Regions And Indian Architectures

Here's a comprehensive summary of Michael W. Meister's "Regions and Indian Architecture," based on the provided text:

Core Argument: Michael W. Meister challenges traditional art historical approaches to regionalism in Indian architecture, arguing that craftsmen and their local traditions ("idioms") are more fundamental to understanding stylistic variations than broad regional classifications or dynastic patronage alone. He proposes a new framework that distinguishes "style" from "idiom" to better capture the complexity of artistic production in India.

Critique of Traditional Approaches:

• Focus on "Style" and Connoisseurship: For the past 150 years, art historians have primarily focused on defining regional and dynastic "styles" by meticulously examining craftsmanship. While this can be effective in separating broad stylistic differences (e.g., Orissan vs. Central Indian Nagara temples), it often overlooks deeper nuances, especially when variations are more tied to individual craftsmen's skills than overarching design systems (e.g., distinguishing between Pandya, Pallava, and Rastrakuta Dravidian architecture).
• Confusing Region and Dynasty: Meister notes confusion in classifications, citing the example of linking Pallava and Rastrakuta temples based on political primacy and the migration of workmen, rather than a deeper analysis of shared artistic principles or influences.
• Overemphasis on Formal/Symbolic vs. Regional/Ethnic: While acknowledging the morphological differences between Northern (Nagara) and Southern (Dravida) temple modes, Meister questions whether these differences stem solely from formal, symbolic, political, or ethnic "regional" factors. He suggests a more complex interplay.
• "Region" as a Subset: He views regions ideally for set theory application, where each region is a subset or shared set with others. Indian architecture is primarily South Asian, not influenced by "Hindu America," and within India, North and South represent significant regional subsets.

Introducing "Idiom" vs. "Style":

• "Style" Defined: Meister defines "style" as an "average" related to broad patterns of patronage and political affiliation. It encompasses general conventions that gradually change across areas. Regional styles can be seen as versions of a larger style.
• "Idiom" Defined: In contrast, "idiom" is site and guild related, rooted in a specific place (or region) through its local population and tradition. It is shaped by the cultural, climatic, and technical limits of a region and is expressed through the hands of craftsmen.
• Relationship: Many local "idioms" form the basis for "styles." Gradations in style are located within the continuum of these local idioms. As political power and patronage centers shift, local idioms can adapt and align with different overarching styles.

The Crucial Role of the Craftsman:

• The Missing Category: Meister argues that the craftsman is a third, often overlooked, category in the region vs. dynasty debate. Craftsmen are directly affected by regional influences and are the conduits through which regional styles are expressed. Dynasties, in turn, may define their power through what the craftsmen create.
• Consistency and Variation: The consistency of "style" at a site like Osiän is attributed to generations of craftsmen working there. However, even small distances can reveal stylistic differences due to the involvement of different craftsmen.
• Hierarchy of Craftsmen: Meister highlights the importance of a hierarchy of craftsmen with varying responsibilities, experiences, literacy, travel opportunities, patron connections, and knowledge of other traditions. Even master architects might have had less local knowledge than their workmen.

Mechanisms of Interaction and Plurality:

• Artisan Interaction: Meister suggests that understanding the mechanisms of artisan interaction is a more fruitful approach than simply segregating regions. The persistent plurality of traditions and the wide territorial continuum of artisans are significant phenomena.
• Focus on Creative Craftsmen: To fully address the relation of region to architecture, discussions must return to the issues faced by creative craftsmen.

Examples of Regional Interaction:

• Vesara and Bhumija Architecture: Meister uses the example of Vesara architecture (later Calukyas in Karnataka) and Bhumija architecture (Paramāras in Central India), both established by the 11th century. While distinct in their regional and dynastic affiliations and morphologically derived from Dravida and Nagara modes respectively, they represent consciously created forms for specific "places" and suggest conceptual and artistic overlaps that could unite them as a new "set." These exemplify how regional autonomy and identity influenced the creation of new architectural modes.

Conclusion:

Meister advocates for a nuanced understanding of Indian architecture that moves beyond simple regional or dynastic classifications. He emphasizes the interconnectedness of region, craftsman, and patron, and proposes the distinction between "style" and "idiom" as a more effective tool for analyzing the complex artistic processes and variations found across the subcontinent. The focus should shift to the local traditions and the skill of the artisans in shaping architectural forms.