Photo 212/6(32)

Genre: Architectural Photography

Close view of carved work and mouldings on façade. Lyon's 'Notes to accompany a series of photographs prepared to illustrate the ancient architecture of Southern India' (Marion and Co., London, 1870), edited by James Fergusson, gives the following description of this photograph: '482 - represents another portion of the carvings on the north-west face of the building. The principal figure in the centre is an incarnation of Shiva, we have twice met with before, 375 [Photo 212/4(6)] and 421 [Photo 212/5(15)]; as, however, he does not occur in this form in Northern temples, and is not consequently depicted in any of the usual authorities, it is difficult to affix a name to him. Further to the left, on the next block, under the regular canopy, is Saraswati, the Goddess of Wisdom, and the consort of Brahma. Other deities are represented in other parts of this wonderful series of sculptures, and there is, perhaps, hardly any god of the Hindu Pantheon as known in the thirteenth century, that does not here find a place. It may also be remarked, that though the temple was undoubtedly from its foundation, dedicated to Shiva and his worship, and he is everywhere the principal deity, all the other gods are represented with the same honours, and allowed their fair share of the space. Before leaving this temple, I may be allowed to quote some observations made by Mr. Fergusson in describing it. 'It must not, however, be considered that it is only for patient industry that this building is remarkable. The mode in which the eastern face is broken up by the larger masses so as to give height, and play of light and shade, is a better way of accomplishing what the Gothic architects attempted by their transepts and projections. This, however, is surpassed by the western front, where the variety of outline, and the arrangement and subordination of the various facets in which it is disposed, must be considered a masterpiece of design in its class. If the frieze of gods were spread along a plain surface, it would lose more than half its effect; while the vertical angles, without interfering with the continuity of the frieze, give height and strength to the whole composition. The disposition of the horizontal lines of the lower friezes is equally effective; here again the artistic combination of horizontal with vertical lines, and the play of outline, and of light and shade, far surpass anything in Gothic art. The effects are just what the mediaeval architects were often aiming at, but they never attained them so perfectly as was done at Hallabeed.' Although taken altogether, the west front of Hallabeed is probably the most wonderful exhibition of exuberant ornament known to exist anywhere, it may be questioned whether, as an external architecture, some plain surfaces, as points of repose, would not have improved it, - whether, in fact, something like the base of the tower at Bailoor (465 [print 15])have been in better taste; but it is difficult to find fault with what in itself is really so beautiful. The interior of this temple is quite plain and devoid of ornament; but whether this is owing to its unfinished state, or was part of the original design, is not clear. That the cells where the lingams are placed, should be plain, is consistent with what we find elsewhere; but all analogies drawn from other temples in the same style further north, would lead us to infer, that the porch was intended to have been decorated internally with nearly the same richness as its exterior. Unfortunately no European has yet gained access to the interior of the portico at Bailoor, but there seems no reason to doubt but that its roof and the pillars which support it, are all richly and elaborately ornamented. Be this as it may, these two temples at Bailoor and Hallabeed, may be considered as typical examples of a style of architecture so easily distinguishable from the Dravidian style, to which all the previous examples illustrated in these photographs belong, that Mr. Fergusson has classed it by itself, as the Chalukyan style. This name is taken from that of a dynasty, which in its various branches was all-powerful in the West of India, from the sixth century, till the fall of the Bellala dynasty, as above-mentioned, in 1310. The earlier examples of the style are not yet known to European archaeologists, but they will, no doubt be found in the Jaina temples of Belgaum and Dharwar, when looked for. After the beginning of the fourteenth century, it merged into the styles of Northern India, and lost its distinctive features; but during its continuance it certainly was one of the most elegant and most original of Indian styles, and is well worthy of more attention than has hitherto been bestowed upon it.' Another copy of this print at Photo 1000 (3130).