Ch 1 Art and Architecture

8/11/2019 Ch 1 Art and Architecture

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Art and Architecture of India

Art and architecture are true manifestations of the culture of a period as they reflect the mind and

approach of that society. It is here that the ideas and techniques of a society find visual expression.

Indus valley civilization

Distinctive features of Indus valley civilization (Understanding the civilisation with the help of

Mohenodaro !

Most of the information regarding Indus valley civilization "#arappan civilization comes from

Mohenodaro. Many unique and distinctive features are associated with the site. $ome of aregiven %elow&

(i! 'own planning and domestic architecture

(ii! amous monumental %uildings(iii! )aying of drains

'own *lanning& #arappan cities demonstrated a sophisticated sense of civil planning and

organization. +ity was generally divided into smaller citadel area in the western part and larger

residential area in the eastern part. 'he essential institutions of civic life were located in citadelarea. #uge man made %ric, platforms formed the foundation of the %uildings of citadel. It

generally had defense walls and %astions with ela%orate entrances. +ity planning roughly

followed grid pattern with streets cutting each at right angle.

Drainage system was carefully planned. #ouses generally had a courtyard as the focus with

rooms opening on to it. Most houses had individual wells- %athing places and drains. All

structure of importance was made of %urnt %ric,s. ric, wor, shows experience and expertise.

$ome important structures discovered from #arappan sites are&

/reat ath at Mohenodaro

/ranary at Mohenodaro

Assem%ly #all (+ollegiate uilding! at Mohenodaro

/ranary at #arappa

0or,men1s quarters comprising fourteen small houses %uilt in two %loc,s separate %y along narrow lane- excavated at #arappa.

Apart from 'own planning other important characteristics of #arappan civilization includes

exclusive style of Arts and +rafts

indings from #arappan sites shows"uniformity in o%ects li,e seals- %eads- toys- potteries-

terracotta- mas,s- idols and figures.


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$ome of these o%ects and their significance are given %elow&

a! $eals

$eals are most distinctive artifact of I2+. 'hey were generally made of steatite (soft

stone! and had signs- sym%ols and animal motifs on it.

'hey were used as a means of authentication and had commercial content. $eals were thegreatest of artistic creation of #arappan people. 'hey are considered as the outstanding

contri%ution of the Indus civilization to ancient craftsmanship. 'hey were generally

square and rectangular in shape and made of steatite. 'hey display variety of signs and

sym%ols. 'his ranges from geometric patterns- replica of flora and fauna- human- semi3human forms- composite animals etc. Most frequently depicted animal on #arappan seal

is Unicorn and most famous #arappan seal is 4*ashupati seal1 discovered from

Mohenodara. It depicts a horned deity sitting in a yogic posture surrounded %y an

elephant- a tiger- a rhinoceros- a %uffalo and two antelopes. 5ohn Marshall identified it as

*roto3siva.

(%! eads and its ma,ing& A%undant num%er and variety of %eads have %een

excavated from different #arappan sites. eads of gold- silver- copper- faience- steatite-shell- semi3precious stones li,e carnelian- asper are ,nown. #owever- %eads made of

steatite are numerous. $teatite %eing soft and easier to wor, was moulded and even micro

%eads were made from it.

eads were generally manufactured from locally availa%le raw materials.

'herefore- we find a%undance of shell o%ects excavated from coastal sites li,e6ageshwar- ala,ot and )othal etc.

'echniques used for %ead ma,ing involved polishing- drilling- cutting- etching

etc. raw material were chipped into rough shapes and then finally fla,ed into the final

form"shape.

'he material to %e used for ma,ing %eads was cut in different shapes and size

with the help of specific stone tools. 'he shapes were numerous li,e disc shaped-

spherical- cylindrical- %arrel shaped- segmented. /rinding polishing and drilling was

involved in the manufacture of %eads.

$pecialized drills have %een found at +hanhudaro- )othal and Dholavira

7tching on the surface of %eads shows the technical expertise of craftsmen and itreflects their ,nowledge of fine art.

Moulded %eads and micro %eads of steatite shows the extraordinary level of

,nowledge possessed %y Indus 2alley people as far as %ead ma,ing is concerned.

'he centre of production is identified on the %asic of availa%ility of waste

material that results in the process of manufacture of finished product. 'he traces of large

waste pieces used for ma,ing smaller o%ect suggest that apart from specialized centers-

craft production was also underta,en in larger cities and %ig cities such as Mohenodaro

and #arappa.


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c. #arappan *ottery

#arappan potteries are one of the finest specimens of #arappan art and some important

characteristics are given %elow&

8. #arappan pottery was highly utilitarian in character.

9. It is chiefly wheel made %right or dar, red in colour and is well %a,ed.

:. oth plain and painted ware is found. 'he plain variety of pottery %eing more

common.

;. Different types of pottery such as glazed- polychrome- incised- perforated and

,no%%ed were ,nown to #arappan people.

> +7 - =>> +7!

0e get information a%out Mauryan architecture from various sources .Megasthenes

refered to +handragupta?s wooden palace in his writings. 7xcavations at *ataliputra have revealed

wooden walls and columns. 0e also have references a%out the construction of $tupasduring the

Mauryan period from the accounts of a3heing- #iuen3'sang and in uddhist literature.

$anchi- $arnath- 'axila and harhut were some of the religious centres in which $tupas

may have %een originally %uilt in the Mauryan period- and additions were made to them in thelater period.

+ertain general characteristics of art and architecture of ancient period is given %elow &

8! Art activities were mostly related to religions.9! In early period representations of uddha in the form of odhi tree- $tupa, foot

prints- etc. were made and worshiped. #owever- as early as 8stcentury +7 images

of uddha %egan to %e sculpted. Ma,ing of images for worship %ecame common

among other religions as well.

:! 'he construction of $tupas- +haityas and 2iharas%ecame popular.

;! 'he art forms used the techinique of sym%olic representations. 'hey witnessed

decoration and extensive carving %y artists. It usually depicted scenes that were

o%served in nature and threw light on religious ideas and society of the period. In

fact- secular art forms were inherent part of religious architecture

elements of non3Indian art in the artistic creations of this period. 'his is particularly

true of the /andhara region which produced art typical to the region- in which many

different elements came to %e assimilated.

'ype of Architecture

'he architecture of this period can %e %roadly divided in two categories &


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(8! @esidential structures

0e have very few surviving monuments since in the initial phase they were %uilt of

perisha%le materials li,e wood. #owever- on the %asis of %oth literary and archaeological sources

we get sufficient information a%out the structures for this period.

(9!@eligious monuments

A num%er of ancient monuments have survived and many have %een unearthed through

excavations. 'hey fall under @eligious monuments category and are given %elow&3

(i) Stupas

uddhist art adopted the practice of preserving the remains of an important personality

%elow accumulated earth and %uilt structure over such a site. 'his structure was

worshiped and was ,nown as $tupa(a $ans,rit word meaning a heap!. $ince they

contained relics regarded as sacred- the entire stupa came to %e venerated as an em%lem

of %oth the uddha and uddhism. 'he worship of $tupasled to their ornamentation

and a specific type of architecture developed for their construction.

According to uddhist sources- the remains of the uddha?s %ody were dividedinto eight parts and placed under the $tupas. 'hese during the time of Aso,a- were dug

out and redistri%uted which led to the construction of other $tupas.

Structure of Stupas and its important components

'he stupa originated as a simple semi3circular mound of earth- later called anda. Ithad

the shape of a %owl turned upside down i.e hemispherical dome. At the top- which was a

%it flat- used to %e its harmika, i.e. the a%ode of the /ods. It was here that the urns

containing the remains of the uddha or a great personality connected with the religion

were placed in a gold or silver cas,et. A wooden rod (Yashti) was placed in its middle

and the %ottom of the rod was fixed on the top of the $tupa. n the top of this rod wereplaced three small um%rella type discs sym%olising respect- veneration and magnanimity.

/radually- it evolved into a more complex structure- %alancing round and square shapes.

)et us %riefly discuss some of the prominent $tupas %uilt in ancient India

(a! Sanchi Stupa (Madhya *radesh!

$anchi is a%out 8; ,ilometers from 2idisa (Bhilsa) and is perhaps the most famous

$tupa site in India. It was BdiscoveredC in 88. It has three $tupasall with gateways

around them. ut the most famous is the /reat $tupa which was originally made of%ric, in Aso,a?s time (c. 9 +7!. During the $unga period around8 +7 -it was

nearly dou%led in circumference. 'he %ric,s of Aso,an times were replaced %y stones-

and a Vedikawas also constructed around it.

our wonderful gateways forming the entrances to the procession path %etween

stupa and the surrounding railing- one in each direction- were added towards the end of 8 st

century +7 to %eautify it.

rom the $outhern gate we get an inscription from its architrave which tells us

that it was donated %y Eing $ata,arni and the incision wor, was done %y those craftsmen

who wor,ed inivory.


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'he northern gate and the panels depict stories from the Jatakas. 'he reliefs

of $anchi display (among other representations! the following quite prominently&

!) 'he four great events of the uddha?s life- i.e. %irth- attainment of ,nowledge-

dharmachakra- pravartana and Mahaparinirvana.

") @epresentations of %irds and animals li,e lion- elephant- camel- ox- etc. are a%undant.

#) )otus and wishing3vines have %een prominently and %eautifully carved out as ornamentation-

and

$) Unique representation of forest animals in a manner which loo,s as if the whole animal world

turned out to worship the uddha.

(%! Bharhut Stupa

'his $tupawas located 98 ,ilometers south of $atna in Madhya *radesh. 'he

main $tupa structure no longer exists.

'he important features of this $tupastructures- remains from which are now

preserved in the Indian Museum- +alcutta and other museums are &

8! /ateways or toranas which are imitations in stone of wooden gateways.

