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MODULE 4
HOYSALA ARCHITECTURE
Hoysala architecture is the building style
the Hoysala Empire between 11th and developed under
14th
centuries.
Peaked in the 13th
the rule of
century
Chennakesava Temple Belur,
Hoysaleswara Temple Halebidu, Kesava Temple
Somanathapura are notable example.
All
these
temples have negligible
more distinct.
north
influence, while South Indian style
is
Temple complex
Hoysala temples have distinct
parts that are merged to form a unified
whole, in contrast to the
organic
of Tamil
temples
country where different
temple stand independently.
parts
of a
All the
temple parts chiseled of soft
soapstone (chloritic schist). a good
material for intricate
carving,
executed
mostly by local craftsmen, and exhibit
architectural features that
distinguish them
from other
South India.
Most
Hoysala temples have
by circular
The
or
temples
jagaf".
The
a
temple architectures of
plain covered entrance porch
supported
a
bell-shaped pillars
may be built upon
jagati, apart
from
giving
a
a
platform raised by
about
a
metre called
a
raised look to the
serves as
pradakshinapatha or "circumambulation path"temple,
for circumambulation
around the temple,
feature.
Such
open
as
the
garbagriha finner sanctum) provides no such
temples will have an additional set of steps leading
mantapa (open hall) with parapet walls.
to
an
The
jagati which is in unity with the rest of the temple follows a
star-shaped
design and the walls of the temple follow a zig-Zag pattern, a Hoysala
innovation.
Architectural elements
1.Mantapa
The open mantapa which serves the purpOse of an outer hall
Outer mantapa) is a regular feature in larger Hoysala temples leading to an
inner small closed mantapa and the shrine.
The shape of the mantapa is best described as staggered-square and is the
style used in most Hoysala lemples.
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mantapas have seating areas made of stone wilh
the mantapa's parapet wall aciing as a back res.
The
The closed mantapa, well decorated inside and out.
2.Vimana
inside, the vimana is plain and square, whereas outside it is profusely
decorated and can be either stellate "'star-shaped") or shaped as a
staggered square, or feature a combination of these designs.
Depending on the number of shrines (and hence on the number of fowers),
the temples are classified
as ekakuta (one), dvikuta (two). trikuta (three). chatushkuta (four)
and panchakuta (five).
Most Hoysala temples are ekakuta.dvikuta or trikuta.
A temple's minor shrine usually has its own tower.
3.Sculpture
Hoysala artists are famous for Iheir sculplural delail.
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Their medium, is soft chlorite schist or soap sBone.
Every aspect down to a fingernail or toenail is perfected.
General life themes are portrayed on wall panels such as the way horses were
reined, the type of sBirrup used, the depiction of dancers, nusicians,
instrumentalists, and rows of animals sUch as lions and elephants (where no
two animals are identical.
HOYSALESWARA TEMPLE HALEBIDU
Halebidu
(literally "old city) is
Halebidu was the
located
regal capital of
in
Karnataka.
the 12th century.
the Hoysala Empire in
best examples of Hoysala
It is home to o n e of the
Kedareswara
temples.
Hoysaleswara and
architecture
in the ornate
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Temple plan
I h e temple is a simple dvikuta vimana (plan with two shrines and two
Superstruciures), one
"Hoysaleswara" (the kirng) and the other for
lor
"Shantaleswara"
buil wilth Soapstone
The temple complex as a whole is elevated on a jagati (platform).
the two shrines which
are
adjoining,
face east and each have
a mantapa (hall) in front.
T h e twomantapas are connected
giving
a
large and imposing view of
the
hall.
but the exterior looks different
The plan of the inside of the temple is simple
and recesses in the walls.
because of the introduction of many projections
NCYSALEs VARA TCPLE, JALEO, GROuND PLAN
The ternple has four porches for entry and the one normally used by visitors as
main entry in (north).
ihere is
one
entry
on
the souih side and lwo
on
the east side.
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I n addition there is a sanctuary for the Sun god Surya, whose image slands 7I
2.1 m) tat.
The pavilions wilh a large images of Nandi, the bull, an altendont of Shiva
The pavilions shore the same jagati as the main termple
this temple orniginally had an open mantapa to which outer wals wilh pierced
window screens made wilh the same material were erected, making
the mantopa a closed one.
