Built to establish the contiguity between man and God, the rituals and ceremonies performed in the temples have primarily influenced the forms of temple architecture. The structural and sculptural motifs, in different sizes that appear on the body of the temple, along with the form itself, represent the rhythmic cycles of time and repetition of cosmic eras. The Nagara (North Indian) principle represents the fire of sacrifice albeit the Dravidian (South Indian) principle represents descent – symbolised by the movement of the sun towards Dakshina (south).
The identification of divinity within the fabric of the temple and its embodiment as a Universe is of supreme significance. Hence, importance is given right from the conscientious selection of the site of the temple, to the arduous formation of the ground plan and higher elevations. The symbolic representation of the cosmic ideas is formalised by the creation of sacred mathematical treaties, with precise governed quantification.
Vesara means “a mule”, an amalgamation of heterogeneous styles i.e. Nagara and Dravida. The Hybrid style of temple architecture primarily evolved and elaborated under the influence of the Chalukyan kings of Deccan. The Chalukyan style of temple architecture was inspired from Buddhist and its contemporary Nagara architectural elements; the sacred structures evolved from simple rock-cut shrines to large and complex star-shaped facades. Temples in this period were large square buildings with projecting porches and decorative pillars.
The Pallava rulers of the 7th-9th century led the way in the Dravidian style of temple architecture. Thereafter, during the Pandyas kingdom, the South Indian temples were annexed with the lofty gateways, Gopurams at the entrance. Gopurams made the temple visually captivating with an enclosure.
The Dravidian style of mount or Vimana constituted smaller shapes aligned in a definite pattern at each horizontal level. The repetition of these shapes at each band formed a kind of garland at each plain.
“Categorisation of the Indian temples is found in many ancient treaties. Treaties like Aparajitaprccha suggest fourteen, collectively known as Prasada Jati. Eight of the fourteen are identified as Pure Order namely, Nagara, Dravida, Latina, Bhumija, Varata, Vimana, Misraka (Vesara) and Sandhara. These divisions, in South Indian treaties, are elaborated even further but are often categorised under Nagara, Dravida, and Vesera variations. These styles are said to correspond to cardinal divisions of India- Nagara in the north, Dravida in the south, and Vesara in the east (especially in the temples at Orissa)”
– V. Bharne and K. Krusche
The practice of erecting sanctuaries probably goes back to the 2nd century BC. These sanctuaries provided little scope for the application of the principles of architecture as an art, nonetheless, the elaborate colossal architecture of a temple furthermore enabled the devotee to experience supreme inner bliss and pure exuberance. The credit goes to the vision and foresight of ancient architectural designers belonging to various dynasties who have built the same through their meticulous planning.
All styles of architecture strive to connect forms with formless, individual with universal, and humans with God. The beautifully complex and tastefully ornamental form of these temples has been arrived at, not through the use of intricate computer algorithms generative of structures but by intuitive processes, giving a fair idea of intrinsic human affiliations satiating the intellectual needs.
Text by Davangi Pathak
Image Courtesy: Tirumala Nalla, Arun Christopher Bonevilon, S. Ramasamy, Wellcome Collection, and British Library board
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