Prof. Ar.

Ajinkya Malokar

Buddhist Architecture
Unit II
 Prof. Ar. Ajinkya Malokar

Buddhist Architecture in General

• General Buddhist architecture encompasses a diverse range of structures that have evolved across different regions
and over centuries to serve the needs of the Buddhist monastic community and lay practitioners. While specific styles
vary, certain fundamental elements and principles are often present. Here are the key aspects of general Buddhist
architecture:
• Core Structures:
• Stupa: The earliest and most fundamental form of Buddhist architecture. Initially a simple mound containing relics of the
Buddha or important Buddhist figures, the stupa evolved into more complex structures with distinct components:
• Anda (Hemispherical Dome): Represents the cosmos.
• Harmika (Railing): A square enclosure on top of the Anda, symbolizing the realm of the gods.
• Yashti (Mast): Rises from the Harmika, representing the axis mundi.
• Chattra/Chattravali (Umbrella/Multiple Umbrellas): Placed on the Yashti, symbolizing royalty and high status.
• Medhi (Terrace): A circular or square platform supporting the Anda. * Toranas (Gateways): Elaborately carved
gateways at the cardinal points, often depicting scenes from the Buddha's life and Jataka tales. * Vihara (Monastery): A
dwelling place for Buddhist monks. Early viharas were simple cells arranged around a courtyard. Over time, they
evolved into larger complexes with:
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Contd.
• Individual Cells: Small rooms for monks to live, sleep, and meditate.
• Central Courtyard: A communal space for gatherings and activities.
• Assembly Hall (Upasthanasala): A larger hall for sermons, chanting, and monastic meetings.
• Refectory (Bhojanasala): A dining hall.
• Library (Pustakalaya): To store sacred texts.
• Often associated with stupas within the complex.
• Chaitya Hall (Prayer Hall): A hall containing a stupa at one end, designed for congregational worship. Early chaitya
halls were rock-cut caves with:
• An apsidal end where the stupa was located.
• Pillars lining the nave, creating an ambulatory path for circumambulation.
• A vaulted roof, often imitating wooden architecture.
• Elaborate facades with carvings.
• Later, freestanding chaitya halls were also constructed.).
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Contd.
• Common Architectural Principles and Features:
• Integration with Nature: Buddhist monasteries were often located in serene and natural settings, promoting peace and
contemplation.
• Orientation: Structures, especially stupas, often had cardinal orientations.
• Symbolism: Every element of Buddhist architecture carries symbolic meaning related to Buddhist philosophy and cosmology.
The stupa, in particular, is a microcosm of the universe and the Buddha's teachings.
• Materials: Construction materials varied depending on the region and time period, including stone, brick, wood, and earth.
• Decoration: Buddhist structures are often adorned with sculptures, carvings, and paintings depicting the Buddha, Bodhisattvas,
Jataka tales, and symbolic motifs like the Dharma wheel, lotus flower, and auspicious symbols.
• Circumambulation (Pradakshina): A common practice of walking clockwise around stupas and sacred images as a form of
veneration. Architectural layouts often facilitate this ritual.
• Gateways and Entrances: Often marked with elaborate carvings and symbolic guardians.
• Water Features: Ponds, wells, and bathing areas were important for the monastic community.
• Regional Variations:As Buddhism spread across Asia, its architecture adapted to local cultures and environments, leading to
distinct regional styles:
• Indian Buddhist Architecture: Characterized by early rock-cut caves, brick and stone stupas (like Sanchi), and monastic
complexes (like Nalanda)
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• Tibetan Buddhist Architecture: Features fortress-like monasteries (Gompas) built on hillsides, with
vibrant colors, intricate murals, and unique stupa forms (Chortens).
• East Asian Buddhist Architecture (China, Korea, Japan): Integrated with local building traditions,
resulting in pagoda-style stupas, large temple complexes with multiple halls, and a focus on
symmetry and harmony with nature.
• Southeast Asian Buddhist Architecture (Myanmar, Thailand, Cambodia): Known for gilded stupas
(chedis), elaborate wooden monasteries with tiered roofs (vihara/wat), and temple complexes with
intricate carvings.
• In essence, general Buddhist architecture aims to create spaces that support spiritual practice,
learning, and community for both monastics and lay followers, while embodying the core principles
and symbolism of Buddhist teachings. The stupa remains a central element, representing the
Buddha's presence and the path to enlightenment, while monasteries provide the necessary
infrastructure for monastic life and the propagation of the Dharma
Prof. Ar. Ajinkya Malokar
 Prof. Ar. Ajinkya Malokar

Architecture Associated with Mahayana Buddhism.

