Table of Contents

History of Chinese architecture ( Part A )

Shyang dynasty(1766-1122B.C) ................................................................................................................. 1
Chin dynasty (221 B.C) ........................................................................................................................... 2
Han dynasty ( 206 B.C.-220 A.D) ........................................................................................................ 3
Tyang dynasty(618-907 A.D) ...................................................................................................................... 4
Sung dynasty ( 960-1270 A.D) ................................................................................................................ 5
Yuan dynasty (1271-1368 A.D ) .......................................................................................................... 6
Ming dynasty (1368-1644 A.D) .................................................................................................................. 7

Man chu dynasty (1644 – 1912 A.D) ......................................................................................................... 8

Comparative analysis ................................................................................................................................ 9

Vastushastra ( Part B)
History of Chinese Architecture

From early period till Man- Chu Dynasty

• Chinese territory was large by its coverage and entirely different from the Indian sub-continent as
there stands the high Himalayan range as a barrier in its southern part.The political and cultural
history of China is very ancient.The earlier civilization of China is recorded from third millennium
BC;

• As in all other parts of the world, the civilization of China is said to be evolved along with the river
banks and closer to water;

• The Chinese civilization evolved from the midst of two rivers: Huang Ho and Yangtze;

• Both these two rivers flow from Tibet to Pacific ocean; Both these rivers frequently flooded( hence
called as yellow rivers) and destroyed settlements and swept civilizations leaving no architectural
records;Chinese history recorded several ruling dynasties of all times;

Shang Dynasty( 1766-1122BC)

 Shang dynasty is the first recorded dynasty to rule China;

• During this dynasty, the continuation of worshipping the natural forces are felt as it was what
practiced by the locals from long past;

• Similar to the Aryan trends, the Chinese people of that period had god of rain, sun within the
primitive kind of religion;
 • The nature worshipping religion lead the Aryans to establish Vaastu Shastra, the similar building
science was developed in China in the name of Feng Sui, again the inspirational source was
natural forces;
th
• Chinese history records the culture of writing, even though it was matured during 17 century but
the initiation was felt during this dynasty when they were capable to write the time of rainfall;

• This type of writing made them capable to take respective measures;

• Early Chinese people used animal bones for writing and they were using Khanji script;

• Khanji script is found in China and Korea in our days as well which is based on symbols and
visual meanings;

• This era is remembered as the forerunners of Chinese bronze works;

• The capital of this dynasty was Anyang;

• Anyang has royal burials;

OF SHANG DYNASTY

Ch’in Dynasty( 221 BC)

Ch’in dynasty was powerful and the name of the country as China is assumed to be derived from this
dynasty;

• This was the time when Chinese mainland was frequently troubled by northern tribes namely
Mongolians;
 Several secular type of architecture is said to be established during this period made out of mud and
timber but unfortunately these are not existent at present days due to change in the dynasty and
structural stability.

Han Dynasty( 206BC-220 AD)

• Han dynasty started to move beyond the boarder for the establishment of relationship with
neighbouring countries;

• India and Nepal in the south were such countries to have friendship with early China;

Nepal was the transit route for the Chinese to reach India;

This was the time when Mahayana Buddhism was being developed in Gandhara which influenced the
local people of China to follow Buddhism .This is the time when Chinese rulers if died, the dead
bodies were buried and build a grave. Such graves contained all requirements for the human life like
terracotta furniture which is considered to be the origin of Chinese pagoda;

Pagoda style was not called as pagoda at the time of its evolution rather was represented by words
like Tu, Mu;

• Normally Pagodas have numbers of roofs generally in odd number;

• The original concept of pagoda might have been transferred from India and perhaps from Nepal
but there no such evidences of such influences;

The pagodas of that time were not hollow rather commonly were solid;

Even being solid in the interior, the stairways were provided form the outside to reach the upper tier;

• Earlier pagodas in China were constructed for religious purposes but later they were built as
secular structures as well;

• The change in use of such pagodas into secular was the reason of changing the power;

• The alteration of the power from emperor to community led to have the form applied in secular
architecture;

• The materials used for such pagodas were mud and bricks and later timber brackets were also
introduced;

Later roof line was developed adding decoration features like dragon;
Pagoda at Honan( ca 523 AD)
• Pagoda at Honan is one of the examples of early Chinese pagodas;

• This is the structure standing on an octagonal plan with thirteen blind storeys made out of bricks

and mud;

• Located at temple precincts( area);

• The form is perhaps derived from the prototypes south of Himalayas;

The special feature of the pagoda is the formation of roof having curve shape like bull’s horn;

T’ang Dynasty (618-907 AD)

