Thematic Area 1: New ways of looking at heritage Sub ... - Intbau

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Elevation Sub-DivisionsThe elevation was sub-divided into the Socle (up-peetha) (optional), Base (peetha), Pillars(stambha), Entablature (prastara), Attic (greeva), Roof (shikhara), and Finial (sthhupi). Theheights of these levels were in proportion to each other. For example for a two storey temple,the total height is divided into 28 parts comprising of a Base of 3 parts, first storey of 6 parts,entablature of first storey of 3 parts, second storey of 5 parts, entablature of second storey of2 parts, stereobate of attic of 1 part, Attic of 2 parts, Shikhara of 4 ½ parts and finial of 1 ½parts. Figure 16 shows these subdivisions for a two storey temple in Sarvakarmika mode.Figure 16: Vertical proportions of two storied Temple in Sarvakarmika (1:2) modeBuilding elementsThe building elements like pillars could be designed with a number of interdependentdimensions and proportions. The bottom diameter of a pillar could be 1/10 to 1/8 of itsheight; the top diameter equaled 11/12 to 5/6 of bottom diameter (Refer Figure 17). Thus, theproportional relation of the pillar with other building components was maintained and in thisway the entire building was a set of inter-related dimensions.Figure 17: Ratios of Pillar Height, bottom diameter and top diameter
NumbersApart from the proportions, the numbers of various building elements was also consideredimportant in the design of buildings. For humans, odd numbers were prescribed whereas forGods the numbers could be both even and odd. The texts prescribe a number of dimensions,proportions etc. For example, the number of foreparts or porches (bhadra) in a pavilion couldbe from one to four (Refer Figure 18).Figure 18: Numbers of foreparts in a pavilionCONCLUSIONAncient Indian architecture has well defined series of proportions for plan, elevation andbuilding elements. Proportions are prescribed for micro, meso and macro levels which aretime tested and are still appreciated in this age.This is mainly due to the nature of the Mayamatam text itself and of its subject which allowsthe specialist to give an interpretation, whether it be personal or guided by the fashions of thetime and place. The phenomenon is only possible because inspite of their doctrinairecharacter this treatise and others of the same group, leave to architects the right to originalityin the exercise of their art; in other words, the tradition is a guide more than it is a restraint[16].REFERENCES1 Coomaraswamy, A. K. (1985), - ‘Chapter 1, Aims of Indian Art’, pg 11, in Fundamentalsof Indian Art-vol.1, The Historical Research Documentation Programme, Jaipur.2. Chhaya, H D (1998), - ‘Vedic Spirit in Architecture’, Architecture + Design, pp 21-253. www.kamat.com/kalranga/people/pioneers/w-jones.htm. retrieved August 24, 20044. http://asi.nic.in/index2.asp?sublinkid=28, retrieved November 2, 20065. www.kamat.com/database/content/landscapes/william_hodges.htm, retrieved November 2,2006)6. www.newstodaynet.com/2005sud/05dec/ss8.htm, retrieved August 23, 20067. http://asi.nic.in/index2.asp?sublinkid=29, November 2, 20068. www.newstodaynet.com/2005sud/05dec/ss8.htm, August 23, 2006
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