The document summarizes Indian architecture from ancient to modern times. It describes the major architectural styles that developed in different regions and time periods, including Dravidian, Indo-Aryan, Chola, Pallava, Pandya, Vijayanagar, and Mughal styles. Key characteristics of each style such as materials used, temple layouts, and prominent examples are provided. The styles evolved as empires rose and fell, absorbing influences from other cultures.

1. HISTORY AND THEORY OF ARCHITECTURE 3(BAR 203)
INDIAN ARCHITECTURE
GROUP MEMBERS
Laichena Kinoti Kelvin B02/42933/2017
Muteti Annabel Muthoki B02/45041/2017
Taherali Sakina Aarifhusein B02/42759/2017
Kivuvani Khadija Shiru B02/44543/2017
James Njeri B02//2017
Muthiora Linus Mureti B02/43017/2017
Mohamed B02//2016
Yusuf Omar Bashir B02/45258/2017
Bosire Shamgar Odieki B02/1003/2017
Martin Kamuti B02/1014/2017
Wanyonyi Gloria Nanjala B02//2017

2. INDIAN ARCHITECTURE
Introduction
Indian architecture encompasses a multitude of
expressions over space and time, constantly
absorbing new ideas. The result is an evolving range
of architectural production that nonetheless retains
a certain amount of continuity and its own
individuality, across history. Indian architecture
made use of several styles as time went by and it
was colonized or conquered by different empires.
The styles included:
the Dravidian Style deployed for Hindu Temples
from the 7th
to 18th
Century

3. Brihadeshwara temple at Thanjavur
, the Indo-Aryan style which is mainly found in
Temple Architecture of Nothern India namely in
Orissa, Rajasthan and Gujarat.
Sun temple in Konak

4. , the Nayaka style which rose on the fall of the
Vijayanagar empire
Meenakshi- Sundareswaran temple

5. Dravidian architecture :
Chola architectural style
900 AD- 1500 AD
• Chola dynasty was
one of the longest-ruling
dynasties in the history of
southern India
• The capital was
Thanjavur

6. • Their military and ecnomic power was reflected
in the grand architectural productions under this
period
• Religion: Shivaism (one of the major
traditions within Hinduism that reveres Shiva as
the Supreme Being)
• system of government was monarchical
• The Chola kings built temples and endowed
them with great wealth. The temples acted not
only as places of worship but also as centres
of economic activity, benefiting the
community as a whole

7. Early temples
• Small( modest) proportions
• Stone
• Well dressed granite (finishing)
• Simplified exteriors compared to pallavas
• No lion motifs and pillars

8. Newer Temples
• Square inner sectum
• Axial planninng
• square on plan and pyramidal on elevation
• The main shrine is the most dominant feature
• guardian figures, at the entrance to the
mandapa
• made of granite

9. Other charcteristics
oPilasters: These magnificent architectural
designs are carved as projection in walls with
placing of deities within it
oNiche: these are characteristic architectural
designs of Chola temples carved in temple walls.
oYazhi: The base of the walls of chola temples
are decorated with lines of mythical animals
called yazhi.

10. Brihadeeswarar temple in thanjavur

12. temple main entrance

13. stone

14. carvings on tiruvasal
nandi madapam
Pallava Architecture
600-900AD

17. Rathas:
 Were
prototypes
 Interiors
were
incomplete
 “rexperimental designs”
 Small in comparison to later temples

18. Pallavan Architecture 1st
Phase:
 The main contrubution was the pallava order of
colums

19.  Cave Mandapas(in muhabalipuram)= Rock cut
cave temples. Excavated on rock faces and then
carved
 Predominantly budhist

20. 2nd phase of pallavan Architecture:
 Dressed Granite
 Pyramid tower with diminishing tiers
 Larger
 Pilaster- ramant lion wherever a structural form
with an ornament was required
Shore temple mahabalipuram
 centre structure surrounded by massive enclosed
wall,

21.  2shrines located on west
 Square lower storey
 Bouyant rythmic composition
PANDYA ARCHITECTURE

22. The genesis of the GOPURAMS of Dravidian
Style
 Pandya comes after chola style from 1000-1250
AD when architecture was at its peak and
concentration ceased being on the vimanas.
 The supplementary and outlying portions were
developed.
 Reasons were sentimental – do not touch God.
 Pandya architecture includes both rock-cut and
structural temples.
 The early rock-cut temples have monolithic
vimanas. The structural ones are small stone
temples and have all features of bigger temples
i.e. vimana, mandapa and sikhara.

