2. Founded by Rajaraja-I who reigned from 985-
1014,
Foundation laid about 1002-1003
Scale is considerably larger
Surrounded by 2 walled precincts-
◦ First measures 270 x 140 mt. & consists of a high wall
running along the banks of river Kaveri.
◦ Second – portico with a double row of pillars enclosed
by a wall 150 x 75 mts.
3.
4. This perimeter wall forms a sort of rectangular cloister,
the outline is defined by 2 contiguous squares:
◦ At the center of square - mandapa of Nandi bull in the
entrance courtyard. And the cella of the temple
5. Temple is preceeded by Nandi mandapa, then by 2
hypostyle pavillions
The tall shikhara covers a square garbha-griha round
which runs a narrow corridor.
Above the 2 storeys of its façade rise the multiple
storeys of the Shikhara which is nearly 70 mt. high and
15 mt. square at its base- pyramidal roof.
Garbha-griha is a 5 mt. square.
At the summit is a domed monolithic stupi.
Before the entrance to the central sanctuary a 4
columned vestibule separates the sanctum from the
great mandapa which has 6 bays of 6 columns each.
Preceeded by rectangular mandapa (later addition).
Before it stands 20 columned porch accessible by 3
staircases.
6.
7. Dozens of lingas in black stone are arranged
under the corbelled vaults carried by some 400
pillars.
Behind the forest of lingas, the 12th century
paintings show scenes from the mythology of
Shiva.
The first Gopuram is 30 mt. high and gives access to
the first of the two rectangular precincts that
measures 270 x 140 mt.
11. 1. The vase-shaped kalasha and the ghanta
crowning the roof-structure of a mandapa,
here called pita deul or jagamohana.
2. The successive levels of the horizontal
pidas
3. The outer wall, or bada, of the dance
pavillion.
4. The kalasha crowning the tower or rekha
deul
5. The amalaka, a fluted disk bearing the
kalasha
6. The central area of the tower with the
vertical lines formed by the pagas.
7. Wall of the sanctum, or bada
8. Elevation of the pita deul or jagamohana
9. Elevation of the rekha deul
10. Plan of the jagamohana or hypostyle
pavillion
11. The sanctum, or garbha-griha
12. -16 the series of projections and re-
entrants (rathas) of the tower, forming the
pagas. The konaka rathas (12 and 16) are
the corner rathas, the anardha rathas (13
and 15) intermediate, and the raha ratha
(14) is central.
12. Mukteshwara Temple
Dates from the late 10th cent.
Mukteshwara temple is 45’ long,
25’ at its widest part and its
tower is hardly 35’ high.
The torana archway in front of
the entrance is one of the
feature – this detached portal
consists of 2 pillars supporting
around arch within a semi-
circular shaped pediment .
The temple is one of the few
temples of the orissan group
which has sculptured decoration
in its interior.
Oriented towards the west.
The square tower has convex
sides and several cusp shaped
projections; vertically
corbellings emphasise its
soaring height.
13. •On each side of the tower , four vertical grooves curving in
towards the top reinforce the impression of height.
•On the platform at the summit of the tower, the heavy fluted
disk of the amalaka interrupts this vertical movement which is
restored by the pot- like finial, called the kalasha, that
surmounts it.
•The torana is a false arch entirely based on the principle of
14. Rajarani Temple
One of the finest example , displays a
refinement in its curves and contours
denoting not only an advance in the art of
composition , but an appreciation on the
part of the craftsmen of a more subtle
feeling for form, built in the 11th cent.
The plan of the sanctuary , although in its
general configuration is in the shape of a
square, has both its exterior and interior
surfaces so elaborately recessed that it
becomes almost circular in appearance.
The plan is not aligned so that its sides
are in the same plane as the rest of the
building , but the whole structure is
placed diagonal to it. Such an
arrangement is an exception in the plans
of the Orissan temples.
15.
16.
17. The Lingaraja or Great Temple at
Bhubaneshwar, Orissa Occupies the center of a large quadrangular enclosure measuring 520’ x
465’, contained within a high and solid wall, on the inner face of which is a
platform- for patrolling and defense.
Consists of 4 structures- deul or sri-mandir, pillared hall or jagamohan
(mandapa), the dancing hall or nat mandir and the hall of offerings or bhog
mandir.
All the structures on the same axis extending from east to west.
The most impressive feature is the great tower of the sri mandir, 56’ side at
base and owing to the projecting faces or pagas, it is not square in plan.
In the elevation 1/3rd of its height, the sides are vertical. At the height of 50’
the lines or contours begin to incline inwards- parabolic curve to form a
shoulder at 125’ from the ground.
