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Latina in Khajuraho

Shikhara (IAST: Śikhara), a Sanskrit word translating literally to "mountain peak", refers to the rising tower in the Hindu temple architecture of North India, and also often used in Jain temples. A shikhara over the garbhagriha chamber where the presiding deity is enshrined is the most prominent and visible part of a Hindu temple of North India.[1][2]

In South India, the equivalent term is vimana; unlike the shikhara, this refers to the whole building, including the sanctum beneath. In the south, shikhara is a term for the top stage of the vimana only, which is usually a dome capped with a finial;[3] this article is concerned with the northern form. The southern vimana is not to be confused with the elaborate gateway-towers of south Indian temples, called gopuram, which are often taller and more prominent features in large temples.

It is argued that stylistic aspects seen on Buddhist architecture like the stupa may have been influenced by the shikhara, a stylistic element which in some regions evolved to the pagoda.[4][5]

Forms

[edit]

Shikhara can be classified into three main forms:[6]

  • Latina. The latina shikhara has four faces, which may include projections or ratha within each face. All the elements run smoothly up the face in a curve. They are also sometimes called "homogeneous" shikhara, as opposed to the next two types, which may be called "heterogeneous".[7] It is the most common form of a shikara.[8]
  • Sekhari. The sekhari shape has added engaged (attached) sub-spires or spirelets called urushringa, echoing the main shape. These may run up most of the face. There may be more than one size of these, sometimes called secondary and tertiary. Tertiary spirelets are typically near the ends of the face or on the corners.[9]
  • Bhumija. The tower has miniature spires, in horizontal and vertical rows, all the way to the top,[10] creating a grid-like effect on each face. The tower is generally less strongly vertical in overall shape, often approaching a pyramidal shape. This shape is mainly found in the northern Deccan and West India.[9]

History

[edit]
The Mahabodhi Temple in 150–200 CE. Recent images of the plaque [1][2]
The Mahabodhi Temple: a stepped pyramid with stupa finial on top.[11]

The early history of the Hindu shikhara is unclear,[12] but the Buddhist Mahabodhi Temple at Bodh Gaya has a straight-sided shikhara tower over 55 metres (180 feet) high, with an amalaka near the top. The current structure dates from the Gupta Empire, in the 5th–6th century CE. When the temple acquired its shikhara tower, today considered more characteristic of Hindu temples, is uncertain.[13] However, the current structure of the Mahabodhi Temple may represent a restoration of earlier work of the 2nd or 3rd century CE.[11]

Ernest Havell traced the origin of shikhara to Ancient Mesopotamia and referred to the royal fortress palaces of similar forms depicted in the stele of Naram-Sin.[14] A plaque from Kumrahar dated 150-200 CE, based on its dated Kharoshthi inscriptions and combined finds of Huvishka coins, already shows the Mahabodhi Temple in its current shape with a stepped truncated pyramid and a stupa finial on top, together with devotional images of the Buddha and the elephant-crowned Pillar of Ashoka next to the entrance.[15] It is thought that this shape of a truncated pyramid was derived from the design of the stepped stupas which had developed in Gandhara, as seen in the stupas of Jaulian, with an elongated structure formed of a succession of steps with niches containing Buddha images, alternating with Greco-Roman pillars, and topped by a stupa.[11][16]

By at least 600 CE in Odisha,[17] and perhaps somewhat later in the Deccan Plateau and West India,[18] the Latina form of the shikhara is well-established, with an amalaka disk-stone at the top, and then a kalasha urn. There is often a sukanasa feature over the entrance door.[19]

The forms with smaller subsidiary spires begin in the 10th century,[20] and from then on tend to predominate. The Khajuraho Group of Monuments has several early forms from early in the century, though Latina ones reappear after about 1050, in examples like the Vamana Temple.[21] The bhumija spire probably first appears around 1000-1025, with other temples begun in the 1050s, such as the Shiv Mandir, Ambarnath.[22]

Major styles

[edit]
Homogeneous Shikhara (but with rathas) of the Lingaraja Temple in Bhubaneswar

Shikharas form an element in the many styles of Hindu temple architecture, of which the three most common are Nagara, Vesara, and Dravidian:[1]

