INDUS VALLEY

CIVILIZATION
 INDUS VALLEY CIVILIZATION
•MOHENJADORO
•HARAPPA

; Lahore,

Pup ar

HARAPPA

MOHENJODARO
 INDUS VALLEY CIVILIZATION
TOWN PLANNING CONCEPT

•SOPHISTICATED & ADVANCED URBAN CULTURE

•STREETS IN PERFECT GRID PATTERNS IN BOTH MOHENJODORO & HARAPPA
•WORLD'S FIRST SANITATION SYSTEM
•INDIVIDUAL WELLS AND SEPARATE COVERED DRAINS ALONG THE
STREETS FOR WASTE WATER
•HOUSES OPENED TO INNER COURTYARDS & SMALLER LANES
•IMPRESSIVE DOCKYARDS, GRANERIES, WAREHOUSES, BRICK PLATFORMS &
PROTECTIVE WALLS
•MASSIVE CITADELS PROTECTED THE CITY FROM FLOODS & ATTACKERS
•CITY DWELLERS - TRADERS & ARTISANS
•ALL THE HOUSES HAD ACCESS TO WATER & DRAINAGE FACILITIES
 MOHENJODARO
DEVELOPMENT OF CITIES

•CITIES GREW OUT OF EARLIER VILLAGES THAT EXISTED IN THE SAME

LOCALITY
•GREW IN SIZE & DENSITY AND SURROUNDED BY NUMEROUS TOWNS &
VILLAGES
•CITIES INTERLINKED BY TRADE & ECONOMIC ACTIVITIES, RELEGIOUS
BELIEFS, SOCIAL RELATIONS,ETC
MOHENJODARO
•NO FORTIFICATION
•MAJOR STREETS IN NORTH SOUTH
DIRECTION
•INTERSECTION AT RIGHT ANGLES
•STREETS WITHIN BUILT UP AREAS WERE
NARROW
•DISTINCT ZONING FOR DIFFERENT
GROUPS
 MOHENJODARO
SETTLEMENT DIVISIONS

•RELEGIOUS, INSTITUTIONAL & CULTURAL

AREAS - AROUND MONASTERY & GREAT BATH
IN THE WESTERN PART
Great Bath •NORTH - AGRICULTURE & INDUSTRIES
Granary
•SOUTH - ADMINISTRATION, TRADE &
COMMERCE
 MOHENJODARO
CONSTRUCTION TECHNIQUES

•BUILDINGS - MASONRY CONSTRUCTION BY SUN DRIED BRICKS

•RANGING FROM 2 ROOMS TO MANSIONS WITH MANY ROOMS
•UNDERGROUND SEWERAGE & DRAINAGE FROM HOUSES
•HELICAL PUMPS FOR PUMPING WATER IN GREAT BATH
•PRINCIPAL BUILDINGS - MONASTRY & BATH - INDICATING RELIGIOUS
CULTURE
 MOHENJODARO
GREAT BATH •12X7X3 M IN DIMENSIONS
•EARLIEST PUBLIC WATER TANK IN
ANCIENT WORLD
•LEDGE EXTENDS FOR THE ENTIRE WIDTH
OF POOL
•WATERTIGHT FLOOR - THICK LAYER OF
BITUMEN
•FLOOR SLOPES IN SOUTH WEST CORNER
WITH A SMALL OUTLET CONNECTING TO A
BRICK DRAIN
•ROOMS LOCATED IN THE EAST
 MOHENJODARO
GRANARY

•50X40 M IN DIMENSION, 4.5 M TALL

•MASSIVE MUD BRICK FOUNDATION
•2 ROWS OF SIX ROOMS ALONG A CENTRAL PASSAGEWAY [7M WIDE &
PAVED WITH BAKED BRICKS]
•EACH ROOM 15.2X6.1 M HAS 3 STEEPER WALLS WITH AIRSPACE BETWEEN
•A WOODEN SUPERSTRUCTURE SUPPORTED IN SOME PLACES BY LARGE
COLUMNS WOULD HAVE BEEN BUILT ON TOP OF THE BRICK FOUNDATIONS,
WITH STAIRS LEADING UP FROM THE CENTRAL PASSAGE AREA.
•SMALL TRIANGULAR OPENIGS - AIR DUCTS FOR FRESH AIR BENEATH
HOLLOW FLOORS
•THE LARGE SIZE OF THE GRANARY PROBABLY INDICATES A HIGHLY
DEVELOPED AGRICULTURAL
HARAPPA

