The document discusses the evolution and styles of Indian temple architecture, highlighting three main styles: Nagara in northern India, Dravida in southern India, and Vesara as a combination of the two. It describes distinctive architectural features, including shikharas, mandapas, and gopurams, along with notable temple examples like the Kandariya Mahadeva and Brihadeeshwara temples. Additionally, it covers the influence of various art schools, specifically the Gandhara and Mathura schools, on the depiction of Buddha and other deities.

1. Hinduarchitectureand
art
SUBMITTEDTO:SAURAVDIXIT
SUBMITTEDBY:SHIVSHANKARMISHRA
Presentedby: SHIV
SHANKAR

2. Introduction
The highest achievement of Indian Architecture
can be seen in temples.
The construction of sanctuaries for the images of
Gods dates back perhaps to the 2nd century
B.C.
The Gupta period, marks the real beginning of
Indian temple architecture.

3. Stylesofarchitecture
There are mainly three styles of architecture that dominate the temple
architecture in India..
1. Nagara- The Nagara style can be found in the temples of Northern
India.. The tower, shikhar is beehive (curvilinear shaped).
2. Dravida-This type of architecture is concentrated in the temples of
southern India. - The tower, shikhar consists of progressively
smaller stories of pavilions.
3. Vesara-The vesara style of architecture is a combination of the
Nagara and Dravida styles. This can be found in the temples of
Karnataka.

4. Templesarearepresentationofmacrocosmortheuniverseandmicrocosmorthe
innerspace.
Microcosm
• Shikhara
• MainDeity
• Garbagriha
Macrocosm
• Antarala
• Mahamandap
• Mandap
• Ardhamandap
• Jagati
• Gopuram(mainly founded in South Indian temples)

5. NagaraStyle
Almost every temple of the Nagara style reveals distinctive
features in planning and elevation.
These temples have a square base with a number of graduated
projections(rathakas) in the middle of each face which gives it a
cruciform shape in the exterior.
In elevation it exhibits a tower which is called the shikhara,
gradually inclining inwards and is capped by a spherical slab with
ribs round the edge(amalaka).
The essential plan of north Indian temples includes an inner
chamber(garbagriha), a pavillion (mandapa), the
vestibule(antarala) which connects the mandapa with the
garbagriha, and the circumambulatory path(pradakshina path).

6. The finest example is that of the
Kandariya MahadevaTemple, the largest
and loftiest temple of Khajuraho.

7. Dravida Style
• Vimanam - It is the principal part, the actual
temple itself . It is always square in plan, and
surmounted by a pyramidal roof of one or more
stories; and it contains the cell in which the
image of the god or his emblem is placed.
• Mantapams – It is also called porches, which
always cover and precede the door leading to the
cell.
• Gopurams - Gate-pyramids,, which are the
principal features in the quadrangular enclosures
that surround the more notable temples.
• Chawadis - Pillard halls used for various
purposes, and which are the invariable
accompaniments of these temples.
The best example is that of the Brihadeeshwara
temple at Thanjavur.

8. Vesara style
This style of architecture cannot be said to
have an independent origin but represents
an outgrowth of the earlier Dravidian
style so modified in its development as to
have attained separate style in itself.
This style is also referred to as the
Chalukyan style.
Mahadeva Temple at Itagi, Koppal district in
Karnataka also called Devalaya
Chakravarti, an example of Dravida
articulation with a Nagara superstructure.

9. DIFFERENCES
Nagara Dravida Vesara
North Indian states of UP,
MP, and Bihar.
In southern India between
the reaches of River
Krishna and Kanyakumari.
In the state of Karnataka.
Period: 320 AD- 499 AD. 7th century AD. 3rd -8th century AD.
It has towers or shikharas
with rounded top and
curved linear outline.
Towers in the shape of a
pyramid called the
vimanam are present.
The tower shows mixed
features of the nagara and
vesara styles.
Pillars are absent in these
temples.
Pillars are prominent
features.
Pillars are present.
Gopurams are also
absent.
Gopurams are present. Gopurams are not found
in all temples.
A water tank may or may
not be present.
A water tank is present
from where water is used
for sacred purposes.
Water tanks may or may
not be present.

10. Schoolsofart
1.Gandhara School of Art
Timeline: 50 BC-500 AD.
Location: The Gadhara region extending
from Punjab to the borders of
Afghanistan.
Style:Owing to its strategic location the
Gandhara School imbibed all kinds of
foreign influences like Persian, Greek,
Roman, Saka and Kushana.

11. The most important contribution of the Gandhara School
of Art was the evolution of beautiful images of the
Buddha and Bodhisattavas, which were executed in
black stone and modelled on identical characters of
Graco-Roman pantheon. Hence it is said, "the
Gandhara artist had the hand of a Greek but the heart
of an Indian."
The best specimens of Gandhara art are from Jaulian and
Dharmarajika stupa at Taxila and from Hadda near
Jalalabad in modern Afghanistan. The tallest rock-cut
statue of Lord Buddha is also located at Bamiyan in
modern Afghanistan and dates back to 3-4 century AD.

12. 2.Mathura schoolof art
Timeline : 1-3rd century AD.
Location : Region around Mathura.
Style:The earliest sculptures of Buddha were made keeping
the yaksha prototype in mind. They were depicted as
strongly built with the right hand raised in protection
and the left hand on the waist. The figures produced by
this school of art do not have moustaches and beards as
in the Gandhara Art. These figures can be seen in the
museum of Mathura. The standing Buddha figures
resembles the yaksha figures and indicates the Kushan
influence. The seated figures are in the padmasana
posture.

13. The Mathura School not only produced beautiful images of the
Buddha but also of the Jain Tirthankaras and gods and goddesses
of the Hindu pantheon. Many scholars believe that the Mathura
School of Art, although of indigenous origin, was greatly
influenced by the Gandhara School of Art. The Guptas adopted
the Mathura School of Art and further improvised and perfected
it.

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