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ARCHITECTURE FEAUTURE

INDIAN TEMPLES

HINDU BUDDHIST JAIN Plan Hindu temples are similar in plan to Jaina

temples, but with local differences ; Dravidian

temples, for instance, have in addition

characteristic " choultries " or " halls of 1,000

columns," and the surrounding wall generally

encloses sacred lakes or water tanks, while

Chalukyan temples are usually star-shaped on

plan.

The remains of Buddhist " chaityas" show that these temples were hewn out of the rock with

only one external facade. In plan they resemble

Christian cathedrals with three aisles formed by

two rows of piers or columns ; while the

sanctuary around which the aisle is carried is

semicircular. The "viharas " (monasteries) are

also rock-cut, and generally consist of a central

hall surrounded on three sides by cells for the

priests. Sometimes there are columns in the

central space to support the rock overhead, and

in the larger " viharas " the sanctuary is a special

apartment with a screen of columns, as at Nasik.

Temples owe much to picturesque grouping on hill-sides or in wooded valleys. They consist of a square cell for the image of the Jina, roofed with a high curvilinear pyramidal tower or " sikra." In front is a pillared portico with pointed dome supported on eight pillars forming an octagon which was brought to a square by adding four angle columns (p. 792 B), and further columns make the structure externally cruciform on plan. The planning of the dome, on an octagonal base makes the width of nave to aisles in the proportion of o to 7, a some-what similar treatment adopted in the successful interior of S. Stephen, Walbrook, London (p. 725). The larger temples stand in a great open court surrounded by numerous cells, which at Girnar number seventy, each containing a cross-legged statue of the Jina to whom the temple is dedicated.

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Elevation ( Form )

Wall construction and treatment is very similar in Buddhist, Jaina, and Hindu buildings. The material is principally massive blocks of granite,

stone, or marble, sometimes laid without mortar. Plain wall surfaces seem to have been avoided, and the characteristic Eastern treatment of the

whole surface of walls with sculpture is employed in all three styles. The " gopuras" or gate pyramids of the Dravidian style resemble, in their

massiveness, the pylons of Egyptian temples.

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Columns

The Northern Hindu Column at Baroli, with

its sculptured shaft reminiscent of the Temple

of Artemis at Ephesus, has evidently lost its

bracket capital, and, with a companion column

on the right, formerly supported a " toran " or

archway. In Dravidian " choultries " there was

great scope for the inventiveness of the Hindu

craftsman. Capitals are of the " bracket " type,

and in some instances not more than two

columns in a building are alike. Some, as at

Madura or Seringham, have life-size figures of

saints or Yalis (weird lion-like monsters)

attached to them, forming a contrast to Greek

caryatids. In other cases there are compound

piers formed of one sturdy and one slight

column.

Indian columns are most characteristic and are

unlike those in any other style. The origin of

their form is unknown, but it seems certain that

they had a timber prototype. There was no

standardised system of recognised types as in

Greece or Rome. The shaft is as much

ornamented as capital and base, and the

characteristic bracket capital takes a variety of

forms. Buddhist columns are often octagonal. In

the great rock-cut Chaityas at Karli and Bedsa

they are stumpy and so closely set as to screen

the rock-wall behind. They gave the necessary

light and shade to the interior, as did the

columns to the exterior of a windowless Greek

temple. The numerous forms of capitals,

resembling in certain instances those of Assyria

and Persepolis, are bewildering. Sculptured

lions, horses, or elephants supporting men,

women, and the " chakra " or Buddhist wheel

occur, as at Bedsa ; while at Elephanta, torus or

Dutch-cheese mouldings, ornamented with palm

leaves, are found under capitals of a coarse

Roman Doric type. In north-west India, in the

Gandhara district, Greek or Byzantine influence

produced capitals with delicate acanthus-leaf

carvings.

Columns are much used and exhibit great

variety of design, and capitals are of the "

bracket" type, probably derived from a

timber original. Sometimes, as at Mount

Abu, they are even superimposed, the upper

supporting an architrave which is further

upheld in the centre by stone struts resting

on the lower capital.

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Decorations

In all three styles mouldings are normally of a bulbous, swelling outline and often lack refinement. A form made by overlapping rectangular

slabs is frequently used in the bases and capitals of columns and " dagobas " (shrines). In other instances, as at Bedsa, a semicircular open-work

moulding, recalling basket-work, is employed. The torus is used, and the double-convex shape, into which the cross-pieces of the " rails " are cut,

forms deep horizontal bands of ornament and takes the place of mouldings proper.

Sculpture is carried out in all three styles with a profusion unknown in other countries, and is executed principally in hard stone ; having little

plain wall surface as a frame, it forms a monument of patient labour, perhaps unequalled. Sculpture is indeed so bound up with the peoples'

religion and mythology, of which it forms the mirror, that the two cannot be considered separately. In Jaina architecture, each of the twenty-four

Jinas had a distinctive sign, which was utilised by the sculptors. The trident, shield and " chakra " (or wheel), the " rail " ornament, copied from

the Sanchi Tope, and imitations of window fronts and facades are also repeated on the fronts of the early chaityas, as at Bedsa, Nasik, and

elsewhere. Most characteristic are the repetitions on a facade or tower of numerous miniature carved representations of itselfa mode of

decoration also used in Assyriaand the remains often enable a fanciful restoration to be made. Painted frescoes were employed, as at Ajanta,

where the walls of the cave were left plain for the purpose. The evolution of the sculptured umbrella-shaped " tee " surmounting the " dagoba "

is interesting as the prototype of the nine-storeyed pagodas of China. On the Gateways at Sanchi (of which there is a plaster copy in the Indian

Museum, South Kensington) are represented legendary events from the life and religion of Buddha, the worship of trees and relics as well as war-

like scenes. The three, five, or seven-headed Naga or serpent is frequently introduced ; while horses, lions, " hansas " (sacred geese) form

favourite subjects, in striking contrast to the motifs of Mahometan sculpture

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Openings

Flat-headed openings are usual, but

variations in roofs are made by the use of

brackets supporting purlins of stone on which

other brackets were placed, thus gradually

reducing the span so that stone slabs could

roof over the apartment, as at the Dravidian

temple at Chidambaram. Chalukyan buildings

have pierced window slabs, as at Baillur and

Hullabid in star-shaped patterns, ornamented

with foliage or with mythological subjects (p.

