Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
TOPICS
• North-Indian (Nagara) & Jain Temple Architecture
– Nagara style architecture
• Factor that led to the need for a temple as a built form.
• Salient features of the religion, its philosophy and methods of worship.
• Evolution and growth of north- Indian or Nagara style temple architecture.
– Jain temple Architecture- evolution of Jain temple architecture and its distinct
architectural language and growth with reference to socio-economic, political and
religious factors.
– Examples: Udaigiri (near Sanchi), Gupta temple at Tigawa, Lingaraj temple at
Bhubhaneshwar, Sun temple at Modhera, Sun temple at konark, Kandheriya Mhadev
temple at Khajuraho, Chenna Keshava temple at Belur & Somnathpur, Chaumukh
temple at Ranakpur, Dilwara temple at Mount Abu
North Indian Art and Architecture
• North India went through political fragmentation and unification in
cyclical manner.
• Identity creation through Art and architecture. Ideas about themselves
and region they were ruling.
• Religious identities – consciously favouring one religios sect.
• Legitimisation – consecration, abhishek ie linking king with temples.
• Brahamans legimitasing ruling kings.
• Temple – ritualistic as well as social and public structure ( like adding
mandaps for ceremonies) – kings perform rituals involving darshan, puja,
pradakshina.
• Aided by literature – codified prescription regarding religious construction
and iconography – Shilpshahtra (craft) , Vastushahtra (architecture).
• Regionalisation due to local artisans
Vastu-purusa mandala
• A myth explains the symbolic diagram (mandala): the gods in seeking to
impose order on chaos, forced the primeval man, Purusa, into a square grid,
the vastu-purusa mandala, whose basic unit is the square pada
• Hindu temple is the dwelling of the gods. It is based on the grid systems of
64 (8x8) and 81 (9x9) squares.
1. The Location and Structure of the Temple •Temples are found
deliberately at a place where
the positive energy - magnetic
and electric wave
conveyances of north/south
post push.
•drink theertham ideally from a silver or • walk around the idol inside the
a copper vessel. The water used for Garbhagirha, the inner most chamber of
theertham usually would contain Tulsi temple in clockwise direction for nine
leaves dipped in water and must be times.
stored at least for eight hours in the • absorb all positive vibrations from
copper vessel, activate the taste sense. garbhgriha once your five senses are
activated.
9. Applying Tilak/Kumkum Given By
the Temple Priest
• Square temple
• Flat roof temple
• Shallow pillared approach
• Temple constructed on low
platform
• Ex-temple no-17 at Sanchi
• Kankalidevi temple, Tigwa, MP.
2nd stage
• Square temple
• Flat roof temple
• Higher platform
• Covered ambulatory passage around
The garbhgriha (santum santorum)
• 2 storied temples are found
• Ex-Parbati temple at Nachna
kuthara,MP
3rd stage
• Square temple
• Concept of shikhar introduced
• Low and square shikhar
• Pillar approach
• Higher platform continued
• Introduction of panchayatan style-main shrine+4
subsidiary shrines
• Main shrine-rectangular shape
• Crucified ground plan
• Precursor to nagara style
• Ex-Dashavatar temple-deogarh,UP
• Durga temple-Ahihole,karnataka
4th stage
• Rectangular temple
• Shikhar
• Higher platform
• Panchayatan style
• Ex-Ter temple-
Sholapur,maharashtra
5th stage
1. Odisha school
2. Chandella school/Khajuraho school
3. Solanki school - maru-gurjar school
(1)Odisha school
• Time period - 8th to 13th century
• Part of nagara school. All features of nagara style are
present.
• Exterior walls are beautifully carved and Interior walls
are plain
• No use of pillars
• technical innovation - Use of iron girders - the roof
was partly supported by these iron girders.
• The Shikhara in this Odisha style is called - Deul
• Mandapa (assembly hall) is called – Jagmohan
• Ground plan of main temple - Square
• They have boundary walls
• Ex-Lingraja temple,Bhuvneshwar
• Konark temple,Rajarani temple
(2)Chandella school / Khajuraho school
• Integrated carvings on both interior
and exterior walls
• Temple stands on higher terrace
comparatively.
• Temple has main three elements
1. Garbhgriha
2. Mandap
3. Portico
• theme of sculpture - erotic themes
taken from Kamasutra.
• Impression of mountain range from
distance
• Panchayatan style
• Ex-kandaria mahadeo temple
(3)Solanki school/maru gurjar style
• Branch of later chalukyas
• Not fundamentally different from khajuraho
• Main feature - minute and lovely decorativeness
• The ceilings are carved to give the impression of a true
dome.