• T’ang dynasty is considered to be important for Nepalese history as well as this was the time
when Chinese traveller Huen Tsang visited Nepal/ Kathmandu and recorded several evidences of
Nepalese architecture ;
Sung Dynasty (960-1270 AD)
• Sung Dynasty came on to rule China during 960 to 1280 AD when all the time they were involved
in wars with the invading Mongols;

• One of the remarkable architectural establishments of this era is in the form of bridge;

The original marcopolo bridge : The Marco Polo Bridge is 266.5 meters (874 ft) in length and 9.3 m
(30.5 ft) in width, supported on 10 piers and 11 segmental arches. Hundreds of artistically unique
stone lions from different eras line both sides of the bridge. The most intriguing feature of these
beasts is the fact that there are more lions hiding on the head, back or under the belly or on paws of
each of the big lions. Investigations to determine the total number of animals have been carried out
on several occasions but the results have proved inconsistent, ranging anywhere from 482 to 501.
However, record has it that there were originally a total of 627 lions. The posture of each lion varies,
as do their ages.

Yuan Dynasty (1271-1368 AD)

• Yuan dynasty was established by the Mongols and the first emperor of this dynasty was Genghis
Khan.

• This was the dynasty which invited Araniko from Nepal for the construction of White Pagoda in
Fuchh’man road at Beijing;

• Most impressive emperor of this dynasty was Kublai Khan who was patron of architecture;

• Kublai Khan was the first king in the history of China who accepted Buddhism as his faith;

• The architecture of his period is hence flourished with Buddhist flavour;

• Araniko was been invited from Nepal in previous dynasty and had already reached at Tibet;

• He designed Shakya gumba at Tibet in 1260AD;(ref: Kalaakar Araniko, Satyamohan Joshi; pub.
B.G. Baidhya, 2044 BS)
Araniko was then moved to China and assigned to construct .The white pagoda and later designated
as chief architect of the architecture department;

Yuan Dynasty (1271-1368 AD)/ The white pagoda

• The white pagoda was started to be built in 1271 AD and completed after 8 years in the year of
1279 AD; (ref: Kalaakar Araniko, Satyamohan Joshi; pub. B.G. Baidhya, 2044 BS)

• Local name of The white pagoda, as translated is Pai Tha;

• The white pagoda is 51 m tall;

• This is the Chaitya made in the format of stupa on the base of 30m;

• The shape of Garbhagriha of the stupa resembles a up-side-down Pindapatra( a bowl used by
the Buddhist hermits);

• It has pinnacle base/ shaft of 13 tiers resembling 13 Buddhist ideological facts(???)

• It has Chattri made out of copper and the diameter of which is 9.7m;

• The Chattri contains ornamented copper flaps on which 36 number of considerably big bells are
hung;

• This Pai Tha has been effected by several natural disasters but reconstructed, renovated
because of its religious and historical significance of all times;

• This was the time when Buddhist architecture was spread throughout China and off course in the
part of Mongolia as well;

• This dynasty had several such examples designed under the direct supervision of Araniko but
they did not last long the reason of which could be again the earlier mentioned two:change in
dynasty and strength of building materials;

• During this dynasty, the development of new capital started with different section such as
Antapur( the city core) as a imperial city but it is these days forbidden;

• This city planning includes flow of river which also consisted lakes and gardens inside the
palaces;

• This is the time when Tian-Mien square developed;

• Tian-Mien square was developed as a typical city of imperial times outside of which is The white

pagoda stands;

Ming Dynasty (1368-1644 AD)

• This dynasty came into power after Yuan dynasty and expanded capital from Nanking to Peking(
the former name of Beijing) in1403 AD;

• This was the time when planning of ancient Peking was done covering the cities developed
during Yuan dynasty;

• There are several architectural examples of the mentioned time still existent in our days;

Ming Dynasty/ Temple of Heaven(1420 AD)

• Temple of Heaven:

- is the temple built during Ming dynasty and contains triple tier of roof covered by blue glazed tiles;

- Has typical form of early Chinese roof which is of circular plan and has three levels of terraced plinth.
It is located at the centre of the city.

Source: Dreamstime.com
- Ming Dynasty (1368-1644 AD)/ Altar of Heaven

• Altar of Heaven:

- Has circular plan of nine rings;

- Is made of marble;

- The nine rings/ circles reflect the religious meaning of altars to heaven in round form;

- Is surrounded by pavilions around;

- The pavilions are based on square and symbolised as altar for earth;

- The formal concept of such altars are different from Indo- Aryan style and even Buddhist
architecture;

Ming Dynasty (1368-1644 AD)/ temple of Agriculture

• Temple of agriculture:

- Society based architecture;

- Agro-based society demanded a definite place to store seeds and surplus, thus such architecture
developed;

- Initially formed for such provision but developed later as temple;

- The basic departure of architectural evolution took place from secular architecture thus only two
tiers follow circular form whereas in religious architecture tiers are found in odd number;

Source: National library of hospital.

