1.

AAYUSHI
2. PRAKRITI
3. SHREYA

2
 Continuous conflicts b/w various dynasties prevented
any great cultural advance
Not many, not large, local development rather than
imperial development
Examples: temples around the state of Pudukkottai
Small temples built entirely of granite stone accurately
coursed and bonded
Pallava features also observed.

3
 The architectural elements of Pallavas are adopted
with slight changes
Changes-
1. Neck moulding, abacus and kalasa
2. Lion heads completely disappeared
3. Rakshasa heads , which continued in the Dravidian
style to follow

4
6
THE Great Brihadeshwar Temple , Tanjore
 BRIHADESHWAR TEMPLE

Proper Name PERUVUDAIYAAR TEMPLE

Location- THANJAVUR, TAMIL NADU
DRAVADIAN ARCHITECTURE
Creator- RAJA RAJA CHOLA I
Built in- 1010 AD
Deity- LORD SHIVA

An artwork achieved by Cholas it is one of the

largest temples in India and the most prized
architectural sites.
The temple stands amidst fortified walls that were
probably added I 16th century.
There is a big statue of NANDI carved out of a single
stone at the entrance measuring about 16 feet long and 13
feet high.

MATERIAL - granite.
Nearest sources of granite - close to TIRUCHIRAPALLI,
bout 60 km to the west of Thanjavur.

The scale and grandeur is in the Cholas tradition and

hence the temple got its architecture.
A axial and symmetrical geometry rules the temple
layout.
NEW CHOLA STYLE Emergence of multifaceted
columns with projecting square capitals.
The temple displayed emperor's vision of power.
PLAN
CONSTRUCTION-
Architect and engineer- Kunjar Mallan
The temple was built as per ancient texts - Vaastu
shastras and agamas.

The temple was built using a measure of 1 3/8 inch

called an ANGULA. ( 24 units equalling 33 inches
called a HASTA).

This temple is the FIRST building fully built by

granite and finished within 5 years.
Solid base rises 5m above which stone deities and
representatives of Shiva dance.
PRAKARAM-
It is an outer art around the
Hindu temple sanctum.
It is the outer precincts of the
temple.

It measures 240m by 125m.

The outer wall of the upper

storey is carved with 81
dance karnas (postures of
bharatnatyam)
TEMPLE COMPLEX-
The temple complex is built up of many structures
that are aligned axially.

Entrance - five storey GOPURAM or a smaller free

standing gopuram (directly to the main quadrangle).
GOPURAM:
Its a monumental tower at the entrance of a temple.
They function as gateways through the walls
surrounding the temple complex.

The Gopuram of main entrance is 30 mts high.

It is smaller than a vimanam.
Though usually in Dravidian architecture, gopurams
usd to be taller than vimanam.
VIMANA :
Vimana are the pyramid
shaped roof towers of South
Indian temple architecture.
It is the term for the tower
above the GARBHAGRIHA
or SANTCUM
SANCTORUM in a Hindu
temple.
It has a KUMBHAN (usually
of copper), that is, a apex or
a bulbous structure at the
top.
 The Vimana is 216 ft. (or 66 m) high and is among
the tallest of its kind in the world.
With 16 articulated storeys.

The Kumbhan (KALASH or CHIKHARAM) of the

temple is carved out of a single stone weighing 80
tons.
Its believed to have raised to its present height by
dragging on an inclined plane of 6.4 km.
Pilasters, piers and attached columns have been
placed rhythmically covering every surface of
vimanam.
 MAIN TEMPLE-
Rectangular wall 270X140 sq. mts.
Main temple in centre of a spacius QUADRANGLE OF-
NANDI
PILLARED HALL
ASSEMBLY HALL (MANDAPAS)
Sub SHRINES
MANDAPA-
The mandapa is a porch like structure through the gopuram
and leading to the temple. Its a pillared outdoor hall for public
rituals.
Most important part of the temple - inner mandapa
surrounded by sharply cut pilaster and sculptures.
It leads out to a rectangular mandapa and then to a 20
columned porch with 3 staircases leading down.
Sharing the same stone plinth is a smaller mandapa dedicated
to Nandi.
MANDAPA-
Most important part of the
temple - inner mandapa
surrounded by sharply cut
pilaster and sculptures.
It leads out to a rectangular
mandapa and then to a 20
columned porch with 3
staircases leading down.
Sharing the same stone
plinth is a smaller mandapa
dedicated to Nandi.
GARBHAGRIHA (SANCTUM SANCTORUM)
Its a chamber directly underneath the Vimanam and the
2 of them form the main vertical axis of the temple.
Square shaped with a plinth.
KARUVARAI (WOMB CHAMBER)-
The inner most sanctum and the focus of temple
where an image of the primary deity, Lord Shiva resides. Inside is
a huge stone Lingam.

