INDIAN ARCHITECTURE

REPORTED BY:
ABAO,NONILON SEDFREY A.
DELOS REYES,RIOJAY
GOMEZ ,JOLOU

INSTRUCTOR: ARCH. FRANCES JOY S. FRANCISCO

 CONTENTS POPULATION AS OF 2017:1,344,046,762
2017 GROWTH RATE: 1.16%
POPULATION RANK: 2ND
AREA: 1.269 MILLION MI²
RANK IN TERMS OF AREA:7TH
•BRIEF SUMMARY CAPITAL CITY:NEW DELHI
•GENERAL REGION:ASIA
INFLUENCES SUBREGION: SOUTHERN ASIA
•ARCHITECTURAL INDEPENDENCE DAY:AUGUST
CHARACTER 15TH, 1947
•COMPARATIVE OFFICIAL LANGUAGE: HINDI
ANALYSIS GOVERNMENT FORM: PARLIAMENTARY
DEMOCRACY
•TIMELINE OF
INDIAN
ARCHITECTURE
•OTHER TYPES
OF HINDU POPULATION ETHNORELIGIONIST
ARCHITECTURE
74.33% 1.35%
•SUMMARY
MUSLIM BUDDHIST 0.82%
POPULATION 14.20%
NON RELIGIOUS
CHRISTIAN 5.84%
0.48%

SIKH 1,86% OTHER 0.47%

 CONTENTS

•BRIEF SUMMARY
•GENERAL
INFLUENCES
•ARCHITECTURAL
CHARACTER
•COMPARATIVE
ANALYSIS
•TIMELINE OF
INDIAN
ARCHITECTURE
•OTHER TYPES
OF
ARCHITECTURE
•SUMMARY
 CONTENTS GEOGRAPHICAL
•GENERAL •INDIA IN THE EARLIEST
INFLUENCES TIMES RECEIVED THE
OVERFLOW OF THE
ANCIENT RACES OF
CENTRAL ASIA,

•GEOGRAPHICAL

•GEOLOGICAL •WAS CHIEFLY

INFLUENCED FROM THE
•CLIMATIC NORTH BECAUSE THE
ABSENCE OF GOOD
HARBOURS ALONG HER
•RELIGIOUS COASTS DID NOT TEND
TO PROMOTE
•SOCIAL INTERCOURSE BY SEA.

•HISTORICAL •THE GREAT RIVERS GANGES, INDUS, NERBUDDA, KRISHNA, AND

JUMNA AFFORDED EMPLOYMENT TO THOUSANDS OF BOATMEN, AND
WERE UTILISED FOR RAFTING DOWN BUILDING-TIMBER FROM THE
IMMENSE FORESTS ; WHILE CITIES NATURALLY SPRANG UP ON THE
BANKS OF RIVERS
WHICH WERE TRADE ROUTES AND HIGHWAYS, AND THUS THE
GANGES-JUMNA VALLEY CONTAINS SOME OF THE PRINCIPAL CITIES OF
ARCHITECTURAL IMPORTANCE.
 CONTENTS

•GENERAL
INFLUENCES

•GEOGRAPHICAL

•GEOLOGICAL

•CLIMATIC

•RELIGIOUS

•SOCIAL

•HISTORICAL

•DELHI, THE " ROME OF INDIA," COVERING NEARLY FIFTY SQUARE

MILES, WAS THE CAPITAL OF THE MOGUL EMPERORS
•DELHI IS THE CENTRE OF INDIA, AS LONDON IS OF ENGLAND, AND
AFTER HAVING BEEN IN SUCCESSION THE CAPITAL OF HINDU,
MAHOMETAN, AND MOGUL EMPIRES,
 CONTENTS
GREEK-BACTRIAN KINGDOM
•GENERAL
INFLUENCES

•GEOGRAPHICAL

•GEOLOGICAL

•CLIMATIC

•RELIGIOUS

•SOCIAL

•HISTORICAL

•ON THE WESTERN GHATS ALONG THE COAST-LINE THERE ARE ROCK-
CUT TEMPLES, WHICH IN THEIR CAPITALS AND COLUMNS SUGGEST THE
INFLUENCE OF EGYPT, PERSIA, AND ASSYRIA. THE GREEK BACTRIAN
KINGDOM IN THE NORTH-WEST HAD CONSIDERABLE INFLUENCE ON THE
ARCHITECTURE, PRIMARILY OF THE GANDHARA DISTRICT, WHENCE IT
SPREAD OVER NORTHERN INDIA.
 CONTENTS

•GENERAL
INFLUENCES

•GEOGRAPHICAL

•GEOLOGICAL

•CLIMATIC

•RELIGIOUS

•SOCIAL

•HISTORICAL
 CONTENTS BUILDING STONE INFLUENCED INDIAN ARCHITECTURE FROM
THE EARLIEST TIMES.
•GENERAL GRANITE
INFLUENCES

TRAP
•GEOGRAPHICAL
VOLCANIC
•GEOLOGICAL POTSTONE

•CLIMATIC
SANDSTONE
•RELIGIOUS

•SOCIAL

•HISTORICAL THE FAMOUS

PINK MARBLE
OF
RAJPUTANA,
USED IN THE
HUMAYUN’S BUILDINGS AT
TOMB DELHI AND
AGRA,
 CONTENTS IN WESTERN INDIA THE ROCK-CUT " CHAITYAS " OF THE BUDDHISTS
WERE PRODUCED IN THE ACTUAL GEOLOGICAL FORMATION ; FOR THEY
•GENERAL WERE CARVED IN THE HORIZONTAL STRATA OF THE LIVING ROCK,
INFLUENCES WHERE IT RISES SHEER FROM THE GROUND IN PERPENDICULAR CLIFFS

•GEOGRAPHICAL

•GEOLOGICAL

•CLIMATIC

•RELIGIOUS

•SOCIAL

•HISTORICAL
EXTERIOR VIEW
OF THE BUDDHIST
CHAITYA HALL
(CAVE XII), BHAJA
 CONTENTS AT MAHAVELLIPORE AND ELLORA, THE DRAVIDIAN ROCK-CUT TEMPLES,
KNOWN AS " RATHAS," WERE HEWN OUT OF THE AMYGDALOIDAL TRAP
•GENERAL FORMATIONS.
INFLUENCES

•GEOGRAPHICAL

•GEOLOGICAL

•CLIMATIC

•RELIGIOUS

•SOCIAL

•HISTORICAL
 CONTENTS
WOODS
•GENERAL
INFLUENCES USED

•GEOGRAPHICAL

•GEOLOGICAL

•CLIMATIC
TEAK
•RELIGIOUS

•SOCIAL

•HISTORICAL

BAMBOO
 CONTENTS IN THE LOW-LYING PLAINS OF BENGAL, THE ALLUVIAL SOIL WAS THE
ONLY MATERIAL AVAILABLE FOR BUILDING, WHICH, MADE INTO BRICKS,
•GENERAL WAS USED EXTENSIVELY IN THIS DISTRICT. TERRA-COTTA SEEMS TO
HAVE BEEN EMPLOYED IN EARLY TIMES, AND THE EASE WITH WHICH
INFLUENCES
PLASTIC CLAY WAS PRESSED INTO MOULDS MAY BE RESPONSIBLE FOR
SOME OF THE EXUBERANCE OF ORNAMENT IN LATER PERIODS. LIME
FOR BUILDING WAS OBTAINED BY BURNING LIMESTONE, SHELLS, AND
KANKAR, A NODULAR FORM OF IMPURE LIME FOUND IN RIVER VALLEYS.
•GEOGRAPHICAL
ALLUVIAL SOIL TERRA-COTTA
•GEOLOGICAL

•CLIMATIC
PALMS
•RELIGIOUS

•SOCIAL

•HISTORICAL LIMESTONE
 CONTENTS
•INDIA LIES MOSTLY WITHIN
•GENERAL THE TROPICS, AND TWO
PRINCIPAL SEASONS, WET
INFLUENCES
AND DRY, DIVIDE THE
YEAR. HERE, AS IN EGYPT,
ASSYRIA, AND PERSIA,
FLAT TERRACED ROOFS
•GEOGRAPHICAL FOR COOLNESS,EXERCISE,
AND SLEEPING ARE THE
•GEOLOGICAL RULE. THE USE OF THE
GREAT FAN, OR PUNKAH,
IS AN INDICATION OF THE
•CLIMATIC
INTENSE HEAT, WHICH
INFLUENCED THE SIZE AND
•RELIGIOUS TREATMENT OF
ARCHITECTURAL
•SOCIAL OPENINGS ; THUS THE
PIERCED SCREEN OR
•HISTORICAL LATTICE WINDOW, WHICH
IS SO
CHARACTERISTIC A FEATURE OF INDIAN AS OF ALL EASTERN ART,
WAS DESIGNED TO EXCUDE THE LIGHT ND HEAT CAUSED BY THE
CONSTANT SUNSHINE. CANALS, RESERVOIRS, AND TANKS, WHICH ARE
CONSPICUOUS IN CONNECTION WITH THE PLANS BOTH OF TEMPLES
AND PALACES, WERE NECESSARY FOR IRRIGATION AND WATER-
STORAGE DURING THE DRYSEASON.
 CONTENTS
BUDDHISM
•GENERAL SIDDHARTHA GAUTAMA OR BUDDHA, THE " ENLIGHTENED “, WAS THE
INFLUENCES FOUNDER OF BUDDHISM, THE RELIGION WHICH WAS THE FIRST GREAT
BOND OF UNION AMONG THE INDIAN RACES.
THE EMPEROR ASHOKA (B.C. 272€“227) ADOPTED BUDDHISM, AND
MADE IT THE STATE RELIGION, AS CONSTANTINE DID WITH
CHRISTIANITY IN THE WEST, AND SO IT REMAINED FOR NEARLY A
•GEOGRAPHICAL
THOUSAND YEARS TILL A.D. 750.

