HINDU ARCHITECTURE

Ar. Chandana Parida.

ABIT, PMCA.
 EVOLUTION OF
SHIKHARA:
Shikhara is the out come some bodys deep
insight into the Aryan Hindu mind and
appreciation of its architectural potential.
Profile of shikhara is a parabolic form.
The simples way to describe his form is four sided
pyramids with parabolic instead of straight edges.
Its curvilinear shape also strongly suggests its
derivation from a bamboo construction. Most
likely that four bamboos rising from a square
base, held together at an appropriate height,
directly above the middle of the square.
It was decided to mount this parabolic form over
Garbhagriha or inner sanctum.
 Sources of inspiration
of Shikhara are many
which includes
mythological abode
of God, Snow-clad
hills of Himalayas or
from the shape of
traditional Ratha, or
from rural Aryan
forms or the toda
church.
 SHRINE AT DEOGARH
The earliest surviving example of such a type of form,
constructed in stone is at Deogarh in central India.
The shrine was placed on a wide square platform and a portico
was attached to it, at the entrance.
For reasons of symmetry, a false portico was attached to each
of the 4 faces of the garbhagriha.
These porticos were housing beautifully sculptured stone
panels instead of timber shutters.
The flat roof is replaced by a form of convex profile pyramid.
This was build with horizontal course of receding stone slabs,
approximately to the curved outline of bamboo prototype.
At the apex of it was mounded a larger circular base of stone
into the rim of which was inscribed, vertical edges like an
amlaka fruit.
This total composition including the inevitable metal pinnacle
or KALASHA over the amlaka is what came to be classified as
the legendary shikhara.
 The shikhara by its
more frequent U-
shape in the north
was destined to
become the
distinctive feature of
north Indian temple.
This became the
most prominent
feature of Indo-Aryan
temple style and also
gave rise to the many
famous regional style
of Rajasthan, Gujarat,
Khajuraho and Orissa.
 HINDU ARCHITECTURE
North Indian Style / Orissan Style Indo
Aryan Style600AD to the Present Day
Temples of Kalinga/ Orissa (800 1250 AD )
Temples of Kashmir (8th Century)
Temples of Khajuraho group (950 1050
AD)
Temples of Rajaputana (8th 11th Century )
Temples of Gujarat (941 1311 AD)
Temples of Gwalior (11th 16th Century)
Temples of Punjab (18th Century )
Temples of Deccan (11th 13th Century )
 HINDU ARCHITECTURE
South Indian Style /
Central Indian Style Dravidian Style(625-
(450-750 AD), (1000 1750 present day)
to the present day) Pallava Style(600 900
Early Chalukyan (450 AD)
AD 650 AD)
Rashtrakuta Style (9th
Chola Style (700-
10th Century) 1150)
Later Pandya Style(1000
chalukyan/Hoyasala 1250 AD)
Style (1050-1300 AD) Vijaya Nagar
Style(1350 1565 AD)
Late Pandya Style /
Madura Style(1565-
1600 AD)
 EARLY CHALUKAYN STYLE:
(450 650) A.D
Architecture of Chalukyan dynasty falls into 2 distinct
categories, are is rock cut and other is structural.
ROCK CUT TEMPLE AT BADAMI:
There is a series of four cave temple carved from
top to bottom in the scrap of southern hill called
Ranmandal.
These are bramhinical in nature, one Shaivite, Two
Vishnavites and one belongs to Jaina.
These Hindu and Jain cave sanctum of Badami turned
out to be nothing more than an outer pillared
verandah through which one enter a colonnade hall to
worship the deity.
The builder had done nothing more than addition and
alteration to the plan of an Ajanta vihara to make it
into a workable Hindu shine.
A VIEW OF THE ANCIENT
TOWN OF BADAMI
A FACADE OF THE ROCK
CUT HINDU CAVE OF
BADAMI
 STRUCTURE TEMPLES:
Along with the rock cut temples
chalukyans also built several structural
temples along the edge of lake and hill tops.
About 15KM from Badami at Mahakutta
stands a group of temple enclosed by a fort
like heavily built wall.
But at Aihole and Pattalkal experimentation
of temple bldg conducted from 450 to 650
AD gave birth to the Hindu temple and
evolved its various architectural components
and features.
At Aihole about 70 magnificent stone
temples are there over a few sq.km. area and
it was an important phase in the evolution of
Hindu temples.
CHARACTERISTIC FEATURES
OF CHALUKYN STYLE:
The early chalukyans combine some features of
contemporary north and south Indian style of
construction to create there own style.
This is characterized by
high plat form,
plinth moulding,
ornate doorframes,
vestibule or entrance porch,
a projected roof over the ardhamandapa
the octagonal shikhara over the garbhagriha.
They mainly adopted the trabeated style.
 LAD KHAN TEMPLE AT
AIHOLE
This was a temple of 5th
century A.D.
It is the oldest structural
temple in India.
The temple stands on a
square plan of 15m side
with high plat form.
It consists of an open
pillared court leading to a
large square Mandapa with
two square group of pillars
one with in the other. It
thus provides double aisle
all rounds.
The Nandi is situated
centrally whose ceiling
contain sculpture of Naga.
 LAD KHAN TEMPLE AT
AIHOLE
These pillars have cushion capital with floral abacus supporting
brackets.
There are lattice window on north and south side and perforated
circle of radiating fish design set in square frame in the eastern
and western side.
There is Garuda on the shrine door.
The roof is slopping rising in 2 tiers with a small cubical shikhara
containing the images of Surya, Shiva and Vishnu on its three
sides.
No mortar is used for the construction of this temple.
Originally it was a Vishnunava temple and the name was given
to it because Lad khan had made it his residence in 1880.
Further it was adopted as Santhagara or the village panchayat.
Its striking and enduring workmanship reveals bold
experimentation in temple building resulting in the historic
achievement of evolving a complete Hindu temple out as the
early crude beginning.
LAD KHAN TEMPLE
 LAD KHAN TEMPLE AT
AIHOLE

