DOCSLIB.ORG

“Back” to the Future: Parametric in an Ancient Treatise on Architecture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Back” to the Future: Parametric in an Ancient Treatise on Architecture M. A. Schnabel (ed.), Back to the Future: The Next 50 Years, (51st International Conference of the Architectural Science Association (ANZAScA)), ©2017, Architectural Science Association (ANZAScA), pp. 261–270. “Back” to the Future Parametric in an Ancient Treatise on Architecture Neena Singh Zutshi School of Planning & Architecture, New Delhi [email protected] Abstract: Ancient treatises on architecture in India form a knowledge system which is intertwined with historical architecture in a complex manner. The content cloaks issues in architectural issues with philosophy, religion and other contextual references which leads to some practitioners’ contention that the treatise is “religious mumbo‐jumbo” while others attempt to employ it as a technical construction manual. This paper submits that the treatise is primarily about architectural theory and practice and its focus is design processes for different building types set out in the form of textual guidelines detailing the stages involved in the generation of the built form. This finds resonance in parametric design viewed as a set of instructions establishing relationship between objects controlled by variables which renders the treatise relevant to contemporary architecture in general and computation design process in particular. The utility of the treatise is enhanced in conservation efforts, especially reconstruction of ruined historical buildings, and post‐colonial scholarship in indigenous knowledge systems. Also, by premising correlation with contemporary processes in computation design, this paper informs their historical location and contributes towards their place as integral to design systems. It is premised that by going “back” in history in the form of an ancient treatise, the future, envisioned as parametric design, is informed. Keywords: Parametric design process, historical treatise on architecture in India, Samranganasutradhara. 1. Introduction Ancient treatises on architecture in India form a knowledge system which is reflected in historical buildings in a complex manner. Most practitioners refer to treatises in a peripheral and technical manner while acknowledging their latent influence on historical monuments like temples and palaces. This paper suggests that the treatise is in the realm of theory and practice and submits that their relevance to contemporary architecture is significant. A compilation of earlier texts from inter‐disciplinary sources, Indian treatises are written in regional languages whose authorship is ambiguous, given the paucity of scholarship on ancient India. From the Mayamatam to the Samranganasutradhara, each treatise builds on the knowledge base of earlier texts and spans across the sub‐continent in origin and language including Pali and regional Sanskrit. 262 A. Janus, R. Contractor, Y. Patel and P. McPherson Content includes philosophy and science along with theory, practice and construction processes in architecture. As most scholars are from fields outside architecture, the full import of its architectural merit is lost which, when combined with factors including translation and cultural distance, lowers the intelligibility of the text for architects. The tone is conversational as most text is in the form of instructions, stages of architectural process interspersed with philosophical insights. The censorial genre discourages the casual reader and the uninitiated from using the text irresponsibly. Favourable and unfavorable attributes of the built environment associated with implications on the user/client/owner have been analyzed by this study and it is premised that they are based on aesthetical principles of form and space and user experience in the built environment. Fraught with cultural and gender biases, social hierarchy and contextual issues, the study removes this encrustation to arrive at the architectural core of the writing.Sacred associations’ cloaks content rendering it esoteric and obscurantist to the casual reader, therefore, all superfluous implications of religion require strict sieving such that architectural content is not sacrificed at the cost of religious bias. This results in some practitioners’ contentions that the treatise is “religious mumbo‐jumbo” while others use it as a technical construction manual and attempt to apply the text literally without conducting an abstraction exercise to arrive at principles which may be relevant to theory/practice/construction. By conducting a grounded theory research methodology, data from the text has been interpreted architecturally and formulated into a theoretical construct with a particular focus on design process. The treatise selected as the case study in this paper is the Samranganasutradhara, attributed to the polymath King Bhoja ‐ which dilutes its religious intent‐ around the 10th century, locating it in pre‐colonial India. Narrated by the celestial architect Vishwakarma to his children, it