ST Divided in 7 Periods 1. Original indaans (170086330086) 5 Indus Valloy Civilization: Mahanja-daro 2 Hatappa People ‘Aryans (250086 - 22280) 5 Inlt's Root Cultura ‘The Mauiyan Empire ($2286 - 18680) Spread of Bucdhism . ‘Gupta Period (320AD ~ 480AD) © Golden Age of Incia 5. Muslim Period (1 178AD—1800AD) © Turks and Mughals 8 European Alule (1800AD ~ 1947AD) © Portuguese, French, Dutch, and English Independence and Democratic IndiaIn the early years, when the temple building had just begun, the shape of their superstructures can distinguish the’ two styles, ‘The most significant difference between the later northern and southern styles are the gateways. The shikhara in the north Indian temples remained the most prominent component of the temple and the gateway was ordinarily ‘unassuming, In the south Indian temples, the enclosure walls were built around the whole complex. Jaborate and often magnificent gateways called gopurams were leally set along the east-west and north-south axes of these walls, which led the devotees into the sacred courtyard. Less obvious differences between the two main temple types include the ground plan; the selection and positioning of stone-carved deities ‘on the outside walls and the interior, and the range of decorative elements that are sometimes so numerous as to almost obscure the underlying architecture.Kandariya Mahadeva Temple, Khajuraho J astwaal - Jf _, wedhamandap Fx SfPanchayantana Temple * Five shrined complex — Main shrine at the centre and four subsidiary shrines on the four corners of the large platform.Principal architectural features of a temple a ‘SHIKHARA MANDAPA VIMANA. garbha-grina‘The Hindu temple architecture developed ‘over two thousand y The architectural evolution of the indian temples 100k place within the rigid frameworks derived cetirely from religious thoughtfulness ‘Therefore the architect was bound to keep to the ancient primary dimensions and strict configurations, which remained unaltere over the period of time. Temple Architecture of India aExamples * The best examples of the north Indian style of temple architecture are the Khajuraho Group of temples, Sun temple, Konark, Surya temple, Modhera, Gujarat and Ossian temple, Ossian, Gujarat. * The finest examples of Dravidian style are temples of Tanjore, Madurai, Mahabalipuram, Badami, Pattadakal and Kanchipuram.Kandariya Mahadeva Temple, Khajuraho Largest and loftiest in the Khajuraho group 109 X 60ft Height of it shikhara is 116ft 6 inches Mandapa size — 25 ft X 25 ft No enclosure walls Erected on platform (Jagatis) which are large enough to perform pradhakshina Garbhagriha, antharala, mahamandapa, mandapa and arthamandapa presenttO ee 500 healing classi plants identified Gupta Printed Achievements medicinal guides Kalidasa Plastic Inoculations C-sections Solar performed Cilendad System The earth Concept PL = 3.1416 is round of ZeroPanchayantana Temple * Five shrined complex — Main shrine at the centre and four subsidiary shrines on the four corners of the large platform.Kandariya Mahadeva Temple, Khajuraho Largest and loftiest in the Khajuraho group 109t X 60ft Height of it shikhara is 116ft 6 inches Mandapa size — 25 ft X 25 ft No enclosure walls Erected on platform (Jagatis) which are large enough to perform pradhakshina Garbhagriha, antharala, mahamandapa, mandapa and arthamandapa presentKhajuraho group of temples + The temples have been built from granite or sandstone, the two chief rocks found in this area upon raised platforms. + The platforms themselves stand on solid rock masses that are one of the oldest rocks on this earth.The Kendariya Mahadeo temple is the finest example in Indo-Aryan temple style because of its attainment of unity in design of its components such as mandapas. Ii becomes a composite design in plan and exterior profile. It results into overall jagged srofile of mostly revered ailash. The raised platform on which the temples 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.