Indo Aryan Architecture

Indo Aryan
Architecture

• The North Indian style called the NAGARA STYLE is

marked by the curvilinear towers. The shrine is square at
the center, but there are projections on the outside
leading to cruciform shape. These projections occur
throughout the height of the structure.
• Depending on the number of projections on the side
they are called; triratha-1 projection, pancharatha-
5projections, saptharatha-7 projections, navaratha-9
projections.
• In this style, the structure consists of two buildings, the
main shrine which is taller ,an adjoining shorter Mandapa.
• The main difference between the two is the shape of the
Shikhara. In the main shrine, a bell shaped structure adds
to the height. As in all Hindu temples, there is the Kalasa
at the top.
 Indo Aryan
Architecture
Salient Features Of A Typical Temple
• The plan and the treatment of the structures is of a
special character. The structure has a
distinct nomenclature.
• The Temple is termed as – DEUL( the term is used to
indicate the Shikhara also)
• In front of the Deul is a Square Assembly Hall or
Mandapa – JAGAMOHAN.
• The entire plan of the temple consists of projections and
recesses in the surface on the exterior known as Pagas.
• The 2 main components of the temple are : Garba griha-
cella, Jagamohan – assembly hall.
• Expansion of the temples in the later periods led to the
addition of structures for other rituals. These were added
in front of the assembly hall presenting a series of
structures in axial arrangement
• The entrance to the temple is axially through the
Jagamohan. The 2 new structures added were:
NATMANDIR– Dancing Hall, BHOG MANDIR– Hall of
Offerings
Indo Aryan Architecture
• ELEVATION: The entire structure stood on a plinth PISTA ,
Consisting of horizontal string courses
• REKHA DEUL:The tower over the Garbhagriha which is
the tallest element in the elevation.
• The tower comprises of 4 parts:1.BADA– the vertical
cubical portion of the tower. Comprises of horizontal
string courses ,Jangha and the vertical faces – Barandi.
• The architectural treatment in this face consists of
pilasters emphasising the verticality CHHAPRA- Tall
middle portion.
• The shikhara is given a convex profile or a parabolic curve
at the top. The projecting faces or pagas emphasise
verticality which is broken down by the strongly
contrasting horizontal elements-Amla and Bhumi.
• The entire surface is given a very plastic and highly
decorative ornamentation.
• AMLA / AMLIKA – flat melon shaped fluted disc at
summit rises over the neck or Beki. KALASA –
Vase shaped finial bearing the Ayudha of the deity
• PIDA DEUL:The Mandapas were normally 1 storey high.
• The elevation of the Mandapas consisted of 3
parts:1.BADA – Cubical portion below similar to Rekha
Deul treatment with the openings in center , 2.PIDA
Corbelled Pyramidal roof above usually in tiers of 2 or 3
with the Paraghar in the middle, 3.GHANTA KALASA Bell
shapefinial
Lingaraja Temple -
Bhubaneswar
• The 11th-century Lingaraja Temple at Bhubaneshwar is an example of the
Oriya style in its fullest development. It is a Hindu temple dedicated
to Shiva and is one of the oldest temples in Bhubaneswar
• The central tower of the temple is 180 ft (55 m) tall. The temple
represents the quintessence of the Kalinga architecture and culminating
the medieval stages of the architectural tradition at Bhubaneswar
• The temple is built in the Deula style that has four components
namely, vimana (structure containing the
sanctum), jagamohana (assembly hall), natamandira (festival hall)
and bhoga-mandapa (hall of offerings), each increasing in the height to its
predecessor.
• The temple complex has 50 other shrines and is enclosed by a large
compound wall.The central deity of the temple, Lingaraja, is worshipped
both as Shiva and Vishnu.
 • The Lingaraja temple faces
east and is built
of sandstone and laterite.
The main entrance is in the
east, while there are small
entrances in the north and
south.