The window screens are devoid of any art work.
Horizontal treatment
The outer wals have two eoves that run around the temple.
The
the superstructure meets the
meter below.
iop eaves is at the roof of the temple where
wl,and the second eaves is about
Below the lower
eaves are
a
the eight moldings. Historian calls this
type of relief
work "horizontal treatment".
Each of the
eight friezes camries an array of decoration.
wall meets the
platform, the lowest
from the bottom where the temple
Going
frieze depicts charging elephants which symbolize strength and stablity.
cOurage, floral
above which, in order, are friezes with lions which symbolize
scrolls
as
decoration, horses
symbolizng speed, etc
whurala
i
Sculptures
The Hoysaleswara temple is most well known for its sculptures that un all
along the outer wal
Totaily, Ihere are two hundred and forty such images.
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Kesava temple ,Somnalhpur
This is one of the finest examples of Hoysala architecture,
The temple was built by Soma, a Dandanayaka (lit. "comnander) in 1263
C.E. under Hoysala king Narasimha ll,
The temple is housed inside an impressive high walled enclosure with 64 cells
and the entrance to the complex is through a porch with tall lathe-turned
pillars.
Ihe
naterial used for the temple is soapstone
Ihe
temple which is built
on a
jagati (plalform)
lenple is a trikuta (triple shrine: gurbhagrihas housing the
inages
Veruyopcla, Janardhana, umounted by elegantly carved
of
Kesava
shikharas
Iride the
ternple,
each vimnana has
eclonguicr nantapa (hatl)
vestibule that connects
it lo the main
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LIke the shrines, all three vestibutes also have ther own tower cottecd
the Sukanasi (or nosej. though it is shorter and honce looks lik e n low
extension of the main superstruchure over the shrirne.
.The outer walls of all three shrines, Iheir lowers and Sukanasi are eqully wel
decorated, making it overalla very well balanced design
The
temple
stands on
at the back and are
located
three imanas are
a jagati (platform) and therectangular closed mantapa.
connected
by a
common
exterior and there is a gallery
the plan of the temple
The jagati closely follows
complex which
the enclosure of the temple
all
along
lathe-turned
pillars
with
adds to the effect.
and
that leads to the jagati
T h e r e is one flight of steps
the jagati to the mantapa.
The
one
thot leads from
clockwise circum
to follow the ritualistic
devotees
wide jagoti invites
hall.
ambulation
before
entering the
The hall has sixteen boys.
The moldings
on
and friezes, with
has well decorated
the outer wall of the mantapa
pierced windows
All the three shrines
towers follow
the
are
same
screens
reliefs
above them.
in design and their
16 pointed stellate (star-shaped)
structure looks likea
pattern.
Hence
the whole
and recesses (called
well decorated projections
hythmic progression of
towers look circular
The number of points make the
architectural
articulation).
in shape
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sOMNATHPUR, Kesbava lngk
Sourca Monuments of India
Horzontal Treatment
has
twoeaves running around the temple and there are six moldings at the
base of the outer walls.
The upper eaves is where the lower meets the wall
ot the shrine. The lower
eaves is about a meter below the
upper eaves. Belween the two eaves are
decorative miniature towers (called aedicule).
Below the lower
eaves are a panel of Hindu delties In
frleze and their
attendants. There are nearly two hundred such
panels. Below these panels
are six horizontal mnoldings or friezes of
equal size with ornate
decorations
INDO ARYAN
STYLE(THE
NORTH
INDIAN)
North Indian temple architecture,
distinctive sikhara,
are
characlerized by
its
superstruclure, tower, or spire. The style is sometlimes
referred to as Nagara, .
The
a
typical Hindu temple in northern India,
on
plan, consistsof
garbhagha, or "womb-room"'or cella- a
sanctuary housing
the main
image,
mandopas (porches or halls)
Iront of garbhagriha
small
one or more
square-shaped
adjoining pilored hall in
anlaråla open or closed
veslibule connecling the sanctum und
mondapa
The ertrance
doorway of lhe
igures of river goddesses ond sanchum is usually richly decorated with
bands of Noral,
Ofnurnentation.
figural, and
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An ambulatory is sometimes provided around the sanctum.
o Above the main sanctuary rises a spire sikhara, which is usuall
a
curvilinear in outline.
o The whole may be raised ona terace jagothi with attendant shrines af
the comers.
o fatemple is dedicated to the god Siva, the figure of the bul Nand,
faces the sanctum, and,
o if dedicated to the god Vishnu, standards (dhvoja-stambha) may be
set up in front of the temple
o
All the temples created in the Nagara style have a unified theme and
design.
and
Theexterior walls are usually decorated with sculptures of mythological
niches
in
semidivine figures, with the main images of the deities placed
carved on the main projections.