Above the shoulder rises the neck or beki, over which is the fluted disc or
amala-sila supported by sedent gryphons, crowned by a vase shaped finial
(kalasa) bearing the trishula or the trident of Shiva.
The middle section of the tower is richly textured by means of horizontal
mouldings and produces suitable background for attachment of certain
motifs.
These motifs consist of vertical line of miniature deuls, small scale replicas
of the tower.
Within the tower is the cella 19’ square, but instead of ceiled chamber, it is
21. The jagamohan is oblong measuring 72’long and
56’side.
The lower storey or bada is 34’ high. Above it rises the
roof in the shape of pyramid. The lower part square and
stepped and the upper part round and fluted, the whole
attaining the height of 100’ from the ground.
Out of the infinity of forms which appear on the Orissan
temples one architectural feature emerges of unusual
character- the mullioned window, so designed as to
admit little light and even less air. The object being to
restrain the light to preserve that half shadow half
darkness which gives these halls their religious
solemnity.
In the temples of lesser importance these mullions took
the shape of graceful balusters, like small tapering
pillars with moulded capitals and bases perfectly
proportioned and skilfully fashioned. In the larger
24. • Konark (or Konarak) is a small town in the state of Orissa,
India, on the Bay of Bengal, sixty-five kilometres from
Bhubaneswar.
• The Konark SUN temple is one of great example of Hindu
architecture work and one of the most stunning monuments of
religious architecture in the world.
• Built by the King Narasimhadeva(1238-64) in the thirteenth
century, the entire temple was designed in the shape of a
colossal chariot with eight horses and twelve pairs of wheels,
carrying the sun god, Surya, across the heavens.
• Sun Temple is also known as the Black Pagoda.
• The colossal statue of Surya is sculpted in beautiful green
metamorphic stone.
• The base of the structure is an immense terrace with giant
wheels
• The only surviving structure – jagamohana is a square plan
building 36x36 m and reaching 40m height and an internal
25.
26.
27.
28.
29.
30. Kandariya Mahadeva Temple,
Khajuraho
The kingdom of Chandellas, who ruled over the extreme north of the deccan
between the 10th and 13th centuries.
No enclosure wall, each stands on a high and solid masonry terrace.
Each temple has been erected not as a number of conjoined bldgs, but as one
unified structure.
Plan – shape of a latin cross with its long axis from east to west, sole entrance on
the east at the foot of the cross.
Shape was divided into 3 main compartments-cella or garbha-griha, an assembly
hall or mandapa, an entrance portico or ardha-mandapa, antrala or vestibule to the
cella, transepts or maha-mandapa, processional passage around the cella.
Elevation-volume moves in an upward direction.
3 main parts-high basement storey, walls and openings of the interior
compartments, grouping of roofs culminating in the tall and graceful shikhara.
An outstanding feature is a decorative motif which fills in the wall spaces between
the openings
These take the form of 2 and sometimes 3, parallel friezes, conjoined and following
the alternate projections and recesses of the walls carried round the entire building.
Peopled with groups of statuary moulded in high reliefs and in dimensions rather
less than half life size, these friezes present a moving pageant and never ending
procession of life like forms. In kandariya mahadev temple these are 650 in nos.
31. Each compartments
of the temples was
distinguished by a
separate roof-
smallest and lowest
being the portico.
Khajuraho roofs are
domical in contour,
surface texture in
horizontal strata.
Urusringas or
miniature turrents-
superimposed on
the sides to break
up the mass.
Plan measures 109’
in length and 60’ in
width
Height 116 ½’ from
ground and 88’ from
its own floor.
32. Base- plinth 13’ high
sloped rapidly upwards
by means of a
succession of prominent
string courses.
This sloping substructure
is surmounted by a kind
of dado supporting the
massive inclined seat
backs or asana above
which appear the window
openings divided by
pillars with wide eaves or
chajja. Over these eaves
rises an elaborate gable
formation blending itself
in the array of turrents
leading upto the roof.
33. HOYSALA STYLE – Soapstone
Temples This dynasty lasted from 1020 to 1342.
Transition between the last of the chalukyas and the future kingdom of the
Vijayanagar(1336-1586), the last Hindu bastion against Muslim invaders. During
1327 Hoysala kingdom was submerged in the wave of Islamic invasions.
In 1336- Vijayanagar kingdom rose to power in Hampi. In 1397 to commemorate
the expulsion of the Muslims from Belur Gopuram was set up at the entrance to
the Chennakeshava temple.
