ROCKCUT ARCHITECTURE AND ITS

EVOLUTION
CHARACTERISTICS AND EVOLUTION
1. The rock-cut art is more similar to sculpture than architecture as
structures were produced by cutting out solid rocks.
2. There are more than 1,500 known rock cut structures in India.
3. The oldest rock-cut architecture is found in the Barabar caves,
Bihar built around the 3rd century BC.
4. Accompanied by wooden structures-deteriorated over time.
5. Western Ghats- flat-topped basalt hills, deep ravines, and sharp
cliffs, - BEST SUITED for BUDDHIST culture.
6. 1st and 2nd centuries B.C.,- caves at Ajanta,
7. Buddhist monasteries- also used by traders as stop over lodgings.
8. With more exposure, cave interiors became more elaborate, with
interior walls decorated in paintings, reliefs, and intricate carvings.
9. Facades added to the exteriors
10. interiors- use specific - monasteries (viharas) and worship halls
(chaityas).
11. Simple caves evolved into free-standing buildings, needing formal
design, skilled artisans and craftsmen.
12. Early timber architecture, features and designs now replicated in
stone.
13. Examples of rock cut architecture are the Buddhist and Jain cave
basadi, temples and monasteries, many with gavakshas
(chandrashalas).
14. Although many temples, monasteries and stupas had been destroyed,
by contrast cave temples are very well preserved as they are both
less visible and therefore less vulnerable to vandalism as well as made
of more durable material than wood and masonry.
15. The earliest rock-cut garbhagriha, similar to free-standing ones later,
had an inner circular chamber with pillars to create a
 circumambulatory path (pradakshina) around the stupa and an outer
rectangular hall for the congregation of the devotees.
EXAMPLES

16. Examples: Cave temples at Ajanta

1. 29 caves
2. 4 chaitya halls, rest are viharas
3. belonging to both hinayana and mahayana style the first being
simpler the second being much more decorative and characterised
by images of the Buddha.
4. The caves are unique in that they combine three forms of art—
architecture, sculpture and painting.
5. Caves No. 13, 12, 10, 9 and 8 (according to chronological sequence)
belong to the Hinayana period
17. Example: Elephanta rock cut temple
18. Example: Ellora: Kailash Temple
19. Example: Rathas of Mahmallapuram/Mahabalipuram
1. The Pancha Rathas shrines were carved during the reign of King
Mahendravarman I and his son Narasimhavarman I.
2. The purpose of their construction is not known, structures are
not completed.
3. Pancha Rathas have been preserved very well thanks to sturdiness
of their material – granite and in spite of constant salty winds
from the ocean and catastrophic tsunami in 13th century.
4. Each of them is carved from a simple rock.
5. They are monolithic in structure.
6. They are similar to Buddhist viharas and chaityas.
7. They are pyramidal in shape.
8. Men and Gods are tastefully carved.
9.Each temple is a monolith, carved
whole from a rock outcropping of
pink granite.
10.The five monolithic shrines are
named after the Pandavas (Arjuna,
Bhima, Yudhishthira, Nakula and
Sahadeva) and Draupadi.
11.Four shrines have pyramidal
roofs, their original design traces
back to wood constructions.
12. Draupadi Ratha:
1. Draupadi ratha is the smallest and well finished.
 2. Vaulted roof.
3. Monolithic carving of lion on the west and nandi or Shiva’s on
east faces bull.
4. It is beside the Arjun ratha.
13. Arjun Ratha:
1. Plan form based on buddhist Vihara.
2. 4 Tiered Vimana.

