arc226 history of architecture 2

8/22/2019 ARC226 History of Architecture 2

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History of Architecture

UNIT 2

Evolution of the Hindu temple(Development of the Indo-Aryan & Dravidian style)


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The Indian temples in general are divided into three categories based on

their geographical location and peculiar features:

1. Northern Indian temples branded as Nagara style of Architecture

2. the temples ofDeccan belong to the Vesara style3. the Dravida style found in South India.

North Indian

Negara StyleSouth Indian

Dravida Style

Combined Vesara

Style


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Jagati

Jagati is a term used refer to a raised

surface, platform or terrace upon

which the temple is placed

Antarala Antarala is a small antichamber or

foyer between the garbhagriha

(shrine) and the mandapa, moretypical of north Indian temples

Mandapa

Mandapa ( in Hindi/Sanskrit,

also spelled mantapa or mandapam)

is a term to refer to Column|pillared

outdoor hall or Pavilion

(structure)|pavilion for public rituals

Symmetrical architecture on a jagati at

Somanathapura

Open mandapa at Amritapura


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Nagara architecture

Nagara temples have two distinctfeatures: in the planning and in the

elevation.

In plan, the temple is a square witha number of graduated projections

in the middle of each side giving a

cruciform shape with a number of

re-entrant angles on each side.


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The innermost heart of the temple is the

sanctum where the deity (usually of fixed

stone) is present, followed by a large hall for

lay worshipers to stand in and obtain"darshan" or divine audience. There may or

may not be many more surrounding

corridors, halls etc. However there will be

space for devotees to go around the templein clock wise fashion circumambulation as a

mark of respect. In North Indian temples,

the tallest towers are built over the sanctumsanctorum.

The plan of a typical North Indian temple. South Indian temples are

more complex, and are usually surrounded by a number of concentric

walls each with a number of elaborate gateways (gopurams).

North Indian temples


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North Indian Temple Structure - Nagara Style

In the North Indian style, the shrine is asquare at the centre, but there areprojections on the outside leading tocruciform shape. When there is oneprojection on each side, it is calledtriratha,

2 projections - pancharatha,

3 projections - saptharatha, 4 projections - navaratha.

These projections occur throughout theheight of the structure. This style is

found mostly in Orissa, Rajasthan andGujarat.

triratha in plan.


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Lingaraja Temple.

In elevation, a Sikhara, i.e.,tower gradually inclines

inwards in a convex curve. The

projections in the plan are also

carried upwards to the top of

the Sikhara and, thus, there is

strong emphasis on vertical

lines in elevation, called RekhaSikhara.


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The temples of Orissa are

the ones that can bedescribed as the typical

Nagara style. In this style,

the structure consists of two

buildings, the main shrinetaller and an adjoining

shorter mandapa. The main

difference between the two

is the shape of the sikhara.In the main shrine, a bell

shaped structure adds to the

height. In all Hindu temples,

there is the kalasa at the topand the ayudha or emblem

of the presiding deity.

Some of the temples of this style are :The Parasurameswara temple at

Bhuvaneshwar

Brahmesvara temple in Bhuvaneshwar

Lingaraja templeAnantha Vasudeva temple

Rajarani temple

Sun temple at Konarak

Jagannath temple at Puri


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If a temple is dedicated to the god iva, the figure of the bull

Nandi, the gods mount, invariably faces the sanctum, and, ifdedicated to the god Vishnu, standards (dhvaja-stambha) may be

set up in front of the temple.

Nandi, the sacred bull, is the mount of the

god Shiva and represents strength, faith,

and constancy in belief.


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TEMPLES FOR VAHANAS:

All these three temples -of Siva,

Brahma and Vishnu - face theeast. Now, there are three smaller

temples for their vahanas

(vehicles/mounts) too. Each Vahana

temple is on the east of the main

God's temple and they face the

main temple. Thus, there is a

Nandi temple which is opposite theSiva temple, a Hansa (swan)

temple which is opposite the

Brahma temple and a Garuda

temple which is opposite of the

Vishnu temple. The following site-

plan will clarify the locations.


