Greek Architecture

Greek Architecture
Revision
Introduction
• Classical art is considered the formal and
aesthetic basis of Occidental Art.
• This art was born in Greece and
continued during the Roman
Empire.
• The chronology of Greek Art is:
– Archaic period: 8th to 6th century bc
– Classical period: 5th to 4th century bc
Introduction
• Archaic period:
– It is the time of formation
– To the local basis are added other influences:
• Crete civilization
• Mycenaean civilization
• Oriental influences, above all, Egyptian
– Art evolved from abstraction to expressive
naturalism.
Introduction
• Classical period:
– It is the peak of this art
– Every art manifestation reached its zenith
– It is the period of political, economic and
cultural expansion of the polis, mainly Athens.
– It is the period of the Democracy
– This situation lasted until the political decay of
the polis with the Peloponnesus Wars.
Introduction
• Hellenistic period:
– Greek culture suffered a deep transformation
– Alexander the Great expanded Greek culture
– With culture, Art expanded too:
• The artistic forms
• Technical solutions
– Greece became the artistic reference in the
whole Mediterranean area.
Geographical space
• Even when the basic nucleus is Greece,
this civilization expanded to other regions
due to:
– Greek colonization (forced by the inner
difficulties for communication –difficult relieve,
politically divided into polis)
• South of Italy and Sicily (Magna Greece)
• Easter Mediterranean coasts (Turkey, Middle
East)
• Rest of Mediterranean coasts.
Greek civilization
• Ideologically:
– Freedom and individual independence
– Isodomia: equal right among free men
• Human being is the centre of their culture:
everything is done at man’s measure
• Rich mythology and religion: gods were used to
express beauty ideal.
• Reason, observation and experience are the basis
for the reality: Philosophy and Sciences
Architecture: Basis
• Greek created equilibrate and
proportional works
• It is an architecture to be seen (temple)
– Sculptural values, volumes
– Building is conceived as an sculpture
• Beauty= proportion and measure:
– it is conceived from the human point of view
– it is anti-colossal
Architecture: Basis
• The organization of the polis did not help the
development of the palace.
• Temple is the essential building, residence of the
god, not a place for people
• Other constructions combined beauty with
practical solutions:
– Theatres
– Sanctuaries
– Gymnasiums
• Importance of urbanism: Hipodamus from Mileto
created the orthogonal planning
Building systems
• It has lintels, and it is apparently serene and
equilibrate
• Dominant lines are horizontal and vertical
• The column is the essential element
• Building materials limestone and white marble
• Walls are made of regular ashlars, without mortar
(stretcher and header bond= soga y tizón)
• Buildings were polychrome
• There are not fixed measures, this is why there
Orders
• Doric:
– Columns
• Without basis
• Sharp-edged shaft
• Simple capital, without decoration
– Tablature
• Frieze divided
– Metopes
– Triglyphs
– Cornice
– Triangular pediment
• Of the three columns found in Greece, Doric columns are the simplest. They have
a capital (the top, or crown) made of a circle topped by a square. The shaft (the
tall part of the column) is plain and has 20 sides. There is no base in the Doric
order. The Doric order is very plain, but powerful-looking in its design. Doric,
like most Greek styles, works well horizontally on buildings, that's why it was so
good with the long rectangular buildings made by the Greeks. The area above the
column, called the frieze [pronounced "freeze"], had simple patterns. Above the
columns are the metopes and triglyphs. The metope [pronounced "met-o-pee"]
is a plain, smooth stone section between triglyphs. Sometimes the metopes had
statues of heroes or gods on them. The triglyphs are a pattern of 3 vertical lines
Orders
• Ionic:
– Columns:
• With basis
• Blunt-edged shaft
• Capital with volutes
– Tablature
• Three bands, without decoration
• Continues frieze (decorated)
– Cornice
• Ionic shafts were taller than Doric ones. This makes the columns look slender.
They also had flutes, which are lines carved into them from top to bottom.
The shafts also had a special characteristic: entasis, which is a little bulge in
the columns make the columns look straight, even at a distance [because
since you would see the building from eye level, the shafts would appear to
get narrower as they rise, so this bulge makes up for that - so it looks straight
to your eye but it really isn't !] . The frieze is plain. The bases were large and
looked like a set of stacked rings. Ionic capitals consist of a scrolls above the
Orders
• Corinthian:
– Columns:
• With basis
• High blunt-edged shaft
• Capital decorated with acantus leaves and small volutes
– Tablature:
• Three bands without decoration
• Continuous frieze
– Cornice
– Triangular pediment
• The Corinthian order is the most decorative and is
usually the one most modern people like best. Corinthian
also uses entasis to make the shafts look straight. The
Corinthian capitals have flowers and leaves below a small
scroll. The shaft has flutes and the base is like the
Ionian. Unlike the Doric and Ionian cornices, which are at
a slant, the Corinthian roofs are flat.
Finding for idealism
• Greek aimed at creating visually perfect buildings
• To correct optical distortions they
used several resources:
– Curved tablature and stilobatus
– Columns inclined towards the inside
– Entasis: columns are wider in the
middle
– Corner columns are wider than the
rest
– Different distances between columns
Greek temple
• It is based on the pre-Hellenic megaron
• Structure:
– Rectangular plan
– Longitudinal axes
• Circular temples existed too: Tholos
• Internal distribution:
– One to three naves
– Pronaos : Open entrance
– Naos or cella: chapel for God’s image
Greek temple
• Location: in isolated or holy places
• Ceremonies were celebrated in the
outside, in front of the porticos.
• It was built on a basis with stairs, called
crepis in order to avoid humidity. The last
stair is called stillobatus.
• The façade is the main area for developing
architectonical orders (they may appear
inside too).
Temple typology
• Depending on the disposition of the
columns in the portico:
– In antis: the pillars of the side exceed the wall
– Prostyle: columns only in one façade
– Anphiprostyle: columns in both façades
– Peripteral: columns around the building
– Dipteral: double columns around the
building
– Monopteral: circular
Temple typology
• Depending on the number of columns in
the portico it can be:
– Tetrastile: four columns
– Hexastile: six columns
– Octastile: eight columns
– Tholos: circular temple
The majority of the religious buildings were concentrated in the Acropolis, or fortified city
built on a mountain near the city. (This is Athens’ Acropolis)
Public architecture
• Propylaea or porch was a monumental
entrance to a temenos or holy area
• Fountain houses
• Stoa: long narrow hall with an open
colonnade that was used as exhibition
room
• Agora: commercial centre of the city
• Palestra or gymnasium, the social centre
egend:
•1: NE Propylon •17: Ex-voto of Achaeans

