The document provides an overview of Māru-Gurjara temple architecture that originated in the 6th century in parts of Rajasthan and Gujarat. It discusses the two main styles, Maha-Maru and Maru-Gurjara, and how they evolved under the Solanki dynasty in Gujarat in the 10th century. Key characteristics of Maru-Gurjara temples are described, including having three divisions in their elevation and features like a kirti-torana and kunda. Famous examples like the Sun Temple at Modhera and Jain temples at Dilwara are summarized.

1. Maru Gurjara
Architecture

2. INTRODUCTION
• Māru-Gurjara temple architecture originated somewhere in 6th
century in and around areas of Rajasthan.
• Māru-Gurjara architecture show the deep understanding of
structures and refined skills of Rajasthani craftmen of bygone era.
• Māru-Gurjara architecture has two prominent styles:
 Maha-Maru
 Maru-Gurjara

3. • According to M. A. Dhaky, Maha-Maru style developed primarily in
Marudesa, Sapadalaksa, Surasena and parts of Uparamala whereas
Maru-Gurjara originated in Medapata, Gurjaradesa-Arbuda,
Gurjaradesa-Anarta and some areas of Gujarat.

4. ETYMOLOGY
• The name Maru Gurjara has its genesis in the fact that during ancient
times, Rajasthan and Gujarat had similarities in ethnic, cultural and
political aspects of the society.
• Ancient name of Rajasthan was Marudesh while Gujarat was called
Gurjaratra.
• "Maru Gurjara art" literally means "art of Rajasthan“.

5. Evolution :
• The establishment of the Solanki dynasty by the tenth century in Gujarat
witnessed several new features. The architecture that flourished during this
period in Anartta, Saurashtra, Kachha and Lata is termed as “MARU-GURJARA”
style.
• This style had been there since the eighth century which was the mixture of 2
regional traditions, known as “Maha-Maru” and “Maha-Gurjara” styles. Under
Solankis the Maru-Gurjara style attained its architectural perfection.

6. Maru Gujara temples
• The Maru-Gurjara style temples comprise of the garbha-griha/mula-
prasada, the gudha-mandapa or mahamandapa, and a porch like the
antrala of the Nagara temple.
• In later examples the mandapas were fronted by a free-standing kirti-
torana and a kunda or a temple tank.
Kunda Torana

7. • The Maru-Gurjara temples have 3 divisions in their elevation, namely,
1. The pitha
2. The main hall called mandovara
3. The shikhara
• The whole temple stands on a khara-sila which is similar to the jagati of the
central indian temples.
• Mandovara :
The Mandovara is the temple wall of the Maru-Gurjara temples. It
corresponds to the Orissan ‘bada’. It has 3 main sections, namely,
1. The vedhi-bandha (series of binding mouldings around the main
portion of the wall)
2. The jangha (main part of the wall)

8. 3. The varandika (series of mouldings in the form of cornices)
The varandika is finally topped by a projecting sun-shade in the shape of
ribbed tiles, known as khurachadya.
• Shikhara
At the base of the shikhara is the rathika bearing an image of a deity.
The curvilinear shikhara is topped by a massive amalaka over which
rests the candrika (capstone) and kalasha (pot finial).
• Gudha-mandapa
The roof of the mandapa is either of the phamsana (stepped-
pyramidal) or samvarana (bell roof).

9. • The structural temple activities in Gujarat started with the emergence of a new and powerful
royal house, known as MAITRAKAS of Valabhi in the post-Gupta period.
• Also known as the “Saurashtra style”, it had 4 superstructures, namely,
1. The kutina
2. The valabhi
3. The phamsana
4. The latina
• The plan and elevation of the early Maitraka temples were simple. The temples consisted of the
square garbha-griha with or without the mukha-mandapa.
• By the early eighth century, a transition from the Saurashtra style to the real Nagara style takes
place in the temple architecture of Gujarat.
For example, the temples of Varaha at Kadvar and Surya near Somnath exhibit a rudimentary
shikhara in the triratha form, a garbha-griha with a pradakshina-patha and a closed mandapa with
a porch and a sloping roof.
Temples of Gujarat

10. Sun Temple at Modhera , Gujarat

11. • Among the Solanki type Maru-Gurjara temples the Sun temple at Modhera is the
most famous. The temple gives a clear picture of the typical Solanki style temple
with all its characteristic features.
• This east-facing temple, built on a golden-brown sandstone, stands on a broad
terrace, known as the khara-sila, which is made of solid brick faced with stone.
• A broad flight of steps lead to the decorated entrance archway, known as kirti-
torana.
• Immediately behind the Kirti-torana begins the temple complex consisting of the
sabha-mandapa, gudha-mandapa and garbha-griha, all aligned in a single axis.
These structures bear all the basic parts: pitha, mandovara and shikhara.

12. Plan :
The whole temple
complex is
fronted by a
temple tank,
known as kunda,
or stepped well. It
encompasses a
number of
miniature shrines
on its smaller
steps.

13. Osian Temple , Jodhpur , Rajasthan

14. • OSIAN, anciently known as Ukesapura, was the religious city of Gurjara-
Pratiharas between eighth and eleventh centuries.
• The temples of Osian were built on a broad pishtha over which was built
the adhisthana consisting of many mouldings, such as khura, kumbha,
kalasha and kapota. These mouldings were arranged in accordance with
the ratha projections of the vimana. The kapota is generally carved with
kudu arches.
• Above the pitha/adhisthana rests mandovara. All the pagas of the
mandovara of these panchratha temples contain devakoshthas,
surmounted by miniature shikharas crowned by amalakas.

15. The Jain temple complex of Dilwara,
Mount Abu

16. • The Vimala Vasahi and the Luna Vasahi show many regional variations with stupendous
sculptural ornamentation suggesting a strong Maru-Gurjara and central Indian influence.
• These Jain temples, mostly made of white marble with beautiful toranas, carved ceilings
with lotus motifs, female bracket-figures and open backyards with deva-kulikas.
• The east facing VIMALA VASAHI, dedicated to Adinatha, consists of the mula-prasada,
built of black stone, gudha-mandapa, sabha-mandapa and deva-kulika (subsidiary
shrines).
• The entrance porch of Vimala Vasahi has a false dome. It leads to an octagonal mandapa,
whose pillars support an imposing corbelled dome decorated with 16 celestial nymphs
(apsaras).
• The lintels supporting the dome were reinforced by the system of triangulated supports
with their intricately carved brackets.

17. Interiors :

18. Thank you