2. Kalasha
Amalka
Garb Griha
(Shrine inside
the sikhara)
Jagati
(Platform)
Urushringa (Subsidiary sikhara)
Antrala (Vestibule)
Maha Mandapa (Great Hall)
Mandapa (Hall)
Ardha Mandapa
(Entrance Porch)
Shikhara
(Tower)
Adhisthana
(Base Platform)
Features of Temple Architecture
An Example of Kandariya Mahadev Temple
3. Temple Architecture
• AMALKA: A stone disk, usually with ridges on the rim, that sits atop the temple's
main tower. According to one interpretation, the Amalka represents a lotus, and thus
the symbolic seat for the deity below. Another interpretation is that it symbolizes the
sun, and is thus the gateway to the heavenly world. The Amalka itself is crowned with a
Kalasha (finial), from which a temple banner is often hung.
• ENTRANCE PORCH (ARDHA MANDAPA): The entrance porch formed a
transitional area between the outside world and the mandapa or hall. Most temple
buildings have some sort of transitional space between the central shrine (garbhagrha)
and the outside world, but only the largest, most developed temples will have all of
these elements.
• HALL (MANDAPA): A hall in the temple, forming a transitional space between the
ardhmandap and maha-mandap. In smaller or less architecturally developed temples,
this was usually omitted.
4. Temple Architecture
• VESTIBULE (ANTARAL): A transitional space between a temple's main hall and the
inner sanctum (garbhagrha) where the image of the temple's primary deity would be
housed. The antaral was found only in the largest temples, and in many smaller ones
was omitted entirely. This architectural element marks the liminal space between the
exterior world and the divine world, and at Khajuraho the exterior panels on these
elements are the primary sites for large panels with sexually explicit scenes
(particularly on the Vishvanath and Kandariya Mahadev temples). This placement
cannot be accidental, although observers differ about what these mean. At the very
least, it could indicate that sexuality and encountering the divine are both liminal
experiences that force us out of ourselves.
• SECONDARY TOWER (URUSHRINGA): smaller towers on the temple's exterior to
lead the eye up to the highest point. Their shape often replicates that of the tallest
central tower, and serves to draw the eye upward toward it.
• BASE PLATFORM (ADHISHSTHANA): The raised base on which a temple was
built. These are particularly high in the temples at Khajuraho, and by their height
accentuate these temple's upward thrust.
5. Temple Architecture
• INNER SANCTUM (GARBHAGRHA): The temple's inner sanctum, containing the
image of the temple's primary deity. The basic function of a Hindu temple is to serve as
the deity's dwelling-place (the most common word for temple, mandir, simply means
"house"), and devotees come there to interact with and worship the resident deity
(often in family groups). In this respect, Hindu temples are very different from places
of worship in many other religious traditions, which serve as centres for congregational
worship. The word garbha can mean either "womb" or "embryo;" both meanings
connote potentiality, hiddenness, and a sense of development. The garbhagrha was
located directly below the summit of the highest tower, with the primary deity directly
under the highest point. Smaller temples may only have a small shrine room at the back
end of the temple (a "womb" in the metaphorical sense), but larger temples often also
have a processional pathway ("ambulatory") around the central shrine, via which
devotees can circle around the deity (always clockwise) as a gesture of respect and
worship.
• GREAT HALL (MAHA MANDAPA): The temple's main entrance-hall, separated
from the central shrine (garbhagrha), by a short vestibule named the antaral. Just about
every temple has some sort of entrance-hall between the central shrine (garbhagrha)
and the outside world, but only the largest and most developed temples have all of the
transitional members. At Khajuraho, a maha-mandap is often distinguished by
transepts (bumped-out portions perpendicular to the temple's main axis).
6. Five Shrines Temples
PANCHAYATAS
• Subsidiary shrines in the four corners of
the deity.
• Khajuraho temples has no enclosure
walls. It has its own separate platform
that demarcates its sacred space from
the material world.
• The plan of the cella, with its inner
ambulatory, resembles a three
dimensional yantra, with the eight
corners guarded by the Dikpalas and
Vasus. The three cardinal niches
represent the manifestations of the
main divinity enshrined in the
sanctum. The recesses bear the figures
of sinuous vyalas, while the projections
display surasundaries and couples.
LAKSHAMANA TEMPLE
VISHVANATHA TEMPLE
7. The Eight Point Khajurao
1. The Cult Icons installed in the sanctum.
3. The Demi-Gods such as vidyadhara, gana etc. they are the dynamic figures generally
carved on top row of the wall, symbolising the celestial world.