23.  Groups of small temples are to be seen at
Tiruchirapalli district of Tamil Nadu. The Shiva
temples have a Nandi in front of the maha
mandapa.
 Plan – usually rectangular but emphasis was on
the gateways; GOPURAM
 GOPURAM plan was rectangular in shape
 Ground floor was vertical and built in stone
 First floor –vertical and built in stone
 Above floors –pyramidal built in
bricks(inclination of 25 degrees)
 Pinnacles called shikharas are always used in
odd numbers

24.  Niches –with heavily carved Hindu mythology
sculptures
The pandyas enhanced the artistic values of the
temples of Tamil Nadu with their constant
innovation. The pandyas introduced high wall
enclosures, superb gateway arches and huge towers.
The period of the latter Pandya rulers saw the
development of elegant vimanas with finely
sculptured idols and the gopuramans (rectangular
entrance or portals of the temples).
The portions above the entrance are pyramidal in
shape.

25. Gradually the gopurams were given more
importance than the shikharas. While the former
were higher and more imposing, the latter declined
in height.
Lofty gopurams of great proportions with lavish
decoration were constructed by succeeding
dynasties.
EXAMPLES

26. VIJAYNAGAR ARCHITECTURE
 Vijaynagar architecture was a building idiom
that developed during the rule of the imperial
Hindu Vijaynagar empire from 1336-1646.
 The empire ruled South India from the capital at
Vijaynagat on the banks of Tungabhadra river

28.  They built temples, monuments and palaces
 Its a combination of the Chalukya, Hoysala,
Pandya and Chola styles which evolved earlier
and is characterised by a return to the simplistic
and serene art of the past
 MATERIALS USED: Local granite for its durability
-Soapstone for a few sculpture because
its easily carved
-Plaster to cover the unevenness of the
stone
- Painted with lively colours for the
finish
 Vijaynagar temples are characterized by

29. - Ornate pillared halls
- Rayagopurams (monumental towers)
- Life sized sculptural figures of men,
women, gods and godesses
- hippogryphs
 The courtly architecture of Vijaynagar is generally
made of mortar mixed with stone rubble and
often shows secular styles with islamic influenced
arches, domes and vaults.
TEMPLE STRUCTURES
Surrounded by a strong enclosure

31. Virupaksha temple
SMALL SHRINES
Had a Garbhagriha(sanctum) and a porch
MEDIUM SHRINES

32. Had a Garbhagriha, shukanasi(antechamber) , a
navaranga(antrala), Mandapa(hall)
Rangamantapa(enclosed pillar hall),
Mahamantapa(open large hall), a ceremonial hall(
kalyanamatapa)
LARGE TEMPLES
• Tall rayagopuram built with wood, brick and
stucco
• Top of the gopuram has a shalashikhara
resembling a barrel made to rest on its side

33. • Large life size sculptural
figures of gods and godesses
 Large life sized sculptural
figures of gogs and
godesses

34.  Temple pillars have hippogryphs
and figures of gods and godesses

35.  STEPPED ENTRANCE WITH
MINIATURE ELEPHANTS
 DECORATIONS ON PLATFORM

36. • Mantapas are supported by ornate pillars
Larger temples have separate shrines for the female
deity Chenakesava temple
CHENANAKESAVA TEMPLE

38. EASTERN GOPURAM
VIEW FROM
CENTRE-
SOUTHWEST

39. KESAVA TEMPLE
TEMPLES IN THE WEST
ANDAL TEMPLE
WATER TANK INSIDE COMPLEX
PALACES
Stood in their own compound
defined by high tapering walls
made of stone or layered
earth

40. They were approached through a sequence of
courts with passage ways and doorways requiring
multiple changes in direction
The lotus Mahal

41. • Symmetrical in plan
and elevation
• 24 pillars connected by
stepped arches,sloping
canopies and stepped
domes on the roof
Openings on both ends for air flow
 Entrance is placed at the north east corner
 Enclosed by high walls 30ft from the ground
 Towers were 60ft tall

42. MADURAI
MADURAI ARCHITECTURE
oThis kind of architecture is best shown by the
Temple design.
oThe temple is designed based on the human body
with five entrances based on the human senses.
oThere are nine smaller entrances to the inside
complex that denotes the 9 orifices of the human
body.
oThe streets of Madurai are constructed as
concentric circles with the temple as the center.

