Nagara Temple Architecture:

Typologies of temples wrt Pradakshina Patha :

Sandhara: These types of the temples have a square sanctum enclosed by a gallery of pillars
meant for Pradakshina. Thus, the Sandhara temples have a Pradakshinapatha.
Nirandhara: This type of temples do NOT have Pradakshinapathas
Sarvatobhadra: These types of the temples have four functional doors on cardinal direction and
also a Pradakshinapatha with a row of 12 pillars around
 Temples Styles in North India (Nagara Style)
Elements of Hindu Temples
•literally means ‘womb-house’ and is a cave like sanctum
Garbhagriha
•Garbhagriha is made to house the main icon (main deity)

•It is the entrance to the temple

•May be a portico or colonnaded (series of columns placed at regular intervals) hall that
Mandapa /
incorporate space for a large number of worshipers
Jagamohana
•Some temples have multiple mandapas in different sizes named as Ardhamandapa, Mandapa and
Mahamandapa

•They are mountain like spire of a free standing temple

Shikhara or
•Shikhara is found in North Indian temples and Vimana is found in South Indian temples
Vimana
•Shikhara has a curving shape while vimana has a pyramidal like structure

Amalaka •a stone disc like structure at the top of the temple shikara
Kalasha •Top most point of the temple above Amalaka
Antarala
•a transition area between the Garbhagriha and the temple’s main hall (mandapa)
(vestibule)
Jagati/ Pishta/
•a raised platform for sitting and praying
Adhistana
Vahana •vehicle of the temple’s main deity along with a standard pillar or Dhvaj
Classification of Indian Temples

•Nagara (North India)

•Dravida (South India)

•Vesara style→ an independent style → mixure of Nagara

and Dravida styles
Nagara School of Architecture

•Style of temple architecture that became popular in northern India.

•A square temple with a number of graduated projections.

•A tower (sikhara) gradually curving inwards and capped by a spheroid slab with ribs
round the edge (Amalaka) give the elevation.

•Prominent features → Shikaras (Spiral roofs), Garbhagriha (sanctum) & Jaga Mohana
(Mandapa)

•Thus the two major characteristics of this style are the cruciform ground plan and the
curvilinear tower
 Three subtypes of Nagara temple depending upon the shape of Shikhara

Rekha Prasada ( Latina)

Phamsana
They are broader and shorter than Latina type.
• simple and most common type of • Their roof is composed of several slabs that gently rise to a
shikhara. single point over the centre of the building, unlike the Latina
• It is square at the base and the ones which looks like sharply rising towers.
walls curve or slope inwards to a • Phamsana roofs do not curve inwards; instead they slope
point on top. upward on a straight incline.
• Latina types are mainly used for • In many north Indian temples, the phamsana type is used
housing the garbhagriha. for mandapas while the main garbhagriha is housed in a
 Shekhari
Vallabhi

Shekhari bhumija
Vallabhi • consists of the central latina spires with • Shikhara having a central frame that
one or more rows of half spires added on tapers on all sides and surrounded
• Rectangular building with a either side and miniature shikharas by columns of smaller spires
roof that rises into a vaulted clustered along the base and corners. • The bhumija temple was particularly
chamber. • The shekhari was popular from the 10th popular in Malwa, in the western
century onward and can be observed on part of Madhya Pradesh, and in the
• They are usually called as most Central Indian temples; the Deccan; an example is the 11th-
wagon vaulted structures. Lakshmana and Kandarya Mahadeva century Udayeshvara temple at
temples at Khajuraho, Madhya Pradesh, Udayapur, Madhya Pradesh.
have excellent examples.
Rathas:

• In Hindu temple architecture, a ratha is a facet or vertical offset projection on the tower (generally
a shikhara

• The rathas are decorated with geometric figures or statues, such as statues of a gatekeeper watching
outside or a niche with a statue of a deity.