Lingaraja Temple -
Bhubaneswar
 Lingaraja Temple -
Bhubaneswar
• The bhogamandapa (Hall of offering) measures 42 ft (13 m)*42 ft
(13 m) from the inside, 56.25 ft (17.15 m)*56.25 ft (17.15 m) from
the outside and has four doors in each of the sides. The exterior
walls of the hall has decorative sculptures of men and beast. The
hall has a pyramidal roof made of up several horizontal layers
arranged in sets of two with intervening platform. It bears an
inverted bell and a kalasa in the top.
• The natamandira (festival hall) measures 38 ft (12 m)*38 ft (12 m)
from the inside, 50 ft (15 m)*50 ft (15 m) from the outside, has
one main entrance and two side entrances. The side walls of the
hall has decorative sculptures displaying women and couples. It
has a flat roof sloping in stages. There are thick pylons inside the
hall.
• The jagamohana (assembly hall) measures 35 ft (11 m)*30 ft
(9.1 m) from the inside, 55 ft (17 m)*50 ft (15 m) from the
outside, entrances from south and north and has a 30 metres
(98 ft) tall roof. The hall has a pyramidal roof made of up several
horizontal layers arranged in sets of two with intervening platform
as in the Hall of offering.
• The facade to the entrances are decorated with perforated
windows with lion sitting on hind legs. The inverted bell above
second unit is adorned by kalasa and lions.
• The rekha deula has a 60 m (200 ft) tall pyramidal tower over the
sanctum and measures 22 ft (6.7 m)*22 ft (6.7 m) from the inside,
52 ft (16 m)*52 ft (16 m) from the outside over the sanctum. It is
covered with decorative design and seated lion projecting from
the walls. The sanctum is square in shape from the inside. The
tower walls are sculpted with female figures in different poses.
• The temple has a vast courtyard mired with hundreds of small
shrines.
Sun Temple,Konark
Sun
• Dedicated to the Hindu Sun God Surya, what remains of the temple complex has the appearance
of a 100-foot (30 m) high chariot with immense wheels and horses, all carved from stone. Once
over 200 feet (61 m) high, much of the temple is now in ruins, in particular the
large shikara tower over the sanctuary; at one time this rose much higher than the mandapa that

Temple,Konark remains.
• The Konark temple presents this iconography on a grand scale. It has 24 elaborately carved stone
wheels which are nearly 12 feet (3.7 m) in diameter and are pulled by a set of seven horses.
When viewed from inland during the dawn and sunrise, the chariot-shaped temple appears to
emerge from the depths of the blue sea carrying the sun.
Sun Temple,Konark
• The temple plan includes all the traditional elements of a Hindu temple set on a
square plan.
• The main temple at Konark, locally called the deul, no longer exists. It was
surrounded by subsidiary shrines containing niches depicting Hindu deities,
particularly Surya in many of his aspects. The deul was built on a high terrace.The
temple was originally a complex consisting of the main sanctuary, called the rekha
deul, or bada deul (lit. big sanctum).
• In front of it was the bhadra deul (lit. small sanctum), or jagamohana (lit. assembly
hall of the people) (called a mandapa in other parts of India.). The attached platform
was called the pida deul, which consisted of a square mandapa with a pyramidal roof.
• All of these structures were square at their core, and each was overlain with
the pancharatha plan containing a variegated exterior. The central projection, called
the raha, is more pronounced than the side projections, called kanika-paga, a style
that aims for an interplay of sunlight and shade and adds to the visual appeal of the
structure throughout the day.
 Sun Temple,Konark
• Twice as wide as they were high, the walls of the jagamohana are
100 feet (30 m) tall. The surviving structure has three tiers of
six pidas each. These diminish incrementally and repeat the lower
patterns. The pidas are divided into terraces. On each of these
terraces stand statues of musician figures.
• The main temple and the jagamohana porch consist of four main
zones: the platform, the wall, the trunk, and the crowning head
called a mastaka.The first three are square while the mastaka is
circular. The main temple and the jagamohana differed in size,
decorative themes, and design. It was the main temple's trunk,
called the gandhi in medieval Hindu architecture texts, that was
ruined long ago. The sanctum of the main temple is now without a
roof and most of the original parts.
• On the east side of the main temple is the Nata mandira (lit. dance
temple). It stands on a high, intricately carved platform. The relief
on the platform is similar in style to that found on the surviving
walls of the temple. The sun temple was made from three types of
stone.
• Chlorite was used for the door lintel and frames as well as some
sculptures. Laterite was used for the core of the platform and
staircases near the foundation. Khondalite was used for other parts
of the temple. According to Mitra, the Khondalite stone weathers
faster over time, and this may have contributed to erosion and
accelerated the damage when parts of the temples were destroyed.
• None of these stones occur naturally nearby, and the architects and
artisans must have procured and moved the stones from distant
sources, probably using the rivers and water channels near the
site.The masons then created ashlar, wherein the stones were
polished and finished so as to make joints hardly visible.[
Sun Temple,Konark
• The original temple had a
main sanctum sanctorum (vimana),
which is estimated to have been 229
feet (70 m) tall. The
main vimana fell in 1837. The
main mandapa audience hall
(jagamohana), which is about 128
feet (39 m) tall, still stands and is
the principal structure in the
surviving ruins. Among the
structures that have survived to the
current day are the dance hall (Nata
mandira) and the dining hall (Bhoga
mandapa).
Describe on the panchaprakara planning

