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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. -
The Dual Language of Geometry in Gothic Architecture: the Symbolic Message of Euclidian Geometry Versus the Visual Dialogue of Fractal Geometry
Peregrinations: Journal of Medieval Art and Architecture Volume 5 Issue 2 135-172 2015 The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry Nelly Shafik Ramzy Sinai University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Ramzy, Nelly Shafik. "The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry." Peregrinations: Journal of Medieval Art and Architecture 5, 2 (2015): 135-172. https://digital.kenyon.edu/perejournal/vol5/iss2/7 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Ramzy The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry By Nelly Shafik Ramzy, Department of Architectural Engineering, Faculty of Engineering Sciences, Sinai University, El Masaeed, El Arish City, Egypt 1. Introduction When performing geometrical analysis of historical buildings, it is important to keep in mind what were the intentions -
Lotus Bud Finial Asana Pose the Great Stupa at Sanchi Sakyamuni
Resources: https://www.britannica.com/techn ology/pagoda, http://www.vam.ac.uk/content/arti TITLE: Pagoda (replica) cles/i/iconography-of-the- ARTIST: Unknown buddha/, DATE: Unknown http://fsu.kanopystreaming.com/vi SIZE: Height: 3 ¾; Width: 2 ¼; Depth: 1 7/8 inches deo/great-stupa-sanchi, MEDIUM: Wood https://prezi.com/nzoahwiq3owv/t AQUISTION #: 88.1.7 odaiji-the-great-eastern-temple/, http://thekyotoproject.org/english/ ADDITIONAL WORKS BY THE ARTIST IN COLLECTION? pagodas/ YES _ NO_ UNKNOWN X Context In the third century BCE, Emperor Ashoka commissioned the first “Great Stupa” in Sanchi, India. A stupa is a large dome tomb that was created to house relics of the Buddha. The “Great Stupa” held the Buddha’s ashes and was constructed in three parts: a base, body, and decorative finial. The decorative finial is the crowning element located at the highest point of the stupa. Throughout many centuries the design of the stupa structure evolved from the rounded monument to the multi-storied structure now known as the pagoda. Constructed and adapted throughout East Asia, the common building materials consist of brick, wood, or stone. Pagodas also range in a variety of sizes. Some are towers with high reaching crowning pieces and others are short. Today any Pagoda is a pilgrimage site. The Great Stupa at Sanchi Sakyamuni Pagoda of Fogong Temple The wooden pagoda in Yingxian, China is the oldest tiered structure in the world. Built in 1056, the nine-story building is 67.31 meters high. With multiple pagoda structures located throughout the world, this was the first wooden structure completed under the Ming (1368–1644) and Qing Dynasties (1644-1912). -
On the Characteristic Interpenetrations of the Flamboyant Style
ON THE CHARACTERISTIC INTERPENETRATIONS OF THE FLAMBOYANT STYLE. BY R. WILLIS, M. A. F. R. S. &c. JACKSONIAN PROFESSOR IN THE UNIVERSITY OF CAMBRIDGE, AND HONORARY MEMBER OF THE INSTITUTE OF BRITISH ARCHITECTS. AMONGS~ other characters that distinguish the later s.tyles of Gothic on the contment from our own contemporary Perpendicular style, there may be observed a much greater and more fanciful intricacy of parts, contrived apparently more with a view to display difficulties overcome than beauties of art. Hence an excessive employment of interpenetrating surfaces, especially in the Flamboyant Style. In English examples a moulding may sometimes be found which penetrates some projecting member, and appears on the other side, as for example in jig. I, which represents a portion of the base of one of the turrets of King's College Chapel. The string moulding at 4. A appears on the face of the plinths of the angle buttresses as if it had penetrated their substance, or rather the whole arrangement of the bases of the' turrets and of the buttresses respectively, appears to suggest a mutual pene tration or interpenetration of the two. Examples of this kind are not common in English work, and are confined merely to the interferences of adjacent necessary members of the architectural arrangement. In the Flamboyant style, on the contrary, interpenetration occurs so frequently as to con .. EgJ. stitute a characteristic, and is produced not merely between two neighbouring architectural members, but new members are also introduced for the mere purpose of showing interpenetrations. Thus, as we shall see, two different bases may be given to the same shaft, or even two or more different turrets with pinnacles may be placed in an identical M 82 WILLIS ON THE INTERPENETRATIONS OF position on the plan, and made to interfere and interpenetrate throughout their entire height from the base upwards in a manner that defies description, and can only be illustrated by drawings. -
