Mysteries tanjore

Journal of the Indo Nordic Author’s Collective
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The Big Temple
Brihadisvara Temple built by Rajaraja I, a UNESCO World Heritage Site-
Mysteries Solved
Dr Uday Dokras- Ph D SWEDEN
Rajaraja I, born Arulmoli Varman often described as Rajaraja the Great, was
a Chola emperor (reigned c. 985–1014) chiefly remembered for reinstating the Chola power and
ensuring its supremacy in south India and Indian Ocean.
His extensive empire included the Pandya country (southern Tamil Nadu), the Chera
country (Malabar Coast and western Tamil Nadu) and northern Sri Lanka. He also acquired
the Lakshadweep and Maldive Islands in the Indian Ocean. Campaigns against the Western
Gangas (southern Karnataka) and Chalukyas extended the Chola influence as far as
the Tungabhadra River. On the eastern coast he battled with the Chalukyas for the possession of
Vengi (the Godavari districts).
Rajaraja, an able administrator, also built the great Brihadisvara Temple at the Chola
capital Thanjavur. The temple is regarded as the foremost of all temples in the medieval south
Indian architectural style. During his reign, the texts of the Tamil
poets Appar, Sambandar and Sundarar were collected and edited into one compilation
called Thirumurai. He initiated a massive project of land survey and assessment in 1000 CE
which led to the reorganisation of the country into individual units known as valanadus. Rajaraja
died in 1014 CE and was succeeded by his son Rajendra Chola I.
Rajaraja indulged in a lot of queens some of whom were Dantisakti Vitanki aka Lokamadevi,
Vanavan Madevi aka Thiripuvāna Mādēviyār, Panchavan Madeviyar, Chola Mahadevi,
Trailokya Mahadevi, Lata Mahadevi, Prithvi Mahadevi, Meenavan Mahadevi, Viranarayani and
Villavan Mahadevi. He had at least three daughters. He had a son Rajendra with Thiripuvāna
Mādēviyār. He had his first daughter Kundavai with Ulaga Madeviyar. Kundavai
married Chalukya prince Vimaladithan. He had two other daughters named Mathevadigal and
Ģangamādevi or Arumozhi Chandramalli. Rajaraja died in 1014 CE in the Tamil month of Maka
and was succeeded by Rajendra Chola I.
Administration:

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Brihadisvara Temple built by Rajaraja I, a
UNESCO World Heritage Site
Mural depicting Rajaraja and his guru Karuvuruvar found in the Brihadisvara temple, Tamil
Nadu, 11th century.
Before the reign of Rajaraja I, parts of the Chola territory were ruled by hereditary lords and
princes who were in a loose alliance with the Chola rulers. Rajaraja initiated a project of land
survey and assessment in 1000 CE which led to the reorganization of the empire into units
known as valanadus. From the reign of Rajaraja I until the reign of Vikrama Chola in 1133 CE,
the hereditary lords and local princes were either replaced or turned into dependent officials.
This led to the king exercising a closer control over the different parts of the empire. Rajaraja
strengthened the local self-government and installed a system of audit and control by which the
village assemblies and other public bodies were held to account while retaining their autonomy.
To promote trade, he sent the first Chola mission to China.
His elder sister Kundavai assisted him in administration and management of temples.
Rajendra Chola I was made a co-regent during the last years of Rajaraja's rule. He was the
supreme commander of the northern and north-western dominions. During the reign of Raja
Chola, there was an expansion of the administrative structure leading to the increase in the
number of offices and officials in the Chola records than during earlier periods. Villavan
Muvendavelan, one of the top officials of Rajaraja figures in many of his inscriptions. The other
names of officials found in the inscriptions are the Bana prince Narasimhavarman, a general
Senapathi Krishnan Raman, the Samanta chief Vallavaraiyan Vandiyadevan, the revenue official
Irayiravan Pallavarayan and Kuruvan Ulagalandan, who organised the country-wide land
surveys.
Rajaraja was a follower of Shaivism but he was tolerant towards other faiths and had several
temples for Vishnu constructed and encouraged the construction of the Buddhist Chudamani
Vihara at the request of the Srivijaya king Sri Maravijayatungavarman. Rajaraja dedicated the
proceeds of the revenue from the village of Anaimangalam towards the upkeep of this Vihara
Architecture:

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Rajaraja embarked on a mission to recover the hymns after hearing short excerpts
of Thevaram in his court. He sought the help of Nambi Andar Nambi. It is believed that by
divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten
by white ants in a chamber inside the second precinct in Thillai Nataraja Temple,
Chidambaram.The brahmanas (Dikshitars) in the temple opposed the mission, but Rajaraja
intervened by consecrating the images of the saint-poets through the streets of
Chidambaram. Rajaraja thus became known as Tirumurai Kanda Cholan meaning one who
saved the Tirumurai. In his work Nambiyandar Nambi Puranam alias Tirumurai Kanda
Puranam, Nambi identifies his patron as Rasarasamannan-Abhayakula-sekharan, that is king
Rajaraja, the best of the race of Abhaya. Thus far Shiva temples only had images of god forms,
but after the advent of Rajaraja, the images of the Nayanar saints were also placed inside the
temple.[76]
Nambi arranged the hymns of three saint poets Sambandar, Appar and Sundarar as the
first seven books, Manickavasagar's Tirukovayar and Tiruvacakam as the 8th book, the 28
hymns of nine other saints as the 9th book, the Tirumandiram of Tirumular as the 10th book, 40
hymns by 12 other poets as the 10th book, Tirutotanar Tiruvanthathi - the sacred anthathi of the
labours of the 63 nayanar saints and added his own hymns as the 11th book. The first seven
books were later called as Tevaram, and the whole Saiva canon, to which was added, as the 12th
book, Sekkizhar's Periya Puranam (1135) is wholly known as Tirumurai, the holy book. Thus
Saiva literature which covers about 600 years of religious, philosophical and literary
development.
Brihadisvara Temple
In 1010 CE, Rajaraja built the Brihadisvara Temple in Thanjavur dedicated to Lord Shiva. The
temple and the capital acted as a center of both religious and economic activity. It is also known
as Periya Kovil, RajaRajeswara Temple and Rajarajeswaram. It is one of the largest temples in
India and is an example of Dravidian architecture during the Chola period.[82]
The temple turned
1000 years old in 2010. The temple is part of the UNESCO World Heritage Site known as the
"Great Living Chola Temples", with the other two being the Gangaikonda
Cholapuram and Airavatesvara temple.
The temple is one of the most visited tourist attractions in Tamil Nadu.
Before the reign of Rajaraja the Chola coins had on the obverse the tiger emblem and the fish
and bow emblems of the Pandya and Chera Dynasties and on the reverse the name of the King.
But during the reign of Rajaraja appeared a new type of coins. The new coins had on the obverse
the figure of the standing king and on the reverse the seated goddess. The coins spread over a
great part of South India and were also copied by the kings of Sri Lanka.
A typical lithic inscription of the Chola period

