INDIAN TEMPLE ARCHITECTURE

CONTENTS

S.NO. CHAPTER PARTICULAR

1. CHAPTER ONE INTRODUCTION

Indian temple architecture

2. CHAPTER TWO PROFILE

Hindu temple architecture
Classification
Nagara style
Dravida style
Vesara style

S.NO. CHAPTERS PARTICULARS

3. CHAPTER THREE ANALYSIS
Role of religious tourism in balanced
economic growth in India
Protecting temples

4. CHAPTER FOUR CONCLUSION

REFERENCES
INTRODUCTION

INDIAN TEMPLE ARCHITECTURE

India Land of Temples - A land of intense spirituality and religious faith
reflected in the profusion of temples present in this subcontinent. Temples are
found everywhere in India from large monumental structures to small stone
buildings, each having certain significance and greatly influencing the lives of the
people who regard the temple as a place where they could be close to god.

Almost all Indian art has been religious, and

almost all forms of artistic tradition have been deeply conservative. The Hindu
temple developed over two thousand years and its architectural evolution took
place within the boundaries of strict models derived solely from religious
considerations. Therefore the architect was obliged to keep to the ancient basic
proportions and rigid forms which remained unaltered over many centuries.

On the other hand, the architect and sculptor were

allowed a great deal of freedom in the embellishment and decoration of the
prescribed underlying principles and formulae. The result was an overwhelming
wealth of architectural elements, sculptural forms and decorative exuberance that is
so characteristic of Indian temple architecture and which has few parallels in the
artistic expression of the entire world.

A Mandir, Devalayam, Devasthanam, or a Hindu

temple is a place of worship for followers of Hinduism. A characteristic of most
temples is the presence of murtis (statues) of the Hindu deity to whom the temple
is dedicated. They are usually dedicated to one primary deity, the presiding deity,
and other deities associated with the main deity. However, some temples are
dedicated to several deities, and others are dedicated to murtis in an aniconic form.
 PROFILE

HINDU TEMPLE ARCHITECTURE

The Hindu temples developed over two thousand years depict excellent
architectural evolution which took place within the boundaries of strict models
derived from religious considerations.

In Hindu tradition, the Temple architecture is a

religious architecture which is connected to astronomy and sacred geometry.
Normally, the temple is referred as a place of sanctity representing the macrocosm
or the universe and the microcosm or the inner space.
 The temple architecture has kept the ancient basic
proportions and rigid forms unaltered over centuries. It is very conservative and a
particular form of decorative details persisted for centuries even though the
original purpose and the context are lost. Even the architect and the sculptor were
given a great deal of freedom in the embellishment and decoration of the
prescribed underlying principles and formulae which resulted in an overwhelming
wealth of architectural elements, sculptural forms and decorative exuberance.

India's temple architecture developed from the

sthapathis' and shilpis' creativity. In general these are from the Vishwakarma
(caste). A small Hindu temple consists of an inner sanctum, the garbha griha or
womb-chamber, in which the image is housed, often circumambulation, a
congregation hall, and possibly an antechamber and porch. The sanctum is
crowned by a tower-like shikara.

The broad geographical, climatic, cultural, racial,

historical and linguistic differences between the northern plains and the southern
peninsula of India resulted even in distinct temple architectural styles. The
Shastras, or the ancient texts architecture, classify the temple architectural styles
into three different categories such as the Nagara or the Northern style, the
Dravida or the Southern style, and the Vesara or the Hybrid style.

Classification

On the basis of architecture Indian temples can be divided into three categories :-
1. Nagara style or north Indian temple architecture
2. The Dravida or South Indian Temple Architecture
3. The Vesara or the Deccan Temple Architecture

NAGARA STYLE
OF TEMPLE
ARCHITECTURE
 THE NAGARA OR NORTH INDIAN TEMPLE
ARCHITECTURE

Nagara is the style of temple architecture which became popular in Northern

India.
It is common here to build an entire temple on a stone platform with steps
leading up to it.
Unlike in south India, it doesnt usually have elaborate boundary walls or
gateways.
Earliest temples had only one shikhara (tower), but in the later periods
multiple shikharas came.
The garbhagriha is always located directly under the tallest tower.

Nagara temples can be subdivided mainly into three based on the shikhara type.
 1. Latina/ Rekha-Prasada:

It is the simple and most common type of shikhara.