* The sculptures are exquisite. + They show the daily lives of the kings (hunting etc), the deities in their various forms, the beautiful apsarases in their elegant and enticing postures and other royal motifs like lions and elephants.Eastern Indian temples of Orissa Under the ancient name of Kalinga, Orissa was the seat of great empires as far back as 300 B.C. as the most remarkable examples of architectural achievement in all of Asia Although Orissa presents a fairly large variety of styles in temple building, it has nevertheless a characteristic architectural genius. Its temples have been described as one of the most compact and homogeneous architectural groups in India. In these the Indo-Aryan style of architecture may be seen at its best and purest.Eastern Indian temples of Orissa The design which flourished in eastern Indian state of Orissa and Northern Andhra Pradesh are called Kalinga style of architecture. The style consists of three distinct type of temples namely Rekha Deula, Pidha Deula and Khakhara Deula. Deula means "Temple" in the local language. The former two, are associated with Vishnu, Surya and Shiva temple while the third is mainly with Chamunda and Durga temples The Rekha deula and Khakhara deula houses the sanctum. sanctorum while the Pidha Deula constitutes outer dancing and offering halls. The prominent examples of Rekha Deula are Lingaraj Temple of Bhubaneswar and Jagannath Temple of Puri. The Konark Sun Temple is a living example of Pidha Deula.The temple-building movement in Orissa, which reached its peak of excellence in the 10th and 1 Ith centuries, stretches from roughly 650A.D. to 1200 A.D. and illustrates more coherently than any other similar movement the growth and development of the Nagara style of architecture. In general, all Orissan temples follow a common structural plan, Atypical temple consists of two apartments. ‘The deu!, corresponding to the southern vimana, is the cubical inner apartment which enshrines the image, and is surmounted by a tower. In front of this is the antarala or porch called the jaganmohan which is usually square-shaped and has a pyramidal roof. Occasionally, one or two more mandapas, such as_ the natmandir and the bhogmandir, can be found in front of the jaganmohan, but these, where they exist, are almost without exception were superimposed on top of the original plan,‘Simplified schema of a Hindu temple Axis westenst(ES) elephants Ruined &.pidha jagamohan rekha deulBhubaneswar has the richest profusion of temples and is known, as the temple town of Orissa, not only because of the large number of temples found there, but also because it is the home of the famous Lingaraja temple. The city of Bhubaneswar is believed to have been created by Yayati, founder of the Kesari dynasty of Orissa. ‘The striking concentration of temples in Bhubaneswar is partly accounted for by the Pact that the city was the seat of powerful religions. The sacred lake of Bhuban was once encircled by 7.000 shrines, of which only 500 now survive in different sages of dilapidation.Lingaraja temple The great Lingaraja temple, believed to have been built around 1000 A.D. It stands ina cluster of sixty-five smaller shrines in a spacious compound meausring 520 feet by 465 feet and its mighty tower (the vimana) dominates the landscape for miles around. Constructed without mortar, this tower is 127 feet high and is divided into vertical sections. The angles of the recesses are filled in with miniature vimanas and on the top, are figures representing a lion crushing an elephant.Lingaraja temple + Initially it consisted of a cella and a mandapa + Cella — 56ft square and rises about 140 ft + Mandapa is rectangularMukteshwar Temple Little Architectural Gem Deul and Jagmohan Length — 45ft, width - 25it, shikhara height — 35ft Heavy ormamentation and interesting carving Shikhara— well proportioned Entrance — Torana ~ semicircular arch carried by two pillarsJagannath temple, PuriSun Temple, KonarkSun Temple, Konark Sun God — in ruins today Greatest achievement in Orissan architecture Temple conceived as the etemal sun god travelling in a ratha (chariot) ~ the chariot of time. High plinth 12 no; of 10ft diameter wheels (6 on either side) Drawn by a team of 7 horses Upper part of the ratha ~ Deul aid lagmohan Path on the plinth for parikarma 3 subsidiary shrines on S, W and NParts of a Hindu temple Garbha-griha, which contains the main deity of the temple. It has a tower called a vimana over it. The ardha-mandapa and maha-mandapa are in front of the garbha-griha (inner sanctum). The gopurams are entrance towers. The veranda next to the inside walls of the pradakshina path. Tanks and wells, which are either sacred or for bathing purposes. Subsidiary deities and shrines dedicated to minor gods.