EVOLUTION OF HINDHU TEMPLE

ARCHITECTURE

Ar.Amulya Bandi
SYLLABUS
Hindu forms of worship - Evolution of temple form - Meaning,
symbolism, ritual and social importance of temple
Categories of temple - elements of temple architecture
Early shrines of the Gupta and Chalukyan periods
Tigawa temple - Ladh Khan and Durga temple, Aihole - Papanatha,
Virupaksha temples, Pattadakal - Kailasanatha temple, Ellora.
Harappan
• Drainage syste
• Rectangular intersecting roads
• Sanitary system
Mauryan
• Monolithic Pillars
• Finely carved capitols – Bull capitol and Sarnath capitol
• Stupas start during this period – 4 gateways
• Surface built with bricks
• Viharas and Chaityas
• Rock Cut Architecture
Shunga – Satvahanas
• Early classic architecture
• Carved railings and gateways around Buddhist shrines
Kushan
• Sculpture developed
• The emperor himself was a divine authority
• Buddha was first time given a human form during this time
Gupta period
• Beginning of Hindu temples – temple at Deoghar, Udaigiri caves in Orissa
• Vaishnavite temple in Vidisha
Chalukyas
• Blend of Aryan and Dravidian style of architecture
Pallavas
• Mandaps, Rathas and finely carved panels and pillars
• Shore temple at Mahabs is a structural temple
• Ratha temple is a rock cut temple
• Kanchipuram also has temples.
• Panels depict shiva as Natraja, History of Pallavas
Cholas
• Tanjaur Temple: 65 m tall vimana
• Pillared halls and sculptures depicting Bharata‟s natyashastra
• Fine paintings
Pandyas
• Built high outer walls and gopuram
• Their gopurams can be seen from long distances
Hoysalas
• Belur and Halebeed temples
• Profusion of manifold pillars with rich and intricate carvings
• Panels depict gods and goddesses
Orissa Temples
• Lingraja temple 40 m high
• Sun Temple
INTRODUCTION

• The Hindu religion has evolved due to the combinations of faiths of ARYANS and
DRAVIDIANS.
• In the latter half of the fifth century, the temple structure was beginning to assume a
prescribed form.
• Over periods temples were either carved into rocks or excavated or built in
conventional fashion and all dedicated to Hindu pantheon.
• Temples contain large internal spaces called „tabernacles‟, preceded by halls used for
ritual, music and dance.
• Temples are often decorated with ornaments and sculptures illustrating the great
myths of the Hindu pantheon.
• Every religion needs a place where people may fulfill their religious desires.
• In Islam, as Muslims we have Masjids where they offer prayers.
• The Christian have churches.
• In the same manner temple is the sign of Hinduism.
• Temple is derived from a Latin word “TEMPLUM”, which means a sacred enclosed
area which is made sacred by the presence of deity or any holy symbol.
• Temple is a place where people use to worship.
• The Indian thought that it is a “dwelling place of the gods”.
• The temples were used for congregational worship as well as individual worship.
• The art of temple architecture reached its climax during the Gupta period.
• The essential part in the temple is rectangular cell containing the symbol or image of
the god. Such plain cell constitutes the simple form of the temple.
• The temple took its origin as a single cell.
• But later on with the passage of time numerous other parts were added, as need of the
time.
• The roof and building also to rise skyward and a shape of tower or spire were rising
above the apical end of the structure.
• It was known as Shikara.
• According to some scholars it is especially north Indian development and it becomes
more and more prominent of the Gupta and later periods.
• The temple came in existence earliest in 2nd century AD in the simplest form and then
purred certain evolutionary stages.
Key facts
• WHEN DID THE TEMPLE CAME INTO EXISTENCE?

• 2ND Century BC

• Types of Hindu temples

– Cave temples (Elephanta)

– Mountain temples (Masrur)

– Step well temple (Ankol Mata)

– Forest temple (Kusama)

– River bank and sea shore temples (Somnath)

• spaces in temple complex

– Main shrine
Spacious halls
Cultural and social activities
Cave temples (Elephanta) Step well temple Forest temple (Kusama)
(Ankol Mata)

Mountain temples (Masrur) River bank and sea shore temples (Somnath)
CONCEPT OF TEMPLE
VEDIC BACKGROUND

• During Vedic time, Aryans worshipped

the phenomenal gods like air, sun,
moon, storm, river, fire and nature.
• These are the body less items which
cannot be existed in a body, this is why
Aryans did not sculpted but they
offered sacrifices and also used to
worship light, flames and fire in
Agnisala.
HELIODORUS PILLAR

• This pillar was erected by Heliodor‟s

during 2nd century BC.
• He bears the inscriptional record which
also mentioned god Vishnu.
• From 6th century BC till 2nd century
BC, there was only open air worship of
such gods

GRADUAL DEVELOPMENT

• The slow and gradual development of Mahayanism to Hinduism is another

evidence responsible for the erection of temple because Mahayana produced
figural representations which needed sacred places for worship.
EVOLUTION OF
TEMPLE

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.
 EVOLUTION OF INDIAN TEMPLE
ARCHITECTURE
• Indian temples have been a source of attraction, not only as a place of worship for

the devout, but also as an architectural marvel for the curious tourist.

• In the Vedic period (1500 to 500 BC) there were actually no temples as such.

• They propitiated the Gods by performing yagas using sacrificial altars.

• Details of how such altars may be constructed where meticulously mentioned in

The SULVASUTRA (literally meaning „the rules of the cord’). These

YAGASALAS later got transformed to temples.

• Earliest temples were made of timber and clay, and though they were later replaced

by the more enduring granite, there are still temples in Kerala and Dakshina

Karnataka made with timber and which has withstood the ravages of time.

• Cave temples which are found in profusion particularly in Central India, were a later

innovation.

• Though the basic temple patterns are the same, temple styles fall into two categories.

North Indian style called NAGARA and southern style called DRAVIDIAN.

• There is a derivative of the above two styles which is called VESARA.

1. TEMPLES BEFORE 2ND CENTURY BC

• The Aryans constructed temples in timber

which were very simple, after than they
might use huts to shelter the simple
structure of the temple.
• Temples were adopted in open air, than in
perishable material, than in rough
material and later on solid and intact
material was provided after 2nd century
BC.
 2. EARLY TEMPLES
• In early ages during the inclination
towards Brahmanism, the Hindu gods
needed a place for exhibition.
• They thus provided simple solid structure
to shelter the sacred places for worship.
• These consist of a Garbagriha.
 3. SANCHI TEMPLE NUMBER 17
• This temple is the earliest example of Gupta time
which is built in solid stone blocks. It comprises of
a Mandapa and Garbagriha with flat roof.
• After this stage the rituals became more complex.
• So it required more deities and sculptures because
of which the temple became larger in size with
more elements.
4th Stage:
• The temples were square shaped and were raised on high platforms.
• A pradakshina path around the garbhagriha is also added.
• Example of such temple is Parvathi temple at Nachana Kuthara,Madhyapradesh.
5th Stage:
• In this stage the flat roof was replaced with shikara, mountain peak like structure.
• The principle temple was square in shape with a mandapa.
• From which the panchayatan style was introduced with 4 subsidiary shrines were
constructed along with the principal shrine
• Example of such style is Kandariya Mahadeva temple,Kajuraho.
Later stages:
• Temples were similar in the later stages.
• Main shrine became rectangular in shape.
• In the last stage temples were circular in shape which were housed in a shallow
rectangular platforms.
• No change was observed in the other features of the temples.
• Ex: Maniyar Math at Rajgirh,Bihar.
• Over the time period many elements are added to the temples.
CHARACTERISTICS OF TEMPLE
OR
PARTS OF TEMPLE
HINDHU TEMPLE ARCHITECTURE
RAJAGOPURAM DWAJASTHAMBA MAHAMANDAPAM SANCTUM
PARTS OF TEMPLE
Adhisthana, stylobate, plinth, base typically
with mouldings on the side, on which a temple
building or pillar stands simply a decorative
raised platform on which a temple is built.