•GEOLOGICAL •TO HIS REIGN CAN BE TRACED THE HISTORICAL ARCHITECTURE OF

INDIA, AN ARCHITECTURE OF RELIGION, IN WHICH, HOWEVER, SACRED
•CLIMATIC BUILDINGS WERE ORIGINALLY NOT TEMPLES TO GODS, BUT
MONASTERIES OR MEMORIAL SHRINES TO HOLY MEN. THE TENETS OF
•RELIGIOUS BUDDHISM ARE INSCRIBED ON MONUMENTS AT BUDDH-GAYA,
BHARBUT, AND ON " TOPES" AND GATEWAYS AT
SANCHI AND ELSEWHERE. RELIC WORSHIP, WHICH WAS AN ESSENTIAL
•SOCIAL
FEATURE OF THE BUDDHIST RELIGION,

•HISTORICAL •NECESSITATED THE ERECTION OF " TOPES " OR “ DAGOBAS " TO

CONTAIN RELICS OF SAINTS. THE
NON-ARYAN PEOPLES OF INDIA INTRODUCED TREE AND SERPENT
WORSHIP, WHICH IS RESPONSIBLE FOR MANY DECORATIVE EMBLEMS,
SUCH AS SEVEN-HEADED SERPENTS, AND THE CELEBRATED " BO-
TREE " AT ANURADHAPURA, CEYLON,HAS BEEN WORSHIPPED FOR
OVER TWO THOUSAND YEARS.
 CONTENTS
JAINISM
•GENERAL
INFLUENCES •FOUNDED BY MAHAVEER OR VADHAMAN WHO WAS HIMSELF A
BRAHMAN, HE WAS BORN AROUND 599B.C.
•ACCORDING TO HIM THE GOAL IS ‘NIRVANA’ OR A STATE OF PURE
REST WITHOUT REBIRTH BUT NO TOTAL DESTRUCTION
•GEOGRAPHICAL

•GEOLOGICAL •THE RELIGION TEACHES AVOIDANCE OF

INJURY TO LIFE, TO OBSERVE TRUTH,
•CLIMATIC HONESTY, ABSTINENCE FROM WORLDLY
DESIRE, GENTLENESS, HOLINESS, SELF-
•RELIGIOUS PUNISHMENT, AND RESTRAINT OF MIND
TONGUE AND BODY.
•SOCIAL
•THEY ALSO REGARDED TEMPLE-BUILDING
•HISTORICAL
AS A VIRTUE, ENSURING A HAPPY FUTURE
STATE, AND THIS LED TO THE ENDOWMENT
OFTEMPLES BY PRIVATE INDIVIDUALS. THES
BUILDINGS ARE CONSPICUOUS BY NUMBERS
RATHER THAN BY ARCHITECTURAL
IMPORTANCE.
 CONTENTS
HINDUISM
•GENERAL THE MODERN HINDU RELIGION, GENERALLY KNOWN AS THE
INFLUENCES BRAHMANICAL, FROM THE NAME OF THE PRIESTLY. ORDER, DATES
FROM ABOUT A.D. 750. IT WAS A JOINT PRODUCT OF THE VEDIC
CULT,. BUDDHISM, AND BRAHMANISM, AND WAS, IN REALITY, A SOCIAL
LEAGUE RESTING UPON CASTE, A
COMPLICATED SYSTEM OF DIVISION OF THE PEOPLE ACCORDING TO
•GEOGRAPHICAL
RACE, OCCUPATION, AND GEOGRAPHICAL POSITION. THE HINDU OR
BRAHMANICAL RELIGION BROADLY DIVIDED THE COMMUNITY INTO
•GEOLOGICAL CASTES, VIZ.:

•CLIMATIC (A) BRAHMANS, OR PRIESTS, LAW-GIVERS, POETS, AND SCIENTISTS ;

(B) RAJPUTS, OR LANDOWNERS AND SOLDIERS ;
•RELIGIOUS (C) VAISYAS, OR ARYAN AGRICULTURAL SETTLERS AND CRAFTSMEN ;
(D) SUDRAS, OR SERFS. EACH CASTE BECAME, AS IT WERE, A TRADE
•SOCIAL GUILD TO WHOSE CARE WAS ENTRUSTED THE MANUFACTURES,
DECORATIVE ARTS, AND WORKING IN PRECIOUS STONES.
BRAHMANICAL
THERE DOCTRINE
WERE FEW TOMBSOF THE TRANSMIGRATION
BUILTIN THIS PERIOD, FOROF SOULS DID
THE
•HISTORICAL NOT ENCOURAGE TOMB-BUILDING. MONASTIC LIFE HAD CEASED WITH
THE DECAY OF BUDDHISM, AND THEREFORE MONASTERIES WERE
REPLACED BY HYPOSTYLE HALLS, WHICH SHELTERED PILGRIMS, AND
THERE WERE SACRED LAKES OCCASIONALLY SURROUNDED BY
PORTICOES.THE MAHOMETAN RELIGION AND THE FORMS IN
ARCHITECTURE TO WHICH IT GAVE RISE IN INDIA ARE CONSIDERED
UNDER INDIAN SARACENIE.
 CONTENTS ”THE PEOPLES OF INDIA CONSIST OF

•GENERAL (A) THE NON-ARYAN TRIBES OR ABORIGINES ;

INFLUENCES (B) THE ARYAN OR SANSKRIT-SPEAKING RACE, WHICH INCLUDES
BRAHMANS AND RAJ PUTS
; (C) HINDUS, A MIXED POPULATION FORMED OF THE ABOVE
; (D) MAHOMETAN INVADERS.

•GEOGRAPHICAL
THESE RACES HAVE REALLY NEVER AMALGAMATED, BUT HAVE
•GEOLOGICAL BECOME MIXED IN VARYING DEGREES, AND HAVE ALWAYS REMAINED
SUBJECT TO THE UNCHANGING CONDITIONS WHICH CHARACTERISE
•CLIMATIC THE EAST. THE CHIEF DIVIDING LINES ARE THOSE OF RELIGION AND
CASTE, RATHER THAN OF RACE AND LANGUAGE, AND THIS HAS
NATURALLY PRODUCED AN ARCHITECTURE WHICH SHOWS LITTLE
•RELIGIOUS PROGRESSIVE DEVELOPMENT ; WHILE THERE IS DIVERSITY AND
ABSENCE OF UNITY BETWEEN THE DIFFERENT STYLES IN THIS VAST
•SOCIAL

•HISTORICAL PENINSULA. THE TENURE OF LAND BY FEUDAL PRINCES PRODUCED

ENORMOUS REVENUES WHICH WERE LARGELY SPENT IN THE
ERECTION OF RELIGIOUS MONUMENTS FOR SELF-GRATIFICATION.
AMONG THE MOST INTELLECTUAL CLASS, THE SPIRITUAL AND
CONTEMPLATIVE ASPECTS OF LIFE OVERSHADOWED THE PRACTICAL
AND POLITICAL, AND EVEN INFLUENCED ARCHITECTURE, AS IS SEEN IN
THE AVOIDANCE OF CONSTRUCTIVE PROBLEMS. ARCHITECTURE, LIKE
OTHER RECORDS OF EVENTS IS SILENT FROM THE EXPIRING YEARS
OF BUDDHISM (A.D. 750)
 CONTENTS
•ALEXANDER'S CONQUESTS IN NORTH-WEST INDIA (B.C. 327)
•GENERAL BROUGHT THAT COUNTRY INTO TOUCH WITH EUROPEAN AND WEST
INFLUENCES ASIATIC ART ; THUS GREEK, ASSYRIAN, AND PERSIAN INFLUENCES ARE
APPARENT IN THE ARCHITECTURAL DETAIL OF THAT REGION.