4. Celestial women- apsaras, surasundaris
5. Amorous Couples.
2. The Attendant and Surrounding Divinities executed in
round or high relief. They are believed to radiate the
power of the central divinity of the sanctum.
8. The Eight Point Khajurao
6. Secular Scenes depicting the
royal hunt, the king court,
marching armies, domestic
scenes, teacher and pupils etc.
7. Animal Figures both mythical
and realistic.
8. Geometric and Floral Designs are
carved on the ceilings, on the
borders of panels and walls, on
pillars etc.
9. • Five shrined or panchayatana temple complex main shrine stands in the centre with a
high platform and subsidiary shrines on the four corners of the complex.
• Entrance porch has two-loop makar-torana (crocodile arch) flanked by gladiators
• Exterior walls have sculptures of gods and goddesses and a rare adornment of
panchagni (five fires). • Doorway of the sanctum has rich carvings of
lions, cherubs, incarnations of Vishnu,
depiction of nine planets, figure of Lakshmi
(spouse of Vishnu) and the churning of the
ocean.
• The ardh-mandap ceiling
of this temple is rated as
the finest in India.
954 AD; Western Group
Lakshmana Temple
10. Lakshmana Temple954 AD; Western Group
Section of the Temple Plan of the Temple
Amalka & Kalasha
Shiv Linga in the Cella
Maha Mandapa
Antrala
11. • The Spire of the sanctum has a series of graded
replicas of itself, which cluster around the
central peak and create the effect of mountain
range.
• Exactly below the
highest point of
the spire is
positioned the
Shiva Linga, the
‘Primordial Pillar
of the Universe’,
in the dark womb
house.
1025 AD; Western Group
Kandariya Mahadev Temple
• Tallest temple at Khajuraho (30.5Meters).
• At Antrala (vestibule), one can have ‘darshan’ of the marble linga placed exactly in the
centre of the sanctum
12. 1025 AD; Western Group
Kandariya Mahadev Temple
Placement of Matrikas in the basal niches
Counter-
circumambulatory
arrangement of the
images of the seven
Matrikas (Mothers),
along with
Ganesha (1) &
Shiva- Virabhadra (9),
in the principal niches
of the basal storey.
13. 1002 AD; Western Group
Vishvanath Temple
• It has its Nandi mandapa for the bull mount of Shiva intact. A magnificent Nandi sits
facing the temple.
• Originally, Vishvanath temple was a panchayatana, but now only two of the subsidiary
shrines survive.
• It is a sandhara temple with inner ambulatory.
• The main niches of the wall contain Shiva’s manifestations: Andhakantaka subduing
the blind demon, Natasha dancing in the western light, and ardhanari.
14. 1000 AD; Western Group
Devi Jagdamba Temple
• Lies to the north of Kandariya Mahadeva
and they both share a common platform.
• The temple is famous for graceful figure
sculptures on its exterior wall- mithunas,
apsaras, vyalas and images of deities.
15. Late 10th Century; Eastern Group
Ghantai Temple
• Dedicated to Jain Tirthankars.
• it is known by its local name because of
the ‘Ghanta’ (bell) motifs on the pillars.
16. 1100-25 AD; Southern Group
Duladevo Temple
• Sculptures and figures have sharp features and angular postures.
• Its sanctum was built as if by rotating a square round a central axis.
• Its Maha mandapa is large and octagonal with corbelled ceiling.
• Shikhara surrounded by three rows of minor
sikharas, unusually long ardh-mandap; large
maha-mandap; garbha griha without ambulatory
(nirandhara).
17. 1100 A.D. ; Eastern Group
Chaturbhuja Temple
• Absence of erotic sculptures.
Three bands of sculptural panels
on exterior,(consort of
Narsingh- only such sculpture
in India) and Ardhnarishwar
(half-male and half-female,
representation of divinity)
• Highly compressed ardhmandap, mandap, constricted antaral and garbh griha without
ambulatory.
• Heavy and simple
Shikhara with curvilinear
shape but no spires or
turrets.
• Facial expression
reveals Buddhist
influence
• Remarkable four armed Dakshinmurti Shiva in
sanctum(largest sanctum idol at Khajuraho)
18. • HISTORY OF ARCHITECTURE •UNIVERSITY SCHOOL OF ARCHITECTURE & PLANNING • HARSH GUPTA