The architecture associated with Mahayana Buddhism is not a distinct, separate style from
general Buddhist architecture. Instead, the rise and spread of Mahayana Buddhism influenced the
existing architectural forms and introduced new elements and iconographic programs within them.
Here's how Mahayana Buddhism impacted Buddhist architecture:
1. Expanded Iconography and Imagery:
• Buddhas and Bodhisattvas: Mahayana Buddhism emphasizes the concept of the Bodhisattva – an
enlightened being who postpones their own Nirvana to help all sentient beings. This led to the
prominent depiction of various Buddhas (beyond the historical Buddha Shakyamuni, such as
Amitabha and Vairocana) and Bodhisattvas (like Avalokiteshvara, Manjusri, and Tara) in art and
architecture. Their images and narratives from their previous lives and compassionate activities
became central in temple decorations and murals.
• Elaborate Narratives: Mahayana texts often feature complex stories and elaborate cosmologies.
These narratives found expression in the intricate carvings and paintings that adorned stupas,
monasteries, and cave temples.
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Contd.
2. Development of New Architectural Forms and Functions:
• Increased Emphasis on Assembly Halls (Viharas): As Mahayana often involved more complex philosophical
discussions and community practices, larger and more elaborate assembly halls in monasteries became
important. These spaces facilitated teaching, debates, and communal rituals.
• Elaborate Stupa Decoration: While the basic form of the stupa remained, Mahayana influence led to more
ornate decorations, including intricate carvings of Buddhas and Bodhisattvas in niches (nasikas) and on the
toranas (gateways). The stupa became a canvas for conveying Mahayana teachings through visual narratives.
• Cave Temples (Chaityas and Viharas): Rock-cut architecture continued to flourish under Mahayana patronage,
with notable examples like the later phases of Ajanta and Ellora caves in India. These caves often featured large
Buddha images and depictions of Bodhisattvas, reflecting the Mahayana pantheon. Viharas became more
elaborate with interconnected cells and larger central halls.
• Temple Complexes: With the growth of Mahayana, larger temple complexes evolved, sometimes incorporating
multiple shrines dedicated to different Buddhas and Bodhisattvas, along with monastic residences, libraries, and
teaching halls.
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Contd.
3. Regional Variations Reflecting Mahayana:As Mahayana Buddhism spread across Asia, its architectural expression
blended with local styles and beliefs, resulting in diverse forms:
• Tibetan Monasteries (Gompas): Characterized by their strategic hilltop locations, fortress-like appearance, multiple
assembly halls, elaborate murals of Buddhas and Bodhisattvas, and the use of vibrant colors.
• East Asian Temples (China, Japan, Korea): Often featuring pagoda-style stupas (a multi-tiered tower evolved from the
Indian stupa), large Buddha halls housing various Buddha images, and separate halls dedicated to Bodhisattvas and
other deities. The layout often follows a symmetrical plan with courtyards and distinct functional buildings.
• Southeast Asian Structures (Borobudur in Indonesia): This massive stepped pyramid adorned with numerous Buddha
statues and relief panels depictng Mahayana cosmology is a prime example of Mahayana influence on a grand scale.
• Key Architectural Features Often Associated with Mahayana Influence:
• Images of Multiple Buddhas and Bodhisattvas.
• Elaborate narrative reliefs and murals depicting Mahayana Sutras and Jataka tales with a focus on the Bodhisattva
ideal. * Larger and more complex monastic complexes with specialized halls for various practices.
• Integration of local architectural styles and materials.
• Symbolic representation of Mahayana cosmology and philosophical concepts.
 Prof. Ar. Ajinkya Malokar

