The document discusses the evolution of Hindu temple architecture in India from ancient to medieval periods. It begins with the Vedic period which had raised platforms for rituals and evolved to include stone structures like the garba-griha during the Shunga period. Major developments occurred in the Gupta and Chalukyan periods when temples became more permanent with elements like the shikhara, mandapa, and garba-griha. The two main styles that emerged were the Indo-Aryan and Dravidian styles, with early examples found in Aihole and Pattadakal. The document then focuses on features of Orissan temples from 800-1250 AD including the linga-raj, Sun Temple, and elements like

1. HINDU
TEMPLE
ARCHITECTURE
UNIT III: EVOLUTION OF HINDU TEMPLE ARCHITECTURE
1. Hindu Temple Architecture:
• Hindu forms of worship
• Evolution of temple form
• Elements of temple architecture
• Categories of temples
• Meaning, Symbolism, Ritual and Social importance of temple
2. Examples –early shrines of Gupta and Chalukyan periods
• Tigawa temple
• Ladh Khan, Aihole
• Durga Temple, Aihole
• Papanatha temple, Pattadakal
• Virupaksha Temple, Pattadakal
• Kailasnatha temple, Ellora
HISTORY OF ARCHITECTURE AND CULTURE II

2. HISTORY OF ARCHITECTURE AND CULTURE II
1. Yajna/Homa – large scale, sacrifices
2. Puja – public/private, offerings
3. Dhyana – private, meditation
HINDU FORMS OF WORSHIP
HINDU
TEMPLE
ARCHITECTURE

3. HISTORY OF ARCHITECTURE AND CULTURE II
EVOLUTION OF TEMPLE FORM
HINDU
TEMPLE
ARCHITECTURE
GUPTA/
CHALUKYAN
(350-650 AD)
Raised
platform for
performing
rites/yajnas
Rock-cut architecture
– inspired by
Buddhist
architecture, and
temporary shelters
Evolution of
temples as we
know today –
Indo-Aryan and
Dravidian styles
Platform Leafy-Bower
VEDIC
PERIOD
(1700-400 BC)
Reed Hut Wood/Brick Cellar
SHUNGAS/
ANDHRAS
(185 BC- 250 AD)
Stone ‘garba-griha’

4. HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
• Vedic period – raised platform/altar
•Believed that God is omni-present – there was no need for a
permanent structure (depicted the initial style of Aryan
architecture) – built of timber
• Introduced the caste system
• The temporary nature of the structure was inherent of the then
Aryans
• Buddhist period – no caste system
• Started worshipping in covered halls
• Introduction to rock-cut architecture
• Introduction to idol-worship
HISTORY OF ARCHITECTURE AND CULTURE II

5. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
• Vedic period – caste system
• Existence of a priestly caste that took care of the spiritual activities
•Mauryan Dynasty – under Asoka’s rule – conquered most of Indian
sub-continent

6. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
• Towards the Shunga/Andhras period – still temporary structure
• Existence of a deity with a roof for protection on a raised platform
• Realised the need for ‘objects of worship’ and that the deity needed
habitation
• Built from timber, clay, rock-cut architecture
• Gupta and Chalukyan periods – became structures of permanence
• Shrines rather than temples – made of stone – ‘houses of God’
• Formation of the ‘garba-griha’ and covered portico (‘mandapa’)
PLATFORM LEAFY-BOWER REED HUT
WOOD/BRICK CELLAR
STONE ‘GARBA-GRIHA’

7. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
•Shunga/Andhras
period – caste system
was re-established by
the priests (Brahmins)
after over-throwing
Asoka’s successors in
185 BC
•Buddhist
architecture – still
prevalent
•Not much
development in arts
and architecture
•They were more
interested in seizing
power

8. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
• Gupta and Chalukyan periods – Brahminism
• Intellectual-awakening
• Fundamental progress in arts and architecture

9. HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
Religious, Cultural, Educational and Social
Ancestor – Buddhist architecture
Stupas
Pradakshina
Assembly hall
Deity-worship
Sculpture-decoration
•Vastupurush mandala -
dimensions
•Vastu-shastra - directions
•Shilp-shastra – script for
architecture and sculpture
HISTORY OF ARCHITECTURE AND CULTURE II

10. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
Gupta period
Temple characteristics:
• ‘Garba-griha’ was a small square chamber
• Flat roof
• Plain interior walls
• Doorway was the only opening
• Exterior walls were richly carved
• Shallow porch with pillared portico – ‘mandapa’
• Shape of pillars and capitals – very similar to the Buddhist sthambhas
• Architrave was continued as a string-course around the entire
building
• Treatment of inter-columnation
Tigawa Temple, Nagod State

11. HISTORY OF ARCHITECTURE AND CULTURE II
EVOLUTION OF TEMPLE FORM
HINDU
TEMPLE
ARCHITECTURE

12. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE EVOLUTION OF TEMPLE FORM
• Importance to the spectator’s mental point of view (religious,
metaphysical and philosophical) first, then the artistic point of view
• Usually repetitions of one unit
• Originally a religious venture, soon became the means to discern a
person’s power and status

13. HISTORY OF ARCHITECTURE AND CULTURE II
EVOLUTION OF TEMPLE FORM
HINDU
TEMPLE
ARCHITECTURE
•Direction – Deity faces the
east, to receive the first rays
of the sun
• Developed from a square –
from the shrine
• Rathas – inspired the
elevations, shikara
• Nagara/ Indo-Aryan style
– North India
Dravidian – South India
Inspired from chariots - rathas
Developed from a square

14. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE ELEMENTS OF HINDU TEMPLES

15. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE ELEMENTS OF HINDU TEMPLES
By later half of 7th century AD temples started to acquire a particular
form and elements
Vimana - sanctuary
Garba griha - shrine
Shikara – vertical dome/pyramidical structure above shrine
Mandapa – Pillared portico
Pradakshina path – circumambulatory path

16. HISTORY OF ARCHITECTURE AND CULTURE II
HINDU
TEMPLE
ARCHITECTURE ELEMENTS OF HINDU TEMPLES
Antarala – intermediate chamber between garba-griha and mandapa
Ardhamandapa – porch before the mandapa
Maha-mandapa – central hall
Gopuram – entrance gates
Pitha - plinth
Amalaka – fluted disc stone placed at the apex of the shikara

17. CATEGORIES
HINDU
TEMPLE
ARCHITECTURE
Nagara / Indo-Aryan Style Dravidian Style
North India South India
Gupta Rule Chalukyan Rule
Shikara – tallest element Gopuram – tallest element
Shikara – tall spire-like structure Shikara – pyramidical structure
Base looks circular because
walls are broken in many places
Base is square
Other differences include the type of stone used, presence or
absence of other halls, positioning of deities on the interior and
exterior walls, decorative elements
HISTORY OF ARCHITECTURE AND CULTURE II

18. Nagara style Dravidian style
CATEGORIES
HINDU
TEMPLE
ARCHITECTURE
Vesara style – Hybrid, found in Deccan region
HISTORY OF ARCHITECTURE AND CULTURE II

33. Salient features of the Indo Aryan Temple
Parts of a typical Temple
Early examples in the period
Lingaraja, Bhuvaneshwar
Sun Temple, Konarak
Kunds & Wavs
Sabali Kund, Adalaj
Surya Kund, Modhera
INDO ARYAN STYLE

34. CHRONOLOGY OF INDO ARYAN STYLE
The development of the IndoAryan style is dealt with geographically.
The 6 major regional classifications are as follows:
Region
1. Orissa
Era
800AD – 1250AD
Examples
Lingaraja, Bhuvaneshwar
Sun Temple, Konarak
Jagannath, Puri
950AD -1050AD Kandariya Mahadeo
2. Central India-
Khajuraho group
8th c – 11th c. Surya Osian
3. Rajputana group
Post gupta Period
4. Gujarat and the West 941AD – 1311 AD Kunds & Wavs- Adalaj, Modhera
5. Deccan 11th c – 13th c at Khandesh, Nasik, Ahmednagar
6. Gwalior 11th c Teli ka Mandir, Sas Bahu
Brindavan 13th c Govind Dev

35. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
The main egs. of Orissa – 30 in no. are found in and around Bhuvaneshwar
The Orissa Style can be resolved into 3 periods:
Early Period – 750 – 900AD
• Parasrameswar, Vaital Deul, Uttareswara, Ishvareswara, Sutru Ganeswara, Lakshmaneswara
Middle Period – 900 – 1100AD
•Mukteswara, Lingaraja, Brahmeswara, Rameswara, Jagannath
Later Period – 1100 – 1250AD
•Ananda Vasudev, Siddheswara, Kedareswara, Jameswara, Megheswara, Sari Deul, Rajarani, Sun Temple at
KonaraK
Features:
The North Indian style called the NAGARASTYLE is marked by the curvilinear towers.
The shrine is square at the center, but there are projections on the outside leading to cruciform shape. These
projections occur throughout the height of the structure.
Depending on the number of projections on the side they are called; triratha-1 projection, pancharatha-5
projections, saptharatha-7 projections, navaratha-9 projections.
In this style, the structure consists of two buildings,
•the main shrine which is taller
•an adjoining shorter Mandapa.
•The main difference between the two is the shape of the Shikhara. In the main shrine, a bell shaped
structure adds to the height.As in all Hindu temples, there is the Kalasa at the top and theAyudha or
emblem of the presiding deity.

36. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Salient Features Of A Typical Temple
PLANNING:
The plan and the treatment of the structures is of a
special character
The structure has a distinct nomenclature
The Temple is termed as – DEUL( the term is used to
indicate the Shikhara also)
In front of the Deul is a SquareAssembly Hall or
Mandap – JAGAMOHAN
The entire plan of the temple consists of projections and
recesses in the surface on the exterior known as Pagas
Depending on the location of the projection the various
terms are given- Konakapaga (corner),Anardhapaga
(intermediate), Rahapaga (central)
The 2 main components of the temple are :
Garba griha- cella
Jagamohan – assembly hall
Expansion of the temples in the later
periods led to the addition of structures
for other rituals
These were added in front of the assembly
hall presenting a series of structures in
axial arrangement
The entrance to the temple is axially
through the Jagamohan
The 2 new structures added were: NAT
MANDIR – Dancing Hall
BHOG MANDIR – Hall of Offerings

37. ELEVATION::
The entire structure stood on a plinth– PISTA
Consisting of horizontal string courses
REKHADEUL:
The tower over the Garbhagriha which is the tallest
element in the elevation
The tower comprises of 4 parts:
1. BADA – the vertical cubical portion of the tower.
Comprises of horizontal string courses – Jangha and
the vertical faces – Barandi. The architectural
treatment in this face consists of pilasters
emphasising the verticality
2. CHHAPRA- Tall middle portion. The shikhara is
given a convex profile or a parabolic curve at the
top. The projecting faces or pagas emphasise
verticality which is broken down by the stongly
contrasting horizontal elements- Amla and Bhumi.
The entire surface is given a very plastic and highly
decorative ornamentation
3. AMLA / AMLIKA – flat melon shaped fluted disc at
summit rises over the neck or Beki. The Amla Sila
represents the urn holding nectar of immortality
from heaven
4. KALASA – Vase shaped finial bearing the Ayudha of
the deity
INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Salient Features Of A Typical Temple
PIDADEUL:
The Mandapas were normally 1 storey high
The elevation of the Mandapas consisted of 3 parts:
1. BADA– Cubical portion below similar to Rekha Deul
treatment with the openings in center
2. PIDA– Corbelled Pyramidal roof above usually in tiers
of 2 or 3 with the Paraghar in the middle
3. GHANTA KALASA– Bell shaped finial

38. IN D O A RY A N S T Y L E A T O RI S S A - 800 – 1250 A D
S alient FeaturesO f A T ypicalT emple
The main features of the Temples of Orissa – there are close to 30 egs. in
Bhuvaneshwar - are as follows:
•ASTYLAR – the pillars are absent. In few cases due to the scale of the project there
may be 4 piers supporting the Corbelled roof. This becomes a structural necessity to
sustain the heavy weight of the pyramidal roof. There are hence 4 solid piers one at the
corner of the 4 square system of roof beams
•Surface Ornamentation: the most remarkable character of the temple is the plan and
featureless treatment of the interior contrasted with the profusely decorated walls of
the exterior
•The surfaces are charged with fluidity of the plastic forms and patterns
•The themes used foe the ornamentation was one of great vitality and vigour – dancers,
musicians, Maithuna couples etc.
Lighting: Emergence of mullioned windows during this period
The interior was half shadow and half lit gives religious solemnity
Windows-Simple rectangular openings with arrow of uprights at close intervals
Each upright were intricately carved
Consisted of a variety of mouldings, pilasters, cornices etc.
Sometimes shaped like balusters – tapered pillars with moulded capitals and bases
Sometimes had female figures in the shaft

39. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Early Period – 750 – 900 AD
The Orissa style can be classified into three groups
1. Early period 750AD – 900 – Parasrameswar, Vaital Deul
2. Middle period 900AD – 1100-LingarajaTemple , Jagannath at Puri
3. Later period 1100AD- 1250 –Sun temple Konark
EARLY PERIOD
• The Temples are primitive in character and treatment showing a lot on influence
from sources. Eg. ParasurameswarTemple
•Unsophisticated nature of decoration in subject and representation
Irrational
• Buddhist extraction
• Used large masonry stones kept in position by their weight
• No mortar or cementing material was used
• Introduction of Clerestory
• The Shikhara – Chalukyan influence ( Durga)
• Evolution of the Panchayatana or five shrined temple
• The proportions give the impression of the Shikhara as rudimentary, heavy
shouldered with a wideAmla
• The Jagamohan has pillars with an underdeveloped Pida Deul
• The interiors remain plain and un ornamented with the decoration restricted to
the exteriors
• Pilasters with vase and foliage capital – Gupta influence
• The Vaital Deul similar to the Bhuddhist Chaitya hall roof

40. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Middle Period – 900 – 1100 AD – LINGARAJA TEMPLE BHUVANESHWAR
The Temple of Monumental proportions in this period .
Constructed in 1000AD
The Jagannath temple at Puri – 1100AD
The Lingaraja or the Great Temple of Bhuvaneshwar
occupies an enclosure of 520’x 465’
It is within a high and solid wall with a terrace on the inside
Consists of subsidiary shrines inside
The temple consists of 4 components:
1. Rekha Deul or the Sri mandir
2. Jagamohan - pillared hall or the mandapa
3. Nat mandir - dancing hall
4. Bhog mandir - hall of offering
• Axial layout from the E to W
• Originally comprised of the Garbhagriha and the Jagamohan
• The 2 halls were later additions in 1100AD
• This led to certain structural alterations to the original scheme as openings were added to
the 2 sides of the Jagamohan once the Nat Mandir was added
• The S window was converted to a portal by adding a rectangular opening below

41. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Middle Period – 900 – 1100 AD – LINGARAJA TEMPLE BHUVANESHWAR
( note the hollowoverthe Garbha Griha, Projectingsculpturesinexterior,corbelled roofing)

42. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Middle Period – 900 – 1100 AD – LINGARAJA TEMPLE BHUVANESHWAR
Sri Mandir – Rekha Deul:
•Dominates the entire composition
•The base – 56’square, with the projecting pagas resulting in regular chases
•In elevation the Bada - cubical vertical portion is 1/3 total ht.
•The Bada is single storey distinguished by the different surface treatment –
50’high
•The this juncture the contours of the tower incline inwards resulting in a
parabolic curve at a ht. of 125’
•The Amla Sila rises over the tower from the neck or Beki. It is supported
by Gryphons and is crowned by a vase shaped Kalasa bearing the Trisula (
trident ) of Shiva
2/ 3 H
Surface Decoration:
Horizontal mouldings, along the recessed chases of
the sides
The motifs are miniature deuls- small scale replica
of the tower with a projection on all the sides of a
lion crushing an elephant
1/ 3 H

43. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Middle Period – 900 – 1100 AD – LINGARAJA TEMPLE BHUVANESHWAR
Cella:
•19’square
•Not closed on the top
•Continues upwards in the form of a well throughout the entire ht.
Jagamohan:
•The plan is oblong 72’x 56’
•The Bada is 34’high composed of series of recessed chases
•Above this rises the pyramidal roof – 100’high the lower part stepped and
the upper part round and fluted
Later additions: Nat Mandir, Bhog Mandir
Similar in style to the Jagamohan
Added axially in front of the Jagamohan
•Interiors are plain and devoid of ornament
•Ceiling - courses of masonry – simple
•Each hall has four massive piers to support the solid mass roof- have sculptured patterns on
them
•Ornamentation on exteriors- intricate detailing, foliated panelling, canopied niches,
spiralled nook shafts similar to Gothic cathedrals of Europe
•Lighting:Emergence of mullioned windows during this period
•The interior was half shadow and half lit gives religious solemnity
•Windows-Simple rectangular openings with arrow of uprights at close intervals
•Each upright were intricately carved with female figures
•The Tower has a dignified proportion and balance stability
•The great mass of the Temple is its unique feature

44. MUKTESW
ARATEMPLE
JAGANNATH - PURI
INDOARYAN STYLEAT ORISSA- 800 – 1250AD
other examples…

45. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Later Period – 1100 – 1250 AD – SUN TEMPLE AT KONARAK
GENERALFEATURES :
•Smaller temples were built
•Rich and finished appearance
•Previously ornamental now moderately sized, profusely decorated
•The same system of adding structures later on took place here also like
the Nat mandir and the Bhog mandir were added later
•Even though the sanctuary was square in plan, due to the profuse
recessing, the plan resembles a circle - (Rajarani Temple)
•Diagonal placement of the Sri mandir started emerging instead of the
axial alignment
BLACK PAGODA:
Built during the reign of Narasimha Deva 1238-64
Now a deserted ruin- mass of masonry, pyramidal mound
It never was completed, even before the upper portion of the tower was placed the
foundation stones gave way
Confirmed from the large finished stones meant to be placed on top lie down below, if
they had fallen down after placing them in position they would have been damaged
Colossal grandeur outstripped the execution as it failed in the constructional part
Dedicated to Surya – Sun God
Represents the crystallized andaccumulatedexperience of severalhundredyears

46. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Later Period – 1100 – 1250 AD – SUN TEMPLE AT KONARAK
All the halls here were united
Finality of the style could be noticed here
Imaginative character
Concept:
•The building was fashioned like a Ratha or a wheeled car whirled
along by 7 horses
•The base is an immense structure or terrace with 12 wheels
•Each wheel was 10’high
•In the front a wide flight of steps
•On the terrace was the temple, in two conjoined parts
The Temple consists of 2 components:
•Deul and Jagamohan
•Jagamohan 100’side 100’high
•Deul tower rising to 225’from ground.
•At the base of the deul 3 subsidiary shrines
were attached with outer staircases leading to a
spacious recess where the life size minutely
carved deities were placed
•Facing the flight of steps the Nat Mandir was
erected it was a detached structure

47. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Later Period – 1100 – 1250 AD – SUN TEMPLE AT KONARAK
Nat Mandir:
•Square in plan
•Pyramidal roof
•On a high plinth
•Around it a number of structural and free standing
elements like a free standing pillar, a refectory, several
supplementary shrines existed
•All these were enclosed within a courtyard of size 865 ‘ x
540 ‘
•Entrance gateway on three sides
•Sculptured forms were famous
•Intricate designs
•Theme based onAmorous characters
•Assembly hall is the only one preserved intact
Jagamohan:
Square building 36m x 36m x 40m
Consists of two main elements:
•Abada or a cubical portion
•Pida the pyramidical portion
•The 20m internal space is one of the largest
•The roof has 3 rows of 3 deep pidas and kalasa
•Symbolises a processional chariot
Surface treatment:
Surface of the Bada are in recessed chases thus converting a square into almost a circle. The
roof with the same principle with its interrupted angles and projections and curves is highly
complex
The structure is of simple proportions
Main cornice marks the centre of the structure
The Width of the Bada or central part = 2 its H
Total Width = Total H
There are three doorways one in center of each side with a flight of steps

48. INDO ARYAN STYLE AT ORISSA- 800 – 1250 AD
Later Period – 1100 – 1250 AD – SUN TEMPLE AT KONARAK
•Eastern entrance is the main entrance leading to the main portal
flanked by horses- 3 on one side and 4 on the other side
Roofing:
•Pyramidical roof
•The square portions consists of 3 tiers diminishing as they ascend
•Wide spaces or platforms at each stage accommodates sculptures
•Each tier is stepped the two lower with six and uppermost with five
string courses
•All these show horizontality
•Above this is the apex of the pyramid a circular finial, fluted carved and moulded,
contrasting to the square portion below
•Principle of execution of the roof is similar to all buildings in that region
Interior:
•Now sealed no access due to the damaged conditions
•Consists of one large cell 60 ‘ side
•Ceiling being supported by four large solid piers
•Walls were plain
•At the end a vestibule leads to the sacred Cella, a square chamber 25’side forming the
same. The architecture might have been similar to that of the Lingaraja temple.

49. INDOARYAN STYLEAT ORISSA- 800 – 1250AD
Later Period – 1100 – 1250 AD – SUN TEMPLEAT KONARAK
Nat Mandir:
Away from the main structure by 30’
In the centre a graceful pillar or Kirtistambha- bearing aloft a small
image ofArjuna
Later on shifted to the Eastern entrance of Jagannath temple
The SW portion is dedicated to Rama
SE is the refectory used for service purpose
None of the gateways or walls exist at present.
Sculpture:
Gels with the building
•Abstract
•Geometrical
•Foliage
•Mythical animals
•Half human half serpentine
•Satanic figures
•Emergence of Tantrism- Maithuna couple
Construction:
•Masonry is composed of blocks of Laterite, doorway and the Sungod in Chlorite – Green stone
•Masonry is of the dry order based on weight of the stone, held by system of counterpoise- equilibrium
•In the case of the Deul to counteract the lateral thrust, the massiveAmla was placed
•The interior was filled with mound of earth to get the formwork for the roof
•The shrine ceiling was obtained by corbelled by over sailing of the courses of masonry
•Stone lintels were introduced carried on 4 solid piers each lintel was reinforced by wrought iron beams
•Iron grid for the roof was used, each as much as 35’long
•The iron beams was forged and not cast

50. INDOARYAN STYLEAT ORISSA- 800 – 1250AD
Later Period – 1100 – 1250 AD – SUN TEMPLEAT KONARAK

51. INDO ARYAN STYLE AT KHAJURAHO- 950 – 1150 AD
One of the most refined and finished
manifestations
Built during Chandela rajas
• Noted for their structural productions
• Complete absences or decline due to the
same faith that existed at Konark-
Tantrism
• Structures were done with elegant
proportions
• Graceful contours
• Rich surface treatments
• Plan was a Latin cross
• Longer side on the east
Divided into 3 parts:
• Garbagriha-cella
• Mandapa or the assembly hall
• Ardhamandapa-entrance portico
• Antarala- vestibule to the cella
In more developed examples there was
the maha mandapa together with a
processional passage around the
cella
•Each of the main compartments had
separate roofs
•The smallest and lowest being on the
portico
•Next on the central hall
•Finally the Shikara or the tower
•Process of gyration can be seen here
ELEVATION
Can be divide into 4 parts
•Lofty terrace
•High basement storey
•Walls and opening of the interior
compartments
•Tall and graceful Shikara
Pronounced vertical projections
2nd part consisted of all openings, the
spaces between openings filled with 2
or 3 friezes
A Classic example is Kandariya
Mahadeo- where 650 figures exist

52. INDO ARYAN STYLE AT KHAJURAHO- 950 – 1150 AD
INTERIORS:
•Based on the requirements of the ritual
•Economy of space
•One eastern entrance approached by a flight of steps
•Door way has a lintel with carvings
•Doorway leads through a passage into a rectangular portico or
Ardhamandapa which has open sides
•Ceiling carried by pillars
Next is the main hall or the Mandapa having
•4 pillars in the centre
•supporting the beams of the roof
•On each side of the hall was the Maha Mandapa
•next it leads to theAntarala- vestibule which leads to the doorway of the cella
similar to the entrance door
Unlike other temples where interiors are plain here the interior walls are
richly decorated with sculpture
•The sculpture was functional and ornamental
•Brackets are hidden with sculptures
•Four pillars support the roof typical of any structure
•Ceiling also had sculptures
•Usually geometrical pattern
•Done on ground and then hoisted to the ceiling
•Example is Kandariya Mahadeo
K andariya M ahadeo
Lakshm
ana - K hajuraho

