Undergraduate Architecture Thesis 2018

IMPACT OF GEOMETRY AND ORGANIZATION ON NATURE OF SPACE Case of Neminath Temple ,Kumbhariya Kharatra Vasahi Temple,Mt.Abu

Impact of geometry and organization on nature of space: Case of Neminath Temple, Kumbhairya

Kharatra Vasahi Temple, Mt.Abu Presented to the Institute of Design, Environment and Architecture, Indus University In partial fulfillment of the Requirement for the degree of Bachelors of Architecture By: Manaswi Shah Thesis guides: Sneha Aiyer Atreya Bhattacharyya August 2018

Rancharda, Thaltej, Ahmedabad, Gujarat 382115

Approval of successful completion of B. Arch Thesis The following Bachelor of Architecture Thesis is hereby approved as credible work on the approved subject carried out and presented in a manner sufficiently satisfactorily to warrant its acceptance as a prerequisite to the Bachelor in Architecture for which it has been submitted. It is also to be understood that by this approval, the undersigned does not necessarily endorse and approve any statement made, opinion expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies her to the requirement laid down by the thesis committee in July 2018.

Thesis Title: Impact of Geometry and organization on nature of space:

Case of Neminath Temple, Kumbhariya

Khartra Vasahi Temple, Mt.Abu

Name and Signature of Student:

Name and Signature of HOD:

Manaswi Shah

Bhanupratap Sharma

Name and Signature of Thesis Guides:

Atreya Bhattacharyya

Sneha Aiyer

Rancharda, Thaltej, Ahmedabad, Gujarat 382115

ACKNOWLEDGEMENT

To my parents: because I owe it all to you. Many Thanks My thesis requires a lot of guidance and assistance from many people and I am extremely privileged to have got this all in this few months. I would not forget to thank all who have assisted, supervised and encouraged , listened to and at times tolerate me over past 5 years.

A very special gratitude to our Prof. Mangesh Balsare, whose contribution in stimulating suggestions and encouragement helped me to outright my thesis. I would like to acknowledge my thesis guides Ar. Atreya Bhattacharyya and Ar. Sneha Aiyer , who have spend their time in guiding and sharing expertise. An appreciation note to the guidance further provided by other professors as well as panels, Ar. Smit Vyas, Prof. Kashikar , Ar. Ami Gokani and academic staff.

A warm appreciation to all my friends, who have been a part of my endless discussion and emotional support throughout the journey of my thesis. I take this opportunity to express my very special thanks to Neel Mewada, Priyanshi Shah, Poojan Shah, Divyarajsinh Rana, Jhanvi Thakar, Krishna Variya, Punit Panchal ,Smit Anand, Avisha Shah ,Drashta Gyayak, Twisha Patel ,all my fellow mates from Indus university and Keyur Parekh who provided all the support and motivation needed throughout the thesis.

I must also thank CEPT Library(Lilavati Lalbhai Library) and their staff for providing me with the necessary material. A notable thanks to Jaya masi for our stay in Jaipur , Shekhar mama, to Jain shwetamber Dharmshala staff (Dilwara) ,Dilwara jain temple trust and mainly the Pujarijis’s (Priest ) for constant support and help throughout our documentation.

Most importantly , none of this could have happened without my family, my grandmother, who offered her encouragement, support and kindness . To my parents and Darshil- I am forever grateful .

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Glossary

CONTENT

PAGE

Part-I: The frame of reference to study(Framework)

Primary architectural elements of Maru-Gurjara temple Pitha-a solid base on which temple sits

1) Jainism in Western India

5-8

Garbhagrha: The sanctum sanctorum, the space that houses the idol

1.1 Spread of Jainism

6

Mandapa: A hall.

1.2 Geography of Gujarat

7

Mandovara: The cubical portion of the temple wall that encloses the

1.3 Importance of temple and role of it in Jainism

7

garbhagriha Sikhara- a solid curvilinear tower that surmounts the mandovara

2) Regional expression of Jain temples

9 - 14

Antarala: A vestibule

2.1 Evolution of Jain Temple architecture

10

Bhadra: The central buttress or projection of a temple wall.

2.2 Morphology of Maru-Gurjara Jain temple

13

Chaturmukha/ Chaumukha: A four-faced temple.

Devakulikas: A row of shrine cells around the Jaina Temple

3) The preconception of geometry in temple architecture

Garbhagrha: The sanctum

15 - 18

3.1 Understanding geometry through Vastupurushmandala.

Gudhamandapa: The closed hill in front of the sanctum Jagati: A terrace or platform

Part-II: Case study

Jangha: Literally thigh; in architecture, the wall proper between the vedibandha and the varandika

4) Introduction to temples

19 - 30

Karna: The corner buttress of a temple wall

4.1 Drawings of Neminath Temple, Kumbhariya

20

Latina: A type of sikhara lacking the subsidiary sikharas.

4.2 Drawings of Kharatra Vasahi Temple, Mt. Abu

24

Meru: A mountain showed, one above the other, in storeys, each having a

4.3 Contextual analysis

28

four-faced Jina image.

Mukhamandapa: A colonnaded vestibule between the gudhmandapa and

Analysis

the rangamandapa also called trika or coki-mandapa.

5) Geometry to space

31 - 64

Mulaprasada: Sanctum.

31 - 48

Nalamandapa: A hall built over the jagati-stairway leading to the temple

a) Arithmetic Progression

33

from the front.

b) Geometrical Progression

38

Nandisvaradvipa: A stone plaque with 52 miniature shrines arranged in

5.1 Deduction of Geometry -from space to element

5.2 Influence of Geometry - from element to space

49 - 64

four groups of thirteen each.

Nirandhara-Prasada: The sanctum without an inner ambulatory.

6) Organization to spatial relationship

65 - 82

6.1 Organization

66

6.2 Ordering principles

69

6.3 Grouping principle

75

Part-III: Conclusion

87

Singh, Harihar. Jaina Temples of Western India. Varanasi: Parshvanath Vidhyashram Research Institute, 1982.

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III

INTRODUCTION

Temples are timeless architecture and thus it needs to be understood

The early temple plan consists of mulaprasada attached to which is

and interpreted through its uniqueness. The purpose of Hindu temple is

gudhmandapa(closed hall). The next examples include devakulikas (Subsidiary

usually shown by its form. In India, temple architecture is a functional and

shrines) on the outer periphery of the temple. But after a break 14th century

symbolical representation of the spiritual outlook of its people.

the 15th century witnessed a difference in temple layout i.e., the chaumukha type, where the Garbhagriha is placed at the centre of 4 mandapas. Though it is

Hindu and Jain temple architecture can be seen all around in India.

considered that Jains had built Chaturmukha shrines since ancient times; as an

These temples have a common ideology, the variations are due to

idol of Chaturmukha type of the 3rd century has been excavated in Mathura;

geographical location, faith of people in the religion of that particular

also another record tells that a large temple of ‘Chaturmukha’ type was built in

place, cult prevailing in religion, social and economic patterns, material and

Siddhpura called ‘Raja Vihara’, but was destroyed and no longer remains.4

construction technique available. Jain temple, when compared to Hindu temple architecture, may not have come up with something unique, but as

Fig. 1.- Ranakpur entrance

Then, was it the Jains who developed Chaturmukha type shrines? was it essential

a religion and its belief, Jain temple has been interpreted differently, by its

to introduce a new type? As it is impossible to come up with the exact reasons,

form or typology. Physically it differs from the Hindu shrines(existing in

few answers could be found within the religious doctrine, or based on the

the same period of time) in certain fundamental respects, in organization

Jain logic that “there is no one truth”. A concept that was the driving force to

and fuller statement of its constituent elements, but spiritually it reflects a

develop Chaturmukha type of Jain temples. Another concept could be the direct

very different ideal, sensed and seen when one stands at its threshold.1

Fig. 3- Plan of Vimalvasahi temple, Mt.Abu

implication of religious canons, which develops the basic framework on which expression of built form is based. The Jain temple is the symbolic representation

The religion of Jina (and another Sramanic sect) which grew and developed

of the ‘Samvasaran’ where Tirthankaras would deliver a divine speech(Deshna)

in the Upnisadic times formulated a conception of deity which reflects the

to every living being . Its symbolism as an architectural composition can be

mood and orientation of the period 2. In Jainism, the deities are not the

traced by the center being occupied by the main deity of the god (as a fourfold

heavenly gods but rather a ‘Perfect men’ or ‘Perfect soul’.The creation of

image) delivering a religious speech in four directions.

the world, the theory is rejected in canonical texts, so the deity of Jains are not the creator of the universe.

