Vesara style of Architecture.pdf
- 1. DISSERTATION REPORT VESARA ARCHITECTURE FACULTY OF ARCHITECTURE & EKISTICS JAMIA MILLIA ISLAMIA NEW DELHI SUBMITTED BY: MAHENOOR FATIMA B.ARCH 2nd YEAR (DAY) 20BAR018 AR-210 INSTRUCTED BY: AR.MOHD. FIROZ ANWAR
- 2. VESARA ARCHITECTURE Time period: ❖ Chalukyans of Badami (500-753 AD) ❖ Rashtrakutas of Manyakheta (750-983 AD) ❖ Chalukyas of Kalyan (983-1195 AD) ❖ Hoysalas (1000-1330 AD) Introduction o Vesara means hybrid as the south Indian text kamika-agama explains that this name is derived from its mixed nature, where it is a Dravida architecture in plan, yet its shape is Nagara architecture in the details. o Temples built during this time can be found in- Aihole, Badami, and Pattadakal. o It is one of Six major types of Indian temple architecture found in historic text along with Nagara, dravida, Bhumija,Kalinga and varata.
- 3. ▪ Aim • To study the unique and distinctive features of Vesara style of architecture, since it is the confluence of both Dravida and Nagara style of architecture and the impact of Vesara style in the architecture of temples. ▪ Objective • To Study the different features of Vesara style of architecture, • To Study the uniqueness of its style. • To analyze how the northern and southern styles are put together to form one style. • To study the impact of the emergence of Vesara Style on the architecture of temples. • To study some of the examples of this Indian architecture style.
- 4. Historical background of emergence of Vesara style of architecture Early Chalukyas o From the 5 th century CE onwards (535-757CE), the Chalukyas of Badami were the leading force in Deccan. They were indigenous Kannara family with Kannaras as mother tounge. o Their early inscriptions indicate that they worship both Vaishnavite and Shaivite deities. o The temple architecture of Chalukya Period is actually the mixture of Nagar and Dravida styles. o This style originate and flourished at Aihole, Badami and Pattadakal of Karnataka state between 5th to 7th century CE. o There is no covered ambulatory walkway in temples erected during their historical period. Jambulingesvara temple, Badami
- 5. Later Chalukyas o The Rashtrakuta Empire, which was ruled by the Rashtrakuta Dynasty, was founded in the eighth century CE, circa 753 CE by Dantidurga, who was succeeded by his nephew, Krishna l. o Temples that were imaginatively designed during the Rashtrakuta Dynasty were mostly carved from stones and caves. o Some of these edifices were once the sacred space for other faiths, such as Buddhism, but were claimed by the Rashtrakuta who transformed them to suit their beliefs. o The majority of their temples were built in chalukyan style. o Temples built by Rashtrakutas were- ▪ Kailasa Temple at Ellora, Maharashtra ▪ Jain Narayan Temple at Pattadakal , Karnataka ▪ Elephanta Caves, near Bombay ▪ Kasivisvesvara temple, Lakkundi Kasivisvesvara temple, lakkundi
- 6. Hoysalas o The Vesara style of temple architecture reached its highest climax under the Hoysala dynasty (1000C.E.-1300C.E.). o It was continuation of several patterns of temple architecture which developed under the chalukyas of kalyani- ▪ The Chalukya style got perfection as an independent style under Hoysala rule in the 13th century. o Remians of temples of this period are found at Halebid, Belur, and Somnathpur. Keshava temple, somnathpur
- 7. Features of Vesara style of architecture ▪ The boundary wall of the complex: Small cellas in the wall as enclosure and facing the main shrine in a rectangular courtyard. ▪ Ardhmandapa: A porch directing to the central hall. ▪ Mandapa: The main pillared hall came from the porch. ▪ Mahamandapa: The projection on either side of the main hall. ▪ Garbhagriha: Cella of the "womb house" including the idol with an opening on the eastern side. ▪ Antarala: vestibule or an intermediate space connecting the cella (Garbhagriha) and Hall (Mandapa). ▪ Pradakshinapath: Circumambulatory path around the cella for the devotees to move around deity. MANDAPA ARDHMANDAPA BOUNDARY WALL ANTARALA GARBHAGRIHA PRADAKSHINAPATH Basic layout of plan
