Indian architecture is that vast tapestry of production of the Indian Subcontinent that encompasses a multitude of expressions over space and time, transformed by the forces of history considered unique to the sub-continent, almost always never destroying but absorbing.
The earliest production in the Indus Valley Civilization was characterised by well planned cities and houses where religion did not seem to play an active role. Later the Aryans reverted to the village as a unit of life.
The evolution of Hinduism as a synthesis of Dravidian and Aryan gods, and the two other important religions, Buddhism and Jainism, gave rise to a rich and varied range of buildings for worship. The Dravidian and the Indo-Aryan style of temple architecture are epitomised in productions such as the magnificient Brihadeeswara Temple in Thanjavur, and the Sun Temple at Konark. The pyramid formed an essential architectonic element in any temple composition- stepped in the former style, stepped and slightly curved in the latter style. The structural system was essentially trabeated.Stone was the basic raw material for the Indian craftsman.Decoration was fundamental to Indian architecture and is seen in the myriad details of figured sculpture as well as in the architectural elements. Spatial aspects too were addressed, the experience of a South Indian temple complex is particularly rich and meaningful.Buddhism is represented by the Chaitya Hall[ place of worship], the Vihara[monastry] and the Stupa[hemispherical mound for worship/ memory]- exemplified by the awesome caves of Ajanta and Ellora and the monumental Sanchi Stupa.The Jaina temples are characterised by a richness of detail that can be seen in the Dilwara temple in Mt.Abu.
With the advent of Islam, the arch and dome began to be used and the mosque too began to form part of the landscape, adding to a new experience in form and space. Later,with the Mughal period, surface decoration rather than sculpture adorned buildings in the form of glazed tiles and semi-precious stones. Over time, Hindu and Islamic architecture together produced a synthesis that is exemplified in the glorious production of Akbar- the city of Fatehpur Sikri, considered by many to be superior to the Taj Mahal [ often seen as representing India] in terms of what it has to teach to civilisation- syncretism, tolerance and the best of different worlds.
Indian architecture is generally known only for its religious buildings, but secular production too was given importance. Cities of the desert region in the North such as Jaisalmer, Jodhpur, towns such as Srirangam in Tamil Nadu evolving around the temple as nucleus, the stepped wells of Gujarat, the vernacular architecture of the warm, humid area of Kerala- all these are unique in their response to socio cultural and geographic context.
With colonisation, a new chapter began. Though the Dutch, Portuguese and the French made substantial forays, it was the English who had a lasting impact.The architecture of the colonial period varied from the beginning attempts at creating authority through classical prototypes to the later approach of producing a supposedly more responsive image through what is now termed Indo-Saracenic architecture- a mixture of Hindu, Islamic and Western elements. Institutional, civic and utilitarian buildings such as post offices,railway stations, etc., began to be built in large numbers over the whole empire. The creation of New Delhi in early 20th century with its broad tree lined roads and majestic buildings generated lots of debate on what should be an appropriate architecture for India.
With the introduction of Modern Architecture into India and later with Independence, the quest was more towards progress as a paradigm fuelled by Nehruvian visions. The planning of Chandigarh- a city most architects hate/love- by Le Corbusier was considered a step towards this. Later as modernism exhausted itself in the West and new directions were sought for, in India too there was a search for a more meaningful architecture rooted in the Indian context. This direction called Critical Regionalism is exemplified in the works of architects such as B.V. Doshi, Charles Correa, etc.,
Indian architecture as it stands today is a pluralistic body of production that cannot in all justice be exemplified by the approaches, buildings and architects cited above. In fact, there are always voices that strive to be heard above the overwhelming hegemonic discourse. But it is an unavoidable fact that certain expressions tend to get magnified and others reduced when set against the vast canvas of the world. In that sense, there is a distillation to an essence that does not have all the ingredients. A more representative selection can occur only at a deeper level of study.
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Monuments in India classified under World Heritage Sites
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