Hindu Temple Architecture : Chalukyas
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Construction Techniques of Indian Temples
International Journal of Research in Engineering, Science and Management 420 Volume-1, Issue-10, October-2018 www.ijresm.com | ISSN (Online): 2581-5782 Construction Techniques of Indian Temples Chanchal Batham1, Aatmika Rathore2, Shivani Tandon3 1,3Student, Department of Architecture, SDPS Women’s College, Indore, India 2Assistant Professor, Department of Architecture, SDPS Women’s College, Indore, India Abstract—India is a country of temples. Indian temples, which two principle axis, which in turn resulted in simple structural are standing with an unmatched beauty and grandeur in the wake systems and an increased structural strength against seismic of time against the forces of nature, are the living evidences of forces. The Indian doctrine of proportions is designed not only structural efficiency and technological skill of Indian craftsman to correlate the various parts of building in an aesthetically and master builders. Every style of building construction reflects pleasing manner but also to bring the entire building into a a clearly distinctive basic principle that represents a particular culture and era. In this context the Indian Hindu temple magical harmony with the space. architecture are not only the abode of God and place of worship, B. Strutural Plan Density but they are also the cradle of knowledge, art, architecture and culture. The research paper describes the analysis of intrinsic Structural plan density defined as the total area of all vertical qualities, constructional and technological aspects of Indian structural members divided by the gross floor area. The size and Temples from any natural calamities. The analytical research density of structural elements is very great in the Indian temples highlights architectural form and proportion of Indian Temple, as compared to the today's buildings. -
Shiva's Waterfront Temples
Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. -
Traditional Knowledge Systems and the Conservation and Management of Asia’S Heritage Rice Field in Bali, Indonesia by Monicavolpin (CC0)/Pixabay
ICCROM-CHA 3 Conservation Forum Series conservation and management of Asia’s heritage conservation and management of Asia’s Traditional Knowledge Systems and the Systems Knowledge Traditional ICCROM-CHA Conservation Forum Series Forum Conservation ICCROM-CHA Traditional Knowledge Systems and the conservation and management of Asia’s heritage Traditional Knowledge Systems and the conservation and management of Asia’s heritage Rice field in Bali, Indonesia by MonicaVolpin (CC0)/Pixabay. Traditional Knowledge Systems and the conservation and management of Asia’s heritage Edited by Gamini Wijesuriya and Sarah Court Forum on the applicability and adaptability of Traditional Knowledge Systems in the conservation and management of heritage in Asia 14–16 December 2015, Thailand Forum managers Dr Gamini Wijesuriya, Sites Unit, ICCROM Dr Sujeong Lee, Cultural Heritage Administration (CHA), Republic of Korea Forum advisors Dr Stefano De Caro, Former Director-General, ICCROM Prof Rha Sun-hwa, Administrator, Cultural Heritage Administration (CHA), Republic of Korea Mr M.R. Rujaya Abhakorn, Centre Director, SEAMEO SPAFA Regional Centre for Archaeology and Fine Arts Mr Joseph King, Unit Director, Sites Unit, ICCROM Kim Yeon Soo, Director International Cooperation Division, Cultural Heritage Administration (CHA), Republic of Korea Traditional Knowledge Systems and the conservation and management of Asia’s heritage Edited by Gamini Wijesuriya and Sarah Court ISBN 978-92-9077-286-6 © 2020 ICCROM International Centre for the Study of the Preservation and Restoration of Cultural Property Via di San Michele, 13 00153 Rome, Italy www.iccrom.org This publication is available in Open Access under the Attribution Share Alike 3.0 IGO (CCBY-SA 3.0 IGO) license (http://creativecommons.org/licenses/by-sa/3.0/igo). -
Laxmi Devi Temple: Hoysala