Fig. 2. Sun temple, Modhera entrance

Hence, in order to place this study in proper context, where the stylistic language remains similar throughout the centuries, relationships of nature of space

The impact of Jainism and the influence of its followers in western India had

with its geometry and conceptual order exists- an order that may well be more

begun to be felt from the 7th century, but between 11th and 13th century,

enduring than transient perceptual visions. Beyond these visual functions, the

Jainism reached the zenith of its power and importance. The temple style

elements, their relationship to one another and the nature of their organization,

of western India around the 13th century, of Maru- Gurjara Jain temples

also communicate notions of domain and place, the path of movement, the

are few and reflect the building’s historical order of development in which

focus of space, divisions of volume, hierarchy and order. Order refers not only

each succeeding type seems flowing from and apparently is an enlarged and

to geometric figure but rather to a condition in which each part of a whole is

extended statement of preceding.3

properly disposed of with reference to other parts and to its purpose so as to produce a harmonious arrangement.

1,2,3.-Shah, Umakant Premanand, and M.A Dhaky. Aspects of Jaina art and architecture . Ahmedabad: Gujarat State commitee for the celebration of 2500thAnniversary of Bhagvan Mahavira Nirvana , 1975.

(378,1,324)

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AIM

METHODOLOGY

Study impact of geometry and organization of architectural elements

Beyond the space defined by elements / borders, it is mutual influences of

upon the nature of space(in which the stylistic language is similar).

material things that determine the space between them.

OBJECTIVES

This study is organized into three sections .the first section overlooks the

To understand the interpretation of space in Jain temple as an abstract ,

describes the location of selected case study in their historical context and

objective of study focuses on

architectural characteristic of Maru-Gurjara style to which the examples belong.

•Analyzing the radiance due to geometry of plan, section and space

The Methodology includes-

•Evaluating space organization from a component to system determining

•Selection of particular case- study after evaluation of other temples.- Analysing

spatial relationship through perceptual experience.

Jain temples built between 10th to 15th century of Maru-Gurjara style for the

evolution of Jain temple forms in western region(broadly Solanki dynasty).It

selection of case study 1, i.e.,Kharatra vasahi temple.

SCOPE AND LIMITATIONS

•Review on existing literature on temple architecture.- Literature limited to

The study is based on an idea as presented by Pierre Von Miess, in one

Gurjara style of architecture.

of the chapters(First Interlude: from object to space) from the book

•Site visits and measure draw.

10th - 15th century temple architecture of western region, indicating the Maru-

‘Elements of Architecture’(1986). In this he state that “The geometry and organization of each object bestow a direction and amplitude upon the

Structure of temple is rooted in Vedic tradition and principles are given in sacred

radiance.” The study provides the framework to analyze the basic ways of

books of India. The temple is thus a combination of architectural principle

relating spaces of a building to one another and organize it into a coherent

and myth(concept).The second section analyze the architectural principles i.e.,

pattern of form and space.

organizational principle and geometry. Though the architectural elements of

There may be possibility to select other examples as case studies .It

temple are arranged statically in space, the configuration of elements can be

being an undergraduate thesis, two corresponding case studies based on

experienced differently at different stages where;

architectural style(Maru- Gurjara) and context are taken, other precedent

Geometry is expressed through spatial characteristics of elements and assembly

and antecedents are discussed briefly to provide the backdrop study.

of spaces. And organization discusses the basic ways for organizing the forms and spaces of a building in addition to principles that can be utilized to create

•Base drawings of Neminath temple, Kumbhariya were referred and

order in an architectural composition.

redrawn from unpublished thesis- ‘Transformation of tradition: the temple and mosque in the architecture of Gujarat ‘ by Pujara, Urvi D.

Architectural order is created when the organization of parts make visible their

•Base drawings of Kharatra Vasahi temple were taken from unpublished

relationships to each other and the structure as a whole. The third section focuses

thesis-’ Study of Jain temples- Vimal Vasahi, Kharatra Vasahi, Mt.Abu And

on the characteristics of space due to architectural principles. Comprehension

Ajitnath Taranga ‘ by Amit sunit Jain, SA Cept, Ahmedabad, 1999.

of ordered or disordered relationships among a building’s element and systems,

•Drawings of Kharatra Vasahi temple were rechecked on site, measured,

and responding to the meaning they evoke.

and further developed. As thesis focuses on space, domes and Shikaras

The study applies a qualitative method based on descriptive and comparative

were not measured on site.

analysis.

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1.1 Spread of Jainism Part I

Jainism is one of the oldest religion of India. The Jain religion mainly emphasized on making humans realize that they are indeed souls that need to find liberation from the chain of this worldly existence. It had risen above and against the animal sacrifices done during religious rites and formed the concept of total self-discipline. the preaching that followed was also done through Prakrit, that is the language of common people(discarding Sanskrit), but Jainism could not very clearly mark itself out from Brahmanical religion, and so it failed to attract masses. Despite this, Jainism gradually spread into south and west of India.

Jainism spread form Kalinga, Orrisa(4th-1st Century B.C) to Mathura in north and Sravana-Belgola in the south(Christian era). From 5th century A.D onwards many royal dynasties such as Gangas, the Kandambas the Chalukyas and the

1. Jainism in Western India

Rastrakutas patronized Jainism. In later centuries Jainism penetrated Malwa, Gujarat and Rajasthan. The Chalukyan king of Solanki, Siddhraja (1094-1143), also known as Jayasimha professed Jainism and his successor Kumarpala were great patrons of Jainism.

Western India proved to be the safest heaven and a stable mansion for Jainism, mainly Swetamber. The centuries between 11th and 13th were never to be excelled in point of the intensity of the impact of Jainism in the Maru- Gurjara region. Over 300 Jaina temples were built during 11th and 13th A.D in western India, though many were destroyed during Muslim invasion.

Since Jain communities were among the foremost patrons of religious architecture, many guilds of the shilpis worked for Jaina foundation and the Sompura shilpis are still largely working for them.

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1.2 Geography of Gujarat

Physically Gujarat consists of two parts: one is called Saurashtra while the

The later period saw the development of Jain temples according to religious

other is from east to north and west. On north-east, the territory is bound

requirements notably in Solanki period(11th to 13th century A.D), they reached

by Mewar and Malwa plateaux, which is culturally connected to Gujarat,

the most perfect physical expression. There are ruined shrines which indicate

though it is isolated from the mainland. The cultural contact between

the scale of architectural conception, while the temple of Taranga, Abu and

Gujarat and Rajasthan is also evident from the fact that the temples of two

Kumbhariya are best preserved fully developed Solanki temples.

regions have many features in common with one another.

The building material of temples varied from place to place as it depends on the availability of local material. Therefore in northern Gujarat, Jain temples of Kumbhariya, Sarotra and Abu were mostly made from white marble. Arsana- the south-western termination of Aravalli ranges is famous for the quality of marble since old days. So the white marble quarried from the mines at Arsana near Kumbhariya was used by many temple builders for construction, such as Vimalasaha, Vastupala, Tejpala and Kumarpala.

1.3 Importance of temple in Jainism Jain temples existed either due to trade routes or is a powerful political centre, was either a religious site or had some other reasons like picturesque situations. They probably were not built without any reasons, and so some place which was of sacred importance were called tirth, two types of tirth

Fig- 1.1 Architectural styles of temples in western India

are known- Tirthaksetra and Sidhhaksetra.5 The temple of Jains developed in a cultural context of the western region, and hence there prevailed a concept, concept in built form, iconography, the character of space .and so, western Indian Jain temples used the prevailing built form languages and demonstrated a regional character.

“The theistic requirements of Jainism were of course somewhat different from those of Hindu religious and although the Jain temple’s rituals were in a physical sense parallel to those of the Hindu sects. The inner attitude towards image worship, rituals and ultimate conception of deity for the Jain religion were very different.”6

Fig- 1.2 Trade routes till 15th century which influenced the building of temples in that area.

5. ,6. Shah, Umakant Premanand, and M.A Dhaky. Aspects of Jaina art and architecture . Ahmedabad: Gujarat State commitee for the celebration of 2500thAnniversary of Bhagvan Mahavira Nirvana , 1975.

