Indian Architecture (Buddhist and Hindu Periods) c40.11

c40.11

The first impression conveyed by the buildings forming this group of royal towns of Nepal is that not only do they represent architecture, but they also display picturesque and profuse accretions of applied art. For it was the practice of the Newars to embellish the exteriors of their temples, and also many of their other structures, with such a confused array of supplementary religious and decorative features, in metal, stone, and wood, as almost to obscure the original design of the building. This particularly refers to the pagoda type of structure as the surfaces of these buildings specially lent themselves to such additional treatment. But by no means were all these superimposed elements supplied by the actual designers of the building as part of their architectural scheme, many being subsequently donated as acts of devotion and fixed in position by those who wished to show reverence to the temple wherein they worshipped. In this manner most of the better known religious edifices provide positive museums of Newar art, in which the imaginative designs of the artificers and the facile manipulation of their materials may be readily studied. While the prodigality of the Newar’s handiwork was applied without stint to all classes of building, both religious and secular, the temples were the chief object of these artistic contributions. (Plate CXLIII) These buildings, whether of the "sikhara" or "pagoda" kind, were not designed for congregational worship, but were really shrines enclosing a cella or chamber for the divinity, or a symbol, and were therefore objects of devotion in themselves. Around them would sometimes be a courtyard for assembly or processions, but the abode of the deity was the sacred substance of their prayers. This will explain why these buildings supplied a foundation on which to attach such artistic treasure as the ardent devotee could spare, either physically to support his entreaties or in view of the hereafter. Certain prominent features on the pagoda type of temple are however not only accessories to the building but also are invariably applied as an essential part of the structural and artistic effect. Among these are the elaborately carved wooden struts which support the overhanging roofs, the great metal griffins which guard the entrance, and the massive tympanums which project over the doorways and not infrequently the windows, this last artistic convention being a characteristic and arresting architectural component universally used throughout the entire course of the architecture of Nepal. Carved in wood or embossed in gilt metal this ponderous semi-ovoid pedimental attachment is rarely omitted, inclining forward over all the openings of the facade, and standing out not only on account of its prominent sculptured relief, but also because of the involved allegory which it so emphatically pictures A disquisition on this feature and its origin and interpretation, with other accompaniments which are so lavishly distributed over the surfaces of the Nepalese buildings, besides being beyond the scope of the present subject would require a volume in itself One motif is however of exceptional historical and structural interest. It was the custom of the Newar builders to follow the ancient procedure of projecting the wooden lintels of their doorways and other openings beyond the uprights forming the jambs. To act as a support to this projection they introduced a curved bracket which they decorated with a figure, and it is not difficult to recognize in this a later edition of that dryad support holding up the other ends of the cross-bars of the toranas in the Sanchi stupa dating some two thousand years previously. Through all these centuries this artistic and structural motif has preserved its identity, modified during its long period and altered by circumstances but performing its original purposes as in the days of primitive Buddhism in India.