Laxmi Devi Temple: Hoysala drishtiias.com/printpdf/laxmi-devi-temple-hoysala Why in News Recently, a Hoysala-era idol of Goddess Kali of the Lakshmi Devi Temple at Doddagaddavalli, Karnataka has been found damaged. Key Points Lakshmi Devi Temple: Lakshmi Devi temple was built by the Hoysalas in the year 1114 CE during the rule of king Vishnuvardhana. The building material is Chloritic schist, more commonly known as soapstone. The temple does not stand on a jagati (platform), a feature which became popular in later Hoysala temples. The temple is a chatuskuta construction (4 shrine and tower). The towers are in Kadamba nagara style. The mantapa is open and square. The reason for the square plan is the presence of shrines on all four sides of the mantapa. There is a separate fifth shrine of Bhairava, an avatar of Lord Shiva. The main deity is Goddess Lakshmi whereas all Hoysala temples are dedicated to either Lord Vishnu, Lord Shiva and in some cases to Jains. An archaeological Survey of India (ASI) monument and is also among the monuments proposed for the UNESCO World Heritage Site. 1/4 2/4 Hoysala Temple Architecture: It is the building style developed under the rule of the Hoysalas and is mostly concentrated in southern Karnataka. Hoysala temples are sometimes called hybrid or vesara as their unique style seems neither completely dravida nor nagara, but somewhere in between. They are easily distinguishable from other medieval temples by their highly original star-like ground-plans and a profusion of decorative carvings. The temples, instead of consisting of a simple inner chamber with its pillared hall, contain multiple shrines grouped around a central pillared hall and laid out in the shape of an intricately-designed star. -
The Role of Five Elements of Nature in Temple Architecture Ar
International Journal of Scientific & Engineering Research Volume 8, Issue 7, July-2017 1149 ISSN 2229-5518 The Role of Five Elements of Nature In Temple Architecture Ar. Snigdha Chaudhary Abstract— Examine the extensive influence of the selected theories of nature in Architecture namely element of nature effects the role of five ele- ments in Temple Architecture. “Theory of five elements of nature in context to the Temple Architectural Design ‘To make student understand the basic principles of five elements of nature so that it forms the basics for study of temple design through these topics.One should have a reasonable under- standing of its operational and economic implications, and lastly “To Evaluate the understanding of the relationship between space and design through five elements of nature’’ with the help of Hindu Temple Architecture. Index Terms— Temple architecture, five elements of nature, human perception of architectural expression, and temple concept through cosmology and philosophy —————————— —————————— 1 INTRODUCTION NDIA is well known for its rich heritage and variety of India, however while the basic elements of the temple are the I culture. Temples have always played an important role in same, the form and scale varied. For example as in the case of India's history and culture. There are more than 6 lakh the architectural elements like Sikhara (pyramidical roofs) and temples in India and about 1,80,000 temples in South India. Gopurams (the gateways). India is not only famous for various states but also for the cultures and such historic background that the past still has 2 ELEMENTS OF HINDU TEMPLE so much power on the present world. -
A Review Study on Architecture of Hindu Temple ______Prathamesh Gurme1,Prof