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2.1 Evolution of temple architecture

The most important form of architecture amongst the monuments of Gujarat are its temple. Since 10th century(pre-Solanki) till today, temples provide landmarks in the evolution of the architecture of the region.

Till 13th century(1296, when the sultan’s of Delhi conquered Gujrat), temples were built in large numbers and of rich character. One of the richest and most prolific developments of temple architecture prevailed during the Solanki dynasty(early centuries of 2nd millennium AD). Though the Solanki rulers were ‘Shiva’ worshipper, many Jain temples were produced due to patronage by their ministers and governors. Hence, while there are two different political scenarios in a different time frame, a case study, Neminath temple at kumbhariya which was built in 1136 AD has been analysed with respect to Kharatra Vasahi temple

2. Regional expression of Jain Temples

at Mt.Abu, built in 1458 AD.

Vimalvasahi temple, Mt. Abu- 1031

Mahavira temple- osian (8th century) 8th century

11th

Shantinath temple, Kumbhariya- 1011

Lunavasahi temple, Mt.Abu- 1231

Neminath temple, Kumbhariya- 1136 12th

Neminath temple, Girnar - 1128

13th

Ajithnath temple, Taranga- 1164

Kharatra Vasahi temple, Mt.Abu- 1458

14th

15th

Dharna-vihara, Ranakpur- 1440

Fig. 2.1- Evolution chart of Jain temples of Western India(plans)

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The diagram in these regards is thought of as an ordering prin-

In Jainism, there has always been a great emphasis on the ritual of giving(dana)

ciple, it determines the spatial

which has led to increasing in a number of Jain statues, sculptures of a divine

configuration of the temple.

Fig.2.3 - Basic Square

being, etc., which has to be accommodated in the architecture of the temple.

The elements begin to assume a meaning only through a spatial

The historical order of development outline below suggests that each succeeding

sequence derived from the diagram

type apparently is an enlarged and extended statement of preceding. Throughout

and experience through the ritual

its development, the Maru-Gurjara Jain architecture reflects the experimentation

movement of the worshiper.

at developing an architectural type which partially addressed the issue of enshrining multiple idols of Jain Tirthankara. In this regards, the 52(Bavana) jinalaya was the most efficient and satisfactory form. While the Chaumukha preconceives the pictorial form and transforms into architectural space with the four-fold image at the center.

The change in architectural space due to the organization may have an impact on the nature of spaces. To study those impact, it was important to analyse two examples with the distinct layout, the one that has been directly derived from the concept of ‘Samvasaran’, while the other which has evolved through the year and had to gain utmost perfection from space making to every element.

Fig.2.4 - Evolution of Linear typology

The preliminary study on Jain temples is done to draw parallels between the aspects of theory and built form. And for that two contrasting temples, with different architectural type, contextual response and political

Fig.2.2 - Organization of spaces in jain temples due to change in layout.

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Fig.2.5- Evolution of Chaturmukha typology

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2.1 Morphology of Maru-Gurjara Jain temple

There is first, a jagati which is a vast oblong platform , with a stairway

Maru- Gurajra Jain idiom of Western India evolved as a thematic variation

centrality in front , leading up to its floors , on the Jagati’s floor at some

rather than regional variant in other architectural temple building examples

determined distance away from the stairway along the central axis, lies

.

the focus of whole sacred complex, the Mulaprasada or ‘Main temple’ containing the Garbhagriha enshrining the Mulanayaka or principle image of a Jina. To the Mulaprasada is attached Gudhmandapa, which is closed

The plan of these temples resolve themselves broadly into two kind, those

Fig.2.6- Plinth(Jagati)

in which the Garbhagriha and mandapa are joint so as to unite the entire

hall , i.e., hall with walls. It axially opens into a Mukhamadapa. This in

building with a parallelogram . And the second in which they are placed

turn is articulated to a Rangmandapa or Nrtyamanadpa in the rear, its

diagonally and attached to each other .

Fig.2.11- Othagonal Plan of Taranga temple

surrounded and thus enclosed by a Bhramantika or Pattasalika (cloistered corridor) formed by the linkage of the porches of the conjoined clusters, ‘

Maru -Gurjara architectural style can be described through the following:

entrounge’, of Devakulikas or subsidiary shrines, in the first instance 24 in number , enshrining image of the 24 Jinas.

Karna

1.The mulaprasada is almost orthogonal in plan. in its simplest form it can

Fig.2.7- Garbhagriha(inner sanctrum)

Bhadra Pratiratha

be Dvi-anga, Tri-anga (Pratiratha as an element added between bhadra and karna), Catur-anga(nanadika is added between bhadra and Pratiratha), or Panc-anga(half-the Konika or additional nandika inserted between Karna

Fig.2.12- Elements of plan

and Pratiratha).

2. A parallel or diagonal plan have their sides at intervals recessed in a series or by rotation of a square , forming elevation which produce a strong light

Fig.2.8- Gudhmandapa

Pitha

Vedi-Bandha Fig.2.9- Mukhamandapa

Fig.2.13- Elements in elevation

Mandovara

Jangha

and shadow effect.

3. The elevation is mainly divided into 3 main sections , consisting of basement/ plinth, the mandovara(upto entablature/Cornice) and roof- Superstructure of either shikhara/ samvarana.

4. Similar divisions can be traces in column and pitha , were base is composed of a series of mouldings, arranges in an order fixes by a convention.

Maru- Gurjara temples , mainly do not poses high plinth.

5. Temples rarely poses ambulatory path , but in Sandhara type it poses Gavaksara projection (balcony). Nirandhara have niche.7

Fig.2.10- Rangamandapa

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Fig.2.14- Type of temple- Sandhara

7.Patel, Harita L. Interpretative design efforts: mandapas of Maru-Gurjara Style. Ahmedabad: CEPT Uni., School of Architecture, 1994.

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The Jain temple architecture at each stage of its development tried to achieve the perfect expression for the fundamental religious belief. The canonical texts, which formed the reference point for making a building elaborately describe the elements of building from whole to part.

There are various Sacred books (Vastushastra) in Indian history which states the exact rules of for building temple, perhaps the only text written on Jain architecture and iconography is the ‘Vatthusara Payaram’ (1315). The information regarding the rules of Jain iconography and architecture are encountered in different books, including Vastupurusamandala which guides the principle of architectural form.

The religious thought regarding cosmos, cardinality, the rituals and other symbols crystallised in the geometry of the temple. This reflected in meaningful elements and in their articulation.

3. The preconception of geometry in temple architecture

Fig. 3.1- Repetition of 1 Pada, to form 49 square plan

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The site-plan, the ground plan, the horizontal and vertical sections are

There are two main types of Vastupursamandala which underlie sacred

regulated by Vastupurushmandala. Basic shape has deep meaning in Vastu

architecture, one is of 64, and other is of 81 squares. The divisions or sub-

Shastra, as circle and curve belong to life in its growth and movement while,

divisions of sides or borders also vary from 4 to 8 and up to 32 which shows

Square depicts a perfect form, a mark of order, of finality to the expanding

geometric progression at work. The plan of 64 squares is called Manduka or

life. Thus the whole geometry of temple is based on this two shapes where,

Bhekapada or Ajira, while the plan of 81 squares is known as Paramasayika in all

the site is marked with a circle ( Ahavaniya Agni), and a new Garhapatya

texts. In Hindu beliefs both the plans are used in

hearth is built. This centre of new Garhapatya hearth of 1-fathom8 square

building the temple, but the 64 squares diagram is worshipped by

is laid out on the shape of a cross: four large

Brahmanas, and the second for worship by kings(Kshatriya). But as in

rectangular bricks, in one line from north to south, to which 2 bricks on

Fig.3.2 - Mark of order

Jainism, everyone is considered equal, they both are used without any

west and east are added. The layout of the cross is fixed around which the

restrictions.

bricks are added to fill the circle with 21 enclosing brick. Though the circle is represented as the most sacred figure, the circular aspect is left behind

The Vastumandala diagram is overlaid by the image of Vastupurush, and

and the earth is beheld itself under the perfection of the heavenly world

the Parmasayika plan neatly defines Vastumandala and Vastu Purusha. The

and knowing this perfection, is drawn as a square.