Ming Dynasty/ Temple of Honan

• Temple at Honan:

- Rectangular structure with double storey;

- Has odd number of bays and openings;

- Principle roofing material following traditional system of construction using timber, mud and blue
glazed tiles;
 Source : www.ancestryimages.com

Ming Dynasty/ Pai-Lous

• Pai-Lous:

- Is the Chinese terminology used for the gateway to the city or temple town of China;

- Demonstrates special characteristics of Chinese architecture with specific development;

- Introduced as an example from Indo- gangetic proto-type;

- Inspired by the Torana;

- Initially introduced in temple complexes but later used in secular architecture as well;

- Materials for Pai-Lous were bricks, mud, timber, rarely but uses of stone lintels are also seen in
arch form;

- In later days, decorative motifs of dragons are also used;

- Pai-Lous for the temple of sleeping Buddha has marble arch, stucco work and even the enamelled
wall surfaces;

Source: upirlicdevant.com

Ming Dynasty/ Tombs

• Tombs:

- Similar to Stupas;
 - Based on large( 500-800’ dia.) earthen mounds of low height with 20’ high retaining wall;

- Pai-Lous as the entrance used for the beginning of avenue to the memorial grave;

Source:Delcampe.com

The hall of supreme harmony: is one of such examples of Ming dynasty;

Man Chu (Ch’ing) Dynasty( 1644-1912 AD)

• Architectural trends remained unchanged even after the change in dynasty;

• Temple of Canton is one of the examples of Man Chu dynasty;

• The dynastic changes brought only the changes in formal specifications;

th
• 17 century opened China to the west;

• The opening of China to the west started influencing Chinese architecture as well;
th
• Coming to 20 century, in 1912 communist revolution started and formed peoples republic of
China;
Comparative analysis

Plans -Buddhist temples resemble to those of India, consisting of successive open courts and
porticoes with kitchens, refectories, and sleeping cells for the priests.

- The normal type consists of three lofty pavilions of one storey, with parallel open timber roofs,
approached by broad flights of steps, gateway and bridges.

- Houses like temples, face south; the front door opens into a courtyard with rooms on either
side and a hall at the end, followed by another and often by a third or women's court with garden
beyond.
Walls -Stone is employed in important edifices but ordinary building materials are brick and timber.

- Most Chinese buildings of wood are raised on a stone or brick platforms as a protection
against damp.

- Walls are often constructed hollow, as described by Sir William Chambers, thus saving material
and effecting a more equable temperature in the house.

- The "t ais " or "pagodas" are of brick covered with highly coloured glazed tiles or marble and
vary from three to thirteen storeys, each reduced in height and provided with projecting roof.

Openings- Doorways are square – headed, but varied in outline by fretted pendants from the
horizontal timbers.

- "Pai-lous are distinctive Chinese gateways, sometimes as entrances to temples and tombs,
sometimes as monuments to the deceased, and sometimes they stand across a street.

- Their construction is timber in origin, and they consists of two or more upright posts with
horizontal frieze , making one, two or three openings, sometimes surmounted by a series of brackets
like those under the temple eaves. Windows are of similar form, suiting the rectangular framing of
timber posts or lashing together of bamboos.

- They are frequently filled in with the lining of the oyster shell , which is transparent as talc
and admits an effective subdued light.

Roofs- The roof is the principal feature of the building, and contrasts strongly with the Greek, Roman
and Renaissance styles. in which there is often an evident endeavour to hide the roof ,whereas the
Chinese roof –ridges are laden with elaborate ornamental cresting and the up-titled angles are
finished off with fantastic dragons and grosteque ornament.

-It is considered a sign of dignity to place roofs one over the other,and this system also serves to
protect the interior from extremes of heat and cold.

- Roofs, which are concave in section, are generally covered with enamelled tiles of S shape
(pantiles) set in mortar, which is also used to form cover – joints as a protection from the driving
winds.

- The roof – framing consists of a system of trusses in rigid rectangles(not triangles as in

Europe) formed of bamboos held together by wooden tenons.and thus the weight of the roof acts
vertically and no obique thrust comes on the walls.

- The lightness and strength of bamboo were important factors in influencing a system of
construction quite different from the framed European roof – truss.

- The connection between the roof and the pillars which sustain it is often strengthened by
brackets, and the soffits are often divided into square or octagonal coffers by means of raised ribs
with brass socketings at their intersection.

Columns – Chinese building procedure as applied to columns is peculiar , and is the reverse of that
in other countries ;
 - for instead of first raising the columns and framing the superstructure upon them , the
Chinese first made the framework of the roof and that determined the position of the columns .

- in short , instead of putting the roof on the columns , they put the column under the roof.

- Chinese columns, whether for temples, pai-lous ,palaces or houses , are unique for in all
other styles the capital is free – standing,as in palace halls, or carried up as an integral part of the
wall ,were without capitals, and were bound direct to the roof beams.