INTERNATIONAL JOURNAL FOR RESEARCH & DEVELOPMENT IN Volume-8,Issue-4,(Oct-17) TECHNOLOGY ISSN (O) :- 2349-3585 A REVIEW STUDY ON ARCHITECTURE OF HINDU TEMPLE __________________________________________________________________________________________ PRATHAMESH GURME1,PROF. UDAY PATIL2 1UG SCHOLAR,2HEAD OF DEPARTMENT, DEPARTMENT OF CIVIL ENGINEERINGBHARATI VIDHYAPEETH'S COLLEGE OF ENGINEERING , LAVALE , PUNE , INDIA ABSTRACT : Hinduism is the predominant religion of the and even the traditional arts make their appearances in Indian subcontinent. Dating back to the Iron Age , it is often many sculptures of Hindu origin. Sculpture is inextricably called the oldest living religion in the world. Hinduism has linked with architecture in Hindu temples, which are usually no single founder and is a conglomeration of diverse devoted to a number of different deities. The Hindu temple traditions and philosophies rather than a rigid set of beliefs. style reflects a synthesis of arts, the ideals of dharma , Most Hindus believe in a single supreme God who appears beliefs, values , and the way of life cherished under in many different manifestations as devas (celestial beings or Hinduism. Elaborately ornamented with sculpture deities), and they may worship specific devas as individual throughout, these temples are a network of art, pillars with facets of the same God. Hindu art reflects this plurality of carvings, and statues that display and celebrate the four beliefs, and Hindu temples, in which architecture and important and necessary principles of human life under sculpture are inextricably connected, are usually devoted to Hinduism—the pursuit of artha (prosperity, wealth), the different deities. Deities commonly worshiped include Shiva pursuit of kama (pleasure, sex), the pursuit of dharma the Destroyer; Vishnu in his incarnations as Rama and (virtues, ethical life), and the pursuit of moksha (release, Krishna; Ganesha, the elephant god of prosperity; and self-knowledge). -
Review of Research Impact Factor : 5.2331 (Uif) Ugc Approved Journal No
Review Of ReseaRch impact factOR : 5.2331 (Uif) UGc appROved JOURnal nO. 48514 issn: 2249-894X vOlUme - 7 | issUe - 7 | apRil - 2018 __________________________________________________________________________________________________________________________ RECENT PERSPECTIVE ON KARNATAKA ART HISTORY Nagappa P. Koti Asst. Professor , Dept of History , Shri Jagadamba First Grade Art’s And Science College Hittinahalli, LT.Vijayapura . ABSTRACT The southern state of Karnataka, in India, has a distinct art and culture. The diverse linguistic and religious ethnicity that are local to territory of Karnataka joined with their long chronicles have contributed massively to the differed social legacy of the state. Aside from Kannadigas, Karnataka is home to Tuluvas, Kodavas and Konkanis who likewise think about themselves as Kannadigas. Minor populaces of Tibetan Buddhists and Siddhi clans in addition to a couple of other ethnic gatherings additionally live in Karnataka. The customary society expressions cover the whole array of music, move, dramatization, narrating by vagrant troupes, and so forth. Yakshagana, an established society play, is one of the significant showy types of seaside Karnataka. Contemporary venue culture in Karnataka is a standout amongst the most energetic in India with associations like Ninasam, Ranga Shankara and Rangayana dynamic on establishments set around the Gubbi Veeranna Nataka Company. Veeragase, Kamsale and Dollu Kunitha are popular dance forms. Bharatanatya also enjoys wide patronage in Karnataka. KEY WORDS: distinct art and culture , Tibetan Buddhists and Siddhi clans. INTRODUCTION: The antiquity of Architecture of Karnataka (Kannada: ಕಾಟಕ ಾಸುಲ) can be traced to its southern Neolithic and early Iron Age, Having witnessed the architectural ideological and utilitarian transformation from shelter- ritual- religion. Here the nomenclature ‘Architecture’ is as old as c.2000 B.C.E. -
Pattadakal Text 3