•THE GREEK BACTRIAN KINGDOM (B.C. 323€“130), WHICH, ALONG

WITH INDIA, FELL TO SELEUKOS NIKATOR, ONE OF ALEXANDER'S
•GEOGRAPHICAL GENERALS AND FOUNDER OF THE SYRIAN MONARCHY, EXERCISED
•CONSIDERABLE CLASSICAL INFLUENCE OVER NORTHERN INDIA. FROM
•GEOLOGICAL THE TIME OF ALEXANDER TO THE TIME OF VASCO DA GAMA (A.D. 1498)

•CLIMATIC •EUROPE HAD LITTLE DIRECT INFLUENCE ON THE EAST. THE TARTAR
OR SCYTHIC INROADS FROM B.C. 126 TO THE FIFTH CENTURY OF OUR
•RELIGIOUS ERA SUCCEEDED THOSE OF THE GREEKS. THE MAHOMETAN INVASION,
IN THE THIRTEENTH CENTURY, LED TO THE ADOPTION OF SARACENIC
FEATURES, THUS PRODUCING AN INDIAN VERSION OF THAT STYLE.
•SOCIAL

•HISTORICAL •FROM A.D. 1746 BRITISH RULE IN INDIA WAS BEING CONSOLIDATED,
UNTIL IN A.D. 1858 THE ANNEXATION TO THE BRITISH CROWN WAS
EFFECTED BY ROYAL PROCLAMATION, A HISTORIC EVENT WHICH HAS
STILL FURTHER PROMOTED AN INTERMINGLING OF EUROPEAN AND
NATIVE ART. THE SELECTION OF DELHI AS THE CAPITAL OF THE INDIAN
EMPIRE HAS GIVEN AN OPPORTUNITY FOR ENGLISH AND NATIVE
TALENT TO PRODUCE PUBLIC BUILDINGS IN ACCORD WITH ORIENTAL
SURROUNDINGS AND SUITABLE FOR THEIR IMPERIAL PURPOSE.
 CONTENTS

•BRIEF SUMMARY
•GENERAL
INFLUENCES
•ARCHITECTURAL
CHARACTER
•COMPARATIVE
ANALYSIS
•TIMELINE OF
INDIAN
ARCHITECTURE ARCHITECTURAL
•OTHER TYPES
OF CHARACTER
ARCHITECTURE
•SUMMARY
 CONTENTS INDIAN ARCHITECTURE IS DIVIDED INTO THE
FOLLOWING PERIODS, WHICH, HOW-EVER,
•ARCHITECTURAL
CHARACTER FREQUENTLY OVERLAP :
•THE BUDDHIST
STYLE
•STAMBHAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE THE HINDU (OR BRAHMAN)
•(A) THE NORTHERN
THE BUDDHIST STYLE, SUBDIVIDED INTO (A)
HINDU STYLE IN THE JAINA STYLE
THE NORTHERN HINDU
NORTH INDIA ( STYLE (B.C. 250- (A.D. 1000-1300)
• (B) THE A.D. 750). INDIA STYLE IN NORTH INDIA (A.D.
WITH LATER
CHALUKYAN STYLE (NORTH OF THE 600 TO THE PRESENT TIME).
REVIVALS. THE
IN CENTRAL INDIA DECCAN) AND
(B) THE CHALUKYAN STYLE
WHOLE OF INDIA
•(C) THE DRAVIDIAN IN CENTRAL INDIA (A.D. 1000-
CEYLON FROM THE
STYLE IN SOUTH 1300). (C) THE DRAVIDIAN
INDIA HIMALAYAS TO STYLE IN SOUTH INDIA
CAPE COMORIN. (A.D. 1350–1750).
 CONTENTS THE BUDDHIST STYLE (B.C. 250-A.D. 750).
•ARCHITECTURAL
INDIA (NORTH OF THE DECCAN) AND CEYLON
CHARACTER
•THE APPEARANCE OF STRUCTURAL TEMPLES CAN ONLY BE
•THE BUDDHIST CONJECTURED FROM THAT OF THE ROCK-CUT TEMPLES WHICH HAVE
STYLE ONLY ONE FACADE, CUT IN THE FACE OF THE ROCK
•STAMBHAS
•TORANAS
•CHAITYAS •IMITATION OF TIMBER FORMS, WHICH WERE REPEATED LONG AFTER
•VIHARAS. THEIR REASON FOR EXISTENCE.

•THE JAINA STYLE

•WITH THE EXCEPTION OF THE FACADE, ORNAMENT WAS LAVISHED ON
INTERNAL COLUMNS AND ROOFS, THE FORMER OF WHICH WERE
• THE HINDU (OR SHORT AND OVERLADEN WITH ORNAMENT, WHILE THE LATTER WERE
BRAHMAN) STYLE GENERALLY SEMICIRCULAR, TREATED WITH RIBS SHOWING A TIMBER
•(A) THE NORTHERN DERIVATION
HINDU STYLE IN
NORTH INDIA (
• (B) THE THE MONUMENTS CAN BE DIVIDED INTO:
CHALUKYAN STYLE •STAMBHAS
IN CENTRAL INDIA •STUPAS
•(C) THE DRAVIDIAN •TORANAS
STYLE IN SOUTH •CHAITYAS
INDIA •VIHARAS.
 CONTENTS (PILLARS) WERE SET UP IN THE BUDDHIST SACRED
PLACES & ALONG THE HIGHWAYS. EMPEROR ASHOKA MADE A MAJOR
•ARCHITECTURAL CONTRIBUTION, SETTING UP ATLEAST THIRTY SUCH PILLARS.
CHARACTER A STAMBHA CONSISTS OF A CIRCULAR COLUMN OR SHAFT SLIGHTLY
TAPERING TOWARDS THE SUMMIT (MONOLITHIC). ON TOP OF THIS
•THE BUDDHIST SHAFT IS THE PERSEPOLITAN BELL OR THE INVERTED LOTUS SHAPED
STYLE BASE. ABOVE THIS IS THE ABACUS ON TOP OF WHICH RESTS THE
•STAMBHAS CROWNING SCULPTURE. THESE THREE PORTIONS WERE CARVED OUT
•STUPAS OF A SINGLE STONE (MONOLITHIC).
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA (
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 CONTENTS THE BUDDHIST STUPA SERVES AS A MARKER FOR A SACRED SPACE,
A SYMBOLIC REPRESENTATION OF THE BUDDHA’S BURIAL MOUND.
•ARCHITECTURAL
CHARACTER
A HEMISPHERICAL MOUND (ANDA). THE ANDA’S DOMED SHAPE
•THE BUDDHIST RECALLS A MOUND OF DIRT THAT WAS USED TO COVER THE BUDDHA’S
STYLE REMAINS. AS YOU MIGHT EXPECT, IT HAS A SOLID CORE AND CANNOT
•STAMBHAS BE ENTERED.
•STUPAS
•TORANAS
A SQUARE RAILING (HARMIKA). THE HARMIKA IS INSPIRED BY A
•CHAITYAS
SQUARE RAILING OR FENCE THAT SURROUNDED THE MOUND OF DIRT,
•VIHARAS.
MARKING IT AS A SACRED BURIAL SITE.
•THE JAINA STYLE
ENCLOSURE WALL WITH DECORATED GATEWAYS (TORANAS) AT THE
CARDINAL DIRECTIONS. THE WALL — WITH ITS TRADEMARK THREE
• THE HINDU (OR
HORIZONTAL STONE BARS) — SURROUNDS THE ENTIRE STRUCTURE.
BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA ( A CIRCULAR TERRACE (MEDHI). THE TERRACE—SURROUNDED BY A
• (B) THE SIMILAR THREE-BAR RAILING—SUPPORTS THE ANDA AND RAISES IT
CHALUKYAN STYLE OFF THE GROUND IT LIKELY SERVED AS A PLATFORM FOR RITUAL
IN CENTRAL INDIA CIRCUMAMBULATION.
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 CONTENTS A CENTRAL PILLAR SUPPORTING A TRIPLE-UMBRELLA FORM
(CHATTRA). WAS DERIVED FROM UMBRELLAS THAT WERE PLACED
•ARCHITECTURAL OVER THE MOUND TO PROTECT IT FROM THE ELEMENTS JUST AS THE
CHARACTER ANDA’S SYMBOLIC VALUE EXPANDED OVER TIME, THE CENTRAL PILLAR
THAT HOLDS THE UMBRELLAS HAS COME TO REPRESENT THE PIVOT
•THE BUDDHIST OF THE UNIVERSE, THE AXIS MUNDI ALONG WHICH THE DIVINE
STYLE DESCENDS FROM HEAVEN AND BECOMES ACCESSIBLE TO HUMANITY.
•STAMBHAS AND THE THREE CIRCULAR UMBRELLA-LIKE DISKS REPRESENT THE
•STUPAS THREE JEWELS, OR TRIANTHA, OF BUDDHISM, WHICH ARE THE KEYS TO
•TORANAS A TRUE UNDERSTANDING OF THE FAITH:
•CHAITYAS (A) BUDDHA;
•VIHARAS. (B) DHARMA (BUDDHIST TEACHINGS OR RELIGIOUS LAW); AND
(C) SANGHA (MONASTIC COMMUNITY).
•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA (
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 CONTENTS

•ARCHITECTURAL
CHARACTER

•THE BUDDHIST
STYLE
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA (
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN GREAT STUPA, SANCHI, INDIA.
STYLE IN SOUTH
INDIA
 CONTENTS

•ARCHITECTURAL
CHARACTER

•THE BUDDHIST TOP

STYLE
•STAMBHAS VIEW
•STUPAS
•TORANAS
•CHAITYAS
AND
•VIHARAS.
ELEVATION
•THE JAINA STYLE
OF
• THE HINDU (OR
GREAT
BRAHMAN) STYLE
•(A) THE NORTHERN STUPA,
HINDU STYLE IN
NORTH INDIA (
• (B) THE
SANCHI,
CHALUKYAN STYLE
IN CENTRAL INDIA
INDIA.
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 TORANA
CONTENTS
•ARCHITECTURAL
CHARACTER •THE RAIL OF THE SANCHI TOPE
LIKE MANY OTHERS WHICH
•THE BUDDHIST FORMED ENCLOSURES TO TOPES,
STYLE CLEARLY INDICATES A TIMBER
•STAMBHAS ORIGIN, AND WAS ELABORATELY
•STUPAS CARVED.
•TORANAS •THE GATEWAYS IN THIS RAILARE
•CHAITYAS 35 FT. HIGH AND 30 FT. WIDE, AND
•VIHARAS. ARE COVERED WITH SYMBOLIC
SCULPTURE OF HISTORIC
•THE JAINA STYLE INTEREST, WHICH TELL THE LIFE-
STORY OF BUDDHA AND
ILLUSTRATE THE WORSHIP OF
• THE HINDU (OR RELICS AND TREES, BESIDES
BRAHMAN) STYLE GIVING A RECORD OF THE LAW
•(A) THE NORTHERN
HINDU STYLE IN •DEPICTING BATTLE SCENES.
NORTH INDIA ( THESE RAIL GATEWAYS, OF WHICH
• (B) THE THERE IS A FULL-SIZE
CHALUKYAN STYLE REPRODUCTION IN THE INDIAN
IN CENTRAL INDIA MUSEUM, ARE THE PROTOTYPES
•(C) THE DRAVIDIAN OF NUMBERLESS CHINESE PAI-
STYLE IN SOUTH LOUS".
INDIA
 CONTENTS
•ARCHITECTURAL
CHARACTER

