Indian Architecture (Buddhist and Hindu Periods) c22.8

c22.8

The other example of the processional passage type, the Rameswara (No. 21), is also a relatively simple scheme, but notable on account of the wealth of carving with which all its parts are overlaid. In front is a courtyard in the centre of which is a shrine consisting of a lofty pedestal elaborately sculptured and supporting a figure of the reclining bull of Siva Just beyond is the facade of the temple, a range of four short and prodigiously bulky columns arising above a highly decorated dwarf wall. This wall is interrupted between the two central pillars to form a doorway to the entrance hall or portico, a comparatively shallow compartment 25 feet deep, but 69 feet wide, these proportions being brought about by the fact that the portico is carried across the entire front, with a further extension of a chamber at each end Of the pillars inside the entrance hall, which are all of the "cushion" variety, the two on the inner side form three openings, that in the centre facing the cells, while those on each side lead to the processional passage round it. This type of shrine and cella is similar in principle to the previous example, but in the present instance the latter contains a *lingam*. The entrance portico with its massive fluted pillars, the profusion of carved imagery on its walls, and the giant *dwarpalas* (guardians) of its cella standing forth darkly powerful from the inner sanctuary, all combine to give the hall of the Rameswara considerable mystery of effect, but the chief character of the temple is not in its interior. This will be found outside in the architectural treatment of the facade, especially in the shape and design of its pillars. These four columnar groups form the principal feature of the frontage, with a half column completing the scheme at each end Their short shafts are almost entirely concealed by the dwarf wall which rises in front of them, so that the principal portion presenting itself to view is not the pillar but the capital. The capital is based on that of the vase and foliage order, but over this now familiar conception groups of figures in the shape of brackets have been superimposed, thus giving the motif not only a richer but an entirely different complexion. With their stunted proportions and miscellany of motifs the effect as a whole is one of fantastic extravagance, yet, on the other hand, some of the ornamentation, and particularly the rhythmic forms and exquisite modelling of the female figures show a feeling for grace of poise and voluptuous beauty which is instinctive