raises questions pertaining to all aspects of architecture which are answered in subsequent chapters. The core reading is a Hindi translation of the original treatise in Sanskrit (Jugnu 2011) which minimizes loss of meaning in translation. After interpreting the Hindi and Sanskrit text for architectural implications, an English interpretive translation is rendered comprehensible to the modern scholar by associative correlation with contemporary paradigms. Finally, this study focuses on the design process aspect as this is relevant to theory and practice and forms the majority of the content. During successive readings, it became apparent that the process set out in the text is analogous to generative and computation process. Simultaneously, a critical analysis of generative, computation and parametric design processes is conducted to explore associative layers and discover correlation with the treatise. िशालैकशालिशालचयोगत: II 25.05 II षटशालमंजायतेवेभेदातुषोडशI In this manner, combination of bi‐hall, uni‐hall and tri‐hall dwellings Hexa‐cell dwelling are assembled and these are 16 in number 2. Parametric Design Process for Architecture and the Treatise The focus of this study is the instructions to generate built forms in the treatise – dwellings, palaces and temples‐ which resemble text algorithms in a generative parametric design system is employed as a tool to design with (Leach 2009), which is at variance with its popular connotation as a style and a representation technology. Parametric is referred to as a set of instructions to generate a form utilizing algorithms which are an explicit statement of a sequence of operations needed to perform a task. The logic and structure of the design process is the focus of parametric design and the end product is an “Back” to the Future 263 infinite set of solutions which, according to Eisenman, are made finite by the individual intellect of the architect. समशीषदातोयथाशोभयथािच I ेभागसम: काय: कलशूिलकावधे: II 30.18 II Roof/skyline (of the palace) should be made as aesthetically appropriate and accordingly to the personal inclination of the architect Finial and molding should be created in proportion to the parts of the site Here, the focus is on requirements of the process instead of its product which is generated from the textual instructions is in the form of a three dimensional object – parameters and schema. Parametric design process is an iterative activity which involves continuous generation of a design artefact, evaluation of its ability to satisfy requirements efficiently, which if unacceptable to the architect is followed by a new iteration which involves either a radical reformulation of design concept and/or a modification of design parameters. The linguistic parametric design lists a finite set of instructions, analogous to cooking recipes and furniture assembly instructions, where the individual stage needs to be explicit, detailed and adaptable. “In a field made quadrangular, divide into four parts” (56.45.1) assumes that the architect interprets this as all sides of the quadrangle are divided into four parts based on the premise of three dimensional spatial construct. “The wall should on all sides’ measure one part, and the remainder should be the sanctum” (56.45.2) signifies the demarcation of void by the solid while “With a projection of two parts, a width of three parts, and adorned by pillars” (56.46.2) highlights that the adornment of the pillars is left to the designer. Flexibility and adaptability is built into the system as only ratio and proportion and not absolute numbers are employed in the generation of the form. The following text from the treatise gives guidelines on the design process to generate the form for a temple. चतुरीकृ तेेेचतुभागिवविजते I भािगकासवतोिभि: शेषंगभगृहंभवेत् II56.45 II तात: पुन: कायभागयिविनगत: I िवारेणिभागाीव: भूिषत: II 46 II पीठोेघभागेनभवेािभािगका I भागाधवारंपपादेनादवरका II 47 II सपादांतुरोभागाशखरेृतः I िगुणेनचसूेणपकोशंसमािलखेत् II 56.48 II In a field made quadrangular, divide into four parts The wall should on all sides’ measure one part, and the remainder should be the sanctum Moreover, in front of that, one should build a pillared porch With a projection of two parts, a width of three parts, and adorned by pillars According to the parts of the height of the base, the wall should be two parts The antarapatra should be half a part and the varandika should be one part The height of the shikhara is known to be four parts and a quarter With a cord of three guna, one should draw the profile as a lotus petal 264 A. Janus, R. Contractor, Y. Patel and P. McPherson Across the width of the shoulder, sub‐divide into three parts The neck should be half a part and the finial should be one part. Based on Adam Hardy (2015) Figure 3: Stages of generation of the temple from text instructions of 56.45‐48 (source: Author, 2017) 3. Stages In conventional design process, a solution is generated, evaluated against criteria and modified in reaction to the evaluation. On the other hand, in generative design, several options are generated and the designer chooses the most appropriate one.
