The Temples of Deccan (1100-1300 A.D.)

This Decṇani [Deccani?] tract comprises an extensive area of the middle-west of the peninsula, being contained between the river Tapti on the north and the upper branch of the Kitsna on the south. It is this very part which is noted for notable architectural tradition, the finest examples of rock-cut mode such as Ajanta and Ellora. This tract from the standpoint of temple-evolution is sandwitched [sandwiched?] between two famous exuberances namely the Lāṭa towards the north and Chalukyan on the south. Despite the two divergent influences on its proximity on the north and the south, these temples display certain notable features of an independent and original order.

It has already been remarked in the previous introduction that three types of Śikharas were evolved—the cluster Śikhara, the Śikhara enmeshed in Gavākṣa and the composite Śikhara. These Deccanese temples illustrate this last variety.

Percy Brown also supports this:—

“One of the most prominent of the self-originated characteristics in the Deccani type of temple is observable in the design of the Śikhara, which is decidedly different from that of any other region. Instead of the turrets or urusringas being grouped around the lower part of this structure, as in most examples, the Deccan Śikhara has a pronounced vertical band carried up each of its angles, taking the form of a “spine” or quoin. This feature extends from the lower cornice right up to the finial, and displays functional qualities of a high order, as it follows the main contours of the spire thus holding the entire shape within its firm outline. (Plates LXXVI and XCV). Then the spaces between these quoins are filled in with rows of small reproductions of the Śikhara itself, each supported on a pedestal like an altar, the contrast of this strongly marked repeating pattern with the more delicate diaper on the quoins producing an effect of some emphasis’. The same principle was employed in the formation of the other portion of the temple scheme, as the pyramidal roof of mandapa is composed of diminishing rows of miniature multiples of itself, so that this singularly artistic system is the keynote of the composition as a whole.”

Deccanese temples are of not large size Even the largest of these that at Sinnar one of the most spacious, is of a very moderate size being barely 80 feet in entire length. It was necessiated [necessitated?] by a particular mode of their planning and construction. The proportions of the building were determined by a unit, this unit being the height of the monolith shaft of the pillar in interior which was dependent in its turn on the available stone from the quarry. The number of these temples is not very large hardly fifty in all, of which the ten are of some significance and they are enumerated in their chronological order—vide Percy Brown.

Ambarnatha.

The finest and the earliest of the group is the temple of Ambarnatha in the Thana District of the Bombay Presidency:

“In a delightful situation by the side of a long deep pool, this temple, when complete, was a model of rich perfection, typical of the style when the architect had been given a free hand and unlimited time. For there arc few buildings of the Indo-Aryan order, which display more refined architectural perception combined at the same time intricate decoration lavishly but tastefully applied. To the western eye disciplined to the principle of ornamental passages being balanced by plain spaces, such a tumult of sculptured forms distributed over every surface of the structure, the piling of ornament upon ornament, apparently defying all the accepted conventions of the building art, is bewildering. But a study of this temple reveals the fact that, although the plastic embellishment may lack restraint, and implies occasional formlessness, the architectural and functional treatment of the structure as a whole, is reasoned and logical”.

Another site containing buildings in this style in Khandesh (within the Deccan) is that of Balsene where there is a group of nine temples. Of these a triple-shrined structure is of much the same design as that of Ambarnatha. Although of lesser size and moderate proportions it is a building of considerable beauty and among its many ornate features, the shrine entrance is most striking a production. At the base of this door way are the usual groups of divinities and rising above these on each side is the decorative “nook-shaft” which characterizes the shrines of this class.

Now leaving a detailed treatment of other temples, let us dwell a little on Hemadpanti style in the words of Brown himself:

“During the latter half of the thirteenth century, and also extending into the early fourteenth century a considerable number of temples were built, which are referred to all over the Deccan as in the Hemadpanti style, their production being ascribed to a great patron of temple architecture of the name of Hemadpant. This semi-legendary personage has been identified as most probably a famous prime minister of Ramchandradeva, the last of the Devagiri rajas, who ascended the throne in A. D. 1272. A high and influential official, Hemadpant had a passion for temple building, and appears to have been responsible for the erection of many religious edifices within this region. The temples designated as Hemadpanti are distinguished by their heavy proportions and bald and uninteresting architectural treatment, and, what is particularly noticeable, the scarcity of figure sculpture on their exteriors. Common though the temples of this type are in the Deccan, some of the most representative examples being in the Berars, they are uninspiring conceptions, apparently illustrating the building art of these parts when the real spirit had gone out of it, under the ominous shadow of the impending Islamic domination”.