Temple Architecture | Nagara Style @HD скачать в хорошем качестве

Temple Architecture | Nagara Style @HD

The origin of the Hindu temple is said to be the ancient basic circle of stones within which one cherished holy relics, human or divine. It is the Hindu temple where the contact between man and gods take place and it is also where a man progresses from the world of illusion to knowledge and truth and thus, a temple is not only a place to worship but an object to worship as well (Michell 61-62). A Hindu temple not only shows unique architecture but also symbolizes ideas characteristic in its structure, which are usually related to the common practice of people residing around it. A pilgrimage or visit to a temple is undertaken for the purpose of looking at it (darsana) (Kramrisch 8). The evolution of Hindu temples occurred over many centuries due to differing views between the rulers of the Indian sub-continent. Emperor Asoka is credited with ordering the construction of the first significant stone structures in India around 3rd century, BCE. Religious architecture can be tracked back to the Vedic time (1500 – 700 BCE) and practices of temple worship can be traced back to texts from the Puranas and earlier (Michell 63-64). The construction of the temples however was on a small scale back then, which included materials such as timber, baked clay bricks and mud. Caves were naturally the earliest shrines on record and from the 4th to 7th century, a classical “golden period” of art and architecture emerged in India. It was this period in which temple building activities grew rapidly all over the country (Singh and Sharma 17). When kings conquered other kingdoms for the purpose of expansion, they reintegrated their thoughts into carvings of antique superstructures. Some stages of architectural patterns still survive to the present day. A Nagara style temple would generally stand on a high platform (jagati) made of stone bricks, with several mouldings. The identification of the temple with a mountain is specific and the superstructure is known as a “mountain peak” [For more information and visuals, see Michell 69, Fig. 62]. The jagati represents the feet of a man. Over jagati, there is a smaller platform of stones (pitha). Over the pitha, there rises an even smaller platform (adhisthana), which is the base of the superstructure of the temple. The pillars and walls of the temple are raised on the adhisthana (Singh and Sharma 18). The Nagara style is not native to the mountainous region and some believe it was introduced in the late Gupta period. The Nagara, also known as the sikhara (mountain peak) type, can be divided into three sub-groups: The first is the Phamsana Type. This is the earliest known type of sikhara. It is usually a pyramidal structure divided into seven, nine and eleven tiers. The towering sikhara is crowned by an amalaka, which is a stone disk believed to represent the deity of the temple. A kalasam, a finial from which the temple banner is hung, crowns the amalaka itself. Illustrations of the Phamsana Type can be viewed at the Siva temple at Camunda, the Nrshimha temple at Bharmaur and many others (Singh and Sharma 19). The second is the Latina Type. This type represents most of the stone temples of Nagara style in Himachal Pradesh and is believed to have emerged at the beginning of the 8th century. The Latina Type temples are curvilinear in nature, following their trademark triratha plan. “The central bands of the superstructure are tall spines of web patterns cast over receding cornices – the creepers (latas) of the Nagara temple’s Latina formula” (Meister 256). An example of this temple would be the Rudranath (Gopinath) temple in Uttrakhand. The third is the Valabhi Type. These temples have a rectangular ground plan, a doorway on one of its longer sides, and a semi-cylindrical sikhara. No Valabhi Types are found in Himachal Pradesh but there are several examples of this type across India. [See Singh and Sharma (2008) for extensive information on the Valabhi Type]. The Nagara style has 2 basic components. The first is garbhagra, a sanctum with only one entrance, in which the image of the main deity is installed (Singh and Sharma 27). “The garbhagrha consists of 4×4 = 16 squares, which is equivalent to the Brahmasthana” (Thakur 264). The second component is known as mandapa, a porch in front of the garbhagrha, typically exposed from three sides for the worshippers to assemble for worship.