•23000 POPULATION
•150 HECTARES
•EARLIEST CITY COVERED AN AREA OF 25
HA.
•IT BECAME A CENTRE FOR TRADE NETWORKS
EXTENDING FROM BALUCHISTAN AND
AFGHANISTAN TO THE WEST OF THE
SEACOAST IN THE SOUTH.
•TOWNS BUILT OVER RAISED MUD BRICK
PLATFORMS
 HARAPPA
TOWN PLANNING
•LOWER TOWN SURROUNDED BY A MASSIVE BRICK WALL.
•CITADEL HAD SQUARE TOWERS.
•LARGE OPEN AREAS INSIDE THE GATEWAY MAY HAVE BEEN USED AS A
MARKET OR CHECKPOINT FOR TAXING GOODS COMING INTO THE CITY
•OUTSIDE THE CITY WALLS A CLUSTER OF HOUSES MAY REPRESENT
TEMPORARY REST STOPS FOR TRAVELLERS AND CARAVANS
•NO DIVISION OF THE SOCIETY IS REFLECTED IN THE LAYOUT OF THE
CITY. SINCE LARGE PUBLIC BUILDINGS, MARKET AREAS, LARGE AND SMALL
HOUSES AS WELL AS CRAFT WORKSHOPS HAVE BEEN FOUND IN THE SAME
NEIGHBOURHOOD.
•BARRACK-LIKE GROUP OF SINGLE-ROOMED TENEMENTS WERE FOR THE
POORER CLASSES
 HARAPPA
TOWN PLANNING

•BASIC HOUSE PLANS

SINGLE ROOM TENEMENTS
HOUSES WITH COURTYARDS
•HOUSES - ROOMS ON 3 SIDES OPENING INTO A CENTRAL COURTYARD
•NEARLY ALL LARGE HOUSES HAD PRIVATE WELLS.
•HEARTHS ( BRICK- OR STONE-LINED FIREPLACE OR OVEN OFTEN USED FOR
COOKING AND/OR HEATING) COMMON IN ROOMS.
•BATHROOMS IN EVERY HOUSE WITH CHUTES LEADING TO DRAINAGE
CHANNELS.
•FIRST FLOOR BATHROOMS ALSO BUILT.
•BRICK STAIRWAYS PROVIDED ACCESS TO THE UPPER FLOORS.
•HOUSES BUILT WITH A PERIMETER WALL AND ADJACENT HOUSES WERE
SEPARATED BY A NARROW SPACE OF LAND.
 HARAPPA
TOWN PLANNING

•GRANARY WITH AREAS FOR THRESHING GRAINS.

•BURNT BRICKS MAINLY USED FOR DRAINS, WELLS AND BATHROOMS.
•SUN DRIED BRICKS USED MAINLY FOR FILLINGS.
•TIMBER USED FOR FLAT ROOFS AND AS FRAMES OR LACING FOR
BRICKWORK
 HARAPPA
ARCHITECTURE

•BUILDING MATERIALS - MUD BRICKS AND BAKED BRICKS, WOOD AND

REEDS.
•THE AVERAGE SIZE OF THE BRICKS WAS 7 X 12 X 34 CM (FOR HOUSES) AND
10 X 20 X 40 CM FOR THE CITY WALLS. THE LARGER BRICKS HAVE A
STANDARD RATIO OF 1:2:4.
•MUD BRICK, BAKED BRICK & WOOD OR STONE WERE USED FOR THE
FOUNDATION AND WALLS OF THE HOUSES.
•THE DOORS ,WINDOWS WERE MADE FROM WOOD AND MAT.
•HOUSE FLOORS -HARD-PACKED EARTH
•BATHING AREAS AND DRAINS - BAKED BRICK AND STONE.
 HARAPPA
ARCHITECTURE

•BUILDING MATERIALS - MUD BRICKS AND BAKED BRICKS, WOOD AND

REEDS.
•ROOFS -WOODEN BEAMS COVERED WITH REEDS AND PACKED CLAY.
•LARGEST BUILDINGS MADE ENTIRELY OF WOOD.
ARCHITECTURE
•WINDOWS - SHUTTERS & LATTICE WORK
 HARAPPA
ARCHITECTURE LARGE PUBLIC STRUCTURES

•LARGE BUILDINGS -ADMINISTRATIVE OR RITUAL STRUCTURES.

•ACCESS ROUTES OR PROVIDED THOROUGH FARE FROM ONE AREA TO
ANOTHER.
•MARKETS AND PUBLIC MEETINGS HELD IN LARGE OPEN COURTYARDS.
•HOUSES AND PUBLIC BUILDINGS GROUPED WITH SHARED WALLS AND
FORMED LARGER BLOCKS & ACCESSED BY WIDE STREETS.
•MOST HOUSES HAD PRIVATE BATHS &TOILETS AS WELL AS PRIVATE
WELLS.
 HARAPPA
DRAINAGE SYSTEM

•WELLS AND RESERVOIRS - DRINKING AND BATHING.

•WELLS WERE LINED WITH SPECIALLY-MADE WEDGE-SHAPED BRICKS TO
FORM A STRUCTURALLY SOUND CYLINDER.
•ROPES WERE USED TO LIFT THE WATER OUT, PROBABLY WITH
LEATHER OR WOODEN BUCKETS.
•SOME NEIGHBOURHOODS HAD COMMUNAL WELLS.
•BATHING PLATFORMS WITH WATER TIGHT FLOOR & DRAINS [OPEN OUT
TO LARGER DRAINS IN STREETS ] PROVIDED IN ROOMS ADJACENT TO THE
WELLS.
•DRAINS AND WATER CHUTES IN THE UPPER STOREYS WERE OFTEN BUILT
INSIDE THE WALL WITH AN EXIT OPENING JUST ABOVE THE STREET
DRAINS.
 HARAPPA
DRAINAGE SYSTEM

•TAPERED TERRACOTTA DRAINPIPES WERE USED TO DIRECT WATER OUT TO

THE STREET.
•MANY HOUSES HAD DISTINCT TOILETS, SEPARATE FROM THE BATH
AREAS.
•COMMODES WERE LARGE JARS OR SUMP POTS SUNK INTO THE FLOORS
AND MANY OF THEM CONTAINED A SMALL JAR.
•DRAINS COVERED WITH BAKED BRICKS OR DRESSED STONE BLOCKS.