Vastumandala is not just plan of 64 squares or 81 squares but an arithmetic progression of series of 32. The centre of Vastupurusamandala is

“The square, as a fundamental figure of sacrificial symbolism and temple

the Brahmasthana, and its superstructure is the temple. Meru, Mandara and

architecture, lends itself to many variations. Commentator explains how to

Kailasa are the names of the mountain, where Meru is the pole of this earth;

form, at first a small square with 4 bricks in the middle of Agniksetra than to enlarge this square, to one of 16, etc. it is in this way too, that the various

Fig.3.3 - Life in its growth /Movement depicted by circle

Mandara is churning rod, planted on Vishnu while the Kailasa is the seat of Shiva, in Himalaya. To serve this image, Various architectural forms such as

types of Vastumandala are enumerated in Vastusastra in a

the curvilinear Tabernacle having paraboloid lateral surfaces, the pyramid, dome

progressive series of 1,2,3,4 units square, etc., the most sacred being the

and roof shapes are employed.

plan of 64 squares, preserving the meaning of 64 which is exemplified in 64 bricks form the spokes of the wheel.” 9

“ The square of the ground plan, the interior of the sanctuary, the small cubicle filled with darkness extended into a mass of the Prasada, and its towering superstructure, or the Sikhara, which rise from the beam or the architrave Fig.3.7 - Types of Vastu mandala

Fig.3.4 - Garhapatya hearth- first marking on site After cross- centre 21 bricks are added to fill the square

Fig.3.5 - Vastu-mandala of 81 squares

8. a unit of length equal to six feet 9. Kramisch, Stella. The Hindu Temple. University of Calcutta: Narendra prakash Jain, 1946.

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(Uttara) of its walls; these are the surroundings of image or symbol.” 10

Fig.3.6 - Vastu-mandala of 64 squares

10 - Kramisch, Stella. The Hindu Temple. University of Calcutta: Narendra prakash Jain, 1946.

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Part II

4.1 Introduction to Temples : Neminath Temple, Kumbhariya

The Jaina temples at Kumbhariya lie embosomed among the forest covered hills of Arasura, which form the south – western termination of the Aravalli range.

They are oriented on a gentle slope of a shallow river- valley. The charming situation on site and the nearness of quarry may have been the main factor for erecting temples there. At present there is a group of six temples, all located very close to each other. Of these five are Jain and one is Shiva temple.

The temple of Neminath is the largest and most elaborate temple at Kumbharia.

The general arrangement of its plan comprises a Mulaprasada, a Gudhmanadapa, a mukhamandapa, a rangamandapa with three Devakulikas on the front and eight Devakulikas on each side, and a mulamandapa. The engress to the

Case- Study

temple is obtained only from the north through a partly rebuilt square porch.

Fig. 4.1- Site plan of Kumbhariya

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Drawings:Plan, section, details rechecked and redrawn from Pujara, Urvi D., ‘Transformation of tradition: the temple and mosque in the architecture of Gujarat’(unpublished thesis, CEPT University, 1997)

1 0 A

5m 3

A’ Fig. 4.3- Section AA’

1 3

0 250

1 0

5m

0

1000 mm 500 mm

5m 3

Fig. 4.2- Plan of Neminath temple, Kumbhariya

Fig. 4.4- Detail of Rangamandapa 1

5m

0

3

21

22 0 250

1000 mm 500 mm

4.2 Kharatra Vasahi temple, Mt.Abu

Fig. 4.5- Sectional Detail of Rangamandapa

Fig. 4.7- Site plan of Dilwara temple, Mt.Abu

The celebrated Jaina site of Abu, of ancient Indian texts, is situated 18 miles northwest of Abu Road in Sirohi District of Rajasthan.The different references show that Abu was a sacred Jaina place, and hence there were erected Jaina temples while another reason is its attractive hill-top.

The fourth shrine at Dilwara, is dedicated to Parshvantha, and known as the Kharatra Vasahi, is a Chaumukha shrine with entrances to the sanctum on three sides and the image installed in it being a chaumukh or four fold image.The temple is three storied one since the central four- fold image (Chaumukha ) is a sort of tall shaft , at each storey there are four- fold images. On all four faces of the sanctum on the ground floor are four big Mandapas adjoining the sanctum .

Fig. 4.6- Column Detail of Neminath Temple, Kumbhariya

23

24

Drawings:Plan, section, details rechecked and redrawn from Jain, Amit Sunil. ‘Study of Jain temples- Vimal Vasahi, Kharatra Vasahi, Mt.Abu and Ajitnath Taranga’.(unpublished thesis, CEPT University, 1999)

A

A’

0

1000 mm 500

Fig. 4.8- Section AA’

Fig. 4.10- First Floor Plan of Kharatra Vasahi Temple

A

A’

A

A’ 0

1000 mm 500

1 0

Fig. 4.9- Ground Plan of Kharatra Vasahi Temple

3

1 3

0

25

0

5m

0

250

1

5m

Fig. 4.11- Second Floor Plan of Kharatra Vasahi Temple

3

1

5m

0

3

0

1000 mm 500 mm

5m

250

1000 mm 500 mm

26

4.3 Contextual analysis

1) Urban structure (Approach)a)

Neminath

temple,

Kumbhariya-

perpendicular road parting from the main road leading to Ambaji, a sacred Hindu place, hence the temple complex is far away from the settlement. Though there are five more shrines in addition to the Neminath temple, the road directly leads to this temple. the very first glimpse of the temple is itself the grand entrance

Fig. 4.12- Detail Section of Kharatra Vasahi Temple

porch, with no obstacle in between. b) Kharatra Vasahi temple, Mt.Abu -Directing the path towards the temple complex from the main road on the mountain. the entrance path has been now Fig. 4.14-Analysis of Road network and Surrounding

surrounded

with

commercial

activities on both side but the importance of temple has not been decreased. Since we enter from the east and 3 temples are west facing, back of the temples are visible as we approach the site.

Fig. 4.15- Skyline of Temple Complexes Fig. 4.13- Column Detail of Kharatra Vasahi Temple

27

0 250

1000 mm 500

28

2) Landform and backdrop-

3) Resources and timeline. a) Neminath temple, Kumbhariya- Arsana (original name of kumbhariya )is famous for its marble and metal mines. So,

a) Neminath temple, Kumbhariya-

it can be assumed that due to transportation being hard, they had built the temples there

Situated on the lower elevation of

b) Kharatra Vasahi temple, Mt.Abu-there were already existing temples before Kharatra Vasahi temple and so it was a

the Arasur hills(Aravalli range), the

sacred site since the 11th century

temple stands there defining the skyline. The temple has a striking contrast with the sun temple, as it does not merge with nature but is easily visible and becomes a prominent landmark of that place. b) Kharatra Vasahi temple, Mt.AbuDue to its majestic Mountain range the temple merges with the language of mountains, but only its samvarna is highlighted. As in all the three case study, one is concentrated towards the temple as, there is nothing much more prominent than the temple, and so according to landform and skyline the site had been selected.

Fig.4.17- Landform of Temple Complexes

29

Fig.4.16- Backdrop of temple

Fig.4.18- Context Anlaysis

30

5.1 Deduction of Geometry-From space to element

Derivation of plan geometry of temples- throughout eras, the architectural basis and the principles of planning and design remain the same without much modification.Geometry is a means of control, control over both form and space, producing unity of form or place. The geometry has been used to bring the conceptual cosmological layout into a built form. It governs the various stages of architectural setting considering the basis of its application. Geometry deals with points, lines, planes and solids and examines their properties, measurement and mutual relations in space.

This study of geometry provides the basis of realisation of the essential design idea or concept. As temple architecture is a derivation of symbolic meaning, explained in ‘Shastras’ are interpreted through the design, organizational

5. Analysis -Geometry to space

relationships and proportioning of spaces. The most important principle of geometry are the regulating lines through which visual form is proportioned.

The diagrams here are used to determine aspects such as scale, proportion etc.; Proportion is a comparative relation between parts or things with respect to size, amount, quantity etc., the ratio a harmonious relationship between parts or things. And scale is a system of grouping or classifying in a series of shapes or degrees according to a standard relative size, amount, importance, perfection etc.

The analysis of temple architecture reviews the basis of Vastu-Shastra, its geometry, implications of the geometrical proportions, the effect of it on the scale and proportion of the spaces, and its relation with the organization of forms and spaces.