•2: Prytaneion •18: Ex-voto of Mikythos
•3: Philippeion •19: Nike of Paionios
•4: Heraion •20: Gymnasion
•5: Pelopion •21: Palaestra
•6: Nympheum of Herodes Atticus •22: Theokoleon
•7: Metroon •23: Heroon
•8: Zanes •24: Phidias' workshop and paleochristian basilica
•9: Crypt (arched way to the stadium) •25: Baths of Kladeos
•10: Stadium •26: Greek baths
•11: Echo stoa •27 and 28: Hostels
•12: Building of Ptolemy II and Arsinoe •29: Leonidaion
•13: Hestia stoa •30: South baths
•14: Hellenistic building •31: Bouleuterion
•15: Temple of Zeus •32: South stoa
•16: Altar of Zeus •33: Villa of Nero
Public buildings
• Theatre:
– It was used for meeting and dramatic performances
– It consisted of several parts:
• Skene: place for the performance, it was circular
• Orchestra: first line of seats, for the chorus
• Seats: divided in areas to made it possible the movement
• Storage rooms (behind the skene)
– There were built on a hill
– They have perfect acoustic due to their location
– There were small theatres for reading poetry, they
were called odeon.
Model of Rome
ORIGINS OF ROMAN ARCHITECTURE
As with sculpture, the Romans
borrowed heavily from two
cultures that they conquered –
the Etruscans and the Greeks.
The Romans were indebted to

their Etruscan neighbors and
forefathers who supplied them
MODEL OF AN ETRUSCAN TEMPLE
with a wealth of knowledge
essential for future architectural
solutions, such as hydraulics and in
the construction of arches.
Later they absorbed Greek and

Phoenician influence, apparent
in many aspects closely related to
architecture
A ROMAN TEMPLE, FORTUNA VIRILIS
Elements of Roman architecture show very significant
Greek influence.
However, Roman functional needs sometimes differed,

resulting in interesting innovations.
The Romans were less attached to “ideal” forms and

extended Greek ideas to make them more functional
ROMAN PHILOSOPHY
"We believe that lightning is caused by clouds colliding,
whereas they believe that clouds collide in order to create
lightning. Since they attribute everything to gods, they are
led to believe not that events have a meaning because
they have happened, but that they happen in order to
express a meaning."
Greek technology
POST & LINTEL

CONSTRUCTION
LINTEL
P P
O O
S S
T T
POST & LINTEL
LINTEL
DRAWBACK
P P
O O
S S
T T
thick narrow thick

Something new under the sun …
Roman ARCHitecture
Arches – strength
through compression
 Romans needed
interior space for
worship, whereas
the Greeks
worshipped outside.
 Their solution was to

extend the walls
outward, creating
engaged
columns, while
maintaining the
same basic shape.
THE MAISON CAREE @

NIMES
ROMAN INNOVATIONS
1. COLUMNS
To the original Greek orders, the

Romans added two.
TUSCAN
SIMPLIFIED DORIC HAVING UNFLUTED COLUMN
AND A PLAIN BASE, CAPITAL AND SHAFT HAVING
NO DECORATION OTHER THAN MOLDINGS
COMPOSITE
IT COMBINED ELEMENTS OF BOTH THE
IONIC AND CORINTHIAN ORDERS.
CORINTHIAN ORDER IS MODIFIED BY
SUPERIMPOSING FOUR DIAGONALLY SET IONIC
VOULTS ON A BELL OF CORINTHIAN ACANTHUS
LEAVES.
2. CONCRETE
K The discovery of slow-drying concrete, made
with pozzolana sand created a revolution in
architectural design.
K This allowed not only bases, but also walls to be
constructed of mainly concrete or concrete and
rubble.
K Facings could be made of more expensive stone
or inexpensive brick.
K The result was strong structures that could be
formed in any desirable shape
USE OF BRICK ON OUTER

FACING AND FILLING OF
CONCRETE RUBBLE
DOME OF THE
PANTHEON
3. ARCH & VAULT
The Romans first adopted the arch from the Greeks, and
implemented it in their own building.
An arch is a very strong shape as no single spot holds all the
weight and is still used in architecture today.
The Romans used arches to support the things they built.

They built victory arches, buildings and aqueducts.
Barrel or
“Tunnel” Vault
K A vault having semicircular cross-section

K Windows can be placed at any point.
K These vaults require buttressing to
counter-act the downward thrust of
weight.
Groin vault
K Also called a cross vault.
K A compound vault formed by by the
perpendicular intersection of two vaults
forming arched diagonal arrises called
groins.
K Needs less buttressing.
BASILICA NOVA
Multi Groin Vaults
K A series of groin vaults can have open
lateral arches that form Clerestories.
K Windows that allow light into the

interior of churches.
K These concrete windows

were fireproof
4. dome
K A dome is a vaulted
structure having a
circular plan and usually
the form of a portion of a
sphere, so constructed as
to exert an equal thrust
in all directions
K Romans used domes to
span and cover very
large open spaces.
K They used it in many
public buildings like
basilicas, the pantheon
etc.
CYLINDRICAL DOME
K With the dome, the

Romans could surpass
earlier cultures by
their ability to span
space.
K Light enters through

the oculus on top.
Roman buildings
Massive Building – THE TEMPLE OF FORTUNA
PRIMIGENIA
 The Temple of
Fortuna Primigenia
was a massive
structure, made
possible by concrete
construction.
Roman buildings
Massive Building – BATHS OF CARACALLA
 Roman baths were
the recreation centers
of Roman cities,
incorporating pools,
exercise facilities and
even libraries.
 They could serve
hundreds or
thousands at a time.
Roman buildings
Public entertainment – THE ROMAN COLOSSEUM
Brings together the violence and

the achievements of Roman society
Home of gladiatorial
contests…man vs. man, man vs.
animal, animal vs. animal
Seating designed for comfort with

an expandable covering over the
top
Plumbing which could wash away

the blood or create an „inland sea‟
on which to have mock sea battles
The Colosseum- a blend of Greek and
Roman architecture
 The arches are

supported by central
columns.
 The columns on the
first floor are Doric.
second floor are Ionic.
third floor are
Corinthian.
plan
Section
A special fact about the Coliseum
is that it was originally built with a
huge removable canopy to protect
the spectators from the elements.
Roman buildings
Public entertainment – AMPHITHEATRE AT NIMES
SEATS ABOUT 20,000
Theatres and arenas were built to hold

multiple thousands of people and were
engineered so as to allow quick and
effective entry and exit.
Roman buildings
WORSHIP – THE PANTHEON
The temple to the