Hoysala dynasty gave rise to a very individual style of Hindu and Jain temple. Or
Hybrid style.
Distinguished by its star plans and profusion of refined sculptures and reliefs
carved into the dark steatite stone.
Use of finely worked mouldings on the columns, made with the use of a lathe. The
columns are turned like balusters, a profile like a spinning top.
The contrasting cylindrical projections and grooves make the columns look like
stacks of plates.
Plans- spatial unity as in Khajuraho. A high platform with many projections and re-
entrants forming a wide terrace around the temple for circumambulation.
The lack or removal of the pyramidal roof structure and of the upper part of the
tower affects the profile of the temple.
34. Outer wall of the temple contain an
intricate array of stone sculptures and
horizontal friezes that depict Hindu
epics. Mythology, animals and birds
such as elephants, lions, horses,
makaras, hamsas, creepers, floral
designs, etc.
The pyramidal gateway-
gopuram- dates from 1397.
Five storeyed crowded with
divinities.
35. Chennakesava temple at
Belur•The temple was commissioned
by Hoysala King Vishnuvardhana in 1117 CE.
•dedicated to Lord Chennakeshava (Vishnu)
was built on the banks of the Yagachi River
•A high platform with many projections and
re-entrants forming wide terrace around the
temple, for circumambulation.
•Plan- double cruciform.
•Huge dance pavillion and meeting hall-
hypostyle hall- 3 entrances at 3 cardinal
points.
•Entrance to sanctuary- 4th cardinal point
•46 columns – arrangement as central
crossing.
•External walls- decorated with stone
claustra- jali.
• At the end of the hall- on central axis- a tiny
cella preceeded by vestibule of the same
size, roof resting on 4 columns. base of the
tower(cruciform plan) dense curtain of
masonry making the arms of the cross star
36. Plinth- 9 successive
bands of motifs.
First- frieze of
elephants, then a
continous motif, above
that little stylised kudu
motifs, fourth level-
highly wrought frieze
comprising a
succession of circles in
which minuscule
characters are seen
performing tiny dramatic
scenes, above this is a
short repeated motif
that project strongly, like
a cornice, and on it a
series of miniature
temple facades are
juxtaposed on 2
different registers.
37. Hoysaleshwar Temple at Halebid
A double building combining 2
juxtaposed cruciform
structures; they communicate
on the transverse axis, such
that one can move directly
between them.
Sacred to Nataraja- the
dancing Shiva
Mandapa- hypostyle hall. The
space between the peripheral
columns closed off with stone
slabs. 10 internal columns
around the 4 larger ones at
center – delimit a circular area
for dancers and musicians.
A vestibule leads to the
sanctum- the garbha griha.
Cuspate projections of solid
masonry imparts stellar
outline to the apse.
38. Each of the 2
mandapas is
smaller than that
of Belur, in
combination
they form a
huge oblong
interior that
preceedes the 2
cruciform
garbha griha.
40. The jalis with which the temple is lined stand between
columns turned on the lathe.
The succession of friezes- processions of elephants,
ornamental mouldings and repeated motifs. 9 successive
levels
Where the
mandapa and
shikhara join, a
mass of masonry
projects, its cuspate
indentations
attracting the eye to
this junction and
emphasising the
unity that it imparts.
41.
42. Keshava Temple, Somnathpur
Built in 1268.
Central hypostyle hall comprises internal
columns and 16 peripheral columns
linked by jalis.
3 separate sanctums are each preceded
by a vestibule- trikutashala- represents 3
aspects of Vishnu.
Vigorous projections and re-entrants
within and without- thus creates
emphatically radiating central plan.
3 projections are arranged in a cross
shape on a stellate terrace, whose outline
was obtained by rotating a square 22deg
30’ at a time so giving rise to a 16 point
star.
Rectangular courtyard 65x53m , smaller
individual shrines for pilgrims and
ascetics, 14 on shorter side and 18 on
longer.- 8x8m
Each cell is covered with a false cupola.-
lantern cupola kind- setting each tier of
lintels across the angles of the tier below.
Platforms- carved wih
deep horizontal
mouldings that
emphasise the solid
43.
44.
45. Vijaynagar kingdom
Vitthala temple-
Krishnadevaraja- late 16th
century.
500x300ft. (152x91m).
Central part-series of co-
joined pillared hall extending
horizontally a distance of 200
ft. Ht-7.6m.
Tower over garbhagriha-
vanished. Most likely in brick
and plaster.
Each column-miniature
architectural composition-
half natural,half mythical
relief of lion, resurrected like
