128-621: Badami Chalukya architecture is a style in Hindu temple architecture that evolved in the 5th – 8th centuries CE in the Malaprabha river basin, in the present-day Bagalkot district of Karnataka state of India, under the Chalukya dynasty ; later it spread more widely. This style is sometimes called the Vesara style and Chalukya style , a term that also includes the much later Western Chalukya architecture of
256-460: A Pradakshinapatha and mantapa . The mantapa is pillared and has perforated windows (pierced window screens). The external wall surface is divided by pilasters into well-spaced ornamental niches filled with either sculptures or perforated windows. Art critic Percy Brown says about the sculptures that they flow into the architecture in a continuous stream. It is said that the Virupaskha temple
384-441: A Hindu temple in a symmetrical, self-repeating structure derived from central beliefs, myths, cardinality and mathematical principles. The four cardinal directions help create the axis of a Hindu temple, around which is formed a perfect square in the space available. The circle of mandala circumscribes the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle
512-499: A beloved guest, and the murti is welcomed, taken care of, and then requested to retire. An image in Hinduism cannot be equated with a deity and the object of worship is the divine whose power is inside the image, and the image is not the object of worship itself, Hindus believe everything is worthy of worship as it contains divine energy emanating from the one god. According to the Agamas ,
640-569: A definite shape or limits produced from material elements. It contrasts with the mind, thought, and immaterial in ancient Indian literature. The term also refers to any embodiment, manifestation, incarnation, personification, appearance, image, idol, or statue of a deity. The earliest mention of the term murti occurs in primary Upanishads composed in the 1st millennium BCE, particularly in verse 3.2 of Aitareya Upanishad , verse 1.13 of Shvetashvatara Upanishad , verse 6.14 of Maitrayaniya Upanishad and verse 1.5 of Prashna Upanishad . For example,
768-420: A deity, of any human being, animal or any art. Pratima includes murti as well as painting of any non-anthropomorphic object. In contrast, Bera or Bimba meant "idol of god" only, and Vigraha was synonymous with Bimba . A murti in contemporary usage is any image or statue. It may be found inside or outside a temple or home, installed to be moved with a festive procession ( utsava murti ), or just be
896-455: A different material symbol than one's own. In the history of Hinduism and India, states Pennington, Hindu deity images ( murti ) have been a religious lens for focusing this anti-Hindu polemic and was the basis for distortions, accusations and attacks by non-Indian religious powers and missionaries. Ancient Indian texts assert the significance of murti in spiritual terms. The Vāstusūtra Upaniṣad , whose palm-leaf manuscripts were discovered in
1024-411: A landmark. It is a significant part of Hindu iconography, and is implemented in many ways. Two major categories include: Beyond anthropomorphic forms of religious murti, some traditions of Hinduism cherish aniconism , where alternate symbols are shaped into a murti, such as the linga for Shiva, yoni for Devi, and the saligrama for Vishnu. Murti, when produced properly, are made according to
1152-455: A mental image than we can live without breathing. By the law of association, the material image calls up the mental idea and vice versa. Religious intolerance and polemics, state Halbertal and Margalit, have historically targeted idols and material symbols cherished by other religions, while encouraging the worship of material symbols of one's religion, characterizing the material symbols of others as grotesque and wrong, in some cases dehumanizing
1280-487: A murti is installed by priests through the Prana pratishta ceremony, where mantras are recited sometimes with yantras (mystic diagrams), whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend. The esoteric Hindu tantric traditions through texts such as Tantra-tattva follow elaborate rituals to infuse life into
1408-458: A murti, or the meditation on a Tirthankara in the case of Jainism, thus making the material of construction or the specific shape of the murti not spiritually important. According to John Keay , "Only after achieving remarkable expertise in the portrayal of the Buddha figure and of animal and human, did Indian stonemasons turn to produce images of the orthodox 'Hindu' deities". This view, however,
SECTION 10
#17328552166071536-460: A murti. Some tantra texts such as the Pancaratraraksa state that anyone who considers an icon of Vishnu as nothing but "an ordinary object" made of iron "goes to hell". The use of murti and particularly the prana protist consecration ceremony, states Buhnemann, has been criticized by Hindu groups. These groups state that this practice came from more recent "false tantra books", and there is not
1664-404: A person is not the real person, a murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer. When a person worships a murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman
1792-513: A region's rocky terrain encouraged monolithic rock-cut temple architecture. In regions where stones were unavailable, brick temples flourished. Hindu temple architecture has historically been affected by the building material available in each region, its "tonal value, texture and structural possibilities" states Michell. Dravidian architecture is an architectural idiom in Hindu temple architecture that emerged from South India , reaching its final form by
1920-656: A shrine, and the latter meaning images that were carried from place to place. Panini also mentions Devalaka , meaning custodians of images of worship who show the images but do not sell them, as well as Jivika as people whose source of livelihood was the gifts they received from devotees. In ancient Sanskrit texts that follow Panini's work, numerous references are found to divine images with terms such as Devagrha , Devagara , Devakula , Devayatana and others. These texts, states Noel Salmond, strongly suggest that temples and murti were in existence in ancient India by about 4th century BCE. Recent archaeological evidence confirms that
2048-547: A single word in the Vedas about such a ceremony. A Hindu prayer before cutting a tree for a murti Oh, Tree! you have been selected for the worship of a deity, Salutations to you! I worship you per rules, kindly accept it. May all who live in this tree, find residence elsewhere, May they forgive us now, we bow to them. — Brihat Samhita 59.10 - 59.11 The artists who make any art or craft, including murti, were known as shilpins . The formally trained Shilpins shape
2176-442: A small, perfect square, windowless, enclosed space without ornamentation that represents universal essence. In or near this space is typically a murti . This is the main deity image, and this varies with each temple. Often it is this idol that gives it a local name, such as Vishnu temple, Krishna temple, Rama temple, Narayana temple, Siva temple, Lakshmi temple, Ganesha temple, Durga temple, Hanuman temple, Surya temple, and others. It