9! @ailings spreading out from the gateways. 'hey also are imitation- in stone-

of post and rail fence- %ut the stone railings of harhut have- on top- a heavy

stone %order (coping!.

:! Uprights or posts of these railings have carvings of Yakshas, Yakshisand

other divinities who come to %e associated with uddhism. $ome of thesedivinities have inscriptions on them- giving their identifications.

;! 'here areas in other $tuparailings- representations of uddhist themes li,e

Jatakastories in com%ination with various natural elements.

(c! Amaravati Stupa

)ocated ;= ,ilometres from /untoor- the $tupawas %uilt with white mar%le.

'hough the $tupaitself has completely disappeared its sculptured panels have %een

preserved in Madras and ritish Museums. 'he $tupa was primarily %uilt with the help

of the +ity3+hief and the donations from the pu%lic.

'his magnificant $tupawas ;9 metre in diameter and its height was a%out 9F

metres. It contained a circular prayer path which was 8> metres high and was made of

stone. Vedikapillars had %eautiful carvings of garlanded gods- andBodhi-tree- $tupa,

dharmachakraand the events from the life of )ord uddha and stories from theJatakas.

'he entrance gate (torana) of the $tupa depicts four lions on the Vedika.

)otuses have also %een carved over the pillars. A num%er of images have also %een found

from the Amravati $tupa. In the earlier stage uddha was represented only through

sym%ols %ut from first century +7 some uddha images %egan to %e found along with

their sym%ols.

(d! %a&ila Stupas

7xcavations at 'axila and near%y places have exposed a num%er of $tupas


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8! $ir 5ohn Marshall excavated the +hira3'ope Stupa at 'axila.

9! In8F> excavations revealed the existence of a $tupa at $hah3i3,i dheri near

*eshawar. 'his Stupa was erected %y Eanish,a and is referred to in the

accounts of a3hien. 'he sculptures and other o%ects of art are products of

/andhara style .

:! A $tupa %uilt in the $cytha3*arthian style was found at 5handial. 6ear%y wasfound a small silver cas,et enclosing one of gold- with a relic %one inside.

(ii)'oc-ut Architecture

'he earliest examples of roc,3cut cave architecture are the ara%ar caves (ara%ar

#ills- /ayaG donated %y Asho,a to Aivi,as! and the 6agaruna caves (donated %y Dasaratha!

which set the tradition for the later periods.

uddhists and the 5ainas %uilt Chaityas and Viharasas places of worship.

A chaityais a shrine cell with a votive $tupa place in the centre. It was used as

worshipping hall.

Viharaswere monastries primarily cut out of roc,s for the residence of mon,s.

Most of the maor Chaityas and Viharasof ancient period were %uilt in western

and eastern regions. or example in western India- they are located at haa- Earle-

6asi,- Aanta and Eanheri- etc. $imilarly- in eastern India we have them in Udayagiri

(rissa!.

'he general features of the Chaityasare &

(!) 'hey have a long rectangular hall ending in a semi3circle at the rear end.(") 'his long hall is internally divided into a nave- an apse and two side

aisles.(#) 'he aisles are separated from the nave %y two rows of pillars.

($) 'he pillars come round the votive $tupaplaced in the centre of theapsidal part of the nave.

(*) 'he hall has a %arrel3vaulted ceiling.

(+) 'he doorway is usually placed facing the votive $tupa.

() 'he facade has a horse3shoe shaped window called the chaitya window.

Another aspect of cave architecture is the excavation of Viharas or monasteries %y %oth

uddhists and 5ainas for the use of mon,s.In the earlier examples of the western Indian caves the plan

is irregular. In the latter ones a regular plan was adopted. 'he following are the general features of

the 2iharas&

(8! 'hey have a square or o%long hall in the centre.

(9! 'he hall is preceded in front %y a pillared veranda.

(:! A num%er of small square cells are provided.

(;! 'he cells and halls are usually provided with raised %enches for the use

of mon,s.


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'he earliest of the Viharasof western India are those at such sites as haa- edsa-

Aanta- *ital,ora- 6asi, and Earle.

Among the 5aina Viharas, those at Udayagiri and Ehandagiri (rissa! were excavated

during the time of Eharavela.

+aves continued to %e excavated during the /upta and the post /upta period. In theDeccan- some of the finest roc,3cut caves were excavated. 'here are nine caves at Udaygiri

near 2idisa. 'hese are partly roc,3cut and partly stone3%uilt. 'he caves exhi%it a gradual

advance in the design showing com%ined features of the roc,3cut and structural design.

'he caves at Aanta retaining the essential features of old- presented an altogethernew line of architecture %y the great %eauty of their pillars of varied design and size and the

fine paintings with which the inner wall and ceiling are decorated.

Another group- is the series of caves at agh- though simple in architecture- %ut are

famous for their paintings.

Another nota%le group of roc, cut monasteries and chaityahalls are those of 7llora.

'he rahmanical- uddhist and 5ain caves show the final phase of development. or theEailash temple- a %loc, of hill side was cut off- and was carved into a magnificent

monolithic temple with a spacious hall and finely carved pillars.

At Mamallapuram- num%er of pillared halls and the seven monolithic temples popularly

called rathas were carved %y the *allava ,ings- Mahendravarman and 6arasimhavarman in

the seventh century +7. 'he rathas are the culmination of complete reproduction of massive

structural temples cut out of roc,.

Monasteries and stupas were also %uilt during /upta and later /upta periods. 'he

monastic institutions which were also the centres of education- attained vast proportions

consisting of large aggregations of various ,inds of %uilding grouped together. 'he famous

centres were at odhgaya- $arnath- Eusinagar- $ravasti- Eanchi and 6alanda.

'he 6alanda University grew into a most prestigious esta%lishment from a%out the fifth

century +7. #iuen3'sang descri%es in detail the great temples- monasteries- and li%rary3

%uildings of 6alanda mahavihara.

'he period also saw the ushering in of a new epoch connected with the growth and

development of structural temples of distinctive forms and styles. $mall flat3roofed

platforms are character istics of the early /upta period. $mall- %ut elegant temple 6o. H2IIat $anchi- Ean,ali temple at 'igawa- 2ishnu and 2araha 'emples at 7ran and at 6achna

Euthara in Madhya *radesh are good

(iii)%emples

0e have insufficient data on temple structures of pre3 gupta period from

excavations. 'he earliest ,nown temples are one refered to at 5handial('axila!- the

$an,arshana temple at 6agari (@aasthan! and the temple at esnagar(Madhya *radesh!

'he /upta age mar,ed the %eginning of temple construction. It ushered in of a

new epoch connected with the growth and development of structural temples of

distinctive forms and styles and laid the foundation of the typical styles of Indian

temple architecture. 'h e ma nu al s on th e construction of stone temples were


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written during this period giving minute details of construction which were faithfully

followed %y the craftsmen.

$mall flat3roofed platforms are characteristics of the early /upta period.

$mall- %ut elegant temple 6o. H2II at $anchi- Ean,ali temple at 'igawa- 2ishnu and

2araha temples at 7ran and at 6achna Euthara in Madhya *radesh are good examples

of early temple architecture. /radually- these temples developed a shikhara on theroof which came to %e adopted all over the country. 'wo %est examples of this type

are the %ric, temple hitargaon in Eanpur and the Dasavatara temple at Deogarh-

%oth in the Uttar *radesh.

'he shape of shikhara i .e. - the superstructure a%ove the sanctum3

sanctorum containing the images of deities mar,ed the development of two

distinctive style viz.- northern Indian style (Nagar style! and south Indian style

(Dravidian style!. At Aihole- adami and *attada,al we find temples of %oth styles.

aor Styles of %emple Building in India

'he terms agara, 0ravida indicate a tendency to highlight typological features of temples and

their geographical distri%ution. 'hese terms descri%e respectively temples that primarily employ square-

octagonal and apsidal ground plans which also regulate the vertical profile of the structure.agara and 0ravida temples are generally identified with the northern and southern temple

styles respectively. All of northern India- from the foothills of the #imalayas to the central plateau of the

Deccan is furnished with temples in the northern style. 'he Dravida or southern style- comparatively

spea,ing- followed a more consistent development trac, and was confined to the most southenly- portionsof the su%3continent- specially %etween the Erishna river and Eanya,umari. 'he earliest examples of

Dravidian style temple is the roc,3cut temple ,nown as Dha rma ra a ratha at Mamallapuram and

structural temples at Eanchi- ,nown as Eailasanatha and 2ai,untha *erumal- all %uilt %y the *allava

Eings.

Shapes and 1lans of %emples

7ach temple style has its own distinctive technical language- though some terms are common %ut

applied to different parts of the %uilding in each style. 'he sanctuary that is the main part is called the

vimana where the gar2hagriha or the inner sanctum containing the main presiding deity is located. 'he

part surmounting the vimana is ,nown as the shihara. 'he other elements of ground plan are&

mandapa or pavilion for the assem%ly of devoteesG antarala, which is a vesti%ule connecting the vimana

and mandapa and the pradashiapath, i.e. circumarn%ulatory passage surrounding these. 'he natmandir

or dance hall and 2hogamandapa were evolved su%sequently in the rissan temples such as the famous

$un temple at Eonar,a- to add to the dignity and magnificence of the deities who were honoured in them.

'he exterior of the 6agara type is characterized %y horizontal tiers- as in the agamohan or porch

in front of the sanctum of the )igara temple at hu%aneswar- and the viman, is usually circular in plan.

undamentally- there is no structural similarity .'he Dravida or southern style has a polygonal- often octagonal shihara and a pyramidal

vimana, which is rectangular in plan. A temple of the Dravida type is also nota%le for the towering

gopurams or gatetowers of the additional mandapas. rom the days of /anesh ratha of the *allava

times (seventh ceniury! at Maha%alipuram (near Madras! to the gigantic rihadishvara temple (c.F89 A.D.! of the +holas at 'hanavur - the Dravida style too, many strides.


