Temples.docx

TEMPLES: i. ii. iii.

iv.

Since the craftsmanship, aesthetic sense and religious needs remained identical, all the temples followed more or less same path of development. But there were certain topical styles and substyles. Three distinct styles came to be recognized on the basis of the size of the vimanas. i.e. the temples situated between the river Krishna and Kanyakumari in south India are referred to as Dravidian temples while those in the region extending from the Himalayas to the Vindhyas are called nagar temples. However, this sub classification is not appropriate. It can be said that the temples are the south India are Dravidian while those in the north are nagar.

NAGAR STYLE: 1. 2. 3. 4. 5.

The Nagar style temples are found in large number all over North India. They have a greater variety as compared to Dravidian or Vesar style temples. These temples though built in the same period but are seen in diversity at different sites. Western critics have also called these temples as Indo Aryan temples. The variety due to localisation found in nagar styles is not seen in Dravidian style temples. Site- Bhuvneshwar, Konark, Khajuraho in North India, Mt. Abu in Saurashtra and Maharashtra. Period – 5th to 13th century AD but in parts up to 17th century. Dynasty – 1. Chalukya 2. Chandel 3. Ganga 4. Solanki 5. Yadava

Layout1. The Shikhar of the nagar styled temples is one of the most important part of the different parts of the temple. Its shape tapers like a cone at the top and its form is a bit convex in appearance. 2. On the main surface of the shikhar, the amla (fruit) like flat, pot shaped portion is called ‘Amalak’. There is a pointed pinnacle (shikhar) over it. 3. The sanctum sanctorum of the nagar temples is always square at the centre. But it has extending sections on all the four sides. This type of layout is known as triratha mandir. Similarly, with two, three and four extending sections, they are called Pancharatha, Saptaratha and Navaratha temples. The sanctum sanctorum considered to the be the most important with the main deity’s idol installed in it. 4. In this type of plan the original square layout of the sanctum sanctorum, antarala, mahamandap, mandap and ardhamandap gets unclear and it creates multiple right-angled corners walls. These walls keep turning in and out creating many angles and sub angles. The columns formed by these angles continue up to the apex. 5. In the language of architecture these types of layout are known as a ratha. The walls of the ratha are decorated with the sculptures. The light that falls on these sculptures creates a wonderful play of light and shade with its movement.

6. In the period ahead, the spire began to be erected all over the temple parts. 7. Though the design remained the same, i.e. the tallest spire was been erected over the sanctum sanctorum, heights of the other spires being reduced according to the significance, to the shortest spire were the least important temple space.

8. The temple complex appears same somewhat as the peaks in the mountain ranges. It could have been the ideology behind the temple design. Or maybe also because in the ancient times it was believed that god resides on the mountain peaks.

9. there is great importance given to vertical lines in these kinds of temples. That is how they appear to be very high. 10. Statues are seen to be carved in the interior of certain temples. At some place’s walls are also seen decorated with the murals. 11. There is a lot of variety in nagar style temples in different regions but the basic features of the temples appear to be the same.

DRAVID STYLE: Dynasty – 1. Pallavas, Cholas, Pandyas, Vijayanagar, Madura Nayakas.

Special features1. The word David indicates geographical territory. 2. The Dravidian style temples are found from river Krishna to Kanyakumari in the south. 3. The plan of the Dravidian temples comprises of the garbhagriha, antarala, mandap and ardhamandap. 4. But the uniqueness of these temples lies in the layout of vimana or the shikhara, the courtyard and the gopura. 5. The vimana is designed on a square base while the shikhara is in the pyramid shaped. 6. Storeys of diminishing sizes have been constructed on the base. These storeys are called bhumi. 7. The number of storeys is determined by the size of the temples ratha. The dharmaraja ratha of Mahabalipuram has three bhumis while the brihadeshwara temple at tanjavur has 13 bhumis. 8. A series of miniature temples are decoratively arranged on all four sides of each bhumi. These are called ‘haar’ (garland). 9. The smaller figures at the corners are called “kuta’. 10. The shikhar is dome shaped with the kalash on the top. 11. The other miniature temples structure on bhumi are called shaalas. They have a rectangular base and a semi circular shikhar. 12. The topmost storey is turned slightly inwards and is known as greeva. 13. Atop there is a dome shaped round or octagonal shaped part which is called stupika. 14. The courtyard inside had a kunda (water reservoir) and smaller temples of other deities. 15. Another important feature of the Dravidian temples is the gopura. Around the temple there used to be an open ground. During the time of foreign invaders, a high wall was built around the ground to protect the temple. There used to be four entrance gates on all four sides of the temple. Over these gates’ spires like the ones over temples were built. They are called ‘gopura’. The foreign invaders thought these gates to be the main temple and hence tried to destroy them, in this way the temple inside remained to be safe. These gopuras are taller than the main spire of the temple. Their number varies according to the region they are in. The temple at verul has only one gopura at the front side whereas the Meenakshi temple at Madurai has nine. 16. Great examples of Dravidian style temples are Kailash Nath temple at Kashi, the brihadeshwara temple at tanjavur and the Meenakshi temple at Madurai.

