216. Temple at Buchropully. (From a Photograph.)
Although of no great magnificence in itself, this temple is interesting as possessing all the features which distinguish the Chalukyan style from those that surround it either on the north or south. Instead of their square plans, this one is practically star-shaped. The sikra is a straight-lined cone, and its decorations in steps is as unlike the Dravidian spire in storeys as it is to the curvilinear outline of the Jaina or northern temples. The porch, too, is open, and consists of columns spaced equidistantly over its floor, without either the bracketing arrangements of the southern or the domical forms of the northern styles. Situated as it was locally, half-way between the Dravidian and northern styles, the Chalukyan borrowed occasionally a feature or form from one or from the other, but never to such an extent as to obliterate its individuality, or to prevent its being recognised as a separate and distinct style of architecture.
When the Nizam’s territory is examined, we shall probably be able to trace all the steps by which this simple village example developed into the metropolitan temple of Hammoncondah, the old capital, six miles north of Worangul. According to an inscription on its walls, this temple was erected, in A.D. 1163, by Pratapa Rudra,[404]
217. Doorway of Great Temple at Hammoncondah. (From a Photograph.)
who, though not exactly himself a Chalukya in blood, succeeded to their possessions and their style. The temple itself is triple, having three detached cells of very considerable dimensions, in front of which is a portico, supported by between 240 or 300 pillars, disposed in a varied and complicated pattern,[405] but without any sign, so far as I can trace, of the Jaina octagonal arrangement for a dome. Like most of these late temples, this one was never finished. It was too extensive for one king’s reign, even for one so powerful as he was who undertook it, and before it was heartily taken up again the Mahomedans were upon them (in A.D. 1309), and there was an end of Hindu greatness and of Hindu art.
Some of its details, however, are of great beauty, especially the entrances, which are objects on which the architects generally lavished their utmost skill. The preceding woodcut (No. [217]) will explain the form of those of the great temple, as well as the general ordinances of the pillars of the great portico. Nothing in Hindu art is more pleasing than the pierced slabs which the Chalukyas used for windows. They are not, so far as I recollect, used—certainly, not extensively—in any other style, but as used by them are highly ornamental and appropriate, both externally and internally.
The pillars, too, are rich, without being overdone; and as it is only in pairs that they are of the same design, the effect of the whole is singularly varied, but at the same time pleasing and elegant.
There are at Hammoncondah or Worangul a great number of smaller temples and shrines, in the same style as the great temple, and, like it, apparently all dedicated to Siva, from the constant presence of his bull everywhere. Most are ruined; but whether this is owing to Moslem bigotry or faulty construction, it is difficult to say. Judging from appearances, I am inclined to believe the latter was the true cause. The mode of building is without mortar, and the joints are by no means well fitted. The style is also remarkably free from figure-sculpture, which is generally the thing that most easily excites the iconoclastic feelings of the followers of the Prophet.