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Important Indian %emples

%34 5'%34'.S%674

orthern, entral and 8estern India (9ifth-seventh centuries)

'he Dashavatara temple at Deogarh (5hansi District!G the %ric, temple at hitaragon (EanpurDistrict)

%he 0eccan and entral India (Si&th-eighth centuries)

+ave temples at 7llora (near Auranga%ad in Maharashtra), 7lephanta (near om%ay! and adarni

(north Earnata,aG 7arly +halu,yan temples in north Earnata,a at adami- Aihole ()ad,han

temples!

8estern and entral India (4ighth 3 thirteenth centuries)

#arihara and other temples at sian (6orth of 5odhpur- @aasthan!G +handella temples at

Ehauraho (specially- )a,shman- Eandariya Mahadev and 2ishvanatha!G $un temple at Modhera

(/uarat! and Mar%le temples of the 5ains at Mt. A%u (@aasthan!.

4astern India (4ighth 3 thirteenth centuries)

Mu,teshvar- )ingara and @aarani temples (all at hu%aneshwar!G $un temple at Eonar,a

(5rissa) and the agannatha temple at 1uri (rissa!.

%he 3imalayan 2elt (4ighth century on:ards)

$un temple at MartandG temple at Masrur (Eangara- #imachal *radesh! and %rahmanical templesin 6epal (Eathmandu- *atan and hadgaon!.

%34 S5;%34' S%674

%he 0eccan and %amil adu (Si&-tenth centuries)+ave temples- the 'athas and the ?$hore? temples of *allavas at Maha%alipuram (near Madras!G

Eailasanatha temple at Eanchipuram (also near Madras!G +halu,yan strctures at Aihole and

adami Gthe Eailas temple at 7llora carved out under the patronage of the @ashtra,u5as-


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0e have remains of high quality sculpture from Mauryan period. f the several

stone sculpture the a,shi and a,sha (at Didargan- *atna! %earing the distinctive

polish of the Mauryan $chool are example of extraordinary craftsmanship and are

most attractive.

Sunga Art

'he period of $ungas to which art activity at harhut and $anchi is

attri%uta%le represents an epoch in Indian art. 'he artists mastered now the difficult

technique and3acquired a highly developed aesthetic sense.

$tupas of arhut and $anchi were improved. ld wooden railings (of

Mauryan time! of $anchi stupa was removed and su%stituted %y stone railings and

gateways (toranas!. Important events from uddha1s life- 5ata,a and floral designs

have %een s,illfully carved on these gateways. A stone caving of a,shi holding

$hala%ani,a %ranches of trees is stri,ingly %eautiful.

Amravati School

A school of sculpture developed in the lower /odavari valley under $atavahanas

(9nd3 :rd century +7!. 'he extant remains consist of many fine- ornate pieces of the great

stupa of Amravati. 'he %ass3relief medallions and paneled fences made of white limestonedepict events from the uddha1s lifeand theJatakas(the famous one- depicting the story of

the taming of elephant %y the uddha!.

'he figures represented in different poses and curves convey intense vitality

and sense of rapid movement.esides the later $outh Indian sculptures- the influence of this

school were also felt in +eylon and $.7. Asia.

=andhara School of Art

/andhara is located in the north3western part of the Indian su%3continent. 'he /ree,s- Mauryas-

$a,as- *ahlavas and Eusanas occupied it. As a result- this place produced a mixed culture. #ere Indian

craftsmen in contact with the /ree,s and @omans and +entral Asians wor,ed in unison under the

inspiration of the new devotional uddhism (Mahayanism!. Its art- which was mainly uddhist- was

profoundly influenced %y #ellenistic art. 'hey produced in stucco (plasters! and stone (a ,ind of %lac,

stone! a large num%er of images of uddha and odhisattvas and also votive plaques (relief

sculpture!. 'he latter depicted scenes from the uddha?s life and the 5ata,as.

'he /reeco3@oman style modeled the images laying stress on accuracy of anatomic details and

physical %eauty (delineation of muscles- addition of moustaches- thic, transparent drapery with large

and %old fold lines!. amous for grace and realism this school influenced Matura $chool and also

+hinese and 5apanese plastic art.


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'he main centres from where the art pieces of /andhara $chool have %een found are 5alala%ad-

amaran- egram and 'axila.

athura School of Art

'he origin of Mathura art form is traced %ac, to the second century +7. this school produced a

variety of sculptures and other pieces of art for the followers of uddhist- 5aina and Brahmanical faiths Itwas primarily an indigenous 5aina school of free standing sculpture centered at Mathura. rom the

%eginning of the +hristian era it came under the patronage of the Eushanas. A significant dimension of

Mathura art is that it also produced images of ,ings and other nota%les. It produced in white spotted red

sandstone %eautiful figures of the uddha and the odhisattvas and the 'irthan,aras. At the same time

what they were creating- from local red stone- were uniquely of Mathura. ther stri,ing remains consist

of votive plaques showing cross3legged na,ed figure of a 'irthan,ara in meditation- graceful and provocative

a,shi and Eushana @oyal statues 'he votive pillars from ?Ean,ali'ila demonstrate how feminine %eauty

has %een utilised %y the sculptor. 'he themes handled %y the Mathura artists are in fact many- and- as in$anchi and harhut- the artist chose elements from nature to enrich his creation.

.

'he earliest images of Bodhisattvas and uddha were perhaps made at Mathura.

'he sym%olism and iconographic forms of Mathura was later adopted in the /upta $chool- which produced

some of the greatest Indian religious sculpture.

auryan Art

Ancient Indian Art made remar,a%le progress during Mauryan period. $tone masonry wasintroduced on a wide scaleG caves were hewed out from roc,s. *illars- stupas- caves together with the

figural images are important products of the Mauryan art.

(i)1illars

'hey were uniformly styled- monolithic (grey +hunar sandstone!- highly polished (silicious

varnish! and gracefully proportioned (spherical column tapering slightly towards top! often

covered with realistically modelled sculpture (animal figures- lion- %ulls etc.!- free standing set

up throughout the length and %readth of the country- the most impressive ones %eing at $arnath-

)auriya @ampurva and )auriya 6andangarh.

(ii)Stupas

'hey were tumulus3li,e structure containing relics of the uddha and odhisattavas and other

%uddhist saints. uddhist tradition testify ;->>> of them %uild %y Asho,a- some of which was

later enlarged and enclosed.

'he masterpiece- $anchi stupa- was %ric, %uilt- thic,ly plastered- crowned %y an um%rella of stone-

and fenced. )ater- stone railings and lively J %eautifully carved gateways were added to it. All

these depicted events from the life of uddha (sym%olic depiction! and 5ata,as- landscape of trees

and floral designs- group of animals and %irds and %eautiful figures of a,shas and a,shinis.


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'he temple architecture in Deccan got a %oost in the Kth century under the chalu,yas of adami.

'he numerous temples that were erected at Aihole (K> temples now in ruins! and adacent adami and

*attada,al show a uxtaposition of the 6agara and Dravida ($hi,hara! style. *attada,al has ten temples

(K3th century! the most cele%rated of which %eing the *apanatha temple and the 2irupa,sha temple 3

the former with a low and stunted tower in the 6agara style and the latter with a very high and storiedtower constructed in purely Dravida style. 'his admixture of ideas later evolved into a hy%rid ?2asara

$tyle

'he temple walls are adorned with %eautiful pieces of sculpture representing scene from the

@amayana.

'ashtrauta Art

. 'he early tradition of roc,3cut architecture which had started under $atvahanas reached its zenith

at 7llora under @astra,utas (who supplanted the +halu,yas in Deccan!. f all the roc, cut architecture

during any period- the great Eailash temple at 7llora (dedicated to $iva- %uilt in th century %y Erishna

I! is a supreme and unique achievement. It is the largest and the most splendid roc, monument

(descri%ed as the world?s greatest roc, poem! reproducing the intricacies of a structural temple in fullest

details. It also stands as the most outstanding example of the Dravida conception and composition&

esides 7llora- the frescoes in Aanta caves- and a roc, cut cave shrine at 7lephanta with its

gigantic (


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classical and medieval traditions in a rare perfection. 'he erotic sculpture depicting all the varied

emotions from romantic love to the ecstasy of sexual passion are however never titillating.

$ome important. 'emples are&3.

ishvanath templecontains some of the most lyrical images of women.

hola Art

'he Dravida style of the modest *al lava $hrine climaxed under imperial +holas (of A.D 3

89>>! with the horizontal ela%oration and magnification of the temple complex adding to the

architectural grandeur.

'he vimana reached to towering heights and impressive size and pillared halls- enclosures with

su%sidiary shrines and gopuram were added to the temple complex. f the two great Dravidiancreations- the rihadeshwara temple at 'anore and the /angai,ondacholapuram temple- the former

(%uilt %yRaja have a =< meters high vimana- the grace and grandeur of which is par excellence. 'he

pillared halls- one of it having various dance postures from the 6atyashastra sculptured on it- are fine

specimen of +hola art. 'he walls of the inner shrine contains numerous fine fresco paintings on

religious themes.

Art of sculpture also evolved to reach a high water mar,. Iconic in conception and execution it portrays

$iva?s various form (as the destroyer of evil! and 2ishnu avtars. +hola ronze sculpture casted %y the

lost wax process (the cire *erdue technique! and ,nown for its aesthetic impact is %est representative in

the image of 6ataraa. Its grandeur of composition- its sym%olism- its artistic excellence and its charm

is the connoisseur?s attraction world wide. +hola $tone sculpture done in high relief has delicate outline

and depicts divinity in terms of a super human type.