= X= Execs Towering, massive & impressive Importance of the temple within the city precincts without in altering the form of the temple Natural population increase Erect yet another wall around the existing one ity grew much like the annular rings ofa tree Great temple of Sirangam at TiruchirapalliST Divided in 7 Periods 1. Original indaans (170086330086) 5 Indus Valloy Civilization: Mahanja-daro 2 Hatappa People ‘Aryans (250086 - 22280) 5 Inlt's Root Cultura ‘The Mauiyan Empire ($2286 - 18680) Spread of Bucdhism . ‘Gupta Period (320AD ~ 480AD) © Golden Age of Incia 5. Muslim Period (1 178AD—1800AD) © Turks and Mughals 8 European Alule (1800AD ~ 1947AD) © Portuguese, French, Dutch, and English Independence and Democratic IndiaThe architect and sculptor were given a plenty of freedom in the omameniation and decoration of the temples. This resulted in an overwhelming riches of architectural elements, sculptural forms and decorative ebullience that is the characteristic feature of Indian temple architecture has few analogues in the aesthetic manifestation of the le world.North-Central Indian temples of Khajuraho The temples at Khajuraho, built by the Chandella rulers circa 1000 AD are at the pinnacle of the Nagari architectural style. 900 AD to 1100 AD The Nagari style has several distinct features, all of which are clearly manifested in the temples at Khajuraho.+ Figure sculptures are miniature representations that stand by themselves, including architectural components on pilasters, buildings, sculptures, and complete towers. + They are generally categorised as "figure sculpture" or "other decorative features". * On occasion, rich figure sculpture can obscure the articulation of a shrine, when representations of gods, goddesses, and mythical figures are in abundance.iH© ‘The Hindu temple Temple Architecture of architecture developed over two thousand India years, + The architectural evolution of the indian temples took place within the rigid frameworks derived entirely from religious thoughtfulness. + Therefore the architect was hound to keep to the ancient primary dimensions and strict configurations, which remained unaltered over the period of time.The architectural elements and decorative details in the temple had their origin in the early wood, timber and thatch buildings. It had persisted for centuries in one form or another in the stone structures even though the original purpose and context was lost. This can be studied from the horseshoe shaped window. The origin of this type of window can be traced from the chaitya arch doorway first at the Lomash Rishi cave in the Barabar Hills used in the 3rd century BC. It was transformed later into a dormer window known as a gavaksha and eventually it was used strictly as the decorative design of interlaced forms seen on the towers of medieval temples.The architect and sculptor were given a plenty of freedom in the ornamentation and decoration of the temples. This resulted in an overwhelming riches of architectural elements, sculptural forms and decorative ebullicnce that is the characteristic feature of Indian temple architecture has few analogues in the aesthetic manifestation of the whole world.The distinct architectural styles of temple construction of the north India and the south India was the result of the broad geographical, climatic, ethnic, racial, historical and linguistic differences resulted, from early on, in. The Vastu Shastras, the ancient canonical texts on architecture, classify temples into three different orders: the Nagara or the Indo-Aryan or Northern style, the Dravida or the Southern style and the Vesara or Mixed style of temple architecture. There are also definite regional styles in peripheral areas like Bengal, Kerala and the Himalayan areas.In the early years, when the temple building had just begun, the shape of their superstructures can distinguish the two styles. The most significant difference between the later northern and southern styles are the gateways. The shikhara in the north Indian temples remained the most prominent component of the temple and the gateway was ordinarily unassuming. In the south Indian temples, the enclosure walls were built around the whole complex. Elaborate and often magnificent gateways called gopurams were ideally set along the east-west and north-south axes of these walls, which led the devotees into the sacred courtyard. Less obvious differences between the two main temple types include the ground plan; the selection and positioning of stone-carved deities on the outside walls and the interior, and the range of decorative elements that are sometimes so numerous as to almost obscure the underlying architecture.Examples ¢ The best examples of the north Indian style of temple architecture are the Khajuraho Group of temples, Sun temple, Konark, Surya temple, Modhera, Gujarat and Ossian temple, Ossian, Gujarat. * The finest examples of Dravidian style are temples of Tanjore, Madurai, Mahabalipuram, Badami, Pattadakal and Kanchipuram.Parts of a Hindu temple Garbha-griha, which contains the main deity of the temple. It has a tower called a vimana over it. The ardha-mandapa and maha-mandapa are in front of the garbha-griha (inner sanctum). The gopurams are entrance towers. The veranda next to the inside walls of the pradakshina path. Tanks and wells, which are either sacred or for bathing purposes. Subsidiary deities and shrines dedicated to minor gods.North-Central Indian temples of Khajuraho The temples at Khajuraho, built by the Chandella rulers circa 1000 AD are at the pinnacle of the Nagari architectural style. 