2304-617: A symbol of depravity and primitiveness, arguing that it was, states Tanisha Ramachandran, "the White Man's Burden to create a moral society" in India. This literature by the Christian missionaries constructed the foundation of a "Hindu image" in Europe, during the colonial era, and it blamed murti idolatry as "the cause for the ills of Indian society". By 19th-century, ideas such as pantheism (the universe
2432-413: A symbolic central core at the diagonal intersection, and is also a meditative layout. The 9 pada design has a sacred surrounded centre, and is the template for the smallest temple. Older Hindu temple vastumandalas may use the 9 through 49 pada series, but 64 is considered the most sacred geometric grid in Hindu temples. It is also called Manduka, Bhekapada or Ajira in various ancient Sanskrit texts. Each pada
2560-656: A temple project was not allowed and instead, the artist expressed the sacred values in the visual form through a temple, for the most part anonymously. The sponsors used contracts for the building tasks. Though great masters probably had assistants to help complete principal images in a temple, the reliefs panels in a Hindu temple were "almost certainly the inspiration of a single artist". Along with guilds, surviving texts suggest that several schools of Hindu temple architecture had developed in ancient India. Each school developed its own gurukuls (study centres) and texts. Of these, state Bharne and Krusche, two became most prominent:
2688-652: Is a symbolic icon representing divinity for the purpose of devotional activities. Thus, not all icons of gods and saints are mūrti ; for example, purely decorative depictions of divine figures often adorn Hindu temple architecture in intricately carved doorframes, on colourfully painted walls, and ornately sculpted rooftop domes. A mūrti itself is not God, but it is merely a representative shape, symbolic embodiment, or iconic manifestation of God. Murti are also found in some nontheistic Jain traditions, where they serve as symbols of revered mortals inside Jain temples, and are worshiped in murtipujaka rituals. A murti
SECTION 20
#17328552166072816-413: Is a symmetry-driven structure, with many variations, on a square grid of padas , depicting perfect geometric shapes such as circles and squares. Susan Lewandowski states that the underlying principle in a Hindu temple is built around the belief that all things are one and that everything is connected. A temple, states Lewandowski, "replicates again and again the Hindu beliefs in the parts mirroring, and at
2944-641: Is also associated to the cult of Vāsudeva and Saṃkarṣaṇa , and dated to the 1st century BCE. Though there are hardly any remains of stone Hindu temples before the Gupta dynasty in the 5th century CE, there probably were earlier structures in timber-based architecture. The rock-cut Udayagiri Caves (401 CE) are among the most important early sites, built with royal sponsorship, recorded by inscriptions, and with impressive sculpture. The earliest preserved Hindu temples are simple cell-like stone temples, some rock-cut and others structural, as at Temple 17 at Sanchi . By
3072-437: Is an extension of Vedic rituals of three fires. This symbolism is also found among Greek and other ancient civilizations, through the gnomon . In Hindu temple manuals, design plans are described with 1, 4, 9, 16, 25, 36, 49, 64, 81 up to 1024 squares; 1 pada is considered the simplest plan, as a seat for a hermit or devotee to sit and meditate on, do yoga, or make offerings with Vedic fire in front. The second design of 4 padas has
3200-570: Is as if the Southeast Asian architects learned from "the theoretical prescriptions about temple building" from Indian texts, but never saw one. They reassembled the elements with their own creative interpretations. The Hindu temples found in Southeast Asia are more conservative and far more strongly link the Mount Meru -related cosmological elements of Indian thought than the Hindu temples found in
3328-496: Is called pradakshina . Large temples also have pillared halls called mandapa. One on the east side, serves as the waiting room for pilgrims and devotees. The mandapa may be a separate structure in older temples, but in newer temples this space is integrated into the temple superstructure. Mega temple sites have a main temple surrounded by smaller temples and shrines, but these are still arranged by principles of symmetry, grids and mathematical precision. An important principle found in
3456-465: Is conceptually assigned to a symbolic element, sometimes in the form of a deity or to a spirit or apasara. The central square(s) of the 64 is dedicated to the Brahman (not to be confused with Brahmin), and are called Brahma padas. In a Hindu temple's structure of symmetry and concentric squares, each concentric layer has significance. The outermost layer, Paisachika padas, signify aspects of Asuras and evil;
3584-459: Is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect square grids. In large temples, this is often a 8×8 or 64-grid structure. In ceremonial temple superstructures, this is an 81 sub-square grid. The squares are called ‘‘padas’’. The square is symbolic and has Vedic origins from fire altar, Agni. The alignment along cardinal direction, similarly
3712-434: Is designed as a pyramid, conical or other mountain-like shape, once again using principle of concentric circles and squares (see below). Scholars such as Lewandowski state that this shape is inspired by cosmic mountain of Mount Meru or Himalayan Kailasa , the abode of gods according to its ancient mythology. In larger temples, the outer three padas are visually decorated with carvings, paintings or images meant to inspire
3840-605: Is identical with God or Brahman ), contained in newly translated Sanskrit texts were linked to the idolatry of murti and declared as additional evidence of superstitions and evil by Christian missionaries and colonial authorities in British India. The polemics of Christian missionaries in colonial India triggered a debate among Hindus, yielding divergent responses. It ranged from activists such as Dayananda Saraswati who denounced all murti , to Vivekananda who refused to denounce murti and asked Hindus in India and Christians in
3968-531: Is not a square but is a rectangle consisting of stacked squares. Further, the temple explores a number of structures and shrines in 1:1, 1:2, 1:3, 2:5, 3:5 and 4:5 ratios. These ratios are exact, suggesting the architect intended to use these harmonic ratios, and the rectangle pattern was not a mistake, nor an arbitrary approximation. Other examples of non-square harmonic ratios are found at Naresar temple site of Madhya Pradesh and Nakti-Mata temple near Jaipur, Rajasthan. Michael Meister states that these exceptions mean
Badami Chalukya architecture - Misplaced Pages Continue
4096-417: Is not confined in it. Devotional ( bhakti movement ) practices centered on cultivating a deep and personal bond of love with God, often expressed and facilitated with one or more murti, and includes individual or community hymns, japa or singing ( bhajan , kirtan or aarti ). Acts of devotion, in major temples particularly, are structured on treating the murti as the manifestation of a revered guest, and
