DRAVIDA ARCHITECTURE or DRAVIDIAN STYLE of ARCHITECTURE

This is mainly related to temple building style of Southern India. Dravidian architecture was a
style of architecture that emerged thousands of years ago in Southern part of the Indian
subcontinent or South India. It started during Pallavas and reached its pinnacle during Cholas.
They consist primarily of pyramid shaped temples called Koils which are dependent on intricate
carved stone in order to create a step design consisting of many statues of deities, warriors, kings,
and dancers.
Vimana or central figure (like Shikhara in North) of Dravida temples is usually smaller because,
a temple was improved upon by many rulers and everyone of
them enhanced gopurams by redrawing a new gopuram with a new boundary wall to show his
might. This is also the reason that Dravidian temples may even have multiple concentric gopurams
and a comparatively smaller central vimanam.
Temples have not only been religious centers, but were also used for administrative activities,
controlling vast areas of land and were also centers of education.
Following are notable features of Dravidian style of architecture –

I. The principal part, the temple itself, is called the Vimanam. It is almost always ‘square’ in plan and
surmounted by a pyramidal roof of one or more stories; it contains the cell – Sanctum sanctorum or
Grabhgriha – where the image of the deity or his or
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her emblem is placed.
II. The porches or Mandapams, which precede the door leading to the central shrine or sanctum
sanctorum.
III. Gate-pyramids, Gopurams, which are the principal features in the quadrangular enclosures that
surround the more notable temples.
IV. Pillard halls (Chaultris or Chawadis) are used for many purposes and are the invariable
accompaniments of these temples.
V. Crowning part is called shikhara unlike northern temples in which the whole vertical structure is
called shikhara.
VI. It is common to find a large water reservoir, or a temple tank, These are basically of five different
shapes – square, usually called kuta, and also caturasra;
rectangular or shala or ayatasra; elliptical, called gaja-prishta or elephant-backed or also called
vrittayata, circular or vritta; and octagonal or ashtasra. These different layouts were so to suit
the different nature of different deities. Greatest examples of Dravida architecture are found at
Mahabalipuram or Mammlapuram, Madurai, Gangaikondacholapuram, Tanjore, Kumbakonam,
Kanchipuram and so on.
The Pallavas were one of the ancient South Indian dynasties that were active in the Andhra
region from the 2nd century CE onwards and moved south to settle in Tamil Nadu and they were
the pioneer of this style. Dravidan architecture reached its zenith during the time of Cholas.

DRAVIDA vs NAGARA STYLE of ARCHITECTURE

I. Location – According to the Silpasastras, the temples in North India are Nagara style while
those situated between the Krishna river and Kanyakumari are Dravida.
II. Central Tower – The Nagara style which developed for the fifth century is characterized by a
beehive shaped curvilinear tower (called a Shikhara, in northern terminology) made up of
layer upon layer of architectural elements and a cruciform ground plan. While Dravida
architecture had a pyramidical shaped central tower (called Vimana in Dravida style). There
can be multiple Shikharas in Nagara style, but in Dravidian style there is only a single Shikhara or
Vimana. Usually central tower is crowned in both the styles and in Nagara style, it is called
Kalasha.