Roman gods built
in 126 AD was
called
The Pantheon.
Occulus
142 ft.
Portico
142 ft.
COLUMNS: 39 FT. TALL, 5 FT. THICK
PLAN SECTION
SECTIONAL VIEW
INTERIOR VIEWS
Engineering
marvel
Concrete!
The magnificent interior space of the Pantheon
was achieved by:
Employing a dome over a drum.
Coffering the dome to reduce weight.
Placing an occulus to allow light to enter
Missing pedimental
sculpture
(would have been like
later used as Parthenon)
church
Tuscan order of columns

(with corinthian capitals)
Roman buildings
Public water supply – THE AQUEDUCTS
There wasn‟t enough water in the
city of Rome.
The Romans brought water in

from the surrounding countryside.
The water was brought in by

tubes called aqueducts.
Cities themselves were plumbed,

providing private water for the PONT DU GARD, FRANCE
rich and for baths and communal
supplies for poorer
neighbourhoods.
PIPES AND
PLUMBING
Where did the water go?
 The water was transported in concrete
tunnels.
The water flowed in a tube on the top of the

aqueduct called a water channel.
The arches supported the water channel.
The water flowed through a

rectangular channel.
The channel was lined with concrete.
The Romans invented concrete.

Roman buildings
PUBLIC BUILDINGS – THE BASILICA
Basilica were first built to house
audience facilities for government
officials.
When Christianity became the state

religion, this kind of building was
adapted to Christian worship.
A large nave is flanked by side aisles

behind a row of supporting piers.
An Apse draws attention in the direction

of the altar.
Roman innovation
Transport system – THE ROADS
 The need to move

legions and trade
goods in all weather
led to the
development of the
best roads in the
world (to the 19th
century).
SECTION OF THE
ROAD
VIA APPIA
All roads lead to Rome!

CONCLUSION
 The Romans were

brilliant engineers.
 Their innovations
form the basis of
much of our civil
engineering today.
VEDIC CIVILIZATION
Foundation of Hindu Culture

LECTURE
3 2015 Bhuvnesh, Assistant Professor GCAD 1

VEDIC CIVILIZATION
After decay of the Indus Civilization when the art of building again comes into view this no longer
consists of well laid out cities of finished masonry, but takes a much more rudimentary form of village
huts being constructed of reeds and leaves and hidden in the depths of forest. The culture of the people
begins again.
The study of Vedic Culture provides for the first efforts being made in response to a need, before any
ideas of architectural effect were conceived.
The difference between the Indus valley inhabitants and those who are responsible of this culture is
fairly clear as there was a wide difference in the conditions under which each of these population
existed, I their mode of life, and notably in the type of building produced by the method of living.
LECTURE

VEDIC CIVILIZATION
According to some historians,
Around 1,500 BC, speakers of
Indo- European languages
gradually infiltrated the Indian
subcontinent. These people
referred to themselves as
Arya(Aryan).
As historians do not have much

archaeological evidence for this
era, they rely on the sacred book
of hymns composed by these
people.
These scared books are known

as Vedas: hence this lecture will
refer to the Vedic Civilization.
LECTURE

VEDIC CIVILIZATION
VEDAS
A collection, in multiple volumes, of hymns, rituals, and philosophies

The vedas include stories that attempt to explain how the world was created,
who the gods are, etc. Thought to be the earliest written texts Oldest one is the
Rig Veda. Other vedas were eventually composed later.
Rig veda – the veda of verses, is a collection of poems, hymns and invocations
of deities, reflecting myths, rites, battles and insights of many kinds. Texts and
procedures for rituals and rites of brahmanans are generally derived from it.
Yajur veda – the veda of chants consists of verse (poetry) and prose (writing
style) largely concerned with rituals.
Saama veda – the veda of sacrificial formulas on the other hand, consists mostly
of parts of rigvedam set to music, and a few (less than 100) stanzas of its own.
But the tune of rendering (chanting) saamavedam is totally different from that
of rigvedam and yajurvedam, and is melodious.
Athharwa veda – the veda of atharva priests, is somewhat similar to rigvedam,
but with stress on the practical aspects, and is probably addressed to a different
stratum of society.
LECTURE

VEDIC CIVILIZATION
VEDIC VILLAGE
• Primary Building Material: Earth and

timber, The surrounding forests provided
ample building material in the form of
bamboo and mud.
• The aryan hut in its most basic shape was

circular in plan with a thatched roof over
a network of bamboo ribs.
• Cluster of these huts formed a courtyard.
• To protect themselves and their property

from the ravage of wild animals, they
have surrounded their collection of huts
with a special kind of fence or palisade.
• Huts were arranged in threes and fours
LECTURE
around the square courtyard.

VEDIC CIVILIZATION
• Towards the middle of first millennium
BC, the social system expanded such town
arose at certain imp centers and were
reproduced at larger scale and more
substantial form.
o Strongly fortified
o Surrounded by ramparts and wooden
palisades
o Buildings almost always of wood
• Era of Timber Construction
It is not surprising, therefore, that in later ages

timber construction techniques were employed
even though the material of construction was
radically different - i.e. stone.
LECTURE

VEDIC CIVILIZATION
VEDIC VILLAGE
• Palisade encircling the village

entrance were of a particular
kind.
• In course of time these peculiar

VEDIC
railing became emblem of GATEWAY
protection, used not only to
enclose the village, but
o Paling around fields GOPURAM
o Eventually anything sacred
in nature.
• In another form it still survives

as Gopurams(cow-gate) and
Buddhist archways like
Toranas.
LECTURE

VEDIC CIVILIZATION
VEDIC VILLAGE
THE STAGES OF VEDIC HOUSES…

LECTURE

VEDIC CIVILIZATION
VEDIC VILLAGE: Planning
The planning of the village was organic in the

way that it was planned according to the a User
groups/varnas function in the Society.
Society was divided into the four varnas –

• The brahmans who were the center of all
knowldege,
• the kshatriyas – who were the controllers of
political power, THE CITIES OF THE VEDIC PERIOD:
• the vaishyas- who were tradesmen and • RECTANGULAR IN PLAN
farmers and the shudras – who were the • DIVIDED INTO FOUR QUARTERS BY TWO MAIN
THOROUGHFARES INTERSECTING AT RIGHT
artisans and the craftsmen ANGLES, EACH LEADING TO A CITY GATE.
• ONE QUARTER HAD CITADEL & ROYAL
APPARTMENT.
LECTURE

VEDIC CIVILIZATION
About, 450 BC the three kingdoms of Kashi, Koshala and Magadh were maneuvered and unlike
Indus civilization over the course of history most of the cities of Ganges river plains of these
kingdoms have been continuously inhabited and rebuilt.
Important town were: Saraswati, Champa, Rajagriha, Ayodhya, Kaushambi and Kashi.
LECTURE