- 8. ▪ Vimana: The cloister (the inner holy place) ▪ Shikhara: The tower or the superstructure above the cloister in Nagara style. Sometimes the top storey is also called Shikhara in Dravida style. ▪ Gavakshas: horseshoe-shaped arched on the shikhara, used for decoration. ▪ Amalakas: The ribbed disc-like component on the top of the tower. ▪ Stupi: A small picture of the stupa on the top of the tower. ▪ Shalas: Barrel Vault shped topping over the tower. ▪ Pediment: a semicircular space created over a pair of columns, generally used for ornamentation purposes. VIMANA Gavaksha Amalakas
- 9. Evolution of StellatePlan • Square floor plan with five projections per side of the shrine. • Thirty-two pointed interrupted stellate floorplan (one side of the shrine) • Sixteen- pointed uninterruptedfloorplan (one side of the shrine). Trimurti temple at Savadi in Gadag district,11th Century CE. • Stepped floorplan Of DattatreyaTemple (one side of the shrine) with five projectionsat Chattarkiin gulbargadistrict, 12thcentury CE.
- 10. Influence of Nagara and Dravidian style on Vesara style of architecture ❑ Nagara: • The shrine plan, Subsidiary shrine and Panchayatan style. • Vestibules connecting sanctum and Mantapa. • Temple pillars in Karnataka area resembles the sekhari and bhumija pillars. • Nagara articulation projected stepping diamondor stellateplan. ❑ Dravida: • Dravida influence is most obvious in the vimana. Miniature ornamental towers and wall ornamentation exhibit a mix of nagara and dravida styles
- 11. CHENNAKESHAVA TEMPLE, SOMNATHPURA (1268 A.D.) • Most typical and complete is the keshava temple at Somnathpura, situated about 38km from the mysore, a triple shrine , or trikutachala, and illustrating the hoysala style in it late maturity. • It was built in A.D. 1268, by Somnatha under the Hoysala king Narshimha III. • The very moderate dimensions enable one, on entering the courtyard through its eastern gateway, to see this building in its entirety at a single glance,and it is indeed a very perfect and finished production, a small, but typical example of the style. • This temple was built 150 years after Belur and Halebeedu, representing the last stage of the Hoysala style of Architecture. The outer walls are ornate in such a way, this prevents overcrowding of the sculptures like Belur and that of Halebidu temples.
- 12. PLAN ▪ Owing to its combination of 3 shrines,the temple plan is in the shape of the cross, its greatest length being 87ft and its width 83 ft, with its sole entrance on the east. ▪ The temple structure stans on a high platform, the outline of which run parallel to the plan of the building, following the points of its stellate shape, but leaving a space 7 ft wide all around,as am ambulatory. ▪ Its plan is simple as it consists of a man pillared hall in the centre, at the western end of which are the 3 shrines, one in axial alignment with the hall, the other projecting laterally, like trancepts, thus producing its cruciform effect. ▪ From each of the 3 interior walls of the middle hall a doorway leads to a square vestibule or sukhanasi, beyond which, in each instance, is the cella.
- 13. Formation of the tower of Shikhara ▪ Although the sikhara is separated from its substructure, consists of the walls of the vimana, by a wide projecting cornice or eave, the stellate system is carried through this to produce a fluted effect on the tower above. ▪ The motifs that make up the horizontal and vertical pattern of the sikhara consist of complex grouping of miniature shrines, and niches, each tier being separated either by sunk moulding or a fretted string-course. ▪ There is a certain beauty in its rich sculptured texture, but architecturally it is formless, and lacks structuralstrength.
