VESARA/CENTRAL INDIA STYLE TEMPLE

VESARA/CENTRAL INDIA STYLE TEMPLE

• Vesara style of architecture in the Deccan
and central parts
• Hybrid of two
• In plan it resembles Dravida style whereas
in in the shape of its details it resembles
Nagara style.
• many historian agree that the Vesara style
originated in the what is today Karnataka
• These temples were built by Hoysala
dynasty in Mysore. And by later chalukyas.
• temples at Belur, Halebidu and
Somnathpura are supreme examples of this
style
 VESARA/CENTRAL INDIA STYLE TEMPLE
IMPORTANT CHARECTERISTICS OF THE TEMPLE PLAN
• BOUNDARY WALL OF THE COMPLEX: It was a little later development, in the south
indian style, having small cellas in the wall as enclosure and facing the main shrine in a
rectangular courtyard.
• ARDHAMANDAPA : A porch leading to the main hall .
• MANDAPA : The main pillared central hall approached from the porch. The hall was
spacious enough to hold a large gathering of the devotees.
• MAHAMANDAPA: The projection on either side of the central hall.
• VESTIBULE: Antarala or an intermediate space connecting the cella (garbhagriha) and
the main hall (mandapa).
• VIMANA: The sanctuary (the inner holy palce).
• GARBHAGRIHA: “ Cella” of the “ wombhouse” containing the idol/deity with a doorway
on the eastern side.
• PRADAKSHINAPATH : Circumambulatory path around the cella for the devotees to move
around the deity but at the same time maintain distance from the deity.
VESARA/CENTRAL INDIA STYLE TEMPLE
IMPORTANT CHARACTERISTICS OF THE TEMPLE ELEVATION
• SHIKHARA: The tower or the superstructure above the sanctuary in nagara style.
Some time the topmost story is also called shikhara in dravida style.
• GAVAKSHAS: Horseshoe shaped arched on the shikhara, used for ornamentation.
• AMALAKAS: The ribbed disc like element on the top of the tower.
• STUPI: A small representation of stupa from on the top of the tower.
• SHALAS: Barrel vaults shaped topping over the tower.
• PEDIMENT: A semicircular space created over a pair of columns , generally used for
ornamentation purposes.
 VESARA/CENTRAL INDIA STYLE TEMPLE
SR.NO CENTURY TEMPLE LOCATION RULER/PATRON