- columns and roofs are the chief features of the T'ing type of building.

Moulding– In China , where roof and columns are the chief architectural features, and much of the
ornament is in glazed tiles,mouldings play a small part in decoration.

- In fact ,here as in other styles where wall tiling came in, mouldings went out.

- They are seen in the Cyma and ovolo of the bronze bases of timber pillars,which are chiefly treated
with grosteque carving.

- They are also used in the panelled railing round temple,enclosures but in temples and
pagodas the chief relief is found in the boldly projecting up-lifted weaves of the superimposed roofs.

Ornament- Chinese ornament expresses national characteristics.

-All Eastern nations appear to have a natural instinct for colour , and the Chinese are no exception.

- roofs are covered with brightly glazed tiles,yellow for imperial palaces,red for for
mandarins,and blue, green or purple for others, while the outstanding ridges and hips are
emphasized with highly coloured dragons,fishes and grosteque figures in glazed terra-cotta.

- Coloured ornament is applied to building in the form of enamelled glazed glazed tiles,
painted woodwork , landscape and figure subjects.

- The Chinese were past masters in the use of brush ,with which they produced a
wonderful fineness of line,as seen in the calligraphy,in which they used soft brush instead of a hard
stylo.

- The Buddhist religion encouraged their love of mystery, and the great yellow dragon, symbolic of the
forces of nature,were freely introduced into decorative colour schemes.

Vastu Shastra
Vastu Shastras are canons dealing with the subject of vastu which means the environment. Put
differently, one may regard them as codification of good practices of design of buildings and cities,
which will provide settings for the conduct of human life in harmony with physical as well as
metaphysical forces. These Vastu Shastra canons provide guidelines for design of buildings and
planning of cities such that they will bring health, wealth and peace to the inhabitants ..
Vastu Shastra are the textual part of Vastu Vidya, the latter being the broader knowledge about
architecture and design theories from ancient India. Vastu Vidya knowledge is a collection of ideas and
concepts, with or without the support of layout diagrams, that are not rigid. Rather, these ideas and
concepts are models for the organization of space and form within a building or collection of buildings,
based on their functions in relation to each other, their usage and to the overall fabric of the
Vastu. Ancient Vastu Shastra principles include those for the design of Mandir (Hindu temples), and
the principles for the design and layout of houses, towns, cities, gardens, roads, water works, shops and
other public areas.

Vastupurusha mandala
Vastupurushamandala is a diagram giving proportionate principles or placement of different
elements. In other words, it can be said as complex architectural prescription that can help is giving plans,
site plans, elevations, orientations, rashes, varies etc.

Vastupurushamandala is the plan of all architectural form of the Hindus. The Indian temple
designs, whether a northern Shikhara, a Southern Vimana or temples that were raised on monumental
plinths or others hidden behind cloisters; all displayed a remarkable unity of aesthetic purpose. The
evolution of each of these seemingly disparate elements was always motivated by a unified philosophy of
design that permeated into the remotest corners where Hindu craftsmen were at work. This united
philosophy is conveyed through "Vastushastra" or "Rules of Architecture" is which contains detailed
directions for the proper construction of every kind of building, religious and secular, and includes an
imposing array of technical rules of proportion and recondite prescriptions, with a fund of astronomical
calculation and religious percepts. It also deals about the theory of orientation. These "Rules of
Architecture" were not governed by kings but by Brahmins & these set of fairly strict rules continued till
end.

Also in Vastushastra is the mention of the 7 radiant energy of sun; which we today know as
VIBGYOR, In Vastushastra, parjanya, Kasyapa, Mahendra, Surya, Satya, Bhrsa and Mabhas are known
as the 7 radiant energy of sun.
The word Vastupurushamandala comprises of 3 parts namely Vastu, Purusha and Mandala.

Vastu means dwelling which is derived from Vastu, the site or the earth. So anything built on
Vastu is Vastu Hence, only built form apart from temples like bldgs., chariots, etc can follow the
vastupurushmandala.

Vastu - Is the extent of existence in the ordered state & is behelded in the likeness of the purusha.

Purusha - The image of the supernal or cosmic man, the purusha is congruous and identical to the
planned site. Purusha - is the universal essence; the principle of all things, the prime person whence all
originates.
Mandala - Denotes any closed polygon. It is a group of elements organised round the centre or
Bramhasthan, Each of the element follows certain rule.

Vastupurusamandala uses square as its main or essential form. Square is a finite form having 4
cardinal axis & 4 corners. This finiteness, cardinality and axiality was the main reason for choosing it as a
perfect form. Square form was the symbolization of stability. this square form could be converted into a
fringe, hexagon, octagon and a circle of equal area & retain its symbolism.

