ranakpur

Brief Description
Chaturmukha Dharana Vihara is a Jain temple at Ranakpur is dedicated
to Tirthankara Rishabhanatha

Darna Shah, a local Jain businessperson, started construction of the temple in the 15th century
following a divine vision.
The temple honors Adinath, the first Tirthankar of the present half-cycle (avasarpiṇī) according to
Jain cosmology.[2] The Ranakpur temple is one of the largest and most important temples of Jain
culture.[3] The campus includes various temples such as Chaumukha temple, Surya temple,
Suparshvanatha
temple and Amba temple.[4][5][6]

CHARACTER DEFINING ELEMENTS

Architectural features and symbolisms

Plan
Details

Ceiling details
Carving of elephant detailed

Intricate carviings of vidyadevis

Material
Chaturmukha temple is a 15th century temple dedicated to Adinatha[23] built using white marble in
midst of forrest.
The temple is a grand white marble structure spreading over 48,000 square feet (4,500 m2) with
1444 marble pillars, twenty-nine halls,[29] eighty domes and 426 columns.[

Important sculptures/significance
The temple is famous for it's beautiful carving idol of Parshvanatha made out of a single marble rock,
The idol has 1008 heads of snakes and numerous tails over head. Two chauri bearer
and Yaksha and yakshi on both sides standing in half human and half snake. There are two
elephants purifying Parshvanatha.[35][36] One cannot find the end of the tails. The temple also has a
representation of Ashtapad, showing eight tirthanakars in row, Girnar and Nandishwar
Dvipa.[37][38][39][40]
Construction tecniques/concept

post and lintel (also called prop and lintel or a trabeated system) is a building system where

strong horizontal elements are held up by strong vertical elements with large spaces between them.

This is usually used to hold up a roof, creating a largely open space beneath, for whatever use the
building is designed. First of all, it is the "Sculptural Architecture." Perhaps the
essence of Indian architecture like medieval Hindu temples lies in sculpture.
This type of architecture often reveals that the whole building itself is a piece
of sculptural work, not to mention the abundance of carvings in detail. It
could also be called a "Massive Architecture."

Secondly, it is the "Membranous Architecture," which is quite contrary to the

previous. It places emphasis on the covering or enclosure of interior space
rather than external sculpture like features. This type of architecture is
represented by Islamic architecture in the Middle East. There are a lot of
examples that even important buildings do not have conspicuous facades,
getting easily buried in the urban fabrics, but once entering inside, there
appear wonderful interior spaces.

Thirdly, it is the "Framework Architecture." It is enough to recall Japanese

architecture and other wooden or trabeated buildings. It lacks both
sculpturesque appearance and modernistic space concept. The attractiveness
of this type of architecture exists in the undetermined space and a framework
composition above. Their interior space and exterior space are continuous
without clear distinction.

Thus every building could be classified into these three kinds of architecture.
When we observe Adinatha temple at Ranakpur from this perspective, we
will realize that these three categories of architecture are integrated into this
single temple. Contrary to most Hindu temples that have majestic exteriors
but often let us down by their poor interior space, this Adinatha temple has a
wonderful succession of exquisite interior spaces. While the Delwara temples
at Mt. Abu do not have as attractive external appearance as their interior
space, this temple also has the sculptural beauty at its exterior with the
shikaras above the shrines.

Moreover, even though the entire structure of Adinatha temple is made of

stone, it is mainly a trabeated construction. (It clearly indicates that Indian
architecture has its origin in wooden buildings). The structure is based on the
framework of posts and beams, not on walls and arches. (Its domes are also
not Islamic, but Indian corbelled domes in the same way as at Mt. Abu.)
Consequently, the synthesis of these three kinds of architecture sublimated
this temple to the level that no other Hindu buildings had achieved.
susbahu

Brief Description
Sasbahu Temple, also called the Sas-Bahu Mandir, Sas-Bahu Temples, Sahastrabahu
Temple or Harisadanam temple, is an 11th-century twin temple in Gwalior, Madhya Pradesh,
India.[2][3] Near the Gwalior Fort and dedicated to Vishnu in his Padmanabha form, like most Hindu
and Jain temples in this region, it is mostly in ruins and was badly damaged from numerous
invasions and Hindu-Muslim wars in the region.[4] It was built in 1093 by King Mahipala of
the Kachchhapaghata dynasty, according to an inscription found in the larger of the twin temple. The
twin temples are situated in the Gwalior Fort.[4][2]
The temple's tower and sanctum has been destroyed, but its architecture and damaged carvings can
still be appreciated from the ruins. The jagati platform is 100 feet (30 m) long and 63 feet (19 m)
wide, on a square plan.[2] The temple was three-storeyed, which was one of its distinguishing
features and sophistication. It followed a central cluster concept, plan with a cruciform foundation
and balconies suggests that it had a North Indian Bhumija style architecture. This style, states Harle,
is marked by a well proportioned superstructure, its "regularly arranged little subordinate sikharas
strung out like gigantic beaded garlands".[6]
The twin temple, like elsewhere in India, has locally been called Sasbahu temple. The word Sasbahu
means "mother-in-law, bride" or "a mother with her daughter-in-law", an association that implies their
being together and interdependent. The Sas temple is typically the larger older temple of the twin.
The Gwalior Sasbahu temple follows this style, but both temples are dedicated to Vishnu. Only the
Sas temple has survived in some form, the Bahu temple is a shell structure of the original one storey
with a highly ornate door frame and its defaced wall reliefs surviving.[2] The remnants of the Bahu
temple at Gwalior suggest that it may have been a smaller version of the Saas temple.[7]
CHARACTER DEFINING ELEMENTS

