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Architecture Temple's in India

Architecture Temple's in India

As man began to fear and respect the forces of nature, he started worshipping them. Man personified these forces andthus the concept of God took form in his mind. The Gods in their human form came to be housed as idols in structurescalled the temples.

Temples in India have a few thousand years of history behind them.With time the temple architecture has evolved with


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time and with every passing age they underwent gradual changes in their structure & form . They went about differing insize, style and in their construction material, depending upon their geographical location and the resources available.

In the early part of the Vedic era there is no clear mention of temples. All worship and rituals were carried out before theholy fire called the 'yagna'.

However, in the later period of the Vedas, along with the ceremonial fire, idol worship also began to be practised. Theseidols were housed in very elementary dwellings .(The very first temples may have been simple earth mounds, latersubstituted by brickwork with grass roofs). With time, the inhabitants of the subcontinent learned the use of differenttools and the science art of constructing temples started to become more and more complex.

Towards the later stages of the Iron Age, people learned to chisel out temples from carving the stone existing right within the mountains and these took the form of cave temples. Later on, technology and science brought in more

sophistication and temples were made using to more detailed designs (and based on certain empirical formulae).

The materials used in construction quite naturally differed according to the location and resources available.

Temples in the Indian subcontinent were traditionally Hindu, Jain or Buddhist. (with In the medieval , post-medievalperiods there were additions by religions such as the Sikhism (notably at the Golden Temple at Amritsar), theZorastranism Parsi (the Sun Temples), and the Bahai (the Lotus Temple at Delhi) etc, and others.

Classifcation of Hindu temples: takes place mainly on the basis of their shikhara (superstructure) shape and their plan.The basic classification was as under:


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Nagara These temples evolved mainly in northern India and were distinguishable from their conical / bee hive shape.The ‘nagara’ later developed several substyles like latina (single main curvilinear spire crowned with a ribbed ring calledthe amalasaraka. If the shikhara is rectilinear it is called phamasana ),sekhari (smaller spires surrounding the mainspire),bhumija (central projection tapering to the top on all four faces decorated with rows of miniature spires) etc.


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Dravida These temples evolved in the south and the superstructures were mainly pavilions arranged in layers (tiers)creating a pyramidal shape. The shikharas were ornate with several elements / niches.

These temples were earmarked usually by high gateways called Gopurams .


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Note:It is still unclear that Nagara style was developed in N.India and Dravida in S.India as Nagara style can also be seenin the south like Pattadakal in Karnataka and Dravida can be seen right upto Madhya Pradesh.


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Vesara These temples were a cross between Nagara and Dravida and came to be seen in the Deccan region, mainly Andhra Pradesh and Karnataka.

Features of a typical Hindu temple:

Shikhara/Vimana : It s the superstructure above the sanctum. In Dravida architecture it can be ek tala,dwi tala,tri tala


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(one tier,two tier,t ree tier).

Kalasa/stupi is the pointed finial at the pinnacle of the superstructure. It is believed to act as a antenna communicating between the mortal and the spiritual worlds.

Amalasaraka is a grooved capstone base for the finial resting on the griva (neck) of the shikhara.

Sringa are the spires. They are further classified as the mulasringa / ghumat (main spire, sometimes bulbous in shape)and the urahsringa or secondary spires around the main spire.

Kapotas are the cornice , a part of the entablature( prastara/varandika ).

Hara was the parapet around the shikhara. The Harantara being its primary elements.

Sala (rectangular) , Kuta (square) ,Panjara were the miniature shrines(aedicules) on the shikhara (mainly in southIndian shikharas). Nasi in a Dravida shikhara is a spade/leaf shaped decorative frame with a deity engraved on it.Vimana is the upper temple.


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Gavaksha are the opaque windows with a shoe arch /spade shaped roof on shikhara and gabhara symbolizing the eyes of the lord that see the outside world. They are the Nagara counterparts of the Nasis in the Dravida style.Dhwaja was the sacred flag a part of the temple iconography.

Garbhagriha/gabhara is the sanctum sanctorum analogous to the embryo inside the womb , whereby the garbhagrihaacts as the womb and where the central idols (the embryo) are located. In Shaivite temples the gabhara is the house of

the Lingum or the phallic representation of Lord Shiva (some consider it an representation of an atom).