VEDIC CIVILIZATION
KASHI : ONE OF THE WORLD’S OLDEST LIVING CITY (FROM 1200 – 1000 BCE)
The ganges was at the center of vedic mythology. At varanasi, on the ganges , even today vestiges of vedic
rituals continue. Varanasi was founded as the capital of the kashi mahajanapada but lost its political
importance after being conquered by kosala and then Magadha around 600 BCE. It developed, however ,
into a leading religious site. When Buddha gained enlightenment, his first stop was varanasi. (Sarnath is a
mere 16km away)
The city is built on a natural berm, located on the northwestern banks of the
ganges at a point where the river makes a sharp right turn, flowing north and
then west. The high berm (built up with karkar or lime concretion) not only
ensures that the city enjoys a dramatic prospect, some 15 meters above the
normal level of the water, it also ensures that the city is protected form the
river’s floods, the impact of which is born by the opposite shore.
LECTURE

VEDIC CIVILIZATION
THE GHATS AND THE RIVER HAVE AN ENGAGEMENT OF ‘SHIVA AND SHAKTI’ - THE GANGES BEING
‘SHAKTI’.
BENARAS BECAME THE CENTER FOR LEARNING OF ARYAN RELIGION AND PHILOSOPHY., CLASSSICAL
MUSIC AND DANCE. THE CITY ALSO FLOURISHED AS AN INDUSTRIAL AND ECONOMIC CENTER FAMOUS
FOR ITS MUSLIN AND SILK FABRICS, IVORY WORKS, PERFUMERY AND SCULPTURES.
THE VISHWESHWAR TEMPLE

IS CONSIDERED TO BE THE
PILLAR AT THE CENTER OF
THE WORLD – OR ‘AXIS
LECTURE
MUNDI’

VEDIC CIVILIZATION
PHILOSOPHY
The pattern of traditional and royal cities
of india mostly duplicates a celestial
archetype , reflecting cosmo-magical
powerr.
Pilgrims to the city take the five sacred

routes (parikrama) from the outer circle to
the inner circle reaching to the highest at
the inner sanctum. Each of the five
journeys starts and ends at the
visveshwara shiva temple situated just off
the ghats of benaras.
This idea runs parallel to a shrinking

world but expanding universe.
It also shows parallels with shiva’s dance

symbolizing cosmic cycles of creation and
destruction and also the daily rhythm of
LECTURE
life and death.

VEDIC CIVILIZATION
Conclusion
Although an interval of two thousand years between Vedic and Mughals, both were extremely similar in planning.
HOW?
But whereas the pavilions of Mughals were of marble, even the royal residence of Vedics hadn’t advanced over
thatched roofs.
One example from the vedic era survives and shows some efforts were made to produce stone masonary. Seen in city
wall of Rajgriha capital of Magadha. Height of 12 feet. Superstructure of wood & brick
Some system found at a Pelagium of Acropolis at Athens, which os probably Contemporary.

LECTURE

VEDIC CIVILIZATION
Q&A
How was Vedic city planned and what kind of architectural style developed
during that period? Explain with the help of suitable examples.
LECTURE

BUDDHIST ARCHITECTURE
 Introduction
 Beginning of Buddhist Architecture in India
 Early Buddhist Architecture
Features of Buddhist architecture
Stupas
Chaityas
Rock-Cut Architecture
Viharas
History Timeline
The early structures that were built during the empires were
permanent in nature and long lasting. Non-Structural or rock-cut
means that they were carved out of mountain cliff or huge rocks.
INTRODUCTION
• The Buddhist Architecture began with the
development of various symbols, representing
aspects of the Buddha's life(563BCE- 483BCE)
Fig: Sanchi Stupa
• Indian Emperor Ashoka, not only

established Buddhism as the state
religion of his large Magadh empire, but
also opted for the Architectural
monuments to spread Buddhism in
different places.
• The major features of this style are
Stupas, Stambhas, Chaityas, Viharas.
Fig: Sun Temple,Konark

Beginning of Buddhist architecture in India
• Buddhist religious architecture developed in the Indian Subcontinent in the
3rd century BCE.
• Three types of structures are associated with the religious architecture of
early Buddhism: monasteries (Viharas), places to venerate relics (stupas), and
shrines or prayer halls (chaityas also called chaitya grihas), which later came to
be called temples in some places.
• This religion initially did not involve making of figures or idols but gradually the
followers started making sculptural representations of Buddha.
There are 2 phases of Buddhism:
1. HINAYANA- 2ND CENTURY BC- 2ND CENTURY AD

2. MAHAYANA- 3RD CENTURY AD – 7TH CENTURY AD
Buddhist architecture in India
• Viharas initially were only temporary shelters used by wandering monks during the
rainy season, but later were developed to accommodate the growing and increasingly
formalized Buddhist monasticism(monkhood). An existing example is at Nalanda
(Bihar).
• The initial function of a stupa was the veneration and safe-guarding of the relics of the
Buddha. The earliest surviving example of a stupa is in Sanchi (Madhya Pradesh).
• In accordance with changes

in religious practice, stupas
were gradually incorporated
into chaitya-grihas (prayer
halls).
• These reached their high
point in the 1st century BC,
exemplified by the cave
complexes of Ajanta and
Ellora (Maharashtra).
• The Pagoda is an evolution
of the Indian stupa.
Early Buddhist Architecture
• Buddhist architecture emerged slowly in the period following the
Buddha’s life, along with the Hindu temple architecture.
• Brahmanist temples at this time followed a simple plan – a square inner
space, the sacrificial arena, often with a surrounding ambulatory route
separated by lines of columns, with a conical or rectangular sloping roof,
behind a porch or entrance area, generally framed by freestanding
columns or a colonnade. The external profile represents Mount Meru,
the abode of the gods and centre of the universe. The dimensions and
proportions were dictated by sacred mathematical formulae.
• This simple plan was adopted by Early Buddhists, sometimes adapted
with additional cells for monks at the periphery (especially in the early
Gupta period temple at Sanchi besides the Apsidal hall cave temples such as at Ajanta, India).
with Maurya foundation
• The basic plan survives to this day in Evolution of Buddhist Architecture

