indo aryan notes

INDO ARYAN
ARCHITECTURE
HISTORY OF ACHITECTURE SEMESTER 4 – STUDY
MATERIAL
HISTORY OF ARCHITECTURE – SEMESTER IV
INDO ARYAN CIVILIZATION
North Indian temples generally consist of a sanctum enshrining the main image, usually
square in plan and shaped like a hollow cube, and one or more halls (called
maṇḍapas), aligned along a horizontal axis. The sanctum may or may not have an
ambulatory, but it is invariably dark, the only opening being the entrance door. The
doorway surrounds are richly decorated with bands of figural, floral, and geometrical
ornament and with river-goddess groups at the base. A vestibule (antarāla) connects
the sanctum to the halls, which are of two broad types: the gūḍhamaṇḍapas, which are
enclosed by walls, light and air let in through windows or doors; and open halls, which
are provided with balustrades rather than walls and are consequently lighter and airier.
The sanctum almost invariably, and the maṇḍapas generally, haveśikharas; those on
the sanctum, appropriately, are the most dominant in any grouping. Internally, the
sanctum has a flat ceiling; the śikhara is solid theoretically, though hollow chambers to
which there is no access must be left within its body to lessen the weight. The ceilings of
the halls, supported by carved pillars, are coffered (decorated with sunken panels) and
of extremely rich design.
The sanctum is often set on a raised base, or a plinth (pīṭha), above which is a
foundation block, or socle (vedībandha), decorated with a distinct series of moldings;
above the vedībandha rise the walls proper (jaṅghā), which are capped by a cornice
or a series of cornice moldings (varaṇḍikā), above which rises the śikhara. One, three,
and sometimes more projections extend all the way from the base of the temple up the
walls to the top of the śikhara. The central offset (bhadra) is the largest and generally
carries an image in a niche; the other projections (rathas), too, are often decorated
with statuary.
The entire temple complex, including sanctum, halls, and attendant shrines, may be
raised on a terrace (jagatī), which is sometimes of considerable height and size. The
attendant shrines—generally four—are placed at the corners of the terrace, forming
a pañcāyatana, or quincunx, arrangement that is fairly widespread. The temple
complex may be surrounded by a wall with an arched doorway (toraṇa).
The śikhara is the most distinctive part of the North Indian temple and provides the basis
for the most useful and instructive classification. The two basic types are
called latina and phāmsanā. Curvilinear in outline, the latina is composed of a series of
superimposed horizontal roof slabs and has offsets called latās. The edges of
the śikhara are interrupted at intervals with grooved discs, each one demarcating a
“story.” The surface of the entire śikhara is covered with a creeper-like tracery, or
interlaced work, composed of diminutive ornamental candraśālās.
The śikhara is truncated at the top and capped by a shoulder course (skandha), above
which is a circular necking (grīvā), carrying a large grooved disc called
the āmalasāraka. On it rests a pot and a crowning finial (kalaśa).
Unlike the latina, the phāmsanā śikhara is rectilinear rather than curvilinear in outine,
and it is lower in height. It is composed of horizontal slabs, like the latina, but is capped
by a bell-shaped member called the ghaṇṭā. The surface of this type ofśikhara may
have projections, like the latina śikhara, and be adorned with a variety of architectural
ornament.
From the 10th century onward, the śekharī type of spire, an elaboration of
the latina type, became increasingly popular. In its developed form it consisted of a
central latina spire (mūlaśṛṅga) with one or more rows of half spires added on the sides
(uraḥ-śṛṅga) and the base strung with miniature spires (śṛṅgas). The corners, too, are
sometimes filled with quarter spires, the whole mass of carved masonry recalling a
mountain with a cluster of subsidiary peaks.
The latina and śekharī spires are generally found on the sanctum, while
the phāmsanā and its variants are usually confined to the maṇḍapas, or halls. The
sanctum spires also have a large and prominent projection in front (śukanāsā),
generally rising above the vestibule (antarāla). These projections are essentially large
ogee arches of complex form, which often contain the image of the presiding deity.
A particularly rich and pleasing variety of North Indian śikhara, popular in Mālwa,
western India, and northern Deccan, is the bhūmija type. It has a central projection on
each of the four faces, the quadrants so formed filled with miniature spires in vertical
and horizontal rows right up to the top.
Although basically reflecting a homogeneous architectural style, temple architecture in
northern India developed a number of distinct regional schools. A detailed elucidation
of all has yet to be made, but among the most important are the styles of Orissa,
central India, Rājasthān, and Gujarāt. The style of Kashmir is distinct from the rest of
northern India in several respects, and hardly any examples of the great schools that
flourished in modern Uttar Pradesh, Bihār, and Bengal are left standing. The North Indian
style also extended for some time into the Karnataka (formerly Karṇāṭa) territory,
situated in the southern Deccan, though the architecture of Tamil Nadu was relatively
unaffected by it.
( notes to study)
• Indo Aryan temples generally consist of a sanctum enshrining the main image,
usually square in plan and shaped like a hollow cube, and one or more halls
(called maṇḍapas), aligned along a horizontal axis.
• The sanctum may or may not have an ambulatory, but it is invariably dark, the
only opening being the entrance door.
• . The doorway surrounds are richly decorated with bands of figural, floral, and
geometrical ornament and with river-goddess groups at the base.
• A vestibule (antarāla) connects the sanctum to the halls, which are of two
broad types: the gūḍhamaṇḍapa, which are enclosed by walls, light and air let in
through windows or doors; and open halls, which are provided with balustrades
rather than walls and are consequently lighter and airier.
• The sanctum almost invariably, and the mandapas generally, have śikharas;
those on the sanctum, appropriately, are the most dominant in any grouping.
Internally, the sanctum has a flat ceiling; the śikhara is solid theoretically, though
hollow chambers to which there is no access must be left within its body to lessen
the weight. The ceilings of the halls, supported by carved pillars, are coffered
(decorated with sunken panels) and of extremely rich design.
• The sanctum is often set on a raised base, or a plinth(pīṭha), above which is a

