Indian Architecture (Buddhist and Hindu Periods) c34.23

c34.23

[Figure: DETAILS OF A GUJARATI TEMPLE DIVISIONS AND MOULDINGS OF PRASADA OR SABHA MANDAPA SHRINE SHIKARA CHHAJU MANDO- VARA JANGHA MANCHI KEVALA KALASA KUMBHA KHARA GAJATHARA PITHA GRAHAPATI KANI JADAMBA BHATA SIRA KAKSHASANA ASINOT VEDI RAJASENA GAJATHARA SCALE OF FEET DIVISIONS OF A PILLAR SIRA TEKI SIRA BHARANI STAMBHA KEVALA KUMBHI SCALE OF FEET PLAN OF THE TEMPLE OF SURYA AT MODHERA PRASADA GUDHA-MANDAPA SABHA- MANDAPA for ornamentation was not to be denied, for there is no inconsiderable amount of sculpture on those parts of the walls which permit of plastic decoration, and the standing column in front is invariably a graceful conception, as for instance that in the Ketapai Narayana temple of this group. But the interiors provided a better opportunity for embellishment, as they are all designed on the usual system of two conjoined compartments, a pillared hall in front and an enclosed sanctuary in the rear. There were accordingly considerable surfaces available for decorative carving, as may be seen on the walls and coffered ceiling. It was however on the pillars that the sculptors chiefly expended their skill and ingenuity, and these are as artistically treated with mouldings and figures in relief as are many other buildings of a much more pretentious character. As these temples plainly prove even in such remote localities it was part of the sociological system to maintain within the community a group of craftsmen of experience and ability.