53. I N D O A R Y A N S T Y L E A T R A J P U T A N A ,Central India- 8th – 11th c.A D
After the Gupta dynasty architectureconstruction declined
•Invadersdestroyed m
ost of the temples
•26 temples weredemolishedto build the Delhi mosque
•240pillarswereused
•Each pillar for the mosquewasmadeof twopillarsfrom the
templeplaced one ontop of the other, someplaces 3 pillars
wereused
•T hisisthe m
ainreasonsfor the absence of tem
plesaround
D elhi inthisperiod
•The pillarsare better visible here than inthe temples
•Carved pillarswerethe mainfeatures duringthis period
•T he templesasusualare raisedon a plinth
•The structure resembles the Orissa temples
•T he M andapasareopenpillared halls
•The art haspassedits fine freshnessandstarted becoming
stylized andstiff andnomoredevelopmentstook place
•Flutings replacedby recessedangles
•Flutings werecarried onto the capital normallyonly the shaft
had the flutings
•Supplementary turrets started to be addedup to the main
shikhara
•Doors placedanimportant role depicted entire mythology.
H ariH ara- O sian

54. IN D O A RY A N S T Y L E A T G U JA R A T 941 - 1311A D
S olankidynasty ruledfrom1300 onwards
•Wealth-Venice to E urope
•G ujarat to India
•Earthquake inthe beginningof the 19th century
•A fter stone white m
arble wasused.
•Introductionof stonesandgem
sfor the im
ages
•Vastupala andTejpala 2 brothers maincontributors to architecture
•Not oneindividualwasresponsible, the wholecommunity pitched in
accordingto their capacity.
•Spoon of grainor a handfulof cotton astax for the temples
•B uildersguild- S ena existed
T E M P L E S
•S im
ilar to other tem
ples
oS hrine or C ella oPillared
hallor M andapa oSalat-
craftsmen
•2 typesof templesasper plan
oT he twocom
partments C ella andM andapaarejoined
to form a parallelogramexample Temple at Modhera
oThe twocompartments joineddiagonally example-Somnath
•T reatment of elevationtwo types
oS traight sides
oCurved
•M ainly2 to 3 storied structures T em
ple atM odhera
T em
ple
M andap
T orana

55. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
ELEVATION OFSOLANKI TEMPLES
Consists of 3 main sections
• Basement or Pitha
• Mandovara or wall face upto cornice
•Superstructure comprising of the roof, vimana or shikara
Other architectural elements are also divided into three parts
• moulded beam
• vertical portion
• attic portion
1. PITHA
• Series of mouldings or string courses
• Lowest called garaspatti containing horned heads, rakshasas
• Over them gajapitha having elephant heads
• Over them asvathara containing horses
• Topmost- narathara-human beings
2. MANDOVARA
• Wide frieze
• Contains all the niches and tabernacles, Bas relief images
3. SUPERSTRUCTURE
• Low pyramid
• Horizontal courses
• Diminishing as they rise
• Terminating in the usual vase shaped finial
• Urusringas-smaller turrets around the main Shikhara developed during the Khajuraho period
• Semi detached

56. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
INTERIORS
•Peristylar
•Elegantly carved pillars
•Geometrically arranged to form an octagon with a nave
in the centre
•Outside they form aisles
•Pillars rarely taper
•Divided horizontally into decorative zones or drums
•Diminish in stages ending in the capital or Sira
•Around the nave the pillars have dwarf pillars above the capital called the attic pillars
•In between are the inclined struts containing carvings of females
•Attic pillars support the dome
•Dome formed by overlapping courses
•Joints are covered by mouldings as to give a feeling of one piece molded dome
•Shrine doorway richly carved
•Originally interiors were plain to avoid distractions
•Here too the interior walls of the cella were devoid of carvings
•Mention the extent of light penetrating inside
oSabhamandapa-open lit oGudhamandapa-
aisles-assembly hall
•Vestibule- leading to shrine doorway
•Sanctum-4 bare walls

57. INDOARYAN STYLEAT GUJARAT 941 - 1311AD
– SUN TEMPLEAT MODHERA
•Built 1026 -27AD
•Bhima I of solanki dynasty
•Water tank for ablutions
•Rectangular in plan called the KUND
•Platforms and terraces interspaced with shrines within the tank
•Western side- wide flight of steps ascends through a carved and fluted archway or
Torana to the main entrance of the temple
•The entire building is elevated on a brick terrace called KHARASILAfaced with
stone
•Temple has two parts connected with a narrow passage
•open pillared hall- Sabha mandapa
•enclosed rectangular building containing 2 parts
•assembly hall or Gudhamandapa
•shrine or Garbagriha
•Axial length-145’
•both the structures differ in character
•one is open hypostyle hall and the other is enclosed
within walls
•both are fused together by the string courses and
various other horizontal elements in harmony.

58. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– SUN TEMPLEAT MODHERA
•Sabhamandapa-square -50’side
•Placed diagonally on the axis
•Side interrupted at regular intervals by recessed chasses
•Pillared entrances with cusped archways at each of the four corners and a smaller pillar set within each recessed
angle, the whole supporting the Chajja and the triple cornice above.
•Adwarf wall encloses the lower part of the arcade
•Upper portion is open and gives a view of the interior
•Roof has a low stepped pyramid
•Roof horizontal lines are broken by innumerable miniature finials
INTERIOR
•2 aisles of pillars arranged along the diagonals of it square plan thus producing a cruciform effect.
•Pillars are 13’in height to rim of the dome 17’high
•Centre of the dome 23’high
•All from ground level
REAR BUILDING
•Oblong plan
•80 ‘ x 50’
•long sides are parallel to the axis unlike the hypostyle hall
•recessed angles on the exterior
•sole entrance on the east through a pillared portico connecting to the western door of the Sabha Mandapa
•on the sides at intervals 5 openings as windows

59. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– SUN TEMPLEAT MODHERA
ELEVATION
•3 main divisions
•basement-Pitha-carved mouldings
•Mandovara- paneled wall face-figures and sculptures senshrined in a niche
•principle images in the centre dancers and musicians on either side
•saints and ascetics still smaller ones
•superstructure- which no longer exists
•made of low pyramidal roof over the front portion and a tall turreted Shikara over the shrine
•both the structures have recessed chases continuing upward
INTERIOR
•2 equal portions
•square 25’side
•in the front the eastern hall or the Gudha mandapa or assembly hall
•contains 8 columns around an octagonal nave above which is a highly ornamental ceiling
•niche in every bay with the image of Sungod
•walls are otherwise plain
•from this compartment through a shallow four pillared vestibule is the shrine chamber a square cell with a
processional passage around it
•less of carved decoration
•concentrated on the door to the Cella
•doorway has its jambs and lintels with figures in a stiff and formal treatment
•the sun rays fall early in the morning inside the inner most chamber

60. INDOARYAN STYLEAT GUJARAT 941 - 1311AD
– SUN TEMPLEAT MODHERA

61. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
KUNDS (Jhalaras): General features
Water forms an essential part of the religious and economic life of the
Indians
•Features such as tanks, conduits, sluices, and wells were a common
feature being very artistically treated in Gujarat
•The Solanki Rajput rulers patronised some of the finest Hindu
temples in India, and created unique structures for harvesting water-
the Vav or Stepwell, Stepped tanks called Kunds and Stepped
Reservoirs called Talaos
•Essentially meant for community use and for religious rites.
•Often rectangular in design, kunds have steps on three or four sides.
•They are ground water bodies which are built to ensure easy &
regular supply of water to the surrounding areas .
•Rectangular in shape with steps on three or even on all the four sides
of the tank .
•The steps are built on a series of levels .
•They collect subterranean seepage of a talab or a lake located
upstream .
•The water was not used for drinking but for only community bathing
and religious rites .

62. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– SUN TEMPLE AT MODHERA – SURYA KUND
The Sun Temple at Modhera is divided into three parts.
•The first part consists of the stepped temple tank ( Surya Kund )
consisting of 108 steps, used for ceremonial ablutions.
•Afascinating massive rectangular stepped tank 50m x 20m located in
front of the toran that leads one to the temple.
•Though the kund now stands dry, it was believed to be
full of nirmal jal (holy water) in the days gone by.
•Devotees on their way to offer prayers to the Sun God stopped here for
ceremonial ablutions and would proceed for worship towards the temple
only after cleansing themselves here.
•Small, miniature shrines dot the steps around this kund.
•There are 108 of them to coincide with the number considered auspicious by the Hindus.
• Besides these, there are four larger shrines dedicated to
•Lord Vishnu (one of the principle gods in the Hindu pantheon),
•Ganesh (the God of knowledge and prosperity and son of Lord Shiva),
•Natraja (Lord Shiva as the cosmic dancer) and
•Sitala Mata (the goddess of the dreaded disease-smallpox).

63. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– SUN TEMPLE AT MODHERA – SURYA KUND
108M iniature
shrines

64. INDO ARYAN STYLE AT GUJARAT 941 - 131
V
A
VS ( Baolis) : General features
The vavs or baolis (step-wells) of Gujarat consist of two parts:
1. a Vertical shaft from which water is drawn and
2. the surrounding inclined Subterranean passageways, chambers and steps which provide access to the well.
The galleries and chambers surrounding these wells were often carved profusely with elaborate detail and became
cool, quiet retreats during the hot summers.
Eg -Rani-Ki-Vav of Patan , Vikia-Vav at Ghumli ,Adalaj-Vav atAdalaj, Dada Hari Vav
• These stepped-wells were built as a means of storage of water in a predominantly dry climate and they continued
to serve as a civic amenity well into the Islamic Period.
• Cylindrical draw wells 5 – 6 stories in height
• One side is open
• Approached by a flight of steps, descending in an inclined passage
• Each flight leads to a stage or storey so that the passage becomes a series of narrow galleries one above the other
• Public had access to water without using the draw wells
• Pillars and pilasters were used to create these galleries
• Skylights for galleries were provided, Pavilions and kiosks were formed
• They were an object of utility realized architecturally
• Builders/ masons lined the walls of these trenches with blocks of stone, without mortar, and created stairs leading
up to the water.
• The stepwell, other than a source of water, was also a place to socialise and gather for religious ceremonies.
• Women were usually associated with these wells, for it was they who collected the water,alsoprayed to the
Goddess of the wellfor herblessingsandoffered votive gifts.

65. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– VAVS OR BAOLIS – STEPPED WELLS
Gujarat-AHome of Numerous Step Wells:
In fact constructing a well was held to be a pious deed that absolved ones’sin and
certainly it earned more merit than mere sacrifices.
Almost each village or town boasted of at least one Vav.
•The Construction of Wells:
Atypical well is made up of the Mandapa (the entrance pavilion), which forms the
main approach at the ground level;
•the Kuta (the flight of steps) leads down to the water or
•Kund (tank) at the bottom.
•Most of the wells are decorated with sculptures on all available surfaces.
•the science and engineering skills with which so many pillars and lintels are made to support the five or seven storeys
and that too everything under the surface of the earth.
•Rani ki vav in Patan is the most magnificent of all step wells created in 1032A.D. by Rani Udayamati.
•Agreater part of this vav remained buried for years while the exposed portions were dismembered to embellish
another step well - Bahadur Singh ki vav in the same village.
•Rani ki vav continues to impress for its grandeur in dimension and profuse ornamentation.
•Splendid Carvings On Wells
•Almost the entire horde of Hindu pantheon seems to have been chiseled on the walls of the well, besides the
sculptured niches and the corridors that gradually diminishes as the well draws nearer at the depth of 285 feet.
Dada H ariki Vav
RaniVav

66. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– VAVS OR BAOLIS – STEPPED WELLS - ADALAJ
The Vav at Adalaj, located 12 miles north of Ahmedabad, is octagonal.
Ruda, wife of the Waghela chief Vairasimha, built theAdalaj Vav in 1498.
•As the long flight of steps descend, columns and connecting beams create open structures of increasing
complexity; the receding perspectives of columns and cross-beams are particularly striking.
•Wall niches incorporate miniature pilasters, eaves and roof-like pediments.
•The oblong stepped-well runs north south, with an entry at the south from three sides
•A5 storey octagonal shaft which was the main well of yesteryear.
•The well is round at the foot and beyond it is another dry well.

67. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– VAVS OR BAOLIS – STEPPED WELLS - ADALAJ
•TheAdalaj Vav is richly carved and every pillar and wall is covered with carvings
depicting leaves, flowers, birds, fish and other ornamental designs.
•Among the other wonderful sculptures include a king seated on a stool beneath a
parasol with two bearers dancing maidens and musicians.
•Elephants march eternally around an exuberant frieze as does the horse and other
mythical animals.
•The 'Vav', laid out in the north-south direction, the stepwell with the
well in the north and the entrance in the south, has a total length of
75.3 metres.

68. INDO ARYAN STYLE AT GUJARAT 941 - 1311AD
– VAVS OR BAOLIS – STEPPED WELLS - ADALAJ
•The platform rests on 16 pillars, eight on the corners, and two in front of each
main side.
•Four built-in shrines, with doors, windows and balconies, mark the four corners of
the platform.
•The stepped corridor begins from this square platform.
•The corridor is entirely surrounded by a one-metre high parapet wall with a
rounded topping.
•It descends with four pavilion towers for five storeys. The walls of the 'Vav' are
veritable showcases of sculptures and ornamentation
•It is the only major monument of its
kind, having three entrance stairs
leading to the stepped corridor.
•The stepwell has five storeys and
three gates to enter in.
•It is full of artistic sculptures

69. INDOARYAN STYLEAT GUJARAT 941 - 1311AD
– V
A
VS OR BAOLIS – STEPPED WELLS -ADALAJ

72. Unit 2

73. THE SOUTH HINDU OR DRAVIDIAN
ARCHITECTURE
•The south India was little affected by outside invasions. It enjoyed full
freedom.
•Hence Dravidian architecture developed into its own form and tradition.
•Temples were not only place of worship but also center of learning. Along
with elaborate religious rituals, festivals, performances of dances, dramas
based on religious theme were continued.
•Dravidians being fine craftsman ,temples were designed most elegantly with
great interest to display ornamentation and fine art that covered every part of
the temple.
•Dravidian architecture which dates back from 600 AD to 1000 AD may
broadly be divided into rock cut monuments (610 – 690 CE) to structural
monuments (690 – 900 CE) - Gopuras became larger than the main building.
•The emphasis is on horizontality lines; one or more stories, topped with stepped-
pyramidal shikhara and a mushroom cap

74. • Dravidian architecture is sub divided into 5
styles:
• 1. Pallava style
• 2. Chola style
• 3. Pandya style
• 4. Vijayanagar style
• 5. Late Pandya style or Madhura style

75. Evolution of Vimana
• Garbhagriha relocated in the centre of the composition (Mistake
from Lad khan temple)
• Aisles formed the pradakshinapath.
• The addition of dolmen over garbhagriha marked the decisive step
in evolution of temple architecture of the south.
• The tower took form of stepped pyramid with each step defined by
a horizontal moulding of varying thickness (Rounded off to remind
the original thatch roofs of bamboo huts)
• Apex is crowned by a domical form – Shallow , almost semicircular
contours of a bamboo canopy built over a square base.
• With minimal modification this curvilinear form was hewn out of
massive blocks of masonry and planted over the tower.
• The combination of a stepped pyramid and dome with a cubic or
prismatic base became the hallmark of south Indian temple
architecture – Termed the Vimana

76. Evolution of vimana

77. Pallava style
• Pallavas were the pioneers and laid the foundation of
Dravidian style.
• They made their capital at Kanchipuram,in Madras.
• There are two phases in this style .
• the first phase consist of wholly rock-cut temples and
• Second one of wholly structural temples.
• The greatest accomplishments of the pallava
architecture are the rock-cut
temples at mahabalipuram.
• There are excavated pillared halls and monolithic
shrines known as rathas in mahabalipuram.

