A presentation showing evolution of Goan temples from rock cut caves to present day modern temples.
Transcript of Goan temples
1. GOAN TEMPLES
2. Pre-Portuguese Rulers of Goa 3rd 4th Bhoja 4th 5th Maurya
5th 8th Chalukyas of Badami 8th 10th Shilahara 9th 14th Kadamba
13th mid 14th Muslim Rulers 14th 15th Vijayanagara kings 15th 16th
Bahmani 17th c. Marathas 17th c. Adil Shah Portuguese defeated
Marathas & Adil Shah The Goan architectural heritage is a rich
assimilation of a number of cultural influences that have led to
its evolution over a long period of time. Each period has made its
own significant contribution in enriching the architectural
vocabulary and no single period can be perceived in isolation.
3. Map Showing The Goa Kadamba Kingdom
4. Evolution Of Goan Temples Four Phases in the Evolution of
the Goan Hindu Temple: First Phase: Pre-Portuguese phase, Kadamba
Dynasty ruled Goa and affected style of building temples. Most of
the temples were ruined after portuguese inquisition but the only
existing temple in Kadamba Dynasty which still stands is the
Mahadev Temple at Tambdi Surla. Second Phase: Neo-Romanisation of
the Hindu Temple (17th Cent), when the elements of the Hindu temple
were invested with Mannerist forms, and when the dome replaced the
pyramidal or parabolidal tower over the sanctuary. Two temples
belong to this period, the Saptakottishwar of Narvem, which adopted
the dome even though octagonal in plan and the Santeri temple at
Mardol. Third Phase: Achieves a synthesis of the Neo-Roman and
Maratha motifs and organises the Goan temple complexes (18th mid
19th centuries), beginning with the Shantadurga of Kavlem and
continuing with Nageshi of Bandoda. Features of Baroque and Rococo
styles were adopted at this time and combined with Maratha Forms
like the Cypress Column, domed porches etc. Fourth Phase:
Completition of the Goan Hindu style (mid 19th mid 20th centuries).
Goan Hindu architects now worked on the basis of their
establishment of idioms and abandoned their former dependance on
church architecture. The temples look more monumental domestic
structures, the temples in this phase include Ramnathi of Bandoda
and Navdurga of Kundai
5. 1 2 3 4
6. Pre-Historic Goan Temples Cave Temples: References to
Brahminical shrines which included the Shaivite as well as
Vaishnavite shrines are made in books specifying Goan temples. In
Goa during c. 600-700 A. D. Buddhists also started utilising rock
cut caves for their religious activity. The rock cut architectural
activity continues even during 1100-1200 A.D. and these rock cut
caves were excavated by Nath-Panthis. Almost 2/3rd of Goa is
Covered with Laterite. Therefore, locally available laterite
hillocks were used for scooping out the caves. Architecture
activity of the Brahminical caves (Caves having Linga) began in Goa
and first models were available in 400-500 A. D. There are
single-celled caves in Consua (Marmugao), Dabos, Karanzol &
Sonal (Sattari), as well as multi-celled caves in Khandepar,
Harvalem & Kodar. The rock cut caves of Goa reveal developments
that took place between the fall of Satavahanas and the rise of
Kadambas.
7. Caves at Harvalem
8. It is said Bhoja rulers selected Harvalem village
intentionally because it is associated with Shiva. The ancient
shrine of Rudreshwar was built before the excavation of the caves.
These caves are excavated in a laterite hillock and have pillared
faade. These caves also have clearly portrayed cornice and properly
scooped out entablature. There are six cell resembling cubicles.
Five of which are facing South and one faces South-east. The square
pithas in the cells are characteristic of Chalukyan lingas. Lingas
are made of schist and are detachable.
9. The five lingas in Harvalem caves
10. Cave at Khandepar
11. Cave at Narve Pradakshina path Cave 1 Cave 3
12. Cave at Rivona
13. Pre- Portuguese temples of Goa
14. In Goa a classical example of the other oldest pre
Portuguese era temple is the Temple of Shiva at Tambdi Surla in
Sanguem taluka dating back to the Kadamba period circa 13th-14th
century AD. It is reflect of quite evolved Hindu temple form in
India of the 7th century that holds the very principal temple
architectural features. The small, beautifully carved and perfectly
proportioned black basalt temple is dedicated to Lord Shiva and its
reminiscent of the temples at Aihole in neighboring Karnataka. The
temple has survived Muslim invasions and Portuguese persecution, in
its almost perfect condition mainly due to its remote location in a
clearing deep in the forest at the foot of the Western Ghats which
surround the site in a sheer wall of impenetrable vegetation The
temple faces east so that the rays of the rising sun fall on the
diety at the crack of dawn Mahadev Temple, Tambdi Surla
15. The temple consists of garbagriha, antarala, and a pillard
nandi mandapa built of basalt. The temple faces to the east. The
mukhamandapa has three entrances, the main entrance faces the east
and the two side entrances are facing the north and south
respectively. There are 10 pillars in mukhamandapa resting on
Kakshasana. These pillars are plain except for the circular and
horizontal floral bands on the central part of the shaft and bear
the weight of gable shaped roof of mukhamandapa. There are four
central pillars on the raised circular platform of the
mukhamandapa.Pillars have a square base and are divided by two
bands(pattikas) on which stands the shaft which is also square and
plain.
16. mandapa antarala garbagriha Plan of Mahadev Temple
17. The Shikhara which rises from the top of garbagriha is in
the Vesara style and is in receding tiers.
18. Mandap (pillared hall) There is a small mandap (pillared
hall) and the inner sanctum is surrounded by a three-tired tower
which is incomplete or which has been dismantled sometime in the
distant past. The mandap is covered with a roof of plain grey
sloping slabs.
