259. Temple of Scindiah’s Mother, Gualior. (From a Photograph.)
Bindrabun.
In order not to interrupt the story of the gradual development of the style, the history has been brought down to the present day in as nearly a consecutive manner as possible, thus anticipating the dates of several temples. It seems expedient, however, in any history that this should be done, for few things of its class are more interesting than to trace the progressive changes by which the robust form of the Parasurameswara temple at Bhuvaneswar, or of the great temple there, became changed into the feeble elegance of the Vishveshwar or Gualior temples. The few examples that can be adduced in such a work as this may not suffice to make this so clear to others as it is to myself. With twenty or thirty examples it could be made self-evident, and that may one day be done, and this curious chapter in architectural history be thus added to the established sequences which every true style of art affords. Meanwhile, however, it is necessary to go back a little to mention one or two aberrant types which still are not without interest.
As mentioned above, it does not appear proven that the Moslems did wantonly throw down the temples of the Hindus, except when they wanted the materials for the erection of mosques or other buildings. But, whether this was so or not, it is evident that the first three centuries of Mahomedan rule in India were singularly unfavourable for the development of Hindu art in any part of the country where their rule was firmly established. With the tolerant reign of Akbar, however, a new state of affairs was inaugurated. Not only was he himself entirely devoid of religious bigotry, but most—or at least the most eminent—of his ministers and friends were Hindus, and he lent an attentive ear to the Christian missionaries who frequented his court. But, besides its tolerance, his reign was marked by a degree of prosperity and magnificence till then unknown during that of any other Indian sovereign of his faith. Not only are his own buildings unrivalled in their extent and magnificence, but he encouraged all those around him to follow his example, and found, among others, a most apt imitator in the celebrated Man Singh of Ambêr, afterwards of Jeypore, who reigned A.D. 1592-1615. He erected at Bindrabun a temple, which either he left unfinished at his death, or the sikra of which may have been thrown down by Aurungzebe. It is one of the most interesting and elegant temples in India, and the only one, perhaps, from which an European architect might borrow a few hints.
260. Plan of Temple at Bindrabun. (By the Author.) Scale 100 ft. to 1 in.
The temple, as it now stands, consists of a cruciform porch, internally nearly quite perfect, though externally it is not clear how it was intended to be finished (Woodcuts Nos. [260], [261]). The cell, too, is perfect internally—used for worship—but the sikra is gone; possibly it may never have been completed. Though not large, its dimensions are respectable, the porch measuring 117 ft. east and west, by 105 ft. north and south, and is covered by a true vault, built with radiating arches—the only instance, except one, known to exist in a Hindu temple in the north of India. Over the four arms of the cross the vault is plain, and only 20 ft. span, but in the centre it expands to 35 ft., and is quite equal in design to the best Gothic vaulting known. It is the external design of this temple, however, which is most remarkable. The angles are accentuated with singular force and decision, and the openings, which are more than sufficient for that climate, are picturesquely arranged and pleasingly divided. It is, however, the combination of vertical with horizontal lines, covering the whole surface, that forms the great merit of the design. This is, indeed, not peculiar to this temple; but at Bhuvaneswar, Hullabîd, and elsewhere, the whole surface is so overloaded with ornament as to verge on bad taste. Here the accentuation is equal, but the surfaces are comparatively plain, and the effect dependent on the elegance of the profile of the mouldings rather than on the extent of the ornamentation. Without elaborate drawings, it would be difficult to convey a correct impression of this; but the annexed view ([Woodcut No. 262]) of a balcony, with its accompaniments, will suffice to illustrate what is meant. The figures might as well be omitted: being carved where Moslem influences had long been strong, they are the weakest part of the design.