1 6th - 8th Badami caves Karnataka Chalukyans

Ravula phadicave
2 6th - 12th Aihole Chalukyans
temple
Konkan Mauryans,
3 6th Elephanta caves Maharashtra Chalukyas,
Rashtrakutas
Aurangabad,
4 6th Ellora Caves Kalachuri
maharashtra
Bhutnath group of
5 6th Badami Chalukyans
temple
6 7th Upper shivalaya Karnataka, Pattadakal Chalukyans
7 7th Malegitti Shivalaya Badami Chalukyans
8 8th Jamulinga temple Badami Chalukyans
9 8th Sangameshvara Temple Pattadakal, karnataka Chalukyans
10 8th Virupaksha Temple Pattadakal, karnataka Chalukyans
VESARA/CENTRAL INDIA STYLE TEMPLE
11 8th Mallikarjuna Temple Pattadakal, karnataka Chalukyans
12 8th Papanath Temple Pattadakal, karnataka Chalukyans
13 8th Durga Temple Aihole, Karnataka Chalukyans
14 8th Lad khan Temple Aihole karnataka Chalukyans
15 8th-9th Kailash Temple Ellora Maharashtra Rashtrakutas
16 9th Sri Someshwar Temple Dambal Karnataka Cholas
17 12th Mahadev Temple Ittagi, Karnataka Chalukyans
18 12th Somanathpur temple Karnataka Hoyasala
19 12th Channakeshva Temple Bellur, Karnataka Hoysalas
20 12th Hoysaleshvara Temple Hallebid, karnataka Hoysalas
Thousand pillar shiva
21 12th Hanamkonda AP Kakatiyas
Temple
22 13th Keshava Temple Somnathpur, Karnataka Hoysalas
23 13th-14th Ramappa Temple Palampet, AP Kakatiyas
CHALUKYA STYLE
CHALUKYA STYLE
• Chalukyan styleis the distinctive style of ornamented architecture that evolved during
the rule of the Western Chalukya Empire in the Tungabhadra region of central Karnataka,
India, during the 11th and 12th centuries.
• The centre of cultural and temple-building activity lay in the Tungabhadra region, where
large medieval workshops built numerous monuments.
• These monuments, regional variants of pre- existing Dravidian (South Indian) temples,
defined the Karnata Dravidian tradition.
• Temples of all sizes built by the Chalukyan architects during this era remain today as
examples of the architectural style.
• The Chalukyan style originated in Aihole around A.D. 450 and was perfected in the
neighbouring villages of Badami and Pattadakal (all in Bagalkot district of Karnataka).
• Chalukyan artists experimented with different styles, blended the Indo-Aryan Nagara and
Dravidian styles, and evolved their own distinctive style.
• One can see magnificent examples of their earliest works in Aihole, Badami and
Pattadakal.
• These certainly are not the earliest temples.Temples were constructed centuries before
the 4th and 5th century A.D., but with wood and bricks and have not survived.
• The surviving Western Chalukya monuments are temples built in the Shaiva, Vaishnava,
and Jain religious traditions.
• None of the military, civil, or courtly architecture has survived; being built of mud, brick
and wood, such structures may not have withstood repeated invasions.
 CHALUKYA STYLE
• Chalukyan temples fall into two categories —
• the first being temples with a common mantapa (a colonnaded hall) and two shrines
(known as dvikuta), and
• the second being temples with one mantapa and a single shrine (ekakuta).
• Both kinds of temples have two or more entrances giving access to the main hall.
• This format differs from both the designs of the northern Indian temples, which have a
small closed mantapa leading to the shrine and the southern Indian temples which
generally have a large, open, columned mantapa.
• The Chalukyan architects retained features from both northern and southern styles.
• However, in the overall arrangement of the main temple and of the subsidiary shrines,
they inclined towards the northern style and tended to build one main shrine with four
minor shrines, making the structure a panchayatna or five-shrined complex.
• Chalukyan temples were, almost always, built facing the east.
• The Sanctum (cella) is connected by a vestibule (ardha mantapa or ante-chamber) to the
closed mantapa (also called the navaranga), which is connected to the open mantapa.
• Occasionally there can be two or more open mantapas. In Shaiva temples, directly
opposite the sanctum and opposite the closed mantapa is the nandi mantapa, which
enshrines a large image of Nandi, the bull attendant of Shiva.
• The shrine usually has no pradakshina.
 CHALUKYA STYLE
• The pillars that support the roof of the mantapa are monolithic shafts from the base up
to the neck of the capital. Therefore, the height of the mantapa and the overall size of
the temple were limited by the length of the stone shafts that the architects were able to
obtain from the quarries.
• The height of the temple was also constrained by the weight of the superstructure on the
walls and, since Chalukyan architects did not use mortar, by the use of dry masonry and
bonding stones without clamps or cementing material.
• The absence of mortar allows some ventilation in the innermost parts of the temple
through the porous masonry used in the walls and ceilings.
• The modest amount of light entering the temples comes into the open halls from all
directions, while the very subdued illumination in the inner closed mantapa comes only
through its open doorway.
• The vestibule receives even less light, making it necessary to have some form of artificial
lighting (usually, oil lamps) even during the day.
• This artificial source of light perhaps adds "mystery" to the image of the deity
worshipped in the sanctum.
CHALUKYA STYLE
A typical Western Chalukya temple may be examined from three aspects —

The basic floor plan :

• The basic floor plan is defined by the size of the shrine, the size of the sanctum, the
distribution of the building mass, and by the pradakshina (path for
circumambulation), if there is one.

The architectural articulation :

• Architectural articulation refers to the ornamental components that give shape to
the outer wall of the shrine. These include projections, recesses, and representations
that can produce a variety of patterns and outlines, either stepped, stellate (star-
shaped), or square.
• If stepped (also called "stepped diamond of projecting corners"), these components
form five or seven projections on each side of the shrine, where all but the central
one are projecting corners (projections with two full faces created by two recesses,
left and right, that are at right angles with each other).
• If square (also called "square with simple projections"), these components form
three or five projections on a side, only two of which are projecting corners. Stellate
patterns form star points which are normally 8-, 16-, or 32- pointed and are sub-
divided into interrupted and uninterrupted stellate components.
CHALUKYA STYLE
The figure sculptures :
• Figure sculptures are miniature representations that stand by themselves, including
architectural components on pilasters, buildings, sculptures, and complete towers.
They are generally categorised as "figure sculpture" or "other decorative features".
• On occasion, rich figure sculpture can obscure the articulation of a shrine, when
representations of gods, goddesses, and mythical figures are in abundance.

