Architecture In Heritage Places Of Odisha And Maharashtra a Maths Art Integrated Project of CBSE Class 10. A PowerPoint presentation Made By Pritam Priyambad Sahoo For any queries, mail at pritamsahoo.edu@gmail.com Thank You! :)

1. ART INTEGRATED
PROJECT
Students Name: Pritam Priyambad Sahoo
Class: X Sec: ‘A’
Adm No: A10BR050 Roll No:18
Subject: Mathematics
Guide Teacher: Mr. Jyotirmayee Nanda
Topic: Use of architecture in heritage places of Odisha and Maharashtra.
School Name: BMPS Takshila School

2. CERTIFICATE
This is to certify that Mr. Pritam Priyambad Sahoo of class 10 has
successfully completed the art integrated project work on Odisha and
Maharashtra state as prescribed by Mr. Jyotirmayee Nanda, during the
academic year 2020-2021 as per the guidelines issued by Central Board
of Secondary Education - CBSE. It is further certified that this project is
the individual work of the candidate.
Teachers Signature:
Date:
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3. ACKNOWLEDGMENT
I would like to express my special thanks of gratitude to my teacher Mr.
Jyotirmayee Nanda as well as our principal Mrs. Lipsita Mohanty who gave
me the golden opportunity to do this wonderful Art Integrated project on the
states of Odisha and Maharashtra, Secondly i would also like to thank my
parents and friends who helped me a lot in finalizing this project within the
limited time frame. This opportunity helped me improve my research skills
and helped me learn new things about the state like administration and
governance, etc.
Students Sign: Pritam Priyambad Sahoo
Date: 31.1.2021
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4. USE OF ARCHITECTURE IN
HERITAGE PLACES OF
ODISHA & MAHARASHTRA

5. The culture of Odisha showcases a myriad number of Temples
and monuments.These temples are a living proof the exquisite
architecture of the region. The early monuments date back to
the third century B.C. The remnant of an Ashokan pillar, turned
into a Siva Lingam and enshrined in the Bhaskaresvara temple
at Bhubaneswar and the lion capital of an Ashokan pillar,
presently in the State Museum, speak volumes of Odishas past
glory. The rock-cut caves of Khandagiri and Udaygiri and the
inscriptions recording Kharavelas short but eventful reign
during the first century B.C. constitute the second phase of the
evolution in Odishan art.The Naga and Yaksha images found in
places around Bhubaneswar belong to the post-Kharavela era.
Odisha was at the height of her superb artistic glory during
seventh to thirteenth century A.D. Ruled by various kings and
dynasties, Odisha has acquired many a traditions in its
wake.Thus Odisha can best be defined through its racial and
cultural amalgamation that lives through its heritage.
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Odisha’s architecture

6. The Kalinga Architectural Style: The Kaḷinga
architectural style is a style of Hindu architecture which
flourished in the ancient Kalinga previously known as Utkal and
in present eastern Indian state of Odisha and Andhra
Pradesh(mainly in Northern Andhra Pradesh districts). The style
consists of three distinct types of temples: Rekha Deula, Pidha
Deula and Khakhara Deula. The former two are associated with
Vishnu, Surya and Shiva temples while the third is mainly with
Chamunda and Durga temples. The Rekha Deula and Khakhara
Deula houses are the sanctum sanctorum while the Pidha
Deula constitutes outer dancing and offering halls.
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The various aspects of a typical Kalinga temple include
architectural stipulations, iconography, historical connotations
and honoring the traditions, customs and associated legends.
The construction work is done in the following order of 1)
Selecting people 2) Selecting Materials 3)Site Selection 4)
Naga Bandheni