45. Meenakshi Sundareswarar Temple
Have fort like walls pierced with lofty towers surrounding an area
of an area of about 640000square feet.
Has gopurams adorning the building with a height of 160 feet.
Has a large tank, potraamaraikkulam.
The thousand pillared wall, has sculptural work.

46. INDO ARYAN ARCHITECUTURE
941AD -13th
century
The indo Aryan style is also knowns as the North
India style
or The
Orissa style
or The
Nagara
style
It was
dominant in
the norther
parts of

47. India; Gujarat, Rajasthan and Odisha formerly
known as Orissa.
The development of indo Aryan style was dealt with
geographically
Region Era
example
1. Orissa 800AD-1250AD
Lingaraja, sun temple
2. Central India 950AD-1050AD
kandariya
3. Rajputana group 8th
-11th
c
Surya osian

48. 4. Gujarat
and the
West adalaj
modhera
941AD-
1311AD
kunds and
wavs-
5. Decacan
ahmenagor 11th
-13th
c
khandesh Nasik
6. Goulior Brindavana 11th
-13th
c
teli ka mandir, sas bahu

49. The sun temple in konark
The Muktesvara
FUNCTIONS
The Indian temples were used for:
 Religious functions
 Administrative functions
 Education centers
In addition to that most of the Indo Aryan style
temples were built as a series of four halls
1.Hall of offering (bhog mandap)
2. Dancing hall (natmandir)
3. Assembly hall (jagmohana)
4. A sanctuary (garvagriha)

50. Examples of Temples in Orissa(Odisha)
Jagannath Temple Puri
Belonging to the 11th century and enjoying the honor
of being one of the 'char dhams', the pilgrimage that
every Hindu intend to visit; Jagannath Temple is the
honor of Puri and Odisha (Orissa).The holy sight of
Lord Jagannath, accompanied by Subhadra and
Balabhadra raises loads of joy among the devotees

51. Legend of Jagannath Temple
According to the legend, Indrayumna, the king of
Malava in Sata Yuga, was a great devotee of
Vishnu. Once the king dreamt of Nilamadhava
Vishnu and was curious to know where that
particular form of the Lord was worshipped.

52. Lingaraj Temple
One of the oldest temples (late 8th century), its
striking feature is the shape of its sanctuary tower.
The semi cylindrical shape of its roof, a leading
example of khakhara order of temples, bears an
affinity to the Dravidian gopuram of the South India
temples.

53. Characteristics of Indo Aryan Arch
• Elevation had shikhars [towers]
• They had square temples
• The centre had a cruciform shape with a number
of
re-entrant angles on each side.
• Used the kalinga style of architecture

54. •
1.Ardha mandapa – entrance porch
2. Mandapa – Hall Both used
for dancing

55. 3. Maha mandapa- Great hall
4. Antarala – a small shrine between the shrine
and the mandapa
5. Garba Griha- sanctorum; Shrine
6. Pradakshina- path surrounding the shrine
7. Transepts- this is what shows the centre is
crossed shaped ,it has re entrant angles on each
side
8. Jagati- raised surface /platform
9. Subsidiary shrines

56. Chalukyan Architecture
Introduction
Chaluka dynasty was an Indian royal dynasty that
existed in the 6th
and 12th
century that ruled part of
central and south India.

57. Earliest dynasty was the Badami Chalukya whom
the capital of the dynasty was named after,
Badami.
There main religions where Hinduism and Jainism.
This dynasty’s kings where credited with creating
great temples dedicated to the Hindu god Shiva.
They were famous for their rock cut Cave temples
as well as their structural ones.
The Chalukyan Dyanasty concentrated their temple
building to three areas: Badami, Aihole and
Pattadakal

58. Badami Architecture
Evolved in the 5th
and 8th
centuary in the
Malapbrabha river basin.
The architecture used in badami was first
expermimented in Aihole and then perfected in
badami.
There was two types of temple architecture; rock
cut cave and ‘structural’.

59. Example of rock cut cave
temple
Example of a
structural temple

60. BADAMI CAVE TEMPLES
Consisted of rock cut halls
with 3 basic features:
1.Pillared veranda.
2. Columned halls.
3. Sanctum.