• Arch – like effect but no true arch was employed.
• Mostly of sandstone
• Grey to black basaltic stone
• Lavish carving on both sides of the walls and sculpture work
• Walls of central shrine devoid of carving.
• Civic type of monuments
• Ex- delwara, vastupal, vimala and tejpala jain temples at
mt. abu,rajasthan, Jayastambh at chittor
Gupta temple, Tigawa
• The temple has a sanctum and an open portico
supported on four pillars.
• The facade owes its character entirely to the design of
its pillars.
• The pillars form the main elements of its frontage and
each consists of (1)a massive abacus surmounted by a
device of lions, (2) a capital resembling a broad Vase
(inverted lotus), (3) a short shaft of many sides and (4)
a plain square pedestal.
• The pillar is a descendant of the Vishnu column at
Besnagar of five centuries earlier, and the lion motif is
of Ashoka’s monoliths
Gupta temple, Tigawa
• Standing on the western edge of the tank and looking eastward toward the main
temple, the view seems to be of one building composed of the steps leading upward
to the mandapa.
• But the conical top belongs to the shrine in the distance, and the entrance of the
mandapa is actually the torana in the foreground.
Adinath temple, Ranakpur
• In the initial years, many Jain temples were made adjoining the Buddhist temples
following the Buddhist rock-cut style.
• However, in later years Jains started building temple-cities on hills based on the
concept of 'mountains of immortality’
• In later years when Jains discovered the concept of mountains of immortality , they
proceeded to deviate from Hindu and Buddhist sites and build on their own.
• An important aspect to be noted is that Hindus and Buddhists built temples, Jains
built temple-cities on hills.
• To put it in their own words, they
"ornamented these holy hills with a
crown of eternal Arhat chaityas
(tabernacles of saints) shining with the
splendor of jewels.“
Adinath temple, Ranakpur
• Central Main Shrine is
called "Mula-prasada,“ its
interior is "Garbagriha"
(sanctum), its main statue is
"Mulanayaka.“
• In the type of
Chaturumukha (four-faced)
four "Ranga-mandapas"(A,
assembly hall) in front of
four portals of the main
shrine.
• Each Ranga-mandapa
connects with three storyed
"Meghanada-mandapa" (B,
high hall) in front.
Adinath temple, Ranakpur
• Having four "Mahadara-prasada" (two-
faced-shrine) diagonally in four
directions of the main shrine, the
temple type is "Panchayatana" (five-
shrined-type).
• In addition to this, there are two
"Bhadra-prasada" east and west sides,
making the total composition much
more intricate.
• A line of "Deva-kulika" (small shrine)
along "Bhamati" (cloister) surround the
whole complex. All these shrines hold
a statue of Tirthankara or Jina (four in
Chaturmukha, two in Mahadara-
prasada), there are more than 100
statues in total.
Adinath temple, Ranakpur
• The Adinatha Temple of Ranakpur is also named
Dharma Vihara temple after its builder.
• The temple is very large. It stands on a basement of
60m x 62m which is like a stronghold.
• On the top of a flight of stairs at the central
entrance, there is a three-storied "Balanaka“
(entrance hall), which has a dome roof.
Adinath temple, Ranakpur
• A large number of columns are carved • At a space that penetrates through two to
elaborately, and it is said that no two three stories, various heights of domes are
pillars are alike in design. placed, and their ceilings have sculptures
that are unbelievably intricate.
Adinath temple, Ranakpur
• Light is abundantly coming inside through gaps
between ceilings and from courtyards, highlighting
the intertwined spaces and fine carvings all around.
• The splendor of the space is so pure as the entire
temple from the floors to the ceilings is made of
white marble. It also might be described as the
realization of the Pure Land.
Depaka, the architect of the
Adinatha Temple,
• Functions
1) Religious matter
2) Administrative centres
3) Control of vast areas of land
Architecture
Features of dravida school
• Single vimaan on main shrine
• Shikhara octagonal shape on vimaan
• Pillared wall
• Presence of tank
• Huge gopuram-gateway
• Sculptures of dwarpal instead of ganga/mithuna
of nagara school
• Dravidian architecture – developed dynastically
• Dravidian style was initiated by pallavas and
flourished by cholas
• Ex- gangeykondacholapuram by rajendra-1
• Brihadeswara temple at tanjore,tamilnadu
Four styles of Dravidian architecture
1) Pallava art
2) Chola art
3) Nayaka art
4) Vijayanagar art
(1)Pallava school of art
• Around 600 A.D.
