The Northern or Indo-Aryan style

 In the words of Percy Brown “ A development of great

beauty in the art of temple building expressed itself in
parts of Rajputana, Central India, and the adjacent country
in the last centuries of the first millenium. Such a virile
movement as that inspired by the Gupta dynasty in the
fourth, fifth & sixth centuries was naturally suceeded, even
after the decay of that intellectual regime, by a late
flowering of a singularly rich and lovely nature.”
 In the village of Osian, thirty-two miles north-west of
Jodhpur exists some sixteen Brahamanical temples and Jain
temples the majority now in a neglected condition. The
salient feature is the variety in their design, no two are
alike, one and all show a individuality of conception and an
originality of composition.
 Three early temples of the series at Osian, probably
built in the eigth century, and dedicated to Harihara
are small, pleasing & rich. Two are of the Panchayatana
class, so that with their four additional shrines they
form very attractive compositions. They are raised up
on plinths, as in the Khajuraho group, but their
shikharas resemble the early Orissan type.
 The characteristic of the Gupta order the vase and
foliage capital is seen in these temples is regarded as
the order of the Indo-Aryan style.
Osian-In Harihara-I & Harihara-II of the trio,the
mandapa is an open pillared hall with the lower part of the pillars
supporting the characteristic sloping seat-back or asana and every
part is tastefully carved .This plastic decoration is well shown in
the entrance to the sanctum of temple no.2.
Surya temple-Osian
 The most graceful temple of
the group, of the
panchayatana type, its four
subsidary shrines being
connected by a cloister . As
an example of the ‘ order’ of
this period the pillars of the
portico may be referred to,
the ‘ vase & foliage’ motif
forming the capital & the
base , together with the band
breaking the slender lines of
the shaft, are the work of an
experienced hand a symbol of
his supreme love & utmost
care.
Doorway to the sanctum-sanctorum is richly decorated
with mythological stories, on the lintel are represented the nine
planets or navagraha ,while below are ornamental niches each
enshrining some well known incident.
 At the position of the keystone is
a figure or emblem associated
with the divinity within the cella
.The vertical portion of the
doorway on both sides of the
door depicts the interwined
coils of the unending Sesha nag
,carved out. Godess Ganga &
Yamuna figure at the lowermost
portion of the jamb a position
they are relegated to after the
Gupta era, the convention then
of including these dieties at the
upper angle of the doorway.This
change taking place in the sixth
century.
Temple of Vimala, Mt.Abu 1031A.D.
 The entrance is through a
domed portico, facing which is a
square building supported by six
pillars, and containing ten
statues of elephants in white
marble 4 feet high. The
garbhagriha is topped by a
sikhara, to this is attached a
mandapa, and in front of this is
a portico. The portico consists of
forty-eight free standing pillars
and the whole is enclosed by an
oblong courtyard, 128ft by 75ft
inside, surrounded by a double
colonnade of smaller pillars,
forming porticos to 52 cells ,each
of a Jina.
Temple of Vimala, Mt.Abu 1031A.D.
 In the south-west corner of the
court on a slightly higher level is
a small early temple of Amba.
The exterior of the temple is
completely unassuming &
lacking character but the
interiors are breathtaking.
 The pillars in the picture are of
the same height as those of the
smaller external porticos and
finish with the bracket capital,
above this is an attic to give the
mandapa extra height and on
these upper columns rest the
beams that support the dome.
Temple of Tejahpala, Mt.Abu 1232-40CE
 In this temple which stands to
the north-east of the preceding ,
the founders family members
occupies the cells in the east end
of the enclosure behind the
shrine. This corridor is seperated
from the court by a pierced
screen of open tracery. Behind it
,in the centre is an elaborately
carved Chaumukh, with five
elephants on each side.
 The temple is entered on the
south-west, from the court
between it and Vimala’s by a
stair at the south of the
enclosure. The plan is similar to
Vimalas, from which it differs a
little in size.
Temple of Tejahpala, Mt.Abu 1232-40CE
 The oblong courtyard measures
155ft by 92ft. The pillars
supporting the porch are
somewhat taller and of eight
different types. The dome of the
portico is slightly lesser than
Vimala’s.
 The mandapa like in Vimala’s is
topped by a dome, as can be
seen in the photograph sixteen
bracket pedestals are introduced
supporting statues Vidyadevis,
and the centre is finished with
an exquisite pendant; on the
whole it is finished with a
delicacy of detail. In the roofs of
the corridors, also, the coffers
are carved richly.
Torana
 Parikara torana, Nagda,
Sas temple last quarter of
the 10th century
 Smaller photograph
Kudya torana, Nagda,
Sas temple last quarter of
the 10th century
 Citra torana, Nagda, Sas
temple gudhamandapa
southern side, last
quarter of the 10th
century
Citra torana(dvara), Badoli, Ghatesvara
temple, mukhamandapa, mid 10th century
 The arch traverses the
distance between
makaras above the pillar
capitals and a
kirttimukha at the apex.
The upper band of the
arch is coupled with
vidyadhara couples in
varied stances.
Citra torana(dvara), Badoli, Ghatesvara
temple, mukhamandapa, mid 10th century
 The celestial gandharvas
flank the kirttimukha;
beneath this is a band of
leafy scroll bordered by
buds & diamonds.
Andola-citra torana, Nagda, Sas temple gudhamandapa
(eastern & western) side, last quarter of the 10th century