78. Mandapas and Rathas

79. • Worshipping places scooped out of the rock faces are found all over the country.
• They are called, cave temples, technically, rock-cut temples.
• They are also called mandapam-s.
• The cave temples of Mamallapuram, like elsewhere in the south, consist of a
pillared hall and one or more sanctums at the rear of the hall.
• The hall may be divided sometimes into two parts,
– the front one called maha-mandapam and
– the rear, ardha-mandapam.
• Number of shrines varied from one to
as many as five in Mamallapuram,
with the presiding deity occupying
the central one.
• The early temples were simple and
the sculptural decoration
• restricted to dvarapala-s only.
• They were characterised by heavy
square pillars with octagonal section
in the middle, known as the
Mahendra-style.
• The pillars support the roof through
plain brackets.
The Dharmaraja Mandapam is in this early
style.

80. • In course of time pillars
became ornate.
• From the simple, massive
Mahendra-style pillars, they
became almost round.
• A base, a bulbous top and
embellished bracket that
support the beam came into
style.
• The pillar shaft resting
on the head of a sitting
lion or vyala is the next
stage, along with greater
details on the bracket
above.
• It was shafts on standing lions,
the last stage.
• This type is found in the Shore
Temples.

81. The plain façade of the
early period was also
modified to resemble in
relief the superstructure of
contemporary vimana-type
temples.
Continuing with such increasing
complexities, the walls of the hall came
to be decorated with relief sculptures of
themes from purana-s.

82. Dharmaraja Mandapam This could be
a shrine
belonging to
the early phase
judging from
its simple features,
massive
square pillars and
lack of any
embellishments.
There are three cells, and
it is likely that
the central one was dedicated to Siva.
The mutilated gate-keepers and
the inscription on the wall make it
an important monument.

83. Koneri Mandapam
Koneri Mandapam is located opposite
to a tank, called Koneri Pallam,
perhaps, the reason for the name
of the cave shrine.
In the midst of Tropical Dry Evergreen
Forest
A five-celled cave, the only one of its
kind in Mamallapuram.
Which deities are housed in these five cells is a puzzle.
Square Mahendra-type pillars on the front row and
more rounded, well-ornamented pillars on the back row
The five sanctums is guarded by a pair of dvara-pala-s

84. Mahishasuramardini Mandapam
Though unfinished, the three-celled shrine
contains two priceless panels,
Mahishasuramardini and Anatasayanam.
The sanctum contains an early relief of
Somaskanda.
The portico in front of the sanctum is
a unique feature.
Anatasayana and Mahishasuramardini Relief

85. Design of front pillars is Advancement over
the square Mahendra pillars.
lion-based pillared portico in front of the
central sanctum is found only in this
mandapam.
The rectangular pit on the floor, may be to
accommodate a reclining Vishnu idol, must be a
later addition.
Somaskanda panel in the
central sanctum
Durga Temple (Mahishasuramardini Temple),
Photograph taken in ca. 1880

86. Varaha Mandapam
This dainty shrine has
a well-finished facade, and
vyali-based pillars of later style.
But its importance lies
in the four extraordinary
compositions:
Varaha, Lakshmi,
Durga and Trivikrma.

87. ‘Elevation of the Varaha Avatar Cavern. Mahabalipooram.’
A drawing of Varaha Mandapam

88. Trimurti Mandapam
This sheer poetry in stone, is three-celled without front halls,
and are dedicated to Subrahmanya, Siva and Vishnu.
There is also a niche for Durga
These cells contain the deities in the sanctums, an unusual feature.
The dvarapala-s also fine sculptures.

89. Phase 1 – Rathas
• RATHAS are small shrines carved out of a monolithic rock.
• In general Ratha is known as chariot used for carrying the image of the deity
during religious procession.
• But here in pallava style it commonly refers to a monolithic shrine which contains
all the essential features of a temple including domed storey to shikhara.
• Built under the rule of Tamil king Mamalla (Narasimhavarman I, 630 - 670 AD).

90. • Series of 7 monolithic Rathas ,chiseled out of big boulders at
Mahablipuram.
• The five rathas known as Panch Pandav rathas
1. Dharmaraja,
2. Bhima,
3. Arjuna ,
4. Nakula and Sahdev Rathas
5. Draupadi’s Rathas

91. • Pancha rathas in Hindi mean
"five chariots"
• The rathas were created as
models of diverse typical South
Indian temples.
• Their architecture influenced by
the architecture of wooden
structures.
• Four rathas have stepped
pyramidal roofs.
• Each ratha has got interior
room - simple and narrow
sanctuary (garbha-griha).

92. Draupadi’s Rathas
• Draupadi’s Ratha is the smallest among and well
finished .
• This shrine is shaped lika a thatched hut
• Draupadi’s Ratha and the nearby Arjuna Ratha
are on a single platform
• Rock cut and stands on a square plinth of 3.5 m
and has a vaulted roof ,evidently derived from
the hut with a straw roof.
• It is 6 m high.
• In the Ratha the image of Draupadi is enshrined
as goddess Lakshmi.
• There are monolithic carving of lion on its west
faces whereas that of Nandi or Shiva’s Bull on
the east face of this Ratha

93. Arjun’s Rathas
• Arjun’s Ratha lies to the south of Draupadi’s
Rathas , devoted to Lord Shiva.
• It is planned like Buddhist vihara. Measuring
3.5m x3.5m and rising to a height of 6.6 m
• It is facing towards the east and has two
storeys, a small portico and carved pillars.
• Its Vimana is built in four tiers containing
little heads set in the horse-shoe shaped
arches which are characteristics.
• There are images on the rear wall of the
Ratha.
• Inside the shrine there are no adornments,
but the exterior is very rich with interesting
details of magnificent sculptures, showing
gods and humans

94. Bhima ’s Rathas
• It sands on rectangular platform
measuring 13m x 7.3m and
• Vimana rises to a height of 7.6m.
• It has a pillared gallery running all around
the roof which is like the Buddhist vault.
• Ratha was devoted to Anantshayi Vishnu.
• The larger size of ratha can
be explained by a large
relief of Vishnu in the form
of Sayanamurti, which is
located inside. It remains
unfinished.
• The sanctuary of this
structure has a
circumabulatory passage
around it.
• Pillars of the shrine are
adorned with figures of
lions.

95. Dharmaraja ’s Rathas
• This ratha is shaped like a
characteristic vimana (tower above
the shrine) of Southern India of its
times.
• It is carved similar to Arjuna Ratha and
is the tallest.
• It stands on the plan of 8x9m and
vimana rises to a height of 12 m in
three storey's.
• The shrine is devoted to Shiva
• Columns and pilasters of this ratha are
adorned with lions.
• Small premises have been hewn in the
other two floors of ratha as well.
There are no stairs leading to the
second floor, but the second and third
floor are connected with stairs.

97. Nakula and Sahadeva ’s Rathas
• The Ratha is based on ‘Chaitya Hall’ of
Buddhist temple with an apsidal end on
the south side and double pillared
portico on the north side.
• Its plinth measures 5.5m 3.35m and
rises to a height of 5m in four tiers.
• The roof is elaborately carved.
• This shrine is devoted to Indra and is
associated with elephants. This ratha is the
only one which is not placed in a
"procession", it stands aside.
• It is also the only one with entrance facing
south.
• One wall of ratha is adorned with a relief
sculpture of Ardhanariswara, columns and
pillars are adorned with seated lions.

98. • Animal statues
• Among the rathas stand three large
sculptures of animals - all carved out
of monolithic stone.
• three statues are symbolically linked to
certain rathas,
• Sculpture of lion is app 2 m high. It is
located in the front of Draupadi Ratha
- as it is normally placed in other
temples which are devoted to Durga..
• Elephant stands next to Nakula Sahadeva
Ratha which is devoted to Indra - a deity
owning the sacred white elephants
• Statue of Nandi bull is not finished. This
figurine is linked to Arjuna Ratha - shrine of
Shiva.

100. GANESHA RATHA
• The Ganesha Ratha consists of a rectangular sanctuary with a columned verandah with
two figures of guardians on either side.
• The columns with a seated lion at the base are typical of the Pallava style.
• The upper storey is covered by a large vaulted roof with arched ends and pot and trident
finials.