Architecture associated with Hinayana Buddhism

• While the term "Hinayana" (meaning "Lesser Vehicle") is historically used to refer to early Buddhist schools,
modern scholarship often prefers the term Nikaya Buddhism or Early Buddhist Schools. The most prominent
surviving school from this early period is Theravada Buddhism. Therefore, when discussing Buddhist architecture
associated with these early traditions, we primarily look at the architectural forms that predate the rise of
Mahayana or are characteristic of Theravada practice today.
• The architecture associated with these early Buddhist traditions, including what was once termed "Hinayana,"
focuses on:
• 1. Stupas as the Central Focus:
• The stupa was the primary architectural monument, venerated as a reliquary of the Buddha or important
disciples and as a symbol of the Buddha's presence and enlightenment.
• Early stupas, like the Great Stupa at Sanchi, were often simpler hemispherical mounds encased in brick or stone,
surrounded by a railing (vedika) and with elaborately carved gateways (toranas) added later.
• The focus was on circumambulation (pradakshina) as the main ritualistic practice around the stupa.
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Contd.
2. Simple Monastic Dwellings (Viharas):
• Early viharas were primarily functional spaces for monks. They typically consisted of simple cells arranged around a
central courtyard.
• The emphasis was on providing basic shelter for individual monks to pursue their studies, meditation, and monastic life.
• Examples of early viharas can be seen in the rock-cut caves of Ajanta (caves 8, 12, 13) and other early rock-cut sites in
India. These often feature plain cells with rock-cut beds.
3. Chaitya Halls (Early Prayer Halls):
• Chaitya halls were rock-cut prayer halls that housed a stupa at the far end for worship.
• These halls, such as those at Bhaja, Karle, and Bedsa, were characterized by an apsidal plan, a vaulted roof (imitating
wooden architecture), and pillars lining the nave for circumambulation.
• The focus was on congregational worship centered around the stupa.
• Key Characteristics of Early Buddhist Architecture (often associated with Hinayana/Theravada):
• Emphasis on the Stupa: The stupa is the most prominent and sacred structure.
• Simplicity and Functionality: Monastic dwellings were primarily practical spaces for monastic life.
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Contd.
• Symbolic Representation: Early art and architecture often used symbols (like the wheel,
footprints, Bodhi tree) to represent the Buddha, rather than anthropomorphic images in the
initial stages.
• Rock-Cut Architecture: Early examples are significantly found in rock-cut caves, demonstrating
adaptation to the natural landscape.
• Circumambulation: The layout often facilitates the ritual of walking around sacred [Link]'s
important to note that as Buddhism evolved, so did its architecture. While these early forms are
often linked to the schools that were later termed "Hinayana," the architectural traditions
continued to develop and influence later Buddhist architecture as well. Theravada Buddhism,
which is considered a continuation of one of these early schools, still emphasizes stupas and
functional monastic structures in its temple complexes (Wats) found in Southeast Asia, although
local styles and elaborations have also developed over time
 Prof. Ar. Ajinkya Malokar