Instead of the shikhara, a cubic volume was planted over

the LAD KHAN in an attempt to give ht. & architectural
eminence to a rather ordinary shrine.
 DURGA TEMPLE- AIHOLE
This was a temple built in
6th century.
It stands on a high moulded
plinth 3 m high.
It consists of a pillared hall
or Mukhamandapa and an
additional verandah all
round with an apsidal end in
the side of the sanctuary.
In the outer form it
resembles Buddhist Chaitya.
Two flights of steps one
from north and other from
south are provided in front
of the porch.
There is a Garuda over the
shrine door which is
elaborately carved.
 DURGA TEMPLE- AIHOLE
Light is admitted into the hall and passes through
perforated stone grills.
Two rows of columns separate the temple hall into a
central nave and two aisles.
The inner columns are beautifully sculptured.
There are several niches in the walls containing beautiful
images of Gods and Goddess.
The roof over Mukhamandapa is a flat but on the top of
the sanctum raises a solid square shikhara.
At present the upper portion of the shikhara does not
exist.
Entire temple is bounded by a very high enclosure and the
name is derived from this fort like enclosure called Durga.
It is another bold experiment in the development of Hindu
Temple.
 DURGA TEMPLE- AIHOLE

THE SHIKHARA ACCEPED AS A SYMBOL OF HINDU

FAITH AND PLANTED OVER THE DURGA TEMPLE
EVOLUTION OF THE VIMANA
The elements of Lad Khan
Temple was tried to be
organized into an integrated
whole in a later stage.
The garbhagriha was
appropriately relocated at
the core of the composition
and the aisles so formed
around the cellar become
an enclosed pradakshina
path.
The plan was completed by
the addition of a small
mandapa or an antiroom in
front of the garbhagriha
along with the entrance
portico.
The tower over the
garbhagriha took the form of
a stepped pyramid and
every step defined by a
horizontal moulding of
varying thickness and was
rounded up to create an idea
of thatched roof over
bamboo huts.
The apex was crowned by a
domical form, also a
derivation from a rural form.
The combination of a
stepped pyramid and dome
with a cubic or prismatic
base even in its primitive
form was a noble and
pleasing one
 DESIGN DEVELOPMENT OF
SOUTH INDIAN VIMANA
This had become one of the
striking features of south
Indian temple architecture.
The pyramidal tower
popularly known as Vimana in
south Indian terminology
crowning the temple in its
primitive stage was far from
perfection.
The inexperience stone
mason couldnt deal with the
large white block of stones in
perfection, but gave birth to a
new concept and refinement
of detail and the fluidity of its
profile was achieved by
another group of craftsman
else where in India.
DESIGN DEVELOPMENT OF
SOUTH INDIAN VIMANA
PALLAVA STYLE :- (600 AD 900
AD)
RATHAS OF MAHABALIPURAM
There were two phases in Pallava style 1) Rock cut
temple 2) Structural temple.
In first phase which consists of Mahendra group i.e. from
610-640 and Mamalla group from 640 690A.D. we come
across Rathas and Mandaps respectively.
In pallava time Rathas mainly refers to a monolithic shrine
which contains all the essential features of a temple
including dome storey to shikhara.
There are a series of 7 monolithic temples or ratha chiseled
out of big boulders & they are widely known as seven
pagodas of Mamalla puram (Mahavalipuram).
Mamalla Puram is at the Caromandala region and it was
built by Narasimha Verma II.
It is situated on 250 feet long 30 feet high site of
fortification of Mahavalipuram.
 SEVEN RATHAS
Carved out of granite rock, these rathas are
models of religious structure and express a noble
form of construction.
Out of these seven rathas five are named after
the Pandavas, one for Draupadi and another for
Ganesh.
Among these Draupadis ratha is the smallest and
well finished. It is entirely rock cut and stands on a
square plinth of 3.5 m., and has a vaulted roof. Its
height is 6 m. In this ratha image of Draupadi is
enshrined as Goddess Laxmi. There are monolithic
carving of lion on its west face where as that of
nandi is found on the east face.
DRAUPADI RATHA
 RATHAS OF
MAHABALIPURAM
 Dimensions of the Rathas
Dharmaraja Ratha
8mx9m, 12m ht
Bhima Ratha
13mx7.6m, 8m ht
Arjuna Ratha
3.5mx3.5m, 6.6m ht
Nakula Ratha
5.5mx3.35m, 5m ht
Sahadev Ratha
5.5mx3.35m, 5m ht.
DHARMARAJA RATHA
Rectangular Plinth,