foundation block, or socle(vedībandh), decorated with a distinct series of
moldings; above the vedībandha rise the walls proper (jaṅghā), which are
capped by a cornice or a series of cornice mouldings (varaṇḍikā), above which
rises the śikhara. One, three, and sometimes more projections extend all the way
from the base of the temple up the walls to the top of the śikhara. The central
offset (bhadra) is the largest and generally carries an image in a niche; the other
projections (rathaa), too, are often decorated with statuary.
• The entire temple complex, including sanctum, halls, and attendant shrines, may
be raised on a terrace (jagatī), which is sometimes of considerable height and
size. The attendant shrines—generally four—are placed at the corners of the
terrace, forming a pañcāyatana, or quincunx, arrangement that is fairly
widespread. The temple complex may be surrounded by a wall with an arched
doorway (toraṇa).
Parts of an Aryan temple in Orissa.

The temples of Orissa provide the most logical beginning for a study of the Indo
Aryan style. The generic name for the temple is deul; but often it is referred to the
sanctuary only. In front of the duel is a square building or assembly hall corresponding
to the mandapa in other parts but here it is called the Jag Mohan. These two form the
primary Orissa temple type. As time progressed the temple rituals also grew more
elaborate , other building were found more necessary and were added to the front of
the assembly hall , thus presenting in the larger series of one axial alignment. The two
buildings which usually supplement each other were the nat mandir or the dancing hall
, and the one in front of this was the bhog mandir the hall of offering. Standing on the
basement or a plinth ( pista), these halls were one storied structures and the elevation
consists of two parts the cubicle portion or the bada below and the pyramidal portion
or the pida above. In the same way the lower portion of the duel is called as the bada ,
but above it is resolved into three parts comprising of the tall middle portion or chhapra,
the fluted disc called the amala and its finial or kalasa.
Characteristics of the orissan architecture
The mandapa got more distinctive.
The pillars were mostly absent except in mukteshwar where we have decorative
statues.
Mukteshwar temple
Mukteshwar temple the first prominent indo Aryan temple at Orissa.
Consists only of the Vaital Deul and Jagmohan.
• Middle period of kalinga dynasty dating from 900 to1100 A.D.
• Vital duel and jagmohan are the prominent building types.
• The temple is 45 feet long , 25 feet at its widest part and the tower is 35 feet high.
• The torna entrance is the unique feature of the temple. It is two detached pillars
supporting around arch within a semicircular pediment, the whole being very
substantially proportioned.
• It the one of the few temples of the kaliga dynesty to have carved sculptural
decoration in its interior.
Lingaraj temple
The lingaraja temple consists of four structures which comprise of the fully
developed orissan temple type called the deul or sri mandir, as it is called in this
particular instance, and corresponding to the vimana in other parts, the pillared hall or
jagamohan, in other words the mandapam, the dancing hall or nat mandir, and the
hall of offering or Bhog mandir.
The buildings are all deposited on the same axis, which extends from east to west
each dating from a different period.
Initially consist only of a cella and a mandapa.
The cella has a base of 56 ft (17m) square known as the bada and rises about
140 ft into the sky. The mandapa is rectangular in plan, large enough to require
additional support in the form of four massive central columns and its pyramidical roof
reaches a height of almost 100ft. Above that rises the neck or the beki, over which is the
fluted discord amila sila, supported by vase shaped finial bearing the trisula . all the
middle sections of the tower are richly textured by means of the horizontal mouldings ,
which carried in lines across recessed chases of the sides producing a background for
specific motifs.
There are two more halls added to the existing mandapa or jagmohan of the
lingaraja. They were the nat mandir or the dancing chambers, the bhog mandir or the
hall of offering. For the fulfilment of the ritual of entertainment and blessings, the nat
mondir and bhog mandir was attached to the deul jagmohan axis. The square
additional halls added volume to the temple.
Jagganath temple at puri