102. • Viewed from the northern end, the
temples appear to be a replica of the
Dharmaraja Ratha.
• The main Shore Temple, which faces
east so that the sun rays shine on the
main deity of Shiva Linga in the shrine,
• Five-storied structural Hindu temple.

111. Kailasanathar Temple
Kanchipuram
• Built on the banks of the Vegavathy River at the western limits of Kanchipuram
• Constructed during 685-705AD by Narasimhavarma Pallava II (Rajasimhan),this is
the first structural temple built in South India.
• It was then completed by his son Mahendravarman III and stands dedicated to
Lord Shiva.
• Prior temples of that era were either built of wood or hewn into rock faces in caves
or on boulders, as seen in Mahabalipuram.
• The Kailasanathar temple built of sandstone became the trend-setter for other
similar temples in South India in a lot of aspects ahead.

112. - One of the oldest remaining structural stone temple in Tamil Nadu
and has 58 small shrines dedicated to various forms of Shiva
-Famous for its splendid Vimana (dome over the sanctum) and for the
many panels showing Lord Shiva as Nataraja in various postures
- One of the earliest instances of Calligraphy is found here
-Serves to be the inspiration behind the Tanjore Big Temple built by
Raja Raja Chola
-Built using sandstone which is a marvel of its age and holds many
frescos that stood time in the inner walls of the shrines.. It has an
attractive panel depicting Shiva and Parvathi in the midst of one of
their innumerable dance competitions.
- Has sculptures of Shiva, Vishnu, Brahma fantastically structured
-According to local belief, the temple was a safe sanctuary for the
rulers of the kingdom during wars.
- A secret tunnel, built by the kings, was used as an escape route and
is still visible
- The sitraalayams (the small temples) in the Prakara in this temple
are unique.

118. Dravidian style – Chola style
• The style originally known as Dravidadesha style, was
practiced during several dynasties only in the state of
Tamilnadu in South India.
• An outstanding feature of the Dravidian temple architecture is
its two types of towers, the vimana and the gopuram.
• The vimana (the holy shrine) is square in plan and structure
and has a rounded cupola as its finial,
• whereas the gopuram is oblong and has an oblong vaulted
roof

119. Chola dynasty– Tanjore Temple
• The Br̥ihadisvara Temple or the Big Temple of Tanjore, or
the "Periya Kōvil" (Big Temple), is a Śiva temple built by
Emperor Rājarāja I,
• 1002 - 1010 C.E.
• Granite stone structure - built of interlocking stones
without any binding material.
• Axial and symmetrical planning -
• The temple tower is 66 metres tall, and the "Kumbam", the
rounded apex dome, is made from a single stone that
weighs approximately 80 tonnes (72,575 kg).
• The Kalaśam on top of the dome is 6 feet tall.
• The main sanctum is a square and measures close to 46
sq.m.
• The entrance is facing east. East – west axis
• The solid base of the temple raises about 5 metres (16
feet), above which stone deities and representatives of
Shiva dance.
• The Nandhi statue is 2 meter in height , 6 m in length and
2.5 m in width and weighs over 20 tonnes.
Octogonal shape cupola
• near the neck of the Gopuram are 8 Nandis
seen very prominently even while standing
from the ground.
• A Nandi of the similar scale is seen on the
southern Prahara.

120. Main temple :
• Rectangular outer boundary, 270 m by 140 m
The main temple is in the center of the spacious quadrangle composed of
1. the sanctuary,
2. The Nandi mandapam,
3. A pillared hall and an assembly hall (mandapas), and
4. many sub-shrines.
• The prakaram (outer precincts of the temple) measures 240m by 125m.
• The height of the vimana is close to 66 meters (13 storeys) above garbhagriha - 13 diminishing stories,
each with pilastered walls, an eave and parapet, ascend towards an octagonal dome-like roof with a gold
plated copper kalash (stupi) at the apex
• The main vimana on top is built through corbelling system and called as dhakshina meru
• The gopuram of the main entrance is 30 m high, smaller than the vimana.
• The dwarapalaka statues are of more than 5m high,
• Main shrine is Peruvudaiyar, the main lingam which is of 3.7 meter high.
• Five other subshrines are also located.
• The cloisture mandapa runs around the temple complex with 36 subshrines for the subsidiary deities
• The sanctum is a square of 46 sq.m and is raised on a high plinth and surrounded by a narrow
pradakshinapath with four cardinal openings that are inaccessible from the courtyard and serve as
windows.
• Antarala is triple storey high with openings on North and south

124. 1. Entrance
2. Keralantakan thiruvasal
3. Raja rajan thiruvasal
4. Nandhi mandapam
5. Varahi shrine
6. South cloister mandapam
7. Brihadisvara temple
9. Ganesh shrine
10. Karuvur deva shrine
11. Subramaniya shrine
12. Chandikeshvara shrine
13. North cloister mandapam
14. Amman shrine
15. Nataraja mandapam

125. Thanjavur Brihadeeswarar Temple Full View
from inside

126. Thanjavur Brihadeeswarar Temple Entrance Tower View

127. Big Nandi View of the Temple and Roof paintings
Temple Dwarapalaka

128. gods, represented as a
man with a goat's horns,
ears, legs, and tail.
Ganesha Intricate Carvings
Carved figures on temple wall

129. The Gopuram (literally Cow-Gate), was erected primarily to emphasize the
importance of the temple within the city precincts without in any way altering the
form of the temple itself. The formal aspects of the Gopuram were evolved slowly
over time. It had to be towering, massive and impressive. But it was not felt
necessary to repeat verbatim the square-based form of the temple Vimana. This
could be due to the fact that the square was a essentially a static form, signifying
calm and rest, while the entrance gateway needed to have some dynamism.
Elongating the square and converting into a rectangle with an open entrance in the
middle solved this problem. Above this base could be raised tier upon tier of a
pyramidal structure comprised of brick and plaster with the topmost tier also a
rectangle, albeit much smaller.
This rectangular top was crowned by a barrel-vaulted shape of Buddhist origin,
crowned with a row of finials. As time went by, cities all over South India could be
discerned from afar by the distinctive shape of their Gopurams dominating the
skyline. The temple-city had evolved from a place of pilgrimage to the hub of
political, cultural, social and secular activity of the region.
The 'Annular' Growth of Cities
Such an increase in importance of the city led to a natural population increase as
well as demands for more resources. But growth was also constrained by the huge
battlements thrown up around, punctuated by the massive Gopurams. The only
viable solution was to erect yet another wall around the existing one. The new
wall, too, had its own huge Gopurams. In this way the city grew much like the
annular rings of a tree, with successive perimeters being added as population
growth dictated. Thus, the great temple of Srirangam at Tiruchirapalli acquired
several concentric rings of growth over a period of 500 years. Ultimately, the
concentric city and Gopurams, which evolved out of necessity rather than
conscious design, came to be accepted as the standard 'form' of temple
construction in the south.

130. • GATEWAYS TO TEMPLES
• Importance of the temple within the city precincts without in
altering the form of the temple
• Natural population increase
• Protection from the danger of muslim invasion from north
• Erect yet another wall around the existing one
• City grew much like the annular rings of a tree
• Great temple of Srirangam at Tiruchirapalli
• EVOLUTION OF GOPURAM
• Entrance to house of god has to be massive & Impressive
• Visible for miles around
• The square plan of garbhagriha was inappropriate as the form is
static
• Rectangle dynamic form
• Towering, massive & impressive
• Over the stone Base, rose a pyramidal structure composed of
diminishing tiers built of brick and plaster
• The top most tower was also rectangular with a barrel vault gabble
• crowned with a row of finials
• Gopurams dominat the skyline.