31

32

1 2

X

X

1 2

X

X

1 2

X

1 2

X

X

1 2

X

X X

X

2X

X

1 2

C

X X

4X

1 2

X

X

X

1 2

C

X X C

1 2

X

3/4X

X 1 2

1 2

X

X X

1 2

X 2X

Fig. 5.1 and Fig 5.2 - Neminath Temple- Relation of plan and section , where X= 8 Padas

33

X

2X

X

1 2

X

1 0

X

X

5m 3

Fig. 5.3 and Fig. 5.4 - Kharatra Vasahi Temple- Relation of plan and section , where X= 8 Padas and C= door width

0

1 0

1 3

5m 3

5m

34

a) Arithmetic Progression

The temple architecture strictly follows the grids. The text specifies the

The key dimensions according to doctrines are determined by the remainders

exclusive use of grid of 8X8 = 64 squares for temple construction. These

in the equation.Thus in western temple architecture, the final result which is a

squares are known as Pada. According to the ‘Vastu-Shastras; the Vastu-

derivative of the calculations, with regard to the remainder is the most important

Purusha mandala can be drawn in 32 ways. The simplest one consists

result of whole arithmetic proportion.

of a square. All the others result from the division of this square into 4,9,16,25,36, 49, 64, 81 and so on up to 1024 padas. In the plan of a temple,

From the above diagrams, it is evident that one pada is approximately 4’, and are

pada can define the rhythm of the architectural members or the proportion

in the multiplication of 16 i.e., 4 x4 square grid. The

between the thickness of the wall and the size of the interior.

multiplication of these padas are in such a way that in other parts it’s more symmetrical and create both geometrical and arithmetical progression.

Measure in temple is controlled through the use of a basic module x , derived by dividing the inner area of Prasada into 64 square referring

While the other parts/spaces are related to each visually, there is a

to the Manduka Vastumandala.Thus 3 measures may be delinated

relation of vertical dimensions, from garbhagriha to antrala, antrala to

corresponding to the three basic parts of the temple.

gudhmandapa, gudhmandapa to mukhamandapa and mukhamandapa to

W = width of the garbhgriha = 4a

rangamandapa etc. where the height of rangmandapa is more, covered by a

2W= width of the Prasada = 8a =height of the Prasada

dome which is supported on columns. The height various, and columns are

8W= height of the shikhara =16a Plan- proportions Neminath temple , kumbhariya Kharatra vasahi temple, Mt. Abu

placed on the different grid, yet space feels continuous.

Section- proportions

Length

Width

Length

Width

Garbhagriha (inner)

4

4

4

4

Plinth

Garbhagriha (outer)

6

8

6

6

Column (Nalamandapa)

Antrala

1

6

3

3

Gudhmandapa

6

6

-

Mukhamandapa

4

10

Rangamandapa

6

Side Aisles Devakulika- main shrines

Neminath temple , kumbhariya Kharatra vasahi temple, Mt. Abu Length

Height

Length

Height

28

-

28

1

-

-

1/2

3

Column (Rangamandapa-main)

1/2

4

1/2

4

-

Column (Antrala)

1/2

3

-

3

-

-

Column (Rangamandapas)

-

-

1/2

3

6

6

6

Column (Devakulika)

1/2

3

-

-

6

4

len

4

Dome (Nalamandapa)

-

-

2

1

3

2

-

-

Dome (Rangamandapa-main)

6

3

6

3

len

1

-

-

Dome (Devakulika)

2

1

-

-

Porch

3

4

-

-

Shikhara (Garbhagriha)

8

8

6

6

Nalamandapa

4

4

3

4

Shikhara (Devkulikas)

4

4

-

-

Overall

32

28

28

24

Floors (overall)

28

16

28

16

Devakulika- subsidiary shrines

Table-1 Comparison of plan proportions of both the temples

35

Table-2 Comparison of sectional proportions of both the temples

36

b) Geometrical Progression

The key dimension in both cases is first deduced from the basic concept of linear and Chaturmukha temple form. Once the key dimensions are established, these are further divided into parts to get the location of the different spaces viz. the Fig. 5.5- Basic Square derived from 8 Padas

garbhagriha, antrala,

gudhmandapa,

and in a sequence. When the centres are

established

the

SCS

method

(Square-Circle-Sequence) is used for proportioning of plan elements, the curvature of Rekha profile as well as various heights of elevation can also be deduced, but the major concern of these study is to find the influence of geometry on nature of space. Hence this part limits its study to complete geometry of Fig. 5.6- Repetition of Square

plan with respect to its interior.

In relation to geometrical progression, the temple is deduced in search of the smallest module to be able to compare with the total temple space. This diagrams leads us to the basic geometrical form and than its influence due to the shape of components.

Fig. 5.7- Evolving geometric pattern

37

38

Fig 5.8 Section of Neminath Temple, with basic circle repeated in vertical direction where height of shikhar and dome is derived

Fig 5.10 Section of Kharatra Vasahi Temple, with basic circle repeated in vertical direction where height of shikhar and dome is derived

Fig 5.9 Plan of Neminath Temple, with basic derivation of geometry according to space division

Fig. 5.11 Plan of Kharatra Vasahi Temple, with basic derivation of geometry according to space division

1 0

39

5m 3

40

Fig. 5.11 and Fig. 5.12 Section and Plan of Neminath Temple, deriving interlocking space through intersection of Circles .The smallest module of 1 X deduced from the circle of garbhagriha.

41

Fig. 5.13 and Fig 5.14 Section and Plan of Kharatra Vasahi Temple, deduction of interlocking space(Antrala) through intersection of Circles .

1 0

0

13

5m

5m

3

42

Spaces- Geometrical Analysis

C

C

B

A

B 0

Fig. 5.18 Key plan- Kharatra Vasahi Temple

A

Fig. 5.15 Key planNeminath Temple

In

previous

5m

0

A

5m

diagrams,

Fig. 5.16 GarbhaGriha

Fig. 5.19 Garbhagriha

A

the

progression of geometry from the

1

overall form, where the geometry

The Kharatra Vasahi temple is a

5m

Chaumukha plan, hence here not

3

0

is deduced from a basic square of

only does the central garbhagriha,

arithematic progression of 1 pada

and elevated Rangamandapa matters,

to defining the space has been

but also the relation of corners of

shown, and so these part deals

Garbhagriha with mandapas play an

with understanding of geometry of

important role. Further geometry of

temple parts through elements it is

individual element are derived from a

composed of.

basic circle.

1

5m

0

3

In Neminath Temple, the major Spaces defined due to Geometry are Garbhagriha , Mukhamandapa and Rangamandapa. Hence the columns of

both temples are

studied individually on 3 different levels, so as to understand the change of nature between those.

B

Fig. 5.20 Rangmandapa and Garbhagriha

Fig. 5.17 Mukhmandapa

43

1 0

5m 3

B 1 0

5m 3

44

C Fig. 5.21 Rangmandapa

In both the cases, it is quite evident that the construction method was rather a geometrical method that an arithmetic one which could have been reduced to proportions and measurements of larger site dimensions and smaller construction details. From the studies already done we find that the

C

Fig. 5.22 Rangamandapa

1 0

5m 3

temples are based on grids. The regular arrangement of identical squares produces a very strict grid plan. Those identical squares known as Pada are the basics to the detailed analysis of these temples which shows that the garbhgriha is a basic module for temple.

1 0

45

5m 3

46

0 250

1000 mm 500 mm

The rotation of Squares in Square- Circle- Sequence are such that at 45 degree , we get the overall space, defined by its boundary, but further dividing the angle Fig. 5.23 Mukhamandapa of Neminath Temple, where the geometry is from individual columns placed at certain distaces, (not specified)

Fig. 5.24 Detail of deducing geometry of individual elements like wall and column of Kharatra Vasahi Temple

in 22.5 deg. and 11.25 deg., the location of element is determined. hrough SCS , the interlocking of square/Circle either describes a difference in levels, or defines a space organization where these becomes a transition space(such as Antrala) . These spaces are then the directionality giving spaces, which guides our movement towards other parts of the temple.

The sectional diagrams of temples contribute to understanding of scale. In neminath temple, the intersection of circles establishes the height and shape of central Shikhara, the blue circles highlights the height of Column in Rangamandapa and also side Aisles which lead to Garbhagriha. The circles in Kharatra Vasahi are similar and so the height and shape of Shikhara, division of overall height of temple is evident , the floor height is determined by the intersection line of circle, while the circle on ground line depicts the height of mandapa by its dome.