•THE BUDDHIST
STYLE
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA
CHAITYA HALL, KARLE, INDIA
• (B) THE
•A BUDDHIST SHRINE OR PRAYER HALL WITH STUPA AT ONE END.
CHALUKYAN STYLE
•THE NORMAL PLAN IS LIKE THAT OF A THREE-AISLED CATHEDRAL
IN CENTRAL INDIA
WITH SEMICIRCULAR APSE, CONTAINING THE SHRINE AT THE END
•(C) THE DRAVIDIAN
FARTHEST FROM THE ENTRANCE.
STYLE IN SOUTH
•THE ROOFS ARE HEWN TO A SEMICIRCULAR FORM, WITH RIBS
INDIA
RESEMBLING TIMBER-WORK.
 CONTENTS
•ARCHITECTURAL
CHARACTER

•THE BUDDHIST
STYLE
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA (
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN PLAN AND SECTION OF CHAITYA
STYLE IN SOUTH
INDIA HALL, KARLE, INDIA
 CONTENTS
•ARCHITECTURAL
CHARACTER

•THE BUDDHIST
STYLE
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA (
• (B) THE •ACCOMMODATES STUPA
CHALUKYAN STYLE • APSIDAL PLAN
IN CENTRAL INDIA • NO DIVISION BETWEEN NAVE AND CHAITYA
•(C) THE DRAVIDIAN • VAULTED HALL BASIC
STYLE IN SOUTH • COLONNADES
INDIA • SIDE AISLES CHARACTERISTICS
 CONTENTS
VIHARAS.
•A MONASTERY,
ARRANGEMENT OF
•ARCHITECTURAL CELLS FOR
CHARACTER CAVES OF ACCOMODATION OF
MONKS
AJANTA
•THE BUDDHIST
STYLE •DWELLINGS WERE
•STAMBHAS SIMPLY WOODEN
•STUPAS CONSTRUCTION/THAT
•TORANAS CHED BAMBOO HUTS
•CHAITYAS
•VIHARAS. • QUADRANGULAR
COURT FOR
•THE JAINA STYLE GATHERING
•SURROUNDED BY
SMALL CELLS
• THE HINDU (OR •FRONT WALL
BRAHMAN) STYLE INCORPORATED A
•(A) THE NORTHERN SHRINE FOR IMAGE OF
HINDU STYLE IN BUDDHA
NORTH INDIA (
• (B) THE •CELLS HAD ROCK CUT
CHALUKYAN STYLE PLATFORMS FOR BEDS
IN CENTRAL INDIA • VIHARAS WERE NOT
•(C) THE DRAVIDIAN ALIKE IN DESIGN
STYLE IN SOUTH •DOORWAYS WERE ON
INDIA SAMPLE PLAN OF VIHARA SIDES OF THE WALLS
OF MAIN HALL
 CONTENTS GENERALLY REGARDED AS BEING
THE JAINA STYLE FOUNDED ON BUDDHIST
•ARCHITECTURAL ARCHITECTURE THE MONUMENTS ARE
CHARACTER
(A.D. 1000-1300) MAINLY RELIGIOUS AND MOSTLY
WITH LATER BELONG TO THE GREAT AGE OF JAINA
•THE BUDDHIST ARCHITECTURE (A.D. 1000-1300), AND
STYLE
REVIVALS ARE FOUND IN ALL PARTS OF INDIA,
•STAMBHAS ESPECIALLY IN THE NORTH.
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA N THE INITIAL YEARS, MANY JAIN TEMPLES
• (B) THE WERE MADE ADJOINING THE BUDDHIST
CHALUKYAN STYLE TEMPLES FOLLOWING THE BUDDHIST ROCK-
IN CENTRAL INDIA CUT STYLE. HOWEVER, IN LATER YEARS JAINS
•(C) THE DRAVIDIAN STARTED BUILDING TEMPLE-CITIES ON HILLS
STYLE IN SOUTH BASED ON THE CONCEPT OF 'MOUNTAINS OF
INDIA IMMORTALITY.
 CONTENTS

•ARCHITECTURAL
CHARACTER

•THE BUDDHIST
STYLE
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH •TEMPLES HAVE
INDIA AN ENTRANCE PORCH OR HALL, GENERALLY CRUCIFORM ON PLAN,
 CONTENTS •COLUMNS WITH BRACKET CAPITALS
AND ANGULAR STRUTS WHICH SUPPORT DOMES OFTEN OF
VARIOUS HEIGHTS AND INVARIABLY BUILT IN HORIZONTAL
•ARCHITECTURAL
COURSES OF STONE, WHICH, EXERTING NO LATERAL THRUST,
CHARACTER
ARE SUPPORTED ON COLUMNS
•THE BUDDHIST
STYLE
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 CONTENTS •LIGHT IS ABUNDANTLY COMING INSIDE THROUGH GAPS BETWEEN
CEILINGS AND FROM COURTYARDS, HIGHLIGHTING THE
•ARCHITECTURAL INTERTWINED SPACES AND FINE CARVINGS ALL AROUND.
CHARACTER • THE SPLENDOR OF THE SPACE IS SO PURE AS THE ENTIRE
TEMPLE FROM THE FLOORS TO THE CEILINGS IS MADE OF WHITE
•THE BUDDHIST MARBLE. IT ALSO MIGHT BE DESCRIBED AS THE REALIZATION OF
STYLE THE PURE LAND
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 CONTENTS
SCULPTURED ORNAMENT OF GROTESQUE AND SYMBOLIC DESIGN,
•ARCHITECTURAL BEWILDERING IN ITS RICHNESS, COVERS THE WHOLE STRUCTURE,
CHARACTER LEAVING LITTLE PLAIN WALL SURFACE AND DIFFERING
ESSENTIALLY FROM EUROPEAN ART.
•THE BUDDHIST THE TEMPLES WERE PICTURESQUELY PERCHED ON MOUNTAIN
STYLE TOPS OR NESTLED IN SECLUDED VALLEYS, AS THE JAINS SET A
•STAMBHAS HIGH VALUE ON THE EFFECT OF ENVIRONMENT ON ARCHITECTURE.
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 CONTENTS •THE RELIGION HAS EVOLVED DUE TO THE COMBINATION OF FAITHS OF
ARYANS AND DRAVIDIANS.
•THIS VARIES IN ITS THREE LOCAL STYLES, BUT ALL HAVE THE SMALL
•ARCHITECTURAL
"VIMANA " OR SHRINE-CELL AND ENTRANCE PORCH, WITH THE SAME
CHARACTER
EXCESSIVE CARVING AND SCULPTURE, WHICH ARE IMPRESSIVE AS
OFFERING A TRIBUTE OF LABOUR TO THE GODS.
•THE BUDDHIST
STYLE
•STAMBHAS
•STUPAS
•TORANAS
•CHAITYAS
•VIHARAS.