7. Selecting people: According to Manusmṛti there is a specific hierarchy of Command for the
management of people involved in they are classified as: Kartā (The Chief patron of the temple),
Mukhya Sthapati (The Chief Architect, The master of the Shilpa Shastras, Vastu Shastra, Dharma
Shastra, Agni Purana and Mathematical Calculations), Sutra Grahaṇi (The Chief Engineer (can be
equated) as he is the person who translates the architecture into actual geometrical dimensions),
Bārdhanikas (The masons, the stone setters) , Takṣaka (The sculptor with hands that create poetry in
stone does all the magnificent carvings)
Material selection: Primarily certain classes of stones are considered auspicious for the construction
of Kalinga deula (temples). Some of the stones are Sahaṇa, Chhita Sāhaṇa, Baḍa Pagaḍa, Dhobā
Kuṇḍa, Rasa Chiṇḍa, Niḷa Kusāṇa
Site Selection :Various aspects like type of soil, shape of the Plot, location of the plot, availability and
type of space and ground water level, etc. are taken into consideration while selecting the site.
Naga Bāndhēṇi:This is an intricate and very old method in Shilpa Shastra, by which the temple's
direction and the auspicious moment for beginning the sacred construction is determined.
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8. 8
Humaduma Jagannath Temple Lingaraj Temple
Chausathi Yogini Dhauli stupa Rajarani Temple

9. Maharashtra’s
architecture
Maharashtra state in India is known for its caves and rock cut
architecture. It is said that the varieties found in Maharashtra are
wider than the caves and rock-cut architecture found in the rock
cut areas of Egypt, Assyria, Persia and Greece.The Buddhist
monks first started these caves in the 2nd century BC, in search of
serene and peaceful environment for meditation, and they found
these caves on the hillsides.Buddhist and Hindu cave temples at
Ellora and the Ajanta Caves contain fine artistic design elements
and India's oldest wall paintings can be seen here. Maharashtra's
famous rock-cut caves have several distinct artistic elements
though sculptures of the time are regarded to modern viewers as
stiff and not dynamic. Rock-cut architecture took turn with the
Buddhist reign and remarkable Buddhist monuments were
produced in areas such as Bihar in the east and Maharashtra in
the west. Natural grottos and caves in the hillside were excavated
by the Buddhist monks and turned into glorious prayer halls and
monasteries.Ranging from tiny monastic cells to colossal,
elaborately carved temples, they are remarkable for having been
hewn by hand from solid rock.
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10. 10
The gateway of India:The Gateway was built in 1924 to
commemorate the visit of George V and Queen Mary to India.
Designed by George Wittet, a famous British architect, the
Gateway was built in the Indo-Sarcenic style. It is about 26 m
high and there are four turrets. One of the attractive features in
the structure is the intricate lattice work. Built in basalt, it is also
one of the strongest monuments in India.
Ajanta and Ellora Caves: The caves date back to 200 BC to
650 AD, and find mention in the travelogues of Hiuen Tsang
and Fa Hien, Chinese travelers. The Ajanta Caves are located
107 km from Aurangabad and is situated in a panoramic
ravine and resembles a huge horseshoe. There are 29 caves
in Ajanta which are excellent depiction of art with the various
sculptures, paintings and the cave carvings. There are both
chaityas (shrines of Lord Buddha) and viharas or Buddhist
monasteries. In addition to paintings that depict incidents
from Buddha’s and other monks’ life and teachings, there are
also elaborate and beautiful paintings inspired by Jataka
tales.

11. Bibi ka Maqbara:Bibi-Ka-Maqbara is a mausoleum as the name
suggests, and was built for Dilras Begum, the wife of Aurangzeb. It
was built by their son Azam Shah. The mausoleum is also a unique
structure where you can see signatures of a Hindu engineer and a
Muslim architect as the inscriptions on it credit the design to architect
Ata-ullah and its construction to engineer Hanspat Rai. The char-bagh
garden style of Mughals is another attraction, which adds to the
beauty of the structure. Built with four minarets and on a square
platform that stands quite high, the mausoleum is indeed a beautiful
structure with splendid architectural beauty.
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Shaniwar Wada:Built in 1746, it was intended as a residence for
the Peshwa. Many additions were made after the fort was
constructed such as the gates, court halls and more. It was once a
huge seven-storied structure but most of it was burnt down in a fire
in 1828. One of the attractions of Shaniwar Wada is the many
gates, each known by a name. There is also a gate known by the
second wife of Peshwa Bajirao, Mastani. The fountain in the form of
a lotus with 16 petals stands in the complex which points to the
excellent craftsmanship of those times.

12. “ The purpose of this Art Integrated project is to show
a comparative study of the incredible use of
Architecture in heritage places of Orissa and
Maharashtra with refrence to the temples,
monuments, forts, located in both the states.
It is concluded that both Odisha and Maharashtra
have a very rich and diverse style of architecture on
thier monuments, forts, temples, etc.
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Conclusion

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Thank you