The majestic temple of Lord Shree Jagannatha at Puri is said to have been built by
emperor Anangabhimadeva, belonging to Ganga dynasty. the height of the present
temple is 214 feet 8 inches.
The temple consists of four structures called (a) the Vimana or Bada Deula sanctum
sanctorum) (b) the Jagamohan or Mukhasala (the porch), (c) the Natamandir (the
audience hall) and (d) the Bhogamandap (the hall for residuary offerings) built in a row
in an axial alignment in east-west direction. The temple faces the east. The Vimana is
constructed in Pancharatha (temple containing five Pagas or segments) Rekha order.
Rekha is the name given to a type of temple with a curvilinear spire. Out of the five
Pagas or segments, the middle one is known as Raha, the two flanking pagas as
Anuraha, and the two corners as Kanika. Like a full-fledged Odishan temple, it has four-
fold vertical divisions, i.e. the Pitha (pedestal), the Bada (wall), the Gandi (trunk) and
the Mastaka (the head).
The temple stands on a high pedestal though a major portion of it is buried in the
ground. The visible portion shows three mouldings, which are richly carved. Similarly the
Bada is Panchanga type i.e. consisting of five elements known respectively as Pabhaga
(foot), lower Jangha (shin), Bandhana(bond), upper Jangha and Baranda. The
Pabhaga consists of five usual mouldings and these mouldings are connected with
vertical bands in each Paga of the Bada. female figures one above the other.
The Mastaka consists of the usual elements of Beki (neck), Amalaka (an Indian fruit of
the same name a little flattened), Khapuri (skull), Kalasa Uar) and Ayudha (weapon, i.e,
Cakra). In the Beki are inserted four figures of Dopichha lions at each corner, while on
the front sides there are images of Garuda. There are nothing specific regarding the
other elements of Mastaka, except that the weapon is called Nilachakra, the shape of
which is peculiar in Odisha as well as its name.
The interior of the Vimana is entirely plain. It is called sanctum sanctorum or
Garbhagruha and in the middle of the room there is Ratnasimhasana on which the
images of worship have been installed. The throne is about four feet high and there is a
path for circumambulating the throne. There is only one door leading to Jagamohan.
The temple was plastered with a thick coat of lime sometime in the l6th century A.D. to
protect its surface from decay caused by saline wind.
The Jagamohan or Mukhasala is a Pidha temple, i.e., a structure with pyramidal roof. It
consists of Pidhas or horizontal platforms receding in size as they go up-wards. The
Jagamohana seems to have stood on a Pitha or platform like the Vimana, but its traces
are not visible owing to later constructions. The Bada is Pancharatha in plan and
consists of five usual elements. But the details of carving on the Mundis or miniature
temples and the niches of the Mundis including the images therein cannot be seen due
to application of plaster on them. The roof of Jagamohan stands on four square,pillars.