To look at some of these evolutionary features, it may be noted that thethe temples had
flat or slightly sloping roofs and they were surmounted by small ‘shikhara’s.
A pillared hall (mandapa) was a later addition.
Features such as ‘sukanaasi’, ‘garbhagriha’, ‘mukha mandapa’ and ‘pradakshina patha’
(Circumambulatory path) which became default features at a later date are conspicuous
by their absence in some of these early Chalukyan temples.
Durga temple at AIhole is an exception.
LAD KHAN TEMPLE AT AIHOLE

EARLY TEMPLES OF CHALUKYA STYLE

DURGA TEMPLE AT AIHOLE

EARLY TEMPLES OF CHALUKYA STYLE

TEMPLE COMPLEX : PATTADAKAL
TEMPLE COMPLEX : PATTADAKAL

SITE PLAN
VIRUPAKSHA TEMPLE : PATTADAKAL
VIRUPAKSHA TEMPLE : PATTADAKAL

PLAN
 VIRUPAKSHA TEMPLE : PATTADAKAL
• Virupaksha temple is located in Hampi 350 km
from banglore, located in the state of Karnataka.
• The Virupaksna temple at Pattadakal is the
earliest temple complex of the Chalukyas.
• The temple represent both the Northern and
Southern style of architecture.
• The temple is dedicated to Lord shiva, known
here as Virupaksha.
• The main square structure has a tall four-
storeyed vimana.
• The mandap pillars are richly sculptured.
• It consists of a high vimana, mandaps and smaller
shrines around the courtyard enclosed by a wall.
• The front and rear walls have large gopura
entrances.
• It has a brick superstructure and a two-tiered
stone base.
• It gives access to the outdoor court containing
many sub-shrines.
• The smaller shrines are two-storeyed and have
vaulted halls.
VIRUPAKSHA TEMPLE : PATTADAKAL
 VIRUPAKSHA TEMPLE : PATTADAKAL
• Built during the reign of Vikramaditya. It is dedicated to Shiva
• Skill was imported from Pallavas which is evident from the
inscription and style used.
• Vikramaditya conquered Kanchipuram- brought the architect to build
the temple which created a huge influence on architectural style.
• This temple had better proportions in plan and placement of the
shrine/ pillared hall .
• The temple length is 120’ with a detached Nandi pavilion in the
front.
• The cella Is surrounded by a narrow passage and gives in to a fine
hypostyle hall with 4 bays of 4 pillars
• Further 2 pillars precede the cella forming a kind of porch, The
hypostyle hall forms the center of the composition, surrounded by 3
projecting portals creating a cruciform plan.
• Axial portal with a mandapa in front with the Nandi stands in the
center of courtyard entered via a gateway in the form of a low
gopuram.
• Solidity relieved by an increase in the sculptured ornamentation
• Existence of moldings, pilasters, cornices brackets, floral scrollwork, VIJAY STAMBH
perforated windows and other ornamental carvings .
 VIRUPAKSHA TEMPLE : PATTADAKAL
• Full sized statuary- figures- by master sculptors. Sculpture and architecture gel together
here.
• Filling- divided by pilasters Single or double, Well proportioned spaces, Niches alternating
with perforated windows. The repetitive shrine- Dravidian character.
• The style of the temple is governed by the individual niche or shrine. Temple is the
development of the aboriginal shrine. Shaft or the pillar- tapering at the top.
• A structure rising above the parapet at the back of each portico called the Gopuram – gate
head developed into horn and scroll motif over the entrance.
VIRUPAKSHA TEMPLE : PATTADAKAL
VIRUPAKSHA TEMPLE : PATTADAKAL
PAPANATH TEMPLE : PATTADAKAL
 RASHTRAKUTA STYLE
• There are divers views with regards to the
origin of Rashtrakutas. In all probabilities ,
the Rrashtrakutas of Malkhed decedents
from Rastikas or the Rathikas.The first half
of the dynasty comprise of rulers who laid
the foundation of Rashtakuta empire ,
whereas the second half includes the
names of rules who laid foundation in
architecture unmatched in its grandeur
and beauty.
• The followers of Buddhism, Hinduism and
Jainism have crafted their faith in from of
rock-cut caves in Ellora. Caves 1-12 related
to Buddhism, 13 – 29 related to Hinduism
and 30-34 related to Jainism. Archeologist
believes that these caves were hewed out
from 6th to 13th century AD.
KAILASH TEMPLE : ELLORA
LARGEST MONOLITHIC ROCK-CUT TEMPLE
 KAILASH TEMPLE : ELLORA
• It represent the typical Dravidian
temple.
• It is the largest monolithic temple in
India carved out of basalt stone.
• It represent the sacred mountain of
loard shiva.
• There are main shrine surrounding
the loard shiva.
• There are smaller shrine surrounding
the main shrine.
• The sides of the structure have
rectangular trench of size 300’ x 175’.
• Main rock cut temple is 150’ x 100’
and 96’ high, standing on plinth of
25’.
• There is a small mandapa with 16
columns.
• Sanctuary is covered with 3-tier
tower, which soars upwards in
imitation of the mountainous
dwelling of Shiva.
SITE PLAN
 KAILASH TEMPLE : ELLORA
• Each story is decorated with miniature buildings to represent the homes of gods and the
stupi at the summit (highest point) follows the precedent set by the rathas at
Mamallapuram.
• On either side of the main temple of the Kailash complex stands 50’ high pillar decorated
with relief carvings.
• These monumental pillars were made by excavation and are monolithic, and are not
created by construction.
• Sculpture works include elephants, Lakshmi, Shiva, Ravana shaking Kailasha with seated
Loard Shiva and parvati , Hanuman and scenes from Ramayana and Mhabharata.

