Going deeper in temple architecture in India, Cambodia and Indonesia

Templexity, as the name suggests, is a comprehensive analysis of the art, engineering and religious beliefs behind the temple complexes of three great religions – Hinduism, Buddhism and Jainism.

Surendranath Bopparaju, the author, turns into a guide taking the reader on a tour to different temples in India, Indonesia and Cambodia explaining the details of not just the structure but also the adornment of icons and ‘ism’ associated with them.

Bopparaju decodes the origin and necessity of temples and why they can be described as the epicentres of social activity powering economies and acting as equalisers, uniting people cutting across caste and creed. Temples also generate employment, proportionate to their size and reputation.

The book traces how faith began taking shape from the ancient civilisation of Mesopotamia. From worshipping Gods, nature, animals, the dead to icons, along with their attributes, the evolution of the belief system to the present format is narrated. Comparison of the oriental and occidental iconographic elements in faith, karmic faith and karmic temples also make this book an interesting read. In India, the temple sculpture began to grow along with the Magadha Empire. Till then, it was pure worship of nature.

The book briefs about the sensibility behind the two ‘isms’ followed by sculptors – realism and idealism in carving the sculptures, the different stones which they chiselled to showcase their creativity, along with the evolution of paintings in the temples which led to three distinct phases.

The various architectural styles and stylistics in the Karmic temples were also discussed with keen detail. The different components of the temple structures and the accentuation of the style through specific elements, the patronage of art by Pallavas and the profound change in temple architecture underwent during their rule, along with the five schools that illustrate the mediaeval north Indian architecture were explained elaborately. At the same time, the author does not forget to make a mention of the art and architecture of the Vijayanagara rulers in the south, which they inherited from Cholas, Chalukyas, Pandyas and Hoysalas, whereas the Gurjara-Pratiharas adopted the Gupta stylistics in the western part of India.

Loaded with high-resolution images and hand-drawn pencil sketches, along with recreated original structures based on literary/sculptural evidence, Bopparaju’s work would certainly help archaeological and history enthusiasts understand the intricacies in temple architecture.

The author explains how the sculptors blended maths and science, especially astrophysics, into precision engineering, exhibiting their competency in building these mammoth structures, considered symbols of pride by patrons of the art.  

The artwork in the temples was divided into seven non-overlapping categories – epics, entertainment, women in sculpture, mediaeval life, personal adornment, erotica and nature.

In the book, the author takes the reader through a virtual tour of 21 temple circuits spread across the length and breadth of three countries —- India, Indonesia and Cambodia, giving an enriching experience and  instigating to immediately pack the bags and get set for travel.