Shathara (pak)
Geparass fdom
Sthambha
Vinana (toie
Gaubha-oriba (sonetan sanctorm)
Mandap
pilster
ORRISAN TEMPLE ARCHITECTURE
The characteristics of a
fully evolved orisan temple are:
A sanctum which is usually square termed as duel or rekha deul
An assembly hall in front of deul called jagmohan
A
dancing hall in front of jagamohan called natamandir
A hall of offering in front of natamandir called bhog mandir.
These structures are aligned on an axis and stood on a plinth called
pista
Absence of pillars on exterior façode is a characteristic feature of
these temples
b
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rathas
m
rekha
natamandir
bhogamandapa
The super structure
bada
jagamohan
deul
comprises of 3 parts
the lower cubical portion
o
Chhapara - the tall middle portion of shikara and
o
Amalaka - a flattened fluted disc on top of chappara.
o
Kalasa-a tall finial usually crowned the amla.
Jagamohan also have bada and pida- a pyramidal roof on top bada.
A ghanta kalasa- bels shaped finial is placed on top of pida.
kalasho"
CKCULIDDDDomoaia
chopra
pidlo
boda
pido d
mohon
sekha ded
garbhagriho
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A deula is a shrine in an Odishan temple in India. Sometimes the whole
temple is called Deula. Ihere are three types of De ulas
.Rekha Deula-Eg: Lingargja temple, Rekha in Oriya means a straight line. It is a
tall building with a shape of sugar loaf, looking like a Shikhara. It covers and
protects the sanctum sanctorum
Pidha Deula-Eg: Konark Sun Iemplelt is a square building with a pyramid
shaped roof, like the vimanas. For the halls or service rooms of the
nple.
Khakhara deula -Eg:Baitala Deula Khakara deula is a rectangular buiding
with a truncated pyramid-shaped roof, like the gopuras.
Kanga architecture
Rededat
Pidhadaulotsy
Aide west-a
LINGARAJA TEMPLE, BHUBANESWAR
Lingaraj Temple is
and is one of the
dedicated to Harihara, a form of Shiva
oldest temples of Bhubaneswar.
in India".
"one of the finest examples of purely Hindu temple
Bhubaneswar.
The Lingaraja temple is the largest temple in
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there
located in the east, while
The main entrance is
the north and south.
are
small
entrances
in
that has four components namelyYThe temple is built in the Deula style
bhoga-mandapa.
vimana. jagamohana,natamandira ,and
of the devadasi
with the raising prominence
The dance hall w a s associated
the time.
system that existed during
sanctum increase
of offering to the tower of the
The various units from the Hall
in height
TheBhogamandapa (Hall of offering)
17.15 m x 17.15m from the
13 m x 13 m from the inside,
sides.
the
of
each
in
outside and has four doors
measures
has decorative sculptures of
The exterior walls of the hall
beast.
men
and
made of up several horizontal layers
The hall has a pyramidal roof
platform.
with
two
intervening
arranged in sets of
If bears
an
inverted bell and
a
kalasa in the
top.
The Natamandira (testival hall)
measures
has
one
(12
nx
12 m) from
the inside,
(15
mx
15 m) from the Outside
main entrance and two side entrances.
The side walls of the hall has decortive sculptures
displaying
women
and couples.
It has a flat roof sloping in stages.
There are thick pylons inside the hal.
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TheJagamohana (assembly hall)
measures
(11
mx9.I
m) from
the inside,
(17mx 15 m)
from Ihe
Outside,
entrances from south and north and
has a 30 metres tall roof.
horizontal layers
made of up several
The hall has a pyramidal roof
of
as in the Hall
form
plat
aranged in sets of two with intervening
offering.
second unit is adorned
The inverted bell above
The Rekha deula
measures
(6.7 mx6.7 m)
from the inside,
(16
mx
by kalasa
l6
m)
and lions
from the outside
over the sanctum.
has
a
the
60m tall cunvilinear tower over
decorative
covered with
IH is
the walls.
sanctum.
lion projecting from
design and seated
inside.
in shape from the
The sanctum is square
The
tower walls are sculpted
in different poses.
with female figures
r
E3L
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MODULE5
RAJPUTNA&KHAJURAHO ARCHITECTURE
The Khajuraho Group of Monuments
Built during the ruie of the Raput Chandela dynasty.
