The earliest recorded instance of an

arched entrance that bears an affiliation

to a toran is located at the Lomas Rsi
Cave in the Babar Hills. This stone
archway simulates earlier wooden
prototypes and presages some of the
features seen on later torans. Then came
the freestanding torans in the Buddhist
stupas that acted as an entrance way into
the enclosure.

There was a shift in power to the Hindu
rulers, who commissioned construction
of temples to the same artisans who built
the Buddhist stupas. This lead to the
toran being incorporated into the temple
as an entranceway to the main shrine.
Though it did not serve any major
structural purpose, it became an integral
part of the temple architecture.
A generalised toran
The toran may be best described as an
arched portal or a festool associated with
traditional Indian architecture. The
etymon of the word toran implies to
forge forwards or to rush forward,
possibly relating to a portal or passage
which enabled efficient entry and exit
The glos mentions its functions of the
torana in the Amarakosa ( 6
th
century)
mentions its function in early Indian
architecture as an outer gateway
(bahirdvaram) as compared to the
gopura, which is defined there as a city
gateway (puradvaram). The
Halayudhakosa (abhidhanaratnamala),, a
medical lexicon, identifies the festooned
garland (vandanamala) itself as the
torana.
The Draupati Rath evolved from the
earlier toranas in the tamil region
which were associated with the
excavated rock cut caves of the
pallava period. This temple has four
similar makkara torans one each
above the three niches of the outer
walls of the sanctum and a fourth one
above the scantum entrance. Here,
the toran is used in the form of a
motif to represent the symbolic
gateways on the other 3 directions.

The tails of the makaras are
delineated as waves accentuating the
undulating effect of the torans. This is
a typical example of the sinusoidal
arch with the twin arcs that was
widely prevalent in the tamil country
in the 7
th
and 8
th
centuries.
The Mukhteshwar temple of Orrisa has a
remarkable example of a free standing toran
at its entrance. It is quite distinct in
conception and form , standing on a low
platform. Two squat pillars of substantial
cross section support a semi-circular arch.
The square bases of the pillars bear shrines
on all faces, except the inner one. The 16
sided shafts have shallow fruits and their
upper regions are carved with a gorgon and
bell band followed by a thin floral scroll.
Above this springs the generously
proportioned semi-circular arch with a
meandering scroll, an ornate frame with
dormer motifs and reclining maidens
appropriately placed along curve of the
arch. The upper margin of the arch is
adorned with exquisite wine creepers. A
vase is placed at the apex. At the lateral
ends of the arch are outward facing makaras
typical of the toran representations from
this region.

When compared to the typical torans, its
arch is almost like an inverted form with the
makkars facing outward. This is the reason
it is so unique. It demarkates a definitive
entry to the temple. (ref. image)
Andol
a
Illika
At the Laxman temple of Khajurao, a
toran of twin arcs spans the distance
between the dwarf pillars in front of the
porch. This delicately rendered arch is
free of the supporting stone matrix. A
devy of celestials fill the upper margins
and a row of fleurs-de-lis laces the lower
helm. Two goblins engage the makkar in
combat on the viewers right. On the left,
only the upper one partially survives. A
kirttimukha at the apex and a prominent
pendent gagar completes the arch. It
heralds to development that become the
norm in the medieval, western and
central Indian torans: one the free
flying status of the arch and another the
presence of creatures such as celestials
and goblins along its curvature.

This toran is one of the most exquisite
ever made as it balances the elegance
with the ornate carving in the perfectly
proportioned free flying arch.
Today the symbolic aspect of the
illika (garland) toran still remains
in the form of an ensemble of
flowers or/and fabric that is
commonly seen at the entrances to
most hindu temples and even
houses.
Sometimes the torans can be seen
in colourful lighted up LED
creations that span the width of
the road, inviting people in.
A lot of social occasions like
marriages have also imbibed the
entranceway concept of the toran.

It is also manifested in the form of
arched gateways, mostly
temporary in nature that is seen
cropping up in front of the pooja
pandal or any public events.

We might surmise that the latest
manifestation of this gateway are
the security metal scanners that
mark the entrance in airports and
many public spaces.

References: The Torana in Indian and South East Asian Architecture(2010) Parul Pandya Dhar Pages-1, 2, 1.1, 30, 31, 32, 82, 200, 353,
www.greatbuildings.com/architecture/laxmantemple (16-04-2013), http://4.bp.blogspot.com/_3_2FCxXqZPQ/S-rc-wM4gzI/AAAAAAAAOW0/yM0AhjF4J0Y/s1600/Diwali-Toran-Wallpapers.JPG(18-04-2013), http://www.gujaratgifts.com/static/ggdiwali/torn0.gif, (18-04-2013)
http://upload.wikimedia.org/wikipedia/commons/3/3a/Alter_Cloth_%28Toran%29,_Saurashtra,_Gujarat,_India,_20th_Century,_cotton,_metal_and_mirror_pieces._plain_weave_with_embroidery_and_mirror_work,_Honolulu_Academy_of_Arts.jpg(18-04-2013)
The Andola garland
emulates wave-like
undulations and
follows a
sinusoidal rythmn
The Illika garland
derives its name
from the gait of
caterpillar and is
formed of a
succession of semi
circular arches.