Gopuram , gateway at entrance or one that

connects two sacred spaces of the temple;
becomes very large in South Indian temples
simply a monumental gate tower of Dravida
temples.

Jagati any moulded base or pedestal for the

temple or a statue that extends out, part of
platform that forms a terrace to stand on or
circumambulate around on, while reading the
The Brihadishvara Temple, Thanjavur
reliefs and friezes
Garbagriha, It is the main sacred cell where deities and images are placed for
worship. It is also called sanctum and womb house.

Antarala - an antechamber to the inner sanctum or garbhagriha of a temple simply

corridor and porch which connect the Garbagriha with Mandapa.

Mandapa, It is a hall, porch and waiting room provided in front of Garbagriha

Garbhagriha - (also garbha grha) meaning 'womb-
chamber,' the small windowless room that is the main shrine
of the temple, usually containing a representation or symbol
of the principal deity.
Ghana dvara - blind doorways of the garbhagriha, which
symbolically allow the energy of the deity to radiate through
and beyond the temple.
They may also act as secondary niche shrines.
Garbhagriha,Pattadakal

Mandapa - a columned hallway which leads to

the garbhagriha or inner sanctum

Mandapa, Amritheswara temple

Ardhamandapa, half hall at each entrance, usually the reception area that connects
to the mandapa simply a temple portico serving as an entrance porch.

Mahamandapa,It is a large hall which consists of pillars.

Durga temple,Aihole
Principle features of a Hindu temple complex

Bhoga mandapa - (or Bogh-mandir) a hall in Orissan temples which is used for consecrated
food preparation and distribution.
Nata mandapa - (also nata mandir) the dance hall in Jagamohana - the mandapa or
Orissan temples, added from the 10th century CE. entrance hall of an Orissan temple.

Nata Mandapa, Konark Surviving Jagamohana of the Konark

Sun Temple, Orissa
BHOGA MANDAPA
It is a hall of offerings which is seen in Orissa temples.
Amalaka - a large fluted stone disc placed on top of a Nagara tower taking its form
from the amla or myrobalan fruit native to India. The amalaka supports the kalasha.

Kalasha, the pinnacle element of a temple, a vase

finial, cupola or pitcher

Tala, tier or storey of a sikhara, vimana or Gopuram

Brihadishvara temple.

Muktesvara Temple, Bhubaneshwar Kandariya Mahadeo Temple, Khajuraho

Sukanasa, an external ornamented feature over the entrance to the garbhagriha or
inner shrine. It sits on the face of the sikhara tower (in South India, the vimana) as a
sort of antefix. Can refer to the antarala below as well.

Torana, any arch or canopy motif, ornament or architectural member in temples and
buildings; it also refers to an arched gateway

Urushringa,subsidiary turret-like sikharas on the side of the main shikhara; the

primary turret is called shringa

Sukanasa Torana Urushringa

Dravida - southern temple architecture.

Shore temple, Mahabalipuram

Nagara - northern temple architecture.

Stambha, A pillar; it can be a load bearing element or

an independent standing element with diya (lamps) and
Hindu icons below, around and / or on top; the designs
vary significantly by region, in Kerala Hindu temples
they are at the entrance; on festive occasions the wick

Parsvanatha Temple, Khajuraho lamps are loaded with oil and lit up.
 Kailasanatha Temple, Kanchipuram, India

Prakara,wall that separates an inner zone of

temple ground from an outer zone; typically
concentric, defensive and fortified, a feature added
after the wars and plunders starting in the 14th-
century,simply a high wall which encloses a temple.
Nandi Mandapa - a pavilion which contains a statue
of Shiva's gatekeeper and vehicle, the bull Nandi.
 Rajarani Temple, Bhubaneshwar Kailasanatha Temple, Kanchipuram
Sikhara - the tower of a Nagara temple Vimana, that may be multistorey (talas), the
which is built directly above the inner top of which is called the sikhara
sanctum or garbhagriha. Also the decorative
top of a tower in Dravida temples.

Shikara, In North India, is a spire, curvilinear

and pyramidal roof on Garbagriha. It is
diminishing or tapering in shape for height.
Sala - a barrel-vaulted roof in Dravida architecture, often represented as an architectural motif.

Mahabalipuram, Tamil Nadu, India.

The 7th century CE Bhima Ratha with its sala barrelled roof on the left and the Dharmaraja
Ratha temple.
Kunda,temple tank, step well, pool,
usually with steps, public utility for taking a
dip; often connected to a nearby river or
mountain stream

Kunda Temple tank - a ritual bathing tank or pool

common in southern temples.
Gopura & Nataraja Temple, Chidambaram
Kirtimukha, Nepal - a decorative lion or
monster motif with the lower jaw missing,
typically placed over doorways.

Gana, a mythical dwarf or goblin usually with

Makara, Cambodia - a decorative a protruded belly and with humorous
sea monster motif. expression
Vyala - (also yali) the decorative lion Alasa kanya - Nataraja - a decorative

monster seen in many Hindu temples. a decorative dancing Shiva motif.

11th century CE. female figure. Shiva with Nandi,

Mahadeva temple, Khajuraho, India. Khajuraho Aihole

Prastara,entablature, horizontal
superstructure of bands and moldings
above column capitals, sometimes
functions as a parapet of a storey
Ratha, a facet or vertical offset projection on the
plan of the sanctum and shikhara above, or other
structure. It is generally carried up from the
bottom of the temple to the superstructure. A
ratha, meaning cart, is also the temple chariot
used for processing the murti at festivals, and a
"ratha temple" is one
Pancha Rathas in Mahabalipuram
designed to resemble
a cart, with wheels on
the sides, and often
horses. The most
famous example is the Sun Temple, Konarak.

Triratha temples
CLASSIFICATION OF
INDIAN TEMPLES
INDIAN TEMPLE ARCHITECTURE
• Nagara style is associated with the land between the Himalayas and Vindhyas.
• Dravida style with the land between the Krishna and Kaveri rivers,
• Vesara style is sometimes associated with the area between the Vindhyas and the
Krishna river.

NAGARA style temples have

curvilinear towers as against
DRAVIDIAN temples which
have truncated pyramids.
The derivative style VESARA
is a combination of both
NAGARA and DRAVIDIAN
type of architecture.
NORTHERN, NAGARA, INDO ARYAN STYLE
• NAGARA style temple architecture originated during the Gupta period (320 -650
AD) and is found mostly in North and Central India. The temple complexes at
TIGAWA (In modern MADHYA PRADESH), NACHNA in RAJASTHAN and
DEOGARH in UTTAR PRADESH are examples of this. This style had spread over
at least 3 to 4th part of northern India.
• The earliest movement started in the state of Orissa, its ancient name is Kalinga.
• It has offered strong resistance to Mauryans but finally subdued to Ashoka in 260
B.C
• After Ashoka's death Kalinga regained its independence and later become more
powerful under Kharavela.
• Beginning of this Orissa group is seen at Bhubaneshwar where there are thirty
temples.
 Bhitargaon

Khajuraho
Deogarh
Nachana
Bhumara
Tigawa

Bhubaneswar
Konark
Puri

Bijapur
Aihole Pattadakal
Badami
Hampi

Belur Halebeedu

Somnathpura Kanchipuram
Mamallapuram

Tiruchirappalli
Thanjavur
Madurai
• The most important are the temple of LINGARAJA temple at Bhubaneswar,
JAGANNATHA temple in Puri, SURYA temple at Konarak.
• The other groups are confined to some area such as at Khajuraho , the largest of
entire series is Shiva temple of Kandariya Mahadeva at Khajuraho.
The major developments in temple architecture were during the following
periods.
• 750 – 1250 AD in Orissa
• 950 – 1050 AD in Central India
• 10th to 11th Century in Rajasthan and
• 11th to 13th Century in Gujarat.
LINGARAJA temple at Bhubaneswar SURYA temple at Konarak

JAGANNATHA temple in Puri

• A square temple with a number of graduated
projections (rathakas)
• A tower (sikhara) gradually curving inwards and
capped by a spheroid slab with ribs round the edge
Vishnu Hindu temple located
(Amalaka) give the elevation at Deogarh, Uttar Pradesh
• Prominent features → Shikaras (Spiral roofs),
Garbhagriha (sanctum) & Mandap (pillared hall)
• Two major characteristics of this style are the
cruciform ground plan and the curvilinear tower.
• Dashavtara temple of Deogarh and the brick
temple of Bhitargaon are examples of this style.

