unique feature of this basadi. This became common in the eleventh century A.D.

The Settavva temple at Aihole is another storeyed basadi. It is more elaborate in execution. It is also a trikuta. Besides it has three ardhamandapas and a common navaranga.

The Neminatha basadi at Malkhed, the capital of the Rashtrakutas belongs to ninth century A. D. Unfortunately the original structure has been repaired often and henc.e it is difficult to know its original features. The garbhagriha has a fine seated Neminatha sculpture. Other sculptures found here are those of Parsvanatha, Dharanendra and Padmavati. Some more Jina sculptures are in the Sabhamandapa; but they seem to belong to later periods.

The basadi at Bankur in Gulburga district seems to belong to the end of the Rashrakuta period. There are many fine sculptures in this temple. Notable among them are Adinatha, Chandraprabha, Santinatha, Parsvanatha, Mahavira, Padmavati, high relief sculptures of twenty-four tirthankaras.

In addition to the above Jaina temples of the Rashtrakuta period many more are also found which are not properly documented. Outside the present Karnataka State, the Rastrakuta basadis are found at Ellora where there are three Jaina cave temples referred as Chota Kailas, Indrasabha and Jagannathasabha.

The Rashrakuta epigraphs supply evidence for the construction of many more Jaina temples which have not been properly located. Some important epigraphs may be noted below. In 875 A. D. Krishna II built a Jinendra bhavana at Savadatti.2O In 902 A. D. Pergada Bittayya built a basadi at Bandanike.21 During the period of Krishna II was built the Mahasrimanta basadi at Pennugunda. 22 In 925 A. D. Nagayya built a temple at Asundi when Chandraprabha bhattaraka of Dhora Jinalaya was the administrator.23 In 932 A. D., Chandavve built a basadi at Nandavara.24 In 964 A. D., a Ratta chief built Jayadhire Jinalaya at Kupana {modern Koppala).25 In 958 A. D. Jakki Sundari built a Jinalaya at Kakambal. 26

The above epigraphical references and the extant Jaina monuments prove that the Rashtrakuta period was a golden age from the point of view to Jaina architecture also. However, it has to be admitted that exploration of Rashtrakuta architecture in Karnataka has to be done more systematically. In this connection the good beginning made by S. Rajasekhara in identifying the possible Rashtrakuta monuments in Karnataka on the bas.is of stylistic evidences and epigraphs is worth laudable. 27 Further research is bound to yield more Rashtrakuta monuments including Jaina temples in Karnataka.

KALYANA CHALUKYA PERIOD

With the decline of the Rashtrakutas, most parts of north Karnataka came under the rule of the Chalukyas of Kalyana. Though they are known to be Saivas, they built Jaina temples. Many kings of this dynasty also granted gifts to Jaina establishments and individual saints. The development of Kalamukhas on the one side and the Virasaivism of Basavanna on the other were making great progress in north Karnataka and naturally this did not give enough scope for Jainism to blossom as it did in the earlier Rashtrakuta period. Nevertheless, it flourished through the royal patronage and contributed its share in the development of architecture. Taila, the founder of Chalukya dynasty of Kalyana is well known as the patron of the great Jaina poet Ranna. King Satyasraya had a Rajaguru Vimalachandrapanditadeva under whose feet the king is said to have learnt the tenets of Jaina dharma. Attimabbe, known as danachintamani is a well known personality of this period. She is said to have made one thousand copies of Ponna's Santi pur ana and distributed as Sastradana. She built a Jaina temple at Lakkundi to which the king provided a golden Kalasa.28 Somesvara's minister Santinatha persuaded Lakhma to build the Mallikamoda Santinatha basadi at Baligrama.29 All these show the existence of Jainism during the period as well as royal patronage.