The Analysis on the Collapse of the Tallest Gothic Cathedral
ctbuh.org/papers Title: The Analysis on the Collapse of the Tallest Gothic Cathedral Author: Seong-Woo Hong, Professor, Kyungwoon University Subject: Structural Engineering Keyword: Structure Publication Date: 2004 Original Publication: CTBUH 2004 Seoul Conference Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat / Seong-Woo Hong The Analysis on the Collapse of the Tallest Gothic Cathedral Seong-Woo Hong1 1 Professor, School of Architecture, Kyungwoon University Abstract At the end of the twelfth century, a new architectural movement began to develop rapidly in the Ile-de-France area of France. This new movement differed from its antecedents in its structural innovations as well as in its stylistic and spatial characteristics. The new movement, which came to be called Gothic, is characterized by the rib vault, the pointed arch, a complex plan, a multi-storied elevation, and the flying buttress. Pursuing the monumental lightweight structure with these structural elements, the Gothic architecture showed such technical advances as lightness of structure and structural rationalism. However, even though Gothic architects or masons solved the technical problems of building and constructed many Gothic cathedrals, the tallest of the Gothic cathedral, Beauvais cathedral, collapsed in 1284 without any evidence or document. There have been two different approaches to interpret the collapse of Beauvais cathedral: one is stylistic or archeological analysis, and the other is structural analysis. Even though these analyses do not provide the firm evidence concerning the collapse of Beauvais cathedral, this study extracts some confidential evidences as follows: The bay of the choir collapsed and especially the flying buttress system of the second bay at the south side of the choir was seriously damaged. -
The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Resources for the Study of Islamic Architecture Historical Section
RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION Prepared by: Sabri Jarrar András Riedlmayer Jeffrey B. Spurr © 1994 AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION BIBLIOGRAPHIC COMPONENT Historical Section, Bibliographic Component Reference Books BASIC REFERENCE TOOLS FOR THE HISTORY OF ISLAMIC ART AND ARCHITECTURE This list covers bibliographies, periodical indexes and other basic research tools; also included is a selection of monographs and surveys of architecture, with an emphasis on recent and well-illustrated works published after 1980. For an annotated guide to the most important such works published prior to that date, see Terry Allen, Islamic Architecture: An Introductory Bibliography. Cambridge, Mass., 1979 (available in photocopy from the Aga Khan Program at Harvard). For more comprehensive listings, see Creswell's Bibliography and its supplements, as well as the following subject bibliographies. GENERAL BIBLIOGRAPHIES AND PERIODICAL INDEXES Creswell, K. A. C. A Bibliography of the Architecture, Arts, and Crafts of Islam to 1st Jan. 1960 Cairo, 1961; reprt. 1978. /the largest and most comprehensive compilation of books and articles on all aspects of Islamic art and architecture (except numismatics- for titles on Islamic coins and medals see: L.A. Mayer, Bibliography of Moslem Numismatics and the periodical Numismatic Literature). Intelligently organized; incl. detailed annotations, e.g. listing buildings and objects illustrated in each of the works cited. Supplements: [1st]: 1961-1972 (Cairo, 1973); [2nd]: 1972-1980, with omissions from previous years (Cairo, 1984)./ Islamic Architecture: An Introductory Bibliography, ed. Terry Allen. Cambridge, Mass., 1979. /a selective and intelligently organized general overview of the literature to that date, with detailed and often critical annotations./ Index Islamicus 1665-1905, ed. -
Architectural Terminology