Bhitargaon temple in Kanpur district,

Uttar Pradesh
• One projection on each side, it is
called „triratha’
• Two projections – „Pancharatha’
• Three projections – „Saptharatha’
• Four projections –„Navaratha’.
• In elevation it exhibits a tower (shikhara)
gradually inclining towards in a convex curve.
• The projections in the plan are also carried
upwards to the top of the shikhara
and is called the rekha shikhara.
• The structure consists of two
buildings, the main shrine taller and an
adjoining shorter mandapa.
• The main difference between these two
is the shape of the shikhara.
• In the main shrine, a bell shaped
structure further adds to the height.
• Temples are formed of four chambers
Garbhagriha
Jagmohan
Natyamandir
Bhogamandir.
• Originally in Nagara style there were no pillars.
• By the 18th century the Nagara style emerges in its
characteristic form.
• This style is seen from the Himalaya to the north
of Bijapur district in the south, from the Punjab in
the west to Bengal to the east.

• local variations and

ramifications in the
formal development
of the style in the
different regions.

• However, the cruciform plan and the curvilinear tower are common to every Nagara
temple.
Three subtypes of Nagara temple depending upon the shape of Shikhara:
Rekha Prasad / Latina
• Simple Shikhara → Square at the base and the walls curve
inward to a point on the top.
• Curvilinear in outline, the latina is composed of a series of
superimposed horizontal roof slabs and has offsets called latas.
• The edges of the sikhara 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.Latina types are mainly used for housing the Garbhagriha
• The top is called „latina‟ or the rekha-Prasad type of Shikhara.

Valabhi
• Rectangular building with a roof that rises into a vaulted chamber.
• They are usually called as wagon vaulted buildings
Phamsana
• Phamsana buildings tend to be broader and shorter than latina buildings.
• Their roofs are composed of several slabs that gently rise to a single point over the
center of building, unlike the latina ones which look like sharply rising tall towers.
• They do not curve inwards, instead they slope upwards on a straight incline.
• In many North Indian temples Phamsana was used for Mandapa and latina for
Garbagriha.
Three sub schools developed under Nagara style:
Odisha School
• Most of the main temple sites are located in ancient Puri and Konark.
• Here the shikhara, called deul in Odisha, is vertical almost until the top when it
suddenly curves sharply inwards.
• Deuls are preceded, as usual, by mandapas called jagamohana in Odisha.
• The ground plan of the main temple is square, which, in the upper reaches of its
superstructure becomes circular in the crowning mastaka.
• The exterior of the temples are lavishly
carved, their interiors generally quite bare.
• Odisha temples usually have boundary
walls.
• Example: Konark Temple, Jagannath
temple, Lingaraj temple.
Khajuraho/Chandel school
• Khajuraho‟s temples are known for their extensive erotic sculptures
• Patronized by Chandela kings of Bundelkhand (10th and 11th century).
• These 22 temples (out of the original 85) are regarded as one of world‟s greatest
artistic wonders.
• The finest among them is Shaivite temple known as Kandariya Mahadev, built
around 10th century by King Ganda
• The standard type of Khajuraho temple
has a shrine room, an assembly hall,
and an entrance portico.
• These entities were treated as a whole,
whereas in the Odishan style they were
conceived as separate elements.
• The sikhara is curved for its whole
length, and miniature sikharas emerge
from the central tower.
• The halls and porticos of the temple
are also crowned with smaller towers
which rise progressively upto the main
tower.
• Vishnu Temple at Chaturbhunj (MP) is
another prominent temples at
Khajuraho.
Solanki School
• Patronized by Solanki kings (later
Chalukya) of Gujarat (11th to 13th century).
• The Vimala, Tejpala and Vastupala
temples at Mount Abu exhibit this style.
• Dilwara temple in Mt Abu – Highest Jain pilgrimage

Exquisite example is Sun temple at Modhera, built by Raja Bhimdev-I of the

Solanki Dynasty in 1026
• There is a massive rectangular stepped tank called the suryakund in front of it.
• 108 miniature shrines are carved in between the steps inside the tank.
• A huge ornamental arch-torana leads one to
the sabha mandapa (the assembly hall)
which is open on all sides.
• Every year at the time of the equinoxes, the
sun shines directly into the central shrine.
SOUTHERN, DRAVIDIAN STYLE
• The southern style DRAVIDIAN temples had its genesis during the age of the
PALLAVAS of Kanchipuram (600 -850 AD) and later developed by the
CHALUKYAS of Badami and PANDYAS of Madurai.
• Deployed for Hindu temples in Tamil Nadu from the 7th to 18th century, characterized
by its pyramidal tower
• The temple complexes at MAMMALAPURAM (earlier known as
MAHABALIPURAM) In Tamilnadu, LAKDHAN temple in Aihole and Kasinatha
temple in Pattadakal are examples of this style of architecture.

Temple complexes at
MAMMALAPURAM
The roof above the maha mandapa shows a turret Mallikarjuna Temple
as a first version of the futures The temple reflects a fully developed
towers shikharas and vimanas. South Indian vimana style architecture

Brihadeshwara temple at Thanjavur

Temple Architecture in South India – Dravida Style
Four stages of temple architecture had been observed in South India – Mainly during
the Pallava‟s rule, around 6th century AD which are as follows:

Stage I - Mahendra Group

• Marked the beginning of Rock cut cave architecture
• Word Mandap was used instead temple.
Stage II - Narsimha Group
• Major development during this period was initiation of Decoration in rock cut cave
structures
• The architecture is represented by Monolithic rocks
• Mandap‟s now became „Ratha‟s‟ which is a refined cave, famous for beauty.
• The biggest Ratha was called as Dharamraj Rath and smallest one was called as
draupadi Rath.
• Dharamraj Rath is considered as precursor of Dravidian style of temple making.
Stage III - Rajsimha Group
• At this stage the real structural development of temple‟s started and it moved outside
the cave, earlier temples were part of caves.
• Example: Shore temple at Mahabalipuram, (TN) Kailashnath temple at
Kanchipuram → largest single work of art ever undertaken in India