VESAR STYLE: 1. This style evolved as a combination of the nagar and Dravidian styles. Therefor these styles are even called mishrak in the field of sculpture.

2. Since this style developed in different regions the characteristics of the particular region are seen in those temples. 3. In this style the two main divisions are the mandapa and vimana. 4. The roof of the vimana is square shaped and the spire tapers as floors are piled up till the top. 5. At the top there is a form in the shape of the back of an elephant or kalasha. 6. The mandap rests on the seven pillars and has a flat roof. 7. One more important feature of this style is its polygonal base. 8. Sometimes the temple is designed in such a fashion that the mandap is a t the centre and adjacent to it, there are two or more temples or garbhagriha. 9. The oldest example of Vesar temple is the Bhima ratha at Mahabalipuram. 10. In 7th and 8th century ad the temples designed both in the nagara and dravid styles were erected side by side in the regions of aihole and pattadakal. Hence it is said that there was a give and take of both these styles and a new Vesar style evolved out of it. 11. The deign of the Vesar temples is seen to have had an influence by the dravid style and the sculptures seem to be influenced by nagara style.

PANCHARATHA TEMPLES: - (MAHABALIPURAM)

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

 PERIOD: - THE LATTER HALF OF THE 7TH CENTURY.  Dynasty- king narsimhavarman of the Pallavas.  Style- Dravidian style of sculpture  Site- off the seashore at Mahabalipuram. This temple is located 51 kms south of Chennai at Mahabalipuram in the chingalput district. It is a great example of temple design carved in rocks. These temples are called rathas. Their height varies between 20ft to 55 fts. They are also known as seven pagodas as they comprise of seven rathas of Draupadi, Arjuna, Bheema, Dharmaraja, Nakula, Sahadeva and Ganesha. They were built by the inspiration of the well-known emperor Narsimhavarman. They have been built after the religious structures like the chaityas and the viharas. Later they became the models for other temples to follow. Among these a group of five temples at the south of the city of Mahabalipuram hold a special significance. They were carved out of a small flat hill. From inside they were carved as the cave temples. But from inside they look like the Kailash temple at Ellora. Of these the Dharmaraja and Arjuna rathas seem to have a greater influence of the south Indian culture. On the other hand, the Bheema and the Ganesha ratha have led the development of the gopuras. Draupadi, Dharmaraja and the Arjuna ratha are in the koota style. The plans are square and have a sloping roof on all the four directions. The Draupadi ratha is single storeyed while the Arjuna and Dharmaraja ratha are two and three storeyed respectively. The Bheema is a two storeyed rectangular ratha with a plan in the shala style. It has a sloping semi cylindrical roof on the two sides. The Nakula and Sahadeva temples also have a sloping semi cylindrical roof. Elephant figures have been carved at the foot. Deities of Durga and Skanda have been installed in the Draupadi and dharmaraja ratha. There are no where deities elsewhere. The Ratha is a unique display of a temple art.

Gangavataran (the descent of the Ganges)    

Period – the Pallavas- 7th and 8th century. Style- Pallava Size- length 27mts. Ht. 9 mts. Site- Mahabalipuram

Special Features – 1. The mammoth sculpture strip of the Gangavataran depicts the penance of the King Bhagiratha and the decent of the Ganges on the earth. 2. A single stone with a continuous, uninterrupted ridge was selected for this purpose. 3. Figures of the serpent king, serpent goddess and the female serpents have been carved in the ridge. 4. A kunda had been constructed on the top so that the water could continuously flow through the ridge thereby created an effect of the flow of the Ganges. 5. The hermits and the ascetics can be seen carrying water on both the banks of the river. 6. Deer and other animals can also be seen. 7. The central figure is of Bhagirath who has been depicted twice- once as engaged in penance with raised hands and later seeking the blessings of Shiva. 8. Close by there is a temple of Vishnu with ascetics performing the Upasana. 9. Then there is a cat with raised hands also engaged in meditation while the mice around. This aims to show that animals with inborn enmity also became friends at the pilgrimage. 10. Gods and goddesses like the Indra have also been shown sailing in the sky, 11. The huge elephant deserves a special mention. There is also a herd of elephants. 12. Some old books have mentioned this strop as “Arjuna’s Penance’ which is not quite appropriate.