Введение
Индийский архитектурный стиль
The Vesara style originated in the region between the Krishna and Tungabhadra rivers that today is northern Karnataka. According to some art historians, the roots of Vesara style can be traced to the Chalukyas of Badami (500 – 753 AD) whose Early Chalukya or Badami Chalukya architecture featured temples in a style that mixed some features of the Nagara and the Dravida styles. For example, they used both the northern shikhara and southern vimana type of superstructure over the sanctum in different temples of similar date, such as at Pattadakal. This style was further refined by the Rashtrakutas of Manyakheta (750 – 983 AD) in sites like Ellora. Though there is clearly a good deal of continuity with the Badami or Early Chalukya style, some writers only date the start of Vesara to the later Western Chalukyas of Kalyani (983 – 1195 AD), and the later Hoysala empire (1000 – 1330 AD). Other art historians such as Sinha state that experimentation and innovations in Hindu temple architecture began quite early in Karnataka at sites such as Aihole, Pattadakal, Badami and Mahakuta where both Nagara and Dravida temples were built close to each other. However, each of these temples more or less retained their historic identity. Vesara, states Sinha, should not be treated as a simple mixture of Nagara and Dravida, but as a deliberate architectural synthesis grounded in the available materials and construction methods in India from the 7th to 12th centuries. There are generally prominent sukanasa projections from the tower on the roof over an antarala antechamber to the sanctum. The mandapa is generally larger than the sanctum and its vimana, while further open mandapas may be larger still. Some shrines have multiple temples, especially three. These are usually with three entrances off the same mandapa, as at the Chennakesava Temple, Somanathapura and Kedareshvara Temple, Balligavi; the two side shrines are at 90° angles to the central, main one. Comparisons with Bhumija and Varata architectures
According to Dubey, there is no consensus in pre 13th century Indian tradition as to how Vesara should be described or identified. The conditions and "mixed" features for Vesara are also found in Bhumija and Varata architecture, where synthesis and innovation drives the North Indian and South Indian towards being variants of each other. The discovery of early examples of elliptical, circular, apsidal Hindu temples, states Dubey, may correspond to the Vesara as they once existed, and as such what the South Indian texts were referring to when they were composed. Adam Hardy states that these inventive forms are better understood in terms of the architecture schools and their geographical context, bearing in mind that those schools shared and competed in their ideas. Vesara evolved in Karnataka, Varata in the Vidarbha Berar region, Kalinga in Odisha, and Bhumija in Malwa.
Стиль Весара возник в регионе между реками Кришна и Тунгабхадра, который сегодня является северным Карнатакой. По мнению некоторых историков искусства, истоки стиля Весара можно проследить к династии Чалукьяв Бадами (500 – 753 гг. н.э.), чья архитектура ранних Чалукьяв или Чалукьяв Бадами включала храмы, сочетавшие в себе элементы стилей Нагара и Дравида. Например, они использовали как северную шихару, так и южную виману в качестве надстройки над святилищем в различных храмах, датируемых примерно одним и тем же периодом, например, в Паттадакале. Этот стиль был дополнительно усовершенствован Раштракутами из Манякхеты (750 – 983 гг. н.э.) в таких местах, как Эллора. Хотя прослеживается явленная преемственность со стилем Бадами или ранних Чалукьяв, некоторые авторы относят начало стиля Весара к более поздней династии Западных Чалукьяв из Кальяни (983 – 1195 гг. н.э.) и империи Хойсала (1000 – 1330 гг. н.э.). Другие искусствоведы, такие как Синха, утверждают, что эксперименты и инновации в архитектуре индуистских храмов начались довольно рано в Карнатаке, в таких местах, как Айхоле, Паттадакал, Бадами и Махакута, где храмы стилей Нагара и Дравида строились по соседству друг с другом. Однако каждый из этих храмов в большей или меньшей степени сохранил свою историческую идентичность. Синха утверждает, что стиль Весара не следует рассматривать как простое смешение стилей Нагара и Дравида, а как намеренный архитектурный синтез, основанный на доступных материалах и методах строительства в Индии с VII по XII века. Обычно на крыше заметно выступают суканасы над антаралой – вестибюлем, ведущим в святилище. Мандапа, как правило, больше святилища и его виманы, а дополнительные открытые мандапы могут быть еще больше. Некоторые святилища включают несколько храмов, особенно три. Обычно они имеют три входа, ведущих из одной мандапы, как в храме Ченнакешава в Соманатпуре и храме Кедарешвара в Баллигави; два боковых святилища расположены под углом 90° к центральному, главному. Сравнение с архитектурой Бхумиджа и Варата
The Vesara style originated in the region between the Krishna and Tungabhadra rivers that today is northern Karnataka. According to some art historians, the roots of Vesara style can be traced to the Chalukyas of Badami (500 – 753 AD) whose Early Chalukya or Badami Chalukya architecture featured temples in a style that mixed some features of the Nagara and the Dravida styles. For example, they used both the northern shikhara and southern vimana type of superstructure over the sanctum in different temples of similar date, such as at Pattadakal. This style was further refined by the Rashtrakutas of Manyakheta (750 – 983 AD) in sites like Ellora. Though there is clearly a good deal of continuity with the Badami or Early Chalukya style, some writers only date the start of Vesara to the later Western Chalukyas of Kalyani (983 – 1195 AD), and the later Hoysala empire (1000 – 1330 AD). Other art historians such as Sinha state that experimentation and innovations in Hindu temple architecture began