The Chennakesava Temple, initially called Vijayanarayana Temple was based on the banks of the Yagachi River in Belur, by the Hoysala Empire King Vishnuvardhana. Belur, which was an early Hoysala capital is in the Hassan locale of Karnataka state, India. It is 40 km from Hassan city and 220 km from Bangalore. Chennakesava is a manifestation of the Hindu god Vishnu. Belur is well known for its sublime sanctuaries constructed throughout the standard of the Hoysala administration, making it and close-by Halebidu favored visitor ends in Karnataka state. These sanctuary buildings have been proposed to be recorded under UNESCO World Heritage Sites.
The temple was dispatched by King Vishnuvardhana in 1117 AD. Researchers are isolated about the explanations behind the development of the sanctuary. The military triumphs of Vishnuvardhana is viewed as a likely reason. A few researchers accept Vishnuvardhana dispatched the temple to surpass his overlord, King Vikramaditya VI of the Western Chalukya Empire (who ruled from Basavakalyan), after his introductory military triumphs against the Chalukyas. As per an alternate hypothesis, Vishnuvardhana was commending his acclaimed triumph against the Chola tradition of Tamil nation in the skirmish of Talakad (1116 AD), which brought about the extension of Gangavadi (advanced southern Karnataka) by the Hoysalas. An alternate hypothesis focuses to Vishnuvardhana’s change from Jainism to Vaishnavism (a group of Hinduism) in the wake of going under the impact of example of piety Ramanujacharya, considering this is a prevalently Vaishnava sanctuary in sculptural iconography. The Hoysalas utilized numerous noted planners and artisans who created another compositional custom, which craft commentator Adam Hardy called the Karnata Dravida convention. In each of the 118 engravings have been recouped from the sanctuary perplexing, blanket the period 1117 AD to the eighteenth century, giving antiquarians subtle elements of the craftsmen utilized, awards made to the temple and redesigns submitted throughout later times.
The primary door to the complex is delegated by a Rayagopura (superstructure over doorway) manufactured throughout the times of the Vijayanagar domain. Inside the complex, the Chennakesava sanctuary is at the core, confronting east, and is flanked by the Kappe Channigraya temple on its correct, and a little Sowmyanayaki (manifestation of the goddess Lakshmi) temple set marginally back. On its left, additionally set somewhat back is the Ranganayaki (Andal) sanctuary. Two primary sthambha (column) exist here. The column confronting the principle sanctuary, the Garuda (hawk) sthambha was raised in the Vijayanagar period while the column on the right, the Deepa sthambha (column with light) dates from the Hoysala period. This is the first extraordinary Hoysala sanctuary, however as indicated by the workmanship faultfinder and antiquarian Settar, the imaginative colloquialism and mark is still Western Chalukyan. Henceforth, the over-enhancement which is seen in later Hoysala temples (counting the Hoysaleswara sanctuary at Halebidu and the Keshava sanctuary at Somanathapura) is not obvious here. As indicated by Settar, throughout later years, the Hoysala craft took a slant towards craftsmanship, with a soft spot for minutia. The Chennakesava temple has three passages and their entryways have enriched models called dvarapalaka (doorkeepers) on either side. While the Kappe Channigraya sanctuary is littler than the Chennakesava sanctuary, it is compositionally critical, however it fails to offer any sculptural peculiarities. The Kappe Chennigraya sanctuary turned into a dvikuta (two shrined sanctuary) with the later expansion of a hallowed place to its unique arrangement. The first place of worship has a star-formed arrangement while the extra altar is a basic square. The picture inside is likewise that of Kesava ( a manifestation of the god Krishna) and was charged by Shantala Devi, the exceptional monarch of King Vishnuvardhana.
The vimana (holy place) is at the again of the mantapa. Each one side of the vimana measures 10.5 m and has five vertical segments. Every vertical segment embodies a huge twofold storeyed corner in the core and two overwhelming column like areas on either side. The two column like areas abutting the specialty are pivoted about their vertical hub to deliver a star-formed arrangement for the altar. The column like segment and the specialty bear numerous elaborate models, having a place with a prior style. There are approximately sixty extensive models of gods from both Vaishnava and Shaiva beliefs. From the state of the vimana it has been gathered that the tower above it would have been of the Bhumija style when it existed and not the general star formed tower that took after the state of the vimana. The Bhumija towers, which are in place on the smaller than normal holy places at the passage of the corridor are really a sort of nagara (North Indian) tower, being curvilinear fit as a fiddle. This state of tower is very extraordinary in unadulterated dravidian structural engineering. The sanctum has a life size (about 6 ft) picture of Keshava (a manifestation of Vishnu) with four hands. Each one hand holds a property; the disk, the mace , the lotus flower (padma) and the conch, in clockwise bearing. The entry point of the sanctum is flanked by life size sculptures of gatekeepers.