Interaction of Hellenic and Indian Ideas in Northern India

• The interaction of Hellenistic (often referred to as "Helen" in a simplified way) and North Indian ideas
significantly influenced North Indian architecture, particularly during and after the Mauryan Empire
(c. 322 – 185 BCE). This interaction led to unique artistic and architectural expressions, most notably
seen in the Gandhara school of art. Here's a breakdown of this interaction and its impact:
• 1. Hellenistic Influence:
• Alexander's Invasion (326 BCE): While his direct rule was short-lived, Alexander the Great's incursion
into Northwest India opened up channels for cultural exchange between the Greek world and the
Indian subcontinent.
• Indo-Greek Kingdoms (Post-Mauryan): Following the Mauryan Empire, various Indo-Greek kingdoms
flourished in the northwest (roughly modern-day Pakistan and parts of Afghanistan) from the 2nd
century BCE to the 1st century CE. These kingdoms actively promoted Hellenistic culture and
interacted closely with Indian traditions.
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Contd.
• Artistic Styles: Hellenistic art brought with it a strong emphasis on naturalism, the human form,
and specific artistic techniques. This influenced North Indian art in several ways:
• Sculpture: The Gandhara school of art, which flourished in the northwest, is the most prominent
example of this fusion. It depicted Buddhist figures (Buddha and Bodhisattvas) with distinctly
Greco-Roman features like wavy hair, realistic drapery, and Apollonian facial structures.
Hellenistic motifs like vine scrolls, garlands held by cherubs, and Corinthian-style pillars were also
incorporated.
• Architectural Elements: Elements like the use of the Ionic anta capital (as seen in the
Pataliputra capital), bead and reel patterns, and other decorative moldings found their way
into North Indian architecture during the Mauryan period and continued to influence later
styles
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Contd.
2. North Indian Ideas:
• Buddhist Philosophy and Iconography: The rise of Buddhism in North India provided the central
theme for much of the art and architecture that was influenced by Hellenistic styles. The need to
represent the Buddha and Buddhist narratives led to the adoption and adaptation of Hellenistic
artistic techniques.
• Mauryan Imperial Style: The Mauryan Empire, preceding the major Indo-Greek influence, had
already established a tradition of monumental stone architecture. While some scholars suggest
Persian influence (which itself had Greek elements) on Mauryan art, the interaction with
Hellenistic kingdoms further shaped the development. The Ashokan pillars, with their polished
surfaces and animal capitals, show some potential Hellenistic influence in the lifelike rendering
of the animals.
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Contd.
• Religious Syncretism: The interaction wasn't a one-way street. North Indian religious and philosophical ideas also
influenced the Hellenistic rulers and communities in the region, leading to a degree of cultural fusion.
Interaction in North Indian Architecture:
The most direct architectural manifestation of this interaction is seen in the Gandhara region:
• Greco-Buddhist Monasteries and Stupas: Gandharan architecture combined Indian stupa designs with Hellenistic
architectural elements and decorative motifs. For instance, stupa bases might be adorned with Corinthian pilasters,
and sculptures within the monastic complexes showcased the Greco-Buddhist style.
• Development of Anthropomorphic Buddha: The depiction of the Buddha in human form is largely attributed to the
Gandhara school, influenced by Hellenistic artistic traditions of depicting deities in human likeness.
• Later Influence:While the most direct impact was felt in the northwest during the Indo-Greek period and the Gandhara
era, the artistic and architectural vocabulary developed during this interaction had a lasting, though sometimes
indirect, influence on subsequent North Indian art and architecture.
In conclusion, the meeting of Hellenistic and North Indian ideas in North India resulted in a unique cultural synthesis, most
evident in the Gandhara school of art and architecture. This interaction brought new artistic techniques and styles to the
region, which were adapted to express North Indian religious and philosophical concepts, leaving a significant mark on
the artistic heritage of the subcontinent.
 Prof. Ar. Ajinkya Malokar

Architecture during Ashoka’s rule.

• During Ashoka's rule (c. 268 to 232 BCE), the architecture in India saw significant developments, primarily
reflecting the Mauryan Empire's power and the spread of Buddhism. Key features include:
• Pillars of Ashoka: These monumental pillars, typically made of sandstone, were erected across the empire. They
often featured inscriptions promoting Ashoka's edicts and were topped with animal capitals (lions, bulls,
elephants).
• Stupas: While stupas existed before Ashoka, he is credited with building many more, enshrining Buddhist relics.
The Great Stupa at Sanchi is a prominent example, though its current form is later.
• Rock-Cut Architecture: The earliest examples of rock-cut architecture in India, such as the caves at Barabar and
Lomas Rishi, date back to this period. These caves served as dwelling places for ascetics.
• Palaces: The Mauryan capital at Pataliputra (modern Patna) was described by ancient Greek writers as having
a grand wooden palace.
• City Planning: Archaeological evidence suggests well-planned cities with standardized layouts during this era.
Prof. Ar. Ajinkya Malokar

Ashokan pillar at Sarnath

Prof. Ar. Ajinkya Malokar

Monolithic Pillar
• Has great artistic values.
• Boldly designed ,finely proportioned and conceptually well balanced.
• Free standing pillars, not part of an architectural composition.
• Aesthetic properties concentrated on capitals and superstructures.
• These 2 portions of the monuments altogether average 7’ in height are in one
piece of stone while the shaft of the consists of another separate piece.
• Both pieces joined by a copper bolt accurately fitted into the tenon made for
it without use of cement.
 Prof. Ar. Ajinkya Malokar

