DOI Page / Citation link:
https://doi.org/10.11588/diglit.9541#0480
456
NORTHERN OR TXDO-AKYAN STYLE.
Book YT.
up of smaller repetitions of itself, which became at this age one of the
favourite modes of decoration, and afterwards an essential feature of
the style. Here it is managed with singular grace, giving great
variety and play of light and shade, without
unnecessarily breaking up the outline. The
roof of the porch, as seen in front, is a little
confused, but as seen on the Hank it rises
pleasingly step by step till it abuts against
the tower, every part of the internal arrange-
ment being appropriately distinguished on the
exterior.
If we compare the design of the Jaina
temple' (Woodcut No. 136) with that of this
building, we cannot but admit that the former
is by far the most elegant, but on the other
hand the richness and vigour of the Mahadeo
temple redeem its want of elegance and fasci-
nates in spite of its somewhat confused out-
line. The Jaina temple is the legitimate
outcrop of the class of temples that originated
in the Great Temple at Bhuvancswar, while
the Kandarya Mahadeo exhibits a complete development of that
Style of decoration which resulted in continued repetition of itself
on a smaller scale to make up a complete whole. Both systems have
their advantages, but on the whole the simpler seems to be preferable
to the more complicated mode of design.
Udaipur.
The examples already given will perhaps have sufficed to render
the general form of the Indo-Aryan temple familiar to the reader, but
as no two are quite like one another, their variety is infinite. There
is one form, however, which became very fashionable about the 11th
century, and is so characteristic that it deserves to be illustrated.
Fortunately a very perfect example exists at a place called Udaipur,
near Bhilsa, in the Bhopal territory.
As will be seen from the Woodcut (No. 255) the porch is covered
with a low pyramidal roof, placed diagonally on the substructure, and
rising in steps, each of which is ornamented with vases or urns of
varying shapes. The tower is ornamented by four flat bands, of
great beauty and elegance of design, between each of which are
thirty-five little repetitions of itself, placed one above the other
in five tiers, the whole surmounted by an amalaka, and an urn of
very elegant design. As every part of this is carved with great
precision and delicacy, and as the whole is quite perfect at the present
NORTHERN OR TXDO-AKYAN STYLE.
Book YT.
up of smaller repetitions of itself, which became at this age one of the
favourite modes of decoration, and afterwards an essential feature of
the style. Here it is managed with singular grace, giving great
variety and play of light and shade, without
unnecessarily breaking up the outline. The
roof of the porch, as seen in front, is a little
confused, but as seen on the Hank it rises
pleasingly step by step till it abuts against
the tower, every part of the internal arrange-
ment being appropriately distinguished on the
exterior.
If we compare the design of the Jaina
temple' (Woodcut No. 136) with that of this
building, we cannot but admit that the former
is by far the most elegant, but on the other
hand the richness and vigour of the Mahadeo
temple redeem its want of elegance and fasci-
nates in spite of its somewhat confused out-
line. The Jaina temple is the legitimate
outcrop of the class of temples that originated
in the Great Temple at Bhuvancswar, while
the Kandarya Mahadeo exhibits a complete development of that
Style of decoration which resulted in continued repetition of itself
on a smaller scale to make up a complete whole. Both systems have
their advantages, but on the whole the simpler seems to be preferable
to the more complicated mode of design.
Udaipur.
The examples already given will perhaps have sufficed to render
the general form of the Indo-Aryan temple familiar to the reader, but
as no two are quite like one another, their variety is infinite. There
is one form, however, which became very fashionable about the 11th
century, and is so characteristic that it deserves to be illustrated.
Fortunately a very perfect example exists at a place called Udaipur,
near Bhilsa, in the Bhopal territory.
As will be seen from the Woodcut (No. 255) the porch is covered
with a low pyramidal roof, placed diagonally on the substructure, and
rising in steps, each of which is ornamented with vases or urns of
varying shapes. The tower is ornamented by four flat bands, of
great beauty and elegance of design, between each of which are
thirty-five little repetitions of itself, placed one above the other
in five tiers, the whole surmounted by an amalaka, and an urn of
very elegant design. As every part of this is carved with great
precision and delicacy, and as the whole is quite perfect at the present