I N D I A N

Architectural Features Hindu

T E M P L E S
Buddhist
Architecturally Chaityas show similarities to Roman design concepts of column and arch. The monks built many structures which were carved out of a single massive rock (Rock-cut), done with hammer and chisel, bare hands. These were known as cave temples. About 1200 such cave temples were built throughout India. The most important are at Karle, Ajanta,Ellora, Udaigiri, Aurangabad and Nasik. They were rectangular halls, with finely polished interior walls.

Ja i n

1. Architype

Hindu temples are of different shapes and sizes rectangular, octagonal, and semicircular with different types of domes and gates. Temples in southern India have a different style than those in northern India. Although the architecture of Hindu temples is varied, they mainly have many things in common.

In Jain style of architecture, bricks were hardly used, and the system of carving out temples from rock faces was adopted.

Raised platform on which the temple stands in itself becomes dominant feature of the composition. The great flight of steps gives one a sense of arrival in higher ritualistic sense also. A small Hindu temple consists of an inner sanctum, the garbha graha or womb-chamber, in which the idol or deity is housed, often called circumambulation, a congregation hall, and sometimes an antechamber and porch. The Hindu Temples are similar in plan to the Jaina temples, with local differences for instance, Dravidian Temples have, in addition, the characteristic choultries, or halls of 1,000 columns, and are generally surrounded by a wall, inclosing lakes or tanks of water for priestly purposes, while Chalukyan Temples are usually star-shaped on plan.

The earliest rock-cut chaityas, similar to free-standing ones, consisted of an inner circular chamber with pillars to create a circular path around the stupa and an outer rectangular hall for the congregation of the devotees. Over the course of time the wall separating the stupa from the hall was removed to create an apsidal hall with a colonnade around the nave and the stupa. The remains of Buddhist Chaityas (Temples) are all hewn out of the rock, and therefore have only one external facade. In plan they resemble Christian Cathedrals in having three aisles formed by two rows of piers; the sanctuary, around which the aisle is carried, is semi-circular. The viharas (or monasteries) are also rock-cut. They consist generally of a central hall surrounded on three sides by cells for the priests. In later and larger examples, columns are introduced in the central space to support the rock overhead. In the most important examples the sanctuary is placed in a special apartment, and provided with a screen of columns as at Nassick.

2 . P l an

Usually the exits lead into a series of columned chambers into the central halls of the temple. These columns, standing around for no apparent purpose, might make the place seem like a mindless labyrinth, but on closer scrutiny it becomes evident that there is a style and method in it. Simply put, these are temples within a temple, divided into sanctums and surrounded by a range of chapels and shrines, and the maze of columns act as a defense against plunderers. The principle impression gathered from these temples is the variety of their sections but in harmony with each other. The pointed spires above each dome are different, yet it signifies the position of a chapel, hall or any other chamber inside. Temples owe much of their attractiveness to their environment, by being picturesquely grouped on mountain tops or in wooded valleys. In plan they consist of a square cell containing the image of the Jina, roofed with a high curvilinear pyramidal Tower called a " Sikra." In front was a pillared portico, crowned by a pointed dome usually supported on eight pillars forming points of an octagon, and brought to a square by inserting four angle columns. The columns are extended so as to make the whole structure cruciform on plan, which is apparent externally.

In elevation, a Sikhara, i.e., tower gradually inclined inwards in a convex curve.

In order to maintain geometric balance with the natural surroundings, a parametric (gently angled) roof with decorative eaves (projecting overhang at the lower portions of a roof) was conceived. A steep-angle of descent began at the top of the roof, but tapered off to a more gradual incline upon reaching the eaves. This easy-flowing rhythm blended well into the background scenery of hills, forest, mountains.

The front elevation of the building has transformed the landscape of the area and one cannot fail to admire the marvel whist passing through the Oxford Street. The elevation is made up of white marble cladding and eight pillars depicting symbolic Jain architecture. The main temple has 44 pillars, handcarved in yellow limestone or marble, depicting symbolic Jain doctrine in the front elevation, a beautiful temple dome, ceiling with traditional Jain carvings, white marble floor, Mirror finished walls, concealed lighting and the traditional doors at the Garbhagriha.

