The document describes three styles of North Indian temple architecture - Latina, Sekhari, and Bhumija.
The Latina style has a curvilinear outline and consists of horizontal roof slabs gradually receding towards the top. It includes projections, vinelike tracery, a truncated top with a necking and amalasaraka.
The Sekhari style has a central Latina spire with added urushringa half spires on all sides.
The Bhumija style has a square plan that rotates around its center at regular intervals as the superstructure rises vertically, creating creative variations. Each tier is called a bhumi.
The document describes three styles of North Indian temple architecture - Latina, Sekhari, and Bhumija.
The Latina style has a curvilinear outline and consists of horizontal roof slabs gradually receding towards the top. It includes projections, vinelike tracery, a truncated top with a necking and amalasaraka.
The Sekhari style has a central Latina spire with added urushringa half spires on all sides.
The Bhumija style has a square plan that rotates around its center at regular intervals as the superstructure rises vertically, creating creative variations. Each tier is called a bhumi.
The document describes three styles of North Indian temple architecture - Latina, Sekhari, and Bhumija.
The Latina style has a curvilinear outline and consists of horizontal roof slabs gradually receding towards the top. It includes projections, vinelike tracery, a truncated top with a necking and amalasaraka.
The Sekhari style has a central Latina spire with added urushringa half spires on all sides.
The Bhumija style has a square plan that rotates around its center at regular intervals as the superstructure rises vertically, creating creative variations. Each tier is called a bhumi.
The document describes three styles of North Indian temple architecture - Latina, Sekhari, and Bhumija.
The Latina style has a curvilinear outline and consists of horizontal roof slabs gradually receding towards the top. It includes projections, vinelike tracery, a truncated top with a necking and amalasaraka.
The Sekhari style has a central Latina spire with added urushringa half spires on all sides.
The Bhumija style has a square plan that rotates around its center at regular intervals as the superstructure rises vertically, creating creative variations. Each tier is called a bhumi.
shikhara, (Sanskrit: “mountain peak”) also spelled shikara, also called
shikar, in North Indian temple architecture, the superstructure, tower, or spire above the sanctuary and also above the pillared mandapas (porches or halls); it is the most dominant and characteristic feature of the Hindu temple in the north. The North Indian shikhara is basically of two types: (1) the latina, curvilinear in outline, the type most usually found above the sanctuary; and (2) the phamsana, rectilinear in outline and capped by a bell-shaped member, the form more usually found above the mandapa. LATINA TYPE
The latina shikhara is composed of a series of
horizontal roof slabs gradually receding towards the top and provided with projections that extend from the base and wall of the temple. The surface of the shikhara consists of a vinelike tracery composed of chandrashalas. Above the truncated top (skandha) projects a necking on which rests a large grooved amalasaraka and above it sits a pot with a crowning finial. SEKHARI TYPE Sekhari or Shekhari is a type of northern Indian shikhara (tower or spire on top of a shrine) which comprises a central Latina spire with urushringa half spires added on all sides.[1] It is a one of two sub-types of shikhara, the other being bhumija. Rajarani temple, bhubaneswar
The hallmark of Bhumija style is a square plan that is
not divided, but instead rotated around its center and this rotation is stopped at regular intervals as the superstructure rises vertically. By adjusting the pace of rotation and the interval at which the rotation stops, many creative variations can be implemented. 11th-century Nilakanthesvara Each tier is called a bhumi. The general rule in Hindu (Udayesvara) temple in north texts is that the bhadras and salas remain parallel to Madhya Pradesh is the best the garbhagriya (sanctum's square in the cardinal example of Bhumija style. direction), a rule that gives the superstructure aesthetic appeal and makes it easier to visually follow • ALPHA • OMEGA • BETA • GAMA