1 ŚAIVA MONUMENTS at PAṬṬ ADAKAL Vasundhara Filliozat architecture by Pierre-Sylvain Filliozat 2 Scheme of transliteration from n āgar ī and kanna ḍa scripts Special n āgar ī letters ° ā £ ī • ū ¶ ṛ ṝ ḷ ṅ ñ ṭ ṭh – ḍ — ḍh “ ṇ ś ṣ Special kanna ḍa letters K ē N ō ¼ ḷ 3 S TABLE OF CONTENTS List of figures Introduction I. History History and chronology of Calukya kings Pulike śin II (A.D. 610-642) Vikram āditya II II. Architecture The site of Pa ṭṭ adakal The Karn āṭa-Nāgara temples at Pa ṭṭ adakal The temple of K āḍasiddhe śvara The temple of Jambuli ṅge śvara The temple of K āśī vi śvan ātha The temple of Galagan ātha The temple of P āpan ātha (M ūlasth ānamah ādeva) Miniature temples at Pa ṭṭ adakal The Candra śekhara temple The Karn āṭa-Dr āvi ḍa monuments at Pa ṭṭ adakal The temple of Vijaye śvara (Sa ṃgame śvara) The temple of Loke śvara (Vir ūpākṣa) Pr āsāda Interior Pr āsāda Exterior The Temple of Trailokye śvara (Mallik ārjuna) III. Iconography The temple of Vijaye śvara The Temple of Loke śvara External façades Loke śvara Temple, interior The temple of Trailokye śvara The temple of K āśī vi śve śvara The temple of P āpan ātha The temple of K āḍasiddhe śvara The temple of Jambuli ṅge śvara The temple of Galagan ātha IV. Epigraphy V. Conclusion Works referred to Glossary Glossary of special words in inscriptions Index 4 List of figures Photographs are by the authors assisted by Shalva Pillai Iyengar, unless otherwise stated. -
Some Bhumija Temples of Karnataka
Some Bhumija Temples of Karnataka Priyamvada R Sharma Designation: Ph.D Research Student, Mobile: +917387777501 Email: [email protected] Abstract The article deals with a style of temple architecture called Bhumija, which originated and developed in Central India, and spread over a vast area comprising Rajasthan, Gujarat, Madhya Pradesh, Maharashtra, Andhra Pradesh and Karnataka with regional overtones. It explains the meaning of the term Bhumija, mentions Silpa texts which give details of this style and considers examples of temples which have this style of Sikhara on the mulaprasada (shrine proper) and of its models on the walls of the temples in Karnataka. Four temples, i.e., Kasivisvesvara temple at Lakkundi, Siddhesvara temple at Haveri and Nagesvara and Chennakesava temples at Mosale Hosahalli are described as they have Bhumija style of Sikhara as models on their walls. Here I have classified the type of Bhumija according to the description given in the Silpa texts along with the illustrations of the models present on the walls of temples. A reference is made to the only inscription which mentions Bhumija style. A table containing information about sub-types of Bhumija as described in the two Silpa texts Samaranganasutradhara and Aparajitaprccha. Introduction The Bhumija style of temple architecture belongs to the Central Indian School of temple architecture. Though conforming in certain details to Nagara style, the sikhara obtains distinguishing feature of a Bhumija temple. It is generally believed that the Bhumija style originated in Malwa region. But the style was extensive in the space and time and spread across the region of Rajasthan, Gujarat, Madhya Pradesh, Maharashtra, Andhra Pradesh and Karnataka in early medieval times. -
Parametrizing Indian Karnata-Dravida Temple Using Geometry
PARAMETRIZING INDIAN KARNATA-DRAVIDA TEMPLE USING GEOMETRY SRUSHTI GOUD BMS School of Architecture, Yelahanka, Bangalore, India [email protected] Abstract. The Karnata-Dravida temple tradition flourished and evolved for 700 years. The evolution of the typology was demonstrated through the structure. However, as the Shastras or ancient texts proclaim, the underlying principles of geometry remain unchanged. Geometry and the unchanging principles of construction made the architects experiment with form, material and ornamentation. Geometry does not only mean shapes or two dimensional diagrams but it is a rule to amalgamate all the elements to form a dynamic form of a temple. The paper validates the use of geometry through an evolving sequence of Karnata-Dravida temples with the help of an analytical model created using the grasshopper software. The components of the model are based on the geometric rule (the basis for parametrizing) and parameters of the algorithm – plan forms, organizational compositions, vimana or superstructure composition – which result in a geometry. Even though building science is an old tradition, the use of computational procedures reveals the predictable nature of temples in the Dravidian clan and enables the analysis of existing temples, development of new possibilities or evolution of interpreted forms. Hence, enriching the existing understandings of previous scholarships in the field of temple architecture with an entirely new system of interpretation. In the age of technology where analytics plays a crucial role in almost all sectors, ancient temple architecture in India unfortunately falls behind when it comes to computational methods of restoration or reconstruction. This research questions the applicability of computational technology as a facilitator in preserving or reconstructing existing temples while maintaining its creative liberty. -
