Indian Architecture (Buddhist and Hindu Periods) c18.22

c18.22

Of such excellent quality is the sculpture and decoration generally, that, as in the case of the Gupta temples, their forms emphasise the progress that had been made in the plastic art of the time, in comparison with that of architecture. Moreover the wealth of carving conceals to some extent the shortcomings of the plan. For there is an uncertainty and indecision in the design of these sanctuaries as a whole, which can only be explained by the fact that the arrangements of the Brahmanical temple were still unevolved, the correct shape and disposition of its parts having not yet been assured. This is shown by the inapt proportions of the pillared halls, which end at their further extremity so abruptly that the compartment has the appearance of being truncated, or that its further progress had been stopped for want of explicit directions as to its form, a condition particularly noticeable in No. 3. Such uncertainty, in its turn, may have affected the columniation, which is not always symmetrical and, denotes some hesitation in the grouping of the pillars. For instance there is a wider interval between the two middle rows, suggesting, yet hardly confirming, a central aisle, and in No. 3 the idea of a double colonnade was possibly derived from a similar disposition of the pillars seen in the temple of Ladh Khan at Aihole. On the other hand the proportions of the interior may indicate a concession to the exigencies of the rock-cut mode, there being some correlation between the wide frontage and the shallow depth, the former giving the maximum light, and the latter the maximum space which this would efficiently illuminate. In these excavated temples the pillar is the most important element in the composition, and on their design depends much of the architectural effect. Most of the shafts of the columns are square in section, although those forming the inner colonnade of No. 3 are many-sided. Of the capitals to the pillars two kinds predominate, one in which the bracket is the chief feature, and another which is cushion-shaped. Combinations of the two forms are also seen. Above, are massive entablatures, while cross-beams supported by gryphons, having a curious resemblance to Gothic gargoyles, divide the ceilings into sunk panels like coffers each containing a carved pattern replete with symbolical devices (Plate XLVIII, Fig. 1).