GARBAGE BINS WERE PROVIDED ALONG THE MAJOR STREETS.

 DECLINE OF INDUS VALLEY CIVILISATION
BY ABOUT 1700 B.C. THE HARAPPAN CULTURE WAS ON THE VERGE OF
DECLINE. THE PHYSICAL EXISTENCE OF THE CIVILIZATION ENDED DUE TO
VARIOUS FACTOR.
•ECOLOGICAL CHANGES LED TO THE DECLINE OF LAND AND AGRICULTURE.
THESE CHANGE ENFORCING THE NEED TO EVACUATE TO OTHER AREAS
MIGHT HAVE BEEN THE REASON FOR THE DISINTEGRATION OF THE INDUS
VALLEY.
•INCREASE IN POPULATION, DECLINE IN AGRICULTURE MIGHT HAVE
CREATED ECONOMIC PROBLEMS LEADING TO THE GRADUAL DECAY OF THE
CULTURE.
•THE CHANGES IN THE RIVER FLOW PATTERN AND CORRESPONDENT
WIDESPREAD FLOODING MIGHT HAVE ONE REASON.
•THE INVASION(ATTACK) OF ARYANS IS THE OTHER VIEW THAT IS SAID
TO BE ANOTHER REASON WHICH MIGHT HAVE ALSO LED TO BE DECLINE OF
THE INDUS VALLEY.
 VEDIC PERIOD
IN THE VEDIC PERIOD , THE TOWN PLANNING WAS DONE ON SCIENTIFIC
FOOTING. THE PRINCIPLES OF TOWN PLANNING ARE MENTIONED IN SOME
SACRED BOOKS .

IN VISHWAKARMPRAKASH IT IS STATED THAT

“FIRST LAYOUT THE TOWNS AND THEN PLAN THE HOUSES”

THIS PRINCIPLE HOLDS GOOD EVEN TODAY

MANASARA SILPSHASHTRA I.E. ARCHITECTURE BY MANSARA ALSO

DEALS WITH MANY IMPORTANT ASPECTS OF TOWN PLANNING
ACCORDING TO MANASARA THE FOLLOWING MUST BE STUDIED
BEFORE SELECTING A SITE
 STUDY OF SOIL
CLIMATIC CONDITION
TOPOGRAPHY
 FIXING ORIENTATION TO GET MAXIMUM ADVANTAGE OF THE SUN
AND WIND
 SELECTING A VILLAGE SITE
•MANSARA DECLARES THAT A CAREFUL EXAMINATION OF ITS POSITION
AND SOIL IS FIRST NECESSARY .

•BEST SITE --- SLOPE TOWARDS EAST TO GET MAX. MORNING SUN

--- NEAR A STREAM RUNNING LEFT TO RIGHT

--- WELL DIGGER SHOULD FIND WATER AT 7’

• AVOID SITES INCLINED TOWARDS N.E. AND N.W.

•SOIL ---SOIL SHOULD BE FIRM

--- OF AGREEABLE ODOUR

--- SUITABLE FOR GROWING VARIOUS KINDS OF SHADE AND

FRUIT TREES, VEGETABLES AND FLOWERS.

• AVOID STONY GROUND , THOSE IN WHICH HUMAN GRAVES, DISUSED

WELLS , CAVES , OR REFUSE OF ANY KIND.
 PLANNING VILLAGE LAYOUT
THE GENERAL PLANNING OF THE LARGER VILLAGES FOLLOWED THE
COSMIC CROSS,
AND THE SO-CALLED MAGIC SQUARE, REPRESENTING THE FOUR QUARTERS
OF THE UNIVERSE;
THEY WERE THE BEST FOR PURPOSES OF DEFENSE AND GAVE THE MOST
HEALTHY, PLEASANT, AND PRACTICAL LAY-OUT FOR AN INDIAN VILLAGE OR
TOWN.
THE EASTERLY AXIS OF THE PLAN ENSURED THAT THE PRINCIPAL
STREETS WERE PURIFIED BY THE RAYS OF THE SUN SWEEPING THROUGH
THEM FROM MORNING TILL EVENING;
WHILE THE INTERSECTION OF MAIN STREETS BY SHORTER ONES
RUNNING NORTH AND SOUTH PROVIDED A PERFECT CIRCULATION OF AIR
AND THE UTMOST BENEFIT OF THE COOL BREEZES.
THE TWO PRINCIPAL STREETS WHICH FORMED THE ARMS OF THE COSMIC
CROSS WERE BROAD AVENUES, PROBABLY PLANTED WITH TREES. THE LONG
ONE, RUNNING EAST AND WEST, WAS CALLED RAJAPATHA-KING'S
STREET; THE SHORT ONE, WHICH POINTED NORTH AND SOUTH, WAS
MAHAKALA -BROAD STREET,
ANCIENT TOWN CLASSIFICATION

