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ArchitecturePrasat Damrei Krap
Hoa Lai style of Cham architecture is characterized by the pilasters which are normally arranged in the series of four and the band decoration in the center of these pilasters. These characters are similar to Hoa Lai style in Vietnam. The Garuda decorating the capital is also reminiscent of the same pattern at Hoa Lai. However, this temple is unfinished because the band at the center of the pilasters is devoid of any motifs.
ArchitectureMy Son Group B
My Son Group B is the example of the temple complex in Cham art. The temples inside the complex are normally arranged without the symmetry. Inside the complex there are the main tower, the subsidiary towers, rectangular temple, the gateway, the enclosure and the outside Mandapa.
ArchitectureMy Son B5
This temple is supposed to be one of the temples dedicated to Bhadreshvara, the most sacred Linga of Champa kingdom.
ArchitectureMy Son C1
My Son C1 is the main tower of My Son Group C and is the only main temple in Cham art which is of rectangular plan. The roof is of wagon-liked elongate roof. (called as Shala roof in South Indian terminology) As this temple is in rectangular plan, the longer side is punctuated by 7 pilasters (only 6 are visible as it is obscured by the central niche). The double-arched niche indicates the continuation from Dong Dzuong style but it is not elongated as that of Dong Dzoung. Insidethe niche there is the guarding holding club, the character of My Son style.
ArchitectureMy Son C1
My Son C1 is the main tower of the complex C and this tower is the only rectangular main tower with the wagon roof. (called as Śālā roof in South Indian term) The front hall or Maṇḍapa is also designed in the wagon-roof rectangular tower. The front hall is decorated with 5 pilasters and the door is decorated with the double-vase-liked column, typical to My Son A1 period.
ArchitectureDetails of upper mouldings: My Son C1
My Son C1 is the tower datable to My Son A1 period as the flute in the middle of the pilaster is continued up to the capital. The capital is complicated with the convex and concave mouldings, more complicated than the earlier-period ones. However, because the capital is lack of ornament, the temple seems to be unfinished.
ArchitectureCandi Bhima
This temple is the only North-Indian affiliated temple in Javanese art as the superstructure of this temple is in Nāgara Śikhara. The superstructure is dividable into three offsets, each offset is beautified with the horseshoed arches “Gvākṣa” and the face of human. The corner offsets are decorated with Amalaka, typical to North Indian art. The contour of the superstructure is in trapezoid shape, different from the stepped contour of Candi Arjun and Candi Puntadeva. After the early phase of Central Javanese art, the North-Indian superstructure would be out of fashion and the South-Indian superstructure would be the only popular convention in the middle and the late Central Javanese Art.
ArchitectureCandi Mendut
The temple rests on the huge platform providing the space for circumambulation. The wall of the body is divided into three portions. The central portion depicts the sitting figure of Bodhisattva while the corner portions depict the standing statues of the Eight Great Bodhisattvas (Aṣṭamahābodhisattva). This allows Candi Mendut to be comparable to the Mahayanist Iconographic diagram. The superstructure of this temple follows the South Indian fashion, the stepped multi-tiered roof. However, the roof of this temple is ornamented with miniature Stupas (Stūpika), typical to the Central Javanese art. The decoration of miniature stupas on the top of the roof is associated with Buddhism.