Shore temple at Mahabalipuram Kailashnath temple at Kanchipuram

Stage IV - Nandivarman Group

• It is said to be the declining stage of south Indian temple architecture and only small
temples were constructed in this period.
• Notable examples → Vaikundaperumal temple, Kanchipuram
The evolution of Southern temples were as follow:
• 600 - 900 AD in Tamilnadu during the period of the Pallavas (rock cut and RATHA
style temples of Mahabalipuram, Kailasanatha and Vaikunta Perumal temples of
Kanchipuram).
• 900 – 1150 in Tamil Nadu during the Chola dynasty ( Brihadeeswara and Srirangam
temples).
• 1100 – 1350 in Tamilnadu during the Pandyan period gopurams of Dravidian style
reached its heights.
• 1350 – 1565 during the period of the Vijayagara empire in Karnataka (Pampavati
and Sri Vithala temples at Hampi).
• 1600 AD onwards during the Nayaks of Madurai. (Enlarged the existing Meenakshi
temple complex by making it ornate and adding pillared corridors).
Pallava Empire Chola dynasty Pandyan Empire
275 CE–897 CE 300s BCE–1279 CE 300 BCE–1650 CE

Vijayanagara Empire Madurai Nayak dynasty

1350 – 1565 1600–1736
Vaikundaperumal temple, Kanchipuram Sri Rangam temple, Tiruchirappalli

Vithala temple, Hampi Meenakshi temple, Madurai

• The origins of the Dravida style can be observed in the Gupta period.
• The earliest examples include 7th century rock-cut shrines at Mahabalipuram and
a developed structural temple, the Shore Temple at the same site.
• Finest examples are Brihadeshwara temple at Thanjavur, built about 1010 by
Rajaraja 1, & temple at Gangaikonda Cholapuram, built about 1025 by his son
Rajendra Chola.
• Subsequently, a number of successive court enclosures, each with its own
gateway (Gopurams), were added.
• By the Vijayanagar period (1336–1565) the Gopurams had increased in size so
that they dominated the much smaller temples inside the enclosures.
Characteristics
• Unlike the Nagara temple, the Dravida temple is enclosed within a compound wall.
• The front wall has an entrance gateway in its centre, which is known as Gopuram
• Consists of a square-chambered sanctuary topped by a superstructure or
tower(Vimana).
• Vimari consists of a multiplication of storey after storey slightly reduced than the 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 & a trident in a lord Shiva
temple.
• Temples of this style has more than 4 sides in the sanctum and Tower or Vimana of
these temples are pyramidal.
• Pillars and pilasters are vastly used in this architectural style.
• In different temples „dedicated pavilions’ can be seen like Shiva temples have
dedicated mandapa of „nandi‟ the bull or Vishnu temples have „garuda mandapa‟.
 Gopuram Vimana over the inner
Entrance Pillared sanctum
spire halls
Water tank Mandapa

Outer wall
Virupakshi temple,Hampi
• Consists of an attached pillared porch or hall (Mandapa) which precede the door
leading to the nucleus cell
• The vimana is like a stepped pyramid that rise up geometrically rather than the
curving shikhara of north India.
• Each story is delineated by a parapet of miniature shrines, and barrel-vault roofs at
the centre.
• The tower is topped by a dome-shaped cupola and a crowning pot and finial.
• A large water reservoir or a temple tank enclosed in the complex is general in south
Indian temples.
• In Dravidian style temples, the square inner sanctum is set within a large covered
enclosure and external walls are divided into niches by pilasters.
• In later period,storeys in vimana become more and more compressed, Pillared halls
and corridors and the immense gopurams were added.
• The Kailasanatha temple is a major example of the Dravida Architecture.

PLAN PILLASTERS AND CORRIDOR

Sub Styles of Dravida Temples
Vijaynagar Legacy
• They introduced the concept of enlarged high enclosure walls and more decoration
on these high enclosure walls and Gopurams.
• Sculpture or motif of supernatural horses was used very frequently.
• They also introduced the concept of secular buildings (Example-Lotus Mahal).
• Typically Vijaynagar period structures in the temple are the Amman Shrine (male
deity of temple)

Lotus Mahal
Nayaka Style
• The Nayakas rose on the fall of Vijayanagara empire
• The most famous architectural landmark at Madurai.
• The great temple complex has actually two shrines; the first one dedicated to Shiva as
Sundareswara and the second one to his wife Meenakshi.
• Have all the features of Dravidian style with an additional prominent feature known
as Parakram‟s (huge Corridor‟s along with roofed ambulatory passageways).
• It served to connect various parts of temple while enclosing certain areas.
• Intricate carvings are seen all across the
temple walls.
• The large tank set slightly off the axis to the
main temple is another impressive feature of
the temple.
• Surrounded by steps and a pillared portico,
the tank was used for ritual bathing. Meenakshi- Sundareswara temple
Chola Sculpture: NATRAJ

• Shiva‟s dancing position is associated with the end of the cosmic world
• Shiva has been shown balancing himself on his right leg and suppressing the
apasmara, the demon of ignorance or forgetfulness, with the foot of same leg.
• Shiva raises his left leg in bhujangtrasita stance, which represents tirobhava that is
kicking away the veil of maya from the devotee‟s mind.
• His four arms are outstretched and lower right hand is posed in Abhayahasta mudra
• The upper right hand hold & Damaru
• The upper left hand is held in dola hasta and connects
with the Abhaya hasta of the right hand.
• His Hair flocks fly on both the sides touching the circular
jwala mala or the garland of flame, which surrounds the
entire dancing figuration.
Vesara Style / Chalukya Style/Karnataka Style
• It emerged during early medieval period.
• It is a hybrid style that borrowed from the northern and southern styles.
• The trend of merging two styles was started by the Chalukyas of Badami (500-735
AD) who built temples in a style that was essentially a mixture of the Nagara and
Dravida styles, further refined by the Rashtrakutas of Manyakheta (750-983 AD) in
Ellora, Chalukyas of Kalyani (983-1195 AD) in Lakkundi, Dambal, Gadag etc. and
epitomized by the Hoysalas (1000-1330 AD).
• Most of the temples built in Halebid, Belur and Somanathapura are classified under
this style.

ChennaKeshava Temple, Belur Keshava Temple, Somanathapura

Vesara Style:
• Temples built in the Deccan under the later Chalukyas of Kalyani and Hoysalas are
considered examples of this style.
• Vesara style reduces the height of the temple towers even though the numbers of
tiers are retained. This is accomplished by reducing the height of individual tiers.
• It consists of two principle components like Dravidian style i.e. Vimana & Mandap.
• Departing from Dravidian style it does not have covered ambulatory around the
sanctum.
• The semi circular structures of the Buddhist chaityas are also borrowed in this style,
as in the Durga temple of Aihole.

• Example: Lad Khan temple at

Aihole, Temples at Badami,
Virupaksha temple – Pattadakal,
Hoysala temples at Karnataka
• Many temples in Central India and Deccan have used the Vesara style with regional
modifications. The Papanatha temple (680 AD) in particular and some other temples
to a lesser extent located at Pattadakal demonstrate panache for this stylistic overlap.

Pattadakal group of temples

 Dodda basappa temple chalukya architecture at
dambal , Gadag , Karnataka

Vesara style vimana and stellate

shrine in Keshava temple at
Somanathapura
Dravida and Nagara architecture

Feature Nagara Architecture Dravidian Architecture

Main temple Shikara above sanctum Vimana that may be multi storey(talas),the
spire(tower) top of which is called the sikhara

Mandapa Yes No
spire(tower)

Curvature of the Curvilinear centred over Straight – edged pryamidal,sometimes

spire the sanctum, also straight – curvilinear centred over the sanctum.
edged pyramidal

Gopuram Not a prominent feature Characteristic, but not essential, after 10th
century often higher than the vimana.
May be several ,on all sides of the compound,
serving as landmarks for piligrims.
Feature Nagara Architecture Dravidian Architecture

Sanctum Single or multi - storey Typically single(Vimana may be multi –

storey)

Other features • Sacred pools • Scared pools

• fewer pillared manadapas in • many pillared manadapas in temple
temple grounds(separate grounds(used for rites of passage
dharmashala) ceremonies,Choultry,temple rituals)
• Prakara walls rare • Prakara walls became common
• single or multiple entrances • single or multiple entrances into
into temple. temple.