Buddhist temples throughout the
world.
• The profile became elaborated and
the characteristic mountain shape
seen today in many Hindu temples
was used in early Buddhist sites and
continued in similar fashion in some
cultures.
• In others, such as Japan and Thailand,
local influences and differing religious
practices led to different architecture.
Early Buddhist temples
• Early temples were often timber, and little trace remains,
although stone was increasingly used.
• Cave temples such as those at Ajanta have survived better
and preserve the plan form, porch and interior
arrangements from this early period.
• As the functions of the monastery-temple expanded, the
plan form started to diverge from the Brahmanist tradition
and became more elaborate, providing sleeping, eating
and study accommodation.
• A characteristic new development at religious sites was
The Borobudur Temple, Indonesia the stupa. Stupas were originally more sculpture than
• One of the earliest Buddhist sites still in existence building.
is at Sanchi, India, and this is centred on a stupa
said to have been built by King Ashoka (273-236
BCE).
• The original simple structure is encased in a later,
more decorative one, and over two centuries the
whole site was elaborated upon.
• The four cardinal points are marked by elaborate
stone gateways.
• As with Buddhist art, architecture followed the
spread of Buddhism throughout south and east
Asia and it was the early Indian models that
served as a first reference point, even though
Buddhism virtually disappeared from India itself in
the 10th century.
Buddhist Temple during Gupta Period.
Buddhist temples
• Decoration of Buddhist sites became steadily

more elaborate through the last two
centuries BCE, with the introduction of
human figures, particularly on stupas.
• However, the Buddha was not represented in
human form until the 1st century CE.
Instead, aniconic symbols were used. This is
treated in more detail in Buddhist art,
Aniconic phase.
• It influenced the development of temples,
which eventually became a backdrop for
Buddha images in most cases.
Temples became Backdrop for Budhha images

Architectural History
FEATURES OF BUDDHIST ARCHITECTURE
Features of Buddhist architecture
The major features of this style are:

•Stupas (Buddhist shrine)
•Stambhas (Pillars)
•Chaityas (Caves)
•Vihaaras (Monasteries)
• Out of these, the prominent examples of Chaitya Hall and Viharas can be found in
Rock-Cut Architecture.
• Even the Stupa can be found in certain Chaitya halls in a miniature form.
Stupas (domes)
• DEFINITION: Dome-shaped structures used to house sacred relics of the monks and hence
also known as “Relic-shrines”.
• CONSTRUCTION MATERIALS: Earth materials covered with stones or bricks. The plan,
elevation and the basic structure all derived from the circle.
Buddhist Architecture- Stupa
• STUPA IS MOUND OF THE EARTH ENCLOSING A RELICCAN BE COMPARED WITH THE MASSIVE
FORM OF THEGREAT PYRAMIDS OF EGYPT
• THEY ALSO CALLED AS THUPPA IN PALI, DAGABA INSIMBALI, TOPE IN ENGLISH & DHATUGRABH
IN SANSKRIT.(DHATUGRABH=RELICS PRESERVED IN VESSEL
CLASSIFIED INTO THREE TYPES.
•SARIKA STUPA-raised over body relics.

•PARIBHOJIKA STUPA - erected over the
articles, like the bowl, the sanghati
•UDDESHIKA STUPA-
Stupas built as
commemorative
monuments.
Sanchi Stupa
• Sanchi Stupa is located 40 km north east of Bhopal, and 10 km from Besnagar and Vidisha
in the central part of the state of Madhya Pradesh.
• Sanchi Stupa was built by Ashoka (273-236 B.C.)
• Sanchi Stupas is located on the top of the Sanchi hill, which raise about 100M high above
the plain.
• The 'Great Stupa' at Sanchi is the oldest stone structure in India

Structural Features
• The spherical dome symbolized the infinite
space of the sky. The dome is called as anda
or egg.
• The dome is a solid brick work is 36.60M in

dia, and 16.46M high.
Elevation
• A large hemispherical dome which is flat at
the top, and crowned by a triple umbrella or
Chattra on a pedestal surrounded by a
square railing or Harmika.
• A railing enclosed called Vedica which is

about 3.35 M high leaving an ambulatory
passage or pradikshina path with the
gateways.
• The upper ambulatory passage (midhi)

4.87M high from the ground and 1.8M
wide.
• There are four gateways known as Toronas

at the cardinal points of the campus.
Toronas built by ivory or metal worker.
Plan
PLANNING OF SANCHI STUPA
Harmika or triple umbrella
Upper Ambulatory Stone vedica

1.8m wide3.35m high
Ushnisha
Urdhava patas
45cm dia
60-90 cmc/c
Suchi 60 cm dia
Lower Ambulatory 3.35 m. high Steps leading to upper ambulatory

Toranas at Sanchi
• Toranas are associated with Buddhist stupas like

the Great Stupa in Sanchi, as well as with Jain
and Hindu structures, and also with several
secular structures.
• In the 1st century BCE, four elaborately carved
toranas (ornamental gateways) and a balustrade
encircling the entire structure were added
around the sanchi stupa built during Mauryan
period.
Stambhas (pillars)
• The next development was the free standing monolithic columns erected over sites
selected because of their sacred associations. They were basically stone objects.
• DEFINITION: In the context Of Hindu Mythology, stambha, is believed to be a cosmic

column.
• DESIGN: A stambha consists of a circular column or shaft slightly tapering towards the
summit (monolithic). On top of this shaft is the Persepolitan bell or the inverted lotus
shaped base. Above this is the abacus on top of which rests the crowning sculpture. These
three portions were carved out of a single stone (monolithic).
The famous iron pillar from the Gupta period is a fine specimen, withstanding exposure
to rain & storm, yet remaining smooth and unrusted bearing testimony to the mastery of
Indian metal-casting.
Iron Pillar
Ashokan Pillar
CHAITYAS
• A Buddhist shrine or prayer hall with
stupa at one end.
• Made for large gatherings of devotees.
• Made in rock-cut due to permanency of
structure.
• Chaityas were influenced by ascetic
lifestyle of Vedic period and tendency
of hermits to retire in solitude.
Basic Characteristics
• Accommodates Stupa.
• Apsidal Plan.
• No division between nave and chaitya i.e space for congregational service not
clearly defined.
• Vaulted hall.
• Colonnades.
• Side aisles.
Why a Chaitya Hall?
• The stupa evolved from being a
funerary mound carrying object of
worship, had a sacral value.
• Building needed to accommodate
copies of stupa and provide shelter.
• A structural house for religious
activities.
• Birth of temples with idol worship.
• Building had almost circular plan and
a domed roof.
Chaityas (caves)
• The next significant development was
the rock-cut architecture.
• Its earliest and most imp. Marvel was
the Lomas Rishi Cave, at Barabar hills,
Bihar.
• Derived from timber huts and wooden
arch. of Vedic times.
• They were rectangular halls, with finely
polished interior walls. There were a
number of well proportioned pillars,
generally around 35, and a semi-circular
roof.
• Opposite one entrance stood a stupa. All
the pillars have capitals on them, with
carvings of a kneeling elephant mounted
on bell-shaped bases.
Chaityas (caves)
• Architecturally, chaityas show
similarities to Roman Design
concepts of columns and arch.
• The monks built many structures
which were carved out of a single
massive rock, done with hammer
and chisel, bare hands.
• The chaityas were almost 40 meters
long, 15 meters wide and 15 meters
high.
DESIGN:
• The pillars had three parts: prop, which is the base which is buried into the ground;
the shaft, the main body of the pillar which is polished and chiseled; and capital,
the head of the pillar where figures of animals are carved.
• The Stupa at the end of the Chaitya Hall has an umbrella at the top. This Umbrella
suggests association with Buddhism.
• There is a wooden facade, made out of teak wood. The facade makes it look as if
the entire structure was resting on the back of an elephant with ivory tusks and
metal ornaments.
Architectural Features
• Wooden construction inspired from Vedic
period imitated in natural rock.
• Supplemented with wooden surfaces for e.g..
Screens etc. (half timber construction)
• Shows similarities to Roman concept of column
and arch, but no evidence of any relation.
Architectural Features
• Rectangular halls with finely
polished interior walls.
• Well proportioned pillars with
capitals(around 35).
• Semi circular roof.
• Pillar had three parts: prop, base
buried in ground and shaft.
• Stupa at the end.
• Extensive use of motifs, decorative
and symbolic.
Chaitya Arch
• Chaityas normally had a great-horseshoe archway with a wall or screen below.
• There was sun window in center of the archway for light.
Evolution of Chaitya Hall
VIHARAS
• A monastery, arrangement of cells for accomodation of monks
• Dwellings were simply wooden construction/thatched bamboo huts
• Near settlements on trade routes
• After first century AD, Viharas came in as educational institutes
• Quadrangular court for gathering
• Surrounded by small cells
• Front wall incorporated a shrine for
image of Buddha
• Cells had rock cut platforms for beds
• Viharas were not alike in design
• Doorways were on sides of the walls
of main hall
Construction and Materials
• Rock-cut architecture basically used wooden
construction down to joinery details
• Hardly structural
• In brick, corbelled arches are used, and very large
bricks to for large span
• motifs used floral patterns, animals(used
throughout the kingdom)
Vihaaras (MONASTRIES)
•They were the residential places of the Buddhist priest(monks).
•The main hall was entered through a doorway, leading to an assembly hall, dining chambers
and meditation cells.
•The walls depict figures of the Buddha.
•The columns were of 60 meters height and well-chiselled.
Typical Plan of a Vihaara