4224-410: Is not part of the temple superstructure, but may be on the boundary of the temple or just symbolically represented. The Paisachika padas, Manusha padas and Devika padas surround Brahma padas, which signifies creative energy and serves as the location for temple's primary idol for darsana. Finally at the very centre of Brahma padas is Garbhagruha ( Garbha - Centre, gruha - house; literally the centre of
4352-521: Is not shared by other scholars. Trudy King et al. state that stone images of reverential figures and guardian spirits ( yaksha ) were first produced in Jainism and Hinduism, by about 2 century BCE, as suggested by Mathura region excavations, and this knowledge grew into iconographic traditions and stone monuments in India including those for Buddhism. Neither the Hybrid Sanskrit of Mahayana Buddhism, nor
4480-839: Is one of those monuments where the spirit of the men who built it, still lives. Many centuries later, the serene art of the Badami Chalukya reappeared in the pillared architecture of the Vijayanagar Empire . Their caves include finely engraved sculptures of Harihara , Trivikrama , Mahisa Mardhini , Tandavamurthi , Paravasudeva , Nataraja , Varaha , Gomateshvara and others. Plenty of animal and foliage motifs are also included. Some important sculptors of their time were Gundan Anivaritachari , Revadi Ovajja and Narasobba. Pattadakal Aihole Badami Gerusoppa Sanduru Alampur , Andhra Pradesh Hindu temple architecture Traditional Hindu temple architecture as
4608-406: Is performed to invoke the presence of the god or goddess into the physical form of the murti. In temples, this ceremony is a one-time event for a specific murti . In domestic rituals, the deity is invited to reside in the murti through avahana (invocation) each time a puja is conducted and then dispersed back at the end of the puja. Adorning a murti is mode that allows devotees to express love for
4736-415: Is the royal road to moksha . Without the guidance of images, the mind of the devotee may go astray and form the wrong imagination. Images dispel false imaginations. [... ] It resides within the consciousness of "Rishis" (sages), who possess the ability to perceive the essence of all created things in their manifested forms. They observe the various attributes, the divine and the demoniac, the creative and
4864-603: Is the running frieze of Ganas in various amusing postures caved in relief on each plinth. The outside verandas of the cave temples are rather plain, but the inner hall contains rich and prolific sculptural symbolism. Art critic Dr. M. Sheshadri wrote of the Chalukya art that they cut rock like Titans but finished like jewellers. Critic Zimmer wrote that the Chalukya cave temples are a fine balance of versatility and restrain. The finest structural temples are located in Pattadakal . Of
4992-424: Is this garbha-griya which devotees seek for ‘‘darsana’’ (literally, a sight of knowledge, or vision ). Above the vastu-purusha-mandala is a high superstructure called the shikhara in north India, and vimana in south India, that stretches towards the sky. Sometimes, in makeshift temples, the superstructure may be replaced with symbolic bamboo with few leaves at the top. The vertical dimension's cupola or dome
5120-672: Is typically made by carving stone, wood working, metal casting or through pottery. Ancient era texts describing their proper proportions, positions and gestures include the Puranas , Agamas , and Samhitas . The expressions in a murti vary in diverse Hindu traditions, ranging from ugra ( transl. Angry ) symbolism to express destruction, fear, and violence ( Durga , Kali ) to saumya ( transl. Calm ) symbolism to express joy, knowledge, and harmony ( Saraswati , Lakshmi , and Ganesha ). Saumya images are most common in Hindu temples . Other murti forms found in Hinduism include
5248-492: Is unknown but probably from late 1st millennium CE, discusses the significance of images as, state Alice Boner and others, "inspiring, elevating and purifying influence" on the viewer and "means of communicating a vision of supreme truth and for giving a taste of the infinite that lies beyond". It adds (abridged): From the contemplation of images grows delight, from delight faith, from faith steadfast devotion, through such devotion arises that higher understanding ( parāvidyā ) that
Badami Chalukya architecture - Misplaced Pages Continue
5376-439: The lingam . A murti is an embodiment of the divine, the ultimate reality or Brahman , to some Hindus. In a religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of puja . On other occasions, they serve as the centre of attention in annual festive processions; these are called utsava murti . The earliest murti are mentioned by Pāṇini in
5504-782: The Deccan , Cave 3 of the Badami cave temples was cut out in 578 CE, and Cave 1 is probably slightly earlier. Other examples are found in Aihole and Pattadakal . By about the 7th century most main features of the Hindu temple were established along with theoretical texts on temple architecture and building methods. From between about the 7th and 13th centuries a large number of temples and their ruins have survived (though far fewer than once existed). Many regional styles developed, very often following political divisions, as large temples were typically built with royal patronage. The Vesara style originated in
5632-673: The Hindu Way of life . Hindu temple architecture and its various styles has had a profound influence on the stylistic origins of Buddhist architecture . Aspects seen on Buddhist architecture like the stupa may have been influenced by the shikhara , a stylistic element which in some regions evolved to the pagoda which are seen throughout Thailand , Cambodia , Nepal , China , Taiwan , Japan , Korea , Myanmar , and Vietnam . Remains of early elliptical shrines discovered in Besnagar (3rd-2nd century BCE) and Nagari (1st century BCE), may be
5760-607: The Hoysala empire (1000-1330 AD). The earliest examples of Pallava architecture are rock-cut temples dating from 610 to 690 CE and structural temples between 690 and 900 CE. The greatest accomplishments of the Pallava architecture are the rock-cut Group of Monuments at Mahabalipuram at Mahabalipuram , a UNESCO World Heritage Site , including the Shore Temple . This group includes both excavated pillared halls, with no external roof except
5888-882: The Pallavas , the Gangas , the Kadambas , the Rashtrakutas , the Chalukyas , the Hoysalas and Vijayanagara Empire among others have made substantial contribution to the evolution of the Dravida architecture. Of the different styles of temple architecture in India, the Nagara architecture of northern India and the Dravidian architecture of southern India are most common. Other styles are also found. For example,
6016-476: The Prana Vikara (shaped like a Tamil Om sign, [REDACTED] ) is also found. Methods of combining squares and circles to produce all of these plans are described in the Hindu texts. The temples were built by guilds of architects, artisans and workmen. Their knowledge and craft traditions, states Michell, were originally preserved by the oral tradition , later with palm-leaf manuscripts. The building tradition