•DANDAKA
•SARVATHOBHADRA
•NANDYAVARTA
•PADMAKA
•SWASTIKA
•PRASTARA
•KARMUKA
•CHATURMUKHA
 ANCIENT TOWN CLASSIFICATION
•DANDAKA
•STREETS ARE STRAIGHT AND CROSS EACH
OTHER AT RIGHT ANGLES AT THE CENTRE
•VILLAGE HAS 4 GATES ON FOUR SIDES
•VILLAGE IS RECTANGULAR / SQUARE
•WIDTH OF THE STREET VARIES FROM ONE -
FIVE DANDA
•2TRANSVERSE STREET AT THE
EXTREMITIES HAVE SINGLE ROW OF
HOUSES
•THE VILLAGE OFFICES LOCATED IN THE
EAST.
•THE FEMALE DEITY–LOCATED OUTSIDE THE
VILLAGE AND THE MALE DEITIES IN THE
NORTHERN PORTION
 ANCIENT TOWN CLASSIFICATION
•SARVATHOBHADRA

•THIS TYPE OF TOWN PLAN IS APPLICABLE

TO LARGER VILLAGES AND TOWNS,
WHICH HAVE TO BE CONSTRUCTED ON A
SQUARE SITES.
•ACCORDING TO THIS PLAN, THE WHOLE
TOWN SHOULD BE FULLY OCCUPIED BY
HOUSES OF VARIOUS DESCRIPTIONS AND
INHABITED BY ALL CLASSES OF PEOPLE.
•THE TEMPLE DOMINATES THE VILLAGE
 ANCIENT TOWN CLASSIFICATION
NANDYAVARTA
•THIS PLAN IS COMMONLY USED FOR THE CONSTRUCTION OF TOWNS AND
NOT FOR VILLAGES.
•IT IS GENERALLY ADOPTED FOR THE SITES EITHER CIRCULAR OR SQUARE
IN SHAPE, 3000 - 4000 HOUSES
•THE STREETS RUN PARALLEL TO THE CENTRAL ADJOINING STREETS WITH
THE TEMPLE OF THE PRESIDING DEITY IN THE CENTER OF THE TOWN.
 ANCIENT TOWN CLASSIFICATION
PADMAKA

•THIS TYPE OF PLAN WAS PRACTICED FOR

BUILDING OF THE TOWNS WITH FORTRESS
ALL ROUND.
•THE PATTERN OF THE PLAN RESEMBLES THE
PETALS OF LOTUS RADIATING OUTWARDS
FROM THE CENTER.
•THE CITY USED TO BE PRACTICALLY AN
ISLAND SURROUNDED BY WATER, HAVING
NO SCOPE FOR EXPANSION
 ANCIENT TOWN CLASSIFICATION
SWASTIKA

•SWASTIKA TYPE OF PLAN CONTEMPLATES

SOME TREETS DIVIDING THE SITE INTO
CERTAIN RECTANGULAR PLOTS.
•THE SITE NEED NOT BE MARKED OUT INTO A
SQUARE OR RECTANGLE AND IT MAY BE OF
ANY SHAPE.
•A RAMPART WALL SURROUNDS THE TOWN,
WITH A MOAT AT ITS FOOT FILLED WITH
WATER.
•TWO MAIN STREETS CROSS EACH OTHER AT
THE CENTER, RUNNING SOUTH TO NORTH AND
WEST TO EAST.
 ANCIENT TOWN CLASSIFICATION
PRASTARA
•THE CHARACTERISTIC FEATURE OF THIS
PLAN IS THAT THE SITE MAY BE EITHER
SQUARE OR RECTANGULAR BUT NOT
TRIANGULAR OR CIRCULAR.
•THE SITES ARE SET APART FOR THE POOR,
THE MIDDLE CLASS, THE RICH AND THE VERY
RICH, THE SIZES OF THE SITES INCREASING
ACCORDING TO THE CAPACITY OF EACH TO
PURCHASE OR BUILD UPON.
•THE MAIN ROADS ARE MUCH WIDER
COMPARED TO THOSE OF OTHER PATTERNS.
•THE TOWN MAY OR MAY NOT BE
SURROUNDED BY A FORT.
 ANCIENT TOWN CLASSIFICATION
KARMUKA
•THIS PLAN IS SUITABLE FOR THE PLACE WHERE THE SITE OF THE TOWN
IS IN THE FORM OF A BOW OR SEMI-CIRCULAR OR PARABOLIC AND MOSTLY
APPLIED FOR TOWNS LOCATED ON THE SEASHORE OR RIVERBANKS.
•THE MAIN STREETS OF THE TOWN RUN FROM NORTH TO SOUTH OR EAST
TO WEST AND THE CROSS STREETS RUN AT RIGHT-ANGLES TO THEM,
DIVIDING THE WHOLE AREA INTO BLOCKS.
•THE PRESIDING DEITY, COMMONLY A FEMALE DEITY, IS INSTALLED IN
THE TEMPLE BUILD IN ANY CONVENIENT PLACE.
 ANCIENT TOWN CLASSIFICATION
CHATURMUKHA