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Due to Rajaraja's desire to record his military achievements, he recorded the important events of
his life in stones. An inscription in Tamil from Mulbagal in Karnataka shows his
accomplishments as early as the 19th year. An excerpt from such a Meikeerthi, an inscription
recording great accomplishments, follows:
Hail! Prosperity! In the 21st year of (the reign of) the illustrious Ko-Raja-Rajakesarivarman,
alias the illustrious Rajaraja-deva, who, -while both the goddess of fortune and the great
goddess of the earth, who had become his exclusive property, gave him pleasure,-was pleased to
destroy the ships at Kandalur and conquered by his army, which was victorious in great battles,
Vengai-nadu, Ganga-padi, Nulamba-padi, Tadigai-padi, Kudamalai-nadu, Kollam, Kalingam
and Ira-mandalam, which is famed in the eight directions; who,-while his beauty was increasing,
and while he was resplendent (to such an extent) that he was always worthy to be worshipped,-
deprived the Seriyas of their splendour,-and (in words) in the twenty-first year of Soran
Arumori, who possesses the river Ponni, whose waters are full of waves..[90][91]
ஸ் வஸ் திஸ்ர் திருமகள் ப ோல ப ருநில/ப ருநிலச் பசல்வியுந்
தனக்பகயுரிமம/பகயுரிமம பூண் டமம மனக்பகோளக்/கோந்தளூர்ச்
சோமலக் களமறூத்தருளி பவங்மக/உமடயோர் ஸ்ரரோஜரோஜ
Excerpts of Rajaraja's inscription from Brihadisvara Temple in Thanjavur (first line in every
image)
Rajaraja recorded all the grants made to the Thanjavur temple and his achievements. He also
preserved the records of his predecessors. An inscription of his reign found at Tirumalavadi
records an order of the king to the effect that the central shrine of the Vaidyanatha temple at the
place should be rebuilt and that, before pulling down the walls, the inscriptions engraved on
them should be copied in a book. The records were subsequently re-engraved on the walls from
the book after the rebuilding was finished.
Another inscription from Gramardhanathesvara temple in South Arcot district dated in the
seventh year of the king refers to the fifteenth year of his predecessor that is Uttama Choladeva
described therein as the son of Sembiyan-Madeviyar.
The Chola emperor was overawed by several stone edifices of the Pallavas,
including the Mamallapuram Dharmaraja Ratham
Under Raja Raja Chola (947-1014), the Chola empire expanded in all directions and the
king (regnal 985-1014) was eulogised as the Lion among kings. But it is the
Brihadiswara Temple, also known as the Big Temple, which stands as a reminder of this
great ruler, 1,000 years after he consecrated it. What makes the Big Temple special and
more important, what inspired Arunmozhi Varman, who became Raja Raja or the King
of kings, to raise a temple, which has become a symbol of Tamil architecture?

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Sthapati K. Dakshinamoorthy has delved into the background and come up with facts,
which establish the Pallava influence, unmistakable in the structure of the Big Temple.
The grandeur of the stone edifices that the Pallava kings erected, in Mamallapuram and
other places across the country and beyond had an impact on Raja Raja, who modified
and refined the techniques.
Dakshinamoorthy sthapati specifies Dharmaraja Ratham — one of the five famous
chariots at Mamallapuram — as the precursor to the Brihadiswara temple, in fact for all
the stone temples, down South. Brick and mortar gave way to stone at this point, he says.
The sthapati traces major monuments, which must have triggered the imagination of Raja
Raja, quite a few of which belong to the Pallava period. At the one end of the spectrum
are the cave temples, which were introduced south of the Vindyas by Mahendra Pallava
(A.D. 600-630). In his Mandagapattu inscription, the king records that he has raised
temples for Brahma, Vishnu and Siva without using brick, wood, metal and mortar.
Narasimhavarma Pallava (630-668) introduced monolithic rock-cut temples. Dharmaraja
Ratham, however, is an incomplete structure, the Big Temple rising as an example of its
refined version, filling those gaps, which the Pallava ruler chose to leave.
Kailashnatha Temple Big temple |
Two categories
It is necessary here to briefly touch upon the two broad categories — Analpitam and
Arpitam — into which temple architecture falls. Analpitam is gharbagriha (sanctum
sanctorum) with two walls, which have a gap in between, called alindam. In Arpitam, the
wall is not detached.

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The earliest example of analpita type of temple is Dharmaraja Ratham, which has flights
of steps in cardinal directions (E-W-N-S) and the gap for pradikshina. The Kanchipuram
Vaikunta Perumal temple, built by Nandivarma Pallava II (730-795), is an evolution of
Dharmaraja Ratham, says Dakshinamoorthy. It has four entrances, deities in cardinal
directions and a circumambulatory passage as well.
The Kanchi Kailasanatha temple, built by Rajasimha Pallava again is a take-off from
Dharmaraja Ratham. Two centuries later, the Thanjavur temple was built in the Analpita-
Alpita style with four dwaras and four deities in cardinal directions and alinda
pradikshina.
“The Tiruvadigai Veerattanam temple, built by Parameswara Pallava, served as another
main reference point for Raja Raja,” says the sthapati and explains. The main shrine of
Brihadiswara is built in the Analpita style — from ground floor and for Tier 1. The
Pallava architecture was improved by Raja Raja in several ways.
The most significant, according to Dakshinamoorthy, is what is called Karnakuda — the
dome at the edge of the gopuram. In the Kanchi Kailasanathar and Tiruvadigai cases, the
first tier domes are big, the size getting significantly reduced in the next, a feature found
in Thanjavur too. Generally, the size is gradually reduced as the tower tapers off to the
peak. “By adopting the Alpitam-Analpitam combination and through the Karnakuda size,
Raja Raja achieved the height and the magnificent design,” says Dakshinamoorthy. This
was replicated by Raja Raja’s son and successor Rajendra Chola at Gangaikonda
Chozhapuram, another iconic structure.

