Indian Architecture (Buddhist and Hindu Periods) c45.8

c45.8

At Mi-Son there is the most representative series of these towers, where some eight groups of temples remain, as here was a "temple-city", and from these examples, together with those at other sites, some idea of the progress of the building art from the seventh to the tenth century may be gained. It is tolerably clear that previous to this period, in the third and fourth centuries A.D., a wooden style of architecture existed, very similar to that which was afterwards copied in brick, but no examples of this have survived. Then ensued the phase as illustrated at Mi-Son, which shows the art of the Chams at its most mature period. Later, the design of the towers became more stylized, detached turrets became a feature of the upper portions, corresponding in some respect to the *uruśringa* of the Indian śikhara, and the buildings lose some of their original ingenuousness. Although the tall shrine is the outstanding characteristic of the style, occasionally long rectangular halls were introduced in front of the main tower, but detached from it. Sometimes these contained columns, and usually there were doorways at both the short sides, evidently for the entrance and exit of ceremonial processions. Window openings of a graceful design find a place in the Mi-Son structures, square apertures sunk between pilasters, and with elaborate entablatures having carved friezes of figures The openings themselves have baluster-shaped mullions, not unlike a similar device seen in the Rajarani temple (cir. 1000) at Bhubaneswar in Orissa On the other hand contact with the architecture of China is shown in several features of the Cham buildings, as illustrated by the treatment of some of the "kalan" roofs. These are of the keel-shaped kind with an arched chaitya gable, but curving upwards at each end after the pagoda style of the Far East, examples of which may be seen in the shrines at Po Nagar.