•CHATURMUKHA TYPE OF PLAN IS

APPLICABLE TO ALL TOWNS STARTING
FROM THE LARGEST TOWN TO THE
SMALLEST VILLAGE.
•THE SITE MAY BE EITHER SQUARE OR
RECTANGULAR HAVING FOUR FACES.
•THE TOWN IS LAID OUT EAST TO
WEST LENGTHWISE, WITH FOUR
MAIN STREETS.
•THE TEMPLE OF THE PRESIDING
DEITY WILL BE ALWAYS AT THE
CENTER
BUDDHIST ARCHITECTURE
• The Buddhist architecture has its root deeply
implanted in the Indian soil- the birthplace of
the Buddha's teachings.
• The Buddhist architecture began with the
development of various symbols, representing
aspects of the Buddha's life (563 BCE - 483 BCE).
• Indian emperor Ashoka, not only established
Buddhism as the state religion of his large
Magadh empire, but also opted for the
architectural monuments to spread Buddhism in
different places.
• The major features of
this style are
Stupas or Tops
stambhas or lats
chaitayas
viharas and
Monastaries
• these have been mere
spectators of different
eras quietly speaks
about the phases of
the Buddhist stages.
 STUPA

• A stupa is a mound-like
structure containing
buddhist relics, typically
the remains of Buddha,
used by Buddhists as a
place of worship.
• These stupas are the
circular tumuli built of
earth, covered with stone
or brick, the plan,
elevation, section and the Stupa become a cosmic symbol in response
total form of which were to a major human condition: death. With
the enlightenment of the Buddha, stupa
all derived from circle. became a particularly buddhist symbol.
 STUPA

• The spherical dome Symbolised the infinite space

of sky. This dome is also called “Anda” or Egg.
• At the top of the dome was a small square
balcony in decorative form called “Harmika” and
enclosed by a Pedestal as a mark of dignity.
STUPA
STUPA
STUPA

Pradakshina path is fenced by Railing or

‘Vedica’ 3.35m high
 SANCHI STUPA
• there are mainly
three main stupas
on the top of the
sanchi hill which
rise about 100m
above the plain.
• Of the three stupa
the biggest one is
known as the great
stupa.
 THE GREAT STUPA, SANCHI
•The 'Great Stupa' at Sanchi is the
oldest stone structure in India and
was originally commissioned by the
emperor Ashoka the Great in the
3rd century BCE.
•Its nucleus was a simple
hemispherical brick structure built
over the relics of the Buddha.
•It was crowned by the chatra, a
parasol-like structure symbolizing
high rank, which was intended to
honour and shelter the relics.
•It has four profusely carved
ornamental gateways and a
balustrade encircling the whole
structure.
•DOME- is a solid brick-work 32.32m
in diameter and 12.8m high.
•The dome has a slight ‘crushed’
profile at top and was surmounted
by HARMIKA with a central triple
UMBRELLA.
•The facing of the dome consists of
dry masonry composed of hammer
dressed stones laid in even courses.
•The terrace 4.87m high from
ground was added thus creating a
separate and upper AMBULATORY
passage 1.8m wide access to which
was provided by a double staircase
with high BALUSTRADE, on the
south side

Plan and elevation

•There are four gateways known as ‘TORANAS’ at the cardinal points to the
compass and are slightly staggered from the railing enclosing stupa.

•Torans consists of two square uprights column with capital of lion or elephant
heads denoting strength. These columns support three separate horizontals
panels between each of which is a row of ornamental balusters.

•The total height of the Torana is somewhat 10.36 m with a width of 3m.
•The ambulatory or pradakshina path is fenced by railing 3.35m high all around
the stupa.

•The vedika or railing consists of octagonal in plan 45 cm in diameter spaced at

60 to 90 cm from each other and connected by three horizontal lens called
“Suchi”.

•The top horizontal bar is provided with coping “Ushnisha” to drain out rain
water.

•Outside the railing there once stood the famous ashoka pillar, at the right side
of southern torana.
Axonometric drawing
 TORANA
•Toranas, the entrance to the
ambulatory were accepted as the
traditional type of ceremonial potals
and excel the array of architectural
embellishment.
•Torana consists of two square uprite
columns with capital of lion or elephant
heads denoting strength.
•These columns support three separate
horizontal panels between each of
which is a row of ornamental balusters.
•These panels are supported by
atlantean figures, a group of dwarfs,
lions and elephant.
•The total height of this erection is
somewhat 10.36m with a width of 3m
 RAILING OR VEDICA
•THE VEDICA OR RAILING
CONSISTS OF UPRIGHT
OCTAGONAL PLAN 45CM IN
DIAMETER SPACED AT 60 TO
90CM FROM EACH OTHER AND
CONNECTED BY THREE LENS
SHAPED HORIZONTALS CALLED
‘SUCHI’ OR NEEDLES 60CM DEEP
BEING THREADED THROUGH THE
HOLES OF THE UPRIGHT.
•THE TOP HORIZONTAL BAR IS
PROVIDED WITH COPING TO
DRAIN OUT RAIN WATER.
 STUPA AT AMARAVATI
The Great Stupa at Amaravati was a
large Buddhist monument built in
south-eastern India between the
second century B.C. and the third
century A.D. It was a centre for
religious activity and worship for
hundreds of years.