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Nagara

Refers to art in the regions of Bengal, Orissa, NE, and NC, Delhiand Gujarat region.

Used stone such as Chlorite, sandstone and white marble.

Temple emphasis is primarily on vertically; horizontality issuppressed.

High base emphasis the vertically of the whole. The porch and congregational halls are called mandapa, which in the

South Indian style was clearly separated with the tower over theshrine.

Sikhara is the tallest structure, symbolizing the center of the universe;often rose around 24-30 meters (79-98 ft) some reached over 60 m(196 ft). Amalaka is a capstone.


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North Indian Styles

Nagara style

From Himalayas to the Deccan

Shikhara beehive shaped

Capotas and gavakas

amalaka

Shrine is square at center

Bell-shaped structure on main shrine

Lingaraja Temple Jagannath Temple Rajarani Temple


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Typical Orissan Temple Element

Rekha Deula Pidha Deula Natya Mandap Bhoga Mandap

Pitha

Bada

Gandi

Mastaka

Pabhaga (foot),

Jangha Baranda

Pabhaga (foot),

lower Jangha

Bandhana (bond),

Upper Jangha

Baranda

Bhumi

Amalaka

Ratha (on plan)

Paga (on elevation)

Beki

Tripati

Amalaka shila

Khapuri

kalasha

Pitha

Bada

Gandi

Mastaka

Triratha/

pancharatha

Para Ghara

Ghanta kalasha

Dopicha simhas

Beki

Ayadha

Amalaka shila

kalasha

Pitha

Bada

Mastaka

Beki

Ayadha

Amalaka shila

kalasha

Pillered Hall

Miniature Pidha

Deula with out

Brushava and having

a decorated Entry

Gate

Other Elements

in Temple

Complex Anand Bazar

Koili Vaikuntha

Ponds

Niladri Vihar

Snana Bedhi

Source: Deheja, V. (1979).

Early Stone Temples ofOrissa. New Delhi: Vikash

Publishing House Pvt. Ltd.

Pabhaga (foot),

Jangha

Baranda

Pabhaga (foot),

Jangha

Baranda

1 2 34

1

2 3 4

15


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Gupta Period


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Gupta Empire


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Gupta Empire

This period is called the Golden Age of India and

was marked by extensive inventions anddiscoveries in science, technology, engineering,

art, dialectic, literature, logic, mathematics,

astronomy, religion and philosophy thatcrystallized the elements of what is generally

known as Hindu culture. Chandra Gupta I,

Samudra Gupta the Great, and ChandraGupta II the Great were the most notable rulers

of the Gupta dynasty.


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Tigawa Temple, Gupta Period


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The Dasavatar Temple (late Gupta period, 500's)


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The Dasavatar Temple (late Gupta period, 500's)


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A closer view of the entry-wayVishnu reclining on Shesha


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The five Pandava brothers, and Drau adi; the stand below the reclinin Vishnu


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Vishnu reclining, in its setting in Raha Paga


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The Gajendra moksha panel


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The Nar-Narayan tapasya panel


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Above the doorway, at the center of the lintel


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Above the doorway, on the left of the lintel-- the goddess Ganga


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Above the doorway, on the right of the lintel-- the goddess Yamuna


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Chalukyan Period


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Ladh Khan Temple, Chalukyan Period

Ladh Khan Temple Chalukyan Period


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1. The temple consists of a shrine (garba griha) with

mandapa in front of it.

2. The mukha mandapa is situated in front of the sanctumand consists of a set of12 carved pillars.

3. The sabha mandapa leads to the maha mandapa and the

pillars are arranged to form two concentric squares.4. The walls have floral patterns on them and the windows

have lattice work done in the northern style.

5. Facing the sanctum, a second smaller sanctum is situatedabove the center of the hall whose outer walls have many

carved images.



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Measurement Techniques through threads


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A Rectangle

in a proportion of 1:2

Measurement Techniques through threads


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A Rectangle in a proportion of 1:3

The proportion

of 1:3 in an Ad Triangulum

The proportion

of 1:2 in an Ad Quadratum


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Durga Temple, Aihole


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Papanatha Temple, Pattadakal (c. 740 AD)

1. Dedicated to Mukteswara according

to inscriptions, this modest temple

seems to have been completedaround 740 A.D.