It has two gates, one leading to the south and the other to Natamandir .The latter is
considered as the main entrance. It is known as Jaya Vijaya gate, but the images of the
Dvarapalas. Jaya and Vijaya are conspicuous in their absence. The door frames of
both the gates are ornately decorated with different kinds of floral designs and Naga-
Nagi figures. Navagraha figures adorn the upper architraves. Figures of Brahma and
Siva on the southern gate are more prominent. Scholars are tempted to believe that
the Jaya-Vijaya gate (main gate of Jagamohan) was reconstructed at the time of the
construction of the present Natamandir.
The nat mandir is 80 feet side, has its ceiling supported by as many as 16 pillars in four
rows of 4 each.
The center has a courtyard surrounded by a high wall forming a rectangle of 440 feet
by 350 feet.
The Bhogamandap (earlier Natamandir), is a Pidha deula with a high pedestal. The
pedestal consists of five divisions. But the elements do not confirm to the specifications
given in the architectural texts of Odisha, I though these are richly carved. Rather there.
is a similarity tbetween this structure and the N atamandu of Konarka temple in Odisha.
Depiction of Krusna's entire lifestory : at the top of the pedestal in a row is quite striking.
The projections in the Bada portion are not quite prominent, but the profuse
ornamentatiop of Bada adds to the grandeur of the structure. There are figures of
Rama Abhiseka, rowing of boats, Jagannatha-Mahisamardini- Sivalinga worship, Siva in
Tandava dance posture etc., carved on separate chlorite slabs. Besides there are
several more chlorite figures in different places of the Bada.
The Gandi shows a Pidha order with three Potalas. The Potalas consist of five, four and
three Pidhas as we count from the bottom. Huge figures of projecting lions appear in
each Potala. The Gandi is Pancharatha in plan like that of Jagamohana. The Mastaka
is composed of the usual elements, except that a brazen pot is placed on the top of fit.
The structure stands on four pillars and the interior is left entirely undecorated in contrast
to the exterior decoratations. It has a flight of steps to the north. It is believed that a
similar flight existed in south side too, but due to construction of the gangway from the
kitchen to the Jagamohana, the steps had to be removed at a subsequent period.
The present Natamandir appears to be a relatively later structure standing on sixteen
pillars. The structure originally was on eight pillars and subsequently it has been
expanded with addition of eight more pillars. Its roof is flat consisting of four layers of
stone slabs. The hall is presently used for offering of prayers. A monolithic pillar with the
image of Garuda at the top stands towards the eastern part of the hall. The interior of
the hall is well decorated with different types of stucco images and paintings. Scenes
depicting the Kanchi -Kaveri expedition of Jagannath and Balabhadra and the ten
incarnations of Visnu, with an image of Jagannath as the ninth incarnation are more
striking. The hall has two main gates, leading towards the north and the south besides
two subsidiary openings.
Scholars say that the Vimana and the Jagamohan of the temple were originally
constructed by Anantavarma Chodaganga Deva and the other two halls were added
later. Rajendralal Mitra says that the Bhogamahdap was constructed during the
Maratha rule of Odisha ( 18th century) by an architect named Bhaskar Pandit with an
expenditure of about 40 lakh rupees in a period of 12 years, with the materials brought
from the Sun-temple of Konark. He goes the extent of informing that the entire structure
was dismantled at Konark, brought to Puri and reassembled in the present site. But
Madala Panji ascribes construction of Bhogamandap to Purusottama Deva. Donaldson
opines that the Natamandir was constructed in the 13th century while the
Bhogamandap in the 15th century A.D. by Purusottama Deva. The view is not
acceptable, as Bhogamandap appears to have been constructed first, though there
may not be a great difference in the period between the construction of these two
structures.
In fact, a standard Odishan temple consists of a Vimana and a Jagamohana.
Architecturally, the temples resolve themselves into three broad orders, known to local
terminology as Rekha, Pidha and Khakhara. In a typical Odisha temple, the first two go
almost side by side and form two component parts of one architectural scheme. So
inOdisha the sanctum and the porch have almost become synonymous with the Rekha
and Pidha temples respectively, although originally these names were meant to denote
the particular type of the structure. It has been stated that the Rekha temple is the
male and the Bhadra or Pidha, a female and the joint (Sandhisthala) is called
Gainthala, a knot tied in the garments of the bride and bridegroom at the time of
marriage.
Several additions and alterations have been carried out in the temple and works of
such modification seem to have commenced not too far from the dates of original
construction of the temple. To the original twin structure of the Vimana and
Jagamohana, the first addition seerns to have been the present Bhogamandap, a little
away from the temple and the hall was intended originally as Natamandir , i.e, the hall
meant for dance and music. Addition of the hall, presently known as Natamandir was
done subsequently by joining the Jagamohan with the present Bhogamandap.
Interestingly, the Natamandir is popularly called Jagamohan, because in this hall the
devotees assemble to offer prayers to Jagannath and no dance and music are.
performed at present and it is used as audience hall, in addition to the original one
The temple is enclosed by two compound walls, thus forming two enclosures, the inner
and the outer. The outer compound wall is called Meghanada Prachira, since the
sound of the waves of the ocean do not enter the temple premises by penetrating the
walls. The inner compound wall is known as Kurma Prachira, named after a tortoise
owing to its shape. There are four gates on all four sides in both the walls. The main gate
is called the Simha Dvara or the lions gate, because of the two huge statues of lions in
front. There is a propyl at the eastern gate from which start a flight of twenty two steps
to reach the inner compound wall. The outer enclosure consists of the kitchen (south-
east), the Ananda Bazar or the market for the Mahaprasada (north-east), and gardens
including the Koili Vaikuntha, Niladri Vihara, besides a few essential structures like Snana
Vedi and a few subsidiary Shreenes as well. The inner enclosure is filled with a number of
subsidiary Shreenes and various other structures utilized in connection with the
observance of various rites and festivals. Devotees circumambulate the temple within
the inner enclosure and seek 'Darsan' of the minor deities in a prescribed manner, after
which they enter the main temple through the northern entrance of the Natamandir.
Sun temples,Konark
 The temple is a great spectacle in tone, the building is fashioned like a ratha or
wheeled car being whirled along by the seven horses of the sun.
 the base of the structure is an immense terrace with 12 giant wheels each nearly
ten feet high fixed on either side to simulate the vehicle of god and in front is a
wide flight of steps, its sides supported by seven steeds to drag the chariot along
 .the temple is raised in two parts 100 feet side and hundred feet and a still larger
deul three subsidiary shrines were attached, with outer staircases leading up to it
contains carved statues of the deity.
 To complete the scheme facing the main temple a detached structure, square
in plan and with a paramedical roof, the whole on a high plinth, while placed
around.
Indo Aryan of the khajarao period

