Indian Architecture (Buddhist and Hindu Periods) c37.31

c37.31

Before finally leaving this development of the later Chalukyan style some account of the remarkable exception already referred to, is indicated, and which relates to the temple of Dodda Basappa at Dambal. (Plate CXXIX, Fig. 2). Dating probably from late in the twelfth century, this temple is the only one of its kind, as all the others of the phase are rectangular in their lay-out, so that this star-planned structure is conspicuous as a work of notable originality. For although many of the temples of the Hoysala phase in Mysore, as previously shown, had stellate sanctuaries, at Dambal not only the sanctuary, but also the pillared hall, or *navaranga*, is star-shaped in plan. In the case of the sanctuary of the Dodda Basappa temple, this is worked out on a system of twenty-four points to the star, while the pillared hall would have as many as thirty-four, but owing to the amount of wall surface taken up by the junction of these two compartments and the introduction of two doorways, the former has in reality only nineteen points and the latter twenty-one (Plate XI, Fig. 12) As the stellate plan is carried up right through the elevation of the building, the effect of such a close array of vertical offsets on the appearance of the structure as a whole is singular and arresting. Whereas in the upright portions of the *vimana* walls, and also of the *navaranga*, these angular projections present vivid passages of chiaroscuro, their vertical tendency adding to the strength of the building, when they pass into the tower to intersect the horizontal string-courses of that feature, the pattern thus produced is too exiguous to be architecturally convincing It is noticeable that the pillars of the porch to the main entrance of the building, which is on the south side, are fluted from base to capital, the idea being to maintain throughout the entire scheme its angular character, a commendable effort at architectural consistency. Such an innovation, however, raises the question as to whether the angularity in this instance has not exceeded its legitimate limits and so made to dominate the composition until it has become almost incongruous One part of the conception stands out as a first-rate piece of work, showing that the builders had a highly developed sense of values, but at the same time not quite sufficient competence to apply it to all parts of the structure This refers to the architectural treatment of the offsets of the vimana, a design consisting of forms alternating with motifs and motifs with forms, all gracefully attenuated so that the whole is not unlike the traceried walls of some fifteenth century northern Italian cathedral, or the panelled buttresses of sixteenth century Perpendicular Gothic