III. Gopuram – The Gateway – The most significant visual difference between the later northern
and southern styles are the gateways. In the north the shikhara remains the most prominent
element of the temple and the gateway is usually modest or even absent. While in Dravidian style,
the Gopurams are very stylized and big in size.
IV. Boundary – Nagara style temples have less emphasis on boundary and is generally absent,
while Dravida temples have elaborated boundary. Further, on boundary, the deities of
directions, i.e., the ashtadikpalas face the eight key directions on the outer walls of the
sanctum and/or on the outer walls of a temple.
V. Entrance – While in Nagara style, Ganga and Yamuna rivers are depicted in personified form
at the entrance of Garbhagriha or sanctum sanctorum, in Dravida style ‘Dwarpalas’ are there
on entrance.
VI. Tower – There is always a single tower in Dravida style temple, while there are multiple
towers in many of the Nagara style temples as in case of Khajuraho temples.
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VII. Pedestal – Nagara style temples are put on a pedestal considerably higher than ground,
Dravida style are more or less at ground level.
VIII. Deities on the Outside – Dravida architecture had deities on the outside, while mostly
Nagara style temples have deities inside.
VIII. Deities on the Outside – Dravida architecture had deities on the outside, while mostly
Nagara style temples have deities inside.
IX. Ornamental Details – In Dravida architecture, the details on the outside and inside – in form
of carvings, sculptures of deities etc – are so enormous that they often make the architecture
itself look insignificant as in case of Madurai temple, Tanjore temple etc.
X. Reservoir – In Dravida style temples, there is usually a reservoir tank also inside temple.
XI. Consistency of Architecture – Since Southern Dravida style was restricted in small area and
was less prone to outside influences, its architecture style was more or less consistent over
the period, while Nagra style had more variation due to influence of other style such as
Greeko Roman, Buddhist, Islamist etc. Nagara temples are classified on the basis of its
shikhara style in three types – Rekha Prasada/Deul type shikhara; Phamansa type and
Vallabhi type. In Vallabhi type, shikhara has a square base.
XII. Material Used – Hard crystalline rocks like granite typical of the area around Mamallapuram
prevented detailed carving and resulted in the shallow reliefs associated with Pallava temples
of the seventh and with centuries. Overall, there are a lot of variations in material used
across India.
XIII. Purpose – Most of the temples in Nagara style had only religious prupose, but temples in
South have not only been religious centers, but were also used for administrative activities,
controlling vast areas of land and were also centers of education.
XIV. Examples of Nagara style temples are Khajuraho temples, Sun Konark, Jagganath temple,
Vishnu Temple at Deogarh, Varah Temple at Eran. The finest examples of Dravidian style
(south Indian style) are temples of Tanjore, Madurai, Mahabalipuram and Kanchipuram
INDO–ISLAMIC ARCHITECTURE
It includes architecture that belongs to Turkish, Iranian, Delhi Sultanate, Deccan Sultanate, Mughals
and other Muslim rulers which have exhibited an influence of local architecture as well. Muslim
architecture was different because it used bricks, apart from stones, alongwith lime and mortar.
Indo-Islamic architecture is divided into two following broad categories –
I. Pre Mughal or Sultanate or Imperial period
II. Mughal architecture – mainly at Delhi, Agra, and Lahore
III. Deccani Style – mainly architectures of Bijapur, Golconda
IV. Provincial Style – Apart from the major Islamic rulers many provincial styles also gained
influence. Architecture of Bengal, Mandu, Bijapur and Jaunpur is regarded as distinct.
Earliest examples are from Turkish rulers who arrived in 13th century. One major departure from
earlier buildings was that Muslims forbade representation of human forms in their holy places and
thus it was replaced by geometrical patterns, calligraphy and elaborate stone and plaster work.
The distinctive features of Indo-Islamic architecture were –
Instead of Shikhara, dome became the central element. Central Dome was most prominent part
and it was topped by an inverted lotus motif and a metal or stone pinnacle above it.
The walls in all buildings were extremely thick and were largely constructed of rubble masonry,
which was easily available.
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 Lofty towers or minarets were another distinctive element which exhibited Persian influence.
Instead of flat roofs, arches became an integral part of the architecture.
Now, mortar was used as a cementing method.
In this phase there was more reliance on local materials.
Human images and other images in general are not shown as Islam prohibits portrayal of Allah in
image form and instead, decoration took form of Calligraphy using Arabesque method (an
ornamental design consisting of intertwined flowing lines, leaves and flowers).
Geomatrical and symmetrical patterns are used
There is intricate Jali work on the walls which signifies importance of light in Islam
Water channels and ponds are also an integral part for both beautification and utility. Persian
and Arab areas are hotter and water is important ingredient of architects.
A lot of ‘decorative techniques’ were used including Pietra Dura. The technique is used in later
architect which involves embedding of colored stones into each other to make an intricate
flowery design on walls, floors etc. Other decorative techniques included – use of various motifs

JAIN ARCHITECTURE – A BRIEF HISTORY

Jainas were prolific temple builders like the Hindus, and their sacred shrines and pilgrimage spots
are to be found across the length and breadth of India except in the hills. The oldest Jain pilgrimage
sites are to be found in Bihar dating back to Mauryan times.
In the Deccan, some of the most architecturally important Jain sites can be
found in Ellora and Aihole. Karnataka also have Jain architectures around
Sharavanbelagola. Here the statue of Lord Bahubali/Gomatehwara is the
largest monolithic freestanding statue of the world.
The main feature of Jain buildings is the horizontal archway. Sittanvasal caves at Tamilnadu are
also examples of old Jain paintings and architecture.
In Central India, Deogarh, Khajuraho, Chanderi and Gwalior have some
excellent examples and Rajasthan and Gujarat are traditional strongholds.
Mount Abu in Rajasthan is known for the Dilwara temple dedicated to Jain tirthankaras. These were
built in pure white marble and adorned with exquisite sculpture. These were built under the
patronage of Solanki rulers.
The great Jain pilgrimage site in the Shatrunjay hills near Palitana in Kathiawar, Gujarat, is imposing
with scores of temples clustered together.
Jain sculptures are mainly shown in either Yogic mudra or standing position with symbols of their
teerthankars unlike Buddha which is shown in various other positions like reclining also.
North Indian Jaina architecture style – The shikhra or tower or the vimana is a common to both
Jaina and Hindu architecture in Northern India. The image in a Jain temple is always placed in a
square cell and receives its light only from the doorway.