  • The Nagara style is more prevalent in northern India, within which, the shikhara is recognized as a high curved shape. In the north-east, the local term deul or deula is more often used, both for towers and often the whole temple. In Odisha, a Rekha Deula is the sanctum and the tower over it; gandi is also a term for the upper tower only, equating to shikhara. The curve is also very slight until the top, and the amalaka rather large, typically supported by four lion sculptures facing out.[23] Of the many temples in Bhubaneswar, only the Rajarani Temple has significant spirelets.[24]
  • The Vesara style, a synthesis of Nagara and Dravidian, is seen in Karnataka and most commonly in Hoysala and later Chalukya temples. In the vesara style, the tower moves towards a lower conical shape, with highly ornate carving.
  • The Dravidian style is prevalent in southern India, in which the equivalent of the shikhara is the vimana. The superstructure above the sanctum is typically more like a four-sided pyramid in overall shape, consisting of progressively smaller storeys of pavilions (talas), with a profile that is normally straight than curved. The Dravidian superstructure is generally highly ornate.

In every style of shikhara/vimana, the structure culminates with a "kalasha", or urn for offerings, or water-pot, at its peak.

The three main styles

See also

[edit]
Wikimedia Commons has media related to Shikharas.

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Shikhara

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from Grokipedia
A shikhara (: शिखर, śikhara, literally meaning "mountain peak") is the towering, curvilinear spire that forms the superstructure above the () in , predominantly found in northern and . This architectural element symbolizes the mythical , the cosmic axis linking the earthly realm to the divine, and is characterized by its rhythmic, upward-curving profile composed of stacked, diminishing horizontal slabs with vertical offsets that create a sense of dynamic ascent. The shikhara's design draws from ancient principles, integrating hierarchical motifs of miniature shrines (aedicules) arranged in three dimensions to evoke unfolding cosmic manifestation and centrifugal expansion from the downward. Historically, the shikhara evolved from simpler forms in the , reaching a peak of complexity in the 10th–11th centuries in regions like and , with notable examples including the at exemplifying the advanced Shekhari subtype featuring multiple projected spires along cardinal axes. Distinct from the pyramidal vimana of southern Dravida temples, the shikhara's Latina base—rectangular with angular projections—supports variations like the Phamsana (stepped, rectilinear) and (multi-spired with lattice-like perforations), reflecting regional adaptations while maintaining a core emphasis on verticality and repetition to amplify spiritual elevation.

Definition and Etymology

Linguistic Origins

The term śikhara (शिखर) in fundamentally denotes "peak" or "," particularly referring to the crest or top of a , tree, or similar elevated form. This primary meaning is well-attested in classical lexicographical works, where it encompasses notions of a pointed summit, pinnacle, or crest-like projection. Early attestations of śikhara appear in Vedic literature, such as the Kausītaki Brāhmaṇa, a text associated with the Ṛgveda tradition dating to around the 8th–6th centuries BCE, where it explicitly signifies the "peak" of a in and cosmological contexts. The term recurs frequently in later epic literature, including the Mahābhārata (composed circa 400 BCE–400 CE), to describe lofty summits, such as those of the Himālayas, emphasizing their sharpness and upward in narratives of geography and divine abode. These usages predate any specialized applications, establishing śikhara as a descriptor of natural elevations symbolizing height and prominence in ancient Indo-Aryan linguistic tradition. By the medieval period, the semantic range of śikhara expanded in technical Sanskrit treatises, notably within Vāstu Śāstra texts like the Mayamata (circa 9th–11th centuries CE), an authoritative manual on architecture attributed to the sage Maya. Here, the term begins to denote man-made elevated structures, such as the crowning elements of buildings, retaining its core connotation of a rising, pointed form while adapting to denote constructed pinnacles or superstructures. This shift reflects a metaphorical extension from natural peaks to artificial ones, influencing its later adoption in architectural nomenclature.

Architectural Definition

In North Indian Hindu and architecture, the shikhara serves as the crowning tower, characterized by a curved, rising that surmounts the , the inner sanctum containing the principal deity image. This provides vertical emphasis to the temple complex, enclosing and elevating the sacred space while directing the viewer's gaze heavenward. Symbolizing , the mythical and abode of the gods in , the shikhara embodies the temple's role as a microcosmic representation of the universe, with its undulating form mimicking the contours of a sacred mountain. The term itself derives from the word for "peak," evoking the metaphorical ascent toward spiritual enlightenment. Distinct from the stepped, pyramidal found in southern Dravidian temples, the shikhara's fluid, curvaceous profile creates a dynamic that contrasts with the more angular, tiered southern counterpart, emphasizing continuity and over rigid stratification. Typically constructed from durable stone materials like , it features rhythmic vertical projections called rathas—recessed offsets that articulate the facade and add depth—culminating in an amalaka, a ribbed, disc-like capstone at the apex that supports a . These towers generally attain heights of 30 to 55 meters, as exemplified by the 31-meter shikhara of the at , which underscores their scale in establishing the temple's monumental presence.

