Ernest Binfield Havell,
A Handbook of Indian Art
(1920)
“ Like the other two types, it was used by different sects—a characteristic of Indian temple-building which has often led to disputes regarding ownership. And though Rāmanūja's name may be associated with it, just as Sankarāchārya's name is connected with the Saiva movement, the "Chalukyan style" began to evolve several centuries before Rāmanūja's appearance in the eleventh century, for the Vaishnava doctrine of qualified monism, preached by Rāmanūja in opposition to the Advāita doctrine of the Vedanta, had its exponents centuries before his birth. ”
