Rajput Architecture
The period from 7th to 12th century in the history of India is called Rajput period. Rajput architecture was a part of Hindu architecture. Originally it was derived from the Nagara style developed in the Gupta period, but it was also influenced by Buddhist and Jain styles.
City Construction
The concern for the security of the city is clearly visible in the city architecture of the Rajput period. The cities of that period were very small and they were surrounded by some walls. There was a deep and wide moat outside the walls. These cities were established in the foothills of mountains or in places covered with forests. Often small towns were built inside all the fortifications.
The planning of cities of this period was kept according to the principles given in the texts like Arthashastra and Kamasutra etc. Small settlements were built within the city. A settlement was usually inhabited by people doing the same or similar occupation. The Raja or Thakur resided in a fort built on a hill near the city or inside a fortified structure in the middle of the city.
The streets of the city were kept very narrow so that more people could live in less space. Two horses could walk together with great difficulty in these streets. These streets can be seen even today in the medieval cities of Jodhpur, Bikaner, Amer, Jalore, Udaipur etc.
Rajput Period Temple Architecture
Hindu temples were built in large numbers in different parts of the country during the Rajput period. The influence of Tantric beliefs is visible on the craftsmanship of the temples built during this period. The influence of Shaivism on architecture remained in the Pratiharas period. In the Middle Ages the art of temple building split into northern and southern styles; Rajasthani architecture based on the northern pattern was also influenced by the skillful masonry of the artisans of the south. The construction of shikharas became mandatory in the temples of the seventh century.
Some of the best temples in central India are said to have been built by a fictional prince, Janakacharya, who built the temple for twenty years to atone for the crime of killing Brahma. According to another legend, these extraordinary buildings were not erected by the Pandavas in one night.
Jain temples also started being built in large numbers in western India i.e. in the provinces of Rajasthan and Gujarat etc. The Great Temple of North Gujarat (AD 1125) is said to have been built by the Gujarat-king Siddharaj and the temples of Khandesh by the Gavali dynasty.
Hindu and Jain temples strictly followed the principles of architecture. The architect or chief architect was responsible for preparing the design of the temple. The artisans who executed the temple-plan were classified as Shilpi, Sthapati, Sutragrahin, Takshaka and Vardhakin.
Remains of Pratihar period (eighth to tenth century) temple group have been found from Osian village of Jodhpur district of Rajasthan. The architecture of these Hindu temples has an imprint of imagination and originality. Gradually, the temples of Rajasthan also took on a huge size like the temples of Bhubaneshwar and they were decorated and decorated with shikhars.
The main entrance of the temples 'Toran Dwar' It was called They were often ornate. On entering the toran gate, the sub-mandap used to come, after which the sabha-mandap was made. At the other end of the sabha-mandapa was the entrance to the sanctum sanctorum in which the idol of the main deity was installed.
The top of the sanctum sanctorum was built. Provision was made for circumambulation-path around the sanctum. On the walls of the temples of this period, the Asura-Dalana episodes of the Lord such as Kaliya-Mardan, Putana Vadh, Medini Salvation etc. were marked. On the outer walls of the temple, women's statues were decorated with luxury, in which dance, makeup, sports, love, etc. were expressed.
Among the Jain temples of Rajput era, the temples of Delwara and Ranakpur are with the grandest features of their time. Neelkanth temple of Kumbhalgarh, Eklingji temple, Ranakpur temple etc. have been given a fort-like appearance by making high walls, big gates and turrets etc.
The Kirti-stambh of Chittor, built during this period, is said to be a museum of idols. Its architecture is very close to the architecture of the temples. In this, excellent sculptures related to gods and goddesses and people's life have been marked. Kirtistambh is a good tool for proper knowledge of mythological deities. Renowned architect G. s. Moore called Chittor's Kirtistambh 'Unparalleled treasure of Hindu iconography' Where is it?
After coming in contact with the Mughals, the influence of Muslim architecture began to be visible on Rajput architecture. This mixed architectural style was called Hindu-Muslim style and Indo-Saracenic style. In the temples of this period, although peacocks, parrots, lotuses etc. continued to be marked in the Hindu method, but the open square between the sub-mandapa and the sabha-mandapa, the top of the sanctum sanctorum and the decoration of the door started showing Muslim features. The halls began to be built in a more open form.
The influence of Muslim domes also started appearing on the summits. This effect can be seen in the temple of the goddess located in the fort of Bikaner. The predominance of Hindu architecture is visible in the Shrinathji temple of Dungarpur and the Jagdish temple of Udaipur built during this period, while the predominance of Mughal style is visible in the Ghanshyamji temple of Jodhpur and the Jagat Shiromani temple in Jaipur.