6144-627: The Ramayana and the Mahabharata . Other temples at Pattadakal are Mallikarjuna, Kashivishwanatha, Galaganatha and Papanath. Murti In the Hindu tradition, a murti ( Sanskrit : मूर्ति , romanized : mūrti , lit. ' form, embodiment, or solid object ' ) is a devotional image, such as a statue or icon, of a deity or saint used during puja and/or in other customary forms of actively expressing devotion or reverence - whether at Hindu temples or shrines. A mūrti
6272-691: The Udayagiri Caves in Madhya Pradesh include those at Tigawa , Deogarh , Parvati Temple, Nachna (465), Bhitargaon , the largest Gupta brick temple to survive, Lakshman Brick Temple, Sirpur (600-625 CE); Rajiv Lochan temple , Rajim (7th-century). Gop Temple in Gujarat (c. 550 or later) is an oddity, with no surviving close comparator. No pre-7th century CE South Indian free-standing stone temples have survived. Examples of early major South Indian temples that have survived, some in ruins, include
6400-421: The bimba murti ( स्थूलमूर्ति / बिम्बमूर्ति ) is different from the mantra murti ( मन्त्रमूर्ति ) from the perspective of rituals, gestures, hymns and offerings. Some Hindu denominations like Arya Samaj and Satya Mahima Dharma reject idol worship . Worship of a murti involves various modes and rituals. Before a murti is worshipped, a ritual known as prana pratishta is conducted. This ritual
6528-552: The 11th and 12th centuries. Early Chalukya architecture , used by George Michell and others, equates to Badami Chalukya. The earliest Badami Chalukya temples date back to around 450 in Aihole when the Badami Chalukyas were vassals of the Kadambas of Banavasi . The Early Chalukya style was perfected in Badami and Pattadakal , both in Karnataka . The unknown architects and artists experimented with different styles, blended
SECTION 50
#17328552166076656-538: The 12th century or later), was typically added to older large temples. Possibly the oldest Hindu temples in Southeast Asia dates back to 2nd century BCE from the Funan site of Oc Eo in the Mekong Delta . They were probably dedicated to a sun god, Shiva and Vishnu. The temple were constructed using granite blocks and bricks, one with a small stepped pond. The earliest evidence trace to Sanskrit stone inscriptions found on
6784-410: The 12th or 13th century are sometimes referred to as medieval . However, this division does not reflect a major break in Hindu architecture, which continued to evolve gradually across these periods. The style of Hindu temple architecture is not only the result of the theology, spiritual ideas, and the early Hindu texts but also a result of innovation driven by regional availability of raw materials and
6912-408: The 1500 CE. It is seen in Hindu temples , and the most distinctive difference from north Indian styles is the use of a shorter and more pyramidal tower over the garbhagriha or sanctuary called a vimana , where the north has taller towers, usually bending inwards as they rise, called shikhara . However, for modern visitors to larger temples the dominating feature is the high Gopura or gatehouse at
7040-686: The 18th century. During the colonial era, Christian missionaries aiming to convert Hindus to Christianity wrote memoirs and books that were widely distributed in Europe, which Mitter, Pennington, and other scholars call fictionalized stereotypes, where murti were claimed as the evidence of lack of spiritual heritage in primitive Hindus, of "idolatry and savage worship of stones", practices akin to Biblical demons, calling murti monstrous devils or eroticized bizarre beings carved in stone. The British Missionary Society with colonial government's assistance bought and sometimes seized, then transferred murti from India and displayed it in their "trophies" room in
7168-545: The 1970s among remote villages of Orissa – four in Oriya language and one in crude Sanskrit , asserts that the doctrine of murti art making is founded on the principles of origin and evolution of universe, is a "form of every form of cosmic creator" that empirically exists in nature, and it functions to inspire a devotee towards contemplating the Ultimate Supreme Principle ( Brahman ). This text, whose composition date
7296-457: The 4th century BCE. Prior to that, the agnicayana ritual ground seemed to serve as a template for the temple. A murti may also be referred to as a vigraha , pratima or simply deity . Hindu devotees go to the mandirs to take darshan , bringing prepared offerings of naivedya to be blessed at the altar before the deity , and to perform puja and aarti . Traditional Murti literally means any solid body or form with
7424-412: The 6th or 7th century, these evolved into high shikhara stone superstructures. However, there is inscriptional evidence such as the ancient Gangadhara inscription from about 424 CE, states Meister, that towering temples existed before this time and these were possibly made from more perishable material. These temples have not survived. Examples of early major North Indian temples that have survived after
7552-522: The 8th century and the Hoysala architecture popularised in the 13th century. The art of Western Chalukyas is sometimes called the " Gadag style" after the number of ornate temples they built in the Tungabhadra – Krishna River doab region of present-day Gadag district in Karnataka. Their temple building reached its maturity and culmination in the 12th century, with over a hundred temples built across
7680-521: The Maitrayaniya Upanishad uses the term to mean a "form, manifestation of time". The section sets out to prove Time exists, acknowledges the difficulty in proving Time exists by Pramana (epistemology in Indian philosophy), then inserts a theory of inductive inference for epistemological proof as follows, On account of the subtleness of Time, this is the proof of its reality; On account of this,
7808-675: The Nagara and Dravidian styles. The style includes two types of monuments: rock cut halls or "cave temples", and "structural" temples, built above ground. Badami cave temples have rock-cut halls with three basic features: pillared veranda, columned hall and a sanctum cut out deep into rock. Early experiments in rock-cut halls were attempted in Aihole where they built three cave temples, one each in Vedic, Buddhist and Jaina styles. Later they refined their style and cut out four marvellous cave temples at Badami . One noteworthy feature of these cave temples
SECTION 60
#17328552166077936-527: The Pali of Theravada Buddhism has the word 'murti'. Major Hindu traditions such as Vaishnavism , Shaivism , Shaktism and Smartaism favour the use of murti. These traditions suggest that it is easier to dedicate time and focus on spirituality through anthropomorphic or non-anthropomorphic icons . Hindu scriptures such as the Bhagavad Gita , states in verse 12.5, It is much more difficult to focus on God as
8064-501: The South-East Asia, except Malaysia and Indonesia where Islam displaced them both. Hindu temples in Southeast Asia developed their own distinct versions, mostly based on Indian architectural models, both North Indian and South Indian styles. However, the Southeast Asian temple architecture styles are different, and there is no known single temple in India that can be the source of the Southeast Asian temples. According to Michell, it
8192-461: The Time is demonstrated. Because without proof, the assumption which is to be proved is not permissible; But, when one comprehends it in its parts, that which is itself to be proved or demonstrated becomes the ground of proof, through which it brings itself into consciousness (in an inductive way). The section includes the concept of Time and non-Time, stating that non-Time existed before the creation of
