Introduction: Almost all Indian art has been religious, and almost all forms of artistic tradition have been deeply conservative. The Hindu temple developed over two thousand years and its architectural evolution took place within the boundaries of strict models derived solely from religious considerations. Therefore the architect was obliged to keep to the ancient basic proportions and rigid forms which remained unaltered over many centuries.

Even particular architectural elements and decorative details which had originated long before in early timber and thatch buildings persisted for centuries in one form or another throughout the era of stone construction even though the original purpose and context was lost. The horseshoe shaped window is a good example. Its origins lie in the caitya arch doorway first seen in the third century B.C. at the Lomas Rishi cave in the Barbar Hills. Later it was transformed into a dormer window known as a gavaksha; and eventually it became an element in a purely decorative pattern of interlaced forms seen time and time again on the towers of medieval temples. So, in its essence, Indian architecture is extremely conservative. Likewise, the simplicity of building techniques like post and beam and corbelled vaulting were preferred not necessarily because of lack of knowledge or skill, but because of religious necessity and tradition.

On the other hand, the architect and sculptor were allowed a great deal of freedom in the embellishment and decoration of the prescribed underlying principles and formulae. The result was an overwhelming wealth of architectural elements, sculptural forms and decorative exuberance that is so characteristic of Indian temple architecture and which has few parallels in the artistic expression of the entire world.

It is not surprising that the broad geographical, climatic, cultural, racial, historical and linguistic differences between the northern plains and the southern peninsula of India resulted, from early on, in distinct architectural styles. The Shastras, the ancient texts on architecture, classify temples into three different orders; the Nagara or ‘northern’ style, the Dravida or ‘southern ‘ style, and the Vesara or hybrid style which is seen in the Deccan between the other two. There are also dinsinct styles in peripheral areas such as Bengal, Kerala and the Himalayan valleys. But by far the most numerous buildings are in either the Nagara or the Dravida styles and the earliest surviving structural temples can already be seen as falling into the broad classifications of either one or the other.

In the early years the most obvious difference between the two styles is the shape of their superstructures.

VARANASI HISTORY

The venerable and ancient city Varanasi is the religious centre of the world for Hindus. A magnificent city, with myriad attractions, both as an exalted place of pilgrimage and a microcosmic centre of faith. Thousands of pilgrims visit the city from all parts of India and from across the world. A unique city where the past and present, eternity and continuity live side by side.

The city rises from the high northern bank on the outside curve of Ganga, the holiest of all Indian rivers, to form a magnificent panorama of buildings in many varieties of Indian architecture. The unique relationship between the sacred river and the city is the essence of Varanasi - the land of sacred light. The Ganga is believed to have flown from the heaven to wash away the worldly sins of the humankind. Thus, to be in Varanasi is an out of this world experience, and experience of self discovery, a journey throughthe present and the past in search of immortality.

History
According to the historians, the city was founded some ten centuries before the birth of Christ. Situated between the two tirbutaries of the Gangas- Varuna to the north and Asi to the south - it has attained immortality. The city is mentioned in holy scriptures like ' Vamana Purana' , Buddhist texts and in the epic 'Mahabharata'.

Varansi - The Land of Holy River Ganga
The life and activities in the city revolves around the holy river. Life on the banks of the Ganga begins before dawn when thousands of pilgrims -men, women and children, come down to the river to wait for the rising sun. Some come in groups, some alone, all absorbed in their intense thoughts of salvation, waiting for the moment when immersion in the sacred river will cleanse them of their mundane sufferings and wash their sins away. Gradually the sun rises, and the river mists slowly lift to reveal the magnificent buildings that have a solemnity unmatched by any city in the world.

Soon after the sunrise, the city's great amphitheatre of ghats burst into activity. In the charged holistic atmosphere of the morning venerable Brahmins (known as Pandas) recite passages from sacred texts, priests dispense holy ashed to pilgrims to mark their foreheads in veneration of the gods. Boatmen, flower seller, shrill- voiced sellers selling sweetmenats and knick knacks, sacred bulls and cows roam around.

Varansi - The City of Inspiration
Varanasi inspires one to reflect about life, to ponder about creation and the insignificance of temporal wealth in the face of death. Along the watre's edge, there are the burning ghats. The most sacred one is Manikarnika, associated with Hoddess Parvati. Lord Shiva's wife.