 In the eastern & western

sides, makaras attached
to the miniature shrine
like niches (tilakas)
release S-shaped
segments(madala) of the
torana. These sinusoidal
arches are ornamented
with two rows of tightly
juxtaposed vidyadharas.
Andola-citra torana, Nagda, Sas temple
gudhamandapa (eastern & western) side, last quarter
of the 10th century
 The niches harbour
seated divinities & are
adorned with knob like
bud (mukula) at the
bottom.
 An ornamental band
borders the central array
of vidyadharas and
kirttimukhas that form
the main body of the
arch.
Andola-citra torana, Kiradu, Vishnu temple,
rangamandapa, Barmer distt.,975-985CE
 The dance halls
(rangamandapas) of the
Solanki temples are
characterized by an octagonal
arrangement of pillars. These
composite pillars support
profusely carved ceilings &
toranas. More advanced
compared to the
gudhamandapa of the Sas
temple at Nagda. At Kiradu,
the presence of attic pillars
above the main pillars lend
height to the octagonal
rangamandapa.
Andola-citra torana, Kiradu, Vishnu
temple, rangamandapa, 975-985CE
 Eight toranas occupied the
intermediate space between
the attic pillars. Nagda &
Vishnu temple Kiradu are the
earliest available mature
representations of the Andola
torana. Underside of niches
are mukula. The underside of
the torana is covered by a
stencilled undulating creeper,
bordered with lotus leaves.
This is not as well
proportioned as the Nagda
case.
Illika torana, Kumbhariya, Mahavira
temple, trika, 1061 CE
 The trika (columnar
vestibule with three
bays) of the Mahavira
temple at Kumbhariya
has two illika toranas.
The six arcs of the arch
end in mukulas; a figural
frieze is carved delicately
along the central band.
Andola-torana, Kumbhariya, Mahavira
temple, rangamandapa, 1062 CE
 The rangamandapa of the
Mahavira temple at
Kumbhariya was originally
graced with andola-toranas at
the cardinal points, only this
the eastern one has survived.
The attic pillars are absent &
the finely proportioned arch
is made up six S-shaped
segments punctuated by
seven niches (tilakas) that
enshrine Jain dieties. A
figural band sandwiched
between saw-tooth courses
runs through the entire
length of the arch.
Andola-torana (parikara), Kumbhariya,
Samavasarana chapel near Mahavira temple,
1157 CE
 A sinusoidal parikara torana
is placed at the entrance of
the Samavasarana chapel
near the eastern opening of
the Mahavira temple jagati.
Decorative motifs replace
figural carvings on the arch;
star-shaped floral motifs are
inscribed in a circle &
encased between strands of
buds. The outer margin is
edged with a row of hamsas
(hamsamala). The six
intervening tilakas along the
arch are rather slender with a
seated Jain diety.
Andola-torana, Kumbhariya, Santinatha
temple, rangamandapa, 1082 CE
 In the rangamandapa of
the Santinatha temple at
Kumbhariya, this is the
only surviving torana
between the western attic
pillars. It is very similar to
the one in the
rangamandapa of the
Mahavira temple ; in this
case a row of buds replaces
the saw-tooth course and
the upper margin is a
hamsamala.
Andola-torana, Kumbhariya,
Parsvanatha temple 1100 CE
 The front porch of the
trika (columnar
vestibule with three
bays) is embellished with
an andola-torana.
Andola-torana, Mt. Abu,Vimala Vasahi
1150CE
The interior of the Vimala
Vasahi temple at Mt.Abu is
adorned with andola toranas,
notably between the
rangamandapa attic pillars.
The central portion of the
arch comprises eight S-
shaped segments and is
embellished with celestials;
this is interspersed with
seven miniature niches
harbouring Jain divinities.
The top margin has an
immaculately carved saw
tooth course.
Uttunga-torana, Mt. Abu,Vimala Vasahi
1032CE A free-standing torana in dark stone placed
in front of the elephant hall(hastisala).
 Brackets supporting vyalas
project from the centre of the
pillar shaft and makaras
placed above them release an
illika arch of eight arcs. Two
rows of seated Jina figures, in
lieu of the usual vidyadharas,
are carved in close succession
on this arch. A kirttimukha is
placed at the intersection of
successive arcs, which also
show hanging mukula. The
portion beneath the arcs is
filled by devotees with hands
folded(anjali hasta).
Andola-torana, Jhadoli, Parsvanatha temple
early 12th century
 Of about the same
period are the andola -
toranas which are seen
in the hall of the
Parsvanatha temple at
Jhadoli in Sirohi district
of Rajasthan
Serpentine torana, Luna Vasahi, Mt.Abu,
1232-40CE The most remarkable part of this temple is its
rangamandapa which conjures a shell-like transluscence with its
leisurely rendition of detail in the interior.
 In this case one sees an
imaginative permutation
of the S-shaped madala
of andola derivation with
the semi-circular arc of
illika derivation, which
are interspersed with
miniature niches to
create an arch that is
serpentine. This is
perhaps unparalleled.
Andola-torana,(front) and Puspalika torana
(rear) , Mt.Abu, Luna Vasahi 1232-40CE
 A different type of illika
torana is seen in the
rangamandapa of Luna
Vasahi. It comprises a series
of ornamental , radially
arranged floral motifs that
resemble the ceilings cusped
courses (kolas). In Luna
Vasahi toranas, figural
representations are absent
except for Jina figures in the
niches of the andola torana ,
this then becomes the norm
from now on in the later
periods.