HINDU ARCHITECTUAL STYLES – NAGARA, DRAVIDA and VESARA

Shilpshastra defines three types of architectural styles – Nagara, Dravida and Vesara. Non-religious
buildings were made from perishable materials and hence are not to be found today. Often old
houses were destroyed to built new ones, but religious places were not destroyed as they had
sacred value.
NAGARA STYLE OF ARCHITECTURE
This style of architecture is spread throughout the country, but mainly it's associated with
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northern India. Developed around 5th century, the Nagara style is characterized by a beehive
shaped tower called a shikhara on a cruciform base, in northern terminology made up of layer
upon layer of architectural elements.
Some of the best examples of the north Indian style
(Nagara style) of temple architecture are the Khajuraho Group of temples, Sun temple, Konark,
Sun temple at Modhera, Gujarat etc.
Within Nagara style also there were many variations.
In Central India – UP, MP, Rajasthan etc – material used was sandstone. Some of the oldest
surviving structural temples from the Gupta Period are in Madhya Pradesh – mainly at Udaigiri,
near Vidisha and Sanchi. These are relatively modest-looking small shrines each having four
pillars that support a small mandapa which look like a simple square porch-like extension before an
equally small room that served as the garbhagriha.
In UP, Dashavatara temple of 6th century represents the next phase in evolution when Shikara
became a tall curivilinear structure which is the classical example of nagara style.
In West, in 10th century more elaborate styles of Nagara architectures evolved in form of
Khajuraho temples.
Many other schools in West also emerged including Solanki School.
In East – Bengla, Odisha and North-East – as well, variations of Nagara style evolved. Each of
these three areas produced distinct types of temples.
The history of architecture in the North- East and Bengal is hard to study because a number of
ancient buildings in those regions were renovated, and what survives now are later brick or
concrete temples at those sites. It appears that terracotta was the main medium of construction till
around 7th to 8th century.
In Assam, Ahom style developed as a result of mixed influence of Pala School and Burmese art. In
Bengal and Bihar, Pala School flourished around 9th to 11th century CE.

VESARA or CHALUKYA or KARNATAK STYLE

Vesara is a type of Indian architecture primarily used in temples. The two other prominent styles
are Dravida and Nagara. Vesara is a combination of these two temple styles which existed in
Deccan. In the border areas between the two major styles, particularly in the modern states of
Karnataka and Andhra Pradesh, there was a good deal of stylistic overlap as well as several
distinctive architectural features.
Chalukyas of Badami can be said to have laid the foundation of this style which was later taken
forward by the Hoysalas who built temples at Belur, Halebidu and Somnathpura. Generally,
pillars, door frames and ceilings are intricately carved in both the styles.

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of flowers etc, calligraphy, precious stones like Lappis Lazuli, use of intricate jail work, multiple
foliated arches etc. Walls were also decorated with cypress, chinar and other trees as also with
flower vases.
Gardens were important part, and among these Chahar Bagh have special place.
Forts and minars were also distinguishing features of Indo-Islamic architecture. Forts of Chittor,
Gwalior, Daulatabad, earlier known as Devgiri and Golconda are some of the prime examples.
Among minars, two most striking minars of medieval times are the Qutub Minar in Delhi and the
Chand Minar at Daulatabad which was built in 15th century. The everyday use of the minar was for
the azaan or call to prayer. Its phenomenal height, however, symbolised the might and
power of the ruler.
Tombs were another important feature. The idea behind the tomb was eternal paradise as a
reward for the true believer on the Day of Judgement. This led to the paradisiacal imagery for
tomb construction like gardens and source of water. Tombs of Ghyasuddin Tughlaq, Humayun,
Abdur Rahim Khan-i-Khanan, Akbar and Itmaduddaula etc were built.