Geography Northern, western ,central and Southern parts of the Indian

eastern parts of the Indian subcontinent, south east Asia
subcontinent
Vastu Purusha Mandala
The concept of Vastu Purusha
• The Vastu Purusha Mandala is an indispensable part of vastu shastra.
• Mathematical and diagrammatic basis for generating design.
• Metaphysical plan of a building
• Incorporates the course of the heavenly bodies and supernatural forces.
• Purusha refers to energy, power, soul or cosmic man.
• Mandala is the generic name for any plan/chart, symbolically represents the cosmos.
In Hindu cosmology the surface of the earth is represented as a square, four-cornered
in reference to the horizon's relationship with sunrise and sunset, the N and S direction.
• Called Chaturbhuji (4 cornered) and represented in the form of the Prithvi Mandala.
• The astrological charts or horoscopes also represent in a square plan the positions of
the sun, moon, planets and zodiac constellations with reference to a specific person's
place and time of birth.
Story behind….
• Once a formless being blocked the heaven
from the earth and Brahma with many other
gods trapped him to the ground.
• This incident is depicted graphically in the
Vastu Purusha Mandala with portions
allocated hierarchically to each deity based
on their contributions and positions.
• Brahma occupied the central portion -
the Brahmasthana- and other gods were
distributed around in a concentric pattern.
There are 45 gods in all including 32 outer
deities.
• North- Kubera- Ruled by lord of wealth (Finance)
• South- Yama- Ruled by lord of death - Yama(Damaging)
• East- Indra- Ruled by the solar deity- Aditya (Seeing the world)
• West- Varuna- Ruled by lord of water (Physical)
• Northeast {Eshanya} - Ruled by Shiva
• Southeast- Agni- Ruled by the fire deity - Agni (Energy Generating)
• Northwest- Vayu- ruled by the god of winds (Advertisement)
• Southwest- Pitru/Nairutya, Niruthi- Ruled by ancestors (History)
• Center- Brahma- Ruled by the creator of the universe (Desire)
Vastu-purusa mandala

• A myth explains the symbolic diagram (mandala): the gods in seeking

to impose order on chaos, forced the primeval man, Purusa, into a
square grid, the vastu-purusa mandala, whose basic unit is the square
pada.
• Hindu temple is the dwelling of the gods. It is based on the grid
systems of 64 (8x8) and 81 (9x9) squares.
• Square is the prefect shape for the ground plan.
• Priests perform ritual of consecrations which connect between sexual
rites and fertility in Hindu architecture.
Mandala types and properties

• The central area in all mandala is the Brahmasthana.

• Spiritual and ritual significance in both Buddhism and Hinduism.
• The space occupied by it varies in different mandala - in Pitha (9) and Upapitha (25)
it occupies one square module, in Mahaapitha (16), Ugrapitha (36)
and Manduka (64), four square modules and in Sthandila (49)
and Paramasaayika (81), nine square modules.
• The most important mandala are the Paramasaayika Mandala of 81 squares and
especially the Manduka Mandala of 64 squares.
• The normal position of the Vastu Purusha (head in the northeast, legs in the
southwest) is as depicted in the Paramasaayika Mandala. However, in the Manduka
Mandala the Vastu Purusha is depicted with the head facing east and the feet facing
west.
Mandala siting
The mandala is put to use in site planning and architecture through a process called
the Pada Vinyasa (site can be divided into grids/ modules or pada)
Mandala have certain points known as marma which are vital energy spots on which
nothing should be built.
Determined by certain proportional relationships of the squares and the diagonals.
A site of any shape can be divided using the Pada Vinyasa.
Sites are known by the number of divisions on each side.
Types of mandalas with the corresponding names of sites is given below.

• Sakala (1 square)corresponds to Eka-pada (single divided site)

• Pechaka (4 squares) corresponds to Dwi-pada (two divided site)
• Pitha (9 squares) corresponds to Tri-pada (three divided site)
• Mahaapitha (16 squares) corresponds to Chatush-pada (four divided site)
• Upapitha (25 squares) corresponds to Pancha-pada (five divided site)
• Ugrapitha (36 squares) corresponds to Shashtha-pada (six divided site)
• Sthandila (49 squares) corresponds to sapta-pada (seven divided site)
• Manduka/ Chandita (64 square) corresponds to Ashta-pada (eight divided site)
• Paramasaayika (81 squares) corresponds to Nava-pada (nine divided site)
• Aasana (100 squares) corresponds to Dasa-pada (ten divided site)
In accordance with the position occupied by the gods in the mandala, guidelines are
given for zoning of site and distribution of rooms in a building. Some of these are:
• North - treasury
• Northeast - prayer room
• East - bathroom
• Southeast - kitchen
• South - bedroom
• Southwest - armoury
• West - dining room
• Northwest - cowshed
Vastu-purusa mandala
1. SHIVA OR SHIVAVITE TEMPLES

• The device on the top of the Shikara distinguishes the two temple of each system.

• The trident on Shikara signifying a Shiva temple, these temples always faces east.

• Inside the cella of these temples Linga is present.

• In front of the main entrance there will be always in sacred bull of Shiva known as

Nandi.

2. VISHNU OR VISHNUITE TEMPLES

• In contrast to the Shiva temples above the Shikara of the Vishnu temples there
will be a disc or wheel and inside the sanctuary, a statue of deity is used.

• This kind of temples must have lotus flower and chakra symbols.
 MAHA MANDAPA
MANDAPA
GARBAGRIHA
ANTRALA

AMBULATORY
PASSAGE

ENCLOSURE
WALL
Early shrines of the
Gupta and
Chalukyan periods
HINDU ARCHITECTURE
• During the Gupta Empire, when Buddhist
practices began to fuse with the surviving
Vedic practices of pre-Buddhist times,
Which lead to new and well- organized
religion that we now call Hinduism.

• SRIGUPTA [ 240-280 AD ] believed to be

founder of Gupta dynasty.
• Chandragupta first [ 375-414 AD ] started
the real glory of gupta period
• The basic configuration of the Hindu
temple can be seen at the Temple 17 at
Sanchi and the Kankali Devi at Tigawa,
both from the early 5th century CE.
GUPTA PERIOD – ARCHITECTURE - 320 – 650 AD

• The Gupta Empire was one of the first people to use stone to build instead of wood.
• The architecture was dedicated to building stone temples for the various gods.
• Their architecture marked the beginning in the creation of stone structures.
• They built the first free standing structural temples.
• They made structures called Stupas, this form of architecture made its way to china,
where it was altered slightly and renamed the Pagoda.
• They invented manuals which described how to build the temples.
• Sophisticated urban culture, people of prime.
• Lot of literature, scultpure, texts, art etc
• Best knows old poets from this period Kalidas, Kama Sutra came from this period
• Establishment of Sanskrit culture, high culture of city elites and Bhramanical
Architecture.
Revival of Arya concepts as a new civic culture.
• Revival of kingship legitimized but Brahmins as the custodians of order
• Projection of Arya/Vedic age as a lost golden age; modernization of old Vedic gods
and rituals
• Incorporation of Buddha and Buddhist ideas, into the new Hinduism.
• The birth of the Hindu temple.
• Rise of Shiva and Vishnu, puja introduced.
GUPTA ARCHITECTURE – TEMPLES AND THEIR FEATURES

• The Gupta style was influenced by Kushan, Mathura, and Gandhara and borrowed
the common features of T-shaped doorways, decorated door jambs, sculpted panels
with high-relief figures, and laurel-wreath and acanthus motifs.