The buiding activities were camied out immediately after their rise into power.
Hindu and Jain temples
Made of sand stone. with
The
were constructed
gronite
using the
as
the foundation.
vastu purusha mandala.
The Kandariyá Mahódevo Temple
medieval
ornate Hindu temple in 1the
I t is the largest and most
India.
Pradesh,
found at Khajuraho in Madhya
Khajurgho was once
the
religious capital
of the Chandela
temple group
Rajputs.
the Himalayan
31 m to depict Mount Kailash,
miniature
spires
84
surounded by
mountain abode of Shiva and is
The main spire
or sikNara rises
(or Urushringas)
inside the sanctum
is o
marble
Shiva.
linga representing
krchitecture of tre KidJuranotemples
Carba grha C R r
Mal
Acha mrncapa
Luance por
East
Ja
ipiaom
ra
Dimensions are 31M
Ph
and 31M height.
length, 20M width externally
arrned cross with
In plan it is a double
sanctum.
circumabulatory space and
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Like many other temples in the Krajuraho complex. t nas a inecr series of
access-steps facirng the east-west directicns
Other features are columned hals with bsiconies, an entrance porch, and
the inner sancturn.
Decorating the sides of
the termple are
over
646 states
The temple is found on a massive plinth of 4m ht.
T h e super structure is built with a steep mountain shape or torm.
Has richely decorated roofs rising til the main shikhara which has 84 miniature
spires.
A series of steep steps with high rise lead from the ground level to the
entrance of the temple.
At the entrance there is a Torana, sculpted from a single stone.
The entrance gate is extensively carved.
The interior space from the entrance, there are
the Mandapas, which succesively rise in height and width.
A
central sanctum,where Shiva linga is placed
the sanctum is surrounded by interlinked passages which also have side and
tront balconies.
Ihere is amain tower atOve the sanctum and there are two other towers
above the mandapas
also in the shape of a" semi-rounded, stepped,
pyramidal torm with progressively greater
height."
Ihe exterior surtace ot the
vertical layers.
There
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are
temple
is
entirely covered with sculptures in three
horizontal ribbons carved with
images.
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There are niches with erotic sculntures
The Temple of Surya Modhera
B u i t in 1026 AD
The Soiankis
auring
were
the
reign of King
Bhirnadeva
Sun God and thus
considered to be the descendent of the
the structural marvel was constructed
and integrated
The temple comprises three separate. axially aligned
elements: Surya Kunc. Sabha Mandap and Gudoa Mandap.
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TANK
Surya Kund: This rectangular stepped tank has exempiany geometric features.
With innumerable stone steps and 108 miniature shrines has been chiseled
between these steps.
Main
temple: The entire temple is based on an inverted lotus-base plinth. The
temple architecture was designed in way that the rays of the sun during
Sunrise and sunset falls on the gold idol of the deity. Surya and his chariot
during the equinOx.
Sabha Mandap: It is a pillared hall with 52 unique and beautifully carved
pillars depicting the tales from Ramayana and Mahabharata.
Ihe exterior of the temple walls has 12 different postures of Adityas - Sun God
along with eight Dikpals, Lord Vishwakarmg - who constructed
Golden Dwarka city for Shri Krishna, Varundey - God of Water, Agnidey God
of Fire. Ganesh God for
starting. Mata Saraswati Goddess of Education &
Wisdom
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MARWAR
SURYA
TEMPLE-
Surya
Ossian
femple
As
the
OSIAN,
is
Temple
troces
its origin
with
often
The
century.
in the 10th
Ranakpur.
Temple at
the Sun
compared
dedicated
name
to Lord Surya
is
this temple
Lord Surya.
idol of
the striking
or Sun
of the
God. The
suggests.
comprises
sanctum
idols
of
Lord
has the
hall also
The main
images of
with the
ceiling is
structure
Ganesha
serpents
and
coiled
carved
is
The life-story
Suryo Temple
depicted
dates
of
the form
here in
back to
murals
Goddess
around
Durga.
lotus
The
flowers.