Components and Forms

Core Elements

The shikhara functions as the towering superstructure directly above the , the temple's inner sanctum housing the deity. Its structure is organized into distinct vertical zones, beginning with the base, or (also termed adhisthana), which provides a stable platform elevated on a molded plinth to elevate and protect the structure from ground moisture. Above the pitha rises the main body, or jangha, characterized by vertical projections known as rathas that create a rhythmic, multi-faceted elevation, often arranged in offsets that diminish in size upward to form a cohesive tower profile. The summit transitions into a gradual, curvilinear recession, culminating in the , a pot-like pinnacle symbolizing abundance and completion, often crowned with further finials for aesthetic and structural emphasis. The shikhara's surface is richly embellished with decorative motifs that integrate sculptural depth and narrative elements into its . Celestial figures such as apsaras, depicting ethereal nymphs in dynamic poses, are carved into niches and friezes, evoking the divine realm and adding a sense of movement to the static form. Floral carvings, including lotus and vine motifs, adorn the projections and recesses, symbolizing purity and growth while providing visual across the tiers. Miniature replicas called urushringas—smaller subsidiary spires attached to the main body—protrude from the sides, mirroring the primary curvature and enhancing the overall vertical thrust without altering the core zoning. From an perspective, the shikhara relies on load-bearing , where massive stone blocks are stacked without mortar in precise alignments to distribute weight downward. Corbelled arches and entablatures are employed in the projections and roof slabs, allowing for the overhanging tiers that define the curvilinear profile while preventing collapse under gravitational forces. This technique, combined with diminishing offsets in the rathas, ensures seismic and vertical stability, enabling shikharas to reach heights of up to 50 meters in multi-tiered forms.

Principal Types

The principal types of shikhara in Nagara-style are classified into four main formal categories: Latina, Phamsana, Shekhari, and , each distinguished by their structural composition and visual emphasis on the tower's superstructure above the . These types build upon shared core elements such as vertical offsets (rathas) on the facade, which contribute to the rhythmic ascent of the , but differ in their multiplication and arrangement of spire forms to achieve varying degrees of complexity and dynamism. The Latina type represents the foundational and simplest form of shikhara, characterized by a quadrilateral base supporting four symmetrical faces that converge in a smooth, continuous curvature toward an amalaka crown and at the apex. This design creates a singular, elongated (rekha or lata) running vertically along each face, emphasizing verticality and a vine-like organic flow without subsidiary projections. Established by around 600 CE, the Latina shikhara is exemplified in early temples of , such as the Parasurameswara Temple in (c. 7th century CE), where its restrained elegance highlights the integration of rathas into the curving profile. The Phamsana type features a rectilinear, stepped profile with horizontal tiers that rise in a pyramidal manner, lacking the curvilinear ascent of the Latina. Often used for mandapas or secondary structures, it employs flat roofs and straight edges, creating a more squat and stable appearance. This form is seen in early Nagara temples, such as elements in the temples of Aihole (c. 7th–8th century CE). The Shekhari type evolves from the Latina core by incorporating offset half-spires known as urushringas, which are attached subsidiary spires that echo the main form and project outward along the cardinal faces, introducing asymmetry, greater height, and a clustered, centrifugal appearance. These urushringas, often arranged in rows with miniature corner spires (kuta-stambhas), enhance the tower's dynamic layering while maintaining the central rekha's dominance. Prominent from the 10th century CE in central and western India, this type is notably seen in the Kandariya Mahadeva Temple at Khajuraho (c. 1050 CE), where the added spirelets amplify the overall vertical thrust and sculptural density. The Bhumija type features a lattice-like structure formed by a grid of miniature spires (urushringas) arranged in horizontal and vertical rows—typically 25 in a 5x5 configuration—creating a pyramidal form with pronounced horizontal banding and reduced curvature compared to the Latina. This repetitive, bead-like motif of small spires on vertical stacks (stambhas) emphasizes rhythmic repetition over singular ascent, often resulting in a stellate or orthogonal plan at the base. Emerging prominently from the CE in the region of and extending to the Deccan, it is exemplified by the Udayeshvara Temple at Udayapur (c. 1080 CE), where the grid of miniatures imparts a jewel-like, ornate quality to the tower.

