Vesara is a hybrid form of Indian temple architecture that combines Dravidian Southern Indian site layouts with shape details characteristic of the Nagara style of North India. This fusion style likely originated in the historic architecture schools of the Dharwad region. It is common in the surviving temples of later Chalukyas and Hoysalas in the Deccan region, particularly Karnataka. According to Indian texts, Vesara Style was popular in central India, particularly in between the Vindhya Range and the Krishna River. It is one of six major types of Indian temple architecture found in historic texts, the others being Nagara, Dravida, Bhumija, Kalinga, and Varata.

Some scholars like Adam Hardy avoid using the term "Vesara" because although ancient writers used the word, they may have intended different meanings from its modern usage. Alternative terms for the tradition's whole timespan, from the 7th to the 13th century CE, include "Karnata Dravida" (Hardy's choice), "Central Indian temple architecture style", "Deccan architecture", or for shorter periods, terms referring to local dynasties, such as "Chalukyan architecture". Increasingly precise alternatives might include "Early Chalukya" or "Badami Chalukya architecture", "Later" or "Kalyana" or "Western Chalukya architecture", and "Hoysala architecture", depending on dynastic and regional specifics.

Among those who do use "Vesara", there is some disagreement as to the periods to which it applies. Such disagreements are largely restricted to matters of the term's usefulness and extent. There is general agreement about most aspects of the actual surviving buildings.^{[citation needed]}

Vesara means mule. The south Indian text Kamika-agama explains that this name is derived from its mixed nature, as its plan is Dravidian, yet its shape is Nagara in the details. The same text says that Vesara is also called Sankara (hybrid) for the same reason.

The Vesara style is not mentioned by name in north Indian texts on architecture, according to contemporary architectural scholars.^{[citation needed]} In contrast, it is a term found in most South Indian texts on architecture alongside Dravida and Nagara. This pattern suggests that the Vesara style originally emerged and grew in the south of the subcontinent. The Manasara regionally categorizes Nagara in the north, Dravida in the south and Vesara in the middle. It goes on to state that Nagara emphasizes the four sides, Dravida a polygon (octagon), while Vesara compliments both with circular or elliptical forms. Given the many post-10th-century Hindu and Jain temple structures and ruins in Vesara form that have survived in Karnataka, the Vesara style has been linked to Karnataka and texts composed there.

In general, many South Indian texts state that Vesara is a building that is "circular or round" in plan above its karna (base) or kantha (neck). Some examples of this definition for Vesara are found in verse 50.15–17 of the Svayambhuva-agama, verse 7.117 of the Karana-agama, verse 12.68 of the Ajita-agama, verse 30.41 of the Suprebheda-agama and others. On the other hand, verse 7.15 of the Dipta-agama, verse 9.3 of the Padma-samhita, and verse 30.44–45 of Ishana-Sivagurudeva-Paddhati state that a Vesara may be circular, elliptical or apsidal in plan. A third view is proffered in the section 6 of the Marichi samhita, verses 18.47–48 of the Manasara, and verses 19.36–38 of the Mayamata, namely that a Vesara can be circular or it can be a square up to prastara and then is circular from the griva (neck) onwards.

There are other theoretical classifications of Hindu temple architecture, with South Indian texts using the plan and North Indian texts using the overall shape and form, in particular of the superstructure. However, the realized temples built before the 17th century show such an abundance of experimentation, innovations and overlapping varieties that scholars generally avoid adhering to strict theoretical terms. For example, while the theory in Manasara states that Dravida temples are those south Indian temples that have an octagonal (or polygonal) plan, historic Dravidian temples with octagonal plans either were never built or have not survived into the modern age. Similarly, even on the walls of Hindu and Jain temples of Karnataka, there is no depiction of any elliptical temple. This may be because the sthanpati (architect) and silpins (artisans) in 9th to 11th century Karnataka were deliberately ignoring traditional texts and experimenting with novel and innovative approaches.

The Vesara style originated in the region between the Krishna and Tungabhadra rivers that today is northern Karnataka. According to some art historians, the roots of Vesara style can be traced to the Chalukyas of Badami (500 – 753 AD) whose Early Chalukya or Badami Chalukya architecture featured temples in a style that mixed some features of the Nagara and the Dravida styles. For example, they used both the northern shikhara and southern vimana type of superstructure over the sanctum in different temples of similar date, such as at Pattadakal. This style was further refined by the Rashtrakutas of Manyakheta (750 – 983 AD) in sites like Ellora. Though there is clearly a good deal of continuity with the Badami or Early Chalukya style, some writers only date the start of Vesara to the later Western Chalukyas of Kalyani (983 – 1195 AD), whose sites include Lakkundi, Dambal, Itagi, and Gadag, and the later Hoysala empire (1000 – 1330 AD).