In Dravidian style karuvarai is miniature form of Vimana with

features like
Inner & outer wall creating a pradakshina around the
garbhagriha.

The pradakshina winds around the lingam in garbhagriha and is

repeated in an upper storey. Presenting the idea that Cholas
freely offered access to god.
DEITIES-
Huge sized deities specially those placed in the
niches of the outer wall.

It is one the rarest temples to have the idols of

ASHTA DIKPALAKAAS (Guardians of
directions) Indra, Agni, Vaayu, Niruti, Varuna,
Kuber, Isana.

Each deity has been represented by a life sized

statue approximately 6 feet tall , enshrined in a
separate temple located in respective direction.
The temple was erected in the 11th century
(about 1025 AD).

The Brihadeeswarar temple at

Gangaikondacholapuram is a monument made by
Rajendra I, when he shifted his capital here to
commemorate his victory over the Pala dynasty.

At this time Chola dynasty had attained its

most affluent state and this tmple is fully
expressive of its triumphant dominaion.
 The plan was larger than the temple in Tanjore , but is
height was less than it ( only 150feet).

1)Garbhgriha
2)Pradakshina
path
3)Mandapa
340 feet
4)Nandi
1)`

150 feet
 With its long axis from east to west the entire plan of the
temple building forms a rectangle 340 feet long and 110
feet wide , having its main entrance from east.

The temple building itself occupies the middle of an

immense walled enclosure designed partly for defensive
purposes.

There is a substantial bastion at the south east angle and

another smaller one on the west .

The main entrance gives access to the mandap ( 175feet by

95 feet) containing over 150 pillars, all rather slender .
 The arrangement of pillars is peculiar they are in colonnade
and stand on a solid platform 4 feet high, which is divided by
an aisle in the centre.
Between the madap and the garbhgriha is an antral having 2
rows of massive pillars, 2 in total leading to 2 side entrances
(south and north) .
 The tall pyramidal shikhara
towers over the western
end on a square plan of
side 100 feet.
It is resolved into 3 parts
the upright ground level,
the tapering body and the
domical finial.
The vertical body is in 2
stages each defined by
heavy cornice casting.
The pyramidal body is in
tiers
 Location- Srinivasanalur, Trichinopoly
Built during the reign of Parantaka I (907- 949)
On completion it was defiled by a monkey which
prevented its consecration

33
 Consists of a pillared hall (or mandapa), with its
attached sanctuary or vimana
Total length 50 feet
Mandapa occupying a rectangle 25 ft X 20 ft
Vimana occupying a square of 25 ft side
Height of tower (or Shikhara)- 50 ft
Height of cornice- 16 ft
 Simplification in all its parts
Proof that builders had acquired an appreciation of
the values of plane spaces, together with due sense of
the character and correct location of the architectural
features required for the purpose of embellishment
Lion motif- dominating feature of the Pallava
architecture disappeared; pillars and pilasters which
this leogriff invariably adorned, being converted into
purely abstract conventions of mouldings and other
similar forms.

36
 Two changes when compared to Pallavas :
1. Capital- a neck (padmabhandam) has been introduced
where it joins onto the shaft, thus appropriating to
itself the segment of the upper part of the shaft
2. Adding another member to the lower part of the
capital in the form of a vessel or pot (kalasa)
The plank (Palagai), is much expanded, so that
combined with the flower shaped (idaie)
underneath, becomes the most striking element in
the column.

38
 Sculpture on the wall surfaces
Full length figures installed within recesses, each
about half life size and in bold relief (recalling the
images of saints occupying niches in the gothic
cathedrals)

40
 On the center of southern wall:
Well rendered scene representing Goddess Kali as
Dakshina, Saraswati on her left, Lakshmi on her right,
below Asura, around are various gana- devatas

42
 Devices of heraldic lions and some supernatural beasts
eliminated
Gryphon heads (rakshasa heads), the use of which as a
decorative element was continued throughout the
Dravadian period, emerged
These heads squirming under the weight of the
superimposed masonry, as if their bodies are immured
within the joints of the structures are rakshashas or
earth- spirits, so imprisoned so they may guard the
temple, but at the same time are helpless to cause it
harm

44
 Although decidedly unpretentious, appears as an
unaffected illustration of a transition stage in the
evolution of the Dravadian style.
Process of formation in their architectural culture,
treasuring their traditions and also restricting their
aspirations to accord with the undeveloped ideas
handed over to them

46
 In course of time, however maturity was attained as
seen in the temples of Tanjore and
Gangaikondacholapuram
Comparision of size- as a church is to a cathedral