Architectural Terminology Compiled by By Trail End State Historic Site Superintendent Cynde Georgen; for The Western Alliance of Historic Structures & Properties, 1998 So what is a quoin anyway … other than a great word to have in your head when playing Scrabble®? Or how about a rincleau? A belvedere? A radiating voussoir? If these questions leave you scratching your head in wonder and confusion, you’re not alone! Few people outside the confines of an architect’s office have a working knowledge of architectural terminology. For you, however, that’s about to change! After studying the following glossary, you’ll be able to amaze your friends as you walk through the streets of your town pointing out lancets, porticos, corbels and campaniles. NOTE: The definitions of some terms use words which themselves require definition. Such words are italicized in the definition. Photograph, balustrade, undated (By the Author) Acanthus Leaf - Motif in classical architecture found on Corinthian columns Aedicule - A pedimented entablature with columns used to frame a window or niche Arcade - Series of round arches supported by columns or posts Architrave - The lowest part of a classical entablature running from column to column Ashlar - Squared building stone laid in parallel courses Astragal - Molding with a semicircular profile Astylar - Facade without columns or pilasters Balconet - False balcony outside a window Baluster - The post supporting a handrail Balustrade - Railing at a stairway, porch or roof Architectural Terminology - 1 - www.trailend.org -
1 on the Development of Indian Temple Architectural Morphology
On the Development of Indian Temple Architectural Morphology and the Origin of Superstructure Vasu Renganathan The origin of the curvilinear superstructure in the Indian temple has been the subject of inquiry in the works of Indian temple architecture and it still remains a mystery to be proven, despite a number of solutions given based on scriptures and guesses. The principal reason for this ignorance, according to Simpson, is owing to the absence of monuments representing the steps by which the Hindu temple was developed to its complete form. 1 However, Chandra states that Coomaraswamy was the first to interpret the Hindu temple not only as a building providing shelter for the image and the worshippers but also as the image of the cosmos, the house of God and also his body. It represents in its parts the drama of disintegration and reintegration which is the essential theme of Indian myth and its ritual enactment in the sacrifice. 2 The architectural morphology 3 and the symbolism of objects have been the two significant aspects in the study of Indian temple architecture. The origins for symbolism of structures and forms have become the source of intricacy, mainly for the reason that any given form in temple architecture can have many resemblances or associations 4. It becomes, thus, a difficult task for anyone to unravel the origin of forms of Indian temples in a precise and unambiguous way. Absence of such details result the availability of interpretations of both forms of temple architectures as well as rituals surrounding the forms in a number of different ways, but each of such interpretations exhibit a plausible 1 Simpson (1891, p. -
Palatial Symbolism in the Buddhist Architecture of Early Medieval China
Front. Hist. China 2015, 10(2): 222–263 DOI 10.3868/s020-004-015-0014-1 RESEARCH ARTICLE Tracy Miller Of Palaces and Pagodas: Palatial Symbolism in the Buddhist Architecture of Early Medieval China Abstract This paper is an inquiry into possible motivations for representing timber-frame architecture in the Buddhist context. By comparing the architectural language of early Buddhist narrative panels and cave temples rendered in stone, I suggest that architectural representation was employed in both masonry and timber to create symbolically charged worship spaces. The replication and multiplication of palace forms on cave walls, in “pagodas” (futu 浮圖, fotu 佛圖, or ta 塔), and as the crowning element of free-standing pillars reflect a common desire to express and harness divine power, a desire that resulted in a wide variety of mountainous monuments in China. Finally, I provide evidence to suggest that the towering Buddhist monuments of early medieval China are linked morphologically and symbolically to the towering temples of South Asia through the use of both palace forms and sacred ma alas as a means to express the divine power and expansive presence of the Buddha. Keywords Pagoda, ta, mandala, Sumeru, Yicihui pillar, Yongningsi, Songyuesi From South to East Asia, from narrative relief panels to surface decoration both in caves and freestanding worship spaces, Buddhist sites are replete with depictions of timber buildings. Narrative reliefs not only allow us to read the story of the life of the Buddha, they also provide a window into the visual language of the region in which the panels were produced. -