With a bit of artistic license, the mandala could be expanded to generate the most elaborate of
forms, the basic unit of these always being the square. It was with an artistic manipulation of the grid
ordained by the vastupurusamandala that the Indian architects created the profusion of exotic shapes and
forms that are the temples of India.

The relation of Vastupurusamandala to the site plan, ground plan & section of any structure is
regulated by its norms. Site plan is laid out is Vastupurusmandala & the general form of temple rests as it.
The size of it is of minimum standard size. The lines by which the square plan is divided into small
square, the two diagonals of the plan & the lesser diagonals, 4 or 8 is number and also the divisional lines
themselves are measured in proportion to its total extent. The lines that subdivide the mandala plan have
more than a merely geometric significance. They are lines of Breath (Prana) Prana is a prototypic
measure; the width of the line (sutra) used to layout the mandala. It is also a measure of time.
Types of Vastupurusha mandala.
There are 32 types of Vastupurushamandala where the number 32 denotes the number of
padadevtas; gained by subdivision of the border of square.

All the 32 plans have its significance. mandalas 1,2,3 and 7,8,9 one of greater importance as the
remaining others are derived by amplifications of these 6 plans.

Mandala in astrology and astronomy

A said earlier, there are 32 Padadevtas assigned on the periphery of Vastupurusa Mandala. The
number 32 denotes 4 times 8 positions in space where 4 is for the 4 directions in space & 8 are the
cardinal points and the corners of the square in intermediate directions, which is the natural division held
by 8 Vastupurusas. These are each associated with one of the leading stars of eight of Nakshatras on
houses of moon. Nakshatra are the constellations as lunar mansions through which the moon passes in
its monthly course, Each Nakshatra has a leading star and is presided over to a particular divinity. They
are a scale of 21 or 28 division, representing time intervals & spaces.

In Vastupurusamandala, solar cycle of the day and year are shown together with the lunation, the
monthly revolution & moon round the earth. The number 32 of Padadevtas is also the sum of 4 and 28,
the number of regents of 4 planets ruling over the equinoxial & solstial points; referred to cardinal points
and of regents of 28 Nakshatras.

The period of procession of equinoxes is the base of all the cyclical numbers in Hindu cosmology.
They are exactly 25920. The Vastupurushamandala is laid out in 64 or 81 squares; either of which is a
sub-multiple of 25920. Also, 25920 is the product of 8 divs. square times 9 divs. square times half field or
360 where total field is (8x9x10) = 720 i.e. 8x9x360 = 25920. It is considered to be that time when the
world comes back to the same position. Similarly, Kaliyuga starts after 432000 years which is product of
360x12x100 where 360 is the half field and 12 is the zodiacal homes.

Influence of mandalas in architecture of sub-continent regions

The Shastras also deal at length with town planning and form of towns suitable for different purposes
such as administrative towns, hill towns, coastal towns or religious towns built at a sacred place. Among
the most famous examples of a town planned according to these standards is the example of Old Jaipur
which is based on a Prastar type town described in several texts.

It is a model of town planning the first planned city in India.It is based on Hindu systems of town planning
and followed the principles prescribed in the Shilpa-shastra , an ancient Indian treatise on architecture.
According to this shastra the site should be divided into grids or mandalas ranging from 2 2 to 10
10.Planned according to the Prastara type of layout , which gives prominence to the cardinal
directions.Thus plan of Jaipur is a grid of 3 3 with gridlines being the city's main streets.
The central axis of the town was laid from East to west between the gates of the Sun (Suraj pol )
and the moon (Chandpol).This was crossed by two roads at right angles dividing the town into
nine almost square, almost equally sized blocks,which were further sub divided by lanes and
alleys all at right angles. By building the western boundary of the city right up to hill's southern
apex, it provided a continuous line of defense.The mandala could not be complete in the NW due
to the presence of the hills. On the other hand in the SE an extra square has been added that
plugged the gap between the city and the eastern hills.

South of the main road were four almost equal rectangles.The rectangle opposite the palace has
been broken up into two equal and smaller rectangles by the Chaura Rasta.Thus altogether there
are now five rectangles on the south of the main road called Chowkris. On the North of the main
road from West to East are the Purani Basti , the Palace and Ramchandraji. The principal bazaar
leads from the western gate in the city wall, the Chandpole, passing in front of the Tripolia Gate,to
 the eastern city gate, the Surajpole.