• 8th to 12 th century , built structures by the candela rulers.
• A series of shivite, vishanavite and Jain temples but all look and are influenced
by the other.
• the temples Primarly made of sandstone and granite .
• The shikaras were made of ascending order of height.
• “The crowning Amalakas is compared to a lotus or a solar halo with rays

signifying the way to heaven.16 Thus the worshipper is being led ‘upwards to the
centre of the magic union with the divine’.
Temple of modera
Temple at marwar
Temple at khajarao – khandariya mahadeva.
Khandariya Mahadev Temple
• This temple can be graded as the grandest and loftiest of the temple cluster at
Khajuraho.
• It surpasses its contemporary Lingraj temple in the graceful contours of its tower.
It is situated to the north of Chaunsath Yogini temple.
• The temple is measuring about 30.5 m in length and height and 20 m in width
excluding platform.
• It is built on an l3 ft high platform.
• This Sandhara style temple consists of mukhmandapa, mandapa

mahamandapa with literal transepts, vestibule, antrala and garbha-gariha. All
the compartments of the temple have their own roofs each higher than the
other and each with a cluster of peaks around the central nucleus.
• The roof over mukhmandapa, mandapa and mahamandapa are of pyramidal

pidhas and the highest roof over the garbha-gariha, culminates in the tallest
shikhara to which are clustered four urisringas on each side.
• Numerous minor sringas including karna-sringas and nasta-sringas constitute