2. There seems to have been a change

of intention during the course of

construction of this temple as can be

known from its too narrow

circumambulatory path whose floor

slabs conceal the external moulding

of the garbhagriha walls and the

buttress like projections of the north

and south garbhagriha-walls into the

ardha-mandapa, both of which are

unusual features.

Papanatha Temple, Pattadakal

(c. 740 AD)


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3. Facing the east, this temple has on plan a sanctum (garbhagriha) surrounded by acircumambulatory path (pradakshinapatha) with devakoshtha pavilions in its three walls, an

ardha-mandpa, a sabha-mandapa and an entrance porch (mukhamandapa) provided with

kakshasana. Curiously, there is no Nandi-mandapa but an ornate image of Nandi is housed

in the eastern half of the sabha-mandapa.

4. The temple is built on a plinth of five mouldings, embellished with animal motifs, floral

designs and kudus. The wall surfaces are relieved with niches (devakoshthas) housing Saiva

and Vaishnava deities and depicting episodes from the Ramayana.

5. These niches are topped by various designs of chaitya-arch motifs and interspersed withperforated windows. The three devakoshtha pavilions house images of Siva in different

forms. A characteristic feature of the temple is its well-developed rekha-nagara (northern)

sikhara with an elaborately carved Chaitya-arch enshrining Nataraja on the frontage of the

sukanasa. The amalaka and kalasa are, however, missing.

6. Introduction of narrative panels depicting the episodes from the Ramayana on the outer wall

surfaces is another noteworthy feature of the temple.


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Virupaksha Temple, Pattadakal (c. 740 AD)

1. The twin Virupaksha and Mallikarjuna temples represent the pinnacle ofChalukya temple

architecture. Based on the Kailasanatha Temple in Kanchipuram, the two temples were

built by Rani Trilokyamahadevi to commemorate the victory of her husband, King

Vikramaditya II, over the Pallava rulers ofTamilnadu.

2. Now the Virupaksha Temple is the only functioning shrine in the sprawling temple complex.

3. Both these identical temples feature exquisitely carved pillars and ceilings decorated with a

profusion of friezes from the epics.

4. The Virupaksha temple was influenced by the architecture of the Kailasanatha temple at

Kanchipuram.

5. The Virupaksha temple later served as a model for the Rashtrakuta ruler Krishna I (757 -

783 A.D.) to carve out the great Kailasa at Ellora.


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6. The Virupaksha is a large complex consisting of a tall vimana with axial mandapas and

peripheral sub-shrines round the court, enclosed by a wall with gopura-entrances in front

and behind, all designed and completed at one time.

7. There is an antarala at Virupaksha Temple with two small shrines dedicated to Ganesha and

Mahishamardini facing each other.

8. A sabha-mandapa with entrance porches on the east, north and south and a separate Nandi-

mandapa in front is commendably beautiful. The complex is enclosed by high prakara

walls.

9. Against the inner faces of these walls there were small shrines (originally 32) dedicated to the

subsidiary deities (parivaradevatas) of which only a few are extant now. The enclosure has

been provided with ornate entrance gates (pratolis) on both east and west.

10. The interior of Virupaksha temple is embellished with elegant carvings and aestheticallymodeled sculptures.

11. Episodes from the Ramayana, Mahabharata, Bhagavata and Kiratarjuniya are depicted

on the pillars of the sabha- mandapa.


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Kasivisweshwara Temple in front of Mallikarjuna Temple, Pattadakal, mid 8th century AD


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Jaina Temple, Pattadakal, c. 9th century AD


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Chandrashekhara Temple, Pattadakal, (c. 750 AD)


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Galaganatha Temple, Pattadakal, (c. 750 AD)


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Galaganatha Temple, Pattadakal, (c. 750 AD)


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Thank You

Presented By

Partha Sarathi MishraAsst. Prof.

Lovely Professional University

B Arch (ABIT-PMCA) M Arch (IIT Roorkee)

email:- [email protected]

arc226 history of architecture 2

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