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Prambanan temple, Indonesia | Photo Credit: Special Arrangement
There are inscriptions to suggest that Raja Raja visited Kanchi Kailasanatha temple
several times. Four of them, dating to his 12th and 15th regnal years, are available. An
overawed Raja Raja calls the structure Kanchipurathu Periya Tirukkatrali (the big stone
temples of Kanchipuram). Rajasimha’s accomplishments must have come as a great
source of inspiration to the Chola king, asserts Dakshinamoorthy. The hundreds of titles
that the Pallava ruler boasted, his devotion to Saiva philosophy and agama sastra must
have impressed the king too.
The Mamallapuram seashore temple has Rajaraja’s inscriptions dating to his 25th and
26th regnal years.
Sun among temples
As many as 24 inscriptions are available in Uthiramerur, 17 of which are in the
Sundaravarada Perumal temple, belonging to the period of Dandivarma Pallava. Raja
Raja must have seen the inscription, which said that the one who designs a temple like
this (Sundaravarada) would be an expert in Vastu. This is referred to as the Sun among
all temples. “The architectural significance of the Uthiramerur Vaikuntanatha Perumal
temple, is often eclipsed by the historical evidence that its inscriptions bear regarding
state administration,” points out Dakshinamurthi, who is sure that Rajaraja visited this
temple before and after the work on the Big Temple was completed.

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There is evidence of the Chola ruler’s visit to Tirukoshtiyur, where the famous
Sowmyanarayana temple, is located. The Pandya temple from atop which Sri Ramanuja
pronounced the Ashtakshara mantra and the one existing now are not, however, the same,
informs the sthapati. So impressed was the Pandya king that he inscribed his appreciation
on stone in a Vishnu temple close-by!
Raja Raja’s territory extended on all sides up to Kalinga, Ezham (Sri Lanka) and
Lakshadweep. His military exploits and trade — sea included — took him across the
length and breadth of this country and beyond. Dakshinamoorthy is sure that Raja Raja
came across several temples, either finished or in the making, many of them majestically
rising to the sky. These included the Khajuraho Kandariya Mahadev temple, the
Lingaraja temple of Bubhaneswar, the Ellora Kailash rock-cut monolithic temple, the
Prambanan Trimurti temple and Borobudur Buddhist temples in Indonesia, Koh Ker
temple that Jayavarman IV built in Cambodia and the Pre Rup temple (Rajendra
Varman), and Phimeanakas of Rajendra Varman and Surya varman (both at Angkor,
Cambodia).
This must have set the king thinking and he desired to build a temple, equally fabulous
and thus was born the Brihadiswara temple, called Dakshina Meru Vidangar — a temple
as massive as the Meru, dedicated by Raja Raja, known as Sivapadasekara, to his
favourite deity, Siva.1
The Great Living Chola Temples is a UNESCO World Heritage Site designation for a group
of Chola dynasty era Hindu temples in the Indian state of Tamil Nadu. Completed between early
11th and the 12th century CE, the monuments include the Brihadisvara Temple at Thanjavur,
the Temple of Gangaikonda Cholapuram and the Airavatesvara Temple at Darasuram. The
Brihadisvara Temple was recognised in 1987; the Temple of Gangaikondacholapuram and the
Airavatesvara Temple were added as extensions to the site in 2004.
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1.https://www.thehindu.com/society/history-and-culture/the-brihadiswara-temple-also-
known-as-the-big-temple-stands-as-a-reminder-of-raja-raja-chola/article18154244.ece

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Dharmaraja Ratham | Photo Credit: Special Arrangement
1.Thanjavur
2.Gangaikonda Cholapuram
3.Airavatesvara-
Location of Chola temples in the UNESCO world heritage site.
The Brihadeeswarar Temple is located in the city of Thanjavur, about 350 kilometres (220 mi)
southwest of Chennai. The Gangaikonda Cholapuram temple and Airavatesvara temple are about
70 kilometres (43 mi) and 40 kilometres (25 mi) to its northeast respectively.
The city of Thanjavur is connected daily to other major cities by the network of Indian Railways,
Tamil Nadu bus services and the National Highways 67, 45C, 226 and 226 Extn. The site has a
nearby airport (IATA: TJV) which does not have a regular air service. The nearest airport with
regular services is Tiruchirappalli International Airport (IATA: TRZ), about 55 kilometres
(34 mi) away.
Airavatesvara Temple
A pillar in Dravidian architectural-style in Airavatesvara Temple