8320-473: The United Kingdom with the note claiming that these were given up by Hindus who now accept the "folly and sin of idolatry". In other instances, the colonial British authorities, seeking additional government revenue, introduced Pilgrim Tax on Hindus to view murti inside major temples. The missionaries and orientalist scholars attempted to justify the need for colonial rule of India by attacking murti as
8448-473: The Universal Principle (Brahman, god) within himself, there is no need for any temple or divine image for worship. For those who have yet to reach this height of realization, various symbolic manifestations through images, idols, and icons as well as mental modes of worship are offered as one of the spiritual paths in the Hindu way of life. This belief is repeated in ancient Hindu scriptures . For example,
8576-554: The Vedic era who had Deva in the form of murti, and the context of these hymns suggests that the term could be referring to practices of the tribal communities outside of the Vedic fold. One of the earliest firm textual evidence of Deva images, in the sense of murti , is found in Jivikarthe Capanye by the Sanskrit grammarian Pāṇini who lived about 4th-century BCE. He mentions Acala and Cala , with former referring to images in
8704-483: The Vedic era. The Vedic Hinduism rituals were directed at nature and abstract deities called during yajna with hymns. However, there isn't a universal consensus, with scholars such as AC Das, pointing to the word Mūradeva in Rig Veda verses 7.104.24, 10.87.2 and 10.87.14. This word may refer to " Deva who is fixed" or "Deva who is foolish". The former interpretation, if accurate, may imply that there were communities in
8832-507: The Vishwakarma school and the Maya (Devanagari: मय not to be pronounced as Maayaa) school. The Vishwakarma school is credited with treatises, terminology and innovations related to the Nagara style of architecture, while the Maya school with those related to the Dravida style. The style now called Vesara bridges and combines elements of the Nagara and the Dravida styles, it probably reflects one of
8960-575: The West to introspect, that images are used everywhere to help think and as a road to ideas, in the following words, Superstition is a great enemy of man, but bigotry is worse. Why does a Christian go to church? Why is the cross holy? Why is the face turned toward the sky in prayer? Why are there so many images in the Catholic Church? Why are there so many images in the minds of Protestants when they pray? My brethren, we can no more think about anything without
9088-614: The ancient Sanskrit manuals for temple building were guidelines, and Hinduism permitted its artisans flexibility in expression and aesthetic independence. The Hindu text Sthapatya Veda describes many plans and styles of temples of which the following are found in other derivative literature: Chaturasra (square), Ashtasra (octagonal), Vritta (circular), Ayatasra (rectangular), Ayata Ashtasra (rectangular-octagonal fusion), Ayata Vritta (elliptical), Hasti Prishta (apsidal), Dvayasra Vrita (rectangular-circular fusion); in Tamil literature,
9216-807: The ancient book Vastu shastra , the majority of the existing structures are located in the Southern Indian states of Karnataka , Tamil Nadu , Kerala , Andhra Pradesh , Telangana , some parts of Maharashtra , Odisha and Sri Lanka . Various kingdoms and empires such as the Satavahanas , the Vakatakas of Vidarbha, the Cholas , the Chera , the Kakatiyas , the Reddis , the Pandyas ,
9344-480: The area near the murti. The texts recommend that the material of construction and relative scale of murti be correlated to the scale of the temple dimensions, using twelve types of comparative measurements. Neither the Hybrid Sanskrit of Mahayana Buddhism, nor the Pali of Theravada Buddhism has the word 'murti'. PK Acharya imputed the Hinduïstic word murti on Buddhist iconography, in which he erred. In Southern India,
9472-475: The building of temples, and saw the loss of many existing ones. The south also witnessed Hindu-Muslim conflict that affected the temples, but the region was relatively less affected than the north. In late 14th century, the Hindu Vijayanagara Empire came to power and controlled much of South India. During this period, the distinctive very tall gopuram gatehouse, (actually a late development, from
9600-471: The compound, there may be additional mandapas or buildings that are either connected or separate from the larger temples. Hindu temple architecture reflects a synthesis of arts, the ideals of dharma , values and the way of life cherished under Hinduism. The temple is a place for Tirtha —pilgrimage. All the cosmic elements that create and celebrate life in Hindu pantheon, are present in a Hindu temple—from fire to water, from images of nature to deities, from
9728-442: The considerable variations and innovations in images crafted and temple designs. Later, much of this freedom was lost as iconography became more standardized and the demand for iconometry consistency increased. This "presumably reflected the influence of brahman theologians" states Michell, and the "increasing dependence of the artist upon the brahmins " on suitable forms of sacred images. The "individual pursuit of self-expression" in
9856-406: The construction work, with some texts accepting all castes to work as a shilpin . The Brahmins were the experts in art theory and guided the workmen when needed. They also performed consecration rituals of the superstructure and in the sanctum. In the earliest periods of Hindu art, from about the 4th century to about the 10th century, the artists had considerable freedom and this is evidenced in
9984-491: The daily routine can include awakening the murti in the morning and making sure that it "is washed, dressed, and garlanded." In Vaishnavism, the building of a temple for the murti is considered an act of devotion, but non-murti symbolism is also common wherein the aromatic tulsi plant or Saligrama is an aniconic reminder of the spiritualism in Vishnu. These puja rituals with the murti correspond to ancient cultural practices for
10112-578: The deccan, more than half of them in present-day Karnataka. Apart from temples they are also well known for ornate stepped wells ( Pushkarni ) which served as ritual bathing places, many of which are well preserved in Lakkundi. Their stepped well designs were later incorporated by the Hoysalas and the Vijayanagara empire in the coming centuries. In the north, Muslim invasions from the 11th century onwards reduced
10240-531: The deity and visually and experientially connect with the nature of the god or goddess. In worship at a temple, the significant moment is when the adorned murti is revealed, and worshippers take darshan by witnessing the fully adorned murti . Murti and temples were well established in South Asia, before the start of Delhi Sultanate in the late 12th century CE. They became a target of destruction during raids and religious wars between Islam and Hinduism through