Load more

Recommended publications
  • Interpreting an Architectural Past Ram Raz and the Treatise in South Asia Author(S): Madhuri Desai Source: Journal of the Society of Architectural Historians, Vol
    Interpreting an Architectural Past Ram Raz and the Treatise in South Asia Author(s): Madhuri Desai Source: Journal of the Society of Architectural Historians, Vol. 71, No. 4, Special Issue on Architectural Representations 2 (December 2012), pp. 462-487 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/10.1525/jsah.2012.71.4.462 Accessed: 02-07-2016 12:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians, University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians This content downloaded from 160.39.4.185 on Sat, 02 Jul 2016 12:13:51 UTC All use subject to http://about.jstor.org/terms Figure 1 The relative proportions of parts of columns (from Ram Raz, Essay on the Architecture of the Hindus [London: Royal Asiatic Society of Great Britain and Ireland, 1834], plate IV) This content downloaded from 160.39.4.185 on Sat, 02 Jul 2016 12:13:51 UTC All use subject to http://about.jstor.org/terms Interpreting an Architectural Past Ram Raz and the Treatise in South Asia madhuri desai The Pennsylvania State University he process of modern knowledge-making in late the design and ornamentation of buildings (particularly eighteenth- and early nineteenth-century South Hindu temples), was an intellectual exercise rooted in the Asia was closely connected to the experience of subcontinent’s unadulterated “classical,” and more signifi- T 1 British colonialism.
    [Show full text]
  • Common Elements of Dravidian Temple Architecture–A Study
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347–4564; ISSN (E): 2321–8878 Vol. 7, Issue 2, Feb 2019, 583–588 © Impact Journals COMMON ELEMENTS OF DRAVIDIAN TEMPLE ARCHITECTURE–A STUDY D. Gandhimathi & K. Arul Mary Research Scholar, Department of History, PSGR Krishnammal College for Women, Coimbatore, Tamil Nadu, India Research Scholar, Department of History, PSGR Krishnammal College for Women, Coimbatore, Tamil Nadu, India Received: 17 Feb 2019 Accepted: 21 Feb2019 Published: 28 Feb 2019 ABSTRACT The South Indian temple architecture is known as Dravidian architecture. The South Indian temple has many architectural features. This article will explain the common elements of the Shivan temples in Tamilnadu. KEYWORDS: South Indian Temple, Dravidian Architecture, Architecture, Kongu Region INTRODUCTION Hindu temple architecture as the fundamental type of Hindu architecture has numerous assortments of style, however the fundamental idea of the Hindu sanctuary continues as before, with the basic element an internal sanctum, the garbha griha or belly chamber, where the essential Murti or the picture of a god is housed in a straightforward uncovered cell. On the outside, the garbhagriha is delegated by a pinnacle like shikhara, additionally called the vimana in the south. The place of worship assembling frequently incorporates a walking for parikrama (circumambulation), a mandapa gathering lobby, and at times an antarala waiting room and yard among garbhagriha and mandapa. There may promote mandapas or different structures, associated or disconnected, in enormous sanctuaries, together with other little sanctuaries in the compound. These terminologies are common across all temples built in Dravidian architecture and not specific to Shiva temples in Tamil Nadu.
    [Show full text]
  • The Evolution of the Temple Plan in Karnataka with Respect to Contemporaneous Religious and Political Factors
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 22, Issue 7, Ver. 1 (July. 2017) PP 44-53 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Evolution of the Temple Plan in Karnataka with respect to Contemporaneous Religious and Political Factors Shilpa Sharma 1, Shireesh Deshpande 2 1(Associate Professor, IES College of Architecture, Mumbai University, India) 2(Professor Emeritus, RTMNU University, Nagpur, India) Abstract : This study explores the evolution of the plan of the Hindu temples in Karnatak, from a single-celled shrine in the 6th century to an elaborate walled complex in the 16th. In addition to the physical factors of the material and method of construction used, the changes in the temple architecture were closely linked to contemporary religious beliefs, rituals of worship and the patronage extended by the ruling dynasties. This paper examines the correspondence between these factors and the changes in the temple plan. Keywords: Hindu temples, Karnataka, evolution, temple plan, contemporary beliefs, religious, political I. INTRODUCTION 1. Background The purpose of the Hindu temple is shown by its form. (Kramrisch, 1996, p. vii) The architecture of any region is born out of various factors, both tangible and intangible. The tangible factors can be studied through the material used and the methods of construction used. The other factors which contribute to the temple architecture are the ways in which people perceive it and use it, to fulfil the contemporary prescribed rituals of worship. The religious purpose of temples has been discussed by several authors. Geva [1] explains that a temple is the place which represents the meeting of the divine and earthly realms.