WHY WESTERN GHATS
•Uniformity of texture in hills.
•Horizontally stratified.
•Ends in perpendicular cliffs.
BUILDING STRATEGY
•Cliff was made perpendicular
•Entry was made
•A small excavated for architect
monk
•Excavation from top to bottom
•Subsequently other cells were
build
Ajanta Cave No. 10
•100ft by 40ft by 33ft
•Same roof ribs
•Two tiered stupa with circular
base and elongated dome
Bhaja(150 b.c)
•Most primitive hall.
•55ft by 26ft, side aisles 3.5ft wide and
high stilted vault 29ft high with closed
rank wood ribs.
•Facades have numerous mortice holes
for fixing elaborate wooden frontages
•Simple stupa with cylindrical base and
a wooden harmikaa and chhatri.
•One central doorway+2 side ones.
•Projection balcony supported on four
pillars.
•H shaped framework held by
projection beams.
Ajanta No.9
•Entire hall rock carved.
•Rectangular plan, ceilings of side

aisles flat with perpendicular pillars.
•Doorway in centre and a window on

either side, topped by elegant cornice.
•Lattice windows around archways.
•No wooden ribs bracing the vaults.

Mahayana Phase-
400 A.D -600 A.D
•Main seats of this school were Ajanta, Ellora, Auarngabad.
•There was a change in iconography since both schools perceived different imagery of
Buddha.
•Elements of Chaitya Halls remained same.
•Viharas became finer and more elaborate.

Ajanta Cave No. 26
•68ft by 36f by 31 ft.
•Last Ajanta Hall.
•More ornamented, right from pillars,

elaborate triforium, and recessed
panels.
•Portico had 3 doorways with Chaitya

window above.
•Decline of style by excessive

workmanship.
Caves at Ellora
Ellora Caves
•Caves excavated out of low ridge hills,
Buddhists occupied best site.
•Dhedwada group(caves 1 to 5) and 6

to 12 were two main groups
•Mahanwada cave(no.5) had both

monastery and hall, it had two parallel
platforms for seating of priests
•Later group had chaitya hall no. 10
•Cave no. 2 has 48 pillars colonnade

attached with side gallery.
•Cushion pillar comes in focus now

Cave 6 to 12
•Largest monasteries.
•No. 12 is knows as tin thaal(thre stories),

can lodge 40 priests (108ft by 60 ft).
•Does not have any ornamentation.
•Access is through pillared verandah.
•All three floors are different.

Inspiration and influence
•Inspired from Vedic wooden construction techniques, prevalent to Buddhism coming
in vogue.
•Inspired Indian temples, for eg. Early Brahmanical temples in South India (for eg.
Chaitya window motif), temples at Sanchi.
•Even Jain caves got influenced from Buddhism, fro eg. Udaigiri.
•Spread to North East

Temples
Since the same guild of artists worked for all the religions, there is hardly any
difference in the treatment of the Buddhist, Brahmanical and Jain temples in a
particular region at a given period.
The oldest existing temple is temple at
Sanchi, which is also the earliest known
example of Gupta temple style. The only
décor was at the entrance present with
bands of scrolls and pillars. This temple lays
the logical foundation of temple
architecture in North India, which
developed in due course a shikhara over its
basic form.
The Mahabodhi Temple is a Buddhist temple in Bodh Gaya, marking the location
where the Buddha, is said to have attained enlightenment. Bodh Gaya is located
about 96km from Patna, Bihar.
Next to the temple, on its western side, is the holy Bodhi tree and the monastery
there the Bodhimanda Vihara. The tallest tower is 55 metres (180 ft) tall.
Mahabodhi Temple
Holy Bodhi tree

Prof . Abhijeet B Shinde
Pravara Rural College of Architecture,
Loni
Jain Architecture
Introduction
• The founder of Jainism is Vardamana
or Mahavira (Great Hero). But it is said
that he is the last Tirthankara or
Jina.(Victor) and the first one is
Adinatha.
• All of Jain temples are dedicated to
one of the 24 Tirthankaras.
• In Jain style of architecture, bricks
were hardly used, and the system of
carving out temples from rock faces
was adopted.
• Jain architecture has influence of
Hindu and Buddhist styles.
1 Prof. Abhijeet B. Shinde, PRCA, Loni

Jain Architecture
Introduction
• In the initial years, many Jain temples were made adjoining the Buddhist
temples following the Buddhist rock-cut style.
• However, in later years Jains started building temple-cities on hills based
on the concept of 'mountains of immortality.