47

48

5.2 Influence of Geometry - From element to space E “ A free-standing sculpture or building exerts a radiance which defines a more or less precise field around it “ Radiance depicts the influence of something over its surrounding. It depends on the nature and size of objects on one hand and context on

A C

B

Fig. 5.25 Key plan of Neminath Temple Ground Floor

D F

Fig. 5.26 Key Plan of Kharatra Vasahi Temple Ground Floor

Fig. 5.27 Key First Floor Plan of Kharatra Vasahi Temple 1

0

5m

3

another. The nature of objects is thus identified by its shape and size i.e., the object could be an element or a room of the same shape, but radiance would differ ,as columns are solid structure with a particular volume and modulation of its facade. The radiance exerted by a single object isolated is rare, while space is born from the relationship between these elements.

When each element is seen in isolation it creates an approximate spatial radiance through its geometric characteristics. But when the elements are combined or placed in a certain way, it either causes a conflicting field of radiance or contributes to well-defined space making. The amplitude is either recognized or is merged with the radiant field and so, when several objects are grouped, the field of radiance is superimposed.

To enter the field of influence of an object is the beginning of the spatial experience. The nature of space is thus determined by first the

A- Column of Rangamandapa

B- Column of circumabulatory path of Devakulikas

C- Column at Mukhamandapa

Fig. 5.28 Radiance of columns at different level of Neminath temple

spatial characteristics of geometric figures by their radiance and then the configuration or order of spaces. The radiance field of each object collectively responds to the movement through them, directionality exerted by geometric forms and diversity in spaces defined by its order in the overall temple complex.

The directionality created by architectural setting either expands the visual field in horizontal dimension or vertically. Geometrically the elements in a system correspond to its location, sizes related to the movements in threedimensional space.

The analysis is a progression from part to whole, where the radiant field of an element in isolation draws its importance when placed in a geometric formation, to its influence on the nature of space by the overall form.

14. Meiss, Pierre von. Elements of Architecture. London: Van Nostrand Reinhold(international), 1990.

49

D- Column D- Column at Rangamandapa, at Rangamandapa Kharatra Vasahi E- Column of Side aisles temple, Mt.Abu Fig. 5.29 Radiance of columns at different level of Kharatra Vasahi Temple

EF- Column of First floor

50

C A A

B

D

C B

D

0

5m

Fig. 5.33 Key plan- Kharatra Vasahi Temple

The Kharatra Vasahi temple have slender columns than Kumbhariya, but here also the space between columns is what plays a major role with relation to

5m

0

nature . Hence, the following diagrams

Fig. 5.30 Key plan- Neminath Temple

Neminath

analyses the space created by columns,

temple,Kumbhairya

either of different shape, size and mainly

built in 12th century, columns were

the proximity.

used to make big and continuous space and those are also decorated

Fig. 5.31 -A.Columns of Rangmandapa and side aisles

Fig. 5.34 - A. Corner junction

Fig. 5.32 -B. Column of Rangmandapa and Mukhmandapa

Fig. 5.35 -B.Columns of side aisles

variously. Generally there are 8 columns which support the central dome, but otherwise, there are 4 columns to support smaller domes..

In this way, the vertical dimensionfrom inside as well as from outside creating big and small volumes and the skyline respectively.But here radiance exerted by elements in vertical plane have been neglected , as the focus is on the layout of these two temples.

The earlier temple

had heavy

columns derived from a basic square and the stabilize it by increasing its proportionate size.

0 250 1000 mm

0 250

51

1000 mm 500 mm

0 250

1000 mm 500 mm

500 mm

52

C

C

0 1000 mm Fig. 5.36 Column at Rangmandapa and Devkulika 250

Fig. 5.37 Space between Garbhagriha wall and Mandapa

500 mm

0 250

53

1000 mm 500 mm

0 250

1000 mm 500 mm

54

By different examples of spaces in both the temples it can be observed that density of interlocking or overlapping radiant field is perceived differently .The radiance which overlaps each other completely is perceived as a partition element, rather than an open space. The intersecting regulating lines creates pause points and sometimes a connecting space between two space. Hence, here the both the temples are studied in parts so as to understand the influence of radiance from part to whole, further discussing the radiant field generated by plinth and its influence inside the temple and the impact of geometrical form , its radiance and due to both movement pattern and configuration of space.

0

1000 mm

Fig. 5.38 -D.Columns of500 Devkulika and Mukhmandapa 250 mm

Fig. 5.39 -D.Columns at Rangmandapa 0 250

55

1000 mm 500 mm

0 250

1000 mm 500 mm

56

Fig. 5.40 Radiance of Plinth of Rangamandapa, Mukhamandapa and Circumabulatory path of Devakulikas , at Neminath temple, Kumbhariya

57

1 0

5m 3

1

Fig. 5.41 Radiance of Plinth , at Kharatra Vasahi temple, Mt.Abu

0

5m 3

58

Fig. 5.42 Radiance of columns , at Neminath temple, Kumbhariya

59

1 0

5m 3

Fig. 5.43- Radiance of columns , at Kharatra Vasahi temple, Mt.Abu

1 0

5m 3

60

Fig. 5.44 Radiance exerted by all elements in the space , at Neminath temple, Kumbhariya

61

1 0

5m 3

Fig. 5.45 Radiance exerted by all elements in the space , at Kharatra Vasahi temple, Mt.Abu

1 0

5m 3

62

Inference

The arrangement of square base columns in Neminath Temple is such that the smaller columns occupy the space on side aisle or the circumambulatory path while the heavier columns serve as central supports for the dome. Due

Fig. 5.46 Side aisles of Kharatra Vasahi temple where columns behave as wall and provides unidirectionality to the perceiver .

to the difference in their sizes the radiant field exerted by those columns are different. The heavier columns at Rangamandapa act individually and do not influence the surrounding as much as the smaller columns .Radiance of bigger columns with articulated square base is stronger and the modified edges behave as curved surface.

In Kharatra Vasahi temple, unlike Neminath temple, the columns are similar and follow the same sizes. The base of columns change from octagonal to square and hence the whole radiant field changes. The perceiver’s focus is either on that column or neglected due to its positioning in temple.

Comparative analysis and observation The nature of objects identified by their shape and size in both the temple differ.

The base of the column when viewed together is either causing a conflicting field of radiance or contributes to

Fig. 5.47 View of columns between two Rangamandaps of Kharatra Vasahi temple, which creates a conflicting field of radiance and does not defines the circulation path between them.

well define space making. Space making is thus first defined by the orientation of column which does not relate to individual element but by columns arranged according to orientation of spaces that is towards the Garbagriha. In Neminath Temple, the size of columns changes according to space.

So, when several objects are grouped, the field of radiance is superimposed and this defines the circulation .In addition to defining movement through space, change in horizontal plane i.e., the plinth which plays a major role, as to enter the field of influence of an object is the beginning of spatial experience .The radiance of each column and the plinth overlaps when observed collectively which responds to the movement through them. Directionality is then exerted by the geometric formation of the facades which either confuses the perceiver or provides a definite path to proceed.

Fig. 5.48 View while entering Neminath Temple, clearly showing the central axis defining movement area, and heavier column emphasizing it.

In Neminath temple, the overlapping of radiance does not create conflict but rather contributes in harmonious movement area, where the columns of devakulikas are arranged so that the radiant field of outer columns merge to form a resemblance of wall. Hence, a no movement area through them is formed. But intersection of these fields also directs from smaller columns to bigger ones, and then due to change in plinth the narrow space is emphasized. While in Kharatra Vasahi temple, the columns are similar in shape and size but diagonal columns are different. This creates conflicting radiant field and the character of space in both the temple becomes totally different.

63

64

6.1 Organization

For study of organization of space, discussion of basic ways in which spaces are arranged , related and interpreted is to be analysed. When the two spaces are related to each other in few fundamental ways, they contribute to a singular nature of whole. There has always been an organization, according to which an order arises. Order refers to a condition in which each part of a whole is properly disposed with reference to other parts and to its produce a harmonious arrangement. 14 6.1.1 Space within space

These part of study deals with four fundamental ways of organization:

Section

6) Organization- Analysis Ground Floor Plan

Perspective view of roof

Fig. 6.1, 6.2, 6.3 Diagram of Section, plan and roof view of Neminath Temple , where dark are depict the inner space within the outer space.

Fig. 6.4, 6.5, 6.6 Diagram of Section, plan and roof view of Kharatra VasahiTemple , where dark are depict the inner space within the outer space.