• Constructed using sandstone, granite, and brick, Gupta-era temples added to this
architectural heritage with horseshoe gavakshas arches and distinctive curved
shikhara towers which are frequently topped with a ribbed disk ornamentation
known as an amalaka, the crown.

• These elaborate buildings are further decorated with a mass of ornate mouldings and
sculptures set in niches.
• In Gupta architecture, the square was considered the most perfect form and
temples were designed to be appreciated from all sides so that each carries
decorative architectural features.

• Most temples also adopt a square plan with the single cubicle garbhagriha in the
centre. This is normally entered by a short columned porch set over a single,
highly decorated doorway with a projecting lintel.

• Columns can support a pot-and-foliage capital, and roofs were generally flat,
as in surviving examples at Tigawa and Sanchi in Madhya Pradesh. Other
typical Gupta decorative features include triangle motifs inside doorways and
lion's heads at the ends of stone beams.
• Earlier temples of the period had a monolithic flat slab roof.
• Later temples in brick and stone developed a Shikhara.
• The gradual evolution of the Gupta style is traceable through development of the
plan and the ornamentation on the pillars and doorframe.
• The later introducing new decorative motifs like goblins, couples, flying angels,
door-keepers and a figure relief in the centre of the lintel emblematic of the deity
consecrated in the temple.
• Sculptures of deities, their consorts, celestial beings, couples, directional deities,
composite animals and decorative motifs formed the mass of images that adorned the
walls of the temples and their interiors.

TYPES OF GUPTA ARCHITECTURE:

1.Temple architecture
2.Rock-cut temple architecture
• Temple 17 at Sanchi
• Kankali Devi at Tigawa
• Temple of Bhitargaon
Gupta period
• Parvathi Temple at Nachana Kuthara
• Shiva temple at Bhumara
• Dasavathara Vishnu Temple at Deogarh
• Ladh Khan, Aihole
• Durga temple, Aihole
• Papanatha, Pattadakal
Chalukyan period
• Virupaksha temples, Pattadakal
• Kailasanatha temple, Ellora. Rashtrakuta period
 Temple 17 at Sanchi ,
 Kankali Devi at Tigawa

• Both consist of a flat-roofed garbha-

griha and mandapa, linked by a
simple stepped stylobate and
architrave.
• The garbha-griha (literally “womb
Garbha griha Mandapa
chamber”) is usually square and
SECTION
unadorned. PLAN

• The mandapa is essentially a place for the

worshipper.
Garbha griha Mandapa
 Temple of Bhitargaon
• Another ex of an early Gupta period Hindu temple is the
brick-and-mud mortar temple at Bhitargaon (400–50 CE ).
• Here the garbha - griha is surmounted by a large tapering
superstructure, called the shikhara.
• This temple is constructed on a high plinth.

• Resemblance to the Buddhist temple of Bodhgaya..

• It is a tower-like edifice, rising in diminishing
stages to a height of 70 feet.

• The projected porch on the east side is

Garbha
griha Antarala
approached by steps.

• The outer ornamentation of terracotta sculpture is

certainly the most striking feature of the
Bhitaragaon temple.
• The walls rise in bold moldings, their upper portions being decorated with a row of
rectangular panels alternating with ornamental pilasters.
• Like many Bhramanical structures, it was not a temple for worshippers but a
repository or a shrine for an image.
• This is the oldest remaining Hindu shrine with a roof and a high Sikhara in
which there is a series of arches.
 Parvathi Temple at Nachana Kuthara
• This is a west facing temple, contrary to most of other Hindu temples which face east.
• The sanctum doorway is surrounded by finely carved guardians with Ganga and
Yamuna, river goddesses.

• North and south walls are provided with pierced stone windows so that the light can
enter the sanctum.
 Shiva temple at Bhumara
• It resembles in type and plan to the Bhitaragaon temple.
• This shrine consists of a square masonary cella (garbagriha) of about 35 feet side
with a flat slab-roof and a carved doorway having representations of river-goddesses
on the jambs and a fine bust of Shiva, with flying figures on the lintel.
• Around the garba griha are the scattered remains of a larger chamber which
surrounded it, providing a roofed pradakshina patha, and of a mandapam attached to
and preceding this enclosure.

• These remains consist of a great variety

of columns which are not monolithic, of
richly carved lintels that supported the
roofing slabs, of Chaitya-window niches
from the cornice.
• Some of the gana figures have raksasa faces on their Bellies.
 Dasavathara Vishnu Temple at Deogarh
• Most important feature of the temple is
Sikhara instead of the conventional flat roof.

• Another most important feature of this temple

is the arrangement of its portico.

• In the centre of the over-door slab is a plaque

of Vishnu on the great naga
• To the right and the left at the top and
outside the main zone of the frame are
reliefs of the river goddess Ganga and
Jamuna.

• Dvarpalas or door guardians and female

divinities are carved on the overlapping frames
of the door.
 Gupta Iron Pillar 4th c.
• Shaft ; Lion abacus ; Bell capital
• Supports a statue of god Vishnu with a halo 43‟ high
• At present it is the iron pillar at Delhi
• Erected by Kumaragupta,Original site near Mathura
• Erected 415 BC
• Later shifted to a mosque site
• 23‟ 8” high, made of pure malleable iron 6 tons weight
• First it bore the image of Garuda Moldings on top
• Can be divided into three parts
• Uppermost- square abacus
• Below melon capital
• Campani form capital
The iron pillar is 7.21 metres tall, with 93 cm buried below
the present floor level, and has a diameter of 41 cm
• The pillar, made up of nearly seven tones of 98 per cent
wrought iron of pure quality, is 7.21m (23 feet 8 inches)
high, with 93 cm buried below the present floor level, and
has a diameter of 41cm (16 inches).
• According to the inscription on it, the pillar was erected by
Chandragupta II Vikramaditya (375–414 C.E)
EARLY CHALUKYAN PERIOD-5th – 8th c. AD (550– 750 AD,973 – 1190 AD)
• The birth of the Chalukyan Dynasty was in the 5th c. with its capitals at Aihole,
Badami, Pattadakal.

• The contributions of the Pallavas and Orissa along with Northern influences were
absorbed

• Aihole illustrates 2 distinct variants in the development of dressed stone Hindu

architecture

LATER CHALUKYAN PERIOD-9th – 12th c. AD

• The Pallavas and the Chalukyas were rival dynasties battling the control of south India.
• There was hence a style that combined Dravidian and Nagara Styles.
• Hence the Structures of this period have Pallavan influence. Most of the later
chalukyan temples were build by Dravidian labourers
• The only difference being it is of dressed rather than rock cut
 Ladh khan temple – Aihole – 450 AD (5th century)

• Dedicated to Shiva
• Temple consists of a shrine (garba griha) with mandapa in front of it
• rectangular building with a flat roof of stone slabs
• stone-grills on two sides to admit light
• The eastern end opens in the pillared porch. The wall is in reality a Pre style of
massive stone posts between which the latticed slabs have been placed like
screens.
• The main shrine houses a Shiva Linga with a Nandi and outer walls having many
carved images along with floral motifs.
• The mukha mandapa situated in front of the sanctum and consists of a set of
twelve carved pillars.
• Lad Khan temple is the earliest example of the massive bracket-like capital
continued throughout the Hindu Renaissance period.
• Ladkhan Temple is one of the oldest temples in the complex probably built in
450 AD.
• It was initially used as a panchayat hall where Pulakesi I performed horse
sacrifices.
• Later it was turned into a temple – first Surya Temple and then Shivalaya.
• Since it is early construction, the pillars are relatively carving free.
• The most beautiful part of the temple is the lattice windows with intricate
carvings taking inspiration from northern temples.
• The carving could have been a later addition to the temple once the appropriate
skills had developed.
• The central square with flat roof houses the Nandi.
• The Nandi is surprisingly completely intact.
• Over the central square there is a broken shikhara which could be a later addition.
• The temple got its name either from a general or a mendicant who lived here.
• Plan – 50’ square
• 3 sides walled, two sides of which have perforated stone grilles.
• 4th side on east-open pillared porch projecting outwards
• Entered through a 12 pillared portico in an expansion
of the 9 square plan
ENT
• Interior consists of a 16 pillared hall like a pillared RY

pavilion
• 2 square groups of columns, one within the other
thus providing a double aisle.
Roofing:
• Roofed with huge slabs of stone laid almost flat

• Inclined to permit run off

• Carried on pillars and corbels in imitation of a wood frame structure

• Stone battens between the roofing stones helped to make it water tight

• Primitive roofing technique which gave way to successive layers of horizontal

corbelling
Ornamentation:

• The holy shrine was introduced at the end for the deity.