1andaya Art

During *andavas the Dravida style further evolved towards its climax. 'he *andaya temples at Eanchi

J Madurai have high outer walls with enterance gateways topped %y gopurams. Attention was now

concentrated on the gopuram rather than the vimana " shi,har a%ove the main shrine. 'he artistic glory

of the gopuram %ecame so popular that it %ecame a special characteristic of south Indian temples- (the

gopurams of Eanchi and Madurai temples can %e seen from long distance %ecause of their elevation

and dimension!.

A'3I%4%;'A7 5%'IB;%I5 59 >I?A6A=A'

In the architectural field the city of 2iayanagar occupied a preeminent position. Its description

from the pens of such o%servers as the Italian 6icolo +onti- the *ortuguese *eas and the *ersianam%assador A%dur @azzaq is really flattering to the high s,ill of the architect of 2iayanagar. n the %asis

of the ruins found at #ampi- we must try to understand the important characteristics of the viaynagar

architecture which according to scholars had %oth religious as well as secular structures. 'he structures of

the period reflect material prosperity. 'hey are very ela%orate. In fact structures li,e temples were


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provided with a larger num%er of structures3gar%hagraha- shrines- pillared walls- pavilions and other

aduncts enclosures and %ecame more spacious than in the previous periods-

$ome of the important characteristics are given %elow&3

'he use of pillars for architectural as well as decorative purpose is on an unprecedented scale.

'he pillars and piers are very prominent in the architectural scheme of the temples. 0e find

varied and ingenious designs of the pillars. 'he sculpture on pillars illustrated various myths andlegends. rnamented %rac,ets from the part of pillar capitals. #orse was the most common

animal on the pillars

Another distinguishing feature is the use of huge reverse curve eaves at the cornice. 'his feature

has %een %orrowed into the style from the Deccan and gives the pavillions a dignified appearance

In terms of temple architecture- %y this period certain new features were in evidence. Mandapa

or open pavilion with a raised platform- meant for seating deities are common. 'wo accessory

structures 3 the Amman shrine and the Ealyanmandapa %egan to %e considered indispensa%le

elements apart from the gar%hagraha and the gopurama.

/ar%hagriha is central part of the temple where the presiding deity is installed. 'he Amman

shrine is a su%sidiary temple- enshrining the consort of the chief deity of the gar%hagraha. 'he

Ealyan3mandapa- with ela%orately carved pillars was %asically an open pillared pavilion with an

elevated platform in the centre. It is an important characteristic of temples of the period since it

was used for the exhi%ition of the images of deity and his consort on ceremonial occasions. 'he

Ealyan3mandapas were also meant to cele%rate divine weddings.

/opurams or royal gateways of the period were huge structures and often dwarfed the towers

on the central shrines- and signaled the presence of the temple from a great distance. /opurams-

with their lavish figure ornamentation and forming huge entrances to temple enclosures- grew

taller and more numerous.

'he walls of the temple- at times- had painted scenes from the @amayana and the Maha%harata many

of the secular %uildings of the period have Indo3Muslim featuresG the elephant sta%les with a dome over

each individual stall- and the )otus Mahal with its cusped arches prove the point

>iaynagar art

'he remains of 2iaynagar show the past magnificence in architecture J sculpture. 'he #indu

resurgence is reflected in the large num%er of temples- %uilt in 0ravida style with some typical

improvisation. 'he %est examples are the 3azara 'ama %empleand the >ithalas:ami temple.

'he prominent features are addition of Ealyanmandapa (a large ornate pillared hall! and pavallion-towering gateways- varied and artistic treatment of pillars and intricate carvings.

'he #azara @ama 'emple is modest %ut one of the most perfectly finished extant specimen of #indu

temple architecture. 'he 2ithalaswami temple (planned on a grandiose scale %ut never completed!

shows the extreme limits in florid magnificence of the 2iaynagar style. 'he 2elour temple has the

Ealyana Mandapa in its richest and most %eautiful form. ther examples are found at Eum%a,onam-

Eanchipuram- $rirangam- @ameshwaram and )epa,shi. At )epa,shi one nota%le structure is the #all of

Dance and the pillar decoration of the 2ira%hadra temple there shows the typical sculpture?s device of


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creating motif in which part of one o%ect figure was incorporated into the design of another 'he literary

evidences regarding the city of 2iaynagar and its palace are also very impressive (as large as @ome- seven

concentric fortifications! 'he 6aya,as who rose on the fall of the 2iaynagar empire furthered- the artistic

traditions of 2iaynagar. 'he most famous architectural landmar, of the age is the Meena,shi 'emple at

Madurai (in fact it refers to the /reat temple complex with two $hrines dedicated to $iva and his consort inthe form of goddess Meena,hsi!. 2irtually every space in this structure is filled with surface carvings of

niches- pilasters and other forms. A maor contri%ution of the 6aya,a artists was the %uilding of ?pra,arams?(roofed am%ulatory passageways! of su%sidiary shrines. 'he spire ;>m in height curved and having a

rounded top is very impressive&

3oysala Art

A new style of architecture was developed under #oysalas (who succeeded the later chalu,yas! in the

Mysore plateau ($outhern Eacnat,a! %y 89th 38:th A.D. 'ypical #oysalas features are polygonal (star

shaped! rather than square plan- high plinth which offers the windings of temples a huge length of vacantspace to %e ela%orately carved with sculptures- J low pyramidal $i,hars.

'he %est ,nown example of the #oysala style is the #oysalesvara temple of #ale%id. 'he ?


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I05-IS7AI A'3I%4%;'4

'he advent of the 'ur,ish rule in India is significant in more than one respect.0hile it gave rise to a new

socio3political system it also mar,ed the %eginning of a new expression in art. 'he style of architecture

that evolved during this time is called Indo3Islamic.

Unli,e architecture- the art of painting as practised in the Delhi $ultanate is not properly documented. 0e,now that calligraphy and %oo,3illumination in the Islamic world had achieved supreme heights %y the

close of the 89th century. 'here also existed a developed tradition of figural murals in the /haznavi

,ingdom. *ossi%ly the same tradition was camed to Delhi %y the early 'ur,ish $ultans where it flourished

in the 8:th and 8;th centuries.

e: Structural 9orms

Arch and Dome 'he pre3'ur,ish forms li,e lintel and %eam were replaced %y true arches and

vaults and the spired roofs (shi,had! %y domes. Arches are made in a variety of shapes- %ut in

India the pointed form of the Islamic world was directly inherited. And sometime in second

quarter of the 8;th century- another variant of the pointed form- the four3centred arch- was

introduced %y the 'ughluqs in their %uildings.?lt remained in vogue till the end of $ultanateperiod

uilding Material & 7arly 'ur,ish %uildings in India used richly carved capitals- columns- shafts

and lintels from pre3'ur,ish %uildings. In India- towards the %eginning of the 8;th century when

the supply of such matetial had exhausted- %uildings were raised %y using originally quanied or

manufactured material.

In the masonry wor,- stone has %een used a%undantly. 'he foundations are3mostly of rough and

small ru%%le or- wherever it is availa%le- of river %oulders- while the superstructure is of dressed

stone or roughly shaped coarsed stonewor,. #owever- in either case- the %uildings were plastered

all over. 'he material commonly used for plastering %uildings was gypsum. Apparently lime3

plaster was reserved for places that needed to %e secured against the lea,age of water- such as

roofs- canals- drains- etc. In the later period- i.e. around 8


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19/52

As a consequence of Aurangze%?s lac, of interest in the art of painting- there was a dispersal of

artists to the courts of local rulers which led to the growth of the @aput and *ahari schools of painting.

.

olonial Architecture

'he ritish and other 7uropeans who came to India as traders during sixteenth and seventeenth centuries

modified the ur%an scene of India. As an external trading force the initially settled in coastal areas "

locations. 'hey first developed some trading ports such as $urat- Daman- /oa- *ondicherry- etc. and

contri%uted in the field of art and architecture.

y the middle of the 8th century the 7nglish were a%le to esta%lish unquestiona%le supremacy over all

the foreign competitors in the trade of Indian merchandise. In fact they %ecame a political power andruled India as its colony for a significant period.'he settlements esta%lished %y ritish provided positive

contri%ution to the ur%an development of the country. 'he ritish later consolidated their hold from

three principal nodes N Mum%ai (om%ay!- +hennai (Madras!- and Eol,ata (+alcutta! N and %uilt

them in the ritish fashion.

Architecture Style

'hree %road architectural styles were used&3

!. 6eo3classical or the new classical3 Its characteristics included construction of geometrical

structures fronted with lofty pillars- arches etc.derived from /raeco3@oman architecture. It was

derived from a style that was originally typical of %uildings in ancient @ome- and wassu%sequently revived- re3adapted and made popular during the 7uropean @enaissance. 'he 'own

#all - 7lphinstone +ircle etc. were %uilt in this style .

". 6eo3/othic style3It characteristics included high3pitched roofs- pointed arches and detailed

decoration. 'he /othic style had its roots in %uildings- especially churches- %uilt in northern7urope during the medieval period. 'he neo3/othic or new /othic style was revived in the mid3

nineteenth century in 7ngland. 'his was the time when the government in om%ay was %uilding

its infrastructure and this style was adapted for om%ay. 'he $ecretariat- University of om%ay

and #igh+ourt were all %uilt in this style. the most spectacular example of the neo3/othic style

is the 2ictoria 'erminus.

#. Indo3$aracenic style3 It was a hy%rid architectural style developed towards the %eginning of the

twentieth century. It com%ined the Indian with the 7uropean. It characteristics included

domes-chhatris- ja'is- arches.'he /ateway of India- %uilt in the traditional /uarati style is the

most famous example of this style. 'a Mahal #otel was made using similar style.


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Indian 1aintings

4arly evidence

*re historic 3 cave wall paintings at him%et,a (hopal!.

*roto historic 3 *aintings on valley- showing maturity and range from vigorous realism throughrhythmic stylization to stri,ing expressive a%straction.