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The Airavatesvara Temple is in the town of Darasuram, near Kumbakonam completed in 1166
CE. It is one among a cluster of eighteen medieval era large Hindu temples in
the Kumbakonam area. The temple is dedicated to Lord Shiva. It also reverentially
displays Vaishnavism and Shaktism traditions of Hinduism, along with the legends associated
with sixty three Nayanars – the Bhakti movement saints of Shaivism. Named after the White
Elephant of Indra, this temple is an exquisite testimony to the grand temple architecture of the
Cholan Empire. It is the last of the three great Cholan temples built by successive generations of
kings starting from Rajaraja I. Airavateswara temple was built by Rajaraja II around 1150 AD.
One of the striking features of this temple is Rajagambhira Thirumandapam - Royal Courtyard,
with intricately carved pillars, long steps made of granite stones and elegant chariots drawn by
horse - again hewn out of stone. You will see finer workmanship in this temple than the earlier
temples. Darasuram is literally a stone's throw away from Kumbakonam.
The stone temple incorporates a chariot structure, and includes major Vedic and Puranic deities
such as Indra, Agni, Varuna, Vayu, Brahma, Surya, Vishnu, Saptamtrikas, Durga, Saraswati, Sri
Devi (Lakshmi), Ganga, Yamuna, Subrahmanya, Ganesha, Kama, Rati and others.[11]
The temple
was much larger and once had seven courtyards according to inscriptions. Only one courtyard
survives, parts of the temple such as the gopuram is in ruins, and the main temple and associated
shrines stand alone. The temple continues to attract large gatherings of Hindu pilgrims.
Brihadeeswarar Temple
View of the Śrī Vimāna of the Brihadeeswarar Temple
The Brihadisvara Temple at Thanjavur is a Hindu temple dedicated to Shiva.[15][16]
It is one of
the largest South Indian temples and an exemplary example of fully realized Tamil
architecture.[17]
Built by Raja Raja Chola I between 1003 and 1010 AD. The original monuments
of this 11th century temple were built around a moat. It included gopura, the main temple, its
massive tower, inscriptions, frescoes and sculptures predominantly related to Shaivism, but also

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of Vaishnvaism and Shaktism traditions of Hinduism. The temple was damaged in its history and
some artwork is now missing. Additional mandapam and monuments were added in centuries
that followed. The temple now stands amidst fortified walls that were added after the 16th
century.
Built out of granite, the vimanam tower above the sanctum is one of the tallest in South
India.[16]
The temple has a massive colonnaded prakara (corridor) and one of the largest Shiva
linga in India.[16][20]
It is also famed for the quality of its sculpture, as well as being the location
that commissioned the brass Nataraja – Shiva as the lord of dance, in 11th century. The complex
includes shrines for Nandi, Amman, Subrahmanyar, Ganesha, Sabhapati, Dakshinamurti,
Chandesrvarar, Varahi and others.[21]
The temple is one of the most visited tourist attractions
in Tamil Nadu.
Brihadeeswarar Temple, Gangaikonda Cholapuram
The Gangaikondacholapuram Brihadisvara Temple is a Hindu temple located at
Gangaikondacholapuram about 70 kilometres (43 mi) from Thanjavur Brihadisvara Temple.
Completed in 1035 AD by Rajendra Chola I as a part of his new capital, this Chola dynasty era
temple is similar in design and has a similar name as the 11th century, and sometimes just called
the Gangaikondacholapuram temple
It is dedicated to Shiva and based on a square plan, but the temple reverentially
displays Vaishnavism, Shaktism and syncretic equivalence themes of Hinduism with statues of
Vishnu, Durga, Surya, Harihara, Ardhanishvara, and others. In addition to the main shrine with
linga, the temple complex has a number of smaller shrines, gopura, and other monuments, with
some partially ruined or restored in later centuries. The temple is famed for its bronze sculptures,
artwork on its walls, the Nandi and the scale of its curvilinear tower.
• Criterion (i): The three Chola temples of Southern India represent an outstanding creative
achievement in the architectural conception of the pure form of the Dravidan type of temple.
• Criterion (ii): The Brihadisvara Temple at Thanjavur became the first great example of
the Chola temples, followed by a development of which the other two properties also bear
witness.
• Criterion (iii): The three Great Chola Temples are an exceptional and the most outstanding
testimony to the development of the architecture of the Chola Empire and the Tamil
civilization in Southern India.
• Criterion (iv): The Great Chola temples at Thanjavur,
at Gangaikondacholapuram and Darasuram are outstanding examples of the architecture and
the representation of the Chola ideology.
Brihadishvara Temple, also called Rajarajesvaram or Peruvudaiyār Kōvil, is a Hindu
temple dedicated to Shiva located in South bank of Kaveri river in Thanjavur, Tamil Nadu,
India.[1][3]
It is one of the largest South Indian temples and an exemplary example of a fully
realized Dravidian architecture. It is called as Dhakshina Meru (Meru of south).[5]
Built by Tamil
king Raja Raja Chola I between 1003 and 1010 AD, the temple is a part of the UNESCO World
Heritage Site known as the "Great Living Chola Temples", along with the Chola
dynasty era Gangaikonda Cholapuram temple and Airavatesvara temple that are about 70
kilometres (43 mi) and 40 kilometres (25 mi) to its northeast respectively.

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The original monuments of this 11th century temple were built around a moat. It included
gopura, the main temple, its massive tower, inscriptions, frescoes and sculptures predominantly
related to Shaivism, but also of Vaishnavism and Shaktism traditions of Hinduism. The temple
was damaged in its history and some artwork is now missing. Additional mandapam and
monuments were added in centuries that followed. The temple now stands amidst fortified walls
that were added after the 16th century.
Built out of granite, the vimana tower above the sanctum is one of the tallest in South India.[3]
It
was, in all likelihood, one of the tallest structures in the world at the time of its construction The
temple has a massive colonnaded prakara (corridor) and one of the largest Shiva lingas in India.
It is also famed for the quality of its sculpture, as well as being the location that commissioned
the brass Nataraja – Shiva as the lord of dance, in 11th century. The complex includes shrines
for Nandi, Parvati, Kartikeya, Ganesha, Sabhapati, Dakshinamurti, Chandeshvara, Varahi and
others. The temple is one of the most visited tourist attractions in Tamil Nadu.
Nomenclature:
Rajaraja, who commissioned the temple, called it Rajarajeshvaram (Rajarājeśvaram), literally
"the temple of the god of Rajaraja". A later inscription in the Brihannayaki shrine calls the
temple's deity Periya Udaiya Nayanar, which appears to be the source of the modern names
Brihadisvara and Peruvudaiyar Kovil.
Brihadishvara (IAST: Bṛihádīśvara) is a Sanskrit composite word composed of Brihat which
means "big, great, lofty, vast",[
and Ishvara means "lord, Shiva, supreme being,
supreme atman (soul)". The name means the "great lord, big Shiva" temple.
The Brihadeswara Temple is located in the city of Thanjavur, about 350 kilometres (220 mi)
southwest of Chennai. The city and the temple though inland, are at the start of the Cauveri
River delta, thus with access to the Bay of Bengal and through it to the Indian Ocean. Along with
the temples, the Tamil people completed the first major irrigation network in the 11th century for
agriculture, for movement of goods and to control the water flow through the urban center. The
Kaveri is sacred river to the people of South India and is worshipped as the Goddess
Kaveriamma. The Kaveri is also one of the seven holy rivers of India. Kaveri (also known
as Cauvery, the anglicized name) is an Indian river flowing through the states
of Karnataka and Tamil Nadu. The Kaveri river rises at Talakaveri in the Brahmagiri range in the
Western Ghats, Kodagu district of the state of Karnataka, at an elevation of 1,341 m above mean
sea level and flows for about 800 km before its outfall into the Bay of Bengal. It is the third
largest river – after Godavari and Krishna – in South India and the largest in the State of Tamil
Nadu, which, on its course, bisects the state into North and South.

