in the womb of the goddess

Note the attention to detail in the jewellery. It actually looks like Hiranyakshipu’s necklace is draped over Narasimha’s leg. Also the facial expressions are uncanny – it actually appears he’s dead!

Here we see a lot more of Hiranyakshipu’s jewellery – like his waist belt and his earrings. Note the expression on his face – he’s looking at Narasimha with unadulterated fear.

In this carving you can see Garuda under Narasimha. Here the intestines aren’t draped around the neck – in fact there’s only one strand which seems to be going into Narasimha’s mouth. This sculpture also inspired my Garudasana arms with Virbhadra legs – you can see Garuda has his legs in Virbhadrasana.

Here we see a different story. Here Vishnu is in his avatar as Vamana. Vamana comes to earth to overthrow the demon Bali – who has gained control over Earth after defeating Indra. Bali is devout and conducts lots of rituals and pujas. Vamana attends on of these and asks Bali to grant him three feet of land to conduct his own puja. Bali agrees and Vamana grows into a giant. His first step is on Earth, the other on the Heavens and his final step is on Bali – with which he pushes Bali down into the netherworld. And order is restored to Earth once again.

Symbolism in Trivikramasana – are the steps we take bringing order into to our worlds or are we busy running haywire?

Zoom in and take a look at the ornate jewellery. You can almost feel the weight of the long necklaces. Also the majestic postures – they are upright, but comfortable. Straight without being rigid. The way we’re supposed to be in our yogasanas.

My guidebook actually said this sculpture shows us that love is blind. The man is in love with a woman with an animal’s head. According to the author this is a depiction of young love. I think we can come up with better interpretations.

Naga couple – divine or semi-divine beings with bodies that are half snake half human. Typical motifs in Hoysala architecture.

Kill an elephant and then dance on its head – some of the sculptures are quite gory.

Vishnu pushing Bali into the netherworld. I love the details of the beads in the hand.

A sculpture on the outside of the Halebidu temple. It depicts Ganesh wearing ornate jewellery. I like the prayer beads in his right hand – and you can see the attention given to the fingers.

This sculpture is at the entrance of the temple. Temple goers first get his darshan and then move on to the sanctum sanctorum.

This sculpture was in sharp contrast to the others – it seems unfinished (or perhaps chipped?). It has little or no ornamentation.

Note the mouse under Ganesh’s feet – it appears to be having a hard time standing under the weight on him.

Indra and Vishnu at war. Indra rides Airavat – his white elephant. Vishnu rides Garuda.

Vishnu in his 10th incarnation as Varaha (boar). Note the figures he’s trampling on – his stance is Virbhadra stance. His face shows the fierceness of an angry boar.

Fluidity in stone.

Kali – the icon I find most intriguing. Note the skull necklace and the severed head in her left hand. Look closely and you can see blood dripping from the sides of her mouth. Her helpers are emaciated with their bones visible – a contrast to her full, voluptuous figure.  She is the dark avatar of the Divine Feminine.

This might be Andal. She is depicted as one of Vishnu’s three wives and is called Ranganayaki. Here’s a carving of Andal I saw in the Perur Pateeshwara in Coimbatore.  As a manifestation of the Divine Feminine, she is a Bhakti Yogi.

A female figure in siddhasana – the austerity of the carving (no elaborate ornamentation) making me think that perhaps this was a female sage or teacher.  As a manifestation of the Divine Feminine she would be a jnana yogi.

A dancer in tribhanga position – the line of beauty clearly depicted by the sculptor.

A female deity, perhaps Mohini. However, she has a damru in one hand and a Nandi at her feet, which are markings of Shiva.