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Ganesh patti Lord Ganesha holds the place in hindu scriptures as the first God to be worshipped and hence hisengraving is generally present on the frame of the doorway of the sanctum.The Ganesha also represents auspiciousnesand general well being and the devotee pays his respect to this god before stepping inside the sanctum.

Gomukhi pranala cowhead shaped(gargoyle)-spout is a vent given on the external wall of the temple to drain out waterand other liquids offered at the sanctum of the temple.It is generally like the face of a cow, hence the name Gomukhi.


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Antarala is the vestibule of the temple separating the garbhagriha from the sabhamandapa. In Shaivite temples, oneinadvertently finds a Nandi idol (As per Hindu mythology, Nandi was a holy bull and the carrier/vehicle of lord Shiva)..

Sabhamandpa / Mahamandapa is the square/rectangular assembly hall. It generally has carved floral ceiling,supported by carved pillars , pilasters, intricately sculpted with display of idols, carvings (of Deva/gods,Devi/goddeses,Sapta/Ashta matrikas (the main Gods in the feminine form of mother Godesses) S urasundaris-

Apasaras /celestial dancers, Gandharva-Yaksha /demi gods etc), motifs (floral etc), etc. This is the place where the devotee remains seated in a meditative pose, experiencing the tranquility and his oneness with God ( after offering his obesience in the sanctum). The sabhamandap is also used to hold meetings, for cultural

events etc.


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The pillars in the sabhamandapa are also layered. They are either square faced or bell type. The central portion of the

pillars i.e the malasthana has carved images of either deities, animals ,dancers on the keertimukh etc.Ardha mandapa is the portico after the sabhamandapa and holds the entrance to the temple.

Nandimandapa Some Shaivite temples have a separate housing for the idol of Nandi , outside the sabhamandapa and is

called the Nandimandapa.


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an ovara ang a a a are t e wa s o t e temp e o n ng t e enta ature w t t e soc e an t e p nt . e nnerand the outer wall have devkoshta or aedicules/niched windows where idols of deities are placed.

Vedibandha is the socle that holds the temple walls.Its base is called the Adisthana. The vedibandha is often divided inlayers like Gajpatt / Gajathara (panel with elephant carvings), Narpatt / Narathara (panel with human carvings) etc.

Pitha / Adisthana It is a plinth that forms the foundation base for the temple structure. Generally it is composed of layers with different figurines of celestial dancers, elephants etc carved on each layer.It is the lower part of the socle.

Pradakshinapatha is the circumambulatory pathway around the gabhara, which is a part of a hindu ritual whereby thedevotee before and after praying at the sanctum, goes around it with folded hands, praying to the Gods from alldirections.

Deepasthambha/deepamala is a stone lamp pillar that gets illuminated mainly during festivities. It was a latter

addition in the temple elements.


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Gopuram is found in Dravida architecture and is a ornate tower with vertically arranged rows of niches that acts as a gateway leading one inside the temple courtyard.

Shilalekhs are inscriptions carved in stone mentioning the patron of the temple, date of construction and relatedinformation.


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Jaali is a latticed window on the temple wall.

Dwarpala are engraved idols of the celestial guards generally found flanking the main doors. The temple walls/pillarsalso display carvings /sculptures of other Gods ,Godesses and other celestial beings. Often sculptures depicting storiesfrom Hindu mythology and epics Mahabharata and Ramayana are found engraved on the walls, pillars,lintels and freizes.

The Water Wells ( vihir/hauda ), water reservoirs ( jalakunda ) are also essentials of a temple where a devotee cleanses

himself before the rituals or uses its water during the pooja / rituals.


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Makar torana is the design on the doorstep of the temple.

There is also a presence of a Tulsivrindavan or a mud /stone enclosure for the sacred basil plant ( tulsi ).

The carvings/iconography in hindu temples is particularly interesting. e.g Shiva temples are conspicuous of the

presence of Sharabha (half beast, half bird, said to be an incarnation of Shiva) carvings


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or the Gandabherunda (a two headed bird, said to be an incarnation of Vishnu), the Vyaal (tiger), Gaja (elephant), thetortoise (Vishnu in his ' kurma ' tortoise incarnation or its significance may be that just as a tortoise withdraws its headand limbs inwards, similarly a devotee withdraws his senses from the material world and concentrates on the Lord )onthe sabhamandap floor,

Veergals (hero stones in the memory of the dead local warriors mostly found in the Deccan temples) in the courtyard etc.Some peculiar temple styles in India:


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Chalukyan The Chalukya dynasty came to rule about parts of Karnataka from their capital at Badami sometime in the5th century. Their reign continued for a three to four hundred years and witnessed a flourish in temple architecture.