10368-479: The design rules of the Shilpa Shastras . They recommend materials, measurements, proportions, decoration, and symbolism of the murti. Explanation of the metaphysical significance of each stage of manufacture and the prescription of specific mantras to sanctify the process and evoke and invoke the power of the deity in the image are found in the liturgical handbooks the Agamas and Tantras . In Tantric traditions,
10496-472: The destructive forces, engaged in their eternal interplay. It is this vision of Rishis, of the gigantic drama of cosmic powers in eternal conflict, from which the Sthapakas [Silpins, murti , and temple artists] drew the subject matter for their work. In the fifth chapter of Vāstusūtra Upaniṣad, Pippalada asserts, "from tattva -rupa (essence of a form, underlying principle) come the pratirupani [images]". In
10624-407: The devotee. In some temples, these images or wall reliefs may be stories from Hindu Epics, in others they may be Vedic tales about right and wrong or virtues and vice, in some they may be idols of minor or regional deities. The pillars, walls and ceilings typically also have highly ornate carvings or images of the four just and necessary pursuits of life—kama, artha, dharma, and moksa. This walk around
10752-519: The diverse styles at Mahabalipuram , from the 7th and 8th centuries. According to Meister, the Mahabalipuram temples are "monolithic models of a variety of formal structures all of which already can be said to typify a developed "Dravida" (South Indian) order". They suggest a tradition and a knowledge base existed in South India by the time of the early Chalukya and Pallava era when these were built. In
10880-652: The earliest known Hindu temple structures, associated to the early Bhagavata tradition, a precursor of Vaishnavism . In Tamil Nadu , the earliest version of the Murugan Temple, Saluvankuppam , north-facing and in brick, appears to date from between the 3rd century BCE and 3rd century CE. In Besnagar, the temple structures have been found in conjonction with the Heliodorus pillar dedicated to Vāsudeva . The archaeologists found an ancient elliptical foundation, extensive floor and plinth produced from burnt bricks. Further,
11008-405: The edge of the compound; large temples have several, dwarfing the vimana; these are a much more recent development. There are numerous other distinct features such as the dvarapalakas – twin guardians at the main entrance and the inner sanctum of the temple and goshtams – deities carved in niches on the outer side walls of the garbhagriha . Mentioned as one of three styles of temple building in
11136-458: The explanation that such are the places where gods play, and thus the best site for Hindu temples. While major Hindu mandirs are recommended at sangams ( confluence of rivers), river banks, lakes and seashore, the Brhat Samhita and Puranas suggest temples may also be built where a natural source of water is not present. Here too, they recommend that a pond be built preferably in front or to
11264-870: The feminine to the masculine, from kama to artha , from the fleeting sounds and incense smells to Purusha—the eternal nothingness yet universality—is part of a Hindu temple architecture. The form and meanings of architectural elements in a Hindu temple are designed to function as the place where it is the link between man and the divine, to help his progress to spiritual knowledge and truth, his liberation it calls moksha . The architectural principles of Hindu temples in India are described in Shilpa Shastras and Vastu Sastras . The Hindu culture has encouraged aesthetic independence to its temple builders, and its architects have sometimes exercised considerable flexibility in creative expression by adopting other perfect geometries and mathematical principles in Mandir construction to express
11392-479: The field – scientific, commercial, religious – there can be no knowledge without an icon", images are part of how human beings learn and focus their thoughts, icons are necessary and inseparable from spiritual endeavors in Jainism . While murti are an easily and commonly visible aspect of Hinduism, they are not necessary for Hindu worship. Among Hindus, states Gopinath Rao, one who has realized Self (Soul, Atman ) and
11520-418: The floor plan, of the part of a Hindu temple around the sanctum or shrine follows a geometrical design called vastu-purusha-mandala . The name is a composite Sanskrit word with three of the most important components of the plan. Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure. Vastupurushamandala is a yantra . The design lays out
11648-410: The foundations for all the major components of a Hindu temple – garbhagriha (sanctum), pradakshinapatha (circumambulation passage), antarala (antechamber next to sanctum) and mandapa (gathering hall) – were found. These sections had a thick support base for their walls. These core temple remains cover an area of 30 x 30 m. The sections had post-holes, which likely contained the wooden pillars for
11776-573: The gallery that encircles the sanctum sanctorum. A sculpture of Vishnu sitting atop a large cobra is at Hutchimali Temple. The Ravalphadi cave temple celebrates the many forms of Shiva. Other temples include the Konthi temple complex and the Meguti Jain temple. Pattadakal is a World Heritage Site , where one finds the Virupaksha temple; it is the biggest temple, having carved scenes from the great epics of
11904-491: The head of a town street. In practice most temples are built as part of a village or town. Some sites such as the capitals of kingdoms and those considered particularly favourable in terms of sacred geography had numerous temples. Many ancient capitals vanished and the surviving temples are now found in a rural landscape; often these are the best-preserved examples of older styles. Aihole , Badami , Pattadakal and Gangaikonda Cholapuram are examples. The design, especially
12032-548: The house) (Purusa Space), signifying Universal Principle present in everything and everyone. The spire of a Hindu temple, called Shikhara in north India and Vimana in south India, is perfectly aligned above the Brahma pada(s). Beneath the mandala's central square(s) is the space for the formless shapeless all pervasive all connecting Universal Spirit, the Purusha. This space is sometimes referred to as garbha-griya (literally womb house) –
12160-653: The islands and the mainland Southeast Asia is the Võ Cạnh inscription of Champa dated to 2nd or 3rd century CE in Vietnam or in Cambodia between the 4th and 5th century CE. Prior to the 14th-century local versions of Hindu temples were built in Myanmar, Malaysia, Indonesia, Thailand, Cambodia, Laos and Vietnam. These developed several national traditions, and often mixed Hinduism and Buddhism . Theravada Buddhism prevailed in many parts of
12288-478: The knowledge and art of sculpture was established in India by the Maurya Empire period (~3rd century BCE). By the early 1st millennium BCE, the term murti meant idols, images, or statues in various Indian texts such as Bhavishya Purana verse 132.5.7, Brihat Samhita 1.8.29, and inscriptions in different parts of India. The term murti has been a more generic term referring to an idol or statue of anyone, either