Panchaprakara Planning
in Temple Architecture
• In the Hindu temple, the prakaram is the temple
compound around the sanctum. Typically, a Hindu
temple prayer hall is generally built-in front of the
temple's sanctum sanctorum (garbhagriha).
• Usually, large Hindu temples have one or more
prakarams. The Prakaram acts as circumambulatory
passage to the devotees to come around the sanctum.
Based on the size of the temple, there can be more
than one Prakaram with the smaller one enclosed
within the larger.
• As per Hindu religious practices, devotees start to
come around the outer prakarams to the inner most
before entering the sanctum. This is indicative of the
belief that the devotees have to lose the outermost
bondage to the inner most one before attaining
divinity. The method is also indicative of reduction of
noises in the outer space to the inner most to increase
communion with god.
Panchaprakara
Planning in Temple
Architecture
• In Kerala, temples are based on plans fluctuating
from square, roundabout, apsidal and a couple in
curved and octagonal shapes. The work of round
arrangement in wealth is novel about Kerala.

• A created Kerala temple comprises of five walled

in areas (panca-prakara). They are:

• A. Antar-Mandalam/Akatte Balivrttam

• B. Anta hara/Cuirambalam/Nalambalam

• C. Madhya hara

• D. Bahya hara

• E. Maryada
Panchaprakara Planning in Temple
Architecture
• Antar-mandalam : This is the deepest prakara of the temple. The constituent parts of antar-mandalam are srlkovil,
namaskara-mandapa.
• Srlkovil: Srlkovil is the core of the temple, proportional to 'Vimana' of Dravida phrasing. It remains in the focal point of
inward yard. This yard is constantly four sided. Srlkovil comprises in itself the garbhagrha in the inside, an entry around the
garbhagrha for the circumambulation (pradaksina patha) and delegate load (antarala) interfacing the walking way with the
anticipating mukha-mandapa in the front. The pradaksina patha, antarala and mukha-mandapa are discretionary parts and
fabricated relying on the decision of the developer. From the early stage itself, temples with internal pradaksina patha
(Sandhara) and without inward pradaksina patha (Nirandhara) are worked in Kerala.
• Around the srlkovil is the course of action of balipithas on the arranges and cardinal focuses framing a square.
• Namaskara-mandapa: Namaskara-mandapa is additionally called as archana-mandapa. This is a withdrawn pillared lobby
assembled pivotally before the srlkovil. When in doubt namaskara-mandapa is based on square architecture
Panchaprakara Planning in Temple
Architecture
• Antahara : The encasing structure on the four sides of the inward yard frames the second prakara of the temple called
Anta hara. In the local dialect it is called as Nalambalam. On a very basic level, the anta hara, is a corridor. It additionally
comprises of numerous utilitarian chambers like titappalli (kitchen for place of worship), mulayara (chamber for custom
germination of heartbeats and grains), store room and, now and again, sub temples moreover. As the patio is four sided,
the Anta hara is constantly four sided corridor.
• Valiyambalam: The Antahara has more extensive measurement on the front i.e. on the two sides of primary passageway.
It comprises of walkways at ground level flanked by raised floor regions with corridors. Some of the time, the wooden roof
over the walkway rehashes the cut sections, friezes and boards of the namaskara-mandapa. Its expansive space is utilized
for leading homas and other conciliatory and custom exhibitions.
• Madhya hara : It is the third fenced in area constructed nearly around the external wall of anta hara, separated by a thin