It is square at the base and the walls curve or slope inwards to a point on top.
Latina types are mainly used for housing the garbhagriha.
Later on, the Latina buildings grew complex, and instead of appearing like a
single tower, the temple began to support many small towers, which were
clustered together like rising mountain type with the tallest one being in the
centre, and this was the one which was always above the garbhagriha.
2. Phamsana type shikhara:

They are broader and shorter than Latina type.

Their roof is composed of several slabs that gently rise to a single point over
the centre of the building, unlike the Latina ones which looks like sharply
rising towers.
Phamsana roofs do not curve inwards; instead they slope upward on a
straight incline.
In many north Indian temples, the phamsana type is used for mandapas
while the main garbhagriha is housed in a Latina building.

4. Valabhi type shikhara:

These are rectangular buildings with a roof that rises into a vaulted chamber.
The edge of the vaulted chamber is round, like the bamboo or wooden
wagons that would have been drawn by bullocks in ancient times.

Some of the temples of this style are:

The Parasurameswara temple at Bhuvaneshwar

 Brahmesvara temple in Bhuvaneshwar

Lingaraja temple

Anantha Vasudeva temple

Rajarani temple

Sun temple at Konarak

Jagannath temple at Puri

SUN TEMPLE
AT KONARK
 S
un

temple, Konark, Odisha

It is built around 1240 on the shores of the Bay of Bengal.

The temple is set on a high base, its walls covered in extensive, detailed
ornamental carving.
 These include 12 pairs of enormous wheels sculpted with spokes and hubs,
representing the chariot wheels of the sun God who, in mythology, rides a
chariot driven by 8 horses, sculpted here at the entrance staircase.
The whole temple thus comes to resemble a colossal processional chariot.
On the southern wall is a massive sculpture of Surya carved out of green
stones.
It is said that there were 3 such images, carved out of a different stone
placed on the three temple walls, each facing different directions.
The fourth wall had the doorway into the temple from where the actual rays
of the sun would enter the garbhagriha.

TEMPLES AT KHAJURAHO
 Temples at Khajuraho, Madhya Pradesh

The temples at Khajuraho were made in the 10 th century, about 400 years
after the temple at Deogarh and the complex is a UNESCO World Heritage
Site.
 The temples were patronized by Chandela kings.
We can see how dramatically the shape and style of the nagara temple
architecture had developed.
The temples at Khajuraho are all made of Sandstone.
The largest temple at Khajuraho is the Kandariya Mahadeva temple which is
attributed to king Ganda.
The Lakshmana temple dedicated to Vishnu was built in 954 by Chandela
king, Dhanga.
All the towers or shikhara of the temple rise high, upward in a curved
pyramidal fashion, emphasizing the temples vertical thrust ending in a
horizontal fluted disc called an Amalaka topped with a Kalasha or a vase.
The crowning element Kalasha and Amalaka are to be found on all nagara
temples of this period.

The Khajuraho temples are also known for their extensive erotic sculptures
(about 10% of total sculptures); the erotic expression gives equal importance in
human experience as a spiritual pursuit, and it is seen as a part of the larger
cosmic whole.
 Many Hindu temples, therefore feature Mithuns (embracing couples-erotic
sculptures) sculptures, considered auspicious.
Khajuraho sculptures are highly stylized with typical features.
There are many temples at Khajuraho, most of them dedicated to Hindu
gods.
DRAVIDA STYLE OF TEMPLE
ARCHITECTURE
 The Dravida or South Indian Temple Architecture

Unlike the nagara temple, the dravida temple is enclosed within a compound
wall.
The front wall has an entrance gateway in its
centre, which is known as Gopura/ Gopuram.
The shape of the main temple tower is known
as Vimana.
The vimana is like a stepped pyramid that rise
up geometrically rather than the curving
shikhara of north India.
In south India, the word Shikhara is used only
for the crowning element at the top of the
temple which is usually shaped like a small
stupika or an octagonal.
In north Indian temples we can see images such as Mithunas (erotic) and the
river goddesses, Ganga and Yamuna guarding the temple. But in the Dravida
style of temple architecture, instead of these sculptures, we can see the
sculptures of fierce dvarapalas or door keepers guarding the temple.
A large water reservoir or a temple tank enclosed in the complex is general
in south Indian temples.
Subsidiary shrines are either incorporated within the main temple tower, or
located as a distinct, separate small shrine besides the main temple.
The north Indian idea of multiple shikharas rising together as a cluster was
not popular in dravida style.
At some of the most sacred temples in south India, the main temple in which
the garbhagriha is situated has, in fact, one of the smallest towers.
This is because it is usually the oldest part of the temple.
When the population and the size of the town associated with the temple
increased, it would have become necessary to make a new boundary wall
around the temple.
 An example for this is the Srirangam temple at Thiruchirapally, which has as
many as seven concentric rectangular enclosure walls, each with gopurams.
The outermost is the oldest while the tower right in the centre housing the
garbhagriha is the oldest.
Just as the nagara architecture has subdivisions, dravida temples also have
subdivisions. These are basically of five different shapes:
1. Kuta or caturasra square
2. Shala or ayatasra rectangular
3. Gaja-prishta or vrittayata (elephant backed) elliptic
4. Vritta circular
5. Ashtasra octagonal
THE SHORE TEMPLE
AT TAMILNADU
 The shore temple at Mahabalipuram, Tamil Nadu