#istoric 3 'he earliest extant painting (on walls- called Mural painting! at 5agimara cave (@amgarh

#ills- $irgua- #.*.! dates %ac, to 8>> .+. the earliest painting which has come down to us well

preserved are the water colour painting done on plastered wall (called frescos! at Aanta37llora- agh-$ittannaval etc. (8>>A.D.3>>A.D.!.

)iterary @eferences 3 'he literature of pre +hristian era (rahmanical and uddhist! tal, of such

types lepya chitra (on textiles!- le,hya chitra (s,etches!- dhuli chitra etc.

2atsyayana?s Eamasutra ('hird century A.D.! lists paintings as one of the sixty four Ealas (fine arts!

and explains the six cannons of painting. 'hey are&

(i! @upa%heda- ,nowledge of appearance- (ii! *ramanam- right perception- measure and structureG (iii!

hava- cognition of action of feelings on formsG (iv! )avanya yoganam- infusion of grace and rhythmG

(v! $adrisyam3similitude.(vi!2arai,a %hanga- deftness in use of %rush and colors.

During /upta period literary reference prove that apart from professional artists- men and women

of upper classes could a%ly handle %rush.

Schools and Styles

%he Indian ural %radition

India has a rich and deep rooted mural tradition which finds its %est expression in Aanta frescoes.

%echniue'hese murals are Ofresco saccoO and not fresco %uono (i.e. true fresco! as the actual

painting is done on a dry surface and not on wet plastered wall.

8>>3>> +entury. A.D.- $ungas- 2a,ata,as and /uptas (mostly!.


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'he murals (fresco $acco! are thematically religious depicting scenes from uddha?s life

and the 5ata,as. 'he decorative design includes *attern and scrolls and flora and fauna

used sinuous lines and sensitive colours. Devoid of perspective- depth illu sion ismanaged %y planning the %ac,ground figures somewhat a%ove the foreground ones.

'he Aanta style %ecame a fountainhead of Asian painting and murals ($igiriya- $rifan,a-

amiyan- Afghanistan- +hina (along the sil, route!- Eorea and 5apan!.

Bagh 1ainting

'he Aanta axiom extended to Malwa and the Murals at agh are at par with it in variety of

design- vigorous execution and decorative quality.

Sittannavasal 1aintings

'he mural tradition of seventh century in *andaya?s period- characterized %y :aina themeand sym%ology.

1ala School (iniature 1ainting)

Fth389 th century& 7astern India- ihar and engal.

0 0or,s consists of oo, illustrations on palm leaf and paper manuscripts. Inspired %y

2arayanism and devoid of fol, quality the miniatures are a,in to the Deccan murals (in

reduced dimensions!. $inuous and swift lines with su%dued tones depicts conventional

landscape and flora in different shades highlighted %y white.

?aina - iniature 1ainting (Ap2hramsa School)

89th38


22/52

a%sence of primary calours- outlining done in %lac, (of the forms of figures and details of their

costumes! and flat application of colours- and three quater profiles of faces (due to appending of

detached farther eye!. 'he elements of landscape (tree- roc, etc.! are arranged almost li,e textile

design- filling the space and setting the scenes while attempting to capture the li,eness of the

physical world. As in earlier traditions realism was not the main concern.

$ultanate *eriod&

A fusion was attempted at %etween the *ersian and Indian 'raditional style (in 6imat 3 6amah - early

sixteenth century- Malwa- and )aur3 canda!- which consummated in Mughal $chool and @aasthani style.

'aasthani 1ainting ('aput 1aintings)

$ixteenth& 7ighteenth +entury AD

Influences& 5aina and Mughal schoolsG contemporary literature and music.

6ature& Miniatures- decorative and natural with human figures- playing insignificant role.

'hemes& )ove (@adha3Erishna cult!- scenes)rom epics myths and legends.

$pecial features& @agmalas (*aintings personifying the ragas! and aramasa (seasons portraiture!

$u% styles 3 Mewar- Am%er- undi- /uarat- 5odhpur- Malwa- 5aipur- Eishangarh differs in the matters of

delineation of faces and modes of dressing.

'hey are miniatures resulting from the amalgamation of 5aina school with Mughal style and influenced

%y contemporary literature and music. 'hey are decorative (in composition and colour scheme! and

intimately natural. 'he central theme of love is represented %y @adha3Erishna legend. $cenes from the epics

and mythologies and depiction of traditional tunes- @agmala and season portraiture- aramasa etc. are other

features.

@agmala paintings&

*art of @aput paintings attempting at a *ni+*e synthesis- they are sym%olic representation of musical

mode (@agas and @aginis!. 'his is done %y personifying and associating the modes with particular scenes

from #indu Mythology- particularly the romantic devotional literature related to Erishna legends. 'he@agamala (/arland of the Musical modes! depicts ragas and raginis in their emotive settings- usually in a

series of thirty six scenes. 7ach melodic root form is sym%olically assigned a specific colour- which remains

constant in all compositions. 'he function and qualities of melodic roots determined the mood of their

representation.

e:ar 1aintings

8=9


23/52


24/52

miniature Its offshoot were 'ehri /arwal school and the $i,h school- the later flourished in nineteenth

century under @aneet $ingh.

0eccani Schools

Although contemporary to Mughal $chool they derived their conventional forms from the

2iaynagar and the iapur court painting. Important centres were at Ahmednagar iapur (underpatronage of I%rahim Adil $hah! and /olconda (portraits showing the royal taste in fruits- scented

flowers and pets.!

%anore (%hanauer) Style

It was developed under the royal patronage of 'anore Maratha rulers shows strict adherence to the

cannon of iconography as paintings were made for ritual and worship (of 2ishnu- $hiva and Erishna

and not for display!. Used pure colour in flat manner with %ac,ground in red and green.

1atna Style of 1ainting

#umayun was instrumental in laying the foundation of the Mughal style of painting out of which

arose num%er o Ealam %rush style- the *atna Ealam %eing one them. est ,nown artists are

$hiva )al and $hiva Dayal. 'hough $hiva lal specialised in miniatures he also painted Indian festivals.

#is %est %eing picture of a Mohammadan wedding. 'he painters of the *atna Ealam ,new how to

extract colour from plants- %ar,s- flowers- metal etc. 'hey painted on glass mica and ivory sheets.

*rincipal centers %eing *atna- Danapur and Arrah.

adhu2ani

A simple fol, art of Mithila region- tantri, in origin- depicts fol,lore in the mud wall yellow

representing the earth- white warred fire- %lac, air and %lue s,y. 'he pictorial forms are the human

representatives of antra- the root of 'antra.

ompany Style

It developed at the %ehest of the officials of 7ast India +ompany who introduced the Indian artists

to the water colour technique for depicting Indian life and scenes of their li,ing. $uch synthesis of

western technique and the Indian form however resulted in wor,s of low standard.

odern Art in India

ritishers esta%lished (after 8


25/52

odern / 5riental Art

'he new art movement early this century received its primary stimulus from emerging national3

ism and from its desire to create a truely national art as against the foreign art as taught at the arts

schools in om%ay- +alcutta and Madras. @aa @avi 2erma (of 'ravancore $tate! a product of Madrasart school studied oil paintings and specialized in portraiture. #e welded @oyal Academy naturalism

with Indian myths and legends and created lively images of Indian past. #e also started producing the

colour prints of those printings (oleographs! and %y the end of the 8Fth century practically every Indian

home was in possession of such print depicting #indu deities. 'his at 3once gave him popular

recognition through out the country. +ritics accuse him of the 7uropeanization of Indian Art (o) having

failed to convey adequate expression o) Indian feelings or of the poetic faculty that an Indain allegony

ought to %e capa%le of evo,ing.! 'his controversy of @avi 2erma?s paintings was responsi%le of an

awa,ening that led to the emergence of a new and significant artistic movement in engal.

eo-Art ovement (Bengal School of 1ainting)

It was pioneered %yE.B.Havell(*rincipal- art school +alcutta! who drew attention o) %$anindranath

'agore to the rich heritage of classical Indian Art and the Mughal miniatures. Amanda Kentish

Coomaraswamy (of $rilan,a! who wor,ed for several years in India and wrote several authoritative

%oo,s on history and development of lndain Art also played an important role in the rise of the engal

$chool. /uided %y the Indian canons of painting and traditions they painted miniatures in water colour

(mostly with a limited palettle! on theme mostly drawn from Indian Mythology- the epics and classic

literature. A.6. 'agore was influenced %y the 5apanese technique of water colour wash painting which

created delicate love and mystifying areas&

'he engal school had a great flowering of talent at @. 'agore?s Eala havan $hantini,etan which was

dominated %y three eminent artists

Mandan )al ose- inode ihari Mu,heree and @anilcin,ar ai (sculptore with immense drive rooted

to the native Indian soil for sculptural forms!.Nandlal Bose# a disciple of A.6. 'agore was painter of

distinction and a nationalist #e derived inspirations form fol, art also. #e did large posters for pandals

durings congress sessions.

'he artistic creed of the engal $chool which endeavored to revive the lost values and revitalise theindigenous system had %ad effects too- for it too, art %ac, to the su%ect matter of ancient period. And

this was gradually challenged with new development for a genuinely 3individual search for content and

form leading to a successful synthesis o) Indian and 7uropean3techniques. 5amini @oy who emerged

out of the engal school- fol, tradition (of engal J rissa! and the Ealighat paintings of ninetieth

century painted image with minimum of lines and %right colours on a plain %ase- which gave hispaintings place in the history of modern art.

Amrita Sher Gil, a maor artist of the pre3independence era- had thoroughly understood the modern

spirit and mode of expression. #er oil painting (a few portraits %ut many more of *una%i peasants-

mostly women! are diverse in theme and rich in 3colour with the figure having a quaint emaciated

physiognomy li,e that of /anguins women (*ost impressionist!. ut they are thoroughly Indian.