14. D.K.Ching, Francis. Architecture :Form, Space & Order (third edition). new jersey: John Wiley & Sons, Inc, 2007.

65

66

6.1.2 Interlocking Spaces

6.1.4. Spaces linked by common space

Section

Section

Ground

Ground

Floor Plan

Floor Plan

Fig. 6.7, 6.8 Diagram of section and plan of Neminath Temple, where shaded area relates to major interlocking spaces

6.1.3. Adjacent Spaces

Fig. 6.9, 6.10 Diagram of section and plan of Kharatra Vasahi Temple, where shaded area relates to major interlocking spaces Fig. 6.13, 6.14 Diagram of section and plan of Neminath Temple, where dark shaded area are major spaces which are linked by transition spaces

Fig. 6.15, 6.16 Diagram of section and plan of Kharatra Vasahi Temple, where dark shaded area are major spaces which are linked by transition spaces

When the relationship between spaces is established by these four factors, Space within space, Interlocking of space, adjacent spaces and Spaces linked by common space, the organizing principle bestow a certain nature to the overall Fig. 6.11

Sectional diagram of

Neminath Temple

form and space.

In Neminath temple, the relationship is direct, the linking of spaces with each other is certain, while Kharatra vasahi temple behaves like a pavilion, where spaces cannot be defined.The free flow of spaces into one another is possible in these type of temple form.

Fig. 6.12

Sectional diagram of

Kharatra Vasahi Temple

67

68

6.2 Ordering Principles

While the organization of spaces is established , we further discuss the

This axis although imaginary and not

additional principle which contribute to the architectural composition.

visible except to the mind’s eye, is

Ordering principle exists to simplify the diversity, complexity , heirarchy

powerful, dominating and a regulating

etc. in a built form. The built form lies between a perfect order and total

device. This axis leads to spaces, either

chaos. Hence there are following ordering principles which have been used

along or around it, by which a form is

to recognize the nature of space.

developed. Such in-between spaces could be seen in spatial organization,

6.2.1 Axis- It is a line established by two points in space, about which forms

symmetry in forms, the hierarchy of

and spaces can be arranged in a symmetrical or balanced manner.

spaces modulation sin movement etc.

Axis has mostly been an important element of many plan forms in

A series of geometrically defined spaces

architectural history, but in temple architecture, one sees a continuous

linked by an axis in an effort to symbolise

attempt to emphasize this axis. The axis is either primary or secondary,

the purity of God’s space in an impure

either depicts linearity or centrality and so it enhances the nature of space.

world. 15

It is either interpreted as movement path or an important view and vista for a particular space; as a symbolic interpretation of cosmological conditions.

Fig. 6.17 Axis emphasized at Neminath temple. A linear Axis ending at garbhagriha has been divided at the centre of Rangamandapa towards two shrines.

Fig. 6.18 Two axis intersect at Kharatra vasahi temple , hence to emphasize one , the chaturmukha plan has been elongated at the western end.

15.Makhesana, Vinod. Geometric formalism and nature of the land: study of Shatrunjayagiri Jain Tirth.

Ahmedabad: CEPT Uni., School of architecture, 1992.

69

70

6.2.2. Symmetry- The balanced distribution and arrangement of equivalent forms and spaces on opposite sides of a dividing line or plane, or about a centre or axis.

Symmetry implies the creation of a balance within built forms. Symmetry depicted through simple or complex architectural series (or articulation)

Section

can reveal one's attitude to the structuring of form. The basic formation of spaces in the temple has predominantly been on an axis on which the line of symmetry lies. Thus symmetry can even be used to contribute to the unification of different elements as a building.

Thus a symmetrical condition in the temple cannot exist without implying the existence of an axis or centre about which it is structured.

Ground

The architectural composition can utilize symmetry to organize its form

Floor

and spaces, in a way that at some point an entire building organization

Plan

can be made symmetrical. Hence it is important to recognize the type of symmetry i.e., either radial symmetry or bilateral symmetry which refers to the balanced arrangement of similar elements on the opposite sides.

Perspective view of roof

Fig. 6.19, 6.20, 6.21 Diagram of section , plan and roof of Neminath Temple, showing symmetry of overall form

71

Fig. 6.22, 6.23, 6.24 Diagram of section , plan and roof of Kharatra Vasahi Temple, showing symmetry of overall form

72

6.2.3. Hierarchy- The articulation of the importance or significance of a

Movement

form or space by its size, shape, or placement relative to the other forms

Rangamandapa of both the temples,

and spaces of the organization.

reflecting the change in scale due to symmetry of

from

Entrance

to

structure, change in

In a temple, most of the architectural compositions exist with differences,

hierarchy and axis emphasized by the

which eventually reflects the degree of importance of these forms and

elements.

spaces. The degree of importance can differ by function, movement or symbolic value of that organization. The value system expressed may reveal

Fig. 6.29 View of Rangamandapa from entrance of Kharatra Vasahi Temple

a visible or symbolic hierarchical order among its forms and spaces. The visual emphasis can be achieved by - exceptional size, unique shape or a strategic location, in which a pattern would give meaning and significance to hierarchically important form or space. Though if many things are emphasized, nothing is emphasized resulting in confusion of hierarchical order.

Fig. 6.30 View of Garbhagriha from Rangamandapa of Kharatra Vasahi Temple

G.F Plan

Fig. 6.31 View of Rangamandapa from entrance of Neminath Temple

Section

Fig. 6.32 View of Rangamandapa of Neminath Temple Fig. 6.25, 6.26 Diagram of plan and section of Neminath Temple, showing hierarchy of spaces .

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Fig. 6.27, 6.28 Diagram of plan and section of Kharatra Vasahi Temple, showing hierarchy of spaces.

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6.3 Grouping Principles

6.3.1 Similarity, Repetition

Order is not simply knowing in what way things have been made, what purpose they serve or what they represent. They educate our eyes and influence our senses, as eye selects and combines elements. Thus the principle of grouping is reinforced by repetition, similarity, proximity, degree of enclosure and orientation of parts. These factors as individual and unified can sometimes replace or reinforce the formal coherence .

Rhythm/ Repetition (Similarity)-The unifying movement characterised by a patterned repetition or alteration of formal elements or motifs in the same or a modified form.

The movement characterized by a rhythm may be of our eyes as we follow recurring elements in a composition or a sequence of space through which we are advancing. In either case, the rhythm incorporates the fundamental notion of repetition as a device to organize spaces in built form.

The principle of repetition utilizes both of these concepts i.e., their

Fig. 6.33 Rangamandapa of Neminath temple. The similarity of columns are indicated by same module, while the difference in shape and size is denoted by changing either the shape or rotating it .

closeness or proximity to one another and the visual characteristics they share in common of visual perception to order recurring elements in a composition. All forms of repetition can moreover be the result of addition or of the division of whole, or simply a series.

Proximity-It is defined when similar objects /elements are placed together, they are perceived as one group, thus proximity affects the way we visualize a space. While proximity is defined by the gap between the elements, it depends on proportionality of the element with its gap. The size of element and its context influence the nature of space by their proximity.

Fig. 6.34 Rangamandapa and side aisles of Kharatra vasahi. The change in base of columns which affect the nature of space has been shown by marking the similar and different columns of the space.

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6.3.2 Proximity

6.3.3 Degree of Enclosure

Fig. 6.35 Columns of Rangamandapa Neminath temple. The amount intersection of rectangle denotes the distance between columns and thus the movement area, guided by columns.

Fig. 6.37 Overlapping shaded parts combined to form a degree of enclosure in Neminath temple, Kumbhariya

Fig. 6.36 Columns of Rangamandapa Kharatra vasahi. The amount intersection of rectangle denotes the distance between columns and thus the movement area, guided by columns.

Fig. 6.38 Overlapping shaded parts combined to form a degree of enclosure in Kharatra Vasahi Temple

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Fig. 6.39 Neminath temple, Kumbhariya

Fig. 6.40 Kharatra Vasahi Temple ,Mount Abu

This diagram overlaps similarity/repetition of elements, degree of enclosure due to placement of columns and

This diagram overlaps similarity/repetition of elements, degree of enclosure due to placement of columns and prox-

proximity between columns due to which nature of space can be defined of Rangamandapa of Neminath Temple .

imity between columns due to which nature of space can be defined of Rangamandapa at Kharatra Vasahi Temple .