It is a structural temple and was built during the reign of Narasimhavarman

II, also known as Rajasimha.
The temple is facing to east towards the sea and has three shrines east and
west to Shiva and the middle for Vishnu.
This is unusual because temples generally have a single main shrine and not
three areas of worship. This shows that it was probably not originally
conceived like this and different shrine may be added at different times.
In the compound, there is an evidence of a water tank, an early example of a
gopuram, and several other images.
Sculpture of the bull, Nandi, Shivas mount, lines the temple walls.
The temple has suffered severe disfiguration due to erosion by salt water
laden air over the centuries.
BRIHADESHWARA TEMPLE

Brihadeswara temple at Tanjore

 Brihadeswara temple at Tanjore is the best example of Chola temple
architecture.
The original name of the deity was Rajarajeshwar. It was the Marathas who
gave it the name Brihadeeshwara or the Great Ishwara. The temple is also
known as Rajarajeswara temple.

The main temple is entirely built of granite. More than 130,000 tons of
granite is said to have been used to build it.
It was completed around 1009 by Rajaraja Chola, and is the largest and
tallest of all Indian temples.
The temples pyramidal multi-storeyed Vimana rises a massive seventy
metres, topped by a monolithic shikhara, and the kalasha on top by itself is
about three metres and eight centimetres in height.
 The main deity of the temple is Shiva, who is shown as a huge lingam set in
a two storeyed sanctum.
The statue of Nandi at the entrance of the temple is carved out of a single
stone.
Painted Murals and sculptures decorate the walls surrounding the sanctum.
Inscriptions in the temple point towards Kunjara Mallan Raja Raja
Perunthachan as the chief architect of the temple. His successors survive to this
day and practice the art of Vastu or Vastu Shastra.
Depictions of nartakis or dancers showing eighty one of hundred and eight
karanas (synchronised movements of hands and feet) in Bharata Natyam are
carved here. These karanas are a part of karanas mentioned in the Natya
Shastra of Bharata Muni or Sage Bharata. There is also evidence that the
temple was a platform for talented dancers to showcase their talent. These
depictions are first of their kind.
A long associated myth with this temple temple is that the shadow of the
main structure does not fall on the ground. However, this has been proven
wrong by scientists.
 VESARA STYLE OF TEMPLE
ARCHITECTURE

THE VESARA OR THE HYBRID OR THE DECCAN TEMPLE

STYLE
This is also in conformity with the prevalence of Vesara style of architecture in
the Deccan and central parts of South Asia vis--vis Nagara style prevalent
in North India and Dravida style prevalent in South India The Western Indian and
the Deccan temples, basically evolved from the North Indian style.
Accordingly, the Vesara style contains elements
of both Dravida and Nagara styles. The Vesara style is also described in some texts
as the 'Central Indian temple architecture style' or 'Deccan architecture'. However
many historian agree that the vesara style originated in the what is today
Karnataka. The trend was started by the Chalukyas of Badami (500-753AD) who
built temples in a style that was essentially a mixture of the Nagara and
the dravida styles, further refined by the Rashtrakutas of Manyakheta in Ellora,
Chalukyas of Kalyani in Lakkundi, Dmbal, Gadag etc. and epitomized by the
Hoyasalas.
The Hoysala temples at Belure,
Halebidu and Somanathapura are supreme examples of this style. These temples
are now proposed as a UNESCO world heritage site. It is understaood that
the Virupaksha temple at Aihole and Pattadakal in northern Karnataka served as an
inspiration for the design of the famous Khajuraho temples at Madhya Pradesh.
Early temples constructed in this style include temples
at Sirpur, Baijnath, Baroli and Amarkantak. The temple complex at Khajuraho,
a World Heritage Site, is a typical example of the Vesara style.