Approach is through
a double row of
carved column.
Four storeys tier of
Vimana,
Pillared gallery
running all round the
roof. Kumbha shaped
capital with lion at
base
 ARJUNA RATHA
Buddhists Vihara like
plan.
Vimana built in 4
tiers, containing little
horse shoe shaped
arches which are the
characteristic.
In the rear wall of the
ratha image of God
Indra is found on
Aairavat.
NAKULA & SAHADEV
RATHA
These rathas are based
or chaitya hall with
apsidal end on the south.
A double pillared portico
on the north.
Four tiers roof which is
elaborately carved.
There is the larger
monolithic elephant with
life size adjacent to these
ratha.
 SHORE TEMPLE AT
MAHAVALIPURAM
One of the famous structural temples of
7th century is the shore temple of
Mahavalipuram, built by Narasingh Verma
Rajasingha (690 to 715 AD) the successor
of Mahendra Verma.
This temple is famous for its structural
elegance.
The name of the temple is so, because it
stands on the extreme fore shore of the
ancient port on Caramandel coast.
 Delicately balanced on the rocky shore line, half in the sea
and half on the land, the main sanctuary of the temple look
out towards the sea which is at the East while a subsidiary
one faces the shore at the west.
The reason being the entrance to the main sanctuary
became flooded and unapproachable at high tide.
The main temple is dedicated to shiva while the subsidiary
one was for the Vishnu.
Both these are enclosed with in a massive wall.
Its parapet and coping crowned by figures of kneeling bull
and exteriors are boldly carved lion pilasters.
 The garbhagriha is enshrined with a large
lingam.
Lingam is made of black marble whose
perimeter is about 2 m.
In the verandah behind there is figure of Lord
Vishnu reclining on Sesha Naga.
There are images of Brahma and Vishnu along
with those of Parvati, Shiva and Subramanyan
(Subramanyam :- there local dity).
The larger Vimana or the tower over the main
shrine is about 20 m. with umbrellas and
Kalasa at its summit.
SHORE TEMPLE AT MAHABALIPURAM
 RASHTRAKUTA DYNASTY:-
In the early phase, caves at Elora were mere variation of those
at Badami and Elephanta, and were added to the existing
group of Buddhist caves. Ellora was near the capital of
Rashtrakuta named Kalkhed and only 60 miles away from
Ajanta.
The great Rashtrakuta King Krishna-I, contemplated for the
creation of the famous Kailash, a temple at Elora. The Kailasa
temple is a living rock replica of a structural form large than it
would ever had been constructed through the stone masonry
technology of 8th century. The Herculean task of excavating
some 20 million tones of rock is a matter of time, patience and
skilled labour. But it could not stop the Indian carvers from
creating such a magnificent structure of world repute.
Their first step was simple but laborious. Because they had to
cut out 3 massive trenches to isolate an island of rock over 200
feet long and 100 feet high from the massive mountain of
Ellora. It is planned in ascending height giving shape of a
mountain, the traditional abode of Lord Shiva.
 THE GREAT KAILASA AT ELLORA

The temple stands freely with in

the excavated basin in the
mountain side.
The main body of the temple
measure 46m x 30m and stands
on a lofty plain of 8m high, with
an entrance from the west.
The flat roofed Mandapa in front
of the sanctuary, supported on 16
columns in a group of four.
There are 5 shrines surrounding
the cella and a pavilion measuring
6m x 6m housing a larger than life
size scared Nandi, rests on a 7.6m
high plinth.
It is detached from the main
structure but connected by a
bridge.
On either side of it there are 2
free standing column known as
Dhwaja-stambha, 15m in height
and crowned with trident
(trishula).
THE GREAT KAILASA AT ELLORA
The main cella was crowned
with a Vimana.
In spite of its gigantic shape
the temple seamed to be lost
in the immense back of
overhanging cliffs of same
texture and hue.
In an effort to high light- this
profile form the brown colour
of the surrounding pit, the
stucco (type of plaster used to
cover the old shrine) worker
covered the entire surface of
the Kailasa temple with a
white gesso.
When complete it dazzled
brightly like the snow capped
peak of the mount Kailash in
Himalaya
 TEMPLES OF ORISSA (800
1250AD)
CHARACTERISTICS FEATURES OF TEMPLES OF ORISSA

Typical plan is square.