Best location for different rooms in home as per vastu shastra

ARCHITECTURAL DEVELOPMENT OF JAPAN:
 CHARACTERISTIC FEATURES OF THE STRUCTURES :
Style much derived from China, while difference between two are many. Exposed wood in
Chinese buildings is painted whereas in Japanese buildings it traditionally has not been.
 Materials used: timber, structural elements column and beam. Wood has always been the
favorite material in Japan. Interior wood columns receive the load while the thin exterior walls
are of wood work and plaster.
 Wall are not heavy, built up by protective screens of paper planks, cardboard
 Attention given to relation of building with site and natural landscape.
 Lightness, delicacy and refinement are chief characters.
 DEVELOPMENT OF JAPANESE ARCHITECTURE:
 BUDDHIST ARCHITECTURE:
When Buddhism came to Japan in the sixth century and places dedicated to the
th
worship of Buddha were constructed in 8 century, a group of buildings comprised seven basic
structures; the pagoda, main hall, lecture hall, bell tower, repository for sutras, dormitory and
dining hall was built to serve the needs of monks.
 SHINTO ARCHITECTURE:
Follower of Shinto believed that a kami (deity) exists in virtually every natural
object or phenomenon. Shrines buildings are situated according to the environment. From a gate
to the path or roadway leads to the main shrine building, with the route marked by stone
lanterns .Komainu, pairs of lion like figures placed in front of the gates or main halls of many
shrines, serve as shrine guardians. Best example; Ise Shrine, in Mie Prefecture.
 MODERN ARCHITECTURE:
Modern architectural techniques were introduced into Japan with the launch of
 the Meiji restoration. The buildings were erected with combined traditional Japanese methods of
wooden construction with western methods and design. Best example; The K’iche Elementary
School.
 MAJOR ARCHITECTURAL MONUMENTS OF JAPAN:
 PAGODAS:
 A tiered tower with projecting roofs
 An evolution of Indian stupa; a building to enshrine the cremated remains of Buddha, ashes and bone
fragments. The function of pagoda is same as the stupas.

 After the stupa migrated with Buddhism from ancient India to China, the structure became taller
and developed layers or tiers.

 When Buddhism was introduced from China to Japan, the layered pavilions and pagodas of china
influenced the way the Japanese designed and built pagodas.
 Normal pagodas are found in 5 storeys, stands on central pillar which swings like pendulum.
 Top floor have verandah with viewing deck
Difference in Nepalese and Japanese pagoda is based on formation of struts and roofing.
Japanese have double roofing with finial almost about 1/3 ht. of the temple. Also Japanese
pagoda contains just a frame , panel of timbers as compared to the Nepalese solid wall.
 TYPES OF PAGODAS:
a) Wooden Pagoda:
Structural facts-
 Japanese pagodas are typically constructed from wood with inter locking beams and posts and a
central column.
 The roofs have wide overhangs, with clay tiles.

 Pagodas are extremely sturdy and are designed to absorb the movements of the earth making
them resistant to earthquakes and typhoons.
 Pagodas are usually hit by lightening due to its height and most of it was destroyed because of
lightening that causes fire, since it is made up of wood as it is easily burned.
 Usually found in square plan and floor area is determined by Ken (Japanese modular system).
  Each level has 12pillars with a heart pillar on the centre. Each of its level ascending is slightly
smaller than the last, resulting in a pyramid like structure that is stopped by aspires. Some
examples; Pagoda of Kofokuji, Nara Japan and Pagoda of Horyuji Temple (located in the south of
the Nara, Japan. The ldest pagoda built around 607AD of 31.50m high.)

b) Stone pagoda (Sekito):

1. 2. 3. 4. 5.

1)Gorinto;made of fivpieces of stone and serves as a grave marker, erected for the repose of the departed, one
that in older days containes a relic oa the Buddha. 2)Muhoto; egg shaped pagoda, marking the gravesite of a
Buddhist priest. 3)Hoto;associated with the Buddhist deity, Tahounyorai 4) Hokyointo; used as funerary markers
having rectangular shape, has a low rectangular foundation surrounmounted by a square body which often bears
an image of Buddha or a Snskrit sxyllable. Top part is a stepped pyramid with wing like decoration at the four
corners. 5) 13 storied pagoda is named as Jusajunoto.

 REASON FOR FIVE TIERS IN PAGODAS:

The square shape symbolises the Earth, center column is considered ‘axie of the word’, the spire
on the top of the structure represents Buddha as the master of the Universe. Hence, the reason why a
large number of pagodas have five tiers is that every part has its own elemental meaning in Buddhism.

 PRINCIPAL PART OF JAPENESE PAGODAS:

SHIMBASHIRA; the central pillar, GAWABASHIRA; twelve outer pillars, TARUKI; slanting beams,
The floors with rhythmic roof system, EAVES; projecting ¾ the width of the pagoda, The SORIN –PINNACLE
1/3 to ¼ in total height. Some figures:

ARCHITECTURAL DEVELOPMENT IN BURMA:

 CHARACTERISTIC FEATURES:
 Indian influence but Burmese development
  East Asian influence( elevation development)
 Religious fervor plus political power and stability, temples and stupas are architecturally similar
 Pagan; capital of Burma from 819-1286A.D

The traditional burmese home is raised on four posts and has a concrete base. According to their
cultures “the traditional houses is largely made of bamboo”. The floors are made of bamboo planks or wood,frame
of house is of wood with hard and durable. Rooof coverings are made of variety of materials such as;thatch(made
from broadleafed grass or palm fronds) and roof is covered by tiles, wooden shingles or zinc sheets. Old houses
used whole tree trunks for pillar.