61. One characteristic that
stood out about the Badami
cave temples, was the
blandness of the exterior
in contrast to the
marvellously sculptured interior of the halls and the
sanctum

62. Badami cave 1
(SHIVA)This temple was
built in for the god Shiva. It
is about 59 feet (18 m)
above ground level on the
north-west part of the hill.
Entree is through a series of
steps that portray carvings
of dwarfish ganas(Attendants of
Shiva) in different postures as if
they hold the cave floor. The
veranda, with an inner
measurement of 70 feet (21 m) by
65 feet (20 m), has five columns
sculpted with reliefs of flower

63. garlands, foliage
and jewellery. The
main cave, also
called the Shiva
cave, Cave 1 or the
great cave is 27
meters sq. in plan
with a hall. The
roof of the hall has
a concealed beams
supported by stone
columns joined together by capitals.
The Interior of the temple consisted of art sculpted
into the walls depicting Shiva and his sons.

64. Plan of Badami cave 1 (Shiva cave)

65. CAVE 2 AND 3 (Vishnu)
Cave 2 is located above
and the east of cave 1.They
have a similar floor plan
but the difference
between them is that this
cave is dedicated to the Hindu god Vishnu. In order
to reach cave 2, you must ascend a 64 steps from
cave 1.the veranda pillars out of the monolithic cave
face. The veranda is divided into 4 pillars. Similar to
cave1, the interior consist of art dedicated to Hindu
deities primarily Vishnu, who the cave is dedicated
to.

66. cave
art in
cave 2 depicting
Vishnu

67. Cave 3
Dedicated to Vishnu; it is the largest cave in the
complex. Facing north, Cave 3 is 60 steps from
Cave 2 at a higher level. Cave 3's veranda is 70 feet
(21 m) in length with an interior width of 65 feet
(20 m); it has been sculpted 48 feet (15 m) deep into
the mountain; an added square shrine at the end
extends the cave 12 feet (3.7 m) further inside. The
veranda itself is 7 feet (2.1 m) wide and has four
free-standing, carved pillars separating it from the
hall. The cave is 15 feet (4.6 m) high; it is supported
by six pillars, each measuring 2.5 square feet
(0.23 m2
).

68. Cave 3 also shows fresco paintings on the ceiling,
some of which are faded and broken. Art work of
the wedding of Shiva and Parvati, attended by
various Hindu deities is the theme of another.

69. Cave 3

70. Sculptured work: left is a sculpture of the deities
right is a ceiling art
Plan of cave 3

71. STRUCTURAL: BHUTANATHA GROUP OF
TEMPLES
Cluster of sandstone shrines
dedicated to the deity
Bhutanatha.
Located in Badami, it consists
of two major temples.Temple 1
is the larger of the two and is located on the the
east side of the lake, called the Bhutanatha temple
has a superstructure that resembles early South
Indian style or North Indian style. Temple 2 is on the
north-east side of the lake, sometimes called the

72. Mallikarjuna group of temples, has a stepped
superstructure.
In the inner hall of the
Bhutanatha temple, a
heavy architrave above the
columns divides the hall into a central nave and
two aisles. The pillars are massive and the bays in
the ceiling of the nave is decorated with
lotus rosette. Perforated windows bring dim light
into the inner mantapa.

73. While
the
outer mantapa,
facing the
Badami tank,
was completed during the rule of the Kalyani
Chalukyas of the 11th century.

74. AIHOLE DURGA TEMPLE
A Hindu medieval era
temple located in Aihole
Karnataka, India built
between 7th
and 8th
century by the Chalukyas.
The temple is dedicated
to the either of the deities
Vishnu or Shiva
Aihole is a small vilage on
the banks of River

75. Malaprabha, located near Badami in the state of
Karnataka. Aihole, often termed as the ‘cradle of
Indian architecture as early temple experimentation
began here before it was implemented to Badami.
The temple is oblong in plan. The shape of the
temple, in Indian traditional architecture, is known
as Gajaprasta which means the resemblance to the
back of an elephant.

76. Plan of the Durga temple showing where the major
sculptures are located.

77. The sculptures located in the Durga temple

78. Left: interior hallway
Right: Durga veranda

79. Lighting
The outer walls of the temple
have intricately carved figures
of Narasimha,
Mahishasuramardini, Varaha,
Vishnu, etc . Pierced windows
are provided with pleasing
patterns to allow light into the
hall. Although due to the
nature of the small Chalukyan
window design, not much light is able to enter the
temple

80. Section of the Durga temple showing how the
windows allow natural lighting
Symmetry
The Durga temple is a perfect example of symmetry
and balance. It is almost perfectly symmetrical
along its longest axis.