• Sometimes, the facet of the ratha is hollowed to the interior; these are rathas with recesses.
• If there is only one facet, this is a temple with three rathas (triratha): the wall and the facet on the left
and on the right.
 Bhubaneswar

Sukha Nasika

Khajuraho Khajuraho Khajuraho Katmandou

Nagara Style:

1. Odisha School 2.Khajuraho/ Chandel School 3. Solanki School

Solanki School

•Patronized by Solanki kings (later Chalukya) of Gujarat (11th to 13th century).

•The Vimala, Tejpala and Vastupala temples at Mount Abu exhibit this style.
•Dilwara temple in Mt Abu – Highest Jain pilgrimage
TEMPLES OF GUJARAT
• Also falls in Nagara Style of Architecture/ North Indian style of Architecture
• Developed some features which are not found in the typical Nagara Temples of Central
India
• Started with the emergence of a new and powerful royal house, Maitrakas (470-784
CE)
• Four types of super structures
• Kutina Style- Resembling Dravida sikhara
• Vallabhi Style– Wagon vault/ Sala Sikhara
• Phamsana – Wedge shaped/ Stepped pyramid
• Latina – Curvilinear profile
• By the end of 7th century kutina and vallabhi became less popular where as Latina
gained popularity.
• Plan and elevation of early Maitraka temples were simple.
• Small Garbha Griha with/ without Mukha Mandapa
• Mukha mandapa was not found in majority of early Maitraka temple
• Both sandhara and Nirandhara type of temples.
• SAS-BAHU TEMPLE GWALIOR
• Following the similar configuration in plan it is much
larger than the others.
• The increased scale of interior needed more support
in the interior.

•The roof is now about 80 feet high and to support

the diagonal load, additional supports by four
columns are provided in the centre.
• All the efforts seems to have exhausted in the completion of the mandapa, while the garbhagriha and the
shikhara looks incomplete and plain.
• The plinth of the shikhara looks sturdy and solid, probably for a tall spire much like the orissian temples.
• The interior much looks like a mesh of beams and inclined support, it also dilutes the interior quality of
space.
 • Ex: Gop temple, Jamnagar, Gujarat
• Bilvanatha Temple Bilveshwar
• Vishnu temple Kadvar
Sandhara Type

Phamsana- Stepped Shikhara

2 projected chaityas-
windows as nasikas

No mandapa

Adhistana
• Maitraka architecture influenced by architecture of Deccan.
• Early 8th century, transition from saurashtra temple to real Nagara style- Gujarat
• Examples:
• Varaha Temple, Kadvar
• Surya Temple, Sutrapada near Somnatha, Junagarh District
• Sikhara in Triratha form, garbha griha with pradakshina patha, closed mandapa with
porch and sloping roof.
• Next development at Roda, Latina shikhara, triratha or pancharatha projection rest over
garbha griha & Pyramidical roof over mandapa- Karnataka style

Latina shikhara with

triratha projection

Pyramidical roof over

mandapa
TEMPLES OF GUJARAT- Solanki Style

• Establishment of Solanki Dynasty by 10th century

• Several new features introduced by temple architects
• Architecture flourished during this time in Anartta, Saurashtra, Kaccha and Lata- Termed as Maru
Gurjara style- attained its architectural perfection.
• Maru Gurjara comprise of
• Garbha Griha/Mula Prasada
• Gudha Mandapa ( Closed Hall or Mahamandapa)
• Porch in front of Gudha Mandapa
• In several examples, Ranga mandapa/Nritya Mandapa ( Dance Hall),
Sabha Mandapa ( Assembly Hall)
• Aligned in single axis.