26/52

Ravindranath ,agore# through his innumera%le wor,s (in water colour- crayons- and mixed media!

emerged as an important painter. #is paintings are strongly individualistic with his own moods instilled

into them. It was utterly his own art out with the e3gal school having no influence.

*rogressive artists /roups ( 6.$onre E.#.Ara- $.A.@era- $.E.a,re- #3A. /edeG M..#ussain!&

It was formed in om%ay- in 8F;- due to the vision and initiative of rancis 6ewton $ouza. $ouza a

man of leftist leaving was a re%el painter who defied old norms and conventions. #is paintings were

done in expressionist colours and styles and were suffused with contemporary human situation.


27/52

Some Important onuments

1urana @uila (5ld 9ort)- Delhi was %uilt $her $hah $uri (8- the Alai

Darwaza- Quwwat3ul3Islam MosqueG the tom%s of Altamish- Ala3ud3din Ehali and Imam RaminG the AlaiMinar- a Km high Iron *illar- etc. 'he latter also ,nown as Iron *illar of Mahrauli is one of example of

metallurgical achievement of ancient India since it is still rust free.

U67$+ has declared the highest stone tower in India as a world heritage.

Quwwat3ul3Islam Mosque- to the north3east of Qutu% Minar was %uilt %y Qutu%3ud3Din Ai%a, in A.D.

88F. It is the earliest extant 3 mosque %uilt %y the Delhi $ultans. It consists of a rectangular courtyard

enclosed %y cloisters- erected with the carved columns and architectural mem%ers of 9K #indu and 5aina

temples- which were demolished %y Qutu%3ud3Din Ai%a, as recorded in his inscription on the main

eastern entrance. )ater- a lofty arched screen was erected and the mosque was enlarged- %y $hams3ud3Din Itutmish (A.D. 898>3:

'he Iron *illar in the courtyard %ears an inscription in $ans,rit in rahmi script of fourth century A.D.-

according to which the pillar was set up as a 2ishnudhvaa (standard of god 2ishnu! on the hill ,nown as

2ishnupada in memory of a mighty ,ing named +handra. A deep soc,et on the top of the ornate capital

indicates that pro%a%ly an image of /aruda was fixed into it.

'he tom% of Itutmish (A.D. 89883:=! was %uilt in A.D. 89: (A.D. 8:88! as recorded in the inscriptions engraved on it.

'his is the first %uilding employing Islamic principles of construction and ornamentation.

Alai Minar- which stands to the north of Qutu%3Minar- was commenced %y Ala3ud3Din Ehali- with the

intention of ma,ing it twice the size of earlier Minar. #e could complete only the first storey- which nowhas an extant height of 9< m. 'he other remains in the Qutu% complex comprise madrasa- graves- tom%s-

mosque and architectural mem%ers.


28/52

>ictoria emorial, Eol,ata was %uilt %etween 8F>= and 8F98 to commemorate Queen 2ictoria?s 98.

'his huge white3mar%le museum- made from Ma,rana mar%les from @aasthan- is filled with a vast

collection of remnants from the period of ritish 7mpire rule in India.

'he *rince of 0ales- Eing /eorge 2- laid the foundation stone on 5anuary ;- 8F>= and it was formally

opened to the pu%lic in 8F98.

'he 2ictoria Memorial was designed %y $ir 0illiam 7merson- *resident of the ritish Institute of

Architects.

'ashtrapati Bhavan,the official residence of the *resident of India- is located in 6ew Delhi. It was

designed %y 7dwin )andseer )utyens as the erstwhile residence of the ritish 2iceroy. 'he %uilding

completed in 8F9F- was scheduled to %e constructed in four years %ut it too, 8K years to complete it.

'he decision to %uild a residence in 6ew Delhi for the ritish 2iceroy was ta,en after it was decided that

the capital of India would %e shifted from +alcutta (Eol,ata! to Delhi. It was 9= th5anuary 8F that the

%uilding was renamed as @ashtrapati havan 3 the *resident?s #ouse.

'he %uilding is %uilt in two shades of sandstone and reflects a %lend of Mughal and classical 7uropean

style of architecture.

Inside the *residential 7state there is the elegant Mughal /ardens- which covers an area of 8: acres and is

a %lend of the formal Mughal style with the design of a ritish /arden.

'he Mughal /ardens are open to the pu%lic in e%ruary3March every year.

'ed 9ort, 0elhi,is ,nown %y that name %ecause of the red stone with which it is %uilt. 'he Mughal

emperor- $hah 5ahan- after ruling from Agra for eleven years- decided to shift to Delhi and laid the

foundation stone of the @ed ort in 8=8. It was inaugurated in 8=;K. 0ith a circumference of almost one

and a half miles- the fort is an irregular octagon and has two entrances- the )ahore and Delhi /ates. 'he

Diwan3e3Aam is the @ed ort?s hall of pu%lic audience. 'he Mughal emperors would hold court here and

meet dignitaries and foreign emissaries. 'he piece de resistance of the fort- the Diwan3e3Ehas was the hall

of private audience. 'he most highly ornamented of all $hah 5ahan?s %uildings- it is a pavilion of white

mar%le supported %y intricately carved pillars. $o enamoured was the emperor %y the %eauty of this

pavilion that he engraved on it the following words& OIf there is paradise on the face of this earth- it is this-it is this.O

@ichly decorated with flowers of inlaid mosaic wor, of cornelian and other stones- the Diwan3e3Ehas

once housed the famous *eacoc, 'hrone- which when it was plundered %y 6adir $hah in 8K:F- was

valued at six million sterling.


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India?s history is also closely lin,ed with this fort. It was from here that the ritish deposed the last

Mughal ruler- hadur $hah Rafar- mar,ing the end of the three century long Mughal rule. It was also from

its ramparts that the first *rime Minister of India- *andit 5awharlal 6ehru- announced to the nation that

India was free form colonial rule.

'oc Shelters of Bhim2eta,a recognized world heritage site %y U67$+- are in the foothills of the

2indhyan Mountains of Madhya *radesh. him%et,a is also ,nown as hima?s )ounge (hima was the

second of the five *andava princes in the #indu epic Maha%harata!.

'here are five clusters of natural roc, shelters- displaying paintings that appear to date from the

Mesolithic *eriod to the historical period.

Most of the paintings here are in red and white with occasional dashes of yellow and green- with themesculled from events in everyday life. 'he scenes depicted are mainly of dancing- playing music- hunting-

horse and elephant riding- decorating %odies- and collecting honey. #ousehold scenes too constitute an

occasional theme. Animals li,e tigers- lions- wild %oar- elephants- dogs and crocodiles have also %een

portrayed in the paintings. 'he walls of these shelters are also adorned with religious sym%ols that were

popular with these pre3historic artists.

SC athedral is one of the most cele%rated religious %uildings of /oa- constructed %y the @oman

+atholics under the *ortuguese rule during the 8=thcentury. It is the largest church in Asia. 'he +athedral

is dedicated to $t. +atherine of Alexandria on whose feast day in 8 Alfonso Al%uquerque defeated the

Muslim army and too, possession of the city of /oa. #ence it is also ,nown as $t. +atherine?s? +athedral.

'he construction of this imposing edifice %egan in 8


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Sun %emple,


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examples of @aput architecture. 'he original palace was %uilt %y @aa Man $ingh and additions were

made later %y $awai 5ai $ingh.

0ithin the palace are the Diwan3e3Aam or the O#all of *u%lic AudienceO- the Diwan3e3Ehas or the O#all

of *rivate AudienceO and the $u,h 6iws where a cool %reeze %lows across channels of water for the

purpose of air3conditioning.

'here is also the 5ai Mandir or the O'emple of 2ictoryO- with its famous $heesh Mahal- the scintillating

O#all of MirrorsO

Bara Imam2ara, 7ucno:,a historical edifice with such a marvellous architecture that even modern

architects seem to %e perplexed %y its design. 'he Imam%ara was %uilt %y 6awa% Asaf3ud3Daula in 8K;

in a famine relief programme. 'he structure is also called Asafai Imam%ara. 'he structure shows themixture of @aput and Mughal architectures with /othic influences. ara Imam%ara is an interesting

%uilding. It is neither a mosque- nor a mausoleum- %ut a huge %uilding having interesting elements within

it. 'he construction of the halls and the use of vaults show a strong Islamic influence.

'he ara Imam%ara is- in fact- a great hall %uilt at the end of a spectacular courtyard approached throughtwo magnificent triple3arched gateways. 'he central hall of the Imam%ara is almost meters in length

and 8=3meter wide. 'he ceiling of this columnless hall is more than 8>>

la%yrinthine passages- some of which have dead3ends- some end at precipitous drops while others lead to

entrance or exit points.

Another intriguing structure at the Imam%ara is the five3storied %aoli (step well!- which %elongs to the

pre36awa%i era. +alled the $hahi3#ammam (royal %ath!- this %aoli is connected with the river /omti.

nly the first two stories are a%ove water- the rest %eing perennially under water.

Basilica of Bom ?esus (=oa) isthe most popular church and the most revered %y +hristians worldwide is

the asilica of om 5esus. 'he asilica- dedicated to Infant 5esus- has %een declared a 0orld #eritage

Monument now. ?om 5esus? means ?Infant 5esus? or ?/ood 5esus?. @enowned throughout the +atholic

world- the 8=thcentury cathedral is India?s first Minor asilica- and is considered as one of the %est

examples of %aroque architecture in India. 'he layout follows simple @enaissance norms while the

detailing and decoration is una%ashed aroque. It?s an opulent structure which incorporates white mar%leand has %eautifully gilded altars decorated with frescoes and inlay wor,.

