The Lakshmi Narayan Temple Complex, Chamba: Reflection of Divinity by Architecture
Resting in the rush of the gifted settlements by the river 'Ravi', the Lakshmi Narayan Temple Complex has been radiating sanctity over the 'Chambyals' since heaps of centuries.
The Nagara style in which the temple has been achieved dates to the good old Indo-Aryan style of Orissa. While many of the attributed components of a typical Nagara style temple such as Ardhamandapa (Entrance Hall), Mandapa (Hall), Mahamandapa (Great Hall), Antarala (Vestibule) are observed to have been omitted, the Adhisthana (Base Platform), Urushringa (Secondary Tower), Garbhagriha (Inner Sanctum), Shikhara (Central Tower) are the constants. The wooden umbrella roof itself marks distinction holding the Amalaka (a stone disk) crowned with the Kalasha (Finial) on its top and responds to the local climatic behaviour. Floor communicates by adding kinds of ascends in the movement and likewise, the temples appear in a progression.
What seize away the blink of an eye are the intense, intricate and varied carvings on the Shikhara which are intentionally etched out to be symmetrical. Each temple unit of the complex presenting slightly a new set of carvings further accentuates the thought of it. These depict various Hindu Gods on Urushringa, Garbhagriha, Shikhara with symbols replicating each other gradually drawing the focus of the eye upwards.
Centuries ago, when sight of Raja Sahil Varman began to take a shape of stone and
strength, it was decided that the idols were to be made of marble.
Tales hold the movement of his eight sons to the Vindhyas in quest of marble slabs and twice in order to get more than before. But the second round ended their life half-a-way as they fell as a prey to Dacoits.
Unmoved, the quondam Raja, sent his eldest son Prince Yugakara to fetch the marble but this time not alone. Chaperoned by saints, Yugakara although being attacked by the band of Dacoits successfully surpassed the barrier and returned safe. Since then, saints in Chamba are looked upon with reverence.
So, the temple was realised during the 10th Century with further additions by the succeeding Rajas and Ranis in the time that followed where stone and wood were the fundamental building materials employed.
The pinnacle of the temple was plated in gold in 1678 by the fearless Raja Chatter Singh in the attempt of contempt to the orders of the Mughal Emporer Aurangzeb which dictated all the well-known temples of Chamba to be demolished.
Also, a pillar, with Garuda erected of metal, stands right in front of the main entrance to the temple as a guard.
The temple complex, an architectonic and divine delight, is firm with its lyrical carvings and is visited by devotees from far flung areas.
The delicacy with which each stone must have been chiseled under the pure sky and the blue rains makes the sweat spent behind palpable.
The Nagara style in which the temple has been achieved dates to the good old Indo-Aryan style of Orissa. While many of the attributed components of a typical Nagara style temple such as Ardhamandapa (Entrance Hall), Mandapa (Hall), Mahamandapa (Great Hall), Antarala (Vestibule) are observed to have been omitted, the Adhisthana (Base Platform), Urushringa (Secondary Tower), Garbhagriha (Inner Sanctum), Shikhara (Central Tower) are the constants. The wooden umbrella roof itself marks distinction holding the Amalaka (a stone disk) crowned with the Kalasha (Finial) on its top and responds to the local climatic behaviour. Floor communicates by adding kinds of ascends in the movement and likewise, the temples appear in a progression.
 |
| LAKSHMI NARAYAN TEMPLE COMPLEX, CHAMBA |
 |
| DETAILED UNITS ON THE OUTER IN STONE |
Centuries ago, when sight of Raja Sahil Varman began to take a shape of stone and
strength, it was decided that the idols were to be made of marble.
Tales hold the movement of his eight sons to the Vindhyas in quest of marble slabs and twice in order to get more than before. But the second round ended their life half-a-way as they fell as a prey to Dacoits.
Unmoved, the quondam Raja, sent his eldest son Prince Yugakara to fetch the marble but this time not alone. Chaperoned by saints, Yugakara although being attacked by the band of Dacoits successfully surpassed the barrier and returned safe. Since then, saints in Chamba are looked upon with reverence.
So, the temple was realised during the 10th Century with further additions by the succeeding Rajas and Ranis in the time that followed where stone and wood were the fundamental building materials employed.
 |
| UPON THE MAIN ENTRANCE |
 |
| IDOL OF LORD VISHNU |
 |
| A CARVED OUT UNIT |
The pinnacle of the temple was plated in gold in 1678 by the fearless Raja Chatter Singh in the attempt of contempt to the orders of the Mughal Emporer Aurangzeb which dictated all the well-known temples of Chamba to be demolished.
Also, a pillar, with Garuda erected of metal, stands right in front of the main entrance to the temple as a guard.
The temple complex, an architectonic and divine delight, is firm with its lyrical carvings and is visited by devotees from far flung areas.
The delicacy with which each stone must have been chiseled under the pure sky and the blue rains makes the sweat spent behind palpable.
Comments