82. Pattadakal Temples
Location: Pattadakal, Near Badami and
Aihole, Karnataka
Built by: Chalukya Rulers
Built in: During 7th- 8th century
Significance:Regarded as World Heritage
Site
Pattadakal had once been the rich capital of the
Chalukyas. During 7th - 8th century, Pattadakal
Temples were constructed by the Chalukya rulers.
Portraying the rare specimen, the temples depict a
wonderful blend of Dravidian (South-Indian) and
Nagara (North-Indian) architectural styles. The
phrase 'beauty in ruins' goes exactly with the town

83. of Pattadakal. The beautiful settlement appears
majestic with its series of nine temples.
The sculptural art of these temples is marked by
classiness of the Chalukya dynasty. Pattadakal
emerges as a heavenly site with its superb
architectural marvels in a picture-perfect lane. The
distinct styles and patterns of various temples reveal
the designers' intelligence at a stretch. The temples
of Pattadakal receive myriad number of tourists,
who come from the distant lands, round the year.
Out of all, four temples are built in Dravidian style,
four in Nagara style and Papanatha Temple
illustrates a perfect blend of both styles of

84. architecture. In the 8th century, Kashivisvanatha
Temple was constructed by the Rashtrakutas. Built
in north Indian style, Galganatha Temple
encompasses a sculpture of Lord Shiva killing the
demon Andhakasura. Kasi Visweswara is another
temple that boasts of the nagara style of
architecture. The important ones are discussed
below in detail.
VIRUPAKSHA TEMPLE

85. • Virupaksha temple
is located on the
south bank of river
Tungabhadra.
• This area in general
has been an
important
pilgrimage centre
for the worshipers of
lord Shiva.

86. • VIRUPAKSH TEMPLE,HAMPI

87. •
•
• •Virupaksha temple is
located on the south bank of
river Tungabhadra.
•
•
• •This area in general has
been an important pilgrimage
centre for the worshipers of
lord Shiva.
•
•
• •Its inception in the 7th
century AD. Virupaksha-
Pampa sanctuary.
•
•
• •Started in Vijaynagara
period,began a flowering art.

88. • plan
••••
•••
••
• A corridor
Ranga
Mandapa.
•
•••
•••
••
•
• the
triple
headed
Nandi
•••
•••
•••
•••
• entrance tower
the middle of the court
first courtyard

89. • • The main entrance
tower of Virupaksha
Temple is east facing
and 9 storied tower with
a pair of cow horn like
projections on top .
• • The lower two tiers is
• made of decorated stone
work.
• • Superstructure is made
• with brick and mortar.
• • The exterior of the
first tier spots many
interesting stucco
figures.
• • The main temple is east
• facing and has two large
courtyards, one leading
to the other.

90. • • The first courtyard has a
pillared hall called 100-
column hall at the far left
corner, Kalyanamantapa at
the far right corner.
•
•
• • Both sets of pillars stand
• 10-15 feet high and appear
to be carved out of a single
block of stone.

91. •
• • Just next to left
immediately after
entered, the
triple headed
Nandi (bull
statue).
•
•
• • Behind this the
wall is painted
with a large
map of Hampi
•
•
• • Further east
the second
three storied
tower built in
1510 AD.
••••

92. • In the middle of the court,
• the axis
facing
• shrine
• the main
•
•
• •lamp post,
•
•
• •the Balipitas
•
•
• •a flag post
•
•
• •a whitewashed pavilion
in which two
Nandi(bull)status are
positioned.

93. •••
•••
•••
•••
•••
•••
•••
•••
•••
• • In the open area in the center there is a pillared cloisters leaving
gaps
• at the north, south and east edges for a series of sub shrines.
•
•
• • The front portion has a row of decorated pillars.
•
•
• • The lion figure carved at the base of each of these pillars
supporting
••

94. • Further west, beyond a small inner
hall, is the sanctum sanctorum of
Lord Virupaksha.
• Two 4 armed guardian deities,
about 8 feet tall, stand on either
side of the entrance to the inner
hall.
• The ceiling of this inner hall is
decorated with an open lotus motif
• The sanctum contains the idol in
the form of a Linga
• A corridor surrounds the sanctum.
•
•••
•••
•••
•
• Further west, beyond a small inner
hall, is the sanctum sanctorum of
Lord Virupaksha.
•
•
• • Two 4 armed guardian deities, about 8
feet tall, stand on either side of the
entrance to the inner hall.
•
•
• • The ceiling of this inner hall is
• decorated with an open lotus motif
•
•
• • The sanctum contains the idol in
• the form of a Linga
•
•
• • A corridor surrounds the sanctum.
•

95. • THANK YOU FOR YOUR PATIENCE!!!