• Dravidian temple architecture started by pallavas
• Developed in 4 phases
1) Mahendra varman-600-625 A.D.
• JUST THE ROCK CUT CAVES
• The word mandap was used instead of temple
• No real temple structure
• Ex-adivaraha cave,Durga cave-
mahishsurmardini,panchpandava cave
2) Narsimhan varman
• Decoration in rock cut caves.
• Mandapas now became rathas
• 7 rathas in one cave
• Largest ratha-dharmraja,smallest ratha-draupadi
• Dharmaraja ratha was the precursor of the Dravidian style
3) Rajsimhan varman
• Real structural temples
• Open air carving in relief on a rock surface
• Sculpture – different from gupta sculpture
• More oval face,higher cheek bones,great slenderness
and freer movements of the forms.
• Exellency in animal representation
• Later structural temples made of masonry and stone.
• Ex- kailashnath temple at Kanchipuram-3 parts-
sanctum with pyramedial tower, mandapa and
rectangular courtyard-for subsidiary shrines
• shore temple, mahabalipuram
4) Nandivarman
• Started the concept of small temples
• Confined all the features of Dravidian style
(2)Chola school of architecture
• 10-11th centuries
• Revived the pallava heritage with fresh approach
• The vimaana dominates the whole structure.
• 2 beautiful creations-Brihadeswara temple at
thanjaur,tamilnadu
• Gangeykonda cholapuram
• Brihadeswara temple - dedicated to shiva
• Huge lingam
• A massive monolithic bull (2nd biggest,1st at lepakshi)
• On the square forming the topmost tier is poised a
huge rounded cupola of a single stone, the shadow of
which never falls on the ground.-unique achievement
• Immense gopuram
(3)Vijaynagar school of architecture
• Around 16th century. Hampi was the capital.
• Important ruler-krishnadevraya-Built temples,pillared
mandapas,gopurams-called as rayagopurams
• More larger gopuram and High enclose walls
• More decoration-perticular design-supernatural horse
• Secular buildings were built.for ex-lotus mahal
• Vitthalswamy temple
• Amman shrine and kalyana gopuram
• Centraal raised platform surrounded by rows of carved pillars-
open pavallion
• Ex-hall of dance at lepakshi
• Festival hall at Vellore
• Virabhadra temple,Lepakshi-three figures share four legs
• Nandi near lepakshi
• Seated ‘Ugra narsimha’
(4)Nayaka school of architecture
• Around 17th century
• Dominant in Madurai region
• The nayakas rose on the fall of the vijaynagara empire
• Continued the artistic traditions of vijayanagara empire
• Most famous - meenakshi-sundareswara temple at Madurai
• By thirumalai nayak
• Temple complex has 2 shrines-1st-shiva as sundareswara
2nd-his wife in the form of goddess meenakshi
• Every space is filled with surface carvings.
• large tank-surrounded by steps and a pillared portico
• Prominent feature-development of prakaram-roofed embulatory
passageways-to connect various parts of the temples
• Most famous prakaram of this period-at rameswaram
Rathas and shore temple, Mahabalipuram
• Contemporary with the Chalukyas, with whom they had frequent commerce, the Pallavas are one of
the most distinguished dynasties of the South.
• The second Pallava ruler, Narasimhavarman II, built at Mamallapuram not only one of India’s largest
port cities of the time but also a series of monuments that form something of a petrified stone city
on the coast.
Swarga Vasam
Vesara style
Durga temple, Aihole
• 'Durga temple' is one among the most
prominent temple at Aihole.
• This temple has a straight front and a
rounded apse, resembling the Buddhist
temples.
Durga temple, Aihole
Durga temple,
Aihole
Window Pattern
• Enclosed by a low
quadrangle with an
entrance gate to the east,
the temple sits on a low-
stepped platform that
follows its outline.
• Three star-shaped shrines,
each with its own pre-
chamber, open onto a
square court elongated
toward the east to form a
colonnaded mandapa.
Chenna Keshava temple, Somnathpur
• The mantapa here was originally an open one. A visitor would have been able to see the
ornate pillars of the open mantapa from the platform.
• The open mantapa was converted into a closed one after about fifty years, during the
Hoysala rule.
Chenna Keshava temple, Belur
Ornate lathe turned pillars in mantapa, a Ornate doorjamb, lintel and guardians (Jaya
standard Hoysala idiom and Vijaya) of the shrine of the Hindu god
Vishnu
Chenna Keshava temple, Belur