The similarity of columns are indicated by a module, while the difference in shape and size is denoted by changing

The similarity of columns are indicated by a module, The change in base of columns which affect the nature of space

either the shape or rotating it .The amount intersection of rectangle denotes the distance between columns and thus

has been shown by marking the similar and different columns of the space. The amount intersection of rectangle

the movement area, guided by columns which directly relates to the proximity of objects in the space. Degree of

denotes the distance between columns and thus the movement area, guided by columns which directly relates to the

enclosure represented through overlapping shaded modules merging together and indentified as space enclosed not

proximity of objects in the space. Degree of enclosure represented through overlapping shaded modules merging

directly by the wall but distance between those elements. The formation of shape by its proximity provides a visual

together and indentified as space enclosed. The formation of enclosure is not quite evident in this space of temple, as

connectivity between Rangamandapa and devakulikas, while physical connectivity through sequence of spaces, hence

the distance does not vary much between those columns but emerging of diagonal square column represents a square

emphasized sequence and movement are through it.

space but does not clearly helps in differentiating visual connectivity with physical connectivity.

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Fig. 6.41 Neminath temple. The similarity of columns are indicated by same module, while the difference in shape and size is denoted by changing either the shape or rotating it .

Fig. 6.43 Placement of similar column but of different sizes at mukhamandapa and Rangamandapa at Neminath Temple, Kumbhariya

Fig. 6.42 Kharatra VasahiTemple . The change in base of columns which affect the nature of space has been shown by marking the similar and different columns of the space.

Fig. 6.44 Placement of different column at Rangamandapa of Kharatra Vasahi Temple ,Mount Abu

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Fig. 6.45 Representation of different columns at Neminath temple. The intersection of rectangle denotes the distance between columns and thus the movement area, guided by columns.

Fig. 6.47 Columns of Devakulikas and Side aisles at Neminath temple.

Fig. 6.46 Representation of different columns at Kharatra vasahi Temple. The amount intersection of rectangle denotes the distance between columns and thus the movement area, guided by columns.

Fig. 6.48 West Facade columns of Kharatra Vasahi Temple.

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Fig. 6.49 Overlapping shaded parts combined to form a degree of enclosure in Neminath temple, Kumbhariya

Fig. 6.50 Overlapping shaded parts combined to form a degree of enclosure in Kharatra Vasahi Temple

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Fig. 6.51 Overlapping shaded parts combined to form a degree of enclosure in Neminath temple, Kumbhariya

Fig. 6.52 Overlapping shaded parts combined to form a degree of enclosure in Kharatra Vasahi Temple

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Conclusion The temple style of western India around 13th century of Maru- Gurjara

When several objects are grouped, the field of radiance is superimposed and

Jain Temples reflect the building’s historical order of development in

this defines the circulation. In Neminath temple, the overlapping of radiance

which each succeeding type seems flowing and apparently is enlarged and

does not create conflict but rather contributes in harmonious movement area,

extended statement of preceding. The example studied and analyzed were

where the columns of devakulikas are arranged so that the radiant field of

based on difference in typology of Jain temple, one that follows the usual

outer columns merge to form a resemblance of wall. Hence, a no movement

linear, single axis plan i.e., the Neminath Temple, apart from this type of

area through them is formed. But intersection of these fields also directs from

layout other typology came up around 15th century i.e., the Chaturmukha

smaller columns to bigger ones, and then due to change in plinth the narrow

typology found in KharatraVashi Temple at Mt.Abu.

space is emphasized. While in KharatraVasahi temple, the columns are similar in shape and size but diagonal columns are different. This creates conflicting

The stylistic language remains similar throughout the centuries, the

radiant field and the character of space in both the temple becomes totally

relationships of nature of space with its geometry and conceptual order

different.

exists beyond these visual perception. To understand the interpretation of space in Jain temple as an abstract, the objective of study focuses on

Although the building scales are not discussed at larger, the scale of built form

analyzing the radiance due to geometry of plan of element and whole and

itself caters to the function of space. Organization of space examines the

evaluating space organization from a component to system determining

idea of spaces related to each other through connection, order or principles.

spatial relationship through perceptual experience.

The defined nature of space is accentuated by proximity, degree of enclosure and repetition of elements in the space. The study mainly focuses on the

The spaces in temple complex vary in terms of open to close, scale

layout rather than sectional view, where the placement of objects describes the

and proportion, orientation and axis and location according to their

definite circulation movement due to columns and plinth, character of space

surroundings. Contextual relationship of temple describes the stylistic

i.e., either it is a place where every on gathers or a place with individuality. The

properties, backdrop and importance of the structure in that period of

indirect or direct access to the space has been also analyzed and differentiated

time.

by smaller details like shape of the column to larger composition of space by columns. Sequence of space highlights the nature of space and gives an idea

The study based on idea presented by Pierre Von Miess about radiance

about the scale of the space by arrangement of columns.

is emphasized here, were there is strict orthogonal organization of the spaces, according to their particular function, circulation spaces and

Thus the impact of organization is much evident with respect to geometry of

movement which has led to hierarchy of spaces bearing volume of

element when viewed only as layout on nature of space. This could also be

different scale of proportions. The nature of objects is identified by

further investigated in vertical dimension of any temple to define the nature of

their shape and size in both the temple differ. While moving through

space which discusses the movement / circulation area of the perceiver, visual

these spaces which laid orthogonally following particular order becomes

or physical connectivity of spaces , scale and character that it provides.

engaging In Temple building where elements like column, plinth, roof contribute to a formal expression. The diversity of the inside geometrical order to outside order. It mediated successfully by the semi-open spaces and elements.

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Illustrations PART- I Fig. 1.1 ,1.2: Patel, Harita L. ‘Interpretative design efforts: mandapas of Maru-Gurjara Style.’ Ahmedabad: CEPT Uni., School of Architecture, 1994.

Fig. 2.1- Evolution chart of Jain temples of Western India 1. Mahavira temple- osian (8th century) :Vasavada, Rabindra. ‘Temple of Mahavira Osiaji In Monograph Series on Historic Temples.’ Ahmedabad, India: Lalbhai Dalpatbhai Institute of Indology, 2001.

2. Shantinath temple, Kumbhariya- 1011: Dhaky, M. A. ‘Temples in Kumbhariya.’ New Delhi: American Institute of Indian Studies , 2001.

3. Vimalvasahi temple, Mt.Abu-1031 and 4. Neminath temple, Girnar- 1128: Shah, Vatsal B. ‘Study of the jain temple of ajitnath at taranga : multiplicity of meaning in a temple form.’ Ahmedabad: CEPT Uni., School of Architecture , 1997.

5. Neminath temple, Kumbhariya-1136: Redrawn from Pujara, Urvi D., ‘Transformation of tradition: the temple and mosque in the architecture of Gujarat’(unpublished thesis, CEPT University, 1997) Fig. 6.53 Rangamandapa view of Neminath temple, Kumbhariya

6. Ajithnath Temple, Taranga- 1164 and 7. Lunavavsahi temple, Mt. Abu- 1231:Shah, Vatsal B. ‘Study of the jain temple of ajitnath at taranga : multiplicity of meaning in a temple form.’ Ahmedabad: CEPT Uni., School of Architecture , 1997.

8. Dharna-vihara, Ranakpur-1440: 9. Khratra Vashai Temple, Mt.Abu, 1458: Redrawn from Amit sunit Jain’ ‘ Study of Jain temples- Vimal Vasahi, Kharatra Vasahi, Mt.Abu and Ajitnath Taranga ‘SA Cept, Ahmedabad, 1999.

Fig. 2.12, 2.13- Brahmbhatt, Pooja. Hindu temple : the generic and the specific (a comprehensive framework on Ambika mata temple, Jagat, Udaipur). Ahmedabad, 2016.

Fig. 3.1 Kramisch, Stella. The Hindu Temple. University of Calcutta: Narendra prakash Jain, 1946.

Fig. 3.7 Kramisch, Stella. The Hindu Temple. University of Calcutta: Narendra prakash Jain, 1946.

PART-II Fig. 4.1- Dhaky, M. A. Temples in Kumbhariya. New Delhi: American Institute of Indian Studies , 2001.

Singh, Harihar. Jaina Temples of Western India. Varanasi: Parshvanath Vidhyashram Research Institute, 1982.

Fig. 4.7 - B.L.NAgarch, K.M. Suresh, D.P.Sharma, Dulari Qureshi. Encyclopaedia of Indian Architecture -Hindu, Buddhist, Jain and Islamic-Vol.-III (JAIN). Delhi: Bharatiya Kala Prakashan, 2008.

Fig. 6.54 View of Rangamandapa on south side of Kharatra Vasahi Temple

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