'he asilica houses the sacred relics of $t. rancis Havier- patron saint of /oa who died in 8


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devout from all lands- and an ?7xposition? or pu%lic viewing of his %ody happens- once every decade- to

allow pilgrims to view it. 'he saint is %elieved to have miraculous powers of healing- and pilgrims come

from all over the world to offer prayers. 'he silver cas,et is lowered for pu%lic viewing only during the

pu%lic exposition. )ast exposition was in 9>>;.

Intricately carved %asalt em%ellishments ma,e it one of the richest facades in /oa. 'he layout follows

simple @enaissance norms while the detailing and decoration is una%ashed aroque. 'he mausoleum of$t. Havier is a marvel of Italian art (the mar%le %ase! and #indu craftsmanship (the silver cas,et!. 'he

ela%orately gilded altars are %eautiful examples of sculptures and carvings in wood- stone- gold and

granite. +olumns are covered with mar%le and inlaid with precious stones. 'he church also housespaintings depicting the life of $t. rancis Havier. 2isitors are overcome %y the deep spirituality and

tranquility of the place. 7very year thousands of people visit the cathedral especially in Decem%er.

Brhadisvara %emple, %hanavur, is a splendid example of +hola architecture was %uilt %y 7mperor

@aaraa (F89 A.D.!. 'he long series of epigraphs incised in elegant letters on the plinth all round

the gigantic edifice reveals the personality of the 7mperor.

'he rhadisvara temple is a monument dedicated to $iva- and he named lord as @aaraesvaram3udayar

after himself. 'he temple is constructed of granite- mostly of large %loc,s. 'he temple is within a spacious

inner pra,ara of 9;>.F> m long (east3west! and 899m %road (north3south!- with a gopura at the east and

three other ordinary torana entrances one at each lateral sides and the third at rear. 'he pra,ara is

surrounded %y a dou%le3storeyed mali,a with parivaralayas.

'he si,hara- a cupolic dome- is octagonal and rests on a single %loc, of granite- a square of K. m

weighing > tons. 'he maestic upapitha and adhishthana are common to all the axially placed entities

li,e the ardhamaha and mu,ha3mandapas and lin,ed to the main sanctum %ut approached through a north3

south transept across the ardha3mandapa which is mar,ed %y lofty sopanas. 'he moulded plinth is

extensively engraved with inscriptions %y its royal %uilder who refers to his many endowments- pious acts

and organisational events connected to the temple. 'he %rihad3linga within the sanctum is .K m high.

)ife3size iconographic representations on the wall niches and inner passage include Durga- )a,shmi-

$arasvati and hi,shatana- 2ira%hadra Ealanta,a- 6atesa- Ardhanarisvara and Alingana forms of $iva.

'he mural paintings on the walls of the lower am%ulatory inside are finest examples of +hola and later

periods.

ine arts were encouraged in the service of the templeG the sculptures- the paintings in the surrounding

passages of the sanctorum and even the inscriptions in elegant +hola /rantha and 'amil letters give an

idea of the great art that flourished under @aaraa.

harminar

'he +harminar is a massive arch %uilt %y Mohammed Quli Quta% $hah- in 8


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of the square structure is a minaret rising to a height of 9; meters- ma,ing the %uilding nearly


34/52


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'he rihadisvara temples are situated at 'hanavur- the ancient capital of the +hola ,ings. Eing @aaraa

+hola constructed the rihadisvara 'emple in 8>thcentury A.D.- designed %y the famous architect $ama

2arma. 'he +holas were great patrons of art- during their reign- as a result- the most magnificent temples

and exquisite %ronze icons were created in $outh India.

'he rihadisvara temple is crowned %y a pyramidal = ,m east *anai (+apital of /oa! was %uilt in 8= th+entury. ?om

5esus? means ?Infant 5esus? or ?/ood 5esus?. @enowned throughout the +atholic world- this cathedral is

India?s first Minor asilica- and is considered as one of the %est examples of %aroque architecture in India.

'he layout follows simple @enaissance norms while the detailing and decoration is una%ashed aroque.

It?s an opulent structure- which incorporates white mar%le and has %eautifully gilded altars decorated with

frescoes and inlay wor,.

'he asilica houses the sacred relics of $t. rancis Havier- patron saint of /oa who died in 8


36/52

$e? +athedral- another cele%rated religious %uildings of /oa was constructed in 8= thcentury the @oman

+atholics under the *ortuguese rule. 'he +athedral- the largest church in Asia- is dedicated to $t.

+atherine of Alexandria on whose feast day in 8- Alfonso Al%uquerque defeated the Muslim army and

too, possession of the city of /oa. #ence- it is also ,nown as $t. +atherine?s? +athedral.

'he construction of this imposing edifice %egan in 8 ,m away from the /ateway of India at Mum%ai in Maharashtra. 'he cave temple- dedicated to

)ord $hiva- was excavated sometime in the th

century %y the @ashtra,uta ,ings- who ruled the area%etween A.D. K


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'he royal city at atehpur $i,ri- situated 9= miles west of Agra- Uttar *radesh- was %uilt under the orders

of the great Mughal 7mperor A,%ar. In honour of saint $hai,h $alim +histi- A,%ar founded a magnificent

city on $i,ri ridge. In 8


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/ingee in *uducherry is one of the finest forts in $outh India. Its origin dates %ac, to the F thcentury when

it was a stronghold of the +holas %ut the fort as it loo,s today is the handiwor, of the 2iaynagara ,ings

who made it an impregna%le citadel. 'he fortified city is %uilt on the seven hills- the most prominent of

which are Erishnagiri- +handragiri and @aagiri.

$urrounded %y high walls- it was so strategically planned as to ma,e enemies thin, twice %efore they

attac,ed. $trongly guarded %y a triple gate %eyond which lay equally heavily guarded courts- the summitof the @aagiri could not have %een easily attained %y any of the enemies. 'oday- the summit can %e

reached after a two hour clim%- still a strenuous tas,- %ut well worth the effort.

A place of great historic interest- /ingee- no longer an unsurmounta%le citadel- is one of the most

interesting centres on the 'amil 6adu tourist circuit.

=olconda 9ort

India is a country with a deep manifested past. #er rich cultural heritage has ,ept everyone in a maze. All

the states in India have some or the other cultural history. If you ever chance to visit #ydera%ad- the

capital of Andhra *radesh- you can?t possi%ly miss out the ;>>3year3old maestic and imposing /olconda

ort situated on the western outs,irts in the city. 'he fort was %uilt %y the Ea,atiya dynasty in the 8: th

century.

+onsidered one of India?s most outstanding citadels- the /olconda fort epitomises the sumptuous ?6awa%i?

culture of the time. O$hepherd?s #illO or O/olla EondaO- as it was popularly ,nown in 'elugu- has an

interesting story %ehind it. ne day- a shepherd %oy came across an idol on the roc,y hill- which was

called Mangalavaram. 'he news was conveyed to the ruling Ea,atiya ,ing. 'he ,ing got a mud fort

constructed around the holy spot and his descendents continued to follow this trend.

)ater- the /olconda fort came into the possession of the ahmani dynasty. $till later- the Qutu% $hahi

dynasty too, over and made /olconda its capital. /olconda fort owes much of its present grandeur to

Mohammad Quli Qutu% $hah. 'he su%sequent generations saw /olconda %eing fortified further with

several additions and the formation of a %eautiful city within. y the 8Kthcentury- /olconda was famous

as a diamond mar,et. It gave the world some of the %est3,nown diamonds- including the ?Eohinoor?. 'he

meticulous details of the architecture and the fading gardens- which were once upon a time replete with

sprawling lawns and playing fountains has the power to transport you %ac, in time. 'he magnificent

architecture of the /olconda fort is as imposing as ever- and this is evident from the colossal gate at the

entrance studded with long iron spi,es- to deter invading armies from %attering it down. 'he gate leads to

the portico ,nown as the alahisar gate- magnificent as the gate itself.

ne can?t help- %ut %e amazed at the modern acoustic system- which was so designed that a handclap

sounded at the alahisar gate of the fort could %e heard right up in the citadelL 'he %rilliant planning of

the architects is evident from the ventilation- which is so designed to let in %outs of fresh cool %reeze- a

respite from the scorching humid summer of Andhra *radeshL

Also worth having a loo, at is the royal 6agina /ardens- the %odyguards? %arrac,s- and the three water

tan,s- all of 89 metres deep- which once formed part of an intricate water system in the fort. 'he

crowning glory of the fort is the dur%ar hall- which stands atop a hill overloo,ing the twin cities of


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#ydera%ad and $ecundera%ad. It is approached %y a thousand3step stairway- and if you can summon up

the energy to accomplish the clim%- you will %e rewarded with a great view of the cities %elow3 including

(on a clear day! the famous +harminar itself.

utside the /olconda fort are two separate pavilions %uilt on a roc,y eminence called the 'aramathi /ana

Mandir and the *remathi 6ritya Mandir- where the legendary sisters 'aramathi and *remamathi lived.

'hey gave their performance on a circular dais atop a two3storied structure called the Eala Mandir- whichwas visi%le from the ,ing?s dur%ar. 7fforts are on to revive the glory of the Eala Mandir- now in a

dilapidated condition- %y organizing the Deccan art festival annually. 'he %eautiful domed Qutu% $hahi

tom%s with Islamic architecture are situated close to the fort.

A new attraction at the fort is a sound and light show that %rings the legend of /olconda to life. 0ith a

spectacular interplay of audio and visual effects- the saga of /olconda unfolds over centuries of

splendour. 'he show is presented in 7nglish and 'elugu on alternate days of the wee,. 'he /olconda fort

still stands tall as a proud sentinel amidst the current day /olconda artillery of the Indian army- which has

sprung up today.