14. Bhim Ratha:

1. Approach through double row of carved columns.
2. Pillared gallery running all around the roof.
3. Roof is like Buddhist vault.
4. Pillars have kumbha shaped capitals while at base are lions or
simhas.
15.Dharmaraj Ratha:
1.Dharmaraja ratha faces west
and is the most impressive and
sculpturally rich.
2.Three storeyed vimana
3.Square in its plan but
octagonal in the Vimana region
with a comical finial.
16.Nakul Sehdev Ratha:
1.Based on chaitya hall of
 buddhist temple with an apsidal end .
2. Double pillared portico.
3. four tier roof.
JAIN ARCHITECTURE
INTRODUCTION
1. Jain architecture is an offshoot of Hindu and Bhuddhist styles.
2. In the intial years, many Jain temples were made adjoining the
Bhuddhist temples following the Bhuddhist rock-cut architecture.
3. Initially these temples were mainly carved out of rock faces and the
use of bricks was almost negligible.
4. However, in later years Jains started building temple cities hills based
on the concept of “mountains of immortality.
5. The founder of Jainism is Vardamana or Mahaveer. The first one is
Adinath.
6. All of Jain temples are dedicated to one of the 24 thirthankars.
7. In Jain style of architecture, bricks were hardly used, and the
system of carving out temples from rock faces was adopted.
8. In late years when Jains discovered the concept of mountains of
immortality, they proceeded to deviate from Hindu and Bhuddhist
sites and build on their own.
9. An important aspect to be noted is that Hindus and Bhuddhist built
temples, Jains built temples cities on hills.
CHARACTERISTICS OF JAIN ARCHITECTURE
1. Jain temples have numerous pillars having a well designed
structure, forming square.
2. The squares thus formed create chambers, used as small chapels
and contains the image of a deity.
3. From these pillars are richly carved brackets that emerge at
about two third of their height.
4. The rooms of these temples have pointy domes and wherever
there is dome, the pillars are omitted to create an octagonal
space within.
5. The only variation in architecture specific to Jain temples is the
frequently seen four-faced or chaumukh design.
 6. In these four faced temples, the image of a Tirthankar faces
back to back to faces four cardinal directions.
7. Entry into these temples are also from four doors that face the
cardial directions.
8. The leading idea of the plan of the Jain temple is that of a
number of columns arranged squares.
9. Wherever it was intended to have a dome, pillars were omitted, so
as to leave spaces in the form of octagons.
10. By corbelling over the pendentives in level courses, the dome was
gradually formed.
11. The exits of Jain temples lead into a series of columned
chambers into the central halls of the temples.
12. These temples within a temple, divided into sanctums and
surrounded by a range of chapels and shrines, and the maze of
columns act as a defense against plunderers.
13. The principle impression gathered from these temples is the
variety sections but in harmony with each other.
14. The point spires above each dome is different, yet it signifies the
position of a chapel, hall or any other chamber inside.
EXAMPLES:
ADINATH TEMPLE, RANAKPUR
1. The Adinatha Temple is situated on the slope of a hill on the
western flank.
2. The plinth at the main entrance in the west has been constructed
visibly higher.
3. One can see innumerable shikhara towers, small shikharas, cupolas
and pyramids soar above the ensemble.
4. The Adinatha Temple has been constructed in light coloured
marble that have been brought from the quarries of Sonana and
Sewadi was used for the construction.
5. The temple occupies a wide space covering an area of 48000 sq
feet.
6. There are more than 1400 exquisitely carved pillars that support
the temple.
7. The temple stands on a basement of 60m x 62m.
8. The structure of the temple is very complex. It has four
different doorways that lead to the chambers.
9. Walking through these doorways one reaches the main hall where
the image of Adinath is installed.
10. The Adinatha temple has been conceived of as a chatur- mukha-
prasada, i.e., the idol faces all four cardinal directions.
11. At the central entrance there is a flight of stairs.
 12. On top of these stairs a three-storied “Balanaka” (entrance hall)
with domed roof.

13. The most striking fact about the temple is that it changes its
colour from golden to pale blue after every hour during the day.
14. The Sanctum is surrounded by halls, which are known as either
the sabha mandapa (assembly halls) or ranga mandapa
DILWARA TEMPLE, ABU
1. The Delwara temples consist of four temples of similar size.
2. Although each temple has symmetrical plan, there is no axis that
runs through this
group of temples as a
whole.
3.Space surrounding
the temples seems just
a residuary, and does
not form a public
square.
4.Two temples are
especially stunning. One
is Vimala Vasahi, which
 is dedicated to Adinatha, the first Tirthankara . The other is Luna
Vasahi, dedicated to Neminatha, the 22nd one.
5. The interior space of both temples is made of white marble.
6. Everywhere except the floors, from walls to ceilings as well as
columns and beams, are covered with extremely delicate
engravings.
7. This white and pure space is so gorgeous that it makes us feel as
if we are out of this world.
8. Above all a Domical ceiling of "Ranga mandapa" (open-type hall) is
carved concentrically with utmost intricacy. The central part of
it is sagging like a chandelier made of stalactite.
9. VIMALA VASAHI TEMPLE:
1. base measuring 33 x 14 m
2. It stands in the middle of a courtyard, surrounded by a double
arcade of pillars and an ambulatory lined by devakulikas or
subsidiary shrines.
3. The ranga mandapa is open from three sides.
4. Its eight pillars, forming an octagon, are lavishly embellished with
floral, geometrical and figural motifs and they are linked to
one another with elaborately scalloped and intricately carved
arches, so-called toranas
5. 12 decorated pillars
6. From the dome hangs down from the centre is a pendant in
the form of a lotus blossom
ROCKCUT ARCHITECTURE AND ITS EVOLUTION 1
CHARACTERISTICS AND EVOLUTION 1
EXAMPLES 2
1. Examples: Cave temples at Ajanta 2
2. Example: Elephanta rock cut temple 2
3. Example: Ellora: Kailash Temple 2
4. Example: Rathas of Mahmallapuram/Mahabalipuram 2
JAIN ARCHITECTURE 6
INTRODUCTION 6
CHARACTERISTICS OF JAIN ARCHITECTURE 6
EXAMPLES: 7
ADINATH TEMPLE, RANAKPUR 7
DILWARA TEMPLE, ABU 9