•THE JAINA STYLE

• THE HINDU (OR

BRAHMAN) STYLE
•(A) THE NORTHERN
HINDU STYLE IN
NORTH INDIA
• (B) THE
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA
 CONTENTS •THE NORTHERN HINDU DIFFERS FROM THE
DRAVIDIAN IN THAT THE PYRAMIDAL ROOF
OVER THE " VIMANA " IS CURVED INSTEAD OF
•ARCHITECTURAL
STEPPED IN OUTLINE
CHARACTER
•ENTRANCE PORCH HAS NO COLUMNS.
•THE BUDDHIST EXTERIOR
STYLE SUN TEMPLE,
•STAMBHAS
•STUPAS KONARK
•TORANAS
• TWO CHAMBERS,
•CHAITYAS
PORCH, WITH
•VIHARAS.
ITS THREE-
•STOREYED
•THE JAINA STYLE
ROOF
•CELL IS,
SQUARE ON PLAN
• THE HINDU (OR
•POSITION IS
BRAHMAN) STYLE
•(A) THE NORTHERN
•INDICATED
HINDU STYLE IN
EXTERNALLY BY A
NORTH INDIA
TOWER " BENDING
• (B) THE
INWARDS TOWARDS
CHALUKYAN STYLE
THE SUMMIT AND
IN CENTRAL INDIA
SURMOUNTED BY A
•(C) THE DRAVIDIAN
MASSIVE CIRCULAR
STYLE IN SOUTH
COPING STONE
INDIA PLAN
BEARING A VASE.
 CONTENTS THE CHALUKYAN STYLE IN
CENTRAL INDIA
•MAINLY ORIGINATED IN AIHOLE
•ARCHITECTURAL
AND BADAMI AND WAS
CHARACTER
PERFECTED IN PATTADAKAL AND
MAHAKUTA.
•THE BUDDHIST
•AFFECTED BY ITS NORTHERN
STYLE
AND SOUTHERN RIVALS
•STAMBHAS
•TAKES FEATURES FROM BOTH
•STUPAS
WITHOUT LOSING ITS SPECIAL
•TORANAS
CHARACTER.
•CHAITYAS
•STAR-SHAPED PLANS
•VIHARAS.
CONTRAST WITH THE
CRUCIFORM PLANS OF THE PLAN OF KESHAVA
•THE JAINA STYLE TEMPLE,SOMNATHPUR
NORTHERN HINDU STYLE
CURVED
PYRAMIDAL
• THE HINDU (OR
TOWERS
BRAHMAN) STYLE
CONTRAST
•(A) THE NORTHERN
WITH THE
HINDU STYLE IN
STOREYED
NORTH INDIA
DRAVIDIAN
• (B) THE
TOWERS.
CHALUKYAN STYLE
IN CENTRAL INDIA
•(C) THE DRAVIDIAN
STYLE IN SOUTH
INDIA EXTERIOR OF KESHAVA TEMPLE,SOMNATHPUR
 CONTENTS OTHER FEATURES:
•CURVED TOWERS
•ARCHITECTURAL DECORATED WITH BLIND
CHARACTER ARCHES
• PLASTERED WALLS WITH
•THE BUDDHIST PANEL INSERTS
STYLE •DECCAN STYLE IS IN THEIR
•STAMBHAS BALCONY SEATING, ANGLED
•STUPAS EAVES AND SLOPING ROOFS,
•TORANAS AND ELABORATELY CARVED
•CHAITYAS
•COLUMNS AND CEILINGS
•VIHARAS.
• BROUGHT TOGETHER THE PAPANATHA TEMPLE,
PREVAILING STYLES IN THEIR PATTADAKAL
•THE JAINA STYLE
NEIGHBOURHOOD TO CREATE
THE CHALUKYAN
TYPICAL STYLE.
FEATURES
• THE HINDU (OR UNIQUE TO EARLY
BRAHMAN) STYLE WESTERN CHALUKYAN
•(A) THE NORTHERN ARCHITECTURE INCLUDE:
HINDU STYLE IN • MORTARLESS ASSEMBLY
NORTH INDIA •AN EMPHASIS ON LENGTH
• (B) THE RATHER THAN WIDTH OR
CHALUKYAN STYLE HEIGH
IN CENTRAL INDIA •FLAT ROOFS
•(C) THE DRAVIDIAN •RICHLY CARVED CEILINGS
STYLE IN SOUTH •SCULPTURS ISOLATED FROM
INDIA EACH OTHER
 CONTENTS • EMERGED IN THE SOUTHERN
INDIA
•CONSISTS PRIMARILY OF
•ARCHITECTURAL
TEMPLES WITH PYRAMID
CHARACTER
SHAPED TOWERS
• ARE CONSTRUCTED OF
•THE BUDDHIST
SANDSTONE, SOAPSTONE OR
STYLE
GRANITE.
•STAMBHAS
•STUPAS •DEVELOPED INTO ITS OWN
•TORANAS FORM AND TRADITION
•CHAITYAS •THE DRAVIDIAN HAS THE "
•VIHARAS. VIMANA " CROWNED BY
STEPPED PYRAMIDS, EACH
•THE JAINA STYLE STOREY OF WHICH IS
ORNAMENTED WITH CELLS.
•" CHOULTRIES " OR
• THE HINDU (OR COLUMNED HALLS ARE
BRAHMAN) STYLE SIMILAR TO EGYPTIAN
•(A) THE NORTHERN •HYPOSTYLE HALLS
HINDU STYLE IN
•GOPURAS BECAME LARGER
NORTH INDIA
THAN THE MAIN BUILDING
• (B) THE
• THE EMPHASIS IS ON
CHALUKYAN STYLE
HORIZONTALITY LINES; ONE
IN CENTRAL INDIA
OR MORE STORIES, TOPPED
•(C) THE DRAVIDIAN
WITH STEPPED-PYRAMIDAL
STYLE IN SOUTH
SHIKHARA AND A MUSHROOM
INDIA
CAP
 CONTENTS

•BRIEF SUMMARY
•GENERAL
INFLUENCES
•ARCHITECTURAL
CHARACTER
•COMPARATIVE
ANALYSIS
•TIMELINE OF
INDIAN
ARCHITECTURE
•OTHER TYPES
OF
ARCHITECTURE
•SUMMARY
 CONTENTS
•COMPARATIVE
ANALYSIS

•PLANS

•WALLS

•OPENINGS IN PLAN THEY RESEMBLE CONSIST OF A SQUARE CELL FOR HINDU TEMPLES ARE
CHRISTIAN CATHEDRALS THE IMAGE OF THE JAINA, SIMILAR IN PLAN TO JAINA
WITH THREE AISLES FORMED ROOFED WITH A HIGH
•ROOFS BY TWO ROWS OF PIERS OR CURVILINEAR PYRAMIDAL TOWER
TEMPLES, BUT WITH LOCAL
DIFFERENCES ;
COLUMNS ; OR " SIKRA."
DRAVIDIAN TEMPLES, FOR
•COLUMNS THE SANCTUARY AROUND IN FRONT IS A PILLARED PORTICO
INSTANCE, HAVE IN
WHICH THE AISLE IS CARRIED WITH POINTED DOME SUPPORTED
IS SEMICIRCULAR. ON EIGHT PILLARS FORMING AN ADDITION CHARACTERISTIC

•MOULDINGS THE "VIHARAS "

OCTAGON WHICH WAS BROUGHT " CHOULTRIES " OR " HALLS

(MONASTERIES) ARE ALSO

TO A SQUARE BY ADDING FOUR OF 1,000 COLUMNS,"
ANGLE COLUMNS
ROCK-CUT, AND GENERALLY THE SURROUNDING WALL
•ORNAMENT CONSIST OF A CENTRAL HALL FURTHER COLUMNS MAKE THE GENERALLY ENCLOSES
SURROUNDED ON THREE STRUCTURE EXTERNALLY
SACRED LAKES OR WATER
SIDES BY CELLS FOR THE CRUCIFORM ON PLAN.
TANKS,
PRIESTS.
THE PLANNING OF THE DOME, ON
SOMETIMES THERE ARE AN OCTAGONAL BASE MAKES THE CHALUKYAN TEMPLES ARE
COLUMNS IN THE CENTRAL WIDTH OF NAVE TO AISLES IN THE USUALLY STAR-SHAPED ON
SPACE TO SUPPORT THE PROPORTION OF O TO 7 PLAN.
ROCK OVERHEAD
 CONTENTS •WALL CONSTRUCTION AND
TREATMENT IS VERY SIMILAR
•COMPARATIVE IN BUDDHIST, JAINA, AND
ANALYSIS HINDU BUILDINGS.THE
MATERIAL IS PRINCIPALLY
MASSIVE BLOCKS OF
GRANITE, STONE, OR
MARBLE, SOMETIMES LAID
•PLANS WITHOUT MORTAR.
•PLAIN WALL SURFACES
•WALLS SEEM TO HAVE BEEN
AVOIDED
•OPENINGS •THE CHARACTERISTIC
EASTERN TREATMENT OF
THE WHOLE SURFACE OF
•ROOFS WALLS WITH SCULPTURE IS
EMPLOYED IN ALL THREE
•COLUMNS STYLES.

•MOULDINGS

•ORNAMENT
•THE " GOPURAS" OR GATE
PYRAMIDS OF THE DRAVIDIAN
STYLE RESEMBLE, IN THEIR
MASSIVENESS, THE PYLONS OF
EGYPTIAN TEMPLES
 CONTENTS
THE GATEWAYS OF THE SANCHI TOPE ARE SPECIAL AND
PECULIAR FEATURES OF THIS STYLE.
•COMPARATIVE
•IN ROCK-CUT FACADES A HORSE-SHOE ARCH FORMS ONE
ANALYSIS GREAT EYE AS THE ONLY OPENING FOR LIGHT . WITHIN THIS
ARCH AN OPEN DECORATED WOODEN SCREEN MODERATED THE
GLARE OF THE EASTERN SUN. THIS SINGLE BEAM OF SUBDUED
LIGHT IS THROWN FROM BEHIND THE WORSHIPPERS ON TO THE
SHRINE, AND PRODUCES AN IMPRESSIVE EFFECT OF LIGHT AND
•PLANS SHADE AMONG THE SURROUNDING CLOSE-SET COLUMNS

•WALLS JAINA
OPENINGS ARE NORMALLY SQUARE-HEADED. IN PILLARED PORCHES
STONE ARCHITRAVES REST ON BRACKET CAPITALS, AND A
•OPENINGS CHARACTERISTIC EASTERN EFFECT WAS PRODUCED BY STONE STRUTS,
EVIDENTLY DERIVED FROM A TIMBER FORM (AND OCCASIONALLY FILLED
•ROOFS IN WITH ORNAMENT TO FORM A TRIANGULAR-HEADED OPENING . AN
EXTENSION OF THE BRACKET CAPITAL IS SOMETIMES APPLIED TO WALL
OPENINGS, LINTELS BEING SUPPORTED BY BRACKETS BUILT OUT IN
•COLUMNS HORIZONTAL COURSES