131. HISTORY
Madurai is famous for its world acclaimed Meenakshi Sundareswarar Temple.
The city of Madurai has been constructed in the form of a lotus and is built around the temple.
It is situated on the banks of the river Vaigai.
The temple is the geographic and ritual center of the ancient city of Madurai
The temple complex is divided into a number of concentric quadrangular enclosures contained
by high masonary walls
It is one of the few temples in Tamil Nadu to have four entrances facing four directions.
The complex is in around 45 acres (180,000 m2)
TEMPLEARCHITECTURE
The original temple was built by Kulasekara Pandya, but the
entire credit for making the temple as splendid as it is today
goes to the Nayaks(16th -18th C)
The Meenakshi temple was designed as a series of concentric
courtyards, or prakramas.
The spaces around the shrine became hierarchical,
diminishing in religious value.
The outermost ring had buildings of a more practical nature -
accounts, dormitories, kitchens, shops selling items for
rituals, maintenance areas and 'parking' for the increasing
number of chariots.
.
Meenakshi Sundareswarar Temple, MADURAI –Pandyan dynasty

132. • The inner circles contained
prakramas for singing and
religious tales, bathing tanks
and guest houses.
• And in the innermost courts
were the pavilions for the
dancing girls and the treasury
- both jealously guarded by
the priests!
• Admittance was restricted to
the upper castes only.
• And finally, the holiest of
holies, the Cella containing
the idol of the deity was open
only to the head pujari and out
of bounds for even the king of
the land

133. E

135. GOPURAMS
• The temple is surrounded by 'gopurams(gateway tower),
• There are 12 massive gopurams in the temple
• The tallest of which, the famous southern tower, rises to over 170 ft
(52 m) and was built in the year 1559.
• The oldest gopuram is the eastern one, built by maravarman sundara
pandyan during 1216-1238
• Each gopuram is a multi-storeyed structure, covered with thousands of
stone figures of animals, gods and demons painted in bright hues.
• There are four entrances. The main entrance is to the Meenakshi
Amman shrine.
SHRINES
• The central shrine of Meenakshi and Sundareswarar are surrounded by three
enclosures and each of these are protected by four minor towers at the four
points of the compass, the outer tower growing larger and reaching higher to
the corresponding inner one.
• The Meenakshi shrine has the emerald-hued black stone image of Meenakshi.
• The Sundareswarar shrine lies at the centre of the complex, suggesting that the
ritual dominance of the goddess developed later.
• Both the Meenakshi and Sundareswarar shrines have gold
plated Vimanam (tower over sanctum).
• The area covered by the shrine of Sundareswarar is exactly one fourth of the
area of the temple and that of Meenakshi is one fourth that of Sundareswarar.

136. East T
ower (9Storeys) 161‘ 3".
South Tower (9Storeys) 170'6".
West Tower (9Storeys) 163'3".
North Tower (9Storeys) 160'6".

137. GOPURAM
INSIDE MEENAKSHI TEMPLE
CLOSER VIEW

138. TEMPLE TANK AND SURROUNDING PORTICO
The golden lotus pond is located to the left of the Meenakshi shrine.
The sacred tank the porthamarai kulam ("pond with the golden lotus"), is 165 ft (50 m) by
120 ft (37 m) in size.
In the Tamil legends, the lake is supposed to judge the worth of a new piece of literature.
authors place their works here and the poorly written works are supposed to sink and the
scholastic ones are supposed to float, tirukkural by tiruvalluvar was one such work.
Only a fraction of 17th and 18th century paintings
of Nayak period survives and one such portion is
found in the small portico on the western side of the
tank. It depicts the marriage of Sundareswarar and
Meenkashi attended by Vijayaranga Chokkanatha
and Rani Mangammal. The painting is executed on
a vivid red background, with delicate black line
work and large areas of white, green and ochre. The
celestial couple is seated inside an architectural
frame with a flowering tree in the background.
THE PORTHAMARAI KULAM

139. HALLS & MANDAPAS
• The corridor surrounding the sanctum of Meenakshi is called kilikoondu
Mandapam . The space was once used to keep green parrots that were trained to
utter the name of Meenakshi. There are two large cages full of squawking green
parrots.
• The Kambatadi Mandapam with its seated Nandi has various manifestations of
Shiva carved and also contains the famous "Marriage of Meenakshi"
sculpture. Sculptures of Shiva and Kali trying to out-dance one another are pelted
with balls of ghee by devotees. A golden flagstaff with 32 sections symbolizes the
human backbone and is surrounded by various gods, including Durga and Siddar.
• The Meenakshi Nayakkar Mandapam has two rows
of pillars carved with images of yali (mythological
beast with body of lion and head of an elephant),
commonly used as the symbol of Nayak power. It is
situated to the north of Sundareswarar flag staff hall.
• The Puthu Mandapam ("new hall") constructed by
Tirumala Nayak contains large number of
sculptures. It is situated opposite to the eastgopuram.
SCULPTURES INSIDE THE
TEMPLE

140. • TheAshta Shakthi Mandapam is the first hall in the entrance of Meenakshi shrine tower
near to East Tower.
• Ashtaindicates eight and Shakthi refers to goddess - the hall has statues of eight goddesses.
The gopurams can be viewed from this hall.
• The passage was named for eight forms of goddess Sakthi carved on its pillars. Other
sculptures and paintings depict the Tiruvilayadal .
• The sculptures of heroes of Mahabharata, the Pancha pandavas can be seen in the Pancha
Pandava Mandapam .
• The Viravasantharaya Mandapam is a large hall with huge corridors.
• To the south of this hall is the kalyana mandapam, to the south of the pillared hall, is
where the marriage of Shiva and Parvati is celebrated every year during
the Chithirai Festival in mid-April.
• The golden images of Meenakshi and Sundareswarar are carried into the 16th
century oonjal mandapam (swing corridor) and placed on the swing every Friday at 5:30
p.m.
• The shrine has a 3-storied gopuram guarded by two stern dwarapalakas and supported
by golden, rectangular columns that bear lotus markings. Along the perimeter of the
chamber, granite panels of the divine couple are present. The hall is situated in the
western bank of the temple tank.
• The Mudali Pillai Mandapam or Iruttu Mandapam (Dark hall) is a wide and long hall
built by Muthu Pillai during 1613.
• On the pillars of the halls, there are fine sculptures depicting the story of Shiva taking the
form of Bikshadanar to teach the sages a lesson.

141. • The Mangayarkarasi mandapam is a newly built hall situated opposite to the marriage halls and bears
the name of saindy queen, Mangayarkarasi who contributed to Saivism and Tamil language.
• To the south of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu
brothers in 1795.
• The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built by
Achaya Rayar, the minister of Rani Mangammal in 1635.
• The Kolu Mandapam is a hall for displaying dolls during theNavarathri festival celebrated during
September–October. This hall is situated in the second corridor of the Meenakshi shrine at the western
side.
HALLOFTHOUSAND PILLARS
ASECTION OFTHE THOUSAND
PILLAR HALL
musical note.
• The "Aayiram Kaal Mandapam" or Thousand Pillar Hall contains 985 carved pillars.
• The hall was built byAriyanatha Mudaliar in 1569 and it is a structure where the engineering skill and
artistic vision are blended.
• At the entrance of the hall the statue ofAriyanatha
Mudaliar seated on a horse-back is present.
• Each pillar in the hall is a carved of the Dravidian
sculpture.
• The more prominent among the carved figures are those of
Rati, Karthikeya, Ganesha, Shiva as a wandering
mendicant and endless number of yalis.
• There is a Temple Art Museum in the hall where icons,
photographs, drawings, and other exhibits of the 1200
years old history of the temple is displayed.
• Just outside this hall, towards the west, are the Musical
Pillars. Each pillar, when struck, produces a different

143. PANCHA SABHAI
• "Pancha Sabhai" refers to the five royal courts of Nataraja(dancing form of Shiva) where he
performed cosmic dance.
• The Tamil word velli means silver and ambalam means stage or altar.
• This massive Nataraja sculpture is enclosed in a huge silver altar and hence called "Velli
Ambalam" (silver abode).
• This is a special figure of Natarja which usually differs from Chola bronzes; in the Chola images,
Nataraja is shown dancing with his left leg raised, but this sculpture has the right leg raised.
• According to the Tiruvilayaadal Puranam (Shiva's sacred games), this is on the request of
Rajasekara Pandya, who was a sincere devotee of Shiva. He requested the deity to change his
position, as he felt that keeping the same foot raised would put enormous strain and got a graceful
acquiescence from the divine master.
PANCHASABHAI