The Chalukyas of Kalyana were great temple builders all over Karnataka and they brought out new development in various components of temple. This was adopted to the Jaina temples built by them. This is amptly brought out by K.V. Soundararajan when he states" ?.the Jaina temple building efforts went through more or less the same stages of growth and development as the Brahmanical, Jainism nevertheless maintained its entity by taking recourse to certain iconographic specializations which called for a distinctive layout. In surface treatment again, the Jaina temples eschewed all ostentatiously carved richi1ess on the exterior wall or fabric of the temple but were not averse to an extravagant display of ornamentation and figure work in the interior". 30 These distinctive features are found in the Jaina temples built by the Kalyana. Chalukyas at Lakkundi and other places. They generally consist of a garbhagriha, antarala, navaranga and mukhamandapa. Usually they do not have sculptyres on the outer walls. In the navaranga pillars are found with small sculptures. The sculptures generally consist of Bahubali, Parsvanatha, Mahavira, other Tirthankaras, Yaksha, Yakshis, Chaumukhastambhas, Sahasrakut Jinabimba, Dvarapalas and Manastambhas.

The most important Jaina temples of this period are Brahma Jinalaya at Lakkundi, Charantimatha at Aihole and Sankha Jinalya at Lakshmesvar. The Brahma Jinalaya built by Attimabbe represents a second phase of Chalukyan art for it not only represents a progress in architectural work but also uses finer grained schist instead of the usual granite. The latter has influenced its masonry, size and sculpture. The tample is highly imposing with dimentions of 93 ft. and 35 ft. It has a sikhara 42 ft. in height, which rise,s somewhat steeply in three storeys looking like a Chaturasra sikhara, with a sukhanasi. The mukhamandapa is spacious having entrances in east, south and north. The sculptures of Brahma and Padmavati are noteworthy.

The Charanti matha group at Aihole was built before 1119 A.D. on which date king Vikarmaditya VI through his subordinate Kesavayya Setti made arrangements for certain repairs, additions and endowments. The main temple of this group is dedicated to Mahavira. The temple has a garbhagriha, antarala, Sabhamandapa and mukhamandapa. It has a sikhara of the southern vimana type. There is also storeyed temple over the garbhagriha, a typical character of a basadi. The exterior wall is plain without any sculptures. The highly ornate doorways, drooping eaves and cornices of the corridor are highly elaborate and ornate. On the architraves of the front doors of the corridor are carved twenty four Tirthankaras, which add to the beauty of this temple.

Of the two Jaina temples at Lakshmesvar the more famous is Sankha Jinalaya which consists of a garbhagriha, a large ardhamandapa, larger mahamandapa and a rangamandapa. The rangamandapa has three entrances to south, north and west. It has a chaturmukha structure in dim unitive model, each of which carries three figures. it has a rekhanagara sikhara. The unique feature of this temple is the Sahasrakuta Jinabimba in minute form. There is a manastambha in front of the temple. Even though the temple is in ruins and has been renovated later, it presents a rare grandeur and stands as a testimony to the interest of the Kalyana Chalukyas in Jaina a.rchitecture. The other Jaina temple in this place is a trikuta dedicated to Adinatha.

The other Jaina temples of the Kalyana Chalukya period include Parsvanatha basadi at Udri, Bandalike, Parsvanatha basadi at Koppala, a ruined basadi at Halasi, Naminatha basadi at Terdal, a ruined basadi within the fort at Belgaum, Parsvanatha basadi at Ammangi in Belgaum district, a ruined basadi at Malkhed and another basadi at Sedam in Gulburga district. Most of these are in ruins and are simpler in dimensions and designs as compared to the classical basadis found at Lakkundi and other two places. However, these constructions show the widespread popularity of Jaina architecture in the north Karnataka region during the Kalyana Chalukya period.

As the Hoysalas did not have a permanent footing in north Karnataka due to the opposition of the Sevunas of Devagiri, there are no Hoysala monuments in this region. They are confined to southern Karnataka.

THE SEVUNA PERIOD

The Sevunas of Devagiri ruled over most parts of north Karnataka and parts of Maharashtra after the decline of the Chalukyas of Kalyana. Tradition connects the Sevunas with Jainism. As evidenced by Nasikakalpa, Dridhaprahara one of the early king of this dynasty grew under the care of Chandraprabhasvamin and in recognition of this he named his capitgl Chandradityapura, after this Jaina saint. 31 Sevunadeva III was a devout Jaina. His Anjaneri inscription opens with an invocation to Pancha Parameshthis namely arhats, siddhas, acharyas, upadhyayas and sadhus.32 Singhana II made a large number of grants to Jinalaya at Purikanagara for the worship of Parsvanatha and to the temple of Ananata Tirthankara. King Ramachandta made the grant of a village Hunisehalli for a Jinalaya. His Sarvadhikari is said to have built a basadi at the instance of his guru Jinabhattaraka. Apart from these epigraphical references, it is not possible to identify any of the Jaina temples built during the period.