Vaishnava temples were built in large numbers in the 17th and 18th centuries. Because of Aurangzeb's religious fanaticism, the Acharyas of many monasteries and temples of Mathura-Vrindavan came to the kingdom of Hindu kings with deities. Hindu kings provided land, building, money and protection for these deities. Among such temples, the temples of Nathdwara, Kankroli, Dungarpur, Keta, Jaipur, Karauli etc. are notable.
Since Aurangzeb had ordered to demolish the old temples and not to build new temples, havelis were built for the deities who came to Rajasthan from Mathura-Vrindavan. In these havelis, the traditional ornamentation of temples disappeared and only lotus flowers or simple drawings were adorned on the pillars of the hall. After the defeat of the Mughals, large and open verandahs began to be built in the temples built in the 19th century.
Abu Temple Style
A group of Jain temples of Delwara are situated on Mount Abu in Sirohi district of Rajasthan state, in which there are five temples. Of these, Vimal Vashi and Luna Vashi are prominent. Both these temples are built in the same way, which are made from white marble brought from Jhali Bav located in the lower part of the mountain.
Vimalvasah: Col. Todd has written- 'No building can equate this temple except the Taj Mahal.' Due to it being built by Vimalshah, the Dandanayak of Abu in Vikram Samvat 1031, it is called 'Vimalvashi' it is said. Vimalshah was a merchant of Anhilwara who was appointed as the Dandanayak of Abu by the Parmara king Dhundak.
Even after centuries have passed, the fragrance of the artistic splendor of these temples remains fresh. The main temple is surrounded by fifty-two Jinalayas and in the huge hall on the right is the temple of Amba Mata, the Kuldevi of Vimalshah. In front of the temple, there is an equestrian statue of Vimalshah, around which 12 elephants made of marble are built. It is also called Hastishala.
Outside Hastishala, Sirohi's ruler Lunkarna Deora's V.S. Two inscriptions of 1372 and 1373 are inscribed. A part of the temple was demolished during the Muslim invasion in the fourteenth century which was later rebuilt. The entire temple is built of white marble. In the construction of pavilions, pillars, chhatris and altars, such fine and grand excavations have been done on white stone which is rare elsewhere. The pavilions are engraved in geometric shapes like round, square, dome and pyramidal.
From the art of pylons and gateways to the mythological themes engraved inside the pavilions, the art appears to be in the hands of a single artist, while their creation is not possible without the help of hundreds of artisans.
Loon Sahi: The Neminath temple, located near Vimalvashi, also dates back to the thirteenth century of Vikram. It was built by Vastupala and Tejpal, the general secretary of Chaulukya king Veer Dhaval, in V.No.1287. This temple is also similar in size and shape to Vimalvashi. It has a main temple, hall, ginalaya and hastishala. There are two ledges on either side of the main temple's door, which are called Devarani-Jethani's window. The chief architect of the temple was Shobhandev.
This sparkling world of marble temples on a hill higher than four thousand feet seems to be a wonder on earth. The architecture of these temples is simple from outside, but in the inner part, the art of pillars, roofs, pavilions and gates etc. is unique.
H. Kosen 'Struggle for Empire' I have written praising these temples- 'The art of stone, like a thin and transparent peel of marble, has gone from art to a dream of beauty.
The idols engraved in the temple give information about the then costumes, customs and socio-religious beliefs. Statues related to the Guru-disciple tradition, etiquette of the court and various tableaux of public life are also engraved.
Many dance and instrumental instruments that throw light on the subjects of music and dance etc. have also been made in stone. His craftsmanship is unparalleled. This temple group of Delwara seems to be the study center of Shilpshastra, Natyashastra, History and Social Science. Vastu Shastris like Ferguson and Havel Smith have also praised these temples.
In Struggle for Empire, along with the praise of the pavilions of these temples, the defects have also been discussed - 'Many types of features have been repeatedly repeated in these pavilions, which clearly disregard the principle of architecture. Is. The lack of proportion and balance is visible at many places in the interior of the temple, which knocks even the ordinary viewer. The portion of the pavilion hanging from the ceiling is designed in such a way that not all the mandapas can be seen at the same time. The ceilings are below normal proportions. They are also not free from the defect of producing exhaustion in the viewer.'
Bhimashah Temple: This temple was built by Bhimashah in the 15th century of Vikram. This temple is called 'Pitlahar' because of the 108 mind brass statue of Jain Tirthankara Adinath. also say. In this temple there is an inscription of Deora Chunda of V.No.1489 in which there is mention of tax exemption to the travelers coming to visit the Jain temples of Delwara.
Chowmukha Parshwanath: The fourth temple of this temple group is the Chaumukha Parshvanath Temple. It is three-storeyed and it is also called the temple of silavat. There are two artistic pylons, Khadgasan statues, idols of Yakshas and Gods and Goddesses. There is a quadrilateral angle outside the gambhare.
Mahavir Swami Temple: The fifth temple of the temple group is dedicated to Mahavir Swami. Ancient paintings are present in its walls and dome.