Indian Architecture (Buddhist and Hindu Periods) c31.14

c31.14

There appears to be some esoteric reason for the scheme of relief decoration in the interiors of Hindu temples in the Indo-Aryan style, differing in extent from that of the exterior. While there are no limits to the exuberance of the sculpture on the outer walls, some restraint is observable in the amount and its distribution in the interiors. These indications of some form of what may be termed plastic prohibition, vary in different groups of buildings, for instance in the Orissan temples, as already shown, many have almost entirely plain interiors, the bare walls of their assembly halls being in striking contrast to the excessively rich decoration outside. On the other hand at Khajuraho in Central India, more freedom is discernible, a considerable amount of carving being found in the interiors of the temples of this group Still further to the west, in Gujarat and its proximity, the style shows that only the innermost passages and chambers are devoid of ornament, the remainder of the interior being profusely sculptured. From these circumstances it may be inferred that the original intention was to keep all the temple interiors relatively featureless, either in order not to divert the mind from the divine image, or by reason of some cause of a profoundly spiritual nature. But the irresistible chisel of the Indian carver could not always be repressed by precept, and his art was therefore inclined to intrude into all but the most sacred chambers and their immediate surroundings. The gradual reduction of his sculptured handiwork, combined with a decreasing effect of light as one penetrates further into the recesses of the sanctuary, are particularly noticeable in the fully developed temples of the western school. Beginning with the open sunlit portico or *subha-mandapa*, with its richly wrought pillars, one enters the enclosed and covered aisles of the assembly hall or *gudha-mandapa*, more sombre and less ornate than the preceding. This leads to the vestibule, the panelled and figured framework of the shrine doorway being often the only relief from its plane surfaces; openings on each side of this indicate the entrances to the dimly illuminated featureless corridor of the ambulatory, progression finally ending before the mysterious deeply-shadowed sanctum of four bare walls. Yet heedless of the total darkness of some of the subsidiary chambers, the sculptor's hand could not be stayed, the ceilings of these being sometimes delicately filigreed and scalloped as they would be if illuminated by the bright light of day. Such intricate patterns are only revealed by the aid of a torch, the explanation of this paradox being that they are not intended to be seen by ordinary mortals, but are for the eye of God alone In the words of Longfellow