•MOULDINGS FLAT-HEADED OPENINGS ARE USUAL, BUT VARIATIONS IN ROOFS ARE

MADE BY THE USE OF BRACKETS SUPPORTING PURLINS OF STONE ON
WHICH OTHER BRACKETS WERE PLACED, THUS GRADUALLY
•ORNAMENT REDUCING THE SPAN SO THAT STONE SLABS COULD ROOF OVER THE
APARTMENT, AS AT THE DRAVIDIAN TEMPLE AT CHIDAMBARAM.
CHALUKYAN BUILDINGS HAVE PIERCED WINDOW SLABS, AS AT
BAILLUR AND HULLABID IN STAR-SHAPED PATTERNS, ORNAMENTED
WITH FOLIAGE OR WITH MYTHOLOGICAL SUBJECTS. THESE PIERCED
SLABS ARE VERY DISTINCTIVE OF THIS STYLE, THOUGH SOMEWHAT
SIMILAR TO BYZANTINE AND SARACENIC TREATMENT.
 CONTENTS
•COMPARATIVE
THE EARLY ROCK-CUT " CHAITYAS " HAVE
ANALYSIS SEMICIRCULAR ROOFS EXCAVATED IN THE ROCK
WITH STONE IMITATIONS OF WOODEN RIBS

•PLANS

•WALLS
THE " SIKRA OVER THE IDOL-CELL WAS FORMED OF
•OPENINGS STONE SLABS IN HORIZONTAL COURSES ; ITS
EXTERNAL CURVED OUTLINE WAS PROBABLY
PRODUCED BY FOLLOWING THE INTERNAL POINTED
•ROOFS DOME, AND THE APEX WAS CROWNED BY A MELON-
LIKE ORNAMENT AND FINIAL

•COLUMNS

•MOULDINGS
DRAVIDIAN TEMPLES HAVE ROOFS OVER THE "VIMANA" OF
THE STOREYED PYRAMIDAL TYPE (P. 801 B), NORMALLY
•ORNAMENT CARRIED TO A CONSIDERABLE HEIGHT AND CARVED WITH
MINIATURE REPRESENTATIONS OF ITSELF IN EACH WELL-
DEFINED STOREY. CHALUKYAN TOWERS ARE EITHER OF THE
STOREYED DRAVIDIAN TYPE AND FOLLOW THE CURVILINEAR
OUTLINE OF THE NORTHERN HINDU TEMPLES OR ARE IN THE
FORM OF A STRAIGHT-SIDED STEPPED CONE.
 CONTENTS BUDDHIST JAINA HINDU
THE NORTHERN HINDU COLUMN AT
BAROLI WITH ITS SCULPTURED SHAFT
•COMPARATIVE -HAD A TIMBER PROTOTYPE -COLUMNS ARE MUCH USED
REMINISCENT OF THE TEMPLE OF
AND EXHIBIT GREAT VARIETY
ANALYSIS -ARE OFTEN OCTAGONAL
OF DESIGN
ARTEMIS AT EPHESUS , HAS

-NO STANDARDISED SYSTEM OF RECOGNISED EVIDENTLY LOST ITS BRACKET

TYPES AS IN GREECE OR ROME - CAPITALS ARE OF THE " CAPITAL, AND, WITH A COMPANION

BRACKET" TYPE PROBABLY COLUMN ON THE RIGHT, FORMERLY

-THE SHAFT IS AS MUCH ORNAMENTED AS
CAPITAL AND BASE
•PLANS -GAVE THE NECESSARY LIGHT AND SHADE TO
THE INTERIOR, AS DID THE COLUMNS TO THE
EXTERIOR OF A WINDOWLESS GREEK TEMPLE.
•WALLS -IN NORTH-WEST INDIA, IN THE GANDHARA
DISTRICT, GREEK OR BYZANTINE INFLUENCE
PRODUCED CAPITALS WITH DELICATE
•OPENINGS ACANTHUS-LEAF CARVINGS.
•ROOFS
SUPPORTED A " TORAN " OR
DERIVED FROM A TIMBER
ARCHWAY. IN DRAVIDIAN "
ORIGINAL.
CHOULTRIES " THERE WAS GREAT
-THE UPPER SUPPORTING AN SCOPE FOR THE INVENTIVENESS OF
ARCHITRAVE WHICH IS THE HINDU CRAFTSMAN. CAPITALS
FURTHER UPHELD IN THE ARE OF THE " BRACKET " TYPE, AND
IN SOME INSTANCES NOT MORE THAN
CENTRE BY STONE STRUTS
TWO COLUMNS IN A BUILDING ARE
RESTING ON THE LOWER
CAPITAL
ALIKE IN OTHER CASES THERE ARE
COMPOUND PIERS FORMED OF ONE
STURDY AND ONE SLIGHT COLUMN

•COLUMNS

•MOULDINGS

•ORNAMENT
 CONTENTS •IN ALL THREE STYLES MOULDINGS ARE NORMALLY OF A BULBOUS,
SWELLING OUTLINE AND OFTEN LACK REFINEMENT. A FORM MADE BY
•COMPARATIVE OVERLAPPING RECTANGULAR SLABS IS FREQUENTLY USED IN THE
ANALYSIS BASES AND CAPITALS OF COLUMNS AND " DAGOBAS " (SHRINES). IN
OTHER INSTANCES, AS AT BEDSA, A SEMICIRCULAR OPEN-WORK
MOULDING, RECALLING BASKET-WORK, IS EMPLOYED. THE TORUS IS
USED, AND THE DOUBLE-CONVEX SHAPE, INTO WHICH THE CROSS-
PIECES OF THE " RAILS " ARE CUT, FORMS DEEP HORIZONTAL BANDS
•PLANS OF ORNAMENT AND TAKES THE PLACE OF MOULDINGS PROPER.

•WALLS

•OPENINGS

•ROOFS

•COLUMNS

•MOULDINGS

•ORNAMENT
 CONTENTS
•SCULPTURE IS CARRIED OUT IN ALL THREE STYLES WITH A
•COMPARATIVE PROFUSION UNKNOWN IN OTHER COUNTRIES, AND IS EXECUTED
ANALYSIS PRINCIPALLY IN HARD STONE

•FORMS A MONUMENT OF PATIENT LABOUR, PERHAPS UNEQUALLED.

IN JAINA ARCHITECTURE, EACH OF THE TWENTY-FOUR JINAS HAD A
DISTINCTIVE SIGN, WHICH WAS UTILISED BY THE SCULPTORS.
•PLANS THE TRIDENT, SHIELD AND " CHAKRA " (OR WHEEL), THE " RAIL “
ORNAMENT, COPIED FROM THE SANCHI TOPE, AND IMITATIONS OF
•WALLS WINDOW FRONTS AND FACADES ARE ALSO REPEATED ON THE FRONTS
OF THE EARLY CHAITYAS
•OPENINGS
•REPETITIONS ON A FACADE OR TOWER OF NUMEROUS MINIATURE
•ROOFS
CARVED REPRESENTATIONS OF ITSELF
PAINTED FRESCOES WERE EMPLOYED, WHERE THE WALLS OF THE
•COLUMNS CAVE WERE LEFT PLAIN FOR THE PURPOSE

•MOULDINGS
•ON THE GATEWAYS AT SANCHI ARE REPRESENTED LEGENDARY
•ORNAMENT EVENTS FROM THE LIFE AND RELIGION OF BUDDHA, THE WORSHIP OF
TREES AND RELICS AS WELL AS WAR-LIKE SCENES. THE THREE, FIVE,
OR SEVEN-HEADED NAGA OR SERPENT IS FREQUENTLY INTRODUCED ;
WHILE HORSES, LIONS, " HANSAS " (SACRED GEESE) FORM FAVOURITE
SUBJECTS, IN STRIKING CONTRAST TO THE MOTIFS OF MAHOMETAN
SCULPTURE.
 CONTENTS
•COMPARATIVE
ANALYSIS

•PLANS

•WALLS

•OPENINGS

•ROOFS

•COLUMNS

•MOULDINGS

•ORNAMENT
 CONTENTS

•HARAPPAN PERIOD
•BRIEF SUMMARY
•GENERAL
INFLUENCES
•ARCHITECTURAL
CHARACTER
•COMPARATIVE •MAURYAN PERIOD
ANALYSIS
•TIMELINE OF
INDIAN
ARCHITECTURE
•OTHER TYPES •MEDIEVAL PERIOD
OF
ARCHITECTURE
•SUMMARY

•COLONIAL
ARCHITECTURE AND
THE MODERN PERIOD
 CONTENTS ASHOKAN ARCHITECTURE
DURING THE REIGN OF ASHOKA MANY MONOLITHIC STONE PILLARS
WERE ERECTED ON WHICH TEACHINGS OF‘DHAMMA’ WERE INSCRIBED.
THE LION CAPITAL OF THE SARNATH PILLAR HAS BEEN ACCEPTED AS
THE EMBLEM OF THE INDIAN REPUBLIC. EACH PILLAR WEIGHS ABOUT
•OTHER TYPES
50 TONNES AND IS ABOUT 50 FT HIGH. THE GATEWAYS OF THE SANCHI
OF STUPA WITH THE BEAUTIFUL SCULPTURE DEPICTING SCENES FROM
ARCHITECTURE JATAKA STORIES ARE SPECIMENS OF THE SKILL AND AESTHETIC SENSE
•ASHOKAN OF THE ARTISANS BLENDING OF GREEK AND INDIAN ART LED TO THE
ARCHITECTURE DEVELOPMENT OF GANDHARA ART WHICH DEVELOPED LATER
•CAVE
ARCHITECTURE
•ROCK-CUT
TEMPLE
•NAGARA
ARCHITECTURE
•REGIONAL
KINGDOMS
•INDO-ISLAMIC
ARCHITECTURE
•COLONIAL
ARCHITECTURE

