Temples of Gujrat (Gujarat) and the West

The temple-architecture of this region is regarded to be one of the richest and most prolific developments of the Indo-Aryan style of architecture. Despite the devastations of the iconoclast Muhammadans—vide Mahmud Ghazani’s expedition to Somanātha in Kathiawara in 1025-26 A.D. and the conquest of this part of the country by the Sultans of Delhi in 1298—most of the temples are effaced and are in ruins. Enough, however has survived due to the stable rule of the Solanki dynasty, a Śaivite line whose power extended over a large area centring round Gujrat and including Kathiawar, Kach (Cutch) and much of what is now Rajputana, with the capital at Anahila vada-Pattana, corresponding to the comparatively modern town of Patan, north west of Ahmedabad, whose reign was not only comparatively peaceful, but also was marked by material prosperity. Its geographical position was very favourable as Gujarat was to India, what Venice was to Europe, for the focus of commerce of both east and the west. Naturally this stale of general affluence was instrumental in giving rise to a form of religions architecture which is noted for a new emergence of architectural pattern—the ornamental style, what our Vastuśāstra would have it, the Lāṭa style within the Nagara style of Indian architecture. Apart from the patronage of the ruling chief, the bountiful contribution and dedication from people at large were also there. Gujarata is credited to have developed a remarkable art which was of a high watermark and this gives us a clue that the Gujarati craftmen had inherited an artistic capacity, rich arid deep and their productions are ripe examples of this innate architectural genius.

When such was the state of building ferver, the architect-masons also developed into flourishing guilds, and they had their own traditions and traditional learning and craft. The Śilpins or Śilavats or salate practised Śilpas in a manner characteristic not only of the age but also of the artistic heritage of India, The planning of the temple and its design were also adopted with some modifications to produce better results. In these temples only two notable formations were more marked, the garbhagṛha and the maṇḍapa or more correctly the sabhāmaṇḍapa, the latter being the most remarkable characteristic of lāṭa architecture. Lāṭa, as we have seen, is the ancient name of Gujarat [Gujarata]. As regards the elevational aspect of the Solanki type of temple the reader is referred to see Brown p. 43-44.

This is the general character, of Lāṭa architecture as represented in Solanki monuments. There are some other notable characteristics. Firstly in this western development the architectural style is definitely peristylar, as groups of elegantly carved pillars form an essential part of its content. Secondly we have the Śāstric injunctions for plastic prohibitions in the interior of Hindu temples. Accordingly the difference regional styles depict this restraint in their characteristic manner. Among the Orissan temples many have almost entirely plain interior. In Khajuraho, more freedom is discernible as a considerable amount of carving is found in the interiors of the temples of this group. The irresistible chisel of the Indian carver however could not always be repressed by precept of the Śāstras and his art therefore did intrude into the forbidden areas also.

With this general introduction to the temple architecture of Gujarat, let us describe in brief the temples themselves. The following is the chronological list of more important temples:

Temples at Sunak, Kanoda, Delmal and Kasara all in Gujrat (10th Century).

The Navalakba temples at Ghumli and Sejakpur in Kathiawar; Sūrya temple at Modhera in Gujrat; Vimala temple at Mount Abu Rajputana, and the group at Karadu in Mewar (11 th Century).

Rudra Mal (fragmentary) at Sidhapur, Gujarat, Somanātha (several times restored) Kathiawar (12th Century).

Tejpala at Mount Abu Rajputana (13th Century).

There is no place to describe all these temples in their details. But some examples must be purviewed in order to get the glorious manifestation of Lāṭa architecture. Among the them, Sūrya temple at Modhera, Vimal temple at Mt. Abu and Rudra Mal and Somanātha in Kathiawar cannot be left without some words on them.

Sūrya temple at Modhera:

It is a ruined structure, nevertheless “in viewing the Modhera temple as a whole, the aesthetic sense at once responds to the elegance of its proportions, the entire composition being lit with the living flame of inspiration. But apart from its material beauty, its designer has succeeded in communicating to it an atmosphere of spiritual grace. The temple faces the east so that the rising sun at the equinoxes filters in a golden cadence through its openings, from doorway to corridor, past columned vestibules finally to fall on the image in its innermost chamber. In its passage the ray of the heavenly body to which the shrine is consecrated, quiver and shimmer on pillar and archway, giving life and movement to their graven forms, the whole structure appearing radiant and clothed in glory. To see this noble monument with its clustered columns not only rising like an exhalation, but mirrored in the still waters below, is to feel that its creator was more than a great artist, but a weaver of dreams”.

Temple of Vimala:

It is a contemporary structure of Modhera and although in much the same style, it differs in several material particulars. It is constructed entirely of white marble, and designed to conform to the usage of the Jain religion being one of the oldest and most complete examples belonging to that creed. Its interior including the pillars, is elaborated with sculptured forms. Vidyā-devīs form a prominent sculpture.

Rudra Mal:

It is situated at Sidhapur in its ruinous condition and was consecrated by Jayasiṃha Siddharāja, the hero king of Gujarat (1094-1142). It was one of the largest and most sumptuously decorated religious monuments of India, Of its wonderous beauty, Percy Brown records the Gujarati Ballad-Singer—see Brown p 148.

Somanatha:

It is a monument of legends and fascinating survival. It is a history and story woven into our very texture of life and death.