Early temples of this style are:

Lakshmana temple at Sirpur
Vaidyanatha Mahadeva temple at Baijnath
 Sikara temple at Baroli
Kesavanarayana temple at Amarkantak
Viratesvara temple at sohagpur

The temples at Kajuraho represent the typical Vesara

style. The Chandellas used the coloured sandstone (pink, buff colour or pale
yellow) to construct these temples. Granite stone temples also exist. These temples
dedicated to Saiva, Vaishnava and Jaina sects do not show great variation in style
between one another.

The prime temples of this style are:

Lakshmana temple
Parsvanatha temple
Visvanatha temple
Kandariya Mahadeva temple
Charsath yogini temple (rough granite)
Lalguan Mahadeva temple (Partly granite & sandstone)
Swarga Brahma temple
Matangesvara temple
Vamana temple
Jawari temple
Devi Jagadambi temple
Adinatha temple

SWARGA BRAHMA TEMPLE

 Swarga Brahma temple at Alampur in Telangana

Swarga Brahma temple was built during 681-696 AD by Lokaditya Ela

Arasa in honour of the queen of Vinayaditya, it is mentioned in an
inscription found above the Dwarapalaka image.

It is the finest example of Badami Chalukya Architecture and sculpture.

This temple is the most elaborately ornamented temple.

 Temple with an imposing tower (Rekhanagara vimana) is the finest
compared to other temples at Alampur.

Swarga Brahma has a porch to the east with six pillars, which are
ornamented with amalkas.

The doorway has horned Dwarpala, and carved images of Ganga, Jamuna,
and Garuda with Naga are found on the lintels.

The temple has a curvilinear shikhara of Northern style, with a carved figure
of Shiva dancing in thechaitya window of the sukanasi.

The style of carving here is the same as that found in the Vishwa Brahma
temple. Another murti of Lord Shiva shows him in a pensive mood, bending
down graciously to Parvati.

TEMPLES AT PATTADAKKAL
 Temples at Pattadakkal, Karnataka

There are ten temples at Pattadakkal including a Jain temple and is a

UNESCO world Heritage Site.
A fusion of various architectural styles can be seen here.
 Out of ten temples, four are in dravida style, four are in nagara style and one
is Jain temple, while the Papanatha Temple is built in a fusion of both nagara
and Dravida styles.

The Jain temple (Jain Narayana temple) was built by Rashtrakutas in the 9 th
century.
The Virupaksha temple at Pattadakkal is also known as Sri-Lokeswar-Maha-
Sila-Prasad, was built by Loka Mahadevi, the Queen of the Chalukya king
Vikramaditya II.
It was probably built around 740 CE to commemorate her husbands victory
over the Pallavas of Kanchipuram.
 It closely resembles the Kailasnath temple at Kanchipuram on plan and
elevation.
It represents a fully developed and perfect stage of the dravida architecture.
 ANALYSIS

ROLE OF RELIGIOUS TOURISM IN BALANCED

ECONOMIC GROWTH IN INDIA

Religious tourism plays a vital role in narrowing economic imbalance. Most of the
places, especially rural areas and the areas which have no core competence or
business, survive due to religious tourism. It provides business and employment
opportunities to local population helps to take care of their requirements. For
instance, 'Sulli Karadu' a small dry rural area near Coimbatore, TamilNadu, India,
well known for a rural deity which is very powerful, ought to be worshipped by
offering Camphor in big quantities which is available in nearby shops. Devotees
stand in mile long queue to offer their offerings. It provides livelihood to local
population who sell camphor to the devotees which is supplied by camphor
manufacturers.
Also, it was interpreted that the whole exercise
was orchestrated by the camphor manufacturers to sell their products which has
been banned by TamilNadu Endowment Board to camphor in temples, by quoting
the reason that would spoil the environment. However, this is a classical example
on the religious tourism which fed the whole village. Also, a place called "Thadi
Kombu" near Madurai, well known for a deity viz. "Shorna Bairavar" which is
very powerful to collect the bad debts, it is the believe that if a pilgrim visit the
place for 8 times in a particular day of the month, his/her prayers would be
answered. This generates employment opportunities in the sleeping semi-urban
small town, also generated business for bus owners who take devotees for charter
trips on that particular day from far off places.

These are all the examples of small places

which generates business and employment opportunities for the local population,
let alone, many famous places like "Palani", Madurai, Rameswaram, Kanyakumar,
etc. in Tamil Nadu, and well known, "Sabari Malai" in kerala, which generates
millions and provides employment opportunities to many. The whole kerala belt
has been benefiting from lakhs for devotees visit sabari malai during particular
seasons.These provide tremendous opportunities for marketers to focus on these
locations to market their products and services. It is the dual benefit of catering
location population as well to promote the products/services.

