DOI Page / Citation link:
https://doi.org/10.11588/diglit.9541#0303
BOOK III.
ARCHITECTURE IX THE HIMALAYAS.
CHARTER I
kashmir.
CONTENTS. \
Temples—Marttand—Avantipore—Bhanijar.
Although neither bo beautiful in itself, nor so interesting either
from an artistic or historical point of view as many others, the archi-
tecture of the valley of Kashmir has attracted more attention in
modern times than that of any other styles in India, and a greater
number of special treatises have been written regarding it than are
devoted to all the other styles put together. This arises partly from
the beauty of the valley in which the Kashmiri temples are situated.
The beauty of its scenery has at all times attracted tourists to its
verdant snow-encircled plains, and the perfection of its climate has
induced them to linger there, and devote their leisure to the investi-
gation of its treasures, natural and artistic. In this respect their
fate is widely different from that of temples situated on the hot
and dusty plains of India, where every official is too busy to devote
himself to such a task, and travellers too hurried to linger for a
leisurely and loving survey of their beauties.
Apart, however, from this adventitious advantage, the temples
of Kashmir do form a group well worthy of attention. When one
or two spurious examples are got rid of, they form a complete and
homogeneous group, extending through about six centuries (a.d. 600
to a.d. 1200), singularly uniform in their development and very
local, being unlike any other style known in India. They have
besides this a certain classical element, which can hardly be mis-
taken, and is sufficient in itself to attract the attention of Europeans
who are interested in detecting their own familiar forms in this
remote valley in the Himalayas.
ARCHITECTURE IX THE HIMALAYAS.
CHARTER I
kashmir.
CONTENTS. \
Temples—Marttand—Avantipore—Bhanijar.
Although neither bo beautiful in itself, nor so interesting either
from an artistic or historical point of view as many others, the archi-
tecture of the valley of Kashmir has attracted more attention in
modern times than that of any other styles in India, and a greater
number of special treatises have been written regarding it than are
devoted to all the other styles put together. This arises partly from
the beauty of the valley in which the Kashmiri temples are situated.
The beauty of its scenery has at all times attracted tourists to its
verdant snow-encircled plains, and the perfection of its climate has
induced them to linger there, and devote their leisure to the investi-
gation of its treasures, natural and artistic. In this respect their
fate is widely different from that of temples situated on the hot
and dusty plains of India, where every official is too busy to devote
himself to such a task, and travellers too hurried to linger for a
leisurely and loving survey of their beauties.
Apart, however, from this adventitious advantage, the temples
of Kashmir do form a group well worthy of attention. When one
or two spurious examples are got rid of, they form a complete and
homogeneous group, extending through about six centuries (a.d. 600
to a.d. 1200), singularly uniform in their development and very
local, being unlike any other style known in India. They have
besides this a certain classical element, which can hardly be mis-
taken, and is sufficient in itself to attract the attention of Europeans
who are interested in detecting their own familiar forms in this
remote valley in the Himalayas.