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Indigenous architectural tradition

What makes for the strength of this book under review is the manner in which it classifies and narrates the developments from the sixth to the 13th century A.D. Unlike other works, which categorise temple architecture in terms of dynasties or worse racial terms, this work deploys traditional (architecture) textual labels. It focuses on two streams of temple architecture, Nagara and Dravida, to illustrate the distinctions and continuities between them, and the variations within. This method makes for a good departure and allows for history to be viewed in formal terms.

However, the readers who look for detailed discussion of textual categories of temple forms and their historical references in inscriptions may not find the book helpful. A quick explanation that Nagara is northern and Dravida is southern is practical but not scholarly sufficient, especially when the book suggests that alternate explanations for Nagara such as “literally of the city” exists. Another issue with the categories is that Adam Hardy overlooks Vesara, the third category of temples, as an extension of Dravida and goes past it quickly. Those who are familiar with the works of scholars such as Ajay Sinha on Vesara temples may find this book little less engaging with the debates.

If you go past this initial hiccup, explanation of temples in formal terms and its historical development is well done and adequately illustrated. This approach, though not entirely unfamiliar, is useful. This allows the reader to focus and appreciate the visual and structural qualities of temple architecture.

The third section that forms the centrepiece of the book is the most illustrative of the sections. It dissects the temple in terms of its constitutive elements, such as shapes, geometry and columns, allowing for the otherwise complex looking temple to be visually separated into simple components. If one expects that the remaining part of the book would trace the historical development of these components, it is not to happen. Hardy pursues the temple architectural history through his pet thesis and module called aedicule.

Hardy in his previous work has established that Indian temple architecture was conceived as a compilation of aedicule or miniature shrines. He may have convincingly explained the plausibility of aedicule model in his previous works but the question remains that, in current practice, many Stapatis or temple architects practising in Tamil Nadu seem to design and build temples not through the idea of aedicule but more as a composition of elements. This opens up the question whether there are other possibilities against which Hardy’s positing must be evaluated. Maybe, it is a subject for another book.

The book is well produced with good quality drawings. Students of architecture would find this useful. Many photographs by Gerard Foekema, a scholar in his own right and a specialist in Karnataka temples, add value to the book. The book is divided into six parts. The first section discusses the larger social and religious backgrounds of the aedicule model. The second looks at the precursors or early architectural examples, the third section is on temple design while the fourth and fifth is on Nagara and Dravida architecture in detail.

The last section briefly touches on the future of temple architecture and Hardy describes that some of the contemporary temples are akin to “pizza effect” meaning pastiche and suggesting that the prerequisite for new temple architecture lies in seeing the tradition clearly and understanding it.

Hardy’s scholarship and experience is evident in this well-narrated book. However, some of his comments can be viewed as being causal and the “humour” depreciative to be useful to serious readers. For example, one can understand if he chooses not to engage in post-colonial criticisms of history writing but to dismiss it in a few sentences and mocking it without substantial arguments serves less purpose. Similarly, when he comments that Vastu pursha mandala fades gracefully from the discourse because his students produce typically boring design, is not useful either. Works by scholars such as Michael Meister show that ideas from the traditional architecture texts including grids generated by the Mandalas were in use.

A cursory interview with the Stapatis in Tamil Nadu would also show that grids continue to be used in temple planning, may be not as his students use, but in a more creative and generative manner.

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