Vedic Architecture | Mystery of Vedic Science

Ancient Vedic architecture is a fascinating field known as Sthapatya-Shastra, which encompasses the science and art of architecture and civil construction. The term "Sthapatya" derives from the root word "Sthapana," meaning 'to establish,' emphasizing the purpose of architectural endeavors. This technique is often referred to as Sthapatya-kala, with "kala" denoting an art form.

Throughout history, professional architects known as Sthapatis have undertaken the construction of temples, palaces, rest houses, and other civil structures. Even during Vedic times, there were skilled professionals specializing in the construction of chariots and other war instruments, mentioned in the Rig Veda as Rathakara, meaning 'chariot maker.'

Excavations of the ruins at Mohenjodaro and Harappa have revealed the existence of an ancient, highly developed urban civilization in India. The presence of such a civilization suggests the existence of well-established techniques of architecture and construction. It is reasonable to assume that these techniques were documented in records for transmission to future generations and as reference materials for actual construction. Unfortunately, no such records have been preserved from the Indus Valley civilization, neither as rock edicts, manuscripts, nor in folk tales and legends. Nevertheless, the construction of cities like Mohenjodaro provides evidence of a systematic and highly developed architectural technique.

However, from around the 7th century B.C., both literary references and archaeological evidence confirm the existence of large urban civilizations in the Ganges Valley. Like many other sciences intertwined with religion, architecture has integrated scientific ideas and techniques with philosophy and theology. Temples constituted a significant portion of the large constructions during that time. Mortar was rarely used in temple construction, as stones were joined together through the force of gravity. This technique was similar to the one employed in Roman aqueducts. Intricate carvings were executed after the stones had been securely placed, making the carving of figurines up to the temple's roof a demanding task. These carvings are particularly prominent in the Gopurams (towering gateways) and the tall doorways of temples. The Raj-Gopurams of these temples often reach heights of nearly 90 to 100 feet and are adorned with various figurines depicting gods and goddesses.

Ancient Vedic architecture showcases the blend of scientific principles, artistic expression, and religious significance. It stands as a testament to the ingenuity and advanced knowledge of ancient Indian civilizations, leaving a lasting legacy in the form of awe-inspiring structures that continue to captivate and inspire to this day.

Architectural Tradition Extends Overseas

 

The techniques of art and architecture from ancient India had a significant influence both westwards and eastwards. During the reign of Ashoka, regions such as Afghanistan, Baluchistan, and Seistan were part of the Mauryan empire. Buddhist stupas were constructed in these provinces, leaving a lasting architectural legacy.

One remarkable example of India's architectural prowess is seen in the Khajuraho Temple complex. These temples, known for their intricate and exquisite carvings, represent a pinnacle of artistic expression. The temples at Khajuraho have managed to withstand the test of time, preserving their magnificence despite the challenges posed by both human activities and natural forces.

During the Kushana period, Central Asia was integrated into the Kushana empire. Indian art seamlessly blended with Greek and Kushana styles, spreading its influence throughout the region. This cultural exchange resulted in the development of unique art traditions that thrived from the 1st to the 8th centuries in Central Asia.

One notable manifestation of Indian art's impact is seen in the Gandhara school of art in Afghanistan and Central Asia. The Gandhara school was derived from Indian art styles and played a significant role in shaping the artistic landscape of the region. Even the portrait art in the Oxus region, which encompasses the area around the river Akshu (also known as the Oxus River), can be traced back to Indian art forms.

India's cultural frontiers expanded to regions such as Balkh, referred to as Vahalika in Vedic texts, located along the Oxus River and beyond. These regions played a crucial role in the development and dissemination of art traditions in Central Asia. The exchange of artistic ideas and techniques between India and its neighboring territories enriched the artistic heritage of the region, leaving an indelible mark on the art and architecture that flourished during that era.

In addition to Central Asia, India's art and architectural traditions had a profound impact on Southeast Asia as a whole. Alongside the spread of Buddhism, Indian art and architecture found their way to countries such as Indonesia, Malaysia, Vietnam, Laos, Cambodia, Thailand, Burma, as well as China, Korea, and Japan. Even Sri Lanka, located in close proximity to India, was heavily influenced by Indian art and architecture.

The Mandala, a geometric pattern symbolizing the universe, served as a blueprint for Vastu (edifice) construction. Vastu-Shastra, the science of architecture, blended architectural principles with theology.

The Stupas in Sri Lanka, dating from the 3rd century B.C. to the 4th century A.D., were constructed in a hemispherical shape resembling an egg, known as Anda. The interlocking dome of the Stupa served as a prototype for the domes found in later Roman and Arab architecture.

Interestingly, the domes in Islamic architecture, such as those seen in mosques, were derived from the Stupa. The hemispherical construction of stupas also seems to have influenced Byzantine architecture, possibly through Pre-Islamic Sassanian Persia. The famous Hagia Sophia mosque in Istanbul, overlooking the Bosphorus Straits, features domes closely resembling those of Buddhist stupas. The minarets were added later when the Ottoman Turks captured Istanbul (then Constantinople) from the Byzantine Empire in the 15th century.

The interlocking dome of the Stupa also served as a prototype for the domes found in later Roman and Arab architecture. One can imagine that without the minarets, the mosque, originally a Christian cathedral, would have strongly resembled a Stupa. Dome mosques across Muslim countries likely borrowed the style of having domes from the Anda of the Buddhist Stupa. Similarly, Christian basilicas in Europe exhibit similarities to Buddhist stupas, and their mosaics seem to have drawn inspiration from Buddhist chaityas. Indian motifs can also be traced in Gothic sculptures found in the carvings of cathedrals in Bayeux, Achen, and Trier, although the influence has been indirect and subtle.

However, the most pervasive influence of Indian art and architecture through Buddhism was observed in the countries of Southeast Asia. Bernard Groslier, author of the section on 'Indochina' in the 'Art of the World Series,' remarked on the significance of Indian art's spread in ancient times. He compared it to the Hellenization of the Mediterranean world, stating that India can rightfully take pride in having spread its understanding and enlightenment to distant lands that may have otherwise remained in darkness. The countries of Southeast Asia clearly demonstrate a notable Indian influence in their architectural and art forms.

For instance, the famous 108-meter-high statue of Buddha at Dong Duong closely resembles Amravati sculptures, with the presence of curly hair being an indication of its Indian origin in a region where people typically have straight hair. In the Bali islands of Indonesia, many idols of Ganesha, a Hindu deity, have been discovered. The people of Bali identify themselves as Hindus, further exemplifying the lasting impact of Indian art and culture in the region.