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Statue of Rajaraja Chola I who built the temple over 1003-1010 CE.
A spectrum of Hindu temple styles continued to develop from the 5th to the 9th century over
the Chalukya era rule as evidenced in Aihole, Badami and Pattadakal, and then with
the Pallava era as witnessed at Mamallapuram and other monuments. Thereafter, between 850
and 1280 CE, Cholas emerged as the dominant dynasty. The early Chola period saw a greater
emphasis on securing their geopolitical boundaries and less emphasis on architecture. In the 10th
century, within the Chola empire emerged features such as the multifaceted columns with
projecting square capitals. This, states George Michell, signaled the start of the new Chola
style. This South Indian style is most fully realized both in scale and detail in the Brihadeshvara
temple built between 1003 and 1010 by the Chola king Rajaraja I.
Additions, renovations and repairs
The main temple along with its gopurams are from the early 11th century. The temple also saw
additions, renovations, and repairs over the next 1,000 years. The raids and wars, particularly
between Muslim Sultans who controlled Madurai and Hindu kings who controlled Thanjavur
caused damage. These were repaired by Hindu dynasties that regained control. In some cases, the
rulers attempted to renovate the temple with faded paintings, by ordering new murals on top of
the older ones. In other cases, they sponsored addition of shrines. The significant shrines
of Kartikeya (Murugan), Parvati (Amman) and Nandi are from the 16th and 17th-century Nayaka
era the Dakshinamurti shrine was built later.

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Architecture
Brihadisvara temple, seen in profile.
The temple "testifies the brilliant achievements of the Chola in architecture, sculpture, painting
and bronze casting." The temple finds mention in many of the contemporary works of the period
like Muvar Ula and Kalingathuparani. According to Chatterjee, the Dravidian
architecture attained its supreme form of expression in the temple and it successor,
the Brihadeeswarar Temple, Gangaikonda Cholapuram.[59]
The temple has been declared as a
heritage monument by the Government of India and administered by the Archaeological Survey
of India as a protected monument. The temple is one of the most visited tourist attractions
in Tamil Nadu.
• It was built for Shiva by Rajendra I (1014-1044 CE).
• The temple has sculptures of exceptional quality.
• The bronze sculptures of Bhogasakti and Subrahmanya are masterpieces of
Chola metal icons.
Airavatesvara Temple (Darasuram)
• It was built by the Chola king Rajaraja II (1144-1173 CE):
• It is much smaller in size as compared to the Brihadisvara temple at Thanjavur
and Gangaikondacholapuram.
• The temple consists of a sanctum without a circumambulatory path and
axial mandapas.
• The front mandapa is unique as it was conceptualized as a chariot with
wheels.
The temple was declared as a World Heritage Site by UNESCO, along with the Brihadeeswara
Temple at Gangaikondacholapuram and Airavatesvara temple at Darasuram that are referred as

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the Great Living Chola Temples.[6]
These three temples have similarities, but each has unique
design and sculptural elements.[60]
All of the three temples were built by the Cholas between the
10th and 12th centuries CE and they have continued to be supported and used by Hindus. The
temples are classified as "Great Living" as the temples are active in cultural, pilgrimage and
worship practises in modern times.
The temple, which is one of the tallest temples in India, still remains an engineering mystery
as it is completely made of granite and archaeologists still don’t know how the builders got
such huge pieces of granite for construction at this height.
Brihadeshvara temple plan and development utilizes axial and symmetrical geometry rules. It is
classified as Perunkoil (also called Madakkoil), a big temple built on a higher platform of a
natural or man-made mounds. The temple complex is a rectangle that is almost two stacked
squares, covering 240.79 metres (790.0 ft) east to west, and 121.92 metres (400.0 ft) north to
south. In this space are five main sections: the sanctum with the towering superstructure (sri
vimana), the Nandi hall in front (Nandi-mandapam) and in between these the main community
hall (mukhamandapam), the great gathering hall (mahamandapam) and the pavilion that
connects the great hall with the sanctum (ardhamandapam).
The temple complex integrates a large pillared and covered veranda (prakara) in its spacious
courtyard, with a perimeter of about 450 metres (1,480 ft) for circumambulation. Outside this
pillared veranda there are two walls of enclosure, the outer one being defensive and added in
1777 CE by the French colonial forces with gun-holes with the temple serving as an arsenal.
They made the outer wall high, isolating the temple complex area. On its east end is the original
main gopuram or gateway that is barrel vaulted. It is less than half the size of the main
temple's vimana. Additional structures were added to the original temple after the 11th century,
such as a mandapa in its northeast corner and additional gopurams (gateways) on its perimeters
to allow people to enter and leave from multiple locations.
The Brihadisvara temple continued the Hindu temple traditions of South India by adopting
architectural and decorative elements, but its scale significantly exceeded the temples
constructed before the 11th century. The Chola era architects and artisans innovated the expertise
to scale up and build, particularly with heavy stone and to accomplish the 63.4 metres (208 ft)
high towering vimana.
The apex structure on top of the temple is believed to be carved out of a single stone
carving.It is so designed that the Vimana does not cast a shadow at noon during any part of
the year. Vimana is the structure over the garbhagriha or inner sanctum in the Hindu temples
of South India and Odisha.It is like a stepped pyramid that rises up geometrically rather than
the curving Shikhara of North India.
Some of the shrines and structures were added during the Pandya, Nayaka, Vijayanagara and
Maratha era, before the colonial era started, and these builders respected the original plans and
symmetry rules. Inside the original temple courtyard, along with the main sanctum and Nandi-