=olden %emple

$ri #armandir $ahi%- also ,nown as $ri Dar%ar $ahi% or /olden 'emple- (on account of its scenic %eauty

and golden coating!- situated in Amritsar (*una%!- is the most sacred temple for $i,hs. 'his temple

propagates $i,hism?s message of tolerance and acceptance through its architecture that has incorporated

sym%ols from other religions. 'he $i,hs all over the world- wish to visit $ri Amritsar and to pay

o%eisance at $ri #armandir $ahi% in their Ardas.

/uru Aran $ahi%- the ifth 6ana,- conceived the idea of creating a central place of worship for the $i,hsand he himself designed the architecture of $ri #armandir $ahi%. 7arlier- the plan to excavate the holy

tan, (Amritsar or Amrit $arovar! was chal,ed out %y /uru Amardas $ahi%- the 'hird 6ana,- %ut /uru

@amdas $ahi% executed it under the supervision of a%a udha i. 'he land for the site was acquired %y

the earlier /uru $ahi%s on payment or free of cost from the Ramindars (landlords! of native villages. 'heplan to esta%lish a town settlement was also made. 'herefore- the construction wor, on the $arovar (the

tan,! and the town started simultaneously in 8. 'he wor, on %oth the proects was completed in 8


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first /ranthi i.e. the reader of /uru /ranth $ahi%. After this event it attained the status of ?Ath $ath

'irath?- $i,h nation?s own 'irath.

$ri #armandir $ahi%- is %uilt on a =Kft. square platform in the centre of the $arovar (tan,!. 'he temple

itself is ;>.ft in height and ft

=inches in %readth. 'he door panes are decorated in artistic style. It opens on to the causeway or %ridgethat leads to the main %uilding of $ri #armandir $ahi%. It is 9>9 feet in length and 98 feet in width.

'he %ridge is connected with the 8: feet wide ?*arda,shna? (circumam%ulatory path!. It runs around the

main shrine and it leads to the ?#ar ,i *aure? (steps of /od!. n the first floor of ?#ar ,i *aure?- there is

continuous reading of /uru /ranth $ahi%.

n the top stands the low fluted ?/um%az? (dome! having lotus petal motif in relief at the %ase and an

inverted lotus at the top- which supports the ?Ealash? having a %eautiful ?+hhatri? at the end.

Its architecture represents a unique harmony %etween the Muslim and the #indu way of construction

wor, and this is considered as one of the %est architectural specimens of the world. It is often quoted that

this architecture has created an independent $i,h school of architecture in the history of art in India. 'he

temple is a noted com%ination of stupendous %eauty and su%lime peacefulness. It can %e said that the

heart of $i,hism lies here.

=roup of onuments at 3ampi

#ampi- the 8;thcentury capital of one of the greatest empires of medieval India called the 2iayanagar

7mpire- lies in the Deccan heartland- in the state of Earnata,a. 'he 8;th

+entury ruins of #ampi liescattered in a%out 9= sq. ,m areas- amidst giant %oulders and vegetation. *rotected %y the tempestuous

river 'unga%hadra in the north and roc,y granite ridges on the other three sides- the ruins silently narrate

the story of grandeur- splendour and fa%ulous wealth. 'he splendid remains of palaces and gateways of

the %ro,en city tells a tale of man?s infinite talent and power of creativity together with his capacity for

senseless destruction.

'he monuments of 2iayanagar city- also ,nown as 2idyasagar in honour of the sage 2idyaranya was

%uilt %etween 8::=38 A.D.- from the times of #arihara3I to $adasiva @aya. A large num%er of royal

%uildings were raised %y Erishnadeva @aya (A.D. 8F3:>!- the greatest ruler of the dynasty.

'he period witnessed resurgence of #indu religion art- architecture in an unprecedented scale. 'emples of

#ampi are noted for their large dimensions- florid ornamentation- %old and delicate carvings- statelypillars- magnificent pavilions and a great wealth of iconographic and traditional depictions- which include

su%ects from the @amayana and the Maha%harata.

'he 2itthala temple in #ampi is an excellent example of 2iayanagar style. 'he monolithic statues of

)a,shmi- 6arasimha and /anesha are noted for their massiveness and grace. 'he Erishna temple-

*atta%hirama temple- #azara @amachandra and +handrase,hara temple as also the 5ain temples- are otherexamples. Maority of these temples in #ampi were provided with widespread %azaars flan,ed on either

side %y storied Mandapas.


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Among secular edifices- mention may %e made of the Renana enclosure wherein a massive stone

%asement of the Queen?s palace and ornate pavilion called ?)otus3Mahal? are the only remnants of a

luxurious ?Antahpura?. 'he corner towers of arresting elevation- the Dhananaya,a?s enclosure (treasury!-

the Mahanavami Di%%a carrying %eautifully sculptured panels- a variety of ponds and tan,s- Mandapas-

the elephant?s sta%les and the row of pillared Mandapas are some of the important architectural remains of#ampi.

@ecent excavations at the #ampi have %rought to light a large num%er of palatial complexes and

%asements of several platforms. Interesting finds include a large num%er of stone images- %eautiful terra

cotta o%ects and stucco figures that once em%ellished the palaces at #ampi.

In addition- many gold and copper coins- household utensils- a square stepped3tan, ($arovar! at the south3

west of Mahanavami Di%%a- and a large num%er of ceramics- including the important variety of porcelain

and inscri%ed uddhist sculptures of 9nd3:rdcentury A.D. have also %een unearthed.

=:alior 9ort

or over 8>> years this fort has %een over loo,ing the city of /walior. ne of the most invinci%le forts in

India- this imposing citadel has changed many hands. It is %uilt on a hill of sandstone and towers 8>>

meters from the plain. 'he outer wall of the fort is almost 9 miles in length and the width varies from one

,m?s to 9>> meters. 'he walls of the fort gives way onto the steep slopes. 'his fort has %een a witness to

many %attles in the tur%ulent times as well as festivals in the peace time. 'he rulers have imparted ustice

from the fort which has seen the imprisonment of many. 'he ceremonies held in the fort have %een

spelled out grandeur %ut the 5auhars have screamed distress. It was here that 'atyia tope and @ani of

5hansi fought for their freedom. @ani of 5hansi laid down her life in an assault %y the ritish to capture

the fort.

=roup of onuments at 1attadaal

$ituated in the southern $tate of Earnata,a- *attada,al group of monuments are famous for their

harmonious %lend of architectural forms of northern and southern India. *attada,al- the capital of the+halu,ya dynasty of medieval India- is 99 ,m away from adami and


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'he Malli,aruna and the 2irupa,sha temples at *attada,al- were %uilt %y two queens of 2i,aramaditya

II- to commemorate the victory of the +halu,yas over the *allavas. 2irupa,sha temple- %uilt %y Queen

)o,amahadevi- was originally called )o,eshwara. 'his temple is %uilt in the southern Dravida style and

is the largest in the enclosure. It has a massive gateway and several inscriptions.

2irupa,sha temple also served as a model for the @ashtra,uta ruler to carve out the great Eailasa at

7llora. 'he sculptural art of the early +halu,yas is characterized %y grace and delicate details. 'he ceilingpanels of the navagrahas- di,palas- the dancing 6ataraa- the wall niches containing )ingod%hava-

Ardhanarisvara- 'ripurari- 2arahavishnu- 'rivi,rama %ear ample testimony to the sculptor?s s,ill as well

as the cult worship that was in vogue. 'he narrative relief?s illustrating certain episodes from the@amayana- Maha%harata- hagavata and *anchatantra fitted well with these grand religious edifices.

'he 5am%ulinga 'emple at *attada,al has a fine figure of the Dancing $hiva with 6andi (%ull! J *arvathi

%y his side. uilt with a northern style tower- there is a horse3shoe arched proection on its facade.

'he +handrashe,hara and Eadasideeshwara are the other maor temples here- and *attada,al also has a

5aina %asadi of @ashtra,uta times with two %eautiful elephants in front.

=roup of onuments at aha2alipuram

Maha%alipuram is a temple town situated along the shores of the ay of engal a%out => ,ms from the

south Indian city of +hennai. 'here are several famous temples at Maha%alipuramG $hore 'emple and

?@atha? +ave 'emples are the most famous amongst them.

Shore %emple

'he $hore 'emples at Maha%alipuram- a coastal village ,m south of Madras- was %uilt in the K th

century- during the reign of @aasimha- and they depict the final flowering of *allava art. 'hese temples

are refreshingly uncluttered- unli,e later grandiose Dravidian architecture and tower over the waves

%ehind a protective %rea,water. 'he temple with its %eautiful polygonal dome enshrines )ord 2ishnu and$hiva. 'hese %eautiful temples- ravaged %y wind and sea have %een declared world heritage %y U67$+.

E'athaE ave %emple

'he magnificent ?@atha? cave temples of Maha%alipuram was %uilt %y the *allava ,ing 6arsimha in the K th

and thcenturies. 'he %eauty of the roc,3cut sculpture of the temple is reflective of the artistic tastes of the

erstwhile *allava rulers. It is ,nown especially for its rathas (temples in the form of chariots!- mandapas

(cave sanctuaries!- giant open3air reliefs such as the famous ?Descent of the /anges?- and the temple of@ivage- with thousands of sculptures to the glory of $hiva.

'here are eight rathas at Maha%alipuram- out of which five are named after the ?*andavas? (five %rothers!

of Maha%harata and one after Draupadi. 'he five rathas that can %e seen are Dharmaraa @atha- hima

@atha- Aruna @atha- Draupadi @atha and 6a,ul $ahadev @atha. 'hey are constructed on the style of the

uddhist viharas and chaityas. 'he unfinished three3storey Dharmaraa ratha is the largest. 'he Draupadi


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ratha is the smallest- it is one3storeyed and has an interesting thatch3li,e roof. 'he Aruna and Draupadi

rathas are dedicated to $hiva and Durga respectively.

3a:a ahal

5aipur?s signature %uilding- the #awa Mahal- a multi layered palace- was %uil

Documents

Ch 1 Art and Architecture