Architectural features and symbolisms

Details/important sculkptures
The entire temple is covered with carvings, notably 4 idols of Brahma, Vishnu and Saraswati above
its entrance door. The pillar carvings show Vaishnavism, Shaivism and Shaktism related carvings.
The larger temple ornamentation covers all the exterior walls and all surviving interior surfaces.[7]
Sculpture of a hindu godess pillar at saas bahu temple

wall detail
Shiva carving

Material

Limestone, red sand stone

Construction tecniques/concept
Post and linthel

Kesaria stupa

Brief Description

Largest Buddhist stupa

The stupa rises in five terraces each of a different shape so that it would look like a giant mandala
from above. Each terrace has niches with the life size statues of the Buddha with in it. Originally the
stupa was 1400 ft in circumference and 51 ft in height. It was estimated that the dome would have
originally been about 70 ft high. It is believed to have been built by king Ashoka (2nd cent. BCE)
Kesariya Stupa is a Buddhist stupa in Kesariya, located at a distance of 110 kilometres (68 mi)
from Patna, in the Champaran (east) district of Bihar, India. The first construction of the Stupa is
dated to the 3rd century BCE.[1] Kesariya Stupa has a circumference of almost 400 feet (120 m) and
raises to a height of about 104 feet (32 m).[1]

The Kesariya Stupa, dedicated to Lord Buddha has great significance and
it is believed to date back to somewhere between 200 AD and 750 AD.
This remarkable structure was discovered by the Archaeological Survey
of India (ASI) in 1998. Kesariya is located 55 km north-west of Vaishali in
the state of Bihar in India.
It is believed to have been built to honor the site where Lord Buddha
must have spent the last days of his journey while preparing to attain
Nirvana.

As per legends, the Buddha left Vaishali for Kusinara (Kushinagar) in the
last year of His life. As He proceeded on His journey, a large group of
Licchivis, who are the people of Vaishali, joined Him and declined to
leave. When they reached Kessaputta (Kesariya), the Buddha
persuaded them to leave. The crowd was unhappy, so just to cheer them
up gave His begging bowl. The stupa is therefore said to have been built
by the Licchivis to venerate the end life of Lord Buddha. At first, it was a
mud stupa and the Present structure is believed to date back to
somewhere between 200 AD and 750 AD. It is said that the monument
was built on the remains of an earlier site.
This stupa was visited by both Fa-hien as well as Hieun Tsang. Both
these Chinese travellers left brief details of their visiting experience to
this stupa. Faxian (or Fah sien), a 5th century A.D Chinese Buddhist
monk, in his travels, mentioned a stupa which was built over Buddha’s
alms bowl by Licchavis of Vaishali. It is now believed the stupa that was
referred to in none other than Kesariya stupa. Another important
Buddhist monk, Hsuan-tsang, also mentioned the stupa in his travels,
but gave no details.

The site’s exploration reportedly started in the early 19th century, from
its discovery led by Colonel Mackenzie in 1814 to General
Cunningham’s proper excavation in 1861-62. It was in 1998 when
Archaeological Survey of India (ASI) initiated a systematic excavation,
revealing the gigantic structure we see today.

The stupa is considered as one of the tallest Buddhist stupas in the

world. According to ASI, the original height was 150 feet, however
continuous erosion had reduced it to 123 feet. But the devastating
earthquake of 1934 which rocked North Bihar further reduced it to 104ft.

CHARACTER DEFINING ELEMENTS

Architectural features and symbolisms

Details / sculptures
Buddha statue Some images of Buddha, in ‘Bhoomi Sparsh Mudra’ and
other sitting postures, were found.
Material

Dirt mud mound

, stone, buddhas ashes associated with body of buddha

Construction tecniques/concept

Like other stupas, circular base supporting a massive solid dome

Ancient Buddhist brickwork