798 B). These pierced slabs are very distinctive

of this style, though somewhat similar to

Byzantine and Saracenic treatment.

The gateways of the Sanchi Tope are special

and peculiar features of this style. In rock-cut

facades a horse-shoe arch forms one great eye

as the only opening for light. Within this arch an

open decorated wooden screen moderated the

glare of the Eastern sun. This single beam of

subdued light is thrown from behind the

worshippers on to the shrine, and produces an

impressive effect of light and shade among the

surrounding close-set columns.

Openings are normally square-headed. In

pillared porches stone architraves rest on

bracket capitals, and a characteristic Eastern

effect was produced by stone struts,

evidently derived from a timber form, and

occasionally filled in with ornament to form a

triangular-headed opening. An extension of

the bracket capital is sometimes applied to

wall openings, lintels being supported by

brackets built out in horizontal courses.

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Roof

Dravidian temples have roofs over the "vimana" of the storeyed pyramidal type, normally carried to a considerable height and carved with miniature representations of itself in each well-defined storey. Chalukyan towers are either of the storeyed Dravidian type and follow the curvilinear outline of the Northern Hindu temples or are in the form of a straight-sided stepped cone.

The early rock-cut " chaityas " have semicircular roofs excavated in the rock with stone imitations of wooden ribs.

The " sikra over the idol-cell was formed of stone slabs in horizontal courses ; its external curved outline was probably produced by following the internal pointed dome, and the apex was crowned by a melon-like ornament and finial. The roofs of Jaina porches are of two types :(I) A roof of flat slabs which was evolved from the simple square slab of stone resting on architraves supported by four columns. Larger spaces were roofed by introducing courses of triangular slabs at the four angles to support the square slabs. Still larger spaces were roofed by the addition of two extra columns on each side to support the longer architrave, making twelve columns to the compartment, of which the intermediate columns form an octagon. (2) The Jaina dome, which seldom exceeds 30 ft. in diameter, is formed in horizontal courses (cf. the Treasury of Atreus, Mycenae, and is pointed or conical in section so that a single stone can crown the top. When covering an octagonal plan, the circular cornice from which the dome springs is supported by struts from the capitals of the columns forming the octagon beneath, instead of by pendentives, as in the Byzantine style. The use of ornamental struts gives an appearance of strength to the architrave, but their constructive value is doubtful. Decoration in concentric rings followed the horizontal lines of the construction and a top stone formed a pendant.

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Architectural Type

The architecture of Hindu temples evolved

over a period of more than 2,000 years and

there is a great variety in this architecture.

Hindu temples are of different shapes and

sizes rectangular, octagonal, semicircular

with different types of domes and gates.

Temples in southern India have a different

style than those in northern India. Although

the architecture of Hindu temples is varied,

they mainly have many things in common.

Buddhist temples are often the center of cultural activities. From a modern viewpoint, temples can be compared to museums, for they contain precious and spectacular art forms, and in fact, are beautiful art forms themselves. Like art museums, they are a combination of architecture, sculpture, painting, and calligraphy. Temples offer a harmonised environment and a spiritual atmosphere that allows one to become serene and tranquil. They are valuable places for distressed persons to lay down their burdens, soothe their minds, and achieve a sense of calm. The Buddhist architecture of every region has its own unique character due to differing cultural and environmental factors. Close in proximity, Ceylon's architecture is similar to India's architecture. Burma, Thailand, and Cambodia also share a similar style, with structures that incorporate the use of wood into their design. Java's stupas resemble those of Tibet, which are made of stone and represent the nine-layered Mandala (symbolic circular figure that represents the universe and the divine cosmology of various religions: used in meditation and rituals). Tibet's large monasteries are typically constructed on hillsides and are similar in style to European architecture in which the buildings are connected to each other, forming a type of street-style arrangement.

Jain temples are built with various

architectural designs. Jain temples in North

India are completely different from the Jain

temples in South India, which in turn are

quite different from Jain temples in West

India. All Jain temples have many marble

pillars which are carved beautifully with

Demi god posture. There is always a main

deity also known as mulnayak in each

derasar. The main part of Jain temple is

called "Gambhara" (Garbha Graha) in which

there is the stone carved God idol. The main

deity of a Jain temple is known as

a mulanayak. A Manastambha (column of

honor) is a pillar that is often constructed in

front of Jain temples.

http://en.m.wikipedia.org/wiki/Manastambha

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Enlarged Plans

HINDU PLAN BUDDHIST PLAN

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JAIN PLAN

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RR EE FF EE RR EE NN CC EE SS

http://hinduism.about.com/od/temples/p/hindutemple101.htm

https://en.wikipedia.org/wiki/Hindu_temple_architecture

http://www.oldandsold.com/articles23/architecture-143.shtml

http://mitchtestone.blogspot.com/2010/04/meenakshi-temple.html

http://hinduism.about.com/od/temples/p/hindutemple101.htmhttps://en.wikipedia.org/wiki/Hindu_temple_architecturehttp://www.oldandsold.com/articles23/architecture-143.shtmlhttp://mitchtestone.blogspot.com/2010/04/meenakshi-temple.html