- 14. Columns ▪ The typical Hoysalan influence is the lathe turned support pillars in the Garbhagrihas(Sanctums). ▪ These pillars were used as prototypes for all upcoming temples. ▪ The pillars are cylindrical in shape with the possible exception of the cubical capital and the base sections. ▪ The ring like groves all along the length, except in the lower portion that appears like a bell.
- 15. Roofing Details • The roofs are inticately sculpted with various patternsand design features. • There are patterns of flowers which are concentricand have a central point. • Thee is a snake like pattern, a square pattern and a starshaped pattern as well.
- 16. Wall Details ▪ The base layer consists of elephants depicting strength. ▪ The second layer of horse depicting speed. ▪ The third one of carved patternsdepicts beauty. ▪ Fourth layer of religious fables depicts culture. ▪ Fifth layer depicts art as it consists of an innovative pattern of an imaginary animal which is a mix of pig, human, rhino, and crocodile. ▪ The walls are perforated on some walls allowing a dual function of both lighting and ventilation.
- 17. Sculptural Details • One of the finest example is that of Vishnu and lakshmi. • The lotus has been provided to add sense of balance as lakshmi is smaller than Vishnu and needs to rest her feet somewhere. • The lotus is tilting to the right due to her foot's weight and the creative vision of the artists to have included to support the tilting lotus. • Another example is that of the airawat elephant of Indra. Closer inspection will reveal that the elephant is not an ordinary one and has got 4 tusks. • Every diety has its own set of jewelery, the fingers nails are visible and proportions are right.
- 18. Conclusion The history of the Indian temple architecture which started from the ancient times Vedic altars reached its highest climax in the Nagara, Dravida & Vesara style. In defining these two types (Nagara & Vesara/Chalukyan) we can say in words that the former to be called ‘Sikhara’ type and the latter was Hybrid (‘mull’) type. While the Chalukyan/Vesara form flourished dynamically (Especially by Chalukyan and Hoysalas dynasty), the Nagara style developed regionally, each region manifesting its own particular qualities, undoubtedly impressed at every place by the same ideals, principles and forms of art. So, after the above study and discussion, we can say that although those two styles of temple architecture had their own distinctive features and forms both contributed greatly to the enrichment of Indiantemple architecture. The Dravida vimana and Nagara-typed faced walls were features of the Vesara architecture. The Vesara temple style is sometimes discovered as a separate style, resulting from the selective merging of the Nagara and Dravida orders.
- 19. References o https://www.travelhippies.in/chennakesava-temple-somanathapura-photo-guide/ o https://selfstudyhistory.com/2020/08/13/growth-of-art-and-architecture-hoyasalas/ o http://www.igntu.ac.in/eContent/IGNTU-eContent-419310553224-MA-AIHC-4-Dr.ManojKumar(AIHC&Arch)- HistoryofAncientIndianArchitecture-II-3.pdf o https://www.slideshare.net/DeepaManagooli1/later-chalukyas-hoysalas-ppt o Acharjee, A. (2017, june-december). Comparative study of Nagara and Vesara/Chalukyan style of temple Architecture. journal of people's History and culture, 2(1-2), 11. https://www.gsmp.in/uploads/journal/20210510080540.pdf o Chugh, L. (2016). Karnataka'sRich Heritage - Art and Architecture: From Prehistoric Timesto the Hoysala Period. Notion Press. https://www.google.co.in/books/edition/Karnataka_s_Rich_Heritage_Art_and_Archit/JpnoCwAAQBAJ?hl=en&gbpv=1 o Dokras, u. (2022). Synthesisof 2 art forms. Vesara Temple Design, 1(Indo Nordic Author'sCollective), 14. https://www.academia.edu/69700764/VESARA_Style_of_Hindu_temples?source=swp_share o Hardy, A. (1995).Indian Temple Architecture: Form and Transformation : the Karṇāṭa Drāviḍa Tradition, 7th to 13th Centuries. Indira GandhiNationalCentre for the Arts.
- 20. THANK YOU!