ASHOKAN PILLAR, SARNATH INDIAN EMBLEM

 CONTENTS AJANTA CAVE CAVE ARCHITECTURE
THE DEVELOPMENT OF
CAVE ARCHITECTURE
IS ANOTHER UNIQUE
FEATURE AND MARKS
•OTHER TYPES
AN IMPORTANT PHASE
OF IN THE HISTORY OF
ARCHITECTURE INDIAN ARCHITECTURE.
•ASHOKAN MORE THAN
ARCHITECTURE THOUSAND CAVES
•CAVE HAVE BEEN
ARCHITECTURE EXCAVATED BETWEEN
•ROCK-CUT SECOND CENTURY BC
AND TENTH CENTURY
TEMPLE
AD.
•NAGARA FAMOUS AMONG
ARCHITECTURE THESE WERE AJANTA
•REGIONAL ELLORA CAVE AND ELLORA CAVES OF
KINGDOMS MAHARASHTRA, AND
•INDO-ISLAMIC UDAYGIRI CAVE OF
ARCHITECTURE ORISSA. THESE CAVES
•COLONIAL HOLD BUDDHIST
VIHARAS,CHAITYAS AS
ARCHITECTURE
WELL AS MANDAPAS
AND PILLARED
TEMPLES OF HINDU
GODS AND
UDAYAGIRI CAVE GODDESSES.
 CONTENTS ROCK-CUT TEMPLES
TEMPLES WERE HEWN
OUT OF HUGE ROCKS
THE EARLIEST ROCK-
CUT TEMPLES WERE
•OTHER TYPES
EXCAVATED IN
OF WESTERN DECCAN IN
ARCHITECTURE THE EARLY YEARS OF
•ASHOKAN THE CHRISTIAN ERA.
ARCHITECTURE
•CAVE KAILASH TEMPLE AT
ARCHITECTURE ELLORA BUILT BY THE
•ROCK-CUT RATHA TEMPLE,MAHABALIPURAM RASHTRAKUTAS AND
THE RATHA TEMPLES
TEMPLE
OF MAHABALIPURAM
•NAGARA BUILT BY THE PALLAVAS
ARCHITECTURE ARE OTHER EXAMPLES
•REGIONAL OF ROCK-CUT
KINGDOMS TEMPLES.
•INDO-ISLAMIC MOST PROBABLY THE
ARCHITECTURE STABILITY AND
•COLONIAL PERMANENCE OF
ROCKS ATTRACTED THE
ARCHITECTURE
PATRONS OF ART AND
BUILDERS WHO
DECORATED THESE
TEMPLES WITH
KAILASA TEMPLE,ELLORA BEAUTIFUL
 CONTENTS NAGARA STYLE
- THE NAGARA STYLE WAS PREVALENT IN THE REGION BETWEEN
HIMALAYAS AND THE VINDHAYA
HAS ITS ORIGIN IN THE STRUCTURAL TEMPLES OF THE GUPTA PERIOD,
ESPECIALLY THEDASHAVTARA TEMPLE OF DEOGARH AND THE BRICK
•OTHER TYPES
TEMPLE OF BHITARGAON. A STUDY OF NORTHERN INDIAN TEMPLES
OF REVEALS TWO DISTINCT FEATURES OF THE NAGARA STYLE - ONE IN
ARCHITECTURE PLANNING AND OTHER IN ELEVATION. THE PLAN IS SQUARE WITH A
•ASHOKAN NUMBER OF GRADUAL PROJECTIONS IN THE MIDDLE OF EACH SIDE
ARCHITECTURE WHICH IMPARTS IT A CRUCIFORM SHAPE. IN ELEVATION IT EXHIBITS A
•CAVE TOWER (SHIKHARA) GRADUALLY INCLINING TOWARDS IN A CONVEX
ARCHITECTURE CURVE. THE PROJECTIONS IN THE PLAN ARE ALSO CARRIED UPWARDS
•ROCK-CUT TO THE TOP OF THE SHIKHARA. THUS, THERE IS A STRONG EMPHASIS
TEMPLE ON VERTICAL LINES IN ELEVATION. FOR THIS REGION IT IS ALSO
•NAGARA CALLED THE REKHA SHIKHARA. BY THE EIGHTH CENTURY
ARCHITECTURE THE NAGARA STYLE EMERGES IN ITS CHARACTERISTIC FORM.
THE NAGARA STYLE EXHIBITS DISTINCT VARIETIES IN ELABORATION.
•REGIONAL
THE TEMPLE BELONGING TO THE NAGARA STYLE OF ARCHITECTURE
KINGDOMS
MAY BE SEEN FROM THE HIMALAYA TO THE NORTH OF BIJAPUR
•INDO-ISLAMIC
ARCHITECTURE DISTRICT IN THE SOUTH, FROM THE PUNJAB IN THE WEST TO BENGAL
•COLONIAL TO THE EAST. AS A RESULT, THERE ARE LOCAL VARIATIONS AND
RAMIFICATIONS IN THE FORMAL DEVELOPMENT OF THE STYLE IN THE
ARCHITECTURE
DIFFERENT REGIONS. SUCH VARIATIONS ARE CAUSE BY LOCAL
CONDITIONS, BY DIFFERENT DIRECTIONS IN DEVELOPMENT AS WELL AS
ASSIMILATION OF UNRELATED TRENDS. HOWEVER, THE CRUCIFORM
PLAN AND THE CURVILINEAR TOWER ARE COMMON TO
EVERY NAGARA TEMPLE.
 CONTENTS

•OTHER TYPES
OF
ARCHITECTURE
•ASHOKAN
ARCHITECTURE
•CAVE
ARCHITECTURE
•ROCK-CUT
TEMPLE
•NAGARA
ARCHITECTURE
•REGIONAL
KINGDOMS
•INDO-ISLAMIC
ARCHITECTURE
•COLONIAL
ARCHITECTURE
 CONTENTS JAMA MASJID REGIONAL KINGDOMS
WITH THE ESTABLISHMENT
OF REGIONAL KINGDOMS IN
BENGAL, GUJARAT AND THE
DECCAN, BEAUTIFUL
•OTHER TYPES
BUILDINGS HAVING THEIR
OF OWN STYLE WERE
ARCHITECTURE CONSTRUCTED. THE JAMA
•ASHOKAN MASJID, THE SADI SAIYYAD
ARCHITECTURE MOSQUE AND THE SHAKING
•CAVE SIDI TOWERS AT AHMADABAD
SAIYYED ARE A FEW EXAMPLES OF
ARCHITECTURE
MOSQUE THIS ARCHITECTURE.
•ROCK-CUT EXTERIOR THE JAMA MASJID AT
TEMPLE MARBLE GULBARGA, THE
•NAGARA SCREEN MADARSA OF MAHMUD
ARCHITECTURE GAWAN AT BIDAR, IBRAHIM
•REGIONAL RAUZA, GOL GUMBAZ AT
KINGDOMS BIJAPUR AND THE
•INDO-ISLAMIC FORT AT GOLKUNDA ARE
ARCHITECTURE JUST A FEW FAMOUS
•COLONIAL BUILDINGS. GOL GUMBAZ
HAS THE LARGEST DOME IN
ARCHITECTURE
THE
WORLD. ALL THESE
BUILDINGS VARY IN DESIGN
AND STYLE FROM THE
GOL GUMBAZ, BIJAPUR BUILDINGS OF NORTH INDIA.
 CONTENTS HUMAYUN’S TOMB EXTERIOR INDO ISLAMIC ARCHITECTURE
THE MEDIEVAL PERIOD SAW
GREAT DEVELOPMENTS IN
THE FIELD OF ARCHITECTURE.
WITH THE COMING OF
•OTHER TYPES
MUSLIMS TO INDIA, MANY NEW
OF FEATURES CAME TO BE
ARCHITECTURE INTRODUCED IN BUILDINGS.
•ASHOKAN THE DEVELOPMENT OF
ARCHITECTURE MUSLIM STYLE OF
•CAVE HUMAYUN’S TOMB INTERIOR DOME ARCHITECTURE OF THIS
ARCHITECTURE PERIOD CAN BE CALLED THE
•ROCK-CUT INDO-ISLAMIC ARCHITECTURE
OR THE INDIAN
TEMPLE
ARCHITECTURE INFLUENCED
•NAGARA BY ISLAMIC ART. THE INDO-
ARCHITECTURE ISLAMIC STYLE WAS NEITHER
•REGIONAL STRICTLY ISLAMIC NOR
KINGDOMS STRICTLY HINDU.
•INDO-ISLAMIC HUMAYUN’S TOMB INTERIOR •THE ADVENT OF THE
ARCHITECTURE MUGHALS BROUGHT A NEW
•COLONIAL ERA IN ARCHITECTURE.
•THE ARCHITECTURE OF
ARCHITECTURE
MUGHAL STYLE STARTED
DURING AKBAR’S RULE.
•THE FIRST BUILDING OF THIS
RULE WAS HUMAYUN’S
•TOMB AT DELHI
 CONTENTS TAJ MAHAL EXTERIOR •THE TAJMAHAL, THE TOMB OF
SHAHJAHAN’S WIFE, IS BUILT IN
MARBLE AND REFLECTS ALL THE
ARCHITECTURAL
FEATURES THAT WERE
•OTHER TYPES
DEVELOPED DURING THE
OF MUGHAL PERIOD. IT HAS A
ARCHITECTURE CENTRAL DOME, FOUR ELEGANT
•ASHOKAN TAJ MAHAL SECTION MINARETS, GATEWAY, INLAY
ARCHITECTURE WORK AND GARDENS
•CAVE SURROUNDING THE MAIN
ARCHITECTURE BUILDING.
•ROCK-CUT •THE MUGHAL STYLE OF
ARCHITECTURE HAD A
TEMPLE
PROFOUND INFLUENCE ON THE
•NAGARA BUILDINGS OF THE LATER
ARCHITECTURE PERIOD. THE
•REGIONAL BUILDINGS SHOWED A STRONG
KINGDOMS INFLUENCE OF THE ANCIENT
•INDO-ISLAMIC INDIAN STYLE AND HAD
ARCHITECTURE COURTYARDS AND
•COLONIAL PILLARS. FOR THE FIRST TIME IN
THE ARCHITECTURE OF THIS
ARCHITECTURE
STYLE LIVING BEINGS-
ELEPHANTS, LIONS,
PEACOCKS AND OTHER BIRDS
TAJ MAHAL WERE SCULPTURED IN THE
DETAILS BRACKETS
 CONTENTS MARTAND SUN
TEMPLE,KASHMIR