19. There is a linga (symbol of Lord Shiva)mounted on a
pedestal inside the inner sanctum Naag devtas carved in stone.
20. Shiva and Parvati Laxmi Narayana Vishnu with Garuda on his
left Bas- relief figures of Lord Shiva, Lord Vishnu, and Lord
Brahma with their respective consorts appear on panels at the sides
of the temple. Bhairava Brahma
21. Ceiling in the mandapa consists of stone carving in the
form of petals. Ceiling in the antarala
22. Detail on Wall Plinth Rounded pillar
23. There is a headless Nandi ( bull, Shivas vehicle) in the
center of the mandap, surrounded by four columns. The symbol of the
kadamba kingdom, an elephant trampling a horse is carved on the
base of one of the average Goan Temple. The pierced stone screen
carrying the figures of deities that surrounds the door of the
vestibule is another notable feature. The headless nandi in the
center of the mandap Elephant on the pillar
24. Mahadev temple, Kurdi
25. Temple was built by the Kadambas during the 10th century.
Unique temple built with laterite stone. Moved from its original
location to the current one. Temple was originally located about 17
km from its current position , in Kurdi on the banks of river
Salaulem The temple has been translocated brick by brick and placed
at its current place.
26. The Mahadeva temple is built of laterite on a hard laterite
ground and has no foundation. The wall of the temple and the
shikhara are constructed out of laterite but schist is used for the
ceiling, door jamb and the pillars. The laterite is brittle and has
less tensile strength than the schist.
27. Plan, elevation and section of Curdi temple
28. The Curdi temple consists of two parts. The sanctum
(garbagriha) and the mukha mandapa. Externally the temple is 7mts
long and 5 mts wide. The garbagriha is square (2.10mtsx 2.10mts).
The mukhamandapa is 2.10mts in length and 1.80mts in width. The
sanctum is larger than the mukhamandapa. However, Mitterwallner has
identified the mukhamadapa as a porch and according to her the
mukhamandapa is missing. The evidences show that the temple is
complete and the porch itself is the mukhamandapa. The Shikhara can
be designated as Vesara shikhara. It is the synthesis of the Rekha
nagara and the Kadamba nagara styles. This kind of shikhara can be
seen in later Chalukyan temples which represent an integration of
North and South Indian styles. The Vesara Shikhara rises from the
entire area of the sanctum. Like other temples from the coastal
area in general, and Kadamba monuments in particular, the temple
could not be provided with a gabled roof on account of its meager
dimension.
29. Ceiling Rear view of the temple Door frame
30. Front porch Pillars The two schist pillars at the
mukhamandapa have circular moulded pithas and the kanda is square.
The upper part hads circular mouldings. Pilars are plain and has no
decorative carvings.
31. Nandi at the entrance of temple Two pillars that raise the
porch
32. MODERN TEMPLES
33. Deepstambh The 5th phase of evolution is where a temple has
Shrine, Antarala, Closed Mandapa, Open Mandapa, Porch, Tulsi
Vrindavan, Deepstambh and Tank. The Deepstambh or the Lamp Tower is
an octagonal turret, raised in front of the temple, from five to
seven storeys high, each storey articulated with engaged dwarf
columns at the corners, in between which, piercing the sides of the
turret, are niches for the lamp. Two aspects can be developed in
the lamp towers development : First, its all- over design, the
sequence of stories with niches and the crowning domelet. Second,
articulation of the storeys by engaged columns.
34. Evolution Of Deepstambh Tulsivrindavan Piazza Cross
Deepstambh
35. Shri Lakshmi Narsimha Temple, Veling
36. Site Plan of Shri Lakshmi Narsimha Temple, Veling
37. Modern temples in Goa have a Talav (Temple Tank) near the
temple. Many temples also have Pujaris house in the temple
premises. Tulsivrindavan is a feature developed in Modern Goan
Temples.
38. Mhalasa Temple, Mardol This temple is situated on the main
road, near the temple of Manguesh in hamlet of mardol. The ancient
temple of the Goddess was situated at Verna in salcete taluka. The
temple has a spacious open Sabhamandapa supported by seven pillars
on both sides, with wooden terrace on top. The ancillary deities
and the spacious water tank are to be seen at the back of the
temple.
39. Steps from either side of the entrance gate lead to the
Naubatkhana where vejantaries sit to play their instruments. It has
two deepstambhs, one of copper and other with usual stone and
masonry work. By the side of the two towers is the Tulsi vrindavan.
On either sides of courtyards are agrashalas where religious
functions are held. There is also a yadnya mandap with homakhand
which is used for homa. The temple tank and a well are at the rear
of the shrine.
40. Side Elevation Front Elevation
41. Mangueshi Temple, Ponda The Mangueshi Temple in Ponda was
one of the several that were designed to match the tall and
majestic churches that the Portuguesse had built in Goa. It soon
became a source of Hindu resilience and pride. The original temple,
located in Cortalim was destroyed by Portuguese in 1560.
42. Temple Tank, Mangueshi
43. Shri Shantadurga Temple, Kavlem
44. The Shantadurga Temple at Kavlem combines several elements
of Hindu Architecture. The beautiful free standing tower at the
left and sharply sloping roofs of structures stand out,
45. Gopal Ganesh Temple
46. Views
47. Sai Baba Temple, Borim
48. Hanuman Temple, Ponda
49. References Socio-Cultural History of Goa , Goa, Travellers
architectural and historical guide, Antony Hutt Moda Goa, Wendell
Rodrigues Socio Cultural History of Goa, Dr. V. R. Mitragotri Goa,
Olivinho JF Gomes Best of Goa Temples of Goa, Kamla Mankekar