Roof Typology and Composition in Traditional Japanese Architecture
Roof Typology and Composition in Traditional Japanese Architecture I Introduction…………………………………………………………………...1 II Basic Roof Forms, Structures and Materials………………………………….3 II.1 Basic Roof Forms II.1.1 Kirizuma, Yosemune and Irimoya II.1.2 Combined Roofs II.1.3 Gable Entered (tsuma-iri) and Side Entered (hira-iri) II.2 Roof Trusses II.2.1 Sasu-gumi II.2.2 Wagoya II.2.3 Shintsuka-gumi II.2.4 Noboribari-gumi II.2.5 Combined Systems II.3 Roofing Materials II.3.1 Tile II.3.2 Thatch II.3.3 Wood: Planks, Shingle and Bark III Traditional Japanese Architecture III.1 Prehistoric and Antique Architecture………..………………………………11 III.1.1 Tateana Jukyo III.1.2 Takayuka Jukyo III.1.3 Nara Period Residences III.1.4 Menkiho III.2 Shinto Shrines……………………………………………………………….18 III.2.1 Shimei, Taisha and Sumiyoshi Styles III.2.2 Nagare and Kasuga Styles III.2.3 Later Styles III.3 Aristocrats’ Houses………………………………………………………….25 III.3.1 Shinden Style III.3.2 Shoin Style III.4 Common People Houses: Minka…………………………………………….29 III.4.1 Structure III.4.2 Type of Spaces III.4.3 Plan Evolution III.4.4 Building Restrictions III.4.5 Diversity of Styles III.4.5.1.1 City Dwellings, machiya III.4.5.1.2 Farmers’ Single Ridge Style Houses III.4.5.1.3 Farmers’ Bunto Style Houses III.4.5.1.4 Farmers’ Multiple Ridges Style Houses IV Relation Between Different Functional Spaces and the Roof Form………….48 IV.1 Type 1 ……………………………………………………………………..50 IV.2 Type 2 ……………………………………………………………………..67 IV.3 Type 3 ……………………………………………………………………..80 V The Hierarchy Between Functionally Different Spaces Expressed Trough the Roof Design………………………………………………………………….109 VI Conclusion……………………………………………………………..…….119 I- Introduction The purpose of this study is to analyze the typology and the composition of the roofs in Japanese traditional architecture. -
AP Art History Chapter 13: Gothic Art Mrs. Cook
AP Art History Chapter 13: Gothic Art Mrs. Cook Define these terms: Key Cultural & Religious Terms: Scholasticism, disputatio, indulgences, lux nova, Annunciation, Visitation, opere francigeno, opus modernum Key Art Terms: stained glass, glazier, flashing, cames, leading, plate tracery, bar tracery, fleur‐de‐lis, Rayonnant, Flamboyant, mullions, moralized Bible, breviary, Perpendicular style, ambo, altarpiece, triptych, pieta Key Architectural Terms: altar frontal, rib vault, armature, webs, pointed arch, jamb figures, trumeau, triforium, oculus, flying buttress, pinnacle, vaulting web, diagonal rib, transverse rib, springing, clerestory, lancet, nave arcade, compound pier (cluster pier), shafts (responds), ramparts, battlements, crenellations, merlons, crenels, fan vaults, pendants, Gothic Revival, Hallenkirche (hall church) Exercises for Study: 1. Describe the key architectural features introduced in the French cathedral design in the Gothic era. 2. Describe features that make English Gothic cathedrals distinct from their French or German counterparts. 3. Describe the late Gothic Rayonnant and Flamboyant styles, and give examples of each. 4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. A. Old Testament kings and queen, jamb statues, Chartres Cathedral (Fig. 13‐7); Virgin and Child (Virgin of Paris), Notre‐Dame, Paris (Fig. 13‐26) • Dates: • Composition/posture of figures: • Relation to architecture: B. Saint Theodore, jamb statue, left portal, Porch of the Martyrs, Chartres Cathedral (Fig. 13‐18); Naumburg Master, Ekkehard and Uta, Naumburg Cathedral (Fig. 13‐48): • Dates: • Subjects: • Composition/posture of figures: • Relation to architecture: C. Interior of Saint Elizabeth, Marburg, Germany (Fig. 13‐53); Interior of Laon Cathedral, Laon, France (Fig. 13‐9) • Dates & locations: • Nave elevation: • Aisles: • Ceiling vaults: • Other architectural features: Chapter Questions: 1.