PROTECTING TEMPLES

It must be understood that all objects, whether natural or manmade have their
lifespan. But by doing proper, periodical maintenance & protecting them from
vandals, the possibility of providing extended lifespan to these inanimate structures
always remain. When these places of interest are not maintained, the chances are
that theyll fail to live up to their 'intended' life span is dim. So, proper
maintenance not only preserves them for their entire life period, but also gives
them a "Bonus" lifetime.

When a person thinks about India, he can either

think about the well-built, well-maintained Delhi Metro, which is one of the best in
Asia. The Delhi Metro has world class infrastructure, security & service & wears
the look of a corporate major. But on the other end lies the poorly maintained,
poorly equipped, sub-standard Indian Railways. Though the largest employer in the
world & the most profitable government company, the railways leaves much to be
desired when it comes to safety, standard, infrastructure etc., Though both are
owned & operated by the govt., there is a contrasting difference between these two.

The government is treating our ancient

monuments too with the same attention it gives to the railways! The
Archaeological Survey of India, responsible for the exploration & maintenance of
these monuments is dangerously under-staffed & poorly funded. So, the ASI
devoted most of its manpower & money power to the high-end monuments such as
Taj Mahal, Red Fort etc., starving our antique Indian temples of any funds Though
India is a Hindu dominated country, it doesn't mean that our temples should be
preserved well! In Tamilnadu for instance, temples are maintained by the 'Hindu
Aranilaya Thurai' which is shredded by politics.

Even the world's most revenue-rich temple, in

Tripathi does not offer any better prospects. People who pay a high some of money
to "see" the God are allowed a closer peep, whereas the freely serviced poor people
are forced to wait in their queue's for several hours, if not days! The housing &
lodging facilities there are very poor. Transportation is bleak, but collection is
great! Many temples in India refuse to receive any funding from the governments
& solely rely on philanthropists. They do not want to rely on governments claiming
to be secular! So, with very little funding, poor knowledge of history & its
greatness from the part of the temple boards, which priorities the religious aspect
of the temple more than its cultural & historical value will do anything, but
improve the status of these "iconic" symbols of the world's oldest religion.

There needs to be an effective co-ordination

between the government, a well-funded ASI, the temple authorities & of course the
devotees. The government should rein in on "illegal" roadside temples &
encourage historically significant temples. The temple board should also allow
non-Hindu & foreign visitors to come in & visit the temple by charging them a fee
& diverting it to welfare works. By allowing tourists, the historical significance of
the temple & its image will be defeated.

So if these great monuments have to be maintained

properly and if the Temples have to viewed by tourists and great tourist
destinations it is up to the People and Government of India to Protect these
Architectural Masterpieces by Educating the general public about their importance
and Proper funding to maintain them.

CONCLUSION

We as Indians have always had and will continue to have an obsession for Temples.
Temples have been a part of the Indian tradition since times Immemorial. The
Concept of improving the Tourism in India has always enthralled me and thats the
reason for me to choose Temple Tourism as a Topic for my minor project. It is an
absolute pleasure to know about the cultural diversity of our country.
 Any other kind of tourism has to be developed to
increase the popularity among people but when it comes to temple tourism the
situation is totally different weve got the Temples with such an amazing
architectural designs with us, its just a question of preserving the temples and
promoting the temple tourism among the tourists. India is famous for its temples
and its architecture and that is the reason that among the different kinds of tourism
in India, pilgrimage tourism is increasing most rapidly.

However, there are spaces for improvement, it is

possible to serve the domestic as well as the foreign tourist in a better way say for
example, by improving the safety and security of tourists in India. Despite short-
and medium-term setbacks such as shortage of hotel rooms, According to World
Travel and Tourism Council, India will be a tourism hotspot from 20092018,
because of India's 5,000 years of history, its length, breadth and the variety of
geographic features make its tourism basket large and varied. Indias heritage and
cultural is expected to significantly boost tourism in India.

REFERENCE

BOOKS -:

Acharya, Prasannan Kumar An encyclopedia of Hindu

architecture
Hardy, Adam The Temple Architecture of India
George, Michell Pattadakal : Monument Legacy
 Gupta, S. P. Elements of Indian Art : Including Temple
architecture, Iconography and Iconometry
Rajan Soundara, K.V. Indian temple styles

WEBSITES -:

www.britannica.com/topic/North-Indian-temple-architecture
www.templenet.com
http://ccrtindia.gov.in/templearchitecture.php
www.asi.nic.in