•OTHER TYPES
OF
ARCHITECTURE
•ASHOKAN
ARCHITECTURE
•CAVE
ARCHITECTURE
•ROCK-CUT
TEMPLE
•NAGARA APART FROM THE NAGARA, DRAVIDA, AND VESARA STYLES THERE ARE
ARCHITECTURE TYPES OF STRUCTURES WHICH ARE `ENTIRELY EXOTIC IN SHAPE OR
FORM'. SPECIMENS OF THIS STYLE MAY BE SEEN IN KASHMIR;
•REGIONAL
LALITADITYA MUKTAPIDA (AD 724- 769) INAUGURATED AN ERA OF
KINGDOMS
•INDO-ISLAMIC BUILDING ACTIVITY IN THE KASHMIR VALLEY.
THE TYPICAL BRAHMANICAL TEMPLE IN KASHMIR HAS A DISTINCTION
ARCHITECTURE OF ITS OWN. IT HAS A `DISTINCTLY UN-INDIAN APPEARANCE' WHICH IS
•EXOTIC STYLE EMPHASIZED BY ITS PILLARS, THE TREATMENT OF WALL-SURFACE, AND
•COLONIAL THE ELEVATION OF ITS SUPERSTRUCTURE. IT IS PERIPTERAL IN
ARCHITECTURE COMPOSITION (HAVING A SINGLE ROW OF PILLARS ON ALL SIDES IN
THE STYLE OF THE TEMPLES OF ANCIENT GREEK). IT IS SITUATED
WITHIN A QUADRANGULAR COURT ENCLOSED BY A PERISTYLE OF
CELLS AND APPROACHED BY ONE OR THREE PORTICOES.
 CONTENTS BASILICA BOM COLONIAL ARCHITECTURE
JESUS,GOA •COLONIAL INFLUENCE CAN BE
SEEN IN OFFICE BUILDINGS.
EUROPEANS WHO STARTED COMING
FROM SIXTEENTH CENTURY AD
•OTHER TYPES
CONSTRUCTED MANY CHURCHES
OF AND OTHER BUILDINGS.
ARCHITECTURE PORTUGUESE BUILT MANY
•ASHOKAN CHURCHES AT GOA, THE MOST
ARCHITECTURE PARLIAMENT FAMOUS OF THESE ARE BASILICA
•CAVE HOUSE,DELHI BOM JESUS AND THE CHRUCH OF
ARCHITECTURE SAINT FRANCIS.
•ROCK-CUT •THE BRITISH ALSO BUILT
ADMINISTRATIVE AND RESIDENTIAL
TEMPLE
BUILDINGS WHICH REFLECT THEIR
•NAGARA IMPERIAL GLORY. SOME GREEK AND
ARCHITECTURE ROMAN INFLUENCE CAN BE
•REGIONAL OBSERVED IN THE COLONNADES OR
KINGDOMS RASHTRAPATI BHAVAN PILLARED BUILDINGS. PARLIAMENT
•INDO-ISLAMIC HOUSE AND CONNAUGHT PLACE IN
ARCHITECTURE DELHI ARE GOOD EXAMPLES.
•EXOTIC STYLE •THE ARCHITECT LUTYENS,
DESIGNED RASHTRAPATI BHAVAN,
•COLONIAL
FORMERLY THE VICEROY’S
ARCHITECTURE RESIDENCE. IT
IS BUILT OF SANDSTONE AND HAS
DESIGN FEATURES LIKE CANOPIES
AND JAALI FROM RAJASTHAN.
 CONTENTS VICTORIA TERMINUS,MUMBAI
THE BRITISH ALSO LEFT
BEHIND IMPRESSIVE
RAILWAY TERMINALS
LIKE THE VICTORIA
TERMINUS IN MUMBAI.
•OTHER TYPES
MORE CONTEMPORARY
OF STYLES OF BUILDING ARE
ARCHITECTURE NOW IN
•ASHOKAN EVIDENCE, AFTER
ARCHITECTURE INDEPENDENCE IN 1947.
•CAVE CHANDIGARH HAS
ARCHITECTURE BUILDINGS DESIGNED BY
•ROCK-CUT INDIA THE FRENCH
INTERNATIONAL ARCHITECT, CORBUSIER. IN
TEMPLE
CENTRE DELHI, THE AUSTRIAN
•NAGARA ARCHITECT, STEIN,
ARCHITECTURE DESIGNED THE INDIA
•REGIONAL INTERNATIONAL
KINGDOMS CENTRE WHERE
•INDO-ISLAMIC CONFERENCES ARE HELD
ARCHITECTURE BY LEADING
•EXOTIC STYLE INTELLECTUALS FROM ALL
OVER THE WORLD AND
•COLONIAL
MORE RECENTLY, THE INDIA
ARCHITECTURE HABITAT CENTRE WHICH
HAS BECOME A CENTRE OF
INDIA HABITAT INTELLECTUAL ACTIVITIES
CENTRE IN THE CAPITAL.
 CONTENTS SUMMARY
•INDIA WAS INFLUENCED MOSTLY FROM THE NORTH
•BUILDING STONE INFLUENCED INDIAN ARCHITECTURE FROM THE EARLIEST
TIMES.
•OTHER MATERIALS INDIANS USED ARE:
•BRIEF SUMMARY • MARBLE
•TIMBER
•GENERAL
•SANDSTONE
INFLUENCES •INDIA LIES MOSTLY WITHIN THE TROPICS, AND TWO PRINCIPAL SEASONS, WET
•ARCHITECTURAL AND DRY
CHARACTER •PEOPLE OF INDIA CONSIST OF:
(A) THE NON-ARYAN TRIBES OR ABORIGINES
•COMPARATIVE (B) THE ARYAN OR SANSKRIT-SPEAKING RACE
ANALYSIS (C) HINDUS, A MIXED POPULATION FORMED OF THE ABOVE
•TIMELINE OF (D) MAHOMETAN INVADERS.
INDIAN •DIFFERENT STYLES OF INDIAN ARCHITECTURE:
•BUDDHIST STYLE
ARCHITECTURE •JAIN STYLE
•OTHER TYPES •HINDU STYLE
OF •(A) THE NORTHERN HINDU STYLE IN NORTH INDIA
•(B) THE CHALUKYAN STYLE IN CENTRAL INDIA
ARCHITECTURE •(C) THE DRAVIDIAN STYLE IN SOUTH INDIA
•SUMMARY
•ASHOKAN ARCHITECTURE
•CAVE ARCHITECTURE
•ROCK-CUT TEMPLE
•NAGARA ARCHITECTURE
•REGIONAL KINGDDOMS(BAHMANI,MUGHAL,ETC)
•INDO-ISLAMIC ARCHITECTURE
•EXOTIC STYLE
•COLONIAL ARCHITECTURE
•TORANAS ARE THE PROTOTYPES OF NUMBERLESS CHINESE PAI-LOUS".
 CONTENTS
http://www.oldandsold.com/articles23/architecture-140.shtml
http://www.oldandsold.com/articles23/architecture-141.shtml
http://www.oldandsold.com/articles23/architecture-142.shtml
•BRIEF SUMMARY http://www.oldandsold.com/articles23/architecture-143.shtml
•GENERAL http://www.nios.ac.in/media/documents/secichcour/english/ch.13.pdf
INFLUENCES http://worldpopulationreview.com/countries/india-population/
•ARCHITECTURAL http://www.indian-heritage.org/architecture/stamba.htm
http://www.buddhanet.net/stupa.htm
CHARACTER
http://www.approachguides.com/blog/buddhist-stupa-architecture-
•COMPARATIVE symbolism/
ANALYSIS https://www.slideshare.net/Bekark/history-of-indian-architecture
•TIMELINE OF https://www.slideshare.net/pugs19/chaityas-and-viharas-architecture
INDIAN http://indian-heritage.org/artcraft/ajanta/ajanta4.html
ARCHITECTURE https://www.slideshare.net/ABHISHEKTHEHUSTLER/chalukyan-architecture-
•OTHER TYPES bharat-deepak-pramod-rakesh-talan
OF https://www.slideshare.net/aziz_khan/chalukyan-architecture-12744279
https://www.slideshare.net/ABHISHEKTHEHUSTLER/hoa-presentation-
ARCHITECTURE
chalukyan
•SUMMARY https://www.slideshare.net/ABHISHEKTHEHUSTLER/dravidian-nagara-
temples-aamod-arun-yatin-naveen
https://www.slideshare.net/charakhansal/dravadian-architecture
https://sol.du.ac.in/mod/book/view.php?id=1158&chapterid=717