    [Show full text]
  • 1.1.3-Hss455
    MANGALORE UNIVERSITY DEPARTMENT OF HISTORY MA History Course No. HSS: 455 (Soft Core) ART AND ARCHITECTURE OF KARNATAKA TO AD 14TH CENTURY Learning objective: This paper’s main aim is to know the evolution of art and architecture in Karnataka and also to know more about the development of historical writings on Karnataka art and architecture. Learning outcome; After the course the students will come to know about the beginning of historical writings on art and architecture, various sources for the study of art and architecture and finally evolutions of art and architecture in Karnataka. I. Historiography and sources: James Fergusson, Percy Brown, Henry Cousens, Alexander Rea- Later works. Manasara, Inscriptions and monuments- the Nagara, Vesara and Dravida traditions. II. Pre-historic art and architecture: Rock paintings- megalithic structures-types- Pre-Badami Chalukya art and architecture: Sites connected with the Maurya and the Satavahana period art- The Kadambas- important monuments- main features, monuments of the Gangas of Talakad- sculptures, pillars. Role of ideology, religious groups. III. Badami Chalukya art and architecture- the cave temples-characteristic features, the experiments at Pattadakal, important sites of structural temples, main features, cave paintings. Rashtrakuta art and architecture; different types of temples-sites of rock-cut architecture, main features, structural temples, important sites. IV. The Chalukyas of Kalyan and the Hoysalas of Dorasamudra-places connected with the Chalukya monuments- -characteristic features, places connected with the Hoysala temple- Main features- differences and similarities between the two styles of architecture. SELECT READING LIST: 1. Acharya, P.K. Indian Architecture According to Manasara, (Oxford, 1921) 2. ______. Architecture of Manasara, (Oxford, 1933) 3.
    [Show full text]
  • The South Indian Hindu Temple Building Design System on the Architecture of the Silpa Sastra and the Dravida Style
    The South Indian Hindu temple building design system On the architecture of the Silpa Sastra and the Dravida style K. J. Oijevaar b1090127 September 2007 Delft University of Technology, The Netherlands [email protected] Contents Introduction ....................................................................................................................................... 4 Vastupurusa ....................................................................................................................................... 5 Orientation - The gnomon .............................................................................................................. 8 Zoning in the temple – Using the grid ........................................................................................ 10 Defining the groundplan ................................................................................................................ 12 Going vertical - The temple as a house for the Gods ............................................................... 15 The Hindu order ............................................................................................................................. 18 Upapítha or pedestal .................................................................................................................. 19 Athisthána or base ...................................................................................................................... 21 Sthamba or pillar and the thickness of walls .........................................................................