Details
• Each pillar has 2 parts – Shaft , capital
• Shaft- circular piece of stone tapering towards upperside (40-50 ft) long.
• Capital – Placed on the top of the tapering shaft.
• Capital further is in three parts – Inverted lotus or bell
Base pedestal
Animal and animal with Dharma-chakra
• Red sandstone for construction- as they have magnificent shape, proportions, coronation and surface finish.
• All the elements are connected, yet facing different directions.
• Fluting and radial pattern seem under complete control and coordination with the top circle of the capital.
• The column is persepolitan and is octagonal with bell shaped capital.
• The capital consists of a canopy representing an inverted bell shaped lotus flower, a short cylindrical abacus with
four 24-spoked dharma wheels with fur animals(an elephant, a bull, a horse , a lion).
 Prof. Ar. Ajinkya Malokar

Sarnath:
• The architecture of Sarnath, a site of immense significance in Buddhism as the place where the
Buddha delivered his first sermon, showcases a range of Buddhist structures and influences spanning
several centuries. Here are the key architectural features and their evolution at Sarnath:
Early Period (Mauryan Empire, c. 3rd Century BCE):
• Ashokan Pillar: Emperor Ashoka erected a magnificent pillar here, as he did at other important
Buddhist sites. The Lion Capital of Ashoka, which originally crowned this pillar, is the most famous
surviving part and is now India's national emblem. The pillar itself is mostly in ruins at the site. The
capital, housed in the Sarnath Museum, exhibits Mauryan polish and intricate carvings of lions and
the Dharma Chakra.
• Dharmarajika Stupa: While the current visible structure is a mound of brickwork, its foundations are
believed to date back to Ashoka's time. It was likely one of the earliest stupas at Sarnath, built to
enshrine relics of the [Link] and Gupta Periods (c. 1st - 6th Century CE):
• Expansion of the Dharmarajika Stupa: The original stupa was likely enlarged during these periods.
 Prof. Ar. Ajinkya Malokar

Contd…
• Dhamek Stupa: This is the most imposing structure remaining at Sarnath. While its lower part
might have Mauryan origins, its current cylindrical shape and intricate carvings are largely
attributed to the Gupta period. The stupa marks the spot where the Buddha delivered his first
sermon. It features delicate floral and geometric carvings and niches that may have once held
Buddha images.
• Monasteries (Sangharamas): Remains of several monasteries have been excavated at Sarnath.
These generally follow a layout of cells around a central courtyard, providing living and learning
spaces for monks. The construction material was primarily brick.
Later Periods (Post-Gupta to 12th Century CE):
• Further Construction and Renovations: Sarnath continued to be an important Buddhist center,
and new stupas and monasteries were likely built and older ones renovated.
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Contd.
• Dharmachakra Jina Vihara: This monastery, built in the 11th century by Kumaradevi (wife of a Gahadavala
king), was one of the last significant constructions before the site fell into decline.
Key Architectural Characteristics of Sarnath:
• Stupas as the Central Monuments: Stupas, in various sizes and forms, are the most prominent architectural
features, marking sacred locations.
• Use of Brick and Stone: The structures were primarily built using brick, with stone used for facing, carvings, and
pillars.
• Monastic Layouts: The monasteries followed a functional design with courtyards and individual cell
• Sculptural Decoration: While much of the sculpture is now housed in the Sarnath Museum, the remains on-site
and the museum collection indicate a rich tradition of carving Buddhist imagery, including Buddhas,
Bodhisattvas, and scenes from the Buddha's life. The Gupta period is particularly noted for the elegance and
refinement of its sculptures found at Sarnath.
• Marking Sacred Spots: The architecture directly relates to the key events in the Buddha's life, particularly his first
sermon at the Deer Park (Mrigadava).Today, Sarnath is an archaeological site with significant ruins that speak to
its glorious past as a major center of Buddhism. The Dhamek Stupa remains a towering landmark, and the
excavated remains of monasteries and other structures provide insights into the monastic life and architectural
styles that flourished there for over a millennium. The Sarnath Museum houses a remarkable collection of artifacts
unearthed at the site, further illuminating its rich architectural and artistic heritage.
Prof. Ar. Ajinkya Malokar