3. Elevations

4. Columns

In the Dravidian choultries, there was great scope for the inventiveness of the Hindu craftsman. The capitals are of the bracket type, and in some instances not more than two columns in a building are alike. Some, as at Madura, have life-sized figures of

Buddhist columns are often octagonal on plan. In the great rock-cut Chaityas at Karli, Bedsa and elsewhere, they are stumpy, closely set together, thus screening the wall behind, which, of course, had no openings. In others, as at Karli, torus or Dutch cheeselike mouldings ornamented with palm leaves occur under

Columns are a special feature and exhibit great variety of design. The capitals are of the "bracket" type, probably derived from a timber original. Sometimes, as at Mount Abu, they are superimposed, the upper ones supporting an

a capital of a coarse Roman-Doric type. saints, or Yalis (weird lion-like monsters) attached to them forming a contrast to Greek caryatides. In other cases, a compound pier of a sturdy and light column is employed. Hindu temple architecture detail. Wooden column with Nepali Hindu God (Vishnu Avatar) figure and floral ornament. In North-west India, in the Gandhara district, Greek or Byzantine influence produced capitals with delicate acanthus leaf carvings. The Stupa at the end of the Chaitya Hall has an umbrella at the top. This Umbrella suggests association with Buddhism. There is a wooden facade, made out of teak wood. The facade makes it look as if the entire structure was resting on the back of an elephant with ivory tusks and metal ornaments.

architrave which is upheld in the centre by stone struts resting on the lower capital. Intricately carved with no two being alike. The artistically carved nymphs playing the flute in various dance postures at a height of 45 feet are an interesting sight.

The same excessive carving and sculpture, which are impressive by this evident tribute of labor to the gods. A form made by overlapping rectangular slabs is frequently used in the bases and capitals of columns and dagobas. In other iristances, as at Bedsa, a semi-circular open-work moulding, recalling basketwork, is employed. The plain torus is used, and the double-convex shape into which the cross pieces of the "rails" are cut, are used as deep horizontal bands of ornaments, taking the place of mouldings proper. Indian architecture is known for its highly decorative style. Their exteriors are often covered by multitudes of carved imagery, sculpted images of deities, narrative reliefs from mythology and rich decorative carvings. Panels, niches and friezes contain images of plants, of monkeys and elephants, and of men and women in all conceivable postures.

Painted decorations or frescoes were often employed, as at Ajunta, the walls of the cave being left plain for the purpose. The use of sculptured figures as a means of decoration was a later phase.

5. Decoration

The evolution of the sculptured umbrellas surmounting the Dagoba (or shrine) is interesting as being the prototype of the nine-storied pagodas of China, On the Gateways at Sanchi (a plaster copy is at the Indian Museum, South Kensington) are represented legendary events from the life and religion of Buddha, the worship of trees and relics, and warlike scenes. The three, five, or seven-headed Naga or serpent is frequently used. Besides the animals already mentioned others such as horses, lions, "hansas" (sacred geese), form favourite subjects with Buddhist sculptors, and are striking contrasts to the motifs of Mahometan sculpture. Interlaced Brackets & Rafters

The sculpture is so bound up with the peoples' religion and mythology, of which indeed it forms the mirror, that the two cannot be considered separately. In Jaina architecture, each of the twenty-four Jinas had a distinctive sign which was utilized by the sculptors. The trident, shield, and chakra (or wheel), the "rail" ornament (copied from the Sanchi tope) and imitations of window fronts and fagades are also repeated on the fronts of the early chaityas, as at Bedsa, Nassick, and elsewhere. Svetambara Jains decorate images richly for festivals using flowers, paints, and jewels, and make decorative offerings of flowers, leaves, sandalwood, saffron, camphor, gold or silver leaf, pearls, precious stones or costume jewellery. There are three notable free standing sculptures in the temple. An image of Mahavira that is a little over 4 feet tall, made of black polished stone and seated on a "lion throne" (simhaasana) is found outside the temple. Cousens feels it may have been taken out and left there. The saint has an

Some towers have rows of lotuses or lotus buds or mythical and heroic figures. The amalak is an architectural form found on the upper part of some towers. It is derived from the gourdlike myrobalan fruit.