    [Show full text]
  • Study of Indian Hindu Temple Architecture and Art of Two Shaiva Temples of Eastern Odisha Pjaee, 17(1) (2020)
    STUDY OF INDIAN HINDU TEMPLE ARCHITECTURE AND ART OF TWO SHAIVA TEMPLES OF EASTERN ODISHA PJAEE, 17(1) (2020) STUDY OF INDIAN HINDU TEMPLE ARCHITECTURE AND ART OF TWO SHAIVA TEMPLES OF EASTERN ODISHA Dr. Ratnakar Mohapatra Assistant Professor, Department of History, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India. Dr. Ratnakar Mohapatra , Study Of Indian Hindu Temple Architecture And Art Of Two Shaiva Temples Of Eastern Odisha , Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(1). ISSN 1567-214x. Keywords: Hindu, temple, architecture, Shaiva , monument, Eastern, Odisha, India. Abstract: The building plans of the Shaiva temples of the Eastern Odisha are significant part of the Hindu temple engineering of India. The surviving temples of the Eastern piece of Odisha address the Kalinga style of temple engineering of India. Indeed, the structural highlights of the two Shaiva temples of the Eastern Odisha draw the consideration of craftsmanship antiquarians and archeologists to embrace research works. The two Shaiva temples of the Eastern Odisha, which are taken here for conversation, are like 1. Isvaranatha temple of Jiunti, 2. Gangamani temple of Gangesvaragarh. The current temple of Isvaranatha of Jiunti is totally a revamped temple of that region. In some cases, this temple is likewise said by the neighborhood individuals as Isvaradeva rather than Isvaranatha. It addresses one of the great examples of the block landmarks in the Eastern Odisha. This temple is momentous by its exquisite and smooth highlights. Albeit the temple of Gangamani of Gangesvaragarh is little in size still it is a memory of the Ganga landmark of middle age Odisha.
    [Show full text]
  • PILGRIM CENTRES of INDIA (This Is the Edited Reprint of the Vivekananda Kendra Patrika with the Same Theme Published in February 1974)
    VIVEKANANDA KENDRA PATRIKA A DISTINCTIVE CULTURAL MAGAZINE OF INDIA (A Half-Yearly Publication) Vol.38 No.2, 76th Issue Founder-Editor : MANANEEYA EKNATHJI RANADE Editor : P.PARAMESWARAN PILGRIM CENTRES OF INDIA (This is the edited reprint of the Vivekananda Kendra Patrika with the same theme published in February 1974) EDITORIAL OFFICE : Vivekananda Kendra Prakashan Trust, 5, Singarachari Street, Triplicane, Chennai - 600 005. The Vivekananda Kendra Patrika is a half- Phone : (044) 28440042 E-mail : [email protected] yearly cultural magazine of Vivekananda Web : www.vkendra.org Kendra Prakashan Trust. It is an official organ SUBSCRIPTION RATES : of Vivekananda Kendra, an all-India service mission with “service to humanity” as its sole Single Copy : Rs.125/- motto. This publication is based on the same Annual : Rs.250/- non-profit spirit, and proceeds from its sales For 3 Years : Rs.600/- are wholly used towards the Kendra’s Life (10 Years) : Rs.2000/- charitable objectives. (Plus Rs.50/- for Outstation Cheques) FOREIGN SUBSCRIPTION: Annual : $60 US DOLLAR Life (10 Years) : $600 US DOLLAR VIVEKANANDA KENDRA PATRIKA PILGRIM CENTRES OF INDIA PILGRIM CENTRES OF INDIA CONTENTS 1. Acknowledgements 1 2. Editorial 3 3. The Temple on the Rock at the Land’s End 6 4. Shore Temple at the Land’s Tip 8 5. Suchindram 11 6. Rameswaram 13 7. The Hill of the Holy Beacon 16 8. Chidambaram Compiled by B.Radhakrishna Rao 19 9. Brihadishwara Temple at Tanjore B.Radhakrishna Rao 21 10. The Sri Aurobindo Ashram at Pondicherry Prof. Manoj Das 24 11. Kaveri 30 12. Madurai-The Temple that Houses the Mother 32 13.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • Ofutopiasfinalnewvrindaban
    Caila Drew-Morin June 1, 2017 The Palace of Gold On the top of a hill that is on one side overlooking the Appalachian hills and valleys and on the other the Americanized Hindu community, the Palace of Gold at New Vrindaban West Virginia is an impressive product of American interpretations of Hinduism.1 The community, started by Keith Gordon Ham who was to become known by his Hindu name, Kirtanananda, was an effort to ​ make Hinduism accessible to Americans. Moving towards this goal Kirtanananda relied extensively upon his teacher, Abhay Charanaravinda Bhaktivedanta Swami Prabhupada a man of seventy years old by the time he first came from India to America to spread Hinduism.2 In addition to teaching Prabhupada created an international Hindu network to connect Hindu projects all over the world. As part of these goals of spreading Hinduism Prabhupada encouraged the first North American Hindu community to be created and so New Vrindaban was born. Not only in how the devotees chose to interpret and practice Hinduism, valuing some parts of the religion more than others, but also the ideological differences of these American Hindus versus traditional Indian Hindus are displayed in the architecture at New Vrindaban. The main temple room of the Palace of Gold can be seen in figure 1 and will work as a jumping off point for the analysis of how Americanized Hindu architecture contrasts with Hindu temples India both in terms of materials present as well as how these materials are utilized in construction. 1 "Attractions," America's Taj Mahal Palace of Gold, last modified 2013, accessed May 29, 2017, http://www.palaceofgold.com/attractions.html.