Trabeated style of construction.
Main temple called Reka Deula situated on a high plinth called
pista. Approached by an assembly hall called Jaga Mohan or Pida
Deula.
Deity is placed in the garbhagriha of rekha deul. Over this rises the
spier shikhara also knowb as urusingha. Here the entire tower which
is curvilinear in shape is called the shikara.
The Hindus regarded the temple as the body of cosmic man or
pursha. So the lower up-right part of the main temple is known as
Bada. The upper tapering part is called Chhapra. Over Chhapra is a
large melon shaped feature called Amlaka. In between Amlaka and
Chhapra is the necking called Beke. Amlaka is crowned with Amrit
kalash or the jar of nector. Similarly for Jagamohan the lower upright
part is called Bada and the upper upright part is called Pida. These
pida are in the form of terraced pyramid and is crowned with Ghanta
kalash or inverted bell.
In the interior of Orissan temple we will find absence of pillars.
Mostly the interior is plain and featureless whereas interior walls are
profusely ornamented.
 TEMPLES OF ORISSA.
EARLY PERIOD MIDDLE PERIOD
(750-900AD) (900-1100AD)
Parasrameshar Mukteswar
Vaital Deul Lingaraj
Uttareswar Brahmeswar
Satrughaneswar Rameswar
Bharateswar Jagannath
Laxmaneswar
 TEMPLES OF ORISSA.
LATER PERIOD (1100-1250AD)
Ananta Basudev
Siddheswar
Kedareswar
Jameswar
Megheswar
Sari Deula
Someswar
Raja Rani
Konark
 Vaital deul at bhubaneswar
Temple form derived from
Buddhist architecture.
Ht of the shrine-10.6m.
Roof of the temple is
surmounted with Buddhist
chaitya hall vault.
The vault was unaltered and
3no.s of kalasa were planted
on the ridge.
Shikhara is found on the
ridge of the lower vault.
Main cella is fronted by a
rectangular flat roofed
mandapa.
 The introduction of
shikhara as an element
into the design, indicates
the acceptance of the
hindu temples.
The vertical profile of the
shikhara converges near
the apex, towards the
circular kalasa or crowning
stone at the top.
This so-called shoulder
type spire became a
distinguished feature of
Orissa temples.
 PARASURAMESWARA
TEMPLE
PARASURAMESWARA
TEMPLE 800AD
It was the earliest temple
were a mamdapa or covered
hall was attached to the
single-roomed shrine, where
worshippers could congregate
and sing devotional hymns.
Mandapa rectangular in plan,
the central aisle along its
longer side is flat roofed.
The side aisle are covered
with massive stone slabs,
leaving bet. The two roofs a
narrow horizontal opening
forming a sort of clerestory
lighting the interior.
MUKTESWARA TEMPLE
 MUKTESWARA TEMPLE
The mamdapa is modified,
from rectangular to square in
plan.
The roof had a tapering form-
a shallow pyramid lower in ht
than the tower shikhara.
It was constructed as a series
of corbelled courses of stone.
Entrance to the temple
compound has got a torana,
consisting of two vertical
pillars spanning a corbelled
semicircular richly sculptured
arch, an elegant element that
didnt appear again in the
temples of Orissa.
LINGARAJ TEMPLE : - (1000A.D)
The Lingaraj Temple initially
consisted only of a cella and
a Mandapa and each of them
are gigantic in proportion.
Nat-mandir and Bhog-
mandir are added to it
probably a century later.
All the four are enclosed in a
courtyard measuring 142m x
158m.
The cella alone is a square of
17m size and rises to a
height of 43m.
The Mandapa is rectangular
in plan that is 72m long &
17m wide and its pyramidcal
roof reaches a ht of 30.4m.
 The most attractive feature of this temple is the great
tower or Deula of Shreemandir is richly build entirely of
stone and in its elevational aspect for approximately 1/3rd
of its height the sides are vertical.
The lower portion of which constitute the Bada.
At the height of about 15m the conture of the structure is
too inclined inwards.
The Chhapra rises to a height of 38m from the ground.
Over it is the necking or Beke above which rests the melon
shaped, fluted disc or Amla-sila.
This is crowned with a Kalasha bearing a Trishula or trident.
Middle section of the tower is given a texture by means of
horizontal molding. Miniature deula is taken as a motif and
are seen in the surface.
 Interior of the cella is a 5.7m square.
The cella is open to the total height and the Shiva Linga inside it of 3m
high and 2.5 dia.
The lower part of the pyramid is a square and stepped.
The upper part is round and fluted.
The Natamandir & Bhogmandir are of same style as that of
Jagamohan.
Interior of these walls and ceilings are plain, however each wall has a
group of four massive pillars in the center to support the solid mass of
the roof and these have sculptor patterns from their shaft.
The exterior is richly carved.
Another notable feature of Orissan temple is the having less opening