• Plain square shaft pillars existed

• Bracket capital, neck and wave mouldings
• Handsome jali whose perforations compose
geometrical motifs and relief structures
• Kudu friezes in upper part of the temple base and around
sides of roof – celestial city
• On the roof a little square aedicule has the reliefs of the 3
divinities-Vishnu, Surya, Devi

• Roof-Joints-covered all along by another stone

• Disproportionate structures
• Wasteful materials used unnecessarily
 Durga temple – Aihole (7th to 8th century)

• Naga ceiling, ceiling panel in the mandapa depicts a naga with a coiled serpent body.

• Shikara – Little remains of the tower that once rose above the inner sanctum.

• Column Carving – This depiction of an amorous couple carved on one of the columns

in the porch is a masterpiece of Chalukyan art.

• The entrance porch has columns embellished with intricate carvings.

• The Durga Temple is the most unique temple you have ever seen.

• It almost resembles a mini fort and therefore probably it is named Durg or a fortress
rather than dedicated to Goddess Durga.

• The sign says that it has apsidal plan but non-apsidal curvilinear shikhara.

• The temple is a delight to look at and is emblematic of Aihole town.

• A colonnaded corridor runs around the temple that allows circumambulation.

• A The pillars have some great carvings.
• The garbha griha or the sanctum sanctorum is topped with a broken
shikara.
• The temple was built in the 8th cent during the times of the later king
Vikramaditya II.
• The exquisite and detailed carving clearly shows that in 2 centuries since they started
temple construction, the Chalukyan Architecture had reached its peak.
•This is the brahmanical version of
the Buddhist Chaitya hall adapted to
suit the service of the former belief.

•The durga temple which mostly

follows this model was probably
erected during the sixth century.
• The temple includes
mukha mandapa,sabha
mandapa and garbhagriha.

• It has an apsidal ended

structure measuring 60‟ by
36‟.
• It is an improvement over
the Ladhkhan Temple
• Derived from the Budhist
Chaitya halls-6th Century
• The temple derives its name from
Durgadagudi meaning 'temple
near the fort'.
• Dedicated to Vishnu
 Papanatha temple, Pattadakal, Karnataka
Introduction
• In ancient times, this place was known as Kisuvolal (valley of red soil) or
Pattada- Kisuvolal or Raktapura.
• Containing a Nagara styled Vimanam, the temple dates back to 680 AD.
• Dedicated to Mukteshwara completed around 740 A.D.
• Designed on both north and south Indian styles of architecture
• The temple is famous for its sculptures that are imbibed from the scenes of
Ramayana and Mahabharata.
• The place has cultural vestiges ranging in date from the pre-historic times.
• The historicity of Pattadakal goes back even earlier to the Pre- Chalukayan
period.
• Initially, the construction was started with Nagara style, but later it was switched
to Dravidian style.
 SIDE ELEVATION

ELEVATION

E
N
MUKHA- T
MANDAPA
R
Y
PLAN

THE TEMPLE IS FACING THE EAST DIRECTION

The temple is characterized The temple is provided with a covered
by Rekha-nagar shikhara ambulatory passage, a vestibule or an
(beehive shape) antrala and open portico in front
Design
• 90‟ x 30‟ in dimension.

• Dedicated to lord Vishnu. Built as the chief

temple after the capital was founded.

• Later on converted into Shiva’s temple.

• Papanatha temple faces east towards the
sunrise and has a Shiva linga in its garbha
griha (sanctum) except there is no Nandi-
mandapa.
• An image of Nandi housed in the sabha
mandapa facing the sanctum.
• The temple is built on a plinth of five
mouldings, embellished with animal motifs,
floral designs and kudus.
• The wall surfaces are relieved with niches (devakoshthas) housing carved deities and
themes of Shaivism and Vaishnavism; Durga is depicted in one of the niches.
• These niches are topped by various designs of chaitya-arch motifs and interspersed
with perforated windows.
• Introduction of narrative panels depicting the episodes from the Kiratarjuniya and
the Ramayana on the outer wall surfaces is another noteworthy feature of the
temple.
• The amalaka and kalasa are, however, missing.

• A characteristic feature of the temple is its

well-developed rekha- nagara (northern)
sikhara with an elaborately carved
Chaitya-arch enshrining Nataraja on the
frontage of the sukanasa.
• Plan lacks correct placement of the main parts and a logical inter relationship b/w
them.

• Both the plan and the elevation does not harmonize.

• The interior still bears the influence of rock cut architecture .

• Uncertainty of positioning the elements.

• The sikhara at the eastern end of the building is too short and under sized for the
Length.
• Antarala or Vestibule is wrongly positioned

• Too large, takes the shape of a square court with 4

pillars.
• Instead of a connecting chamber it becomes
another hall.
• Disproportion in plan has created
disproportion in elevation.
EXTERIOR
• Pillars of the entrance porch bear Kinnara couples and engaged columns have
the figures of Dvarapalas.
• Lions and sardulas are carved at the corners above the entablature and the ceiling
panel depicts dancing Siva with Parvati and musicians and flying figures.

INTERIOR
• The central bay ceiling of the sabha-mandapa is adorned with panels depicting
Anantasayana surrounded by the Dikpalas, nagaraja and Gajalakshmi from E to W.
• Figures of rearing animals are carved projecting from above
the entablature.
• Central ceiling of the ardha-mandapa has relief sculpture of
dancing Siva in the company of Parvati and musicians.
• The western ceiling here has figure of Nagaraja.
• Both the mandapas and the sanctum have ornate
doorframes.
CARVINGS AND SCULPTURE
 Virupaksha Temple – Pattadakal 740 AD

• This temple, in worship, known as „Shri Lokeswara- was built by Lokamahadevi,

the Queen of Vikaramaditya II in A.D.740 to commemorate her husband‟s victory
over the Pallavas of Kanchipuram.