The Stupa was part of a complex

of religious buildings built and
paid for by local people. Over
time, the Stupa was added to and
changed many times.
 STUPA AT AMARAVATI
•This Amravati Stupa is situated on the bank of Krishna river 35 km from Guntur in Andhra
Pradesh.

•It consist of an anda, egg or dome of about 50 m in diameter raising to a height of 30m.

•A terrace or medhi 5 m high from the ground was added forming a separate Pradakshina
path about 2m wide.

•The upper part of the dome was plastered and ornamented and the lower part of the
dome was covered by huge slab of marble. Measuring 2 – 3 m wide and also covered with
ornamentation.
•In this stupa there is some changing or improvement in Architectural appearance by
providing a rectangular platform to the base of the dome at four cardinal points.

•These platform provides a base for a group of five Aryakas. Each pillar nearly 6m in height
which represents five stages of buddha’s life.

•The entire dome was enclosed by a 4m high and 60m diameter stone railing “vedika”
highly ornamented with Chakras, trees, men, animals and figure of buddha.

•Here the railing is intercepted by four doors ways called “Simha dwaras”.
STUPA AT AMARAVATI
STUPA AT AMARAVATI
 HARMIKA DOME (UPPER)

The main part of the Amaravati Stupa was a

solid great dome which most likely stood about
This relief shows a stupa with 18 meters high. The dome was made of pale
a harmika and umbrellas. green limestone which was probably painted
with bright colors.
DOME (LOWER) GATEWAY
There were four gateways in the
railing around the Stupa. Each one of
the gateways marked one of the four
directions, north, south, east and
west.

AYAKA PLATFORM
A small platform extended out from the
drum at each of the gateways. Five
pillars were mounted on top of each of
The lower part of the dome was the ayaka platforms. The ayaka
covered with large stone reliefs. This platform may have been used in the
section of sculpture shows different rituals which took place at the
scenes from the Buddha's life. Amaravati Stupa.
 PILLAR
Facing each gateway into the Amaravati Stupa was a group of five pillars. The
pillars were mounted on a special platform called the ayaka which was part
of the drum and extended out from it.
 RAILING LION
Around the outer limits of the Stupa was a Lion sculptures were placed at the
tall railing made of limestone. The railing gateways to the Amaravati Stupa. Lions
marked the boundaries of the Stupa. represented power and strength and
were meant to ward off evil spirits and
protect the Stupa.
 Dharmekh Stupa, Sarnath, India

•THE STUPA AT SARNATH MARKS

THE SPOT WHERE THE BUDDHA
GAVE HIS FIRST SERMON AFTER
ATTAINING ENLIGHTENMENT.

•THE PRESENT STUPA IS 31.3

METERS TALL AND 28.3 METERS
WIDE/ 128 FEET HIGH AND 93
FEET IN DIAMETER.

• SWASTIKA AND LOTUS

WREATH DESIGNS COVER THE
LOWER PORTION.
niche
RUINS IN THE NEARBY FIELDS.
 STAMBHAS OR LATS
•These pillars are common to all the styles of Indian
architecture. With the Buddhist they were
employed to bear inscriptions on their shafts, with
emblems or animals on their capital.

•Typical Buddhist column are of two type one is

based on persepolitian type and other graeco-roman
type.

• Persepolitian type is a octagonal with bell shaped

capital supporting animal sculpture. The shaft is
highly polished and has a vase-shaped base.

• Graeco-roman type is rectangular with shallow

flutes. They are tall and slender, the height nearly
six to eight times its lower diameter. At the top is a
capital usually with a fluted vase motif.
 ASHOKA PILLARS
•The authentic examples of these pillars are those which king Ashoka set up to
bear inscriptions conveying to his subjects the leading doctrines of the new faith
he had adopted, Buddhism. These are sturdy, finely proportional and properly
balanced religious sign posts

•THE PILLAR AT SARNATH MORE THAN 15M HIGH

HAS A GROUP OF FOUR ADDORESED LIONS WITH
FLOWING MANES, SURMOUNTING THE CAPITAL.

•THESE LIONS ORIGINALLY SUPPORTED A MASSIVE

METAL WHEEL WITH 24 SPOKES CALLED ‘WHEELS OF
THE LAW’.

•THE CAPITAL MORE THAN 2M HIGH RESEMBLES THE

SHAPE OF A INVERTED BELL OR LOTUS BUB WITH
SERIES OF FLUTED PETALS.

•ABOVE THE CAPITAL IS THE ABACUS WHICH IS

CIRCULAR, HAVING BROAD EDGE CARVES WITH
ORNAMENTAL BORDERS, CONTAINING FOUR FIGURE
OF ANIMALS ALTERNATE WITH THE FOUR SMALL
WHEELS
ASHOKA PILLARS
ASHOKA PILLARS
 CHAITYAS
•CHAITYAS or ‘SACRED SPOTS’ are the
temples as well as assembly halls created out
of the particular demands of buddhist religion.
These became necessary to accommodate
those who congregated to pay their homage.

•These have a small rectangular door-way

which opens to a vaulted hall, with apsidal end
and divided longitudinally by two colonnades
forming a broad nave in the centre and two
side aisles.

•At end is a stupa also carved in natural rock

with enough space around it for
circumambulation

•THE ROOF IS USUALLY SEMI-CIRCULAR.

