03rd August 2016

Presented By: Prof. Neelam Chauhan

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
Cover page: Source:
Kandariya Mahadeva Temple, Khajuraho. https://www.flickr.com/photos/pov_steve/2271062507
 SYLLABUS
Focus:
The Architectural Elements, Stylistic features, Symbolism, and Concepts of Space in the
Indian Architecture.

01
The Buddhist Period in India and its Monuments including Rock cut Buddhist
Chaitya Halls, Viharas and Stupas built in masonry.

02 Mauryan dynasty in India.

Early temple forms of Indian Temple Architecture – Modes and Languages of

03 Indian Temple Architecture, with illustrations of North Indian, Central Indian and
South Indian Temples.

04
Regional monuments of Gujarat and Rajasthan:
Step-wells (Vav) and Reservoirs (Kund).

05 Architecture in Maratha Period: Pols - Khadkis, Terraced Temples

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
 SYLLABUS
Focus:
The Architectural Elements, Stylistic features, Symbolism, and Concepts of Space in the
Indian Architecture.

01
The Buddhist Period in India and its Monuments including Rock cut Buddhist
Chaitya Halls, Viharas and Stupas built in masonry.

02 Mauryan dynasty in India.

Early temple forms of Indian Temple Architecture – Modes and Languages of

03 Indian Temple Architecture, with illustrations of North Indian, Central Indian and
South Indian Temples.

04
Regional monuments of Gujarat and Rajasthan:
Step-wells (Vav) and Reservoirs (Kund).

05 Architecture in Maratha Period: Pols - Khadkis, Terraced Temples

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
INDIAN TEMPLE
The temple is seen as a link between man and god; and between the actual
and the ideal. As such it has got to be symbolic.
A temple usually called Devalaya, the abode of god, is also referred to as
Prasada meaning a palace with very pleasing aspects. Vimana is another
term that denotes temple in general and the sanctum and its dome, in
particular.

At the centre of the temple is the image of divinity and its purity
Image residing at the heart of the temple is its life; and is its reason.
The purpose of a temple is its icon. And, therefore is the most important
structure of the temple is the ‘garbagriha’ where the icon resides.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
EVOLUTION OF TEMPLES
During Vedic time, Aryans worshipped the phenomenal gods like air, sun,
moon, storm, river, fire and nature.
From 6th century BC till 2nd century BC, there was only open air worship
of such gods.

In the early ages temples were not constructed but only huts were
provided which later on got some evolution till it became a solid structure.

Mahayana(one of the two major traditions of Buddhism) produced figural

representations which needed sacred places for worship.

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.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
CONCEPT OF INDIAN TEMPLE
Concept of Indian temples
also follows the tradition of
considering them as
Vastupurusha.
A Hindu temple design
follows a geometrical design
called vastu-purusha-
mandala.

The name is a composite

Sanskrit word with three of
the most important
components of the
plan. Mandala means
circle, Purusha is universal
essence at the core of Hindu
tradition, while Vastu means
the dwelling structure.
1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
ORIGIN OF VASTUPURUSH MANDALA

According to the Sthapatya

Veda (the Indian tradition of
architecture), the temple and
the town should mirror the
cosmos.

The temple architecture and

the city plan are, therefore,
related in their conception.

The square shape of the

Mandala is symbolic of earth,
signifying the four directions
which bind and define it.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
ORIGIN OF VASTUPURUSH MANDALA
Architectural design of temples in
general is intended to represent a
scale model of the cosmos (universe
or created world), and that a temple is
a conceptual (symbolic) micro-
cosmos.

Vastupurushamandala is a yantra.
The design layout of a Hindu temple is a
symmetrical, self-repeating structure
derived from central beliefs, myths,
cardinality and mathematical principles

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
VASTUPURUSH MANDALA
The grid made up of squares
and equilateral triangles is
imbued with religious
significance; with each cell
belonging to a deity.

The central portion of the

square (Brahma Sthana) is
occupied by the presiding
deity of the temple ; while the
outer cells house deities of
lower order.
yantra, mostly divided into 64
(8 x 8) or 81 (9 x 9) squares,
which are the seats of 45
divinities.

Later the concept developed

into Vastu Purusha Mandala.
(human body)

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
TEMPLE COMPLEX COMPARED TO HUMAN BODY
The temple
complex, at
large, is
compared to the
human body in
which the god
resides. And, the
other is the
symbolisms
associated with
Vimana the
temple, which
also is looked
upon as the
body of the
deity.