One of the most recognizable Buddhist decorations around the world is the Buddhist prayer flag unique to the Tibetan monk tradition. Hung indoors or outside around the temple, the flags symbolize prayers for universal compassion. Inside every Buddhist temple there is a sculpture of the Buddha, and there are usually sculptures of other Buddhist deities as well. Sculptures of "bodhisattvas" are figures that are worshiped by monks for their decision to sacrifice heaven to instead stay on earth and enlighten others.

attendant on either side, holding achowri (a type of brush) in one hand a fruit in another.

Carving of Hindu deity Hanuman, Achyutaraya Temple, Hampi, Karnataka, India

White marble ceiling rosette and dome in temple jain temple site of dilwara town of mount abu state of rajasthan india

Decoration on gate of Hindu Temple in Kerala India

Carving on exterior of Hindu Temple Kerala India

Kirtimukha relief decoration at the Jain temple in Lakkundi

6. Openings

Flat-headed openings are the usual type, but variations are caused in roofs by the use of bracketing shafts supporting purlins of stone, on which inner brackets were placed, thus gradually reducing the span, till stone slabs could roof the apartment, as at the Dravidian temple at Chillambaram. The Chalukyan buildings have pierced window slabs, as at Baillur and Hullabi. Such are formed in star-shaped patterns ornamented with foliaged bands or with mythological subjects. These slabs, filling in the whole opening, are a great contrast to other styles, being somewhat similar, however, to Byzantine and Saracenic buildings.

In rock-cut examples, the horseshoe form occurs on the facade, forming, as it were, one great eye, and being the only opening for light. Within this arch was usually an open decorated framework of wood, probably used as a screen to the glaring Eastern sun; thus the subdued light was thrown on the shrine from behind the spectator, producing a favorable effect of light and shade on the close-set columns of the interior.

Openings are normally square-headed. Such a system was necessary in the case of domes supported on slender columns, which could sustain no outward thrust. In their pillared porches, horizontal stone architraves rested on the bracket capitals, and a characteristic Eastern feeling was produced by the stone struts supporting them, features which were evidently derived from a timber form. An extension of the bracket capital is sometimes applied to walls, lintels being supported at intervals by detached brackets built out in horizontal courses. The struts, already mentioned, were occasionally filled, in with ornament, thus forming a triangular-headed opening.

Windows either latticed or grilled are usually projecting Windows that have made of stained glass.

Shree Ganesh Mandir

A octagon framed window in a Buddhist temple in Malaysia

India, Rajasthan, Jaisalmer: Jain Temple; architectural detail; carved framed window Belur Vishnu

Moon door leading into Buddhist temple in Harbin

Dravidian examples have the roof covering the vimana of the storied pyramidal type. Chalukyan examples have the towers either of the storied Dravidian type, following the curvilinear outline of the Northern Hindu examples, or form a straight-sided cone arranged in steps. The Dome and Steeple: The steeple of the dome is called shikhara (summit) that represents the mythological Meru or the highest mountain peak. The shape of the dome varies from region to region and the steeple is often in the form of the trident of Shiva.

In the early rock-cut chaityas, semi-circular roofs are excavated in the rock and ornamented with wooden ribs or stone imitations of them.

The sikra, or stone roof, which crowned the idol-cell, had a high curved outline crowned with a melon ornament and finial. Jaina porches are crowned with (1) roofs formed of flat slabs of stone, and (2) pointed domes formed in horizontal courses.

7. Roofing

While the roof is generally topped off by triangular spires enclosing an inverted bell of stucco or burnished gold. The roof is the most visually impressive component, often constituting half the size of the whole edifice. The slightly curved eaves extend far beyond the walls, covering verandas, and their weight must therefore be supported by complex bracket systems called toky

REFERENCES:
History of Architecture by Sir Banister Fletcher http://hinduism.about.com http://www.indotemple.com http://www.slideshare.net http://perfectlazybones.photoshelter.com http://factsanddetails.com http://www.asianresearch.org http://people.opposingviews.com http://nepaltrekkingexperts.com http://en.wikipedia.org Depositphotos.com http://www.indiasite.com

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U N I V E R S I T Y

INSTITUTE OF ARCHITECTURE AND FINE ARTS

INDIAN TEMPLES
History of Architecture 3

SUBMITTED BY: REYES, SHAIRA MUNSOD, KARLDRIN ADRIAN TILLADA, JOHN ERWIN VENTURINA, NINO RAMON AR1131 SUBMITTED TO: ARCH. LAURENA