1-stupa, 2-nave, 3-aisles, 4-entry

 CHAITYA AT
KARLI

•The entrance of the chaitya is very grand and consists of three doorways set underneath a
gallery.
•The chaitya hall is 38.5m long and 13m wide with a vaulted roof rising to a height of 13.7m.
•The roof is supplemented by a series of wooden ribs which are closely spaced.
•The hall is divided by two rows of columns forming a broad nave in the centre.
•Each column is 1.22m in diameter and 7.32m high, with bell shapes capital which supports a
pair of kneeling elephants carrying male and female riders and those of horses and tigers in
the rear.
•The shaft is octagonal in shape and has a vase-shapes base.
•At the end is a stupa, caved in natural rock, with railing and inverted stepped pyramid or tee
at the top.
•A beautiful ‘lat’ surmounting with four addorsed lions is erected at the entrance of the
chaitya.
 FEATURES

Detail of wooden frame for window

Facade of chaitya hall at karli

Richly carved pillars Couples on elephant

Section in perspective of rock-cut chaitya hall at karli
 ELEPHANTA CAVES
•The cave temple of Shiva, located on
Elephanta Island in Bombay Harbor, was
excavated out of the rock sometime in the 6th
century.
•The Elephanta caves are a network of
sculpted caves located on Elephanta island.
•The island has two groups of caves in the rock
cut architectural style.
•The primary cave numbered as Cave 1 is a
rock cut temple and consists of a main
chamber, two lateral chambers, courtyards,
and subsidiary shrines.
•Inside, it contains a square linga shrine. The
interior of the cave is decorated with a dozen
large relief sculptures of the great god Shiva in
his fierce and kindly aspects.
•On the eastern part of the island, on the
Stupa Hill, there is a small group of caves that
house Buddhist monuments
 Main cave
•The main cave, also called the Shiva
cave, Cave 1, or the Great Cave, is 27
meters (89 ft) square in plan with a
hall (mandapa).
•At the entrance are four doors, with
three open porticoes and an aisle at
the back. Pillars, six in each row,
divide the hall into a series of smaller
chambers.
• The roof of the hall has concealed
beams supported by stone columns
joined together by capitals.
•The central Shiva shrine is a free-
standing square cell with four
entrances, located in the right
section of the main hall. The main cave blends features such as massive
•Smaller shrines are located at the figures of the divinities, guardians, and square
east and west ends of the caves. The pillars with custom capitals with Gupta artistic
eastern sanctuary serves as a characteristics, like the depiction of mountains
ceremonial entrance. and clouds and female hairstyles.
 MAIN CAVE SHRINE
•The central shrine is a free-standing
square cell, with entrances on each of its
sides. Each door is flanked by two
dvarapalas (gate keepers).
•The linga, the symbol of Shiva in union
with the yoni, and the symbol of Parvati
together symbolize the supreme unity
that is deified by the shrine.
The height of the eight dvarapalas varies
from 14.833–15.167 feet (4.521–4.623 m)

Hindu cave No 2 is located to the south-east is destroyed, interior has been damaged by
water. to the south there is cave No 3 damaged by stagnant water. To the north cave No 5
it has been abandoned soon after the start of construction.

The 173 m high Stupa Hill is located in the eastern part of island. It contains two caves
with Buddhist monuments and also cisterns from 3rd century AD or earlier. One of two
caves is not complete. In the other cave there is stupa made in bricks.
 VIHARAS OR MONASTERIES
•THESE ARE THE RESIDENTIAL PLACES OF THE
BUDDHIST PRIESTS.
THEY CONSIST OF A MAIN-HALL ENTERED BY A DOOR-
WAY. THEY ALSO CONTAIN THE ASSEMBLY HALL,
DINING CHAMBERS.
•FROM THE HALLS DEEP INTO THE ROCKS, CELLS ARE
PROVIDED FOR MEDITATION.
The shrines contains beautiful figures of Buddha and the
walls of the antechamber depict the stories based on
Buddha's life and fine FRESCOES as in case of Ajanta.
•SOME GREAT STRUCTURAL VIHARAS WERE ABOUT
60M HIGH COVERED WITH GLAZED TILES. PILLARS
WERE RICHLY CHISELED IN THE FORM OF DRAGONS.
BEAMS WERE PAINTED IN RED AND RAFTER WITH ALL
COLORS OF RAINBOW.
•Viharas were literally the pleasure gardens of monastic Plan of rock cut vihara
precincts.
•Some of the important Buddhist viharas are those at
Ajanta, Ellora. Nasik, Karle, Kanheri, Bagh and Badami.
 AJANTA CAVES
• THESE CAVES ARE ABOUT 60 KM FROM JALGAON.
•THE SITUATION OF AJANTA IS PICTURESQUE AND ROMANTIC.
•THE CAVES ARE SITUTED IN A HORSE-SHOE SHAPED VALLEY AND SPREAD OVER A LENGTH
OF MORE THAN 500M FROM EAST TO WEST.
•THERE ARE SOME 30 CAVES OUT OF WHICH 5 ARE CHAITYA HALLS AND OTHER ARE
MONASTERIES OR VIHARAS.
•IT HAS A SMALL RECTANGULAR DOOR-WAYS WITH A HORSE-SHOE SHAPED WINDOW
OPENING ABOVE.
•THE VAULTED HALL HAS DIVIDED LONGITUDINALLY BY TWO ROWS OF COLUMN FORMING A
BROAD NAVE AND TWO AISLES.
•AT END A STUPA IS CARVED OUT OF NATURAL ROCK WITH THE STATUES OF BUDDHA.
•THE VAULTED ROOF IS SUPPLEMENTED BY CLOSELY SPACED RIBES CUT FROM ROCKS.