PLAN
KAILASH TEMPLE : ELLORA

ELEVATION

SECTION
KAILASH TEMPLE : ELLORA
KAILASH TEMPLE : ELLORA
KAILASH TEMPLE : ELLORA
KAILASH TEMPLE : ELLORA
KAILASH TEMPLE : ELLORA
KAILASH TEMPLE : ELLORA
KAILASH TEMPLE : ELLORA
 HOYSALA STYLE
• The merging of the Dravidian and North
Indian styles created a temple that is
unique, so much so that it is often classified
as the Hoysala style.
• The Star in Plan
• To add to its distinctiveness, the Hoysala
temple in plan composed of numerous
cellas or garbha-grihas served by a common
mandapa.
• The plan of each of these cellas was a star.
• The departure from the accepted square
form of the temple is understandable when
we analyse the plan and see that it is made
up of a grid of rotating squares.
• The resulting outline thus emerges as a star.
• The mandapa remained a square, though it
was now distinguished by circular columns,
the shafts of which had been lathed and
thus acquired a number of parallel knife-
edges.
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
• The Somnathpur Temple is said to be the
finest example of Hoysala Architecture
and was built in 1268 under the Hoysala
king Narasimha III.
• It is built using chloritic chist
(Soapstone).
• The architect/sculptor was Ruvari
Malithamma who has kindly left his
signatures for easy identification.
• It is also symmetrical in its design, it has
3 shrines, each of which are equally
important, having intricate carvings.
• There is a high outer compound that
surrounds the temple and a Lamp Pillar
on the grounds outside, it could also be
a Garuda Stambha (Column) since it is
the mount of Vishnu and this is a Vishnu
temple.
CHENNAKESAVA TEMPLE : SOMNATHPURA
• Once inside there is a lengthy inscription
carved in kannada on an enormous tablet
that describes the origins of the temple.
• There is a covered walk way all around the
temple, which is closed and currently held
up by steel supports and apparently under
restoration.
• There are huge lathe carved pillars that
hold up the structures inside the temple
itself.
• There are 3 deities inside all are forms of
Vishnu.
• Though built around a single shrine, the
temple has all the distinguishing features
of the Hoysala style - a pillared mandapa,
bell-shaped towers and above all the star-
shaped plan.
• The gaps between the outer pillars were
covered with a jaali meant to provide
privacy for the Brahmins, and especially
the highly seductive dancing of the
devdasis.
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA
CHENNAKESAVA TEMPLE : SOMNATHPURA