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mandapam are two major shrines, one for Kartikeya and for Parvati. The complex has additional
smaller shrines.
Nandi mandapam and the entrance gopurams, northeast view from courtyard.
The temple faces east, and once had a water moat around it. This has been filled up. The fortified
wall now runs around this moat. The two walls have ornate gateways called the gopurams. These
are made from stone and display entablature. The main gateways are on the east side. The first
one is called the Keralantakan tiruvasal, which means the "sacred gate of the Keralantakan". The
word Keralantakan was the surname of king Rajaraja who built it. About a 100 metres (330 ft)
ahead is the inner courtyard gopuram called the Rajarajan tiruvasal. This is more decorated than
the Keralantakan tiruvasal, such as with its adhishthanam relief work narrating scenes from
the Puranas and other Hindu texts. The inner eastern gopuram leads to a vast courtyard, in which
the shrines are all signed to east-west and north-west cardinal directions. The complex can be
entered either on one axis through a five-story gopuram or with a second access directly to the
huge main quadrangle through a smaller free-standing gopuram. The gopuram of the main
entrance is 30 m high, smaller than the vimana. The vimanam (temple tower) is 216 ft (66 m)
high and is the tallest in the world. The Kumbam (the apex or the bulbous structure on the top) of
the temple is carved out of a single rock and weighs around 80 tons. There is a big statue
of Nandi (sacred bull), carved out of a single rock measuring about 16 feet long and 13 feet high
at the entrance. The entire temple structure is made out of granite, the nearest sources of which
are about 60 km to the west of temple.
The main temple-related monuments and the great tower is in the middle of this courtyard.
Around the main temple that is dedicated to Shiva, are smaller shrines, most of which are aligned
axially. These are dedicated to his consort Parvati, his sons Subrahmanya and Ganesha,
Nandi, Varahi, Karuvur deva (the guru of Rajaraja Chola), Chandeshvara and Nataraja. The
Nandi mandapam has a monolithic seated bull facing the sanctum. In between them are stairs
leading to a columned porch and community gathering hall, then an inner mandapa connecting to
the pradakshina patha, or circumambulation path. The Nandi (bull) facing the mukh-mandapam
weighs about 25 tonnes. It is made of a single stone and is about 2 m in height, 6 m in length and
2.5 m in width. The image of Nandi is a monolithic one and is one of the largest in the country.

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Sanctum and the Sri-vimana
Different views of the Sri-vimana.
The sanctum is at the center of the western square. It is surrounded by massive walls that are
divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each
side of the sanctuary has a bay with iconography. The interior of the sanctum sanctorum hosts an
image of the primary deity, Shiva, in the form of a huge stone linga. It is called Karuvarai, a
Tamil word that means "womb chamber". This space is called garbha griha in other parts of
India. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the sanctum takes the form of a miniature vimana. It has the inner wall
together with the outer wall creating a path around the sanctum for circumambulation
(pradakshina). The entrance is highly decorated. The inside chamber is the sanctum sanctorum,
which houses the brihad linga. The main Vimana (Shikhara) is a massive 16 storeys tower of
which 13 are tapering squares. It dominates the main quadrangle. It sits above a 30.18 metres
(99.0 ft) sided square. The tower is elaborately articulated with Pilaster, piers(a raised structure),
and attached columns which are placed rhythmically covering every surface of the vimana.
Deities and Natya Sastra dance mudras
The bronze Nataraja design of Thanjavur found in many museums was commissioned for this temple's
sanctum. The temple is dedicated to Shiva in the form of a huge linga, his abstract aniconic
representation. It is 8.7 m (29 ft) high, occupying two storeys of the sanctum. It is one of the largest
monolithic linga sculptures in India.

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Sculptures on the maha-mandapam walls
North side South side
Bhairava (Shiva) Ganesha
Mahishasuramardini (Durga) Vishnu
Saraswati Gajalakshmi
The sikhara, a cupolic dome (25 tons), is octagonal and rests on a single block of granite,
weighing 80 tons.
The Shaivism temple celebrates all major Hindu traditions by including the primary deities of
the Vaishnavism and Shaktism tradition in the great mandapa of the main temple. The
distribution of the deities is generally symmetric, except for the east entrance side which provide
for the door and walkway. In addition to the main deities, each side provides for dvarapalas
(guardians), and various other sculptures. The vestibule has three stone sculptures that is
intricately carved, and mural paintings. The ground floor level sanctum walls have the following
sculptures:
• East wall: Lingodbhava, standing Shiva, Pashupata-murti, plus two dvarapalas flanking the
pathway from ardha-mandapam