900 AD to 1100 AD The Nagari style has several distinct features, all of which are clearly manifested in the temples at Khajuraho.Panchayantana Temple + Five shrined complex — Main shrine at the centre and four subsidiary shrines on the four corners of the large platform.Architectural Features -Khajuraho 1000 AD High terraces Flight of steps — 10 to 12 ft Unity of composition Cella, mandapa and the entrance vestibule are the parts of a harmonious whole Shikharas— Architectural materpieces Vertical axis Top piece — Amalaka or capstone in perfect rhythin with the curvilinear outline of the shikhara Kalasa on topKandariya Mahadeva Temple, Khajuraho mahamacddap antaraal mandap Bettman ardhamandap /Kandariya Mahadeva Temple, Khajuraho Largest and loftiest in the Khajuraho group 109t X 60ft Height of it shikhara is 116ft 6 inches Mandapa size — 25 ft X 25 ft No enclosure walls Erected on platform (Jagatis) which are large enough to perform pradhakshina Garbhagriha, antharala, mahamandapa, mandapa and arthamandapa presentKhajuraho group of temples + The temples have been built from granite or sandstone, the two chief rocks found in this area upon raised platforms. + The platforms themselves stand on solid rock masses that are one of the oldest rocks on this earth.The Kendariya Mahadeo temple is the finest example in Indo-Aryan temple style because of its attainment of unity in design of its components such as mandapas. Ii becomes a composite design in plan and exterior profile. It results into overall jagged srofile of mostly revered ailash. The raised platform on which the temples 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.* The sculptures are exquisite. + They show the daily lives of the kings (hunting etc), the deities in their various forms, the beautiful apsarases in their elegant and enticing postures and other royal motifs like lions and elephants.Eastern Indian temples of Orissa Under the ancient name of Kalinga, Orissa was the seat of great empires as far back as 300 B.C. as the most remarkable examples of architectural achievement in all of Asia Although Orissa presents a fairly large variety of styles in temple building, it has nevertheless a characteristic architectural genius. Its temples have been described as one of the most compact and homogeneous architectural groups in India. In these the Indo-Aryan style of architecture may be seen at its best and purest.Eastern Indian temples of Orissa The design which flourished in eastern Indian state of Orissa and Northern Andhra Pradesh are called Kalinga style of architecture. The style consists of three distinct type of temples namely Rekha Deula, Pidha Deula and Khakhara Deula. Deula means "Temple" in the local language. The former two, are associated with Vishnu, Surya and Shiva temple while the third is mainly with Chamunda and Durga temples The Rekha deula and Khakhara deula houses the sanctum. sanctorum while the Pidha Deula constitutes outer dancing and offering halls. The prominent examples of Rekha Deula are Lingaraj Temple of Bhubaneswar and Jagannath Temple of Puri. The Konark Sun Temple is a living example of Pidha Deula.The temple-building movement in Orissa, which reached its peak of excellence in the 10th and 1 Ith centuries, stretches from roughly 650A.D. to 1200 A.D. and illustrates more coherently than any other similar movement the growth and development of the Nagara style of architecture. In general, all Orissan temples follow a common structural plan, Atypical temple consists of two apartments. ‘The deu!, corresponding to the southern vimana, is the cubical inner apartment which enshrines the image, and is surmounted by a tower. In front of this is the antarala or porch called the jaganmohan which is usually square-shaped and has a pyramidal roof. Occasionally, one or two more mandapas, such as_ the natmandir and the bhogmandir, can be found in front of the jaganmohan, but these, where they exist, are almost without exception were superimposed on top of the original plan,‘Simplified schema of a Hindu temple Axis westenst(ES) elephants Ruined &.pidha jagamohan rekha deulBhubaneswar has the richest profusion of temples and is known, as the temple town of Orissa, not only because of the large number of temples found there, but also because it