Sarnath:
 Prof. Ar. Ajinkya Malokar

Sanchi Stupa
• The Sanchi Stupa, located near Bhopal in Madhya Pradesh, India, is a remarkable example of
early Buddhist architecture that evolved over several centuries. Its key architectural features
and their significance include:
• Anda (Hemispherical Dome): This is the core of the stupa, a solid, hemispherical mound
representing the cosmos and the Buddha's enlightenment. It is built on a base (Medhi) and
originally made of brick, later encased in stone.
• Harmika: A square railing-like structure situated on the flattened top of the Anda. It symbolizes
the realm of the gods and is considered the most sacred part, sometimes believed to represent
the living place of god.
• Yashti and Chattra: A central mast (Yashti) rises from the Harmika, supporting a Chattra (a single
umbrella) or a Chattravali (a series of umbrellas, typically three). These symbolize royalty, high
status, and the Three Jewels of Buddhism: the Buddha, the Dharma, and the Sangha.
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Contd.
• Medhi: A raised circular or square platform at the base of the Anda. It serves as a foundation
and a circumambulatory path for devotees. Sanchi uniquely features both an upper and a
lower pradakshinapatha (circumambulatory path).
• Toranas (Gateways): Four elaborately carved gateways are positioned at the cardinal
directions. These were later additions (1st century BCE to 1st century CE) and are the most
ornate parts of the stupa. They depict scenes from the life of the Buddha, the Jataka tales
(stories of the Buddha's previous lives), and various auspicious symbols, serving as visual
narratives of Buddhist teachings. Each Torana consists of two vertical pillars topped with animal
or dwarf capitals, supporting three horizontal architraves adorned with sculptures on both sides.
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Contd.
• Vedika (Railing): A stone fence surrounds the entire stupa, demarcating the sacred space and separating it from
the secular world. Its design and carvings often echo earlier wooden craft.
The architecture of the Sanchi Stupa is significant for several reasons:
• Early Buddhist Style: It exemplifies the early Buddhist architectural style, which later influenced stupa designs
across India and Asia.
• Symbolism: Every element carries deep symbolic meaning related to Buddhist cosmology and philosophy.
• Artistic Depictions: The Toranas are a treasure trove of early Indian sculpture, providing valuable insights into the
art, society, and religious beliefs of the time.
• Historical Significance: Commissioned by Emperor Ashoka in the 3rd century BCE, it marks a crucial period in the
patronage and spread of Buddhism.
In its entirety, the Sanchi Stupa's architecture is a harmonious blend of symbolic form and intricate artistry, making it
a UNESCO World Heritage site and a vital monument in understanding the history and evolution of Buddhist
architecture
 Prof. Ar. Ajinkya Malokar

The Great Stupa of Sanchi, Madhya Pradesh

 Prof. Ar. Ajinkya Malokar

Silent Features of Chaityas (Prayer Halls):

• Silent Features of Chaityas (Prayer Halls):
• Apsidal End and Stupa Focus: The most defining silent feature is the apse-shaped rear end
housing the stupa. This directs the viewer's focus towards the primary object of veneration and
dictates the flow of movement within the hall (circumambulation).
• Ambulatory Path: The arrangement of pillars creates a circumambulatory path
(pradakshinapatha) around the stupa. This facilitates the ritualistic walking meditation and
veneration, a key silent element guiding devotee experience.
• Vaulted Ceiling: The high, vaulted ceiling, often rock-cut to mimic timber construction, creates
a sense of grandeur and spaciousness, contributing to the solemn and spiritual atmosphere.
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Contd.
• Light and Shadow Play: The single horseshoe-shaped window (Chaitya arch) above the
entrance is a crucial silent feature. It allows a dramatic shaft of light to fall onto the stupa,
especially at certain times of the day, creating a focal point and enhancing the sacred
ambiance.
• Sense of Enclosure and Sacred Space: The very act of entering the rock-cut cave or the
enclosed structural hall creates a distinct separation from the outside world, fostering a sense of
sanctuary and spiritual immersion.
• Orientation: The orientation of the Chaitya, often towards a significant direction, silently
reinforces its sacred purpose.
• Acoustics: The enclosed space and the materials used (especially in rock-cut examples) often
create unique acoustic qualities that would have been conducive to chanting and religious
recitations.
Prof. Ar. Ajinkya Malokar