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• South wall: Bhikshatana, Virabhadra, Dakshinamurti, Kalantaka, Nataraja[note 3]
plus two
dvarapalas
• West wall: Harihara (half Shiva, half Vishnu), Lingodbhava, Chandrashekhara
without prabhavali, Chandrashekhara with prabhavali, plus two dvarapalas
• North wall: Ardhanarishvara (half Shiva, half Parvati), Gangadhara without Parvati,
Pashupata-murti, Shiva-alingana-murti, plus two dvarapalas
One of the 81 dance positions carved on the outer wall of the upper storey corridor wall.
On the second floor, Shiva's Tripurantaka form in different postures is depicted corresponding to
these sculptures. Above these floors, the sri-vimana towers above in thirteen storeys (talas).
Above these storeys is a single square block of granite weight 80 tons, and 7.77 metres (25.5 ft)
side. On top of this block, at its corners are Nandi pairs each about 1.98 metres (6 ft 6 in) by 1.68
metres (5 ft 6 in) in dimension. Above the center of this granite block rises the griva,
the sikhara and the finial (stupi) of Tamil Hindu temple architecture. This stupi is 3.81 metres
(12.5 ft) in height, and was originally covered with gold (no longer). The sikhara at the top is
cupola-shaped and weighs 25 tons. Each storey of this tower is decorated with kutas and salas.
The shrinking squares tower architecture of this temple differs from the tower at the Chola
temple at Gangaikondasolisvaram, because this is straight in contrast to the latter which is
curvilinear. The temple's sri-vimana magnitude has made it a towering landmark for the
city.[38]
The upper storey corridor wall of the aditala is carved with 81 of the 108 dance karanas
– postures of Natya Sastra. This text is the basis of the Bharathanatyam, the classical dance of
Tamil Nadu. The 27 unrepresented karanas are blank blocks of stone, and it is unclear why these
were not carved. The 81 postures carved suggest the significance of this classical Indian dance
form by early 11th century.
The garbhagriha is square and sits on a plinth. This is moulded and 0.5 metres (1 ft 8 in) thick.
It consists of upapitham and adhishthanam, respectively 140 cm and 360 cm thick.

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Mandapa
The two mandapa, namely maha-mandapa and mukha-mandapa, are square plan structures
axially aligned between the sanctum and the Nandi mandapa. The maha-mandapa has six pillars
on each side. This too has artwork. The Vitankar and Rajaraja I bronze are here, but these were
added much later. The maha-mandapa is flanked by two giant stone dvarapalas. It is linked to
the mukha-mandapa by stairs. The entrance of the mukha-mandapa also has dvarapalas. With the
mandapa are eight small shrines for dikpalas, or guardian deities of each direction such
as Agni, Indra, Varuna, Kubera and others. These were installed during the rule of Chola king
Rajendra I.
Inscriptions indicate that this area also had other iconography from major Hindu traditions
during the Chola era, but these are now missing. The original eight shrines included those
for Surya (the sun god), Saptamatrikas (seven mothers), Ganesha,
Kartikeya, Jyeshtha, Chandra (the moon god), Chandeshvara and Bhairava. Similarly, in the
western wall cella was a massive granite Ganesha built during Rajaraja I era, but who is now
found in the tiruch-churru-maligai (southern veranda). Of the Shaktism tradition's seven
mothers, only Varahi survives in a broken form. Her remnants are now found in a small modern
era brick "Varahi shrine" in the southern side of the courtyard. The original version of the others
along with their original Chola shrines are missing.
Murals
A mural of Rajaraja I and his guru.
Nayaka dynasty ceiling mural in the Nandi shrine.:The temple has an underneath layer of Chola
frescoes on the sanctum walls along the circumambulatory pathway. These frescoes which cover
floor to ceiling, were discovered in 1931 by S. K. Govindasami of the Anamalai University. The
painters used natural pigments and infused it into the wet limestone layer as it was setting in. The
Chola frescoes were largely of Shaivism themes. These were restored in the 2000s. The total
Chola fresco area is about 670 square metres (7,200 sq ft), of which about 112 square metres
(1,210 sq ft) had been uncovered as of 2010 in a method that preserves both paintings, a
technique developed by Archaeological Survey of India. The frescoes narrate Hindu mythology.
According to Balasubrahmanyam, most frescoes are related to Shiva, but the 11th century Chola
frescoes also show Vishnu, Durga and others, as well as scenes of Chola royalty, courtly and
common life.

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Murals in the ceiling of Nandi mandapa, Brihadeeswara temple
The later constructions, additions and modifications to the temple curtailed the amount of natural
light inside the temple. The frescoes were thus photographed in a limited way and interpreted.
According to Sriraman, a complete imaging with better photographic equipment suggests that
these historic interpretations were incorrect. For example, a fresco that was previously
interpreted as Dakshinamurti Shiva is actually a secular scene of a royal guru meditating under a
banyan tree. On the tree are shown peacocks, birds, monkeys, squirrels and owls, plus a cobra.
The animals and birds are shown as worried of the cobra, the one's closer to the snake are shown
to be more worried. Other parts of the panel similarly show a court listening to a saint. Other
show women in different dresses in different dance mudra.
Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged
because of the soot that had deposited on them once upon a time. Owing to the continuous
exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum
over a period of centuries certain parts of the Chola paintings on the circumambulatory passage
walls had been badly damaged. The Archaeological Survey of India, for the first time in the
world, used its unique de-stucco process to restore 16 Nayak paintings, which were
superimposed on 1000-year-old Chola frescoes.[42]
These 400-year-old paintings have been
mounted on fibre glass boards, displayed at a separate pavilion.
Inscriptions
Tamil Inscriptions in Thanjavur Brahadeeshwara Temple written 1000 years ago
The temple walls have numerous inscriptions in Tamil and Grantha scripts. Many of these begin
with customary Sanskrit and Tamil language historical introduction to the king who authorized
it, and predominant number of them discuss gifts to the temple or temple personnel, in some
cases residents of the city. The temple complex has sixty four inscriptions of Rajaraja Chola I,
twenty nine inscriptions of Rajendra Chola I, one each of Vikrama Chola, Kulottunga I and
Rajendradeva (Rajendra Chola II), three of a probable Pandyan king, two of Vijayanagara rulers
namely, Achyutappa Nayaka and Mallapa Nayaka.