is the home of the famous Lingaraja temple. The city of Bhubaneswar is believed to have been created by Yayati, founder of the Kesari dynasty of Orissa. ‘The striking concentration of temples in Bhubaneswar is partly accounted for by the Pact that the city was the seat of powerful religions. The sacred lake of Bhuban was once encircled by 7.000 shrines, of which only 500 now survive in different sages of dilapidation.Lingaraja temple The great Lingaraja temple, believed to have been built around 1000 A.D. It stands ina cluster of sixty-five smaller shrines in a spacious compound meausring 520 feet by 465 feet and its mighty tower (the vimana) dominates the landscape for miles around. Constructed without mortar, this tower is 127 feet high and is divided into vertical sections. The angles of the recesses are filled in with miniature vimanas and on the top, are figures representing a lion crushing an elephant.Lingaraja temple + Initially it consisted of a cella and a mandapa + Cella — 56ft square and rises about 140 ft + Mandapa is rectangularMukteshwar Temple Little Architectural Gem Deul and Jagmohan Length — 45ft, width - 25it, shikhara height — 35ft Heavy ormamentation and interesting carving Shikhara— well proportioned Entrance — Torana ~ semicircular arch carried by two pillarsJagannath temple, PuriSun Temple, KonarkSun Temple, Konark Sun God — in ruins today Greatest achievement in Orissan architecture Temple conceived as the etemal sun god travelling in a ratha (chariot) ~ the chariot of time. High plinth 12 no; of 10ft diameter wheels (6 on either side) Drawn by a team of 7 horses Upper part of the ratha ~ Deul aid lagmohan Path on the plinth for parikarma 3 subsidiary shrines on S, W and NSun Temple, Konark Main entry —wide flight of steps in East, Height of the tall Deul — shikhara ~ about 225ft Cella —25f X25 fi Jagmohan ~ 100ft X 100ft, ht (00ft — cubical mass, ‘Temple is full of sculptures of erotic nature ‘Temple stands in the centre of a large enclosure — 860) ft X 540 ft Dwajasthamba nd Nat mandir in front Stone ~ good variety of laterite Mortarless workSun Temple, Konark ‘The natmandir and the bhogmandir were detached structures, all enclosed within a courtyard measuring 865 fi. by $40 ft. ‘The sculptures executed in hard stone to ensure their preservation, display an exuberance of mood and appearance rarely encountered elsewhere. The technique also varies from designs carved with minute precision to vigorous groups modeled on a massive scale. Much of the relief work on the outer walls of the temple at Konark -- as of certain other temples in Orissa --has an obviously erotic import. ‘This is indicative of the emergence of a phase in Hinduism known as Tanuism, the mithuna ritual of which is depicted in the carvings of this temple as well as of the temples in Mathura and Khajuraho. According to Tantric thought, all human experience ~ which by implication also includes experience connected with carnal desire ~ has a value, for it is only through experience that man can attain the stage of self-immolation.Chalukyan style is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of central Karnataka, India, during the 11th and 12th centuries. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre- existing dravida (South Indian) temples, defined the Karnata dravida tradition Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style.The Chalukyan style originated in Aihole around A.D. 450 and was perfected in the neighbouring villages of Badami and Pattadakal (all in Bagalkot district of Karnataka). Chalukyan artists experimented with different styles, blended the Indo-Aryan Nagara and Dravidian styles, and evolved their own distinctive style. One can see magnificent examples of their earliest works in Aihole, Badami and Pattadakal. These certainly are not the earliest temples. Temples were constructed centuries before the 4th and Sth century A.D., but with wood and bricks and have not survived.The Chalukyan style originated in Aihole around A.D. 450 and was perfected in the neighbouring villages of Badami and Pattadakal (all in Bagalkot district of Karnataka). Chalukyan artists experimented with different styles, blended the Indo-Aryan Nagara and Dravidian styles, and evolved their own distinctive style. One can see magnificent examples of their earliest works in Aihole, Badami and Pattadakal. These certainly are not the earliest temples. Temples were constructed centuries before the 4th and Sth century A.D., but with wood and bricks and have not survived.