Source : https://sreenivasaraos.com/tag/temple-architecture/

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
TEMPLE COMPLEX COMPARED TO HUMAN BODY
The conception of the body as a temple
is explained as resembling a person
lying on his back but the legs raised
together at right angle to the body. In
the human form which is a collection of
various limbs, head, neck, chest, the
pulse or blood vessels (naadi) and feet
are singled out in this correlation of the
human form and temple. These sections
relate to the six abodes (atharam) which
are the six points of concentration in
Source: http://curryspicyhot.wix.com/curryspicyhot#!events/cfvg
yoga.

Abode Part of the body Temple section

Muladharam Thighs Sabha mandapam
Svashishtanam Navel Alamkara mandapam
Manipurakam Stomach Snapana mandapam
Anakatham Chest Maha mandapam
Visutthi Neck Artha mandapam
Aknjai Head Garbha-graham

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
Temple complex compared to human body in plan

Source: http://curryspicyhot.wix.com/curryspicyhot#!events/cfvg

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
Temple complex compared to human body in plan

Source: http://curryspicyhot.wix.com/curryspicyhot#!events/cfvg
1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
Temple complex compared to human body in Elevation
The symbolism extends to the
conception of Vimana or the
central part of the temple as the
physical form of god.

The names assigned to various

parts of the Vimana seem to go
along with this symbolism. For
instance, Pada (foot) is the
column; jangha (trunk) is parts of
the superstructure over the base;
Gala or griva (neck) is the part
between moulding which
Source: http://curryspicyhot.wix.com/curryspicyhot#!events/cfvg resembles the neck; Nasika
(nose) is any nose shaped
Pada(foot) – column
architectural part and so on. The
Jangha(trunk) – superstructure over base
garbhagrha represents the heart
Griva(neck) – parts between mouldings
and the image the antrayamin
Heart - Garbhagrha
(the indwelling Lord).

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
Source: http://curryspicyhot.wix.com/curryspicyhot#!events/cfvg
PARTS OF A TEMPLE

GARBHA-GRIHA - contains the main deity

VIMANA - tower over garbh-griha.
MANDAPA - in front of the garbha-griha.
GOPURAMS - entrance towers.
1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
PLAN OF TEMPLE

1. Ardha mandapa
2. Mandapa
3. Maha mandapa
4. Antarala
5. Garbhgriha
6. Pradakshina
7. Transepts
8. Jagati
9. Subsidiary shrines

Plan of kandariya mahadeva temple

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
PARTS OF A HINDU TEMPLE

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
PARTS OF A HINDU TEMPLE
GARBHAGRIHA:

• It literally means ‘womb-

house’ and is a cave like
sanctum.
• In the earliest temples, it
was a small cubical
structure with a single
entrance.
• Later it grew into a larger
complex.
• The Garbhagriha is made
to house the main icon
(main deity)

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
PARTS OF A HINDU TEMPLE

MANDAPA:
• It is the entrance to the temple.
• It may be a portico or pillared (series of columns placed at regular intervals) hall
that incorporate space for a large number of worshippers.
• Dances and such other entertainments are practiced here.
• Some temples have multiple mandapas in different sizes named as
Ardhamandapa, Mandapa and Mahamandapa.

SHIKHARA OR VIMANA:
• They are mountain like spire of a free standing temple.
• Shikhara is found in North Indian temples and Vimana is found in South Indian
temples.
• Shikhara has a curving shape while vimana has a pyramidal like structure.

AMALAKA:
• It is a stone disc like structure at the top of the temple and they are common in
North Indian temples.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
PARTS OF A HINDU TEMPLE

KALASHA:
• It is the topmost point of the temple and commonly seen in North Indian temples.
•
ANTARALA (VESTIBULE):
• Antarala is a transition area between the Garbhagriha and the temple’s main hall
(mandapa)

JAGATI:
• It is a raised platform for sitting and praying and is common in North Indian
temples.

VAHANA:
• It is the mount or vehicle of the temple’s main deity along with a standard pillar
or Dhvaj which is placed axially before the sanctum.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
CLASSIFICATION OF INDIAN TEMPLES
Indian temples can be classified into two broad orders as

NAGARA - (in North India) is associated with the land

between the Himalayas and Vindhyas.

DRAVIDA - (in South India) with the land between the

Krishna and Kaveri rivers.