which allow little light to come inside.
In the courtyard of the Lingaraj temple there are around 65 temples
dedicated to various gods and goddess in varying size and proportion.
 RAJA RANI TEMPLE :-
This temple is distinguished for its grace, elegance and
better known because of its incompleteness.
This temple is similar to that of the central Indian temple in
its outer form because of presence of multiple shikhara on
the surface of the deul.
The temple has been left in an unfinished condition but
these incomplete works give the glimpse of the artistic
qualities. The tool marks look so fresh that it creates an
illusion of the return of craftsmen to its task.
Another notable feature in the design of Raja Rani
Temple, which makes it different from the rest of the Orissan
temple, is its deula is diagonally placed with the hall in front.
Both the exterior and interior of the temple are so
elaborately recessed that it is almost circular in appearance .
RAJA RANI TEMPLE
 Sun Temple, Konark
The grandest achievement of the Orissan style is the temple of sun at
Konark.
It was built by Narashima Dev I (1238 1264 AD) of Eastern Ganga
dynasty in 1250 AD.
He employed 1200 craftsmen for about 12 years.
Standing in lone splender 32 KM away from Puri, this ruined temple is a
great mass of sandstone of soft colour of leather.
It is almost 2 KM away from sea shore, and also known as Black Pagoda.
The master craftsman of Orissa decided to house their Sun God literarily
as the Indian mythology has conceived it. It says Sun God blazes his
rays through heaven on the chariot of time pulled by 7 magnificent
horses.
To stimulate the appearance of a chariot the longer side of a terrace
over which the temple is erected were ornamented with reliefs of 12
meticulously carved massive wheels more than 3m in diameter.
The terrace is approached by flight of step.
The parapet on either side of the flight is also richly carved with life size
sculptors. This shows as it they are dragging the great bulk of the
temple.
SUN TEMPLE, KONARK
 Over the main platform are placed the combination of
Jagamohan and Rekha deul.
On another high plinth, facing the majestic flight of steps, the
Nat-mandir is situated which is a modest sized replica of
Jagamohan.
The entire complex including also a subsidiary shrine to
Ramachandra is set with in a vast enclosure of 265m by 165m.
Probably the enclosing wall (whose superstructure is already
vanished) was provided with 3 pyramidical roofed gateway
located in the centers of eastern, northen and southern wall.
The dimension of Jagamohan is a square of 30.5m side and
39m in height and the main deul is about 69m high. In the deul
on its three sides in the middle segment there are 3 subsidary
shrines with stairways leading to niches each containing the
life size image of sun god in various moods. The width of the
cubical portion or the bada of the Jagamohan is twice its own
height and the upper trappering part, Pida is crowned with a
melon shaped fluted amlaka.
 The outer surface of the bada is profusely sculpted with as many as
1500 elephants in different patterns along with soldiers riding on
horses in the bottom row, many mythical animals in the second row
and much of the erotic sculptor in the 3rd row.
The pyramidical portion or the pida consists of 3 tiers with a series
of cornices accommodate a number of sculptors in bold relief all
dancing with musical instruments.
In order to sustain the weight of the huge kalash over the pida the
entire ceiling is strengthen with iron grid.
The interior, which is sealed now, consisted of large cell of 20m
long. Its wall was plain and the ceiling is supported on 4 large solid
piers. At the far end is a vestibule leading to a sacred cella or deul
containing a vedi on which there was the standing statue of sun-
god.
On its outer surface there are sculptors of Usha & Pratyusha along
with a no. of worshipers together with a row of elephant.
There were 3 stairs ways to the portico of the temple with a pair of
huge animals like lions and elephants. But the main entrance is
more elaborately designed.
 The main portico is approached
by a stairway planked by 7
galloping horses of sun.
The tower of deul most likely
never rose to its intended height
since the foundation started
shrinking before its completion.
The Jagamohan though built
successfully sometimes-in 19th
century, the interior of the hall is
blocked with rubble to prevent
the damage of the roof.
The technical skill of the
craftsmen were not enough to
execute the dream of their king.
But still the wonderful failure
speaks the eligibility,
imagination & perfection of art
of that time.
 KHAJURAHO GROUP OF
The development of Khajuraho style under
the ChandelasTEMPLES
of Bundelkhand.