Their rock cut cave temples and exquisite sculptures at Badami are as much a spectacular delight as their intricately carved temples at Aihole and Pattadakal. These styles later influenced the temple forms of the Vijayanagara kings, theHoysalas, the Kadambas etc. The Chalukyan dynasty rose again in the 11th century in northern Karnataka and southernMaharashtra and replicated the excellent artwork of their predecessors in places likeDharwad,Gadag,Haveri,Dambal,Itagi,Lakkundi,Kolhapur etc. Their distinguishable characteristics were primarily their

stellate and stepped plans.Some of the Chalukyan temples are today UNESCO World Heritage Sites.


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Hoysala This dynasty came about in the 11th century and ruled in the regions in and around Mysore in Karnataka. They left behind their imprints in the form of their vast temple trove viz. at Belur,Halebidu,Somnathpura, Amrutpura etc.Theintricacy of their craftsmenhip was truly astounding and is a visual treat for generations to come.

Vijayanagara These kings of this region created a vast empire at Hampi,Karnataka in the 15th century. Their goldenreign translated into the most beautiful temple architecture at the internationally renowned Hampi and other regions of Karnataka like Bhatkal,Ankola,Kolar,Koppal etc.

Kadamba This dynasty ruled northern Karnataka and Goa in the 4th century. They patronized a very rich culture of

temples and their most prominent feature was their stepped pyramidal shikhara which became well known as theKadamba shikhara. Their temples can be seen at Banvasi, Degaon-Kittur, Tambdi Surla-Goa etc.


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Pallava This dynasty ruled at Kanchi in Tamil Nadu, in the southern peninsula of India. Their temples at Mahabalipuram(Shore temple) , Kanchipuram are a tourist delight.

Chola This was a old dynasty and probably the longest surviving that ruled the Tamil landsright upto the 13th century.Their temples exist in Darasuram, Gangakondaicholapuram , Thanjavur etc. Their colonial extensions made it possiblefor the Dravida temple architectural styles to reach the shores of south east Asia.


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Kalinga This style evolved in the present day states of Orissa and northern Andhra Pradesh. The world famous templesof Konark, Puri are examples of this style and were patronized by dynasties like the Eastern Gangas etc.

Maru Gurjara This style evolved in the region of Gujrat and Rajputana. Marudesh was the ancient name of Rajasthan while Gurjaratra was the name of Gujrat. Thus Maru Gurjara style symbolizes the synthesis in architecture of these tworegions and characterized by Rajasthani architectural elements like Jaali (latticed window) ,Jharoka (overhanging turretlike balcony element), Chatri (umbrella/dome pavilions),Bowdi (stepped well) etc . e.g Somnath temple, Dilwara templeetc.


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Sekhari This style developed in northern India and was distinctive by its shikhara structure which comprise of a centralmulasringa / curvilinear latina spire with rows of minor spires/ urahsringa around it.

Chandela This 10th century dynasty ruled parts of central India and gave rise to the awe inspiring temples at Khajuraho(UNESCO World Heritage site) in Madhya Pradesh, famous for their temple erotica.

Bengal and Assam terracotta temples These temples are distinguished by their use of terracotta and unique shapes(curved roofs) in the contruction of their temples. This style is evident in the present day north eastern states of Bengal,Assam etc. The 4th century Guptas and their successors patronized this style.


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The Dakshineshwar temple near Kolkata is an fine example of this style , besides temple sets at Bishnupur etc.

Kerala temple architecture is conspicuous by their roofed (slanting and pointed/conical) shikharas and skeletal woodenstructure (similar to those found in Himalayan regions and South asia),multi tiered brass lamps etc.

Goa The Goan temples are unique in their appearance . They are a fusion of Indian and the Portuguese styles. Fine

examples being Mangueshi,Mahalaxmi,Shantadurga temples etc.


