Indian Architecture (Buddhist and Hindu Periods) c31.32

c31.32

In its strictly architectural aspect however the whole of this interior is open to criticism, and specifically this remarkable dome, as it is clearly too heavy in appearance for its relatively slender supporting columns, while the convoluted struts serve only an ornamental purpose, being introduced merely to enrich the effect. Any analysis from this point of view could only emphasize the fact that several of the ordinarily accepted principles of the building art have been disregarded in its composition, the structural properties being obscured by the exuberance of the decoration. Moreover, throughout the entire scheme of plastic treatment, the main theme has been the multiplicity of detail, the reiteration of a motif innumerable times, a ceaseless repetition of deities in human form, the underlying idea being that the more frequently these are reproduced, the more emphatic becomes the message they convey. As their pantheon proves the Indian mind is prone to think in vast exaggerated numbers. The consequence is that when this is presented plastically the eye tires, the faculties become satiated and some of the warmth of life is lacking; there is not only monotony but a frigidity in its atmosphere, a condition increased by the very perfection of the material of which it is built. For marble of this refined quality should not be fussed and fretted into ornamentation, its natural texture is its chief charm, and to carve it thus is to put it to waste and so misunderstand its intrinsic delicacy and significance. Nonetheless the Vimala temple is a notable achievement, its fame resting not so much on its architecture which has few conspicuous virtues, but on the infinite caprice and inventiveness of its sculptured decoration which seems to be a reflection of the intense religious fervour then existing among the Jain community.