Chaitya Halls Section

Plan : Chaitya hall at Karli

 Prof. Ar. Ajinkya Malokar

•Though it was great in size, it had function limitation during unfavorable weather. So this drawback
resulted into formation of right solution [Link] hall ( enclosed space) with a miniature stupa at one
end
• Sacred spot
• Temple as well as assembly hall relating Buddhism
• Vaulted hall with non – structural colonnade
• Rectangular hall with apsidal end with chaitya
• Double row of columns divide whole area into nave , ( used as congregational space) in the centre
and double aisles
• (circumbulation space) all around the colonnade and stupa
• Entry through rectangular opening with chaitya window or sun window (derived from period hut)
• Stupa has been carved out of living rock
Examples: Chaitya cave at Bhaja, Karle,Ajanta
Chaitya hall at Kondane, Ellora
 Prof. Ar. Ajinkya Malokar

Silent Features of Viharas (Monasteries):

• Silent Features of Viharas (Monasteries):
• Courtyard-Centric Layout: The fundamental silent feature of a Vihara is its arrangement of cells
around a central courtyard. This design promotes community living, interaction, and a sense of
monastic order. The courtyard serves as a gathering space and a source of light and ventilation.
• Simple, Functional Cells: The individual cells are designed for basic living, meditation, and study. Their
small size and lack of elaborate ornamentation silently emphasize the ascetic lifestyle of the monks.
The presence of rock-cut beds or platforms further underscores this simplicity.
• Emphasis on Community and Individual Space: The layout subtly balances communal living around
the courtyard with the need for private space within the individual cells, reflecting the dual aspects
of monastic life.
• Integration with the Landscape: Often carved into hillsides or built in natural surroundings, the
Viharas silently reflect a connection with nature and a retreat from worldly distractions.
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Contd…
• Durability and Permanence: The use of rock-cut techniques or sturdy materials like brick and
stone conveys a sense of permanence and stability for the monastic community.
• Proximity to Sacred Sites: Viharas were often located near stupas or chaityas, creating a silent
connection between living quarters and places of worship. This facilitated easy access for
religious practices.
• Gradual Evolution of Function: Over time, some Viharas evolved to include small shrines or
images of the Buddha, subtly shifting their function beyond just residence to include elements
of worship, reflecting the changing practices within Buddhism.
 Prof. Ar. Ajinkya Malokar

Vihara
• These are the residential places of the buddhist priests.
• They consist of a main-hall entered by a door-way.
• They also contain the assembly hall, dining chambers.
• From the halls deep into the rocks, cells are provided for meditation.
• The shrines contains beautiful figures of Buddha and the walls of the antechamber depict the
stories based on Buddha's life and fine frescoes as in case of Ajanta.
• Some great structural viharas were about 60m high covered with glazed tiles.
• Pillars were richly chiseled in the form of dragons.
• Beams were painted in red and rafter with all colors of rainbow.
• Viharas were literally the pleasure gardens of monastic precincts.
• Some of the important Buddhist viharas are those at Ajanta, Ellora. Nasik, Karle, Kanheri, Bagh
and Badami.
 Prof. Ar. Ajinkya Malokar

The site for structural viharas has to fulfil the two

conditions:

a. Proximity to some village

b. Enough seclusion to ensure the proper
atmosphere for meditation.
According to Pali texts, the viharas include:
1. Living rooms
2. Private dwellings (parivenas)
3. Mandapas
4. Service corridors (upatthama salas)
5. Aggi salas (Halls with the fire places)
6. Kothaks (porches)
7. Chankamas (proomenades)
8. Store houses
9. Passages attached to bathrooms
10. Wells
11. Sheds attached to walls

In course of time, they developed into educational Plan of rock- cut vihara
institutions and centres for Buddhists.
 Prof. Ar. Ajinkya Malokar