minor peaks of smaller sizes producing a rhythmical effect.19 The presiding deity
is Shiva. The image of Shiva riding on Nandi is installed in the middle of sanctum.
’.
• This temple was a panchyatana temple but all the four temples that were
constructed on the corners have destroyed
Lakshmana temple
• This temple represents all the elements of a developed temple style.
• The measurements of temple are 98' by 45'3".
• It stands on a large and high Jagati.27 The four subsidiary shrines are placed at
the corners of Jagati. So it is panchayatana.
• The friezes at the Jagati depict a panorama of hunting and battle scenes and
miscellaneous representations of royalty, nobility and day to day domesticity.
• The sanctum of the temple is triangular and is adorned with idol of Vishnu with a
human head and the heads of boar and lion at the centre and sides
respectively. The heads of boar and lion represent, Varaha and Narasimha
incarnations of Vishnu.
• On the doorway of the sanctum various incarnations of Vishnu have been

carved. Scenes from Raas-lila are presented in the interior of the temple. The
Lakshmana temple represents Khajuraho art, architecture
Sun temple, modera

Parts of the temple
1.Surya Kund, which is an intricately carved, stepped tank named after Sun God
Surya
2. Sabha Mandap-which is a hall used for religious gatherings and conferences.
3.Guda Mandap i.e. sanctum sanctorum, which once housed the idol of Sun
God.
SURYA KUND
Most well designed sun temples have a tank, for it reflects a belief as old as the
Rig Veda that the divine sun emerged from the Cosmic Waters. The Surya-kun-
da also known as Rama-kunda is a fas-cinating massive rectangular stepped
tank, located in front of the toran, which leads one to the temple. It measures
176 feet north to south, by 120 feet east to west. It was used to store pure water.
Devotees on their way to offer prayers to the Sun God stopped here for
ceremonial ablutions and would proceed for worship towards the temple only after
cleansing themselves here.
The Sabha Mandap is a forest of some 52 pillars, each one of them carved in
intricate detail and depicting whole vominiature shrines dot the steps around this kund.
The tank is profusely covered with sculpture in relief in wide bands that run all alongside
the length and breadth. There are 108 of them to coincide with the number considered
auspicious by the Hindus.
GUDA MANDAP
The Guda mandap forms the third section of the Sun Temple at Modhera and
is not attached to the sabha mandap. The guda mandap is placed on a lotus-
base plinth. It has friezes of the Sun God, other gods and goddesses covering its
walls.
It is rectangular in plan, measures 51 feet 9 inches in length and 25 feet
8 inches in breadth. Thus the total area of about 1275 sq.ft is divided into
nearly two equal halves.
The inner half occupies the Garbhagrha (sanctum sanctorum) and the front one
the Mandapa (hall). Between the outer walls of the sanctum sanctorum and that of the
temple is the pradakshina-marga or bhrama (the circumambulatory passage).
This passage was roofed with flat slabs laid across and carved with rosettes on
the undersides and above this, rose the sikhara.

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INDO ARYAN

• The sanctum is often set on a raised base, or a plinth(pīṭha), above which is a

Parts of an Aryan temple in Orissa.

Characteristics of the orissan architecture

The mandapa got more distinctive.

Mukteshwar temple the first prominent indo Aryan temple at Orissa.

Consists only of the Vaital Deul and Jagmohan.

• Middle period of kalinga dynasty dating from 900 to1100 A.D.

• Vital duel and jagmohan are the prominent building types.

Initially consist only of a cella and a mandapa.

Jagganath temple at puri

to application of plaster on them. The roof of Jagamohan stands on four square,pillars.

Indo Aryan of the khajarao period

• 8th to 12 th century , built structures by the candela rulers.

• the temples Primarly made of sandstone and granite .

• The shikaras were made of ascending order of height.

• “The crowning Amalakas is compared to a lotus or a solar halo with rays

Temple at khajarao – khandariya mahadeva.

Khandariya Mahadev Temple

• It is built on an l3 ft high platform.

• This Sandhara style temple consists of mukhmandapa, mandapa

• The roof over mukhmandapa, mandapa and mahamandapa are of pyramidal

• Numerous minor sringas including karna-sringas and nasta-sringas constitute

• This temple represents all the elements of a developed temple style.

• The measurements of temple are 98' by 45'3".

• On the doorway of the sanctum various incarnations of Vishnu have been

Sun temple, modera

Parts of the temple

2. Sabha Mandap-which is a hall used for religious gatherings and conferences.

da also known as Rama-kunda is a fas-cinating massive rectangular stepped

It is rectangular in plan, measures 51 feet 9 inches in length and 25 feet

nearly two equal halves.

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