33
180. Interior of room and ceiling in the Bulawanee.
Palitana.
Temples outside the Motisah. Palitana.
Tuk or enclosure of Premabhoy Hembhoy.
Palitana.
Roadway leading to Ardaseer Bugwan. Pali
tana.
Temples. Palitana. Hy Bombay Photo. Co.
181. The Tempie of Motisah. Palitana.
Gateway of the Tempie Motisah. Palitana.
The Tempie of Motisah. Palitana.
By Bombay Photo. Co.
Girnar is one of the oldest architectural sites in
India, and no_w contains one copy of the edicts of
Asoka, b.c. 250, carved on the rocks. The struc-
tural buildings, however, are Contemporary with those
of Palitana, which can be seen from it, and being
more scattered and not so numerous, are not so pictur-
esquely effective, though some of them are very
beautiful in themselves. No buildings are now
bemg erected there; Palitana having become the
fashionable shrine.
182. General view. Girnar.
General view. Girnar.
General view. Girnar. By Bombay Photo. Co.
183. General view. Girnar.
Temples of Koomarpall and Parishnath. Gir
nar.
General view. Girnar, S.W.
By Bombay Photo. Co.
184. General view, showing Ambamatha on the top.
Girnar.
Tempie of Ambamatha. Girnar.
Old portion of Samprutti Rajah’s Tempie.
Girnar. 2Sy Bombay Photo. Co.
185. Inferior of Koomarpall’s Tempie. Girnar.
Inferior of Tempie Jypall. Girnar.
Koomarpall’s and Samprutti Rajah’s Tempie.
Girnar.
KoomarpalPs Tempie. Girnar.
By Bombay Photo. Co.
The four frames (186 to 189) illustrate two temples
erected by rieh merchants still living, and only eom-
pleted, if they are complete, within the last few vears.
They have not the richness of detail of the older
examples, and want the vigour and picturesqueness
of their predecessors, but they are rieh and beautiful
examples of their dass and do infinite credit to the
iiberality of their founders, and the taste displayed !
by their architects.
186. Tempie of Huttee Singh. Front of entrance
porch. Ahmedabad.
Tempie of Huttee Singh. General view from
the garden. Ahmedabad.
Swami Narayan Tempie. The entrance gate
Ahmedabad. By Captain Lyon.
187. Tempie of Huttesing Kesrising. Ahmedabad.
Inferior of the Hindoo Tempie. Ahmedabad.
Entrance to Shet Huttesing’s Tempie.
By Ritter' and Co.
188. Tempie of Huttee Singh. Detail of carving
on S.E. side. Ahmedabad.
Tempie of Huttee Singh. Front view.
lemple of Huttee Singh. Detail of carving
on N.E. angle.
Tempie of Huttee Singh. Side view of entrance
porch. By Captain Lyon.
189. Swami Narayan Tempie. Carved marble sea
of the saint. Ahmedabad.
Swami Narayan Tempie. Ahmedabad.
Tempie of Huttee Singh. Angle view.
By Captain Lyon.
Kashmir.
Elle architecture of Kashmir is so exceptional and
so unlike anything in India, that like the styles of
Nepal and Ceylon it hardly deserves a place in this
Collection. Though its entire omission might per-
haps be feit as a blank.
The principal tempie in the valley is that at Mar-
tund, said to be dedicated to the sun, and so far as its
date can be ascertained the Contemporary of Bobanes-
war and Iwullee, these three, consequently, being the
oldest structural temples,—excluding Buddhist Topes,
of course,—now to be found in India.
The Takht-i-Soliman, though generally reputed as
older, was probably erected in the middle of the 17th
Century.
Frame 192 contains examples of the wooden
architecture still prevalent in the hills and valleys
about Kashmir.
190. Ruins of Martund. Kashmir.
Ruins of Martund. Kashmir.
Ruins of Martund. Kashmir.
By Bourne and Shepherd.
191. Ancient tempie at Nowshera. Kashmir.
Ancient tempie at Nowshera. Kashmir.
Tukt-i-Soliman. Kashmir.
By Bourne and Shepherd.
192. Tempie at Pangi.
The village of Kot Kulu. Ivulu.
Tempie at Ghergaon. By Bourne and Shepherd.
MAHOMEDAN ARCHITECTURE.
The Disposition of the frames, necessary to suit the form of the Exhibition building i n
this part ot the Indian department, would have rendered a strictly chronological arrange-
meiit ot the photographs nearly impossible, had such been deemed desirable. In regard
to Mahomedan architecture, however, this is of comparatively little importance. °The
dates^ ot all the buildings are known.and the succession of styles is more easily traced in
each individual group than if the whole were sorted out into one consecutive series. In
this dass, therefore, it will be understood that the arrangement is generally more topo-
graphical than dironological, though the latter has been attended to as far as possible in
each individual group. 1
(8834.)
c