• It closely resembles the Kailasanatha temple at Kanchipuram on plan and elevation

and represents a fully developed and perfected stage of the Dravidian architecture.
• This temple has on plan a square sanctum
(garbhagriha) with a circumambulatory path
(pradakshina patha), an antarala with two
small shrines for with entrance porches
• Separate Nandi-mandapa in front.
• The complex is enclosed by high prakara walls.
• Against the inner faces of these walls
there were small shrines (originally 32)
dedicated to the subsidiary deities of
which only a few are extant now.
• The enclosure has been provided with ornate
entrance gates (pratolis) on both east and west.
• The temple is built on a high plinth
of five fully evolved mouldings.
• All these projections of the sanctum
walls carry niches housing images
of Saiva and Vaishnava deities
• The superstructure over the sanctum
is a Dravida-vimana in three storeys
• It is square in plan and repeats in
Virupaksha
its elevation many elements of
Temple
the parapet and walls beneath.
• It has a beautifully shaped square
roof (shikhara) with a round finial
kalasa above.
• The whole of the interior of this temple is embellished with elegant carvings
and aesthetically modeled sculptures.
• Episodes from the Ramayana (e.g. abduction of Sita) Mahabharata (e.g. Bhishma
lying in a bed of arrows), Bhagavata (e.g. Krishna lifting the Govardhan mountain)
and Kiratarjuniya (e.g. Arjuna receiving the Pasupatastra from Siva) are depicted
on the pillars of the sabha- mandapa and the pilasters here have the sculptures of
amorous couples and Rati and Manmatha.
• Flora, fauna and geometrical patterns adorn
various parts of the temple.
• Doorjambs (dwara-shakhas) with their
delicate carvings, pillars and pilasters
with various types of capitals and
carvings on their faces
• lintels relieved with animals, birds and
architectural motifs, ceilings depicting
divine beings and the majestically standing
dwarapalas - attest to the heights reached
by the Chalukyan sculptures.
• The Nandi-mandapa situated to the east of
the temple, is a square pavilion open on all
the four sides.
 Kailasanatha Temple

• The Kailash or Kailasanatha

temple is one of the
largest rock-cut ancient Hindu
temples located
in Ellora, Maharashtra, India.

• A megalith carved out of one single rock, it is considered one of the most
remarkable cave temples in India because of its size, architecture and sculptural
treatment.
• The Kailasanatha temple (Cave 16) is one of the 32 cave temples and monasteries
known collectively as the Ellora Caves. Its construction is generally attributed to
the 8th century Rashtrakuta king in 756-773 CE. The temple architecture shows
traces of Pallava and Chalukya styles.
• The Kailash (, Kailasa, Kailasha, Kailasanatha) temple is the unmatched structure
in the world situated in Ellora.
• This is designed to recall Mount Kailash, the abode of Bhagwan Shiv – stands tall,
enclosed within a big man made crater, surrounded by rock.

• It is world‟s oldest single rock carved, multi-

Storeyed temple complex.
• West archaeologists were awestruck and
compared to notice that it is double the size of
Parthenon in Athens.
• After being closely monitored, several experts
also found that initially the temple was entirely
covered with white plaster to increasingly
resemble the snow covered Mount Kailash.
• Fifty meters wide, more than 90 meters deep,
and 20 meters high, Kailasnath is in the
middle of the 3-kilometer-long wall of basalt
that has thirty-four caves carved out of it (12
are Buddhist, 17 Hindu, and 5 Jain, dating
from 600 to 1000 CE ).
• Kailasnath is conceived as a representation of
the mythological mountain abode of Shiva,
Mt. Kailash.
• Unlike the Buddhist rock-cut structures that
essentially had always been
elaborations of a cave, Kailasnath is an
independent entity, a freestanding colossal
sculpture revealed from the matrix.
• Two “victory towers” have been left on either side of the
mass of the Nandi chamber.
• They not only provide the vertical axis of the composition,
but their length also visibly measures the mass of the rock
that has been excavated.
• From outside, the temple
is almost entirely
obscured by its two-
storied entrance gopuram
(flanked on either side by
Shaivite and Vaishnavite
figures) on the west that Victory tower temple of

leads, through a vestibule, Kalisanath,Ellora.

into the main space.

• The ground floor is dominated by
the immense presence of the excavated
mass, since the body of the temple at
this level is mostly solid and cannot be
entered.
• Toward the back, the perimeter is
ringed by a colonnade of square pillars
whose only purpose seems to be to
support the overhanging rock.
• In the midst of an elaborate
sculptural program, the lower rock
mass of the main shrine has life-size
elephants carved into it, as if they were
supporting the temple above.
• Access to the main level of the temple is
from a pair of symmetrical stairs on the
7
west that emerge into the entrance
vestibule of the shrine. 6
• The mandapa has sixteen columns
clumped into groups of four, creating a 4 3 2 1
5
cruciform central space that opens into
smaller porches on the north 6
and south. 6
• The garbha-griha has no inner
parikrama;
• instead on the outside, defined by five
1.Garbha Griha 5.Gopuram
subsidiary shrines. Bridges connect the
2.Sabhamandap 6.Shrines
main shrine with the Nandi chamber and
3.Ardhamandapa 7.Lankeshwara Temple
the entrance gopuram as well.
4.Nandi shrine
• The shikhara or tower of the main shrine
has a four-tiered pyramidal shape
resolving into an octagonal finial.
• The subsidiary shrines use the same
vocabulary.
• Toward the north, on the cross axis with
the mandapa, there is another rock-cut
temple, Lankesvara, complete with a
sixteen pillar mandapa and garbha-griha.
• And to the South there are two additional
shrines, also rock-cut, one of which
extends almost 25 Meters into the rock.
• The temple shows traces of Pallava style.
• the Chalukya king Vikramaditya II (r. 733–744 CE) took some Pallava artists
back to his kingdom after defeating the Pallavas.

• The entrance to the temple courtyard features a low gopuram.

• Most of the deities at the left of the entrance are Shaivaite(followers of Lord Shiva)

• while on the right hand side the deities are Vaishnavaites (followers of Lord
Vishnu).
• A two- Storeyed gateway opens to reveal a U-shaped courtyard- 82 m x 46 m at
the base.

• The courtyard is edged by a columned arcade three stories high.

• The arcades are punctuated by huge sculpted panels, and alcoves containing
enormous sculptures of a variety of deities.
• Within the courtyard, there is a central shrine dedicated to Shiva, and an
image of his mount Nandi(the sacred bull).
• The central shrine housing the lingam features a flat-roofed mandapa supported
by 16 pillars, and a Dravidian shikhara.
• The shrine – complete with pillars, windows, inner and outer rooms, gathering
halls, and an enormous stone lingam at its heart – is carved with niches, plasters,
windows as well as images of deities, mithunas (erotic male and female figures)
and other figures.
• The Nandi mandapa and main Shiva temple are each about 7 metres high,
and built on two storeys.
• There are five detached shrines in the temple premises; three of these are
dedicated to the river goddesses: Ganga, Yamuna and Saraswati.
• The base of the temple has been
carved to suggest that elephants
are holding the structure aloft. A
rock bridge connects the Nandi
Mandapa to the porch of the
temple.
• There are two Dhwajasthambha
(pillars with flagstaff) in the
courtyard. A notable sculpture is
that of the Ravana attempting to
lift Mount Kailasa
ELEVATION

SECTION
The influence of other temple styles cannot be neglected, for, this temple resembles
closely with the Virupaksha temple at Pattadakkal, an early Chalukyan temple.
Kailasa was excavated under Krishna I (A.D. 756-783) the Rashtrakuta monarch-It
was originally known as Krishneswara.
The most prominent feature of the court is two huge monolithic elephants and pillars on
each side. The pillars, square in shape rise to a height of 45 feet and is crowned by a
huge trisula. The pillars are decorated with sculptural as well as moulding decorations.
Based on Archaeological Survey of India, ASI’s information, stunning Architectural feats.
• The rear wall of its excavated courtyard has length of 84 m, breadth of 47 m and height of
33 m high.

• The temple is built carving a big rock of 50 m deep, 33 m wide, and 30 m high.

• Largest cantilevered rock ceiling in the world.

• The carving was done from top to down digging a single basalt cliff rock.
• Work happened only 16 hours a day.
• The reflection of sun rays from mirrors were used as there was no electricity in ancient
period.
• However, there are so many inner parts of the structure where even sun rays cannot reach
even using multi-layered mirror arrangement so delicately carving intricate designs in such
places is done using yogic eyes.
• During Satyug, average height of people were 32 feet and their lifespan was lakhs of years with
wishful death for Yogis. It is highly possible that the major carving of digging deep the entire
mountain were done by these pious and strong people.