book

1. History of Architecture - III
ARCH-2105/CREDIT-3
PART –A
Indian sub-continental Architecture
01. Introduction to gupta Period
02. Evolution of Temples
03. Dravidian Style
04. Northern Indo-Aryan Style
PART –B
Indian sub-continental Architecture
01.Indus Civilization
02. Vedic Civilization
03. Early Mauryan Dynasty
04. Buddhist Period
05. Rock-cut Architecture
06. Hynayana Phase
07. Mahayana Phase

2. PART –B
Indian sub-continental Architecture
01.Indus Civilization
02. Vedic Civilization
03. Early Mauryan Dynasty
04. Buddhist Period
05. Rock-cut Architecture
06. Hynayana Phase
07. Mahayana Phase

3. PART –B 06 . M a H a y a n a P h a s e
Indian sub-continental Architecture
The adherents of the Mahayana sect are known as
Bodhisattvas who are instructed to become Buddha
ultimately. In other words, they reject the idea of
Arhathood so dear to Hynayanists, but aim at Buddhahood
through Bodhisattva state as it helps others to achieve
salvation. Hence, there are past and future Buddha's in
Mahayana Buddhism. Finally, the most important
difference is the image worship which was introduced
with meditation as also elaborate rituals, formulae, charms
and belief in heavens. The Mahasanghikas found support in
Maharashtra, where Karle was their stronghold, and
Andhra Pradesh.

4. PART –B 06 . M a H a y a n a P h a s e
Indian sub-continental Architecture
The differences between the Hinayanists and the
Mahayanists were no doubt sharp but the issue is how they
are reflected in art. The trends followed by the Hinayanists
consist of absence of Buddha image in visual
representations, symbolic worship and the occurrence of
the words deya-dhamma in their donative records.
So far as the Mahayanists are concerned we can expect: (i)
images of Buddha and Bodhisattvas whom they accorded a
higher status than that to the Enlightened One; (ii) a room
for mediation; (iii) Manushi Buddhas; (iv) narratives
according to the Avadana stories, and (v) the Mahayana
formula of the donative record wishing happiness and well-
being of all. It was probably due to Avalokitesvara’s
insistence that he would not accept salvation until all
beings attained it.

5. PART –B 06 . M a H a y a n a P h a s e
Indian sub-continental Architecture
Devotional worship through sculpted images increased in
popularity among various cults which grew and merged
into later forms of Hinduism, becoming the dominant
form of religion under the Gupta dynasty (320-550 CE).
The inner sanctum of a temple the idol of main deity, most
often Vishnu or Shiva, was established. As pantheon grew,
the entourage or as the manifestations of the central god,
was encased in the temple walls, especially outside,
requiring niche to frame their images, or to evoke their
presence. Buddhist practices, by the Gupta period, also
entailed the use of images. Though originally atheistic, by
this time Buddhism in India had developed into forms
known as the Mahayana (greater vehicle). It became more
pantheistic, more accessible to the congregation and more
devotional in attitude. Images of the Buddha were
enshrined, along with those of past and future incarnations
of the Buddha.

6. PART –B 06 . M a H a y a n a P h a s e
Indian sub-continental Architecture
The decoration of the Stupas during the Hynayana period
was restricted almost entirely to the sculpture of the vedika
and torana. A reconstruction of a torana from the Bharut
Stupa (Madhya Pradesh, India) by contemplating the
imagery on the torana, the worshiper entered the necessary
state of mind required prior to circumambulation. The
elaborate reliefs give the torana a striking contrast to the
plain body of the stupa. It was only during the Mahayana
and later periods that the body of the stupa became the
subject of relief sculpture and aniconic depiction of the
Buddha was seen on the anda itself (in the chaitya halls of
Ajanta).

7. PART –B 06 . M a H a y a n a P h a s e
Indian sub-continental Architecture
As Buddhism developed from isolated asceticism to a
monastic organization, the single cell chamber developed
into a monumental chaitya hall that could accommodate a
much larger assembly. One of the earliest chaitya hall and
vihara (monastery) complexes is the one at Bhaja , in
western India. The chaitya hall, as described by Craven, "is
a long apsed chamber divided longitudinally by two rows
of columns which create a broad central nave flanked by
two narrow aisles [the circumambulatory passage]. In the
apse the aisles meet and curve around the stupa, which,
when seen from the entrance door, is centered dramatically
at the nave's end." The chaitya arch that makes up the
façade is the main source of daylight for the hall, and its
pattern is reminiscent of the windows of similar wooden
structures. In fact, the entire façade was once constructed
of wood and wooden ribs were affixed to the vault, thus
imitating the structure of free standing buildings.

8. PART –B 06 . M a H a y a n a P h a s e
Indian sub-continental Architecture
Even the pillars that divide the nave and the aisles were
tilted inwards to provide the necessary 'thrust' that would
be needed to support a free standing structure. But this
similarity to wooden buildings gradually disappeared, and
with it the Hynayana period of chaitya architecture. The
Mahayana period not only detached rock-cut architectural
style from its wooden predecessor, but also introduced
anthropomorphic representation of the Buddha on the
stupa. The chaitya halls at Ajanta represent the apex of
Buddhist rock-cut architecture and bear the theistic imprint
of Mahayana Buddhism.