Sambodhi 2005 Vol 29

SR No.: 520779
Original Sutra Author: N/A
Author: J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 242
Language: English, Sanskrit, Prakrit, Gujarati
Classification: Magazine, India_Sambodhi, & India
File Size: 40 MB

Page 55

Vol-1 XXIX
BHŪMIJA CLASS TEMPLE AT GAĻATEŠVARA, SARNAL
-
47
śikhara (the Spire)
The superstructure of the garbhagrha, which appears next to the kūtachādya of the mandovara is known as the śikhara. The sikhara of the temple is truncated from the top. But still as we know that the temple was saptabhūma in elevation, the original form of the sikhara can be presumed.
Use of Ornamentation
The ornamentation because of its religious significance helps to create a feeling of sacredness in the temple. But since the temple is detailed at all levels, it becomes difficult to judge the scale of the temple. This is how the ornamentation converts the structure into a sculpture. The ornamentation of the temple precedes over the structure of the temple, since the whole structure is laden with sculptures. Thus its main purpose is not only aesthetics, but to challenge the perception of a. person and alter his state of mind. The ornamentation of the structure also acts as a sun breaking device. The intricate ornamentation of the Mandovara, Saṁvarņā and the śikhara (now lost) creates shadows and the surface partially remains shaded all the time.
Material and Structure
The material used in the temple of Galateśvara is 'sandstone'. As far as the structure of the temple is concerned, it consists of a combination of load-bearing walls and a post-beam system. Stability is achieved by the massive vertical elements and equally heavy beams and lintels. The stresses transferred are all compressive stresses; as such a system cannot take any tension. Corbelling has also been used in the construction of the roof of the Mandapa.
I am indebted to Mr. Ravi Hajarnis, my father and former Asst. Director of Archaeology, Gujarat, for his constant guidance and support. I am also grateful to Prof. M. A. Dhaky, Shri Chandrakant Sompura and Prof. Kartik Vora for discussing the subject. Photographs and drawing are produced by Maulik Hajaranis. Photographs are produced by the courtesy of Archaeological Survey of India, Western Circle, Vadodara. I am thankful to my friends Milan Bhatt, Saurab Gupta, Kushal Shah, Kartik Patel, Pragna Patel and Jhalak Gajjar (All from S.V.I.T., Vasad) for their assistance during the initial site visit.