The document discusses the evolution of temple architecture in India, highlighting key elements such as the vimana, shikhara, and garbha-griha, as well as the significant proliferation of temples during the Middle Ages from A.D. 800 onwards. It categorizes architectural styles into nagara, dravida, and vesara based on geographical differences and outlines the characteristics of each style, including their historical developments. The text emphasizes the foundational principles guiding Indian temple construction and the varied influences that shaped their intricate designs.

1. Evolution of Temples - 2
Temple Architecture in India

2. • The sanctuary as a whole is called a
vimana.
• The pyramidal or tapering roof above
this is called the shikhara.
• Inside the vimana is a dark chamber,
the cella, called the garbha-griha
(literally the 'womb-house'), and this
is entered by a doorway on one side.
• In front of the doorway is a pillared
hall, or mandapa, which serves as an
assembly for devotees.
CRYSTALLIZATION OF THE HINDU TEMPLE:-
Toda Hut
Nilgiris, India
• The modern temple gradually started emerging,
from a leafy shelter in the woods, to the first
hesitant experiments with stone, and the
adaptation of existing communal buildings in
villages.
• Gradually, as the masons gained
greater confidence, temple forms
all over the country started
crystallizing. Just as in a church, a
temple too has its distinctive
elements.
Lomas
Rishi,
Barabar
Hills (left)
Taxila
(Right)

3. CRYSTALLIZATION OF THE HINDU TEMPLE:-
• Analysis of temple architecture
reveals that much of its character was
the result of repetition of motifs. The
Shikhara is made up of many
miniature ones repeating themselves
time and again. In fact these
repeating motifs in themselves were
miniature shrines.
• With this, the Middle Ages in India
(A.D. 800 onwards) saw the
proliferation of hundreds and
thousands of temples. This was an
age of unparalleled construction
activity.
• In some parts of the country it was common to enclose the temple complex by a
boundary wall made of rectangular cells facing inward, thus forming a courtyard.
• With this, the Middle Ages in India (A.D. 800 onwards) saw the proliferation of
hundreds and thousands of temples. This was an age of unparalleled construction
activity.

4. CRYSTALLIZATION OF THE HINDU TEMPLE:-
•The origin of the Shikhara is the subject of intense debate, due to its prominence and
characteristic form. Some theories on its derivation, from the sphere of the Buddhist
stupa, from the domed huts of central India, from the pyramidal covering on a
ceremonial chariot of the Aryans. However, in spite of all these distinctions, there
were certain fundamental principles throughout which guided and controlled the art
of building in all its phases.
STAGES OF DEVELOPMENT OF SHIKHARA IN KHAJURAHO TEMPLES (950AD – 1050AD)

5. VASTU PURUSHA MANDALA IN THE DESIGN OF HINDU TEMPLES:-
• Looking at Hindu temples, it is not very
easy to discern that they are composed
of one repeating unit - the square.
• For God's own abode, the form had to
be perfect and this limited the choice
of shapes to the circle - a form without
beginning and end, and the square -
perfect for its symmetry.
• The circle had already been extensively
used by the Buddhists in their Stupas
and moreover, was perceived to be too
dynamic a form for the resting place of
the gods.
• For the Hindus, their gods had to be
installed in buildings symbolizing unity,
inertia and permanence. The square,
thus, was chosen for these qualities
• This was the origin of the square Mandala
The mandala was further subdivided into
smaller squares in a grid, those containing
64 or 81 being the most common. Each of
these smaller squares was then invested
with a resident deity, each with his own
special attributes and powers. The distance
of the deities from the center was
according to their power and perceived
importance. Thus Brahma, the creator,
occupied pride of place in the center and
lesser gods were relegated to the edges.

6. TEMPLE STYLES IN INDIA
• The broad geographical, climatic, cultural, racial,
historical and linguistic differences between the
northern plains and the southern peninsula of
India resulted, from early on, in distinct
architectural styles.
• The Shastras, the ancient texts on architecture,
classify temples into three different orders.
Nagara or ‘northern’ style,
Dravida or ‘southern ‘ style,
Vesara or hybrid style which is seen in the
Deccan between the other two.
• There are also distinct styles in peripheral areas
such as Bengal, Kerala and the Himalayan valleys.
• But by far the most numerous buildings are in
either the
Nagara or the Dravida styles and the earliest
surviving
structural temples can already be seen
as falling into the broad classifications of
either one or the other.
NAGARA STYLE
SHIKHARA IN KHAJURAHO TEMPLES

7. TEMPLE STYLES IN INDIA
DRAVIDIAN STYLE
BRIHADEESWARAR TEMPLE TAMILNADU
VESERA STYLE
CHENNAKESAVA TEMPLE, SOMANATHAPURA

8. NAGARA STYLE (NORTH INDIAN STYLE)
• The Nagara style which developed for the fifth
century is characterized by a beehive shaped
tower (called a shikhara, in northern terminology).
• This is made up of layer upon layer of architectural
elements such as kapotas and gavaksas.
• This is topped by a large round cushion-like
element called an amalaka.
• The plan is based on a square but the walls are
sometimes so broken up that the tower often
gives the impression of being circular.

9. DRAVIDIAN STYLE (SOUTH INDIAN STYLE)
• From the seventh century the Dravida or
southern style has a pyramid shaped tower
consisting of progressively smaller storeys
of small pavilions, a narrow throat, and a
dome on the top called a shikhara (in
southern terminology). The repeated
storeys give a horizontal visual thrust to
the southern style.
• The Dravidian Style of architecture can be
categorized as a distinct Evolution in
Temple architecture through the various
phases
• There is a marked evolution in the
planning of the temple and the
architectural treatment
• Complexity in planning due to the
complexity in the rituals arose by the 12th
c. AD (Pandya)
Meenakshi’s Temple Madurai

10. VESERA STYLE (SOUTH INDIAN STYLE)
TEMPLES OF ALMAPUR
ANDHRA PRADESH
• In the border areas between the two major
styles, particularly in the modern states of
Karnataka and Andhra Pradesh, there was a
good deal of stylistic overlap as well as
several distinctive architectural features.
• Typical examples have multiple shrines and
remarkable ornate carving.
• The type of raw materials available from
region to region naturally had a significant
impact on construction techniques, carving
possibilities and consequently the overall
appearance of the temple.
• The soft soap-stone type material used by
the Hoysala architects of the twelfth and
thirteenth centuries allowed sculptors
working in the tradition of ivory and
sandalwood carving to produce the most
intricate and ornate of all Indian styles.

11. VESERA STYLE (SOUTH INDIAN STYLE)
RAMAPPA TEMPLE
ANDHRA PRADESH
• Hard crystalline rocks like granite typical
of the area around Mamallapuram
prevented detailed carving and resulted
in the shallow reliefs associated with
Pallava temples of the seventh and with
centuries.
• In areas without stone, such as parts of
Bengal, temples constructed of brick had
quite different stylistic characteristics.
• Royal patronage also had a very
significant effect on the stylistic
development of temples, and as we have
already seen, regional styles are often
identified by the dynasty that produced
them. For example the Pallava, Chola,
Hoysala, Gupta, Chalukya and Chandella
temples.