Historical Evolution

Early Development

The development of the shikhara, the distinctive curved or pyramidal tower crowning the sanctum of Hindu and Buddhist temples, emerged during the period (c. 320–550 CE), marking a pivotal shift in Indian temple architecture from earlier flat-roofed structures to more vertically oriented forms. This evolution reflected a growing emphasis on symbolic elevation toward the divine, with early examples demonstrating terraced, stepped designs that foreshadowed the more fluid curvatures of later styles. The era's patronage of monumental architecture, particularly under rulers like , facilitated this innovation, as temples transitioned from simple shrines to complex edifices with towering superstructures. One of the earliest and most influential examples is the at , constructed in the 5th–6th century CE during the late period. Standing over 55 meters tall, its brick-built shikhara features a terraced pyramidal form with multiple receding tiers, evolving toward a subtle curvature at the apex, adorned with niches and arch motifs that enhance its vertical thrust. This structure, primarily Buddhist but incorporating elements that influenced design, represents a foundational proto-shikhara, bridging flat-roofed antecedents and later Nagara styles. The Dashavatara Temple at Deogarh, dated to around 500 CE, exemplifies the influence in this transitional phase, showcasing a shift from flat roofs to proto-shikharas in . Dedicated to , the temple's shikhara, originally approximately 12 meters high with three receding tiers, rises over a square sanctum on a raised platform, introducing a pyramidal outline that emphasized hierarchical elevation. By the 7th–8th century, the shikhara form consolidated with the introduction of the latina type, characterized by a curvilinear profile and strong vertical emphasis, particularly in eastern . The Parashurameswara Temple in , built around 650 CE under the , features an early latina shikhara in the deul style, with a triratha plan that integrates the tower seamlessly with the sanctum and hall, setting precedents for the Nagara tradition's emphasis on upward momentum. This period's innovations, such as refined moldings and sculptural integration, solidified the shikhara as a core element of temple typology.

Medieval Advancements

During the medieval period, shikhara design evolved significantly from its earlier prototypes, achieving greater height, complexity, and regional diversity through innovations in form and ornamentation that enhanced both structural integrity and visual appeal. In the 9th and 10th centuries, architects introduced urushringas—subsidiary spirelets attached to the main shikhara—in the sekhari style, which added layers of verticality and rhythmic dynamism to the tower's profile. This refinement, prominent in the temples of constructed between 950 and 1050 CE under the Chandela dynasty, allowed for more intricate layering and a sense of ascending energy, transforming the shikhara into a multifaceted emblem of cosmic hierarchy. The 11th and 12th centuries marked the peak of these advancements, particularly with the proliferation of the bhumija style in , characterized by a stellate plan and rows of miniature spires (kutas) that created a densely textured, pyramidal mass. Exemplified by the Udayeshvara Temple at Udayapur, built in 1059 CE by the , this form emphasized geometric precision and repetitive motifs for heightened aesthetic depth. Concurrently, monumental heights were achieved, as seen in the in (c. 1100 CE), where the shikhara reaches approximately 55 meters, showcasing refined engineering for stability amid curvilinear elegance. By the 13th century, shikhara designs integrated influences from regional dynasties, such as the lingering Chandela emphasis on elaborate superstructures, resulting in increasingly ornate carvings that conveyed narrative richness. These developments occurred amid the disruptive impacts of Islamic invasions by the , which curtailed large-scale construction in northern and shifted patronage toward more fortified or southern expressions of temple architecture.

