Indian Architecture (Buddhist and Hindu Periods) c36.10

c36.10

The three horizontal divisions of the vimana wall are even more ornate than the two comprising the pillared hall. As already described the basement of the vimana is a continuation of that around the rest of the building, but above this, and corresponding to the pillar-and-screen treatment of the hypostyle hall, is a wide upright space defined above by a prominent string-course, and which contains one of the most typical features of the style In the neighbouring temples of the Dravidian mode this middle area, or "filling" of the exterior was enriched by means of pilasters and niches, an abstract conception of notable architectural fitness. The Hoysala craftsman did not exclude this entirely from his scheme but he relegated it, or something like it, to the uppermost of his three divisions, where, compressed between an upper and a lower cornice, it has little architectural significance, and is a mere concession to the traditional conventions of the temple elevation. His object in bringing about this change is quite clear, as by so doing he left a broad space in the most prominent part of his building for an exposition of his skill as a figure sculptor. Here, in this wide wall surface he placed within ornate niches and under foliated canopies the images of his gods, so elaborately chiselled that they can scarcely be regarded as part of the architecture, because each appears displayed as a distinct and independent example of plastic art. (Plate CXXVI) The richness of the effect of this statuary is much enhanced by the stellate plan of the structure as a whole, which producing vertical planes like facets in the body of the building, not only presents more play of surface but also provides a greater variety of light and shade.