Indian Architecture (Buddhist and Hindu Periods) c21.25

c21.25

None the less there is a bold beauty in the appearance of the Virupaksha temple as a whole, which is best seen in the exterior. It is a comprehensive scheme, as it consists not only of the central structure, but of a detached *nandi* pavilion in front and is contained within a walled enclosure entered by an appropriate gateway. Larger in size than the previous example as it measures one hundred and twenty feet from the front of the porch to the back of the shrine, owing to its balanced composition it is much more pleasing to the eye. This satisfactory effect has been obtained by treating the building as a unity, so that there is a definite coherence and rhythmic grouping of its parts. On the other hand, there is still that heavy solidity characteristic of all such early works, but here it is relieved by an increase in the amount and quality of the sculptured ornamentation. This plastic decoration resolves itself into several classes of workmanship and it seems not improbable that it was the handiwork of as many separate groups of craftsmen. There is the purely architectural detail, such as mouldings, pilasters, cornices and brackets, evidently prepared by the mason's own artificers; the floral scrollwork together with the richly patterned perforated windows, the production of men specially trained in ornamental carving; the bold animal supports chiselled by artisans accustomed to large schemes; the intricate bas-reliefs of figure-subjects requiring technical skill combined with a knowledge of mythology; and finally the full sized statuary in the panels and niches obviously designed and moulded by the master-sculptors of the time. The character of this ornamentation, and the manner in which it is applied bespeak more than ordinary knowledge. Although lavishly disposed, it is so skilfully co-ordinated with the rest of the structure that no part can be said to show where the building art ends and the plastic art begins. The sculpture flows into the architecture in a continuous yet disciplined stream. So harmonious is the entire conception it conveys the impression that the deepest emotions of its creators were concentrated on its production. The amount of thought expended, not only on the whole, but on each detail is incredible; every one of its grey weatherworn stones, in spite of the passage of centuries, is yet warm with life and feeling. The Virupaksha temple is one of those rare buildings of the past in which the spirit still lingers of the men who conceived it and wrought it with their hands. (Plate LIII).