The chandelas an offshoot of one of the Rajput groups gained

supremacy over a large area around Bundelkhand region of central
India.
With wonderful engineering skill the builders decorated their capital
cites Khajuraho, with temples both for Hindus and Jainas.
The Khajuraho is right now in Chhatrapur district of Madhya
Pradesh.
Around 85 temples were there at the beginning and at present 30
are left with & out of those 16 are in better condition.
All these temples occupy an area of around 2.5 sq. KM.
The founder of the dynasty was Nannuka of Chandelas.
The rulers of this dynasty were earlier Vaishnavite but later on
formed to shaivite.
The famous temples of this group are Kandariya-Mahadeo, Shive
Temple of Vishwanath, Vishnu temple of Chaturbhuja, Matangeswar
temple, Temple for Chaushat Yoginis, Laxman temple etc.
 CHARACTERISTICS FEATURES:-
The plan of the temple is of
Latin cross, the longest side
lying on east- west axis and
the entrance is from the
east.
The temple is divided into
three main parts: (a) cella or
garbha griha, (b) an
assembly hall or mandapa,
(c) an entrance portico or
ardha mandapa. (1) GARBHA-GRIHA OR CELLA
A vestibule or antralaya is (2)MANDAPA OR ASSEMBLY HALL
sometimes added around to
the cella and transcepts on (3) ARDHA-MANDAPA OR
each side of the main hall or ENTRANCE PORTICO
mahamantapa which (4) ANTRALAYA OR A VESTIBULE
includes an ambulatory ALONG WITH THE PRADAKSHINA
passage around the outside PATH.
of the garbha griha.
 The temples of Khajuraho are world famous for their
architectural excellence as well as the profusion of erotic
sculptor.
All temples of Khajuraho are set on board high terraces. The
floor of the temple was raised even higher than 10 to 12 feet.
There was a flight of steps leading from the terrace to the
entrance.
Over the high basement the compartments are constructed
with projections on the outer walls and admit light into the
interior.
The temples have three separate edifices. The smallest one is
over the ardha mandapa, the next higher over the mandapa
and the tallest one over the garbagriha.
The temple shikhara or urusringa has an ascending parabolic
outline rising up in the graceful manner and characterized with
superimposed miniature urusringa one upon the other on all the
four sides.
The exterior is richly sculptured with figures of enchanting grace
and loveliness. A woman is the main figure shown on the temple
walls, lintels and reclining against pillars in her diff. moods. The
temples of Khajuraho are world famous for their architectural
excellence as well as the profusion of erotic sculpture.
 Shikharas of Khajuraho :-
The shikharas of Khajuraho are
architectural masterpiece in their own
right.
Instead of the rigid verticality of the
Orissan shikharas we find ascending
parabolic outline rising to the top in
one graceful sweep.
We do not find even the tier over tier
of stone courses. The builders of
Khajuraho concealed the inevitable
horizontal joints of courses of masonry
under clearly defined vertical bands in
the middle of each phase of shikhara
which rose up towards the amlaka.
The bare parabolic profile of the
monumental shikhara was ornamented
with shikharas of small dimensions
having the same shape and form.
Thus shikharas complete with amlaka
and kalash but in semi relief were
applied over the four upper surfaces of
the main shikhara.
The corner of the base of the towers
became like a vertical chain of super
imposed, full bodied mini shikhara.
These mini shikharas with the
amlaka and kalasha are called
urusringa.
 KANDARYA MAHADEV:-