VESARA STYLE - Temples as an independent style created

through the mixing of Nagara and Dravida orders.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
CLASSIFICATION OF INDIAN TEMPLES

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
The Nagara or North Indian Temple Architecture
Some of the best examples of the north
Indian style (Nagara style) of temple
architecture are the Khajuraho Group of
temples, Sun temple, Konark, Sun temple
at Modhera, Gujarat and Ossian temple,
Gujarat.
1035004 History of Architecture-I 3rd Semester
• The nagara style has its origin in
the structural temple of the Gupta
period
• Two distinct features of the nagara
style are planning and elevation
• It is common here to build an entire
temple on a stone platform with
steps leading up to it. Originally in
nagara style there were no pillar.
• Unlike in south India, it doesn’t
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.
August 2015 L J School of Architecture, Ahmedabad
The Nagara or North Indian Temple Architecture
• The plan is square with a number
of gradual projections in the
middle of each side which
imparts it a cruciform shape.
• These projections can occur
throughout the height of the
structure.
• In elevation it exhibits a
tower(sikhara) gradually inclining
towers in a convex curve.
• The projections in the plan are
also carried upwards to the top of
the shikhara and is called the
rekha sikhara.
• By the 8th century the nagara
style emerges in its characteristic
form.
• The nagara style exhibits distinct
varieties in elaboration.

Plan and Section of Lingaraja temple, orrisa

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
The Dravida or South Indian Temple Architecture
• The Dravida temple is enclosed within
a boundary wall.
• Common characteristics of the Dravida
style is the paramedical elevation of
the tower.
• The front wall has an entrance
gateway in its centre, which is known
asGopura/ Gopuram.
• The shape of the main temple tower is
known as Vimana (shikhara in nagara
style).
• The vimana is like a stepped pyramid
The finest examples of Dravidian style that rise up geometrically rather than
(south Indian style) are temples of Tanjore, the curving shikhara of north India.
Madurai, Mahabalipuram, Badami,
Pattadakal and Kanchipuram.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
The Dravida or South Indian Temple Architecture

• Vimana consists of multiplication of story after storey slightly reduced than

one below, ending in a domical member, technically known as the stupi or
stupica.
• Vimana is crowned by a chakra in a lord vishnu temple and trident in a lord
shiva temple.
• In this style they also have dedicated pavilions for example, shiva temples
have dedicated mandapa of nandi or vishnu temples have garuda
mandapa.
• In later period, storeys in vimana become more and more compressed,
pillared halls and corridors and the immense Gopurams were added.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
The Vesara Style
Vesara style evolved in Karnataka during
the medieval centuries.
The versana style is also known as central
This style contains elements from nagara
and dravida architectural styles.
The vesara style became popular after the
mid 7th century.
This style reduces the height of the
individual tiers without reducing their
number resulting in a reduction in the
height of the temple towers.

The semi-circular structures of the Buddhist Chaityas are also incorporated in

some of the temples of this style.

The temples of Halebid, Belur, Somnathapura and Pattadakal are some of the
examples of this style.

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
Difference between Nagara & Dravidian style

Nagara style Dravida style

• The sikhara is curvilinear • The sikhara is pyramidal

• Pillars do not play • Pillars play important part in

important role architecture

• Tank is absent • Tank is an important element

• Enclosure absent • Enclosure are provided with

gopurams
• In the vastusastra these
temples are called • These temples are called
Prasada vimana

• These temples are divided • These have six fold vertical

into triple vertical parts. parts

1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad
Difference between Nagara & Dravidian style
Plan
The plan is square with a number of
a gradual projections in the middle of
each side which imparts it a
cruciform shape.
Shikhara
The nagara style have a beehive
shaped tower made up of layer upon
layer of architectural element such
as kapotas and gavaksas, all topped
by a large round cushion like
element called Amalaka
1035004 History of Architecture-I
In the plan the temple represents a
square chamber as a sanctum cell
within the square enclosure serving as
pradakshina
Vimana
Dravida or southern style has a
pyramid shaped tower consisting of
progressively smaller storeys of small
pavilions, a narrow throat, and a dome
on the top called a shikhara
3rd Semester August 2015 L J School of Architecture, Ahmedabad
INDIAN TEMPLE

Northen style

Southern style
1035004 History of Architecture-I 3rd Semester August 2015 L J School of Architecture, Ahmedabad