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ஸ் வஸ் திஸ்ர் திருமகள் ப ோல ப ருநில/ப ருநிலச் பசல்வியுந் தனக்பகயுரிமம/பகயுரிமம
பூண் டமம மனக்பகோளக்/கோந்தளூர்ச் சோமலக் களமறூத்தருளி பவங்மக/உமடயோர்
ஸ்ரரோஜரோஜ பசோழன்
Excerpts of Rajaraja's inscription from Brihadeeswara Temple in Thanjavur (first line in every image)
The Brihadishwara Temple has Tamil and Sanskrit inscriptions from the 11th century.
Temple personnel
An inscription on the north wall of enclosure, dated 1011 CE, gives a detailed accounts of people
employed and supported by the temple. The inscription gives their wages, roles and names. It
includes over 600 names including those of priests, lamp lighters, washermen, tailors, jewelers,
potters, carpenters, sacred parasol bearers, dance gurus, dancing girls, singers, male and female
musicians, superintendents of performance artists, accountants among others. Their wages was in
parcels of land, so their temple employment was likely part-time.[47][45]
The temple employed devadasis who were dancers and singers of devotional hymns. Among its
numerous inscriptions are frequent gifts that state, "to provide for worship, for food to assembly
of sannyasis (monks or ascetics) and for repairs". According to George Michell, the Thanjavur
temple was a major charity institution in its history. It provides free meal for pilgrims, devotees
and wayfarers on a daily basis. On the days of Hindu festivals, these meals were elaborate and
when brahmins were particularly invited and fed.
Millennium commemoration
1,000-year-old Thanjavur Brihadeeshwara Temple - view at sunrise.
Dancers gathered at Brihadishwara Temple to commemorate it.
Built in the year 1010 CE by Raja Raja Chola in Thanjavur, the temple is popularly known as the
Big Temple. It turned 1000 years old in September 2010. To celebrate the 1000th year of the
grand structure, the state government and the town held many cultural events. It was to recall the
275th day of his 25th regal year (1010 CE) when Raja Raja Chola (985–1014 CE) handed over a
gold-plated kalasam (copper pot or finial) for the final consecration to crown the vimana, the
59.82-metre tall tower above the sanctum.

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Bharathanatyam Yajna
To mark the occasion, the state government organised a Bharathanatyam Yajna, classical dance
show under noted dancer Padma Subramaniam. It was jointly organised by the Association of
Bharatanatyam Artistes of India (ABHAI) and the Brhan Natyanjali Trust, Thanjavur. To mark
the 1000th anniversary of the building, 1000 dancers from New Delhi, Mumbai, Pune, Tamil
Nadu, Andhra Pradesh, Karnataka, Kerala, Singapore, Malaysia and the US danced in concert to
the recorded 11 verses of divine music Thiruvisaippa (ninth volume of Thirumurai) composed by
Karuvur deva (the guru of Raja Raja Chola). The small town turned into a cultural hub for two
days beginning 26 September 2010 as street performers and dancers performed throughout the
town.
Commemorative stamps and coins
On 26 September 2010 (Big Temple's fifth day of millennium celebrations), as a recognition of
Big Temple's contribution to the country's cultural, architectural, epigraphical history, a
special ₹ 5 postage stamp featuring the 216-feet tall giant Raja Gopuram was released by India
Post.The Reserve Bank of India commemorated the event by releasing a ₹ 5 coin with the model
of temple embossed on it.[53][54]
A Raja, Cabinet Minister of Communications and Information
Technology released the esteemed Brihadeeswarar temple special stamp, the first of which was
received by G K Vasan, Cabinet Minister of Shipping.Mumbai Mint issued Rs 1000
Commemorative Coin with the same picture as on the Rs 5 coin. It was the first 1000 Rupees
coin to be released in the Republic of India coinage. This coin was a Non Circulative Legal
Tender (NCLT).
On 1 April 1954, the Reserve Bank of India released a ₹ 1000 currency note featuring a
panoramic view of the Brihadeeswar temple marking its cultural heritage and significance. In
1975, the then government led by Prime Minister Indira Gandhi demonetised all ₹ 1,000
currency notes in an effort to curtail black money. These notes are now popular among
collectors.[56]
In 2010, the then Tamil Nadu chief minister, M Karunanidhi renamed Semmai Rice, a type of
high productivity paddy variant, as Raja Rajan-1000 to mark the millennial year of the
constructor of the temple, Rajaraja Chola].
The temple is currently administered and managed by Babaji Bhonsle, the head of the Thanjavur
Maratha royal family. He serves as the hereditary trustee of the palace Devasthanam which
continues to manage 88 Chola temples including the Brihadeeswara temple. Tamil groups have
been unsuccessfully petitioning the Tamil Nadu government to revoke these rights as he is not
of Chola or Tamil lineage. According to one of the protesters, who also happens to be the
coordinator of the Big Temple Rights Retrieval Committee, Babaji Bhonsle is also not the legal
heir of the Maratha kings of Thanjavur
Brihadisvara Temple, Thanjavur, Tamil Nadu, India

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An elephant relief on the Brihadisvara Temple, Thanjavur/ Shiva with a begging bowl as
a saddhu (monk, Bhikshatana
Ganesha is depicted both in the main temple and a separate shrine./Separate Ganesha shrine
with temple corridor in the back. Ardhanarishvara (half Shiva, half Parvati) symbolizing that
the male and female principles are inseparable.[69]
Subrahmanyar shrine in the north part of the courtyard. Also called Murugan, Kartikeya or
Skanda./Chandeshvara shrine. On right is the wall of main temple, in back the eastern
gopuram. Chandeshvara is a meditating yogi and Nayanmar Bhakti movement saint.

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Narasimha avatar of Vishnu killing the demon who persecutes people for their religious
beliefs.
1. Gaja-lakshmi mural, another Vaishnavism themed artwork./Vishnuculpture at the
Shaivism temple.
2. A yoga and meditation relief; the temple portrays numerous secular and saint scenes.
3. Kalpavrisksha mythology with kama depiction (gopuram).
4. Nandi shrine
Sculpture
Vimana outer wall detail

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Reliefs adorning the stairs
Relief detail
Relief detail/Entrance
Left profile view
The view at night/ Early hours at Tanjore Periya Koil/ A yoga and meditation relief

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A distant view of temple

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Mysteries Solved: Secrets of the Thanjavur (Tanjore) Brihadeeswarar Temple Built By
RajaRaja Chola
Home /Hare Krishna, History/Mysteries Solved: Secrets of the Thanjavur (Tanjore)
Brihadeeswarar Temple Built By RajaRaja Chola
Bhagwan Shiv Shankar’s Tanjore Temple was built over 1000 years ago fully with