12416-512: The layout of Hindu temples is mirroring and repeating fractal-like design structure, each unique yet also repeating the central common principle, one which Susan Lewandowski refers to as “an organism of repeating cells”. Predominant number of Hindu temples exhibit the perfect square grid principle. However, there are some exceptions. For example, the Teli ka Mandir in Gwalior , built in the 8th century CE
12544-475: The left of the temple with water gardens. If water is neither present naturally nor by design, water is symbolically present at the consecration of temple or the deity. Temples may also be built, suggests Visnudharmottara in Part III of Chapter 93, inside caves and carved stones, on hill tops affording peaceful views, mountain slopes overlooking beautiful valleys, inside forests and hermitages, next to gardens, or at
12672-556: The local climate. Some materials of construction were imported from distant regions, but much of the temples were built from readily available materials. In some regions, such as in South Karnataka, the local availability of soft stone led to Hoysala architects to innovate architectural styles that are difficult with hard crystalline rocks. In other places, artists used to cut granite or other stones to build temples and create sculptures. Rock faces allowed artists to carve cave temples or
12800-467: The main form of Hindu architecture has many different styles, though the basic nature of the Hindu temple remains the same, with the essential feature an inner sanctum, the garbha griha or womb-chamber, where the primary Murti or the image of a deity is housed in a simple bare cell. For rituals and prayers, this chamber frequently has an open space that can be moved in a clockwise direction. There are frequently additional buildings and structures in
12928-460: The material used predominantly for murti is black granite , while the material in North India is white marble . However, for some Hindus, it is not the materials used that matter, but the faith and meditation on the universal Absolute Brahman. More particularly, devotees meditate or worship on the formless God (nirguna Brahman ) through murti symbolism of God (saguna Brahman) during a puja before
13056-526: The murti are the artistic tradition. The texts recommend materials of construction, proportions, postures, and mudra, symbolic items the murti holds in its hands, colors, garments, and ornaments to go with the murti of each god or goddess, vehicles of deities such as Garuda , bull and lion, and other details. The texts also include chapters on the design of Jaina and Buddhist murti, as well as reliefs of sages, apsaras, different types of devotees (based on bhakti yoga, jnana yoga, karma yoga, ascetics) to decorate
13184-656: The murti not following fancy but following canonical manuals such as the Agamas and the Shilpa Shastras texts such as Vishvakarma. The material of construction range from clay to wood to marble to metal alloys such as panchaloha . The sixth century Brihat Samhita and eighth-century text Manasara-Silpasastra (literally: "treatise on art using the method of measurement"), identify nine materials for murti construction – gold, silver, copper, stone, wood, Sudha (a type of stucco, mortar plaster), sarkara (gravel, grit), Bahasa (marble types), and earth (clay, terracotta). For Bahasa ,
13312-555: The natural rock, and monolithic shrines where the natural rock is entirely cut away and carved to give an external roof. Early temples were mostly dedicated to Shiva. The Kailasanatha temple also called Rajasimha Pallaveswaram in Kanchipuram built by Narasimhavarman II also known as Rajasimha is a fine example of the Pallava style temple. Western Chalukya architecture linked between the Badami Chalukya Architecture of
13440-452: The next inner concentric layer is Manusha padas signifying human life; while Devika padas signify aspects of Devas and good. The Manusha padas typically houses the ambulatory. The devotees, as they walk around in clockwise fashion through this ambulatory to complete Parikrama (or Pradakshina), walk between good on inner side and evil on the outer side. In smaller temples, the Paisachika pada
13568-688: The other extinct schools. Some scholars have questioned the relevance of these texts, whether the artists relied on śilpa śāstras theory and Sanskrit construction manuals probably written by Brahmins, and did these treatises precede or follow the big temples and ancient sculptures therein. Other scholars question whether big temples and complex symmetric architecture or sculpture with consistent themes and common iconography across distant sites, over many centuries, could have been built by artists and architects without adequate theory, shared terminology and tools, and if so how. According to Adam Hardy – an architecture historian and professor of Asian Architecture,
13696-458: The others and encouraging the destruction of idols of the others. The outsider conflates and stereotypes the "strange worship" of the other religions as "false worship" first, then calls "false worship" as "improper worship and false belief" of pagan or an equivalent term, thereafter constructing an identity of the others as "primitive and barbarians" that need to be saved, followed by justified intolerance and often violence against those who cherish
13824-504: The period of construction, which in the case of large projects might be several years. The work was led by a chief architect ( sutradhara ). The construction superintendent was equal in his authority. Other important members were stonemason chief and the chief image-maker who collaborated to complete a temple. The sculptors were called shilpins . Women participated in temple building, but in lighter work such as polishing stones and clearing. Hindu texts are inconsistent about which caste did
13952-491: The process of inner realization within the devotee. The specific process is left to the devotee's school of belief. The primary deity of different Hindu temples varies to reflect this spiritual spectrum. The appropriate site for a Mandir, suggest ancient Sanskrit texts, is near water and gardens, where lotus and flowers bloom, where swans, ducks and other birds are heard, where animals rest without fear of injury or harm. These harmonious places were recommended in these texts with
14080-523: The pursuit of moksha (release, self-knowledge). At the centre of the temple, typically below and sometimes above or next to the deity, is mere hollow space with no decoration, symbolically representing Purusa , the Supreme Principle, the sacred Universal, one without form, which is present everywhere, connects everything, and is the essence of everyone. A Hindu temple is meant to encourage reflection, facilitate purification of one's mind, and trigger
14208-480: The rainy climate and the materials of construction available in Bengal , Kerala, Java and Bali Indonesia have influenced the evolutions of styles and structures in these regions. At other sites such as Ellora and Pattadakal , adjacent temples may have features drawing from different traditions, as well as features in a common style local to that region and period. In modern era literature, many styles have been named after
14336-500: The region between the Krishna and Tungabhadra rivers that is contemporary north Karnataka. According to some art historians, the roots of Vesara style can be traced to the Chalukyas of Badami (500-753AD) whose Early Chalukya or Badami Chalukya architecture built temples in a style that mixed some features of the nagara and the dravida styles, for example using both the northern shikhara and southern vimana type of superstructure over
