The architecture of Indian temples and the art of bronze sculpture hold a special place in the rich heritage of Indian art and culture. Indian temple architecture is a testament to the nation’s deep-rooted spiritual and architectural traditions. These sacred structures, known for their intricate designs and spiritual significance, reflect the diverse cultural and regional influences that have shaped India over the centuries. 

Early Temples

About: During this period, alongside the ongoing construction of stupas, Brahmanical temples and divine images gained prominence. 

• • Features: Temples were often adorned with depictions of gods, incorporating myths from the Puranas into the narrative representation of Brahmanical religion. 
    • Each temple featured a principal deity image. 

• The temple shrines came in three types—
• Sandhara (without pradikshinapatha)
• Nirandhara (with pradikshinapatha), and 
• Sarvatobhadra (accessible from all sides). 
• Examples: Notable temple sites from this era include Deogarh in Uttar Pradesh, Eran, Nachna-Kuthara, and Udaygiri near Vidisha in Madhya Pradesh. 
• • Features: These temples, characterized by simplicity, typically comprised a veranda, a hall, and a shrine at the rear. 

The Basic Form of the Hindu Temple

Sanctum (Garbhagriha): The sanctum, initially a small cubicle with a single entrance, evolved into a larger chamber over time. It is designed to house the main icon, which becomes the focal point of significant ritual attention.

• Entrance (Mandapa): The entrance to the temple, whether a portico or collonaded hall, serves as a space for accommodating a large number of worshippers.
• Architectural Elements: In freestanding temples, a mountain-like spire is featured, taking the form of a curving Shikhar in North India and a pyramidal tower known as a vimana in South India.
• Vahan and Dhvaj: Positioned axially before the sanctum, the vahan represents the mount or vehicle of the main deity, accompanied by a standard pillar or Dhvaj.

Temple Orders

Nagara (North) and Dravida (South): Two distinct orders of temples prevail—Nagara in the north and Dravida in the south. 

• They differ in architectural features and spire shapes which we will study about in later parts of the chapter. 
• Vesar Style: Some scholars recognize the Vesar style as an independent form resulting from the selective integration of Nagara and Dravida elements.

Sculpture, Iconography and Ornamentation

Iconography in Art History

• About: The study of images of deities is a facet of art history known as ‘iconography.’ This field involves the identification of images based on specific symbols and mythologies associated with them. 
• Features: While the fundamental myth and meaning of a deity may endure for centuries, its specific usage in a particular location often responds to local, social, political, or geographical contexts.
• Regional Variations in Iconography: Every region and period has produced distinct styles of deity images, showcasing regional variations in iconography. 

• • Role of Temples: Integral to this artistic expression, are adorned with elaborate sculptures and ornaments that form a fundamental part of their conception.

• Strategic Placement in Temples

• • • The placement of deity images within a temple is carefully planned. 
    • For instance, in Nagara temples, river goddesses (Ganga and Yamuna) are commonly found at the entrance of a garbhagriha. 
  • Dravida temples feature dvarapalas (doorkeepers) guarding gateways or gopurams. 
    • Erotic images (mithunas), the nine auspicious planets (navagrahas), and yakshas are strategically placed at entrances for protective purposes.

• Outer Wall Depictions

• • • Various forms or aspects of the main divinity adorn the outer walls of sanctums. 
    • Ashtadikpalas, representing the deities of directions, face the eight key directions on the outer walls of the sanctum and/or the temple.
  • Subsidiary Shrines: Subsidiary shrines around the main temple are dedicated to the family or incarnations of the main deity, adding layers of significance to the temple complex.
• Ornamental Elements in Temples: Distinct elements of ornamentation, such as gavaksha, vyala/yali, kalpa-lata, amalaka, kalasha, are used in specific ways and places within a temple, contributing to its overall aesthetic and symbolic richness.

Conclusion

This diverse iconography not only serves as artistic expression but also reflects the intricate interplay of cultural, social, and geographical influences over time. As temples grew more complex, additive geometry was employed. 

• This involved adding rhythmically projecting, symmetrical walls and niches without deviating from the fundamental shrine plan. 
• This structural evolution can be seen in changes that occurred within different variations of Nagara and Dravida temples. 

DOWNLOAD PDF