    [Show full text]
  • Chapter 6 Temple Architecture
    Temple architecture in India (Outline map not to scale) 6 TEMPLE ARCHITECTURE AND SCULPTURE OST of the art and architectural remains that survive Today when we say 'temple' Mfrom Ancient and Medieval India are religious in in English we generally nature. That does not mean that people did not have art in mean a devalaya, devkula their homes at those times, but domestic dwellings and mandir, kovil, deol, the things in them were mostly made from materials like devasthanam or prasada wood and clay which have perished, or were made of metal depending on which part of India we are in. (like iron, bronze, silver and even gold) which was melted down and reused from time to time. This chapter introduces us to many types of temples from India. Although we have focussed mostly on Hindu temples, at the end of the chapter you will find some information on major Buddhist and Jain temples too. However, at all times, we must keep in mind that religious shrines were also made for many local cults in villages and forest areas, but again, not being of stone the ancient or medieval shrines in those areas have also vanished. Kandariya Mahadeo temple, Khajuraho THE BASIC FORM OF THE HINDU TEMPLE The basic form of the Hindu temple comprises the following: (i) a cave-like sanctum (garbhagriha literally ‘womb-house’), which, in the early temples, was a small cubicle with a single entrance and grew into a larger chamber in time. The garbhagriha is made to house the main icon which is itself the focus of much ritual attention; (ii) the entrance to the temple which may be a portico or colonnaded hall that incorporates space for a large number of worshippers and is known as a mandapa; (iii) from the fifth century CE onwards, freestanding temples tend to have a mountain- like spire, which can take the shape of a curving shikhar in North India and a pyramidal tower, called a vimana, in South India; (iv) the vahan, i.e., the mount or vehicle of the temple’s main deity along with a standard pillar or dhvaj is placed axially before the sanctum.
    [Show full text]
  • Glimpses of Indian Traditional Architecture
    International Research Journal of Engineering and Technology (IRJET) e-ISSN: 2395-0056 Volume: 07 Issue: 05 | May 2020 www.irjet.net p-ISSN: 2395-0072 Glimpses of Indian Traditional Architecture Ar. Tania Bera Assistant Professor, Dept. of Architecture, G L Bajaj Group of Institutions, Mathura, U.P., India -------------------------------------------------------------------------***------------------------------------------------------------------------ Abstract- This paper narrates an essay on the major means it is a structure allocated for religious activities distinctive styles of traditional architecture of India from its such as prayer and sacrifice in front of deity. Here, some different regions which has acquired a lot of fame in the sort of offerings is made to the deity and other rituals are worldwide over decades. It’s a matter of pride to all the also performed [2]. A typical temple has a main building Indians for getting such an opportunity to experience and a larger precinct, sometimes containing many other varieties of traditional architecture spread throughout their buildings related with temple activity too. motherland as it has a huge asset of heritage and antiquity. A range of architectural varieties have developed in the 2.1. Temple Architecture: parts of the country due to its diversified socio-cultural, traditional and religious background as well as most The architecture of Hindu temples evolved since importantly climatic variations. Among all the aspects, the history with a great variety in it. Hindu temples are of different shapes and sizes— rectangular, octagonal and religious diversity has played a vital role in the development circular with different types of domes and gates. of distinctive architectural styles chronologically. It is the result of above-mentioned aspects which contributed towards the formation of a set of architectural assets within a single piece of land.
    [Show full text]