Indian Architecture (Buddhist and Hindu Periods) c31.10

c31.10

The general structural scheme of the temples of this western group consists of the same system of compartments as in most Indian temples, namely in the first instance, of a shrine with its cella, and a pillared hall or *mandapa*. In the treatment of these two combined formations, while in every example retaining the same specific architectural character, the master-masons showed by the manner in which they handled these conventional parts, considerable versatility and power of invention The *salat* plotted out his work in confirmity with the established rules, varying this where necessary according to his instinctive artistic ability, employing his own architectural idiom, which however was always correct in grammar, and consequently in good taste. The plans of these temples resolve themselves broadly into two kinds, those in which the two compartments are joined so as to unite the entire building within a parallelogram, and those in which each compartment forms a rectangle, in the latter case the two are attached diagonally. The former system is found usually, although by no means invariably, in the earlier temples of this period, and of which that of Modhera (eleventh century) if its detached hypostyle hall, or *sabha-mandapa*, is excluded, is a typical example, while the temple of Somnath (twelfth century) illustrates the diagonal arrangement. In all instances both the parallel and the diagonal plans have their sides interrupted at intervals by projected or recessed chases forming angles, which, carried up into the elevation are productive of strong vertical effects of light and shade Furthermore these angles are also of two kinds, as in one class of building they are straight-sided, and in the other rounded or foliated. Finally, some of the larger examples of these Solanki temples appear to have been in two, and perhaps three stories, but most of this type are too ruined for the arrangements to be quite understood, although the principle on which these storied mandapas were produced may be seen in a temple of another class, namely the Sas Bahu (eleventh century) in Gwalior Fort (Chapter XXVI).