Review of Research Issn: 2249-894X Impact Factor : 5.7631(Uif) Ugc Approved Journal No
Review of ReseaRch issN: 2249-894X impact factoR : 5.7631(Uif) UGc appRoved JoURNal No. 48514 volUme - 8 | issUe - 9 | JUNe - 2019 A STUDY ON ARCHITECTURAL STYLES OF CHENNAKESHAVA TEMPLE AT BELURU Dileep Kumar S. MA(English),MA(History),MA(Economics) B.Ed, DCA, Graduate Primary Teacher, Govt. Upper Higher Primary School, Onthradka, Kodimbal Post, Puttur Taluk, Dakshina Kannada, Mangalore. ABSTRACT: The architecture of the Hoysalas is world – famous. The Hoyslas got their innumerable temples built in soap stone. There are five features that can be seen in all their temples. They have the stare shaped sanctum sanctorum, upa peetha, decorative panels, shikara and pillars. The Hoysalas developed a new style of architecture different from that of the Chalukyas. The temples they built were polygonal star shaped in plan, having richly carved plinths. The towers of the temples were pyramidal in shape and were often attached together. The Hoysala buildings were generally ornamented with an enormous mass of sculpture and statues of very good quality. KEYWORDS: architecture, sculpture, Vaikuntha, shrines, monuments, vimana, jagati, INTRODUCTION its magnificent shrines and came atmosphere. To maintain the Belur is located in Hassan to be known as the ‘modern shine of the temples, the stone is district of Karnataka. It was Vaikuntha of the earth. treated with a chemical wash and the early capital of Hoysala The Hoysala temples are then wax polished once in ten Dynasty. According to some characterized by typical star years. inscription, it was earlier shaped ground plan and are Today, this small town basking in known as Velapuri. The usually set on a platform. -
Temples of India
TEMPLES OF INDIA A SELECT ANNOTATED BIBLIOCRAPHY SUBMITTED !N PARTIAL FULFILMENT FOR THE AWARD OF THE DEGREE OF iHagter of librarp Science 1989-90 BY ^SIF FAREED SIDDIQUI Roll. No. 11 Enrolment. No. T - 8811 Under the Supervision of MR. S. MUSTAFA K. Q. ZAIDI Lecturer DEPARTMENT OF LIBRARY SCIENCE ALIGARH MUSLIIVi UNIVERSITY ALIGARH 1990 /> DS2387 CHECKED-2002 Tel t 29039 DEPARTMENT OF LIBRARY SCIENCE AUGARH MUSLIM UNIVERSITY ALIGARH 202001 (India) September 9, 1990 This is to certify that the PI* Lib* Science dissertation of ^r* Asif Fareed Siddiqui on ** Temples of India t A select annotated bibliography " was compiled under my supervision and guidance* ( S. nustafa KQ Zaidi ) LECTURER Dedicated to my Loving Parents Who have always been a source of Inspiration to me CONTENTS Page ACKNOWLEDGEMENT i - ii LISTS OF PERIODICALS iii - v PART-I INTRODUCTION 1-44 PART-II ANNOTATED BIBLIOGRAPHY 45 - 214 PART-III INDEX 215 - 256 ACKNOWLEDGEMENT I wish to express my sincere and earnest thanks to my teacher and supervisor Mr. S.Mustafa K.Q. Zaidi, Lecturer, Department of Library Science, Aligarh Muslim University, Aligarh who inspite of his many pre-occupation spared his precious time to guide and inspire me at each and every step during the course of this study. His deep and critical understanding of the problem helped me a lot in compiling this bibliography. I am highly indebted to Professor Mohd. Sabir Husain, Chairman, Department of Library Science, Aligarh Muslim University, Aligarh for his able guidance and suggestions whenever needed. I am also highly indebted to Mr. Almuzaffar Khan,Reader, Department of Library Science, Aligarh Muslim University, Aligarh whose invaluable guidance and suggestions were always available to me.