space in the middle. The mass of madhya hara is connected with structure of shafts appended with lights on it. These
lights are shielded by tiled rooftops running persistently from one corner of the complex to the next. They are punctuated
by peaks at the corners and pivotal passages.
Panchaprakara Planning in Temple
Architecture
• Bahya Hara : The patio around the Madhya hara with different structures constitute bahya hara. It contains agra-mandapa, valiya
balikal, external balikal, Ksetra pala, dhvajastambha, , chuttambalam and holy places of auxiliary gods.
• 1. Agra-mandapa: This is a patio joined to principle access to the valiyambalam. It is likewise called as balikalpura. This little porch
is constantly quadrangular on architecture. Generally the rule balipltha (valiya balikal) is introduced inside this patio.
• 2. Valiya balikal: Valiya balikkal is pivotally set before the fundamental divinity on the bahya hara, either inside the agra-mandapa
or outside. This balipltha has different segments like scaled down adhisthana, divider, the parapet and the lotus theme on the
best. The pltha is a smaller than normal and emblematic portrayal of the real vimana (snkovil) inside.
• 3. Outer balip Tthas: On the bahya hara little baliplthas are introduced at cardinal focuses speaking to the gana devatas of the rule
divinities of the temple. This baliplthas are masterminded in such an approach to shape a visitor and the external wandering way is
past this guest. The balipltha speaking to ksetrapala is situated outside the wandering way on the north-east corner. Ksetrapala is
the gatekeeper of temple.
• 4. Dhvajastambha (hail post): This is pivotally raised to the passageway of the temple. Amid celebrations, signal is raised on this
post as a custom. This post is accepted to have incredible representative criticalness and love of dhvaja is itself viewed as
equivalent to the love of primary symbol. The mount of the managing divinity (Vahana) is put on the highest point of this post.
Generally wood is the material utilized for its making. An external covering with copper is made for insurance of the wood.
• 5. Chuttambalam: It is the auditorium for performing expressions. Chuttambalam is constantly based on the bahya hara, outside
the mobile way on the correct corner. It has three primary parts - aniyara (green room), rangam (arrange) and mridanga pada,
where drums are kept.
Panchaprakara Planning in Temple
Architecture
• Maryada : Maryada shapes the fifth and the external most prakara of Kerala temples. It comprises of the compound
divider with gopura and Uttupura.
• 1. Gopura: Gopura was likewise called as Mahadvara. It is the door constructed meeting compound divider. The most
forcing Gopura is based on the confronting heading of rule divinity and on different sides these are little and basic.
• 2. Uttupura: Uttupura is eating corridor, generally worked as a component of the maryada. This is constantly connected
with kitchen called agra sala. Once in the past it was utilized for bolstering Brahmins just and later on aficionados of all
classes are nourished here on celebration event. Temple tank is likewise manufactured connected outside the compound
divider.
Khandariya Mahadev
• Kandariya Mahadev Temple is the largest, tallest and the most ornate
temple of the surviving temples at Khajuraho. This temple is dedicated to
Lord Shiva. This stunning temple is around 31m tall, and is one of the
western group of temples, apart from Matangeswara and Vishwanatha
temples.
Khandariya Mahadev
Constructed on a plinth of 4m height, this tall structure is built in the shape of a mountain,
which is symbolic of Mount Meru which is believed to be the mythical source of creation
of the world.