Jain Architecture
Introduction
• In later years when Jains discovered the concept of mountains of
immortality , they proceeded to deviate from Hindu and Buddhist sites
and build on their own.
• An important aspect to be noted is that Hindus and Buddhists built
temples, Jains built temple-cities on hills.
• to put it in their own words, they "ornamented these holy hills with a
crown of eternal Arhat chaityas (tabernacles of saints) shining with the
splendor of jewels.“

Jain Architecture
Adinatha Temple , Ranakpur
• The Adinatha Temple of
Ranakpur is also named
Dharma Vihara temple after
its builder.
• The temple is very large. It
stands on a basement of 60m
x 62m which is like a
stronghold.
• On the top of a flight of stairs
at the central entrance, there
is a three-storied "Balanaka"
(entrance hall), which has a
dome roof.
three storied Balanaka
(entrance hall) of the west
facade
Jain Architecture
• A large number of columns are
carved elaborately, and it is said
that no two pillars are alike in
design.
• At a space that penetrates through

two to three stories, various
heights of domes are placed, and
their ceilings have sculptures that
are unbelievably intricate.

Jain Architecture
• Light is abundantly coming inside
through gaps between ceilings
and from courtyards, highlighting
the intertwined spaces and fine
carvings all around.
• The splendor of the space is so
pure as the entire temple from
the floors to the ceilings is made
of white marble. It also might be
described as the realization of the
Pure Land.

Jain Architecture
Mula-prasada
Garbagriha
A. Rang Mandapa
B. Meghnad Mandapa
Bhadra prasada
Mahadara-prasada
Dev kulika
Bhamati (Cloister)
Adinatha Temple , PLAN 1. ADINATHA TEMPLE, RANAKPUR, 15th century. from
"The Penguin Guide to the Monuments of India" vol. 1, Buddhist,
Ranakpur Jain, Hindu, by George Michell, 1989.
Jain Architecture
• Central Main Shrine is called "Mula-prasada,"
• its interior is "Garbagriha" (sanctum), its main statue is "Mulanayaka."
• In the type of Chaturumukha (four-faced) shrine unlike the case of Mt. Abu,
there are not "Gudha-mandapa" (closed hall) and "Trikamandapa“
(vestibule),But four "Ranga-mandapas"(A, assembly hall) in front of four
portals of the main shrine.
• Each Ranga-mandapa connects with three storyed "Meghanada-mandapa" (
B, high hall) in front. Having four "Mahadara-prasada" (two-faced-shrine)
diagonally in four directions of the main shrine, the temple type is
"Panchayatana" (five-shrined-type).
• In addition to this, there are two "Bhadra-prasada" east and west sides,
making the total composition much more intricate.
• A line of "Deva-kulika" (small shrine) along "Bhamati" (cloister) surround the
whole complex. All these shrines hold a statue of Tirthankara or Jina (four in
Chaturmukha, two in Mahadara-prasada), there are more than 100 statues
in total.
Jain Architecture
Samvarana Roof on the western mandapa
four faced Shikhara beyond a courtyard

Jain Architecture
Pillars of western Meghanada-mandapa adinath temple

Jain Architecture
Meghanada-mandapa

Jain Architecture
Meghanada - mandapa
Jain Architecture
Depaka, the architect of the
Adinatha Temple,
western Ranga-
mandapa adinath
Tirthankara’s Facing four directions

Jain Architecture
pillar and a dome of a Meghanada-mandapa Intricate carving at Dome Ceiling

Jain Architecture
DILWARA TEMPLE COMPLEX
• The Dilwara temples of India are located about 2½km from Mount Abu,
Rajasthan's only hill station.
• These Jain temples were built by Vastupal Tejpal, a Jain laymen between
the 11th and 13th centuries AD and are world famous for their stunning
use of marble.
• The five legendary marble temples of Dilwara are a sacred pilgrimage
place of the Jains.
• Although each temple has symmetrical plan, there is no axis that runs
through this group of temples as a whole.
• The mandapas of the mini-shrines were joined to form a cloister.
• Into the residual space between the quadrangle and the temple, the
architects inserted a pavilion held up by highly ornate columns of lavish
sculptural detail.
• The temples, of local white arasa marble, are carved as if made of wood.

Jain Architecture
DILWARA TEMPLE COMPLEX
• Some consider them to be one of the most beautiful Jain pilgrimage sites
in the world.
• The marble temples have an opulent entranceway, the simplicity in
architecture reflecting Jain values like honesty and frugality.
• The temples are in the midst of a ran
ge of forested hills. A high wall
shrouds the temple complex.
• Although the Jains built some beautif
ul temples at other places in
Rajasthan, some believe that none
come close to these in terms of
architectural perfection.
• The ornamental detail spreading
over the minutely carved ceilings,
doorways, pillars and panels is simply
marvelous.
Jain Architecture

Jain Architecture
Five Unique Temples of Dilwara
• There are five temples in all, each with its own unique identity.
1. Vimal Vasahi, dedicated to the first Jain Tirthankara, Rishabha.
2. Luna Vasahi, dedicated to the 22nd Jain Tirthankara, Neminatha.
3. Pithalhar, dedicated to the first Jain Tirthankar, Rishabha.
4. Parshvanath, dedicated to the 23rd Jain Tirthankara, Parshvanatha.
5. Mahavir Swami, dedicated to the last Jain Tirthankara, Mahavira.
• The most famous are the Vimal Vasahi and Luna Vasahi temples.
• Each is named after the small village in which it is located.
• Each temple sits high off the ground on its own terrace and is accessed
on its flank by steps spilling out from a multi tiered porch.
• The plans are modeled on Hindu precedents, with a main garbha-griha
preceded by a mandapa.
• The central deity of the site is Adinath, one of the Tirthankars; shrines to
all the Tirthankars were added to each temple later on.
• As a result, the individual temples came to be surrounded by a
quadrangle composed of rows of mini-shrines.
Jain Architecture
1. Vimal Vasahi Temple
• This temple carved entirely out of
white marble was built in 1031 A.D. by
Vimal Shah, a minister of Bhimdev I,
the Chalukya King (Solanki Maharaja)
of Gujarat.
The Exterior of the Vimala Vasahi Temple is not so attractive. Ceiling detail at one of the bhamati (Cloister)
Jain Architecture
• The temple stands in a open courtyard

surrounded by a corridor, which has numerous
cells containing smaller idols of the tirthankaras.
• The richly carved corridors, pillars, arches, and
'mandaps‘ or porticoes of the temple are simply
amazing.
Jain Architecture
• The ceilings feature engraved designs of lotus buds, petals, flowers and
scenes from Jain mythology.