14464-540: The royal dynasties in whose territories they were built. The architecture of the rock-cut temples , particularly the rathas , became a model for south Indian temples. Architectural features, particularly the sculptures, were widely adopted in South Indian , Cambodian , Annamese and Javanese temples. Descendants of the sculptors of the shrines are artisans in contemporary Mahabalipuram. The Badami Chalukya Architecture style originated by 5th century in Aihole and
14592-416: The same time being , the universal whole" like an "organism of repeating cells". The pilgrim is welcomed through mathematically structured spaces, a network of art, pillars with carvings and statues that display and celebrate the four important and necessary principles of human life—the pursuit of artha (prosperity, wealth), the pursuit of kama (desire), the pursuit of dharma (virtues, ethical life) and
14720-503: The sanctum in different temples of similar date, as at Pattadakal . This style was further refined by the Rashtrakutas of Manyakheta (750-983AD) in sites such as Ellora . Though there is clearly a good deal of continuity with the Badami or Early Chalukya style, other writers only date the start of Vesara to the later Western Chalukyas of Kalyani (983-1195 AD), in sites such as Lakkundi , Dambal , Itagi , and Gadag , and continued by
14848-558: The sanctum sanctorum's door height, the Pratima height and the sanctum sanctorum room's width be in the ratio of 0.292, it stands on a pedestal that is 0.146 of sanctum room width, thereafter the text describes 20 types of temples with their dimensions. Chapter 58 of the text describes the ratios of various anatomical parts of a murti, from head to toe, along with the recommendation in verse 59.29 that generally accepted variations in dress, decoration, and dimensions of local regional traditions for
14976-503: The sixth chapter, Pippalada repeats his message that the artist portrays the particular and universal concepts, with the statement "the work of the Sthapaka is a creation similar to that of the Prajapati " (that which created the universe). Non-theistic Jaina scholars such as Jnansundar, states John Cort, have argued the significance of murti along the same lines, asserting that "no matter what
15104-698: The subcontinent. Additionally, unlike the Indian temples, the sacred architecture in Southeast Asia associated the ruler ( devaraja ) with the divine, with the temple serving as a memorial to the king as much as being house of gods. Notable examples of Southeast Asian Hindu temple architecture are the Shivaist Prambanan Trimurti temple compound in Java , Indonesia (9th century), and the Vishnuite Angkor Wat in Cambodia (12th century). A Hindu temple
15232-518: The temple superstructure above. In the soil were iron nails that likely held together the wooden pillars. The superstructure of the temple was likely made of wood, mud and other perishable materials. The ancient temple complex discovered in Nagari (Chittorgarh, Rajasthan) – about 500 kilometers to the west of Vidisha , has a sub-surface structure nearly identical to that of the Besnagar temple. The structure
15360-616: The ten temples in Pattadakal, six are in Dravidian style and four in Rekhanagara style. The Virupaksha temple in many ways holds resemblance to the Kailasanatha temple in Kanchipuram which came into existence a few years earlier. This is a fully inclusive temple, it has a central structure, nandi pavilion in front and has a walled enclosure that is entered by a gateway. The main sanctum has
15488-493: The texts describe working methods for various types of marble, specialized stones, colors, and a range of opacity (transparent, translucent and crystal). Brihat Samhita , a 6th-century encyclopedia of a range of topics from horticulture to astrology to gemology to murti and temple design, specifies in Chapter 56 that the pratima (murti) height should be 7 8 {\displaystyle {\tfrac {7}{8}}} of
15616-704: The truth "must lie somewhere in between". According to George Michell – an art historian and professor specializing in Hindu Architecture, the theory and the creative field practice likely co-evolved, and the construction workers and artists building complex temples likely consulted the theoreticians when they needed to. The ancient Hindu texts on architecture such as Brihatsamhita and others, states Michell, classify temples into five orders based on their typological features: Nagara , Dravida , Vesara , ellipse and rectangle. The plan described for each include square, octagonal and apsidal. Their horizontal plan regulates
15744-490: The universe, and time came into existence with the creation of the universe. Non-time is indivisible, time is divisible, and the Maitri Upanishad then asserts that the "year is the mūrti of time". Robert Hume translates the discussion of " mūrti of time", in verse 6.14 of the Maitri Upanishad, as "form". Western scholarship on Hinduism emphasizes that there was neither murti nor temples nor idol-facilitated worship in
15872-405: The unmanifested than God with form, due to human beings needing to perceive via the senses. In Hinduism, a murti itself is not god, it is an image of god and thus a symbol and representation. A murti is a form and manifestation of the formless Absolute. Thus a literal translation of murti as 'idol' is incorrect, when idol is understood as superstitious end in itself. Just like the photograph of
16000-412: The vertical form. Each temple architecture in turn has developed its own vocabulary, with terms that overlap but do not necessarily mean exactly the same thing in another style and may apply to a different part of the temple. Following a general historical division, the early Hindu temples, up to the 7th or 8th century, are often called classical or ancient temples, while those after the classical period to
16128-423: The vicinity of this chamber, with the largest ones covering several acres. On the exterior, the garbhagriha is crowned by a tower-like shikhara , also called the vimana in the south. The shrine building often includes an circumambulatory passage for parikrama , a mandapa congregation hall, and sometimes an antarala antechamber and porch between garbhagriha and mandapa. In addition to other small temples in
16256-487: Was perfected in Pattadakal and Badami . Between 500 and 757 CE, Badami Chalukyas built Hindu temples out of sandstone cut into enormous blocks from the outcrops in the chains of the Kaladgi hills. In Aihole , known as the "Cradle of Indian architecture ," there are over 150 temples scattered around the village. The Lad Khan Temple is the oldest. The Durga Temple is notable for its semi-circular apse, elevated plinth and
16384-417: Was typically transmitted within families from one generation to the next, and this knowledge was jealously guarded. The guilds were like a corporate body that set rules of work and standard wages. These guilds over time became wealthy, and themselves made charitable donations as evidenced by inscriptions. The guilds covered almost every aspect of life in the camps around the site where the workmen lived during
#606393