The temple faces the East and is built on a raised platform that can be reached by steps.
The temple has many interconnected chambers which can be visited in sequence.
Ardhamandapa, the rectangular entrance hall leads to a central pillared hall called
mandapa. The mandapa leads to a dark area called garbhagraha.

The main tower and spire are above garbhagraha. Inside garbhagraha you can find the
marble linga denoting Lord Shiva. Around 900 sculptures are carved into this sandstone
temple built on granite foundation.
 Khandariya Mahadev
• The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western
complex, which is the largest among the three groups of the Khajuraho complex of
temples.This western group of temples, consisting of the Kandariya,
Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a
hexagon representing the three forms of Shiva.The temple architecture is an
assemblage of porches and towers which terminates in a shikhara or spire, a feature
which was common from the 10th century onwards in the temples of Central India.
• The temple is founded on a massive plinth of 4 metres (13 ft) height. The temple
structure above the plinth is dexterously planned and pleasingly detailed.The
superstructure is built in a steep mountain shape or form, symbolic of Mount
Meru which is said to be the mythical source of creation of the world.
• The superstructure has richly decorated roofs which rise in a grand form
terminating in the shikara, which has 84 miniature spires.The temple is in layout of
6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā
Mahādeva Temple. This temple is characteristically built over a plan of 31 metres
(102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a
height of 31 metres (102 ft) and is called the "largest and grandest temple of
Khajuraho".
 • A series of steep steps with high rise lead

Khandariya Mahadev from the ground level to the entrance to the

temple.The layout of the temple is a five-
part design, a commonality with the
Lakshmana and Vishvanatha temples in the
Khajuraho complex. Right at the entrance
there is torana, a very intricately carved
garland which is sculpted from a single
stone; such entrances are part of a Hindu
wedding procession.
• The carvings on the entrance gate shows the
"tactile quality of the stone and also the
character of the symmetrical design" that is
on view in the entire temple which has high
relief carvings of the figurines. Finely
chiselled, the decorative quality of the
ornamentation with the sharp inscribed
lines has "strong angular forms and brilliant
dark-light patterns". The carvings are of
circles, undulations giving off spirals or
sprays, geometric patterns, masks of lions
and other uniform designs which has
created a pleasant picture that is unique to
this temple, among all others in the
complex.
Khandariya Mahadev

• In the interior space from the entrance there are three mandapas or halls, which successively rise in
height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where the
Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by
interlinked passages which also have side and front balconies.

• Due to inadequate natural light in the balconies the sanctum has very little light thus creating a
"cave like atmosphere" which is in total contrast to the external parts of the temple. In the interior
halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and
goddesses, musicians and apsaras or nymphs.

• The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners
of the halls there are insets which are carved on the surface with incised patterns. There is a main
tower above the sanctum and there are two other towers above the other mantapas also in the
shape of "semi-rounded, stepped, pyramidal form with progressively greater height".

• The main tower is encircled by a series of interlinked towers and spires of smaller size. These are in
the form of a repeated subset of miniature spires that abut a central core which gives the temple an
unevenly cut contour similar to the shape of a mountain range of mount Kailasa of
the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.

• The exterior surfaces of the temples are entirely covered with sculptures in three vertical
layers. Here, there are horizontal ribbons carved with images, which shine bright in the sun light,
providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the
god of fire is prominent.
 • Khajuraho Group of Monuments