Jain Architecture
• The Rang mandap is a
grand hall supported by 12
decorated pillars and nicely
carved out arches with a
breathtaking central dome.
The Mandapa of the Vimala Vasahi (Adinatha Temple), since

1032, Mt. Abu.
• On the pillars are carved female figurines

playing musical instruments and 16
Vidhyadevis, or the goddesses of knowle
dge, each one holding her own symbol.

Jain Architecture
• The Nav chowki is a
collection of nine
rectangular ceilings, each
one containing beautiful
carvings of different
designs supported on
ornate pillars.
• The Gudh mandap is a
simple hall once you step
inside its heavily
decorated doorway.
• Installed here is the idol of Adi Nath or Lord Rishabdev, as he is also known.
• The mandap is meant for Aarti to the deity.
• The Hastishala (Elephant Cell) was constructed by Prithvipal, a descendant of
Vimal Shah in 1147-49 and features a row of elephants in sculpture.
Jain Architecture
2. Luna Vasahi Temple
• The Luna Vasahi temple is dedicated to
Lord Neminath.
• This magnificent temple was built in 1230
by two Porwad brothers -
Vastupal and Tejpal both ministers of a
Virdhaval, the Vaghela ruler of Gujarat.
• The temple built in memory of their late b
rother Luna was designed after the
Vimal Vasahi temple.

Jain Architecture
2. Luna Vasahi
• The main hall or Rang mandap features a central dome from which hangs
a big ornamental pendent featuring elaborate carving.
• Arranged in a circular band are 72 figures of Tirthankars in sitting posture
and just below this band are 360 small figures of Jain monks in another
circular band.
• The Hathishala or
elephant cell
features 10
beautiful marble
elephants neatly
polished and
realistically
modelled

Jain Architecture
2. Luna Vasahi
• The Navchowki features some of the mo
st magnificent and delicate marble stone
cutting work of the temple.
• Each of the nine ceilings here seems to e
xceed the others in beauty and grace. Th
e Gudh mandap features a black marble
idol of the 22nd tirthankar Neminatha.
• The Kirthi Stambha is a big black stone
pillar that stands on the left side of the
temple.
• The pillar was constructed by Maharana
Kumbha of Mewar.
• The remaining three temples of Dilwara
are smaller but just as elegant as the
other two. One of the corner sculptures of a block of
ceiling in the Luna Vasahi (Neminatha Temple).
Jain Architecture
3. Pittalhar Temple
• This temple was built by Bhamashah kavdia of Rajasthan. A massive metal sta
tue of the first tirthankara, Rishabha Dev (Adinath), cast in five metals, is
installed in the temple. The main metal used in this statue is 'Pital’ (brass),
hence the name 'Pittalhar'.
• The Shrine consists of a main Garbhagriha, Gudh mandap and Navchowki. It
seems that the construction of Rangmandap and the corridor was left
unfinished as probably builder of the temple Bhamashah, who was minister
of Maharana Pratap decided to aide Pratap in those difficult times.
• The old mutilated idol was replaced and installed in 1468-69 AD
• weighing 108 maunds (about 40 quintals or four metric tons) according to th
e inscription on it. The image was cast by an artist 'Deta‘ which is 8 ft
(2.4 m). high, 5.5 ft (1.7 m). Broad and the figure is 41 inches (1,000 mm) in
height.
• In Gudh Mandap on one side, a big marble PanchTirthi sculpture of Adinath
is installed.
Jain Architecture
4. Parshvanatha Temple
• This temple, dedicated to Lord Parshvanath, was built by Mandlik and his
family in 1458-59
• It consists of a three storied building, the tallest of all the shrines at
Dilwara. On all the four faces of the sanctum on the ground floor are four
big mandaps.
• The outer walls of the
sanctum comprise
beautiful sculptures in
gray sandstone,
depicting Dikpals,
Vidhyadevis, Yakshinis,
Shalabhanjikas and
other decorative
sculptures comparable
to the ones in
Khajuraho and Konark.
Jain Architecture
5. Mahaveer Swami Temple
• This is a small structure constructed in 1582 and dedicated to Lord
Mahavira.
• being small it is a marvelous temple with carvings on its walls.
• There are pictures on the upper wall of the porch painted in 1764
by the artists of sirohi

Jain Architecture
References :
• http://www.kamit.jp/03_jaina/1_abu/abu_eng.htm 2/
• http://www.kamit.jp/03_jaina/6_ranakpur/ran_eng.htm
• http://static.panoramio.com/photos/original/11168123.jpg
• http://harryiyer001.blogspot.in/2007/12/mount-abu.html
• http://www.wikipedia.com
• http://images.google.com
• http://www.flickr.com

Greek Architecture

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Greek Architecture

Uploaded by

Copyright:

Available Formats

Greek Architecture

•1: NE Propylon •17: Ex-voto of Achaeans

The Romans were indebted to

Later they absorbed Greek and

However, Roman functional needs sometimes differed,

The Romans were less attached to “ideal” forms and

POST & LINTEL

thick narrow thick

 Their solution was to

THE MAISON CAREE @

To the original Greek orders, the

USE OF BRICK ON OUTER

The Romans used arches to support the things they built.

K A vault having semicircular cross-section

K Windows that allow light into the

K These concrete windows

K With the dome, the

K Light enters through

Brings together the violence and

Seating designed for comfort with

Plumbing which could wash away

 The arches are

SEATS ABOUT 20,000

Theatres and arenas were built to hold

The temple to the

COLUMNS: 39 FT. TALL, 5 FT. THICK

Tuscan order of columns

The Romans brought water in

The water was brought in by

Cities themselves were plumbed,

The water flowed in a tube on the top of the

The arches supported the water channel.

The water flowed through a

The channel was lined with concrete.

The Romans invented concrete.

When Christianity became the state

A large nave is flanked by side aisles

An Apse draws attention in the direction

 The need to move

All roads lead to Rome!

 The Romans were

Foundation of Hindu Culture

3 2015 Bhuvnesh, Assistant Professor GCAD 1

3 2015 Bhuvnesh, Assistant Professor GCAD 2

As historians do not have much

These scared books are known

3 2015 Bhuvnesh, Assistant Professor GCAD 3

A collection, in multiple volumes, of hymns, rituals, and philosophies

3 2015 Bhuvnesh, Assistant Professor GCAD 4

• Primary Building Material: Earth and

• The aryan hut in its most basic shape was

• Cluster of these huts formed a courtyard.

• To protect themselves and their property

around the square courtyard.

• Era of Timber Construction

It is not surprising, therefore, that in later ages

3 2015 Bhuvnesh, Assistant Professor GCAD 6

• Palisade encircling the village

• In course of time these peculiar

• In another form it still survives

3 2015 Bhuvnesh, Assistant Professor GCAD 7

THE STAGES OF VEDIC HOUSES…

3 2015 Bhuvnesh, Assistant Professor GCAD 8