 PAGODAS AND STUPAS OF BURMA:

Burma is famous for its large and graceful pagodas. A pagoda in south-east asia, is cone shaped
monumental structure built in memory of buddha. But in far east a pagoda is like a tower, multisoried
structure of stone, brick or wood usually associated with a buddhist temple complex.

 BURMESE ARCHITECTURE:
 Early Pyu-Period(2 century B.C to 1050 A.D):
nd

Beikathano is the oldest urbansite so far discovered in myanmar and oldest of the three ancient centers of
Pyu civilization( the other two being Srikshetra and Halin). The foundations of a numbers of building made
of large kiln fired bricks were unearthed, among them are two halls with wooden pillars, possibly
audience halls, a large rectangular monastery building containing multiple cells and the foundations of
several circular stupa like structures, a few of them situated on square bases. These stuap like foundations
were in several cases closely associated with numerous burial urns containing the ashes and bones of
cremated human bodies.

 Srikshetra: Later Pyu Period Architecture:

 The three most salient monnuments today all are stupas are found outside of the city wall i.e the
BawBawgyi to the south, the Pyagi to the north-west and the Pyamato the north. The stupas in srikshetra
lack the decorative architectural moldings, however other believes the decorative moldings were
originally created in plaster and they fell away long ago.

It is the tallest stupa ,153ft high. It covsists of a massive cylindrical column

that rests on a base of 5 concentric terraces. The upper portions of the main cylinder have fallen away
over time and the truncate form has been fitted with a tower that resembles the Burmese crown.

 Pagan Architecture(A.D 1044 TO 1287):

The structure at Pagan vary greatly in scale from very small one room structures to enormous temples
with multiple floors and shrines that soar to 200ft. All the Pagan structures were made if brick plastered
with stucco except for three buildings that were made of stone or were faced with stone. The bricks were
kiln fired, regularly shaped and thinner but much larger than the standard western brick. The average
brick measured 36*18*6cm. The only mortar used was clay sometimes with a considerable admixture of
sand. A remarkable technique used at Pagan for the consturction of vaults and arches was the pointed
arch.

The Ananada Pagoda at Pagan:

 History of this perfectly dimensioned temple structure built in 1105 is credited to King Kyanzitha.
 It denotes the stylistic end of the Early Pagan Period and the beginning of the Middle Period.
 The Thervada Buddhism adopted by the King motivated him to present the teachings of Buddha
to his people in an accurate and a genuine way through the medium of this temple, to unite
Burma under one flag and thus, “creating mass religious enthusiasm”.
 Ava Period(1364-1555) Architecture:
Many large stupas were regularly built during this Ava Period, stupas during this period continued to the
Pagan model although there were changes in proportion and detail as well as the ocassional innovation.

 Konbaung Period(1752-1885) Architecture:

Founded by King Alaungpaya who also founded Yangoon also known as Rangoon. Yangoon is ahuge stupa,
almost a hundred mtrs in height, towers above its surroundings. The stupa is adorned with 8,688 solid
gold slabs, as well as over 5,000 diamonds and more than 2,ooo rubies, sapphires and topaz. This dynasty
was the last dynasty that ruled Burma aklso the great dynasty were the second largest empire in Burmese
History is created. It layed the foundations of modern state of Burma.

 Buddhist Architecture:
Another part of myanmar is also famous for its Buddhist Architecture. In the city of pagan about 13,000
pagodas and temples were built. Many of the temples and pagodas were constructed of red bricks, but
the Ananda Temple towers above the others in white.

There are essentially three kinds of Buddhist structures:

 Stupas, bell-shaped structures that contains a holy relic or scripture.
 Temples, place of worship some what similar to a church.
 Monasteries, which contain living quartersand meditation cells for monks.