Khajuraho Temple Complex • The temples at Khajuraho were built during the
Chandella dynasty, which reached its apogee
between 950 and 1050. Only about 20 temples
remain; they fall into three distinct groups and
belong to two different religions – Hinduism and
Jainism. They strike a perfect balance between
architecture and sculpture. The Temple of Kandariya
is decorated with a profusion of sculptures that are
among the greatest masterpieces of Indian art.
• Distributed over an area of 6 square km in a
picturesque landscape, the 23 temples (including
one partly excavated structure) that form the
western, eastern, and southern clusters of the
Khajuraho Group of Monuments are rare surviving
examples that display the originality and high quality
of Nagara-style temple architecture.
• The Khajuraho Group of Monuments demonstrates
in layout and physical form, the pinnacle of temple
architectural development in northern India. Built in
sandstone, each temple is elevated from its environs
by a highly ornate terraced platform, or jagati, on
which stands the body, or jangha, whose sanctum is
topped by a tower, or shikhara, of a type unique to
Nagara, where the verticality of the principal spire
atop the sanctum is accentuated by a series of
miniature spires flanking it, each symbolizing Mount
Kailasa, the abode of the Gods.
Khajuraho Temple Complex
• The plan of the temples shows the spatial hierarchy
of axially aligned interconnected spaces. The temples
are entered through an ornate entrance porch
(ardhamandapa), which leads to the main hall
(mandapa), through which one accesses the
vestibule (antarala) before reaching the sanctum
(garbhagriha).
• The main halls of the temples were often
accompanied by lateral transepts with projecting
windows as well as a circumambulatory path around
the sanctum. Larger temples had an additional pair
of transepts and were accompanied by subsidiary
shrines on the four corners of its jagati.

• The temples of Khajuraho are known for the

harmonious integration of sculptures with their
architecture. All surfaces are profusely carved with
anthropomorphic and non-anthropomorphic motifs
depicting sacred and secular themes.
• Sculptures depicting acts of worship, clan and minor
deities, and couples in union, all reflect the sacred
belief system. Other themes mirror social life
through depictions of domestic scenes, teachers and
disciples, dancers and musicians, and amorous
couples. The composition and finesse achieved by
the master craftsmen give the stone surfaces of the
Khajuraho temples a rare vibrancy and sensitivity to
the warmth of human emotions.
 Khajuraho Temple
•
Complex
Khajuraho temples, almost all Hindu temple designs, follow a grid geometrical design called vastu-
purusha-mandala. This design plan has three important components – Mandala means
circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling
structure.
• The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating
structure around the core of the temple called garbhagriya, where the abstract principle Purusha
and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the
garbhagriya. This symmetry and structure in design is derived from central beliefs, myths,
cardinality and mathematical principles.
• The circle of mandala circumscribe the square. The square is considered divine for its perfection
and as a symbolic product of knowledge and human thought, while circle is considered earthly,
human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports
the other. The square is divided into perfect 64 sub-squares called padas.
• Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with
pitha mandala the square grid incorporated in the design of the spires.The primary deity or lingas
are located in the grid's Brahma padas.
• The architecture is symbolic and reflects the central Hindu beliefs through its form, structure, and
arrangement of its parts. The mandapas, as well as the arts, are arranged in the Khajuraho
temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in
its own way. The relative placement of the images are not random but together they express
ideas, just like connected words form sentences and paragraphs to compose ideas.This fractal
pattern that is common in Hindu temples.[Various statues and panels have inscriptions. Many of
the inscriptions on the temple walls are poems with double meanings, something that the
complex structure of Sanskrit allows in creative compositions.
Khajuraho
Temple Complex
• All Khajuraho temples, except one, face sunrise, and the entrance for the devotee
is this east side.

• Above the vastu-purusha-mandala of each temple is a superstructure with a dome

called Shikhara (or Vimana, Spire). Variations in spire design come from variation
in degrees turned for the squares. The temple Shikhara, in some literature, is
linked to mount Kailash or Meru, the mythical abode of the gods.

• In each temple, the central space typically is surrounded by an ambulatory for the
pilgrim to walk around and ritually circumambulate the Purusa and the main
deity.The pillars, walls, and ceilings around the space, as well as outside have
highly ornate carvings or images of the four just and necessary pursuits of life –
kama, artha, dharma, and moksa. This clockwise walk around is
called pradakshina.

• Larger Khajuraho temples also have pillared halls called mandapa. One near the
entrance, on the east side, serves as the waiting room for pilgrims and devotees.
The mandapas are also arranged by principles of symmetry, grids, and
mathematical precision. This use of same underlying architectural principle is
common in Hindu temples found all over India. Each Khajuraho temple is distinctly
carved yet also repeating the central common principles in almost all Hindu
temples, one which Susan Lewandowski refers to as "an organism of repeating
cells".