The world famous temple of

Kandarya Mahadev Khajuraho
was a successful masterpiece
both artistically as well as
structurally.
The designer never loss sight
of the necessary inter-
relationship of each
components to the whole. The
result was a perfectly
balanced and composed
elevation with its components
interlinked with each other. (1) GARBHA-GRIHA OR CELLA
The temple is 33m long and (2) ANTRALAYA OR A VESTIBULE
18m wide and rises to a ht. of ALONG WITH THE PRADAKSHINA
35.5m
PATH.
The temple contains the
garbhagriha, a surrounding (3)MANDAPA OR ASSEMBLY HALL
pradakshina path antaralaya, (4) ARDHA-MANDAPA OR
mandap and ardhamandap. ENTRANCE PORTICO
 They are completely enclosed
within a continuous peripheral
wall with beautifully crafted
balconies. Enough light is
admitted through these balconies
to bring the profusely sculptured
surfaces of the interior.
The roof of the ardhamandap is
held up on column and is the
extended version of the entrance
portico.
The height of the temple is little
more than half of the height of
the sun temple of Konark.
But the application of Urusringa
(i.e. miniature form of Shikhara)
on all four vertical faces of the
shikhara creates an illusion of
height.
Another important feature for
which the temple of Khajuraho is
worlds famous is the remarkable
sculptors on the outer surface.
This can be considered as the
expression of Indian craftsmen,
love for life in all aspects.
 THE TEMPLE OF KANDARYA
MAHADEV
A massive pile of masonry delicately
poised over slender columns
Indo Aryan style of Architecture :-
(in Gujrat)
One of the richest and more developed styles of Indo Aryan
Architecture was that which prevailed in western India
comprising parts of modern Gujarat, Kathiaward, Rajasthan &
parts of central India. With the abundance of fund and rich
artistic heritage the western India was at one time filled with
fine examples of the building art. The temples were erected
both for the Hindus as well as for the Jainas.
In general these temples have 3 components (i) Sabha mandap
(ii) Gudha mandap (iii) Garbhagriha.
Sabha Mandap is an open sunlit portico. The Gudha mandap is
an enclosed covered assembly hall. The Garbhagriha which is
called as Prasad, is a cella where the sanctum is housed.
As regard to the elevational aspect the temple is divided into 3
main sections consisting of:- The pitha (basement or the plinth).
(2) The Mandavera or the wall face, upto the entablature or the
cornice (i.e plinth to chajja). (3) The superstructure comprising
the roof the shikhara.
 In the temple design the plinth is composed of a series of
molding in the form of a repeating motif arranged in an
order fixed by convention, the lowest being the Garaspathi
or horn heads (rakshas). Over this is the Gajapitha or
elephants and then come Asvatharna or horses and finally
at the tip is the Narathana or human being.
The walls of Mandavera have niches and recessed parts
containing sculptors of deities and saints.
The shikharas are notable for the arrangements of
urushringas in all faces.
Coming to the interior, a group of elegantly carved pillars
form an essential part. The columns are arranged
geometrically leaving an octagonal area in the center of the
main hall. While outside it is to so arrange as to constitute
an aisle. The shafts of the pillars do not taper but are
divided horizontally into decorative zones. The upper being
less in diameter then the lower, this is to diminish the
stages and finally finish at a bracket capital or sira. The
intervals between upper and lower siras are filled by struts
or braces carrying an image usually a female figure carved
in high relief. These pillars also support the central dome
which is richly carved. It is seen that the Sabhamandap is
more richly carved than the Gudha Mandap.
 SURYA TEMPLE AT MODHERA :
This is a temple in which the
mandapas are joined in the
form of a parallelogram. The
external wall has a no. of
nitches to play contrast of
light & shade.
The plan consists of 3 typical
parts (i) Sabha Mandap (ii)
Gudha Mandap (iii) Prasad.
The sabha Mandap is
separated from the rest of
the temple building which
consist the Gudha Mandap &
Prasad. It is supported on
pillars which are placed in
pairs in each four sides. Each
side has four paiirs of pillars. (1) PRASADA
(2) GUDHA MANDAPA
(3) SABHA MANDAP
 The Gudha Mandap having
an entry from the western
side has a central
Octagonal nave with side
aisles. There are projecting
balconies on north and
south sides of the Gudha
Mandapa.
The Garbhagriha also has
projecting balconies in
north, south and east.
Entrance to the prasad
from the Gudha Mandap is
through a gateway having
two columns on either side.
The total length of the
temple is 145 feet and
excluding the subha
mandap is 80 feet. Width of
the temple is 50 feet. The
pillar supporting the central
dome is 17 feet high while
the side pillars are 14 feet
high. Sikhara of Gudha
Mandap is like a low
pyramid while that over
prasad is a huge structure
with urushringa. THE
THE SABHA
SABHA MANDAP
MANDAPA
A
THE MANDAPA OF THE SUN
TEMPLE AT MODHERA
 TEMPLE OF GWALIOR:
SAS-BAHU TEMPLE
These are a pair of temple
within the fort of Gwalior in
Madhya Pradesh.
In plan, the garbhagriha & the
mandap are joined together in a
diagonal arrangement.
The mandap is a 3-tier
structure consisting of a maze
of open galleries and loggias
(open skied gallery) built around
a central octagonal hall of over
80 feet high.
To support the massive
pyramidal roof, there are 4
central columns in addition to
those of the octagonal ring. The
details of the shikhara over the
garbhagriha are not known as
the temple was destroyed in an
earthquake.
SAS-BAHU TEMPLE AT
GWALIOR
 JAIN PERIOD
Although there is no style of architecture in India that can be
referred to as jain, the temples belong to this religion shows
that they are neither Buddhist nor Brahminical, but so
designed as to conform to the rituals of Jains.
Whether quarried out of rock or built of masonry the general
character of the jain architecture has been very similar in
style to that of the Buddhist and Brahminical Hindus of the
same period and same region.
The Jain temples were generally built in groups and termed
as temple cities. These temple cities are laid out on no
specific plan, the bldgs. being arranged on the contour of the
hill. Although many of the temples may seem complicated in
appearance, each is designed, as a rule, on principles
common to the religious architecture of medieval period.
 In style of individual bldgs. one variation found only in Jain temples is
noticeable, and that is frequent erecting of a class of temple known
as chaumukh or four-faced. This form of structure owes its shape to
the particular character of the image enshrines chaumukha which is
a quadraple image, or a group of four image, either of one tirthankar
or of four different tirthankars. This four faced or four doorway of the
temple affected considerably the layout design of the temple. The
Jains introduced the coloned group of small shrines around the four
sides of the courtyard in which the main temple stand.
The temple consists of an entrance portico where eight to twelve
columns are arranged in the form of an octagon set within a square.
The dome over the entrance portico is supported by these columns
joined by bracket type racking struts. The dome is built on horizontal
courses with successively diminishing square, laid diagonally to each
other. Amlaka and Kalasa are placed at the top. The beautification of
the ceiling is another important aspect of Jain Architecture.
 TEMPLE OF VIMAL SAHA AT
DILWARA :
The famous temple of Vimal
Saha at Dilwara is the example
of the Richest Jain architecture.
It is built of the finest and purest
form of white marble. The
temple is set inside a
rectangular court which has a
boundary wall with niches
containing the image of Jain
Tirthankar. This is a different
type than other Gujrati Temples.
After passing through its domed
entrance canopy and the hall
containing the statue of Vimal
Saha. One approaches the main
body of the temple consisting of
Octagonal planned mandap
connected to the shrine by
corridor having two parallel rows
of pillars.
 Ceiling over the octagonal ring of
the mandap.
The most striking feature of this
temple is the ceiling over the
octagonal ring of the mandap.
It is one of the most well
proportioned domes in
concentric circular ring and
consists of friezes having
patterns of animals in
procession similar to the design
of the plinth of other Gujurati
temples.
The dome has a pendant at the
apex made out of pristone (A
type of translucent marble)
which gives an effect of
focusing light from the center.
The concentric rings are
impregnated with precious
gems. The ornamentation is so
intricate that it is consider as
one of the architectural wonder
of the world.
THE EXQUISITE MANDAPA
 Chola & Pandhya Style : (700 1150 AD)
(1000-1250 AD)