• Later temples Mandapas were fronted by a free standing Kirti Torana,

decorated entrance with its own pair of pillars &
• Temple Tank ( Kund ) were added. : Unique features of Gujarat Style.
• There were some pancha yatana style temples.
• Larger temples had pradakshina Patha around Garbha Griha.
Planning of spaces: Ex. Sun Temple Modhera:
• Gudhamandapa- Mahamandapa of nagara style in Maru Gurjara style
• If Gudha mandapa is attached to mulaprasada, elevation elements are similar to mulaprasada.
• If rangamandapa/ Sabhamandapa attached to mulaprasada, elements above pitha will be
different, helps distinguishing gudhamandapa and rangamndapa.

Half walled

Open
Planning of spaces: :
• Ranga mandapa is open & half walled, provided with decorated kakshasanas.

Circular top

16 sided
Section

Square/Octagonal
Base

Decorated
Kakshasanas
 Narapitha- Human
Figures

Shikhara
Asvapitha- Horse
Mandovara
Pitha
Gajapitha-
Elephants

Grasapatti- Horned head

Antarpada- Recessed flat band

Karnaka- Knife edge
Pitha- Supports Mandovara
Jadyakumbha:
Inverted lotus

Developed temples contain 7/8 mouldings Pitha

Bitta-Plinth

Kara Sila- paved terrace Platform/ base

 Kurachadya- Series of cornices Mandovara:
Ties wall to shikhara • Temple wall of Maru Gurjara Temple- important element of
Antarapatra Gujarat Temples. (Corresponds to Orissan Bada)
Varandhika

Kapotali- • Decorated with relief sculpture

Sirahpatti-projecting band • Three major sections-
Bharani- Fluted element Vedi banda- Series of binding mouldings at lower
Grasapatti portion of wall
Udgama- Crowning element Jangha- Main part of the wall
Varandika-Series of mouldings in the form of cornices.
Shikhara:
Jangha

• Starts on top of varandika

Jangha- Framed Niche Rathikas

with images of dieties

Manchika- Pedestal for jhanga

Vedi- Bandha

Kapotali-cornice like moulding

Antarapatra-flat recessed band
Kalasa-

Kumbhaka- Pot representing water element

Kuraka-hoof shaped lowest moulding where wall rest

Ex: Sun Temple, Modhera:

• Sun Temple Modhera- 10th century : 1026-27

• Built of Golden brown sand stone
• Stands on broad terrace- Khara sila- made of solid brick faced with stones.
• Temple complex is faced with temple tank/ Kund / Stepped well
• Encompasses miniature shrines on its smaller steps.
• Broad set of steps at the western side leads to decorated archway, kirti torana standing in front og the nrithya
mandapa/sabha mandapa/ ranga mandapa
• Immediately behind kirti torana begins temple complex, nritya mandapa, gudha mandapa, garbha griha aligned in single
axis.
• Four entrances with flights of steps on all four sides.
• 8 central pillars supporting roof , short pillars at the hall support
chajja/ cornice
• Triple cornice from where stepped pyramidal roof begins
• Sabha mandapa leads to gudha mandapa, covered hall.
• Gudha mandapa with only one entrance, connected to mula prasada
• Around garbhagriha. Pradakshina patha, sandhara type temple.
• Though highly damaged, can be assumed that shikhara was Sekhari
type with urushringas clustered.

• Temple pond/ Kund/ Stepped kund with

miniature shrines on its smaller steps
• Kirti Torana, decorated entrance with its own
pair of pillars &
Assignment- Sun Temple Modhera
Rajasthan Temples:

Dilwara Jain Temple

Ranakpur Adinatha Temple
Mahavira in the center of Samavasarana
( from "Kalpa-Sutra" c. 1475-1500, Detroit Institute of Art ) When a Jina obtains perfect knowledge, the gods
prepare his Samavasarana, which is open to the four directions and takes either round plan or square
plan.
samavasarana is derived from two words, sama, meaning general and avasara, meaning opportunity. It is a place where all
have an opportunity to acquire wisdom
 Mahadara prasada PLAN 2. THE IDEAL PLAN OF JAINA TEMPLE,
based on the drawing by P.O.
Mulaprasada Somapura, 1960. Fundamentally this is a
type of "Pancha-yatana" surrounded by
cloisters, every space is continuous and
Rangamandapa
unified as in the Ranakpur temple. The
five shrines are all "Chaturmukha" type
Meghnada-mandapas having respectively four "Ranga-
mandapas" in front of four faces. There
are greater "Meganada-mandapas" on
Devakulika the crossing axes which connect five
shrines, and they continue to "Balanaka"
(entrance hall) of four sides.
Bhadra prasada On the peripheral line are 4 "Mahadara-
prasadas" (two faced shrines) and 8
"Bhadra-prasadas" in addition to 92
"Deva-kulikas" (small shrines). The total
number of the statues of Tirthankara is
124 in the ground floor alone. All shrines
have "Shikhara" (tower on the sanctum)
and flag pole, mandapas are covered
by domes or "Samvarana roofs." When
applying usual span to this plan, the total
dimension of the temple is about 100m x
100m. that is approximately the same
scale as the area of the 2nd Cloisters of
Angkor Wat.
 balanaka

Samvardhana
roof/ domes
Devakulika
PLAN 1. ADINATHA TEMPLE, RANAKPUR, 15th century.
(from "The Penguin Guide to the Monuments of India" vol.
1, Buddhist, Jain, Hindu, by George Michell, 1989)
The central main shrine is called "Mula-Prasada", the
interior of which is "Garbagriha" (sanctum), and its main
statue is "Mulanayaka". For a Chaturmukha (four-faced)
shrine, unlike the temples of Mt. Abu, there are no
"Gudha-mandapa" (closed hall) or "Trika-mandapas"
(vestibule), but four "Ranga-mandapas" ( A, assembly
hall) in front of four portals of the main shrine. Each
Ranga-mandapa is connected with a three storyed
"Meghanada-mandapa" ( B, high hall) in front.
Having four "Mahadara-prasada" (two-faced-shrine)
diagonally in four directions of the main shrine, the
temple type is "Panchayatana" (five-shrined-type). In
addition to this, there are two "Bhadra-prasada" east and
west sides, making the total composition much more
intricate. A line of "Deva-kulika" (small shrine) along
"Bhamati" (cloister) surround the whole complex. All these
shrines hold a statue of Tirthankara or Jina (four in
Chaturmukha, two in Mahadara-prasada), there are
more than 100 statues in total.
PLAN 1. ADINATHA TEMPLE, RANAKPUR, 15th century.
(from "The Penguin Guide to the Monuments of India" vol.
1, Buddhist, Jain, Hindu, by George Michell, 1989)
The central main shrine is called "Mula-Prasada", the
interior of which is "Garbagriha" (sanctum), and its main
statue is "Mulanayaka". For a Chaturmukha (four-faced)
shrine, unlike the temples of Mt. Abu, there are no
"Gudha-mandapa" (closed hall) or "Trika-mandapas"
(vestibule), but four "Ranga-mandapas" ( A, assembly
hall) in front of four portals of the main shrine. Each
Ranga-mandapa is connected with a three storyed
"Meghanada-mandapa" ( B, high hall) in front.
Having four "Mahadara-prasada" (two-faced-shrine)
diagonally in four directions of the main shrine, the
temple type is "Panchayatana" (five-shrined-type). In
addition to this, there are two "Bhadra-prasada" east
and west sides, making the total composition much more
intricate. A line of "Deva-kulika" (small shrine) along
"Bhamati" (cloister) surround the whole complex. All
these shrines hold a statue of Tirthankara or Jina (four in
Chaturmukha, two in Mahadara-prasada), there are
more than 100 statues in total.
Dilwara Temple
Ranakputr Adinath Temple
Gujarat Assignment:
Sun Temple Modhera

Rajasthan Assignment:
Dilwara Jain Temple, Mount Abu
Ranakpur Adinatha Temple