Regional and Stylistic Variations

Nagara Tradition

The Nagara tradition represents the primary architectural idiom of northern and central India, distinguished by its tall, curvilinear shikhara towers that prioritize verticality through a series of recursive offsets forming a beehive-like silhouette. These towers rise dynamically from the sanctum, incorporating a central vertical spine flanked by diminishing subsidiary spires (urushringas) that create layered, rhythmic projections, often capped by an amalaka disc and kalasha finial. Prevalent in Madhya Pradesh, Rajasthan, and Odisha, the style evolved from the foundational Latina (Rekha-Prasada) and Sekhari forms, where the shikhara's convex curvature symbolizes cosmic ascent. Regional sub-variations highlight adaptive expressions within the Nagara framework. In , the deul takes the form of a curved Rekha-Prasada shikhara, characterized by near-vertical walls that abruptly curve inward to a pointed summit, as seen in the 13th-century , where the towering deul integrates intricate wheel motifs and sculptural narratives. Gujarat's contributions feature clustered spires in the subtype, with horizontal bands of miniature towers encircling the main spire, emphasizing multiplicity and geometric rotation in structures influenced by the Maru-Gurjara idiom. Dominant from the 7th to 13th centuries, the Nagara shikhara transitioned from rudimentary Gupta-era prototypes to elaborate medieval compositions, with over 85 temples originally built in the group in between the 9th and 12th centuries—approximately 25 of which survive, including the iconic Kandariya Mahadeva Temple's multi-tiered rising over 30 meters. This period marked peak innovation, with the style's vertical emphasis and offset layering influencing over a hundred documented examples across its core regions.

Vesara and Dravidian Influences

The style represents a hybrid architectural tradition that integrates elements of the northern Nagara curvature with southern Dravidian tiering, particularly evident in the design of shikharas that adopt a conical form rising from star-shaped bases. These vesara-shikharas are characterized by their ornate detailing and multi-projection layouts, blending the fluid, mountain-like ascent of Nagara towers with the structured horizontality of Dravidian forms. In , the Hoysala temples exemplify this synthesis, where shikharas feature intricate carvings and stellate plinths that enhance visual complexity without overwhelming the overall elevation. A prime example is the at , constructed in the 12th century under Hoysala patronage, where the shikhara evolves into a multifaceted dome-like cap over the sanctum, incorporating latina projections that echo Nagara verticality while employing Dravidian-inspired horizontal friezes for rhythmic progression. This design not only facilitates regional adaptation to local stone but also symbolizes a cultural bridge, allowing for denser sculptural narratives on the tower's surface. The vesara-shikhara's adaptability is further seen in its occasional phamsana variants, which present a straighter, octagonal profile suited to Deccan rock-cut influences. In contrast, the Dravidian style employs as pyramidal, multi-tiered towers that rise in diminishing horizontal layers, fundamentally differing from the shikhara's curvilinear peak by emphasizing stability and grandeur through geometric stacking rather than organic ascent. The Brihadeeswarar Temple in , built in the 11th century by the , showcases this with its massive, thirteen-tiered reaching over 66 meters, constructed from interlocking blocks and crowned by a monolithic made from a single block weighing about 80 tons, which underscores the style's prowess in southern granitic terrains. While typically avoid the Nagara shikhara's amalaka , border regions like Andhra occasionally incorporate subtle northern curvatures, adapting the form for hybrid expressions. Cross-regional exchanges during the 10th to 12th centuries, facilitated by the in the Deccan, played a pivotal role in merging these influences, with Chalukyan architects pioneering vesara-shikharas that combined Nagara dynamics with Dravidian base solidity, as seen in temples at . This period's innovations, including phamsana shikharas with their rectilinear slopes, reflect patronage-driven adaptations that traversed stylistic boundaries, fostering a shared vocabulary of projection and ornamentation across the peninsula. Such interactions occasionally extended to elements in transitional zones, introducing clustered mini-spires for added vertical emphasis.

Symbolism and Cultural Role

Religious and Philosophical Significance

The shikhara in embodies profound cosmological symbolism, representing , the sacred cosmic mountain regarded as the and center of the universe in . This vertical tower facilitates a symbolic ascent from the earthly realm to the divine, mirroring the devotee's spiritual journey toward enlightenment and ultimate liberation, or , particularly within Shaiva and Vaishnava traditions where the structure aligns with rituals and meditative practices outlined in their respective Agamas. In Jain architecture, the shikhara adopts a similar role, serving as a vertical axis that evokes the cosmic mountain and underscores the non-theistic path to spiritual liberation through the soul's ascent to siddhaloka, free from karmic bondage. Exemplified in the spires of shrines such as those at the , this form emphasizes the ethical and ascetic discipline central to Jain , without reliance on a . The shikhara's metaphysical import draws from ancient textual foundations, including the Agamas, which prescribe temple forms as conduits for divine energy, and like the , where mountain metaphors illustrate the hierarchical cosmos and the soul's upward progression. The temple, modeled on yantric principles, functions as a geometric aid for , enabling devotees to internalize cosmological symbolism during .