10th & 11th century constituted the age of temple cathedrals

all over India.
When Chola dynasty began to dominate in south India they
were not satisfied with small & finer structure as that of
pallavas, rather went for gigantic structures to show their
majestic power for years to come.
The then craftsmen were skilled enough to materialize the
dream of their rulers.
During this period Tanjavur (modern Tanjore) came under
the Chalo king Raja Raja the Great (900 AD 1018 AD). He
commissioned the Brihadeswar Temple for Shiva which is
not only huge in size but on example of a step forward in
the evolution of religious architecture in south.
 The Tanjore Temple
The Tanjore temple is composed of several structures combined
axially such as Nandi pavilion, a pillared portico & a large
assembly hall all alone in the center of a specious wall enclosure.
The cella is square in plan with 24.9m sizes containing within it
the pradakhina path running all the way around the garbhagriha.
This cella rises vertically to a height of 15m & there after the
familiar pyramidal tower starts and rises to a height of another
36.5m height into the sky and finally is capped by a single
domical stone weighing more than 80 tones.
The pyramidal roof is a conglomeration of 13 diminishing tiers
one after the other.
Two flat roof mandapas are after the other. Two flat roof mandaps
are there in front of the cella along the central axis with gigantic
size keeping pace with the size of the vimana.
 55m high vimana of the Brihideswara Temple at Tanjore
capped by a single piece domical stone weighing over 80
tonnes.

Scan0064.jpg
Scan0064.jpg
 Plan of the Brihideswara temple

1 Garbagriha
2 Pradakshina path
3 Mahamandapa
4 Nandi
 The portico housing the sculptor of Nandi which is situated
along the same axis but it detached from the main temple.
The entire temple complex stands today in the middle of a
quadrangle defined by a peripheral verandah of two rows of
column.
Total height of the temple from the ground measures 60.8m.
This temple almost equals in height of that of konark and is
over 900 year it is standing as it is till today.
In constructing, the south Indian Craftsmen showed a greater
understanding of the structural temples and made it so
majestic which is seen even today. It may be assumed in
choosing the simpler and most stable form of the pyramid,
they were safer side than the North Indian builders who were
struggling with more complicated & curvilinear shape of the
shikhara. Soon the south Indian builders who created equally
complicated structure with more stability.
 GOPURAMS
The cholas were succeeded by pandyas.
The main contribution is the pandya to the works of Architecture is not
temples as whole but additional features to the ancient temples; it is
enlargement main entrance, maintenance and protection.
By the time Pandyas came to power in the south by that time already
the Muslims entered the North and created a lot of havoc in most of
the famous temples like Somanath and Deogiri.
So the external appearance of many ancient shrines was thus forcibly
that the temple could actually be called upon in an emergency.
By protecting the temples finally it was seen that the beauty of the
temple is invisible from out side, because of presence of high
enclosures.
So the pandyan designers thought of erecting lofty gateways in the
entrance point of the wall.
This serves the two-fold objective of reducing the monotonous
drabness of the enclosures and at the same time giving the temple
peripheral wall with appropriate visual impact.
 GOPURAMS

The evolution of the gopuram is derived from a rectangular

prismatic base, and a pyramid crowned with a barrel-
vaulted form derived from the Buddhist chaitya.
 These Gopuram did not disrupt the rituals and the same time gave security
to the temple.
The Gopuram is oblong in plan, the length being twice the width. The first
two storages are almost vertical and built in solid rock.
But the superstructure is pyramidal in shape built usually in brick and plaster.
It has a no of tiers diminishing at top.
The sloping sides are either relatively straight or concave and the average
angle of the slope to the vertical is about 25 0.
At the top is a barrel vault roof as that of primitive chaitya hall. Finally at the
top of it is a row of finials (always old in no.) over the barrel vault roof.
Every inch of the surface of Gopuram is covered with sculptors, polychrome
birds, apsaras and demons.
The temple became the center of social, economic and culture life of the
ornamentation.
Rooms for priests, guards are on one side of the entrance and on the other
side staircase is provided by means of which one can reach to each stories
having wide landing.
At each story one can over view the beautiful scenery. The Gopuram is a
great piece of artistic craftsmanship of remarkable details and with its
shikharas showing very high in the sky was the crowing glory of this style.
Over a period of time, a no. of such towers rising around the temple became
the familiar skyline of any sizeable urban settlement in the south. The
eastern Gopuram of the temple of Chidambaram measures 27.5m x 18m in
plan with its two storeys almost vertical of 41m in 7 storage.
THANK U