quite early in Karnataka at sites such as Aihole, Pattadakal, Badami and Mahakuta where both Nagara and Dravida temples were built close to each other. However, each of these temples more or less retained their historic identity. Vesara, states Sinha, should not be treated as a simple mixture of Nagara and Dravida, but as a deliberate architectural synthesis grounded in the available materials and construction methods in India from the 7th to 12th centuries. There are generally prominent sukanasa projections from the tower on the roof over an antarala antechamber to the sanctum. The mandapa is generally larger than the sanctum and its vimana, while further open mandapas may be larger still. Some shrines have multiple temples, especially three. These are usually with three entrances off the same mandapa, as at the Chennakesava Temple, Somanathapura and Kedareshvara Temple, Balligavi; the two side shrines are at 90° angles to the central, main one. Comparisons with Bhumija and Varata architectures
According to Dubey, there is no consensus in pre 13th century Indian tradition as to how Vesara should be described or identified. The conditions and "mixed" features for Vesara are also found in Bhumija and Varata architecture, where synthesis and innovation drives the North Indian and South Indian towards being variants of each other. The discovery of early examples of elliptical, circular, apsidal Hindu temples, states Dubey, may correspond to the Vesara as they once existed, and as such what the South Indian texts were referring to when they were composed. Adam Hardy states that these inventive forms are better understood in terms of the architecture schools and their geographical context, bearing in mind that those schools shared and competed in their ideas. Vesara evolved in Karnataka, Varata in the Vidarbha Berar region, Kalinga in Odisha, and Bhumija in Malwa.
По словам Дубея, в индийской традиции до XIII века нет единого мнения о том, как следует описывать или идентифицировать стиль Весара. Характерные черты и "смешанные" особенности стиля Весара также встречаются в архитектуре Бхумиджа и Варата, где синтез и инновации приводят к тому, что архитектура Северной и Южной Индии становится вариантами друг друга. Дубей утверждает, что обнаружение ранних примеров эллиптических, круглых и апсидальных индуистских храмов может соответствовать тому, как стиль Весара существовал в прошлом, и, следовательно, к тому, что южноиндийские тексты имели в виду, когда они были написаны. Адам Харди утверждает, что эти новаторские формы лучше понимать в контексте архитектурных школ и их географического положения, учитывая, что эти школы обменивались идеями и конкурировали между собой. Стиль Весара развивался в Карнатаке, стиль Варата – в регионе Видарбха-Берар, стиль Калинга – в Одише, а стиль Бхумиджа – в Мальве.
The Vesara style originated in the region between the Krishna and Tungabhadra rivers that today is northern Karnataka. According to some art historians, the roots of Vesara style can be traced to the Chalukyas of Badami (500 – 753 AD) whose Early Chalukya or Badami Chalukya architecture featured temples in a style that mixed some features of the Nagara and the Dravida styles. For example, they used both the northern shikhara and southern vimana type of superstructure over the sanctum in different temples of similar date, such as at Pattadakal. This style was further refined by the Rashtrakutas of Manyakheta (750 – 983 AD) in sites like Ellora. Though there is clearly a good deal of continuity with the Badami or Early Chalukya style, some writers only date the start of Vesara to the later Western Chalukyas of Kalyani (983 – 1195 AD), and the later Hoysala empire (1000 – 1330 AD). Other art historians such as Sinha state that experimentation and innovations in Hindu temple architecture began quite early in Karnataka at sites such as Aihole, Pattadakal, Badami and Mahakuta where both Nagara and Dravida temples were built close to each other. However, each of these temples more or less retained their historic identity. Vesara, states Sinha, should not be treated as a simple mixture of Nagara and Dravida, but as a deliberate architectural synthesis grounded in the available materials and construction methods in India from the 7th to 12th centuries. There are generally prominent sukanasa projections from the tower on the roof over an antarala antechamber to the sanctum. The mandapa is generally larger than the sanctum and its vimana, while further open mandapas may be larger still. Some shrines have multiple temples, especially three. These are usually with three entrances off the same mandapa, as at the Chennakesava Temple, Somanathapura and Kedareshvara Temple, Balligavi; the two side shrines are at 90° angles to the central, main one. Comparisons with Bhumija and Varata architectures
According to Dubey, there is no consensus in pre 13th century Indian tradition as to how Vesara should be described or identified. The conditions and "mixed" features for Vesara are also found in Bhumija and Varata architecture, where synthesis and innovation drives the North Indian and South Indian towards being variants of each other. The discovery of early examples of elliptical, circular, apsidal Hindu temples, states Dubey, may correspond to the Vesara as they once existed, and as such what the South Indian texts were referring to when they were composed. Adam Hardy states that these inventive forms are better understood in terms of the architecture schools and their geographical context, bearing in mind that those schools shared and competed in their ideas. Vesara evolved in Karnataka, Varata in the Vidarbha Berar region, Kalinga in Odisha, and Bhumija in Malwa.
Примеры
Ранние храмы Весара расположены главным образом вблизи и между реками Тунгабхадра и Кришна до их соединения. Среди этих мест: Эти храмы были выдвинуты в качестве кандидатов для включения в список Всемирного наследия ЮНЕСКО.