* The surviving Western Chalukya monuments are temples built in the Shaiva, Vaishnava, and Jain religious traditions. * None of the military, civil, or courtly architecture has survived; being built of mud, brick and wood, such structures may not have withstood repeated invasions.Chalukyan temples fall into two categories — the first being temples with a common mantapa (a colonnaded hall) and two shrines (known as dvikuta), and the second being temples with one mantapa anda single shrine (ekakuta). Both kinds of temples have two or more entrances giving access to the main hall. This format differs from both the designs of the northern Indian temples, which have a small closed mantapa leading to the shrine and the southern Indian temples which generally have a large, open, columned mantapa.The Chalukyan architects retained features from both northern and southem styles. However, in the overall arrangement of the main temple and of the subsidiary shrines, they inclined towards the northern style and tended to build one main shrine with four minor shrines, making the structure a panchayaina or five-shrined complex. Chalukyan temples were, almost always, built facing the east. The Sanctum (cella) is connected by a vestibule (ardha mantapa or ante-chamber) to the closed mantapa (also called the navaranga), which is connected to the open mantapa. Occasionally there can be two or more open mantapas. In Shaiva temples, directly opposite the sanctum and opposite the closed mantapa is the nandi mantapa, which enshrines a large image of Nandi, the bull attendant of Shiva. The shrine usually has no pradakshina.A typical Western Chalukya temple may be examined from three aspects — * the basic floor plan, * the architectural articulation, and * the figure sculptures. * The basic floor plan is defined by the size of the shrine, the size of the sanctum, the distribution of the building mass, and by the pradakshina (path for circumambulation), if there is one.Hoysala style * The merging of the Dravidian and North Indian styles created a temple that is unique, so much so that it is often classified as the Hoysala style.The Star in Plan To add to its distinctiveness, the Hoysala temple in plan composed of numerous cellas or garbha-grihas served by a common mandapa. The plan of each of these cellas was a star. The departure from the accepted square form of the temple is understandable when we analyze the plan and see that it is made up of a grid of rotating squares. The resulting outline thus emerge: 4 The mandapa remained a square, though it was now distinguished by circular columns, the shafts of which had been lathed and thus acquired a number of parallel knife-edges.Somnathpur Temple The Somnathpur Temple is said to be the finest example of Hoysala Architecture and was built in 1268 under the Hoysala king Narasimha III. It is built using chloritic chist (Soapstone) The architect/sculptor was Ruvari Malithamma who has kindly left his signatures for easy identification. It is also symmetrical in its design, it has 3 shrines, each of which are equally important, having intricate carvings.Somnathpur Temple There is a high outer compound that surrounds the temple and a Lamp Pillar on the grounds outside, it could also be a Garuda Stumbha (Column) since it is the mount of Vishnu and this is a Vishnu temple. Once inside there is a lengthy inscription carved in kannada on an enormous tablet that describes the origins of the temple. There is a covered walk way all around the temple, which is closed and currently held up by steel supports and apparently under restoration. There are huge lathe carved pillars that hold up the structures inside the temple itself There are 3 deities inside all are forms of Vishnu. There are no Shivaite statutes here.Somnathpur Temple Though built around a SOMNATHPUR, Keshava Temple single shrine, the temple - has all the distinguishing features of the Hoysala style - a pillared mandapa, bell-shaped i towers and above all the J ie star-shaped plan. . The gaps between the outer pillars were covered with a jaali meant to provide privacy for the 188 —_‘Sowce: Monement of tas Brahmins, and especially the ‘highly seductive dancing of the devdasis'+ Architectural articulation refers to the omamental components that give shape to the outer wall of the shrine. + These include projections, recesses, and representations that can produce a variety of patterns and outlines, either stepped, stellate (star-shaped), or square. If stepped (also called "stepped diamond of projecting corners”), these components form five or seven projections on each side of the shrine, where all but the central one are projecting corners (projections with two full faces created by two recesses, left and right, that are at right angles with each other).