ARCHITECTURAL DEVELOPMENT IN THAILAND:

A)The Dvaravati Period:
 characterised by Burmese, Buddhist forms. Example;Lamphun, Haripunjaya-only fragments of
ofundations of buildings at Nakhon Pathom(later Lopburi)the earliest known capital was found.
 plinths was made of bricks and stones with mouldings similar to those Buddhist structuresfrom
SriLanka to North India.which had granite bases with holes for pillar that supports timber super
structures. Example; Wat Kukut,Lampun
 -represensts the last phase of Dvaravati style
-from a high square platform, with 23m sides, rises a slendeer brick pyramid of five diminishing
storeys of 28m
-each face of each storey are three terracotta Buddha images, making 60 in all
- has a viharn, an ubosot, a sala and two ancient chedis.

th
B)The Khmer-Lopburi Period(10-13 centuries):

 found in central and eastern thailand, provincial manifestation of the Khmer-Angkor style also
mirrored building traditions of the Mons and Talaings of Southern Burma.
 Khmers introduced the use of stone,instead of the traditional brick or rubble bonded with
vegetable glue. Example; Wat Mahadatu Temple, Lopburi

-building of Khmer Angkok type, stands in a walled court and comprises a

sanctuary tower (Sikhara) and attached portico(mandapa) raised on a high moulded
plinth

-heavy arched tympana above the oprnings, recalling Angkor.

th
C) The Thai Period(13-16 ) centuries:

i.Sukhotha(1238-1438)i:

 foundation of thai civilization, the place were its institutions and culture first developed.
 the identity in order to display the buddhist faith by building,hence buildings are in symbolic
shapes.
 buildings was erected on aterrace that had central sanctuary which sheltered a colossal Buddha
statue screened by high wall.
 .

ii. Ayuthaya(1351-1767):

 founded by King Ramathideodi in the lower Chao Phraya River.

 architecture during this period was regarded as a peak achievement that responded to the
requirements of people and expressed the gracefullness of Thainess.
 stupa was generally circular in plan, ring based and bell shaped .
 three palaces were built for rulers:

a)Wang Luan(Royal palace), occupied by principal King which is situated on Northern rim of the
city.

b)Wang Na( Front palace),situated on the Northeastern corner of the city which is for vice King.
C)Wang Lang( Rear palace),situated on Western part of the city which is for princesses.

iii. Northern Chiangmai(1292-1775):

th
 stupas were later built from mid 14 century onwards since the entrance of Lankawon Buddhism
sect.
 th th
D)The Bangkok Style/Rattanakosin(Late 18 -19 ):

 The structure built in this period has two distinctive characters as ‘in’ and ‘out’.

In:one with traditional gable ends decorating the roof

Out:gable(usually highly decorated) ends of the roof weer plainly constructed with bricks and stucco.

 Traditional forms of were overlaid with ornamentation of Chinese character.

 Surfaces were finished with porcelain tiles. Walls are white stuccoed bricks that contrasts with
brightly coloured glazed tiles of multi levelled overlapping timber roofs.
 Gables and barbage boards are decorated with Angkor Hindu Iconology ‘nagas’,Vishnu on a
garuda(mythical bird),Shiva on a bull and so on.
 Door and windows shutter are carved wood lacquered in black and gold or painted inlaid with
mother of pearl depicting themes of guardians divinities, enchanted forests, ferns, flowers, and
still life.
  PARTS OF A THAI WAT:
 Chedi, Bot, Kuti, Crematorium, Ho Rakang, Sala

Bot:is the place where monks perform ceremonies, meditate and semonize. It faces east and houses the main
Buddha image.

Chedi /Stupa:domed edifice, under which relics of the Buddha or revered religious teachers are buried. Types of
chedi:

 Bell shaped style chedi

 Square chedi:high square base,each side carved with Buddha images.

 Intended chedi:small dome balanced on a square base with intended corners.

 Suwanna chedi:shape like corn cob standing on top of a square or cruciform building with an
entrance on one side.
  Suwannna stepped chedi:square stepped base, with five tiers above, each of the four faces
containing three Buddha images.

Crematorium:the part of a thai wat having tall chimney.

Horakang:
 Bell is struck to call the monks to devotions.
 In same big temples and monasteries, there may also be a gong tower or a combination of bell and gong.

Kuti:

 A small structure, built on stilts designed to house a monk.

 Its proper size is defined in the Sanghathisep, rule 6 to be12 by 7keub or 4.013by 2.343m.
 A monastery consists of a number of these buildings grouped together on a shared terrace, either in an
inward facing cluster or aligned in a row. Often these structures included a separate building called a
hortrai, used to store scriptures.
Sala Kan Period:

 Open sided pavillion or preaching hall.

 Bangkok style structures that is only found ocassionally in Northern Thailand.

 Used as a meeting place and to protect peoples from sun and rain.
 Most are open on all four sides.

MATERIALS USED:

 Sandstone-door parts, lintels and rectangular windows.

 Brick-replaced sandstone as the favoured mortar,bounded with vegetable glue and then sheathed in
carved stone.
 Stucco-sand, lime and glue mixtures strengthened by terracotta armature, later used to cover brick.
 Wood-employed in temple construction.
 Porcelain-used for some ornamental decorations.
 Glass mosaic pieces-to highlight gables and pillars.
 Lacquer,gilt inlaid mother of pearl, gold leaf to obtain gleaming elegance.