•THE PLASTER USED FOR THE WALLS ABOUT 1 CM THICK AND COMPRAISE OF HAY, COW
DUNG AND RICE HUSK. THE EVENLY PLASTERED SURFACE WAS THEN COATED WITH LIME
AND FINALLY COLOUR WAS APPLIED TO PRODUCE BEAUTIFUL PAINTING.
AJANTA CAVES
 ELLORA CAVES
• IT IS ABOUT 34 KM FROM AURANGABAD.
•THERE ARE TOTALLY 12 BUDDHIST CAVES IN WHICH ONE CAVE IS CHAITYA AND
REMAINING ARE VIHARAS.
•IN CONSTRUCTION IT IS SIMILAR TO AJANTA.
•THERE CAVES ARE MADE OF VAULTED HALL AND DIVIDED BY TWO ROWS OF COLUMN
AND FORMING BROAD NAVE AT THE CENTRE.
•A STUPA CARVED IN NATURAL ROCK HAS A CYLINDRICAL BARS AND SUPPORTING A
HUGE DOME WITH THE STATUE OF BUDDHA SEATED IN THE FRONT OF STUPA AND
SURROUNDED BY SEVERAL FLYING FIGURES,
•COLUMNS ARE RECTANGULAR AND WHITE CAPITALS AT THE TOP, AND THE VAULTED
ROOF IS SUPPORTED BY RIBS AUT FROM NATURAL ROCKS.
 THE KAILASHNATH TEMPLE
• The temple stands freely within the excavated basin in the mountain side.
•This rock cut monolithic temple illustrates dravidian style of Architecture.
•The Island measures about 60 m long and 30 m wide and rise to about 31 m high.
•The main body of the temple measure 46 m X 30 m long and stands on a lofty plinth 8 m high
with an entrance from west.
•The substructure is heavily moulded at top and bottom but the middle portion and the corners
are provided by a boldly carved elephants and lions, who represents the supporters of the
heavens at the four quarters.
•The platform is approached by high flights of steps leading to Mantapa and the cornice,
Pilaster, niches and portion of the mantapa are mavellously designed.
•The temple has two galleries, one gallery relates legends of Shiva and the adjoining gallery
relates to the stories of Vishnus.
•There are five shrine and the statedy towers over the main cella rises to a height of 31 m in
three tiers. The cella contains the image of god in the form of Lingam. The cella measure 21 m X
19 m and is supported by sixteen square pillars in a group of four.
•The pillars are massive, the shaft four half its length is plain square prism while the upper
portion is round and flushed.
•In front is a nandi with a pavilion 6 m X 6m built detached from the main structure, but
connected to it by a bridge. On either side of it there are two free standing pillars known as
“Dhwaja-Stambhas” 15 m high.
•Entire Kailasha temple is reproduced in the rock based on large scale with full details.
THE KAILASHNATH TEMPLE
THE KAILASHNATH TEMPLE
THE KAILASHNATH TEMPLE
 RATHAS
• Rathas are small shrines carved out of a monolithic rock, in general Rathas are known as
chariot used for carrying the image of the diety during religious procession, but here in
pallava style it commonly refer to a monolithic shrine which contains all the essential
features of a temple including domed storey to Shikhara.
•There are series of seven monolithic temples or Rathas chiselled out of big boulders and
are widely known as Seven Pagodas at mahabalipuram.
•Each ratha is a model of religious structure common at that time. Entirly carved out of
granite rock, they express a novel form of construction.
•The five rathas now known as panch pandav rathas. There is also the Draupadi’s ratha.
•Draupadi’s rathas is the smallest and well finished. It is entirely rock – cut and stands on a
square plinth of 3.5 m and has a vaulted roof. Evidently derived from the hut with a straw
roof, it is about 6 m high.
•Arjuna’s Ratha lies to the south of Draupadi’s Ratha and it is Planned like Buddhist vihara,
measuring 3.5 m X 3.5 m and rising to a height of 6.6 m.
•Bhima’s Ratha lies next, it stands on a rectangular plinth measuring 13 m X 7.6 m and the
vimana rise to a height of 8 m and the approach is through a double row of carved
columns.
•Dharmaraja’s Ratha is next to bhim’s ratha and are carved similar to Arjuna’s ratha and is
the tallest. It stands on the platform of 8 m X 9 m and vimana rise to a height of 12 m in
four storeys.
 RATHAS
•Nakul Sahadeva’s Rathas lies at the end. The ratha is based on “Chaitya” hall of Buddhist
temple with an apsidal end on the south side and a double pillared portico on the north
side. Its plinth measurs 5.5 m X 3.55 m and rise to a height of 5 m in four tiers and the roof
is elaborately carved.
RATHAS