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Maharashtra also has a rich culture of a variety of temple forms . They range right from the internationally

renowned rock cut Ajanta – Ellora caves to Buddhist cave temples like the ones in Bhaja,Bedse,Karla at Lonavala and thePandavleni cave temples cave temples at Nasik, Aurangabad caves,


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Junnar caves, Elephanta caves (UNESCO site) to traditional temple forms at Chalukyan Mahalaxmi temple at Kolhapur,Nasik-Sinnar temples, Amruteshwar-Ratangad temple, Ambarnath-Kalyan temple etc just to name a few. Many dynasties contributed to these temples, from the Satavahanas(Junnar) , the Vakatakas (Ajanta),

Kalachuris (Elephanta caves),the Rashtrakutas (Kailasnatha-Ellora caves),the Chalukyas(Mahalaxmi- Ambabai temple),the Silharas (Ambarnath temple), the Yadavas(Gondeshwar temple) to the Marathas and the Peshwas.

One of the early traditional forms of temple architecture was the Bhumija style. Its earliest examples is the Ambarnathtemple at Kalyan near Mumbai, built by the Shilhara king Mamuni. The sculpture work on this temple is truly amazing.

In Maharashtra , there are a maximum number of Buddhist cave temples chiselled out in the mountains. They date backto eras before Christ. e.g Ajanta Caves (World Heritage ite Unesco). They also display several carvings , wall / ceiling

paintings depicting the life of Lord Buddha , his incarnations and stories related to his life and teachings.


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The Bhumija style was one of the earliest traditional temple styles to be developed in Maharashtra. It was characterizedby a central latina tapering from all sides, with minor spires decorating the central spire. The eleventh century

Ambarnath temple near Kalyan (constructed by the Shilharas) is one of the early examples of the Bhumija temples. It iscarved out of black stone with a star shaped plan and remains amazingly well preserved till date.

In the 13th century, Hemadripant a minister in the court of the Seuna Yadava kings patronised a unique style of carving out temples from black stone (without the use of mortor, afixing the stones in a male female fashion). Since then itsbecome a misnomer of sorts to categorise all temples made in black stone as Hemadpanti temples. The Gondeshwartemple at Sinnar ( built Panchayatan style with five temples dedicated to five deities in a single compound),

Amruteshwar temple near Ratangad, Lonar temple etc are fine examples of the Hemadpanti style.

The Peshwas (prime ministers to the Maratha kings) too contributed with their unique style to temple making in andaround Pune,Maharashtra in their tenure between the 18th and the 19th century AD.

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Their temples are conspicuous by their wooden sabhamandaps with cypress shaped columns, stone fountains

and the Indo Saracenic (influenced by Persian architecture) Devali style shikharas made in brickwork and lime.

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The temples are surrounded by tall walls (constructed in a arcade like structure) with a Nagarkhana where Nagaadaas(large drums) are sounded to attract devotees e.g Theur temple, Kasba peth temple,Omkareshwar temple etc areexamples of the Peshwa style.

The Peshwas and their aides also built temples in the Sekhari style e.g Bhimashankar temple near Pune (off Nasik road).

Buddhist temple

The early Buddhist temple were constructed on mountains and carved out in form of caves. Their distinct features were:



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1/8/2015 Architecture Temple s in India


Chaityagriha This is the main prayer hall where the central stupa exists. The stupa generally has a apse like background.

Stupa The central stupa in the chaityagriha is a semi hemispherical stone/mud mound which acts as the main shrine.There are also minor stupas that are also used to store the relics of the departed monks.

Harmika It is like a small platform atop the stupa where umbrellas / crowns are affixed.



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Vihara are the Spartan resting rooms of the monks. They generally have stone shelves and plinths that serve as beds.

Water reservoirs They are large pits located outside the viharas to store drinking water.

The Buddhist temples have frescoes,carvings,sculptures and murals depicting the life of the Buddha and hisincarnations, the Bodhisatvas.Buddhist temples also have their own iconography quite distinct from their hindu

counterparts.

Buddhist temples flourished in Maharashtra, Karnataka, Bihar etc due to the patronage of the erstwhile royal dynastieslike the Satavahanas, Vakatakas and the Mauryas.Temples in India are not just places of worship but also a testimony of the grandeur of the kings that patronized themand the deft skill of their artisans.

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