Session 17 of the 2007 Shivdasani Conference.In the forms of shrine, which developed between the 7th and 13th centuries, Hindu temples, conceived as divine bodies, embodied structured patterns of movement in their architectural compositions. Shrines are invested with a sense of centrifugal dynamism that appears to originate at the tip of the finial, or a point just above it, progressing downwards from this point and outwards from the vertical axis. Compositional elements are made to appear to multiply, to emerge and expand out from the body of the shrine, and out from one another, as interpenetrating elements differentiate themselves and come apart. As well as a spatial structure, a temple has a temporal one, of which a given spatial arrangement is a momentary glimpse, or rather, a succession of such glimpses. A series of elements, or of configurations of elements, can be sensed not so much as a chain of separate entities, but as the same thing seen several times, at different stages, evolving and proliferating. This pattern of growth is conveyed through clearly identifiable architectural means. The same pattern of emergence, expansion, and proliferation expressed in a single temple is reflected in the development of architectural forms during the course of various traditions. This unfolding takes place both in the details and at the level of the whole composition. The effect observed in a single, developed temple, of one form putting forth another, which in turn emits another and so on, is brought about by a cumulative extrapolation and successive incorporation of temple designs: a new design springing from an old one, while preserving the old one within the new. Analogies, or homologies, are striking when dynamic temple compositions are compared with certain recurrent religious and philosophical concepts. Patterns of emergence and growth, as if from an all-containing point, underlie a vision of creation, which is found repeatedly in many different guises. The manifestation or coming into being of the divine or of the universe is repeatedly understood as taking place through the sequential emergence, or successive bursting forth, of one form or principle from another. This is not to say that such ideas gave rise to the architectural forms, or that the temple builders deliberately set out to embody these concepts: rather, it would seem, the forms and the ideas both spring from the same way of thinking, the same view of the world.
Lectures by Dr Adam Hardy
The Dance Performed by the Temple: the Dynamics of Hindu Temple Architecture
The Dance Performed by the Temple: the Dynamics of Hindu Temple Architecture
Session 17 of the 2007 Shivdasani Conference.In the forms of shrine, which developed between the 7th and 13th centuries, Hindu temples, conceived as divine bodies, embodied structured patterns of movement in their architectural compositions. Shrines are invested with a sense of centrifugal dynamism that appears to originate at the tip of the finial, or a point just above it, progressing downwards from this point and outwards from the vertical axis. Compositional elements are made to appear to multiply, to emerge and expand out from the body of the shrine, and out from one another, as interpenetrating elements differentiate themselves and come apart. As well as a spatial structure, a temple has a temporal one, of which a given spatial arrangement is a momentary glimpse, or rather, a succession of such glimpses. A series of elements, or of configurations of elements, can be sensed not so much as a chain of separate entities, but as the same thing seen several times, at different stages, evolving and proliferating. This pattern of growth is conveyed through clearly identifiable architectural means. The same pattern of emergence, expansion, and proliferation expressed in a single temple is reflected in the development of architectural forms during the course of various traditions. This unfolding takes place both in the details and at the level of the whole composition. The effect observed in a single, developed temple, of one form putting forth another, which in turn emits another and so on, is brought about by a cumulative extrapolation and successive incorporation of temple designs: a new design springing from an old one, while preserving the old one within the new. Analogies, or homologies, are striking when dynamic temple compositions are compared with certain recurrent religious and philosophical concepts. Patterns of emergence and growth, as if from an all-containing point, underlie a vision of creation, which is found repeatedly in many different guises. The manifestation or coming into being of the divine or of the universe is repeatedly understood as taking place through the sequential emergence, or successive bursting forth, of one form or principle from another. This is not to say that such ideas gave rise to the architectural forms, or that the temple builders deliberately set out to embody these concepts: rather, it would seem, the forms and the ideas both spring from the same way of thinking, the same view of the world.
The Indian Temple: Production, Place, Patronage
Session 11 of the 2007 Shivdasani Conference. In the forms of shrine, which developed between the 7th and 13th centuries, Hindu temples, conceived as divine bodies, embodied structured patterns of movement in their architectural compositions. Shrines are invested with a sense of centrifugal dynamism that appears to originate at the tip of the finial, or a point just above it, progressing downwards from this point and outwards from the vertical axis. Compositional elements are made to appear to multiply, to emerge and expand out from the body of the shrine, and out from one another, as interpenetrating elements differentiate themselves and come apart. As well as a spatial structure, a temple has a temporal one, of which a given spatial arrangement is a momentary glimpse, or rather, a succession of such glimpses. A series of elements, or of configurations of elements, can be sensed not so much as a chain of separate entities, but as the same thing seen several times, at different stages, evolving and proliferating. This pattern of growth is conveyed through clearly identifiable architectural means. The same pattern of emergence, expansion, and proliferation expressed in a single temple is reflected in the development of architectural forms during the course of various traditions. This unfolding takes place both in the details and at the level of the whole composition. The effect observed in a single, developed temple, of one form putting forth another, which in turn emits another and so on, is brought about by a cumulative extrapolation and successive incorporation of temple designs: a new design springing from an old one, while preserving the old one within the new. Analogies, or homologies, are striking when dynamic temple compositions are compared with certain recurrent religious and philosophical concepts. Patterns of emergence and growth, as if from an all-containing point, underlie a vision of creation, which is found repeatedly in many different guises. The manifestation or coming into being of the divine or of the universe is repeatedly understood as taking place through the sequential emergence, or successive bursting forth, of one form or principle from another. This is not to say that such ideas gave rise to the architectural forms, or that the temple builders deliberately set out to embody these concepts: rather, it would seem, the forms and the ideas both spring from the same way of thinking, the same view of the world.