The ancient artist has left a rich legacy of the tradition that encapsulates the bygone era. There are a good number of references available about the artists and their teachers. In the Guru-Shishya paramapara, the pedagogy was very strong and it was able to transfer the knowledge to the succeeding generations. The earliest known records of names of artists in Karnataka were at the stupa in Sannati, which belonged to the Maurya and Satavahana periods.
The artists’ names have been mentioned, such as that of Vishakha, who came from Vidarbha and carved a Buddha statue there. Interestingly, a couple of inscriptions from Banavasi (Vaijayanti) dating to the 2nd-3rd century CE mention the sculptor Ravi, who was a student of Gosala, and similarly, a sculptor Nataka, a student of Damoraka. These names establish the astonishing tradition during those days. In the period of the Chalukyas of Badami, the names of more than 200 artists—Sarvasiddhi Achari, Anivaritachari Gunda, Devaputra, Narasobba, Kolimanchi, Aryamanchi Achari and others—have been mentioned at Badami, Aihole, Mahakuta, Pattadakal and Alampur. Some of them were felicitated with titles by their respective kings.
During the rule of the Hoysala dynasty, the artists became more predominant and historically more conspicuous. Hoysala artists built perhaps the most astonishing and elaborate temples with intricately carved sculptures and architectural details. They followed the traditional Indian temple styles like dravida, nagara, vesara, bhumija and phamsana and redefined them with their artistic idiom. The inscriptions furnish the names of a good number of artists engaged in the creation of sculptures. An inscription at the Doddagaddavalli Mahalakshmi temple (1113 CE) refers to early artists and architects by the name Malloja and Maniyoja. Subsequently, the Beluru Keshava temple—a mega structure built by the king Vishnuvardhana in 1117 CE—has the names of a good number of artists who carved many sculptures that decorated it. Dasoja, an artist who hailed from Balligavi, figures primarily in Beluru.
Mallitamma was one of the most important artists of the Hoysala period. He was responsible for carving and designing a good number of temples. The master artist’s name appears many times in Hoysala temples and sculptures. The earliest known example of his work is at the Amruteshwara temple in Amrutapura, Chikkamagaluru. The temple was built and dedicated in 1196 CE by Amruta Dandanayaka under the patronage of King Vira Ballala II. The Amrutapura temple has perhaps the finest of narrative sculptures. The artist’s first signature as Mallitamma, engraved in Kannada letters, has been found carved inside one of the domical ceilings of the temple.
The name Mallitamma has been resonant throughout the latter half of Hoysala art history. Beginning from 1196 CE, he continued to work until 1268 CE—his last project was at the Keshava Temple in Somanathapura. One can make out the stylistic differences between his initial art projects and the last one. Mallitamma’s artistic career is longer than that of Italian Renaissance artist Michelangelo. When he started his career, Mallitamma was around 18-20 years of age. When he completed the last project, he was likely in his nineties. It is also quite possible that at that age, he executed major art works through his students and followers.
In the span of more than 70 years, he was able to carve several hundreds of sculptures in various temple projects. One can notice the matured and prosperous phase of his art at the Nuggihalli Narasimha Temple, (1242 CE). The iconography and style of the sculptures exhibit his imaginative depiction. Mallitamma made all divinities dance on the bhittis of the temples. Nataraja in varied forms, Parvati, Lakshmi, Saraswathi, Mahishamardini, Bhairavi and many other divinities are in dancing postures, many divinities for the first time in such a pose. Shiva’s forms such as Gajasamharamurti and Andhakasura Vadha Murti are also depicted in dancing postures. These sculptures are found in Nuggihalli, Harnahalli, Javagallu and other places.
Mallitamma’s fame in his own time made him an inevitable presence during the later Hoysala period. Many smaller, non-ornate temples also possibly waited for him to contribute at least a dwarapala (Panchalingeshwara temple, Govindanahalli). He probably had no rival or challenge in his creative work except at the Nuggihalli temple. Nandiya Baichoja, a fellow artist who executed the sculptures on the northern side walls of the Nuggihalli temple, appears only once in Hoysala history. There are identical subjects carved by both doyens with individual stylistic features. Mallitamma was highly imaginative in depicting the weapons of the divinities.
He created his own designs and transformed the weapons into flowery motifs such that they appear very ornate. Mallitamma appears to have had a good number of trained students who worked along with the master artist. The Lakshminarayana Temple at Hosaholalu (K R Pet Taluk, Mandya district) has beautiful sculptures identical in style and subjects. Surprisingly there are no signatures of artists. However, based on their style, the entire work may be ascribed to the Mallitamma School.
Mallitamma’s last phase at the Somanathapura Keshava Temple represents his mastery even at that age. He not only sculpted-signed on major wall sculptures, but also signed on many narrative sculptures. The master Hoysala artist was a legend in his own time and his name stands as testimony to the rich tradition of art in India.
R H Kulkarni (rhkulkarniarthistory@ gmail.com)
Professor, Dept of Art History, College of Fine Arts, Karnataka Chitrakala Parishath