Vihara at Nasik.
Typical Features:
•Columned porticos
•Large central halls without pillars
•Cells with stone beds
 Prof. Ar. Ajinkya Malokar

Tibetan architecture
• Tibetan architecture is a unique and fascinating style that has developed over centuries, deeply influenced by its high-altitude climate,
rugged landscape, Tibetan Buddhism, and interactions with neighboring cultures like Nepal, India, and [Link] are some key
features of Tibetan architecture:
• General Characteristics: * Adaptation to Climate: Buildings are typically constructed to conserve heat in the cold climate. Features
include thick stone or rammed earth walls, small windows to minimize heat loss, and flat roofs in the drier central and western regions to
maximize sun exposure for warmth and usable space. In the wetter eastern regions, sloping roofs with slate, shingles, or tiles are more
common to handle heavier rainfall. * Use of Local Materials: Buildings are primarily made from locally available materials such as stone,
clay, and wood. Since the late 20th century, concrete has also been used, though less prevalently in rural areas. * Elevated and South-
Facing: Ideal building sites are on elevated land facing south to maximize sunlight and provide better views. * Battered Walls: Many
larger structures, such as monasteries and manor homes, feature walls that slope inward as they rise. This design creates an illusion of
greater height and provides added stability, particularly important in an earthquake-prone region. * Flat Roofs with Parapets: In central
and western Tibet, flat roofs are common and are often used for storage, drying crops, and social gatherings. Parapets surround the
roofs. * Distinctive Color Palette: The primary colors used in Tibetan architecture, especially for religious structures, are red, white, yellow,
and black. Red is often prominent on monasteries, while yellow signifies sacredness and is used for important monks' residences and
temples. White is common for domestic buildings. * Window and Door Treatments: Windows and doors are often decorated with
distinctive black frames, sometimes described as "ox horn" shapes, believed to bring good luck and absorb sunlight. Intricate wooden
carvings and overhangs often adorn these openings. * Prayer Flags: A ubiquitous sight, Buddhist prayer flags are often flown from
rooftops of homes and monasteries, carrying prayers and good wishes on the wind
 Prof. Ar. Ajinkya Malokar

Contd….
Religious Architecture (Monasteries and Temples - Gompas):
• Strategic Hilltop Locations: Monasteries are often built on elevated, prominent sites, symbolizing spiritual
elevation and offering panoramic views.
• Complex Layouts: Monastic complexes can be large and intricate, comprising assembly halls (Buddha Halls),
living quarters for monks, libraries, stupas (chortens), and various shrines and colleges.
• Central Assembly Hall: The main hall is the focal point for religious ceremonies and often houses large statues of
Buddha and other deities, along with elaborate murals and thangkas (religious paintings).
• Stupas (Chortens): These are reliquary mounds or commemorative monuments found throughout Tibet. Their
design varies regionally, from roundish to square bases, and they often contain relics or sacred items. Eight main
types of chortens symbolize different events in the Buddha's life.
• Mandalas in Design: Some monastic layouts, like that of Samye Monastery, are based on the mandala,
representing the Buddhist cosmos.
• Cave Temples: In earlier times, caves were also used as monasteries and places for meditation, with structures
sometimes built into or in front of them.
 Prof. Ar. Ajinkya Malokar

Contd….
Domestic Architecture:
• Multi-Story Dwellings: In prosperous agricultural areas, private homes can have up to three stories.
The lower floors are often used for livestock and storage, while the upper floors are for family living.
• Functional Layout: Residential spaces typically include a common room for gathering and sleeping,
a kitchen, and often a chapel for deities. Some houses may have separate rooms for married
couples.
• Courtyards: Traditional Tibetan courtyard houses create an introverted space, offering privacy and
a sense of community within the family.
• Regional Variations: Architecture in regions like Kham is known for its extensive and skillful use of
wood in both structural elements and interior decoration.
In conclusion, Tibetan architecture is a remarkable testament to the ingenuity and cultural richness of
the Tibetan people, beautifully blending spiritual traditions with practical adaptations to a
challenging environment
Prof. Ar. Ajinkya Malokar
Prof. Ar. Ajinkya Malokar