VIJAYANAGARA PERIOD

It is generally believed that Jainism began declining in Karnataka after the Hoysalas. With the establishment of the Vijayanagara empire, the accent was more on the Hinduism and obviously Jainism suffered a setback. Even numerically references to grants made to Jaina establishments become small in number epigraphically which also confirms the view that Jainism was loosing ground. This is amply demonstrated by the inscription of Bukka at Hampi, which tries to bring about a compromise between the Jainas and the Srivaishnavas. One of the representative Jaina temple at Hampi is the Ganagitti gudi built by Jinabhakta Irugappa Dandanayaka who was a minister under Harihara II, in 1385 A.D. The temple was dedicated to Kunthu tirthankara.

However, South Kanara and North Kanara became important centres of Jaina architecture during this period. Varanga, karkala, Mudabidre, Barakuru and other places became centres of Jaina art due to the patronage extended by Alupa kings of Tulunadu. This has been discussed in another paper, and hence we pass on to North Kanara district. The most important monument of the period in this district is the Chaturmukha basadi located at Gerusoppe. Though its builder is not known definitely, it is generally belieyed that queen Chennabhairadevi was responsible for the construction of this basadi. The entire basadi is built of greyish schist, popularly known as soapstone. It has a garbhagriha, in which four tirthankaras are kept who are facing the four directions. The garbhagriha has entrances on four sides and is a good example of Sarvatobhadra class. The tower has disappeared. There are many sculptures of tirthankaras, yakshas and yakshis which are of fine workmanship. The other temples in Gerusoppe are Neminatha basadi, Vardhamana basadi and two Parsvanatha basadis. But they are small and do not compare well with the Chaturmukha basadi. However, the sculptures of these basad is are interesting.

The Chandranatha temple at Bhatkal is another structure of this period. Actually it is known as Jettappa Nayakana Chandranathesvara basadi. It consists of two blocks of buildings joined together by intervening porch in east and west. The western portion has two storeys. The interior is plain. The eastern portion serves as a porch to the temple. The garbhagriha has the sculptures of Rishabhanatha, Chandranatha and Mallinatha.

The Ratnatraya basadi at Bilgi is almost similar to the basadi at Bhatkal. But it is nirandhara. The three garbhagrihas have Neminatha, Parsvanatha and Mahavira. There is a vide porch and a mukhamandapa which are plain. The pillars are not elegant at Haduvalli or Sangitapura there is a temple of Chandranatha. It is plain and has a flat roof. The sculptures of some Jinas are kept in the . The sculpture of Chandranatha is very elegant and show the Vijayanagara workmanship. However, the temple itself is not of high order. The metal images in this temple are of some interest. One of them identified as that of Rishabhanatha with gomukha Yaksha has an inscription of the Fourteenth century. Seventyone tirthankaras are represented on the prabhavali. There is another metal image of Padmavati of late date and shows the decadent style. Another stone sculpture of Padmavati also belongs to this style. After the seventeenth century, the construction of Jaina temples did not become artistic creations but served the religion. Thus the long tradition of Jaina monuments which perhaps started by the early centuries of the Christian era ended by the eighteenth century A.D. in north Karnataka.

The above survey shows that Jaina architectural style developed side by side with other religions but imbibed certain qualities. Perhaps the architects and sculptors were common to all religions. The storyed garbhagriha is a special invention of the Jaina architects, as found in many Jaina temples. The Jainas did not have decoration or sculptures on outside walls but took care to use such decoration in a limited way within the structures. In the early period the temples of Mahavira were more popular but by about twelfth century other tirthankaras like Parsvanatha, Adinath and twentyfour tirthankaras became more popular. In the Vijayanagara period the construction of Chaturmukha basadis gained popularity. The presence of dvarapalakas also became popular from tenth century. The erection of Manastambha also seems to have come into existance from about the tenth century A.D. and later it became almost a general rule. Thus North Karnataka contributed richly to the development of Jaina architecture in Karnataka.