The initial
and scriptures.
century
the 8th
82
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This temple shows
the north Indion style a high tower called a
an open porch
shikhara, and
for visitors to the temple, calleda nandapa.
also had a high
porch, like earlier Etruscan and Rornan ternpies
t h e shikhara, instead
of being a slender
and rises up in a single, nore confident tapering form, acquires more body
curve towards a disc ike
kalasha
stone capping the apex.
The
mantapa is equally dignified. It ernerges
roof held up
over rows
plinth.
asa
of stately square columns
rectangular hall with its flat
rising uD from a substantia
The slenderness of the columns of the
entrance corico which rise up
straight
from ground level, is emphasized by vertical
futings on their circular shafts.
VIJAYANAGARA ARCHITECTURE
Geography and Geology
Location
-
Hampi
on
the banks of
Tungabnadra
river
Building material was gvailable on the site-accounts for many ciers of the
temple being monolithic
Two types of rock
was
Granite-more crude
Dark green chlorite
Most of the
-the
available- granite ,dark green chiorite stone
and
rugged
cut
stone-sharply
important structures
appecrance
cut and
and ruins of
Royal Centre and the Sacred Centre
The
Royal Centre in
the
southwest
part
royal stables, and temples for ceremonial
The Sacred Centre is situated
banks of the holy
on
Tungabhadra
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skilfuly modelled
the
River
Vjayanagara
are
located in two
of the site palaces, baths.
use.
pavilions,
northern edge of the city along the
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FEATURES
Modest structures of
low heigh!
Spans Iarge areas and courtvards are oresent
Huge compound walls
Use of granite dark green chilorite. bnck
Intricately decorated temoles
Pilars having- horse capitas difterent shapes. pillars decorated by small pilloars
Drops mode more interesting
D
ViITTALA TEMPLE HAMP
The Vittala Temple is presumed to be the
monuments in Hampi
grandest of all temples
and
The tempie exemplifies the immense creativity and architectural excellence
possessed by the sculptors and artisans of the Vijoyanagara
era.
Dedicated to iora Vishnu
The iconic tempie has amoazng stone structures such as the incomparable
stone chanot anid the tascinating musical pillars.
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The Vittala ternple is built in the Drgvidian style of crchitecture The temple
complex is surrounded by high componcd wris and hrae 'owering
gateways
The temple cornplex has many halls. shrines and pgviions located nside it
Each of these structures is made of stone
Notable among these structures are
the shrine of the Goddess (also known as Dei hrine,
Maha Mantapa or main hall
Ranga Mantapa.
Kalyana Mantapa (mariage hal)
Utsava Mantapa (festival hal). and the tamous Store Cnaroi
Vitthala Temple. Vijayanagara
Mahamandapa
Shrine
Chariot
Kalyana
Mandapa
Source: The Art of Ancicat ladiaa
m)
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HAZARA RAMA TEMPLE. HAMPI
Situated in the middle of the Roya
Centre this religious monument was Used
as a private chapel by the Viovgnagma nilers and fheir private family
members
This link with royality is expressed in the reliefs covering the outer faoce of the
compound wals inside which the temple itself stands
They portray the processions o' elephants. horses with attendants, military
contingents
and aancing women
Pavilton-like gatewOVs on the east ond norih give access 1o the temple
CompoUnd
an
an open mandapa, actually
The main temple is approached through
with
entrance
porch
within which is the original
addition of earty i6th century,
finely carved coiumns.
north and south.
Side porches are seen on the
The interior of the temple
coBumnsin the miadie
An
empty
is unodomed,
except for four omately sculpted
withun the sanciuary;
pedesta stands
secured images
o
Rama. arsnmano
its three holes may have
andSita, but
these are
lost
sculplures already
The outside walls of the temple have trie Rornayang
referred to set between pilasters
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The walls r e raised on a basernent t h firety et Mreerd mouiings and
overhung by curving egves
A brick plaster tower rises over the sarnctiyory its crigingldetalk are oosCured
by modern restoration
It has two sanctuaries. one perhaps for Nargsirmha, ince he story of this
incarnation of Vishnu also appers on the outer wals
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