Artistic and Social Impact

The shikhara's artistic legacy is evident in the intricate carvings adorning its surfaces, particularly in the Nagara-style temples of , where mithuna figures—depicting amorous couples—alongside mythical scenes, exemplify the 10th-11th century sculptural mastery of the Chandella dynasty. These erotic and narrative sculptures, comprising up to 10% of the total sculptures, influenced subsequent regional sculptural schools in northern India during the 12th century, such as those in and , by emphasizing dynamic human forms and thematic integration of the sacred and profane. Socially, shikharas served as prominent focal points for pilgrimage circuits, including those associated with the at sites like and , where towering spires on temples such as the Mansa Devi Temple in drew millions for ritual baths and communal gatherings, fostering shared devotion and cultural exchange. The Chandella dynasty's patronage of Khajuraho's shikharas, exemplified by rulers like who commissioned the Lakshmana Temple around 930 CE, reflected royal piety and assertions of political power, transforming these structures into symbols of dynastic legitimacy and community identity. In modern contexts, the shikhara continues to inspire architecture, as seen in the in , inaugurated in 2024, which adopts Nagara-style spires to evoke traditional cosmology while adapting to contemporary engineering. Similarly, Hindu diaspora temples, such as the BAPS Shri Swaminarayan Mandir in Robbinsville, , incorporate shikhara elements to maintain cultural continuity for global communities.

Notable Examples and Preservation

Iconic Structures

The Mahabodhi Temple in Bodh Gaya, dating to the 5th-6th century during the late Gupta period, exemplifies an early proto-shikhara form in Indian temple architecture. Its tower rises to approximately 55 meters, featuring a curvilinear profile topped with an amalaka (a bulbous finial) and kalasha (a vase-like crown), constructed entirely from brick—a pioneering technique for the era. The shikhara's multi-tiered, terraced design, adorned with niches and arch motifs, marks a transitional style blending Buddhist and emerging Hindu architectural elements, symbolizing the sacred mountain of enlightenment where Siddhartha Gautama attained nirvana. The Khajuraho Temples in Madhya Pradesh, constructed between the 9th and 11th centuries under the Chandella dynasty, showcase mature Nagara-style sekhari shikharas with clustered miniature spires evoking Mount Kailasa. These towering, curvilinear spires rise dynamically from ornate platforms (jagati), integrated with sanctums (garbhagriha) and assembly halls (mandapa) in a saptaratha (seven-projection) plan, emphasizing verticality and rhythmic layering. Approximately 20 temples survive from an original cluster of about 85, renowned for their dense iconography of thousands of sculptures depicting deities, mythical scenes, and secular motifs like dancers and couples, reflecting Chandella cultural patronage of art and devotion. The Lingaraja Temple in Bhubaneswar, built in the 11th century by the Somavamsi dynasty, represents the pinnacle of Kalinga architecture with its 55-meter-high Rekha Deul shikhara—a smooth, curvilinear tower divided into tripartite sections: the base (pida), vertical wall (gandi), and crowning spire (masta). This elemental form, devoid of excessive ornamentation on the tower but richly sculpted on the walls with deities and floral motifs, integrates a spacious assembly hall (jagamohana) and inner enclosures, underscoring Shiva's syncretic worship as both Hari (Vishnu) and Hara (Shiva). As Odisha's tallest such structure, it influenced subsequent regional temple designs.

Conservation Efforts

Conservation efforts for shikhara-bearing temples began in earnest during the 19th and 20th centuries, with British colonial authorities initiating restorations to address structural decay. At the in , which features a prominent 55-meter sikhara, extensive repairs were undertaken in the under the direction of archaeologists J.D. Beglar and as part of the 's early activities, involving reconstruction of the temple's exterior based on 11th-century models. Following India's independence, the (ASI) intensified interventions at sites like the after their 1986 World Heritage listing, conducting major conservation from 1986 to 2002 that included water-tightening of joints, platform repairs, and shikhara restorations for the Western and Southern temple groups to stabilize structures against weathering. These efforts also encompassed excavations at mounds like Bijamandal to uncover and protect foundational elements, guided by the Ancient Monuments and Archaeological Sites and Remains Act of 1958. In the contemporary era, shikhara structures face escalating threats from and urbanization, prompting targeted ASI responses. At the , a 13th-century example with a partially collapsed shikhara, reports highlight accelerated stone decay from , rising sea levels, and cyclones, compounded by urban expansion and modernization pressures that alter the site's environmental . Recent archaeological surveys have yielded insights into early shikhara foundations; for instance, ASI excavations in 2021 at Bilsarh village in revealed Gupta-era (4th-6th century) temple bases with decorated pillars and staircases, informing preservation strategies for similar North Indian Nagara-style prototypes. Global collaborations and technological advancements have bolstered these efforts in the and . Indo-Japanese partnerships, including funding and academic exchanges, have supported work around the site—encompassing ancient temple remnants. Additionally, digital modeling has emerged as a key tool for virtual preservation, with projects like the 2025 3DITA dataset creating point-cloud 3D models of Nagara-style temples to segment and analyze shikhara components such as amalaka and , enabling non-invasive monitoring and reconstruction simulations.

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  36. https://www.re-thinkingthefuture.com/architectural-styles/a4027-the-rise-of-hoysala-architecture/
  37. https://vajiramandravi.com/upsc-exam/vesara-style-of-architecture/
  38. https://www.pmfias.com/chalukyan-architecture/
  39. https://whc.unesco.org/en/tentativelists/5972/
  40. https://fortuneiascircle.com/backgrounder/dravida_style_of_architecture
  41. https://www.poojn.in/post/27823/shikhara-vs-vimana-exploring-key-architectural-differences
  42. https://uppcsmagazine.com/the-architectural-evolution-of-indian-temples-exploring-nagara-dravida-and-vesara-styles/
  43. https://whc.unesco.org/en/list/250/
  44. https://www.clearias.com/hindu-temple-architecture-chalukyas/
  45. https://www.academia.edu/122451075/ANCIENT_INDIAN_TEMPLE_STRUCTURE_SHIKHARA
  46. https://www.ijcrt.org/papers/IJCRT2501872.pdf
  47. https://www.indian-heritage.org/temple/symbolism_Purushottama.pdf
  48. https://www.researchgate.net/publication/392161901_Agama_Shastra_Exploring_the_art_of_Temple_Design_and_Architecture_through_the_Ages
  49. https://jainsite.com/jainism_post/jain-temples-structure-symbolism/
  50. https://www.moneycontrol.com/religion/ranakpur-jain-temple-9-secrets-hidden-in-its-marble-architecture-visual-story-3337842.html
  51. https://taizoon-khokhart.squarespace.com/s/Kumbharia-project-final1-478r.pdf
  52. https://www.politesi.polimi.it/retrieve/a81cb05b-8bf4-616b-e053-1605fe0a889a/Agamas%2526Indian-temples.pdf
  53. https://nellaishanmugam.wordpress.com/2018/06/05/the-truth-about-yantras-chakras-temples-tantra-and-agamas/
  54. https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/india-art/a/lakshmana-temple-india
  55. https://ich.unesco.org/en/RL/kumbh-mela-01258
  56. https://www.deccanherald.com/india/ayodhyas-ram-mandir-is-built-in-the-nagara-style-how-is-this-temple-architecture-rooted-in-hinduism-2838079
  57. https://portfolio.cept.ac.in/student/garima-mehul-patel-ua2516/shikhara-design-in-contemporary-temples-spring-2021-ar3597-ua2516
  58. https://hinduendowments.odisha.gov.in/temples/lingraj-temple/
  59. https://www.raonline.ch/pages/story/bt/btbg_bodhgaya01c.html
  60. https://collections.vam.ac.uk/item/O175906/mahabodhi-temple-at-bodh-gaya-photograph-beglar-joseph/
  61. https://whc.unesco.org/document/162840
  62. https://asi.nic.in/pages/WorldHeritageKhajuraho
  63. https://carbonimpacts.info/article/vanishing-past-climate-change-and-risk-to-heritage-sites-66ff81771703f
  64. https://archaeology.org/news/2021/09/14/210915-india-gupta-temple/
  65. https://nalandauniv.edu.in/news/nalanda-university-to-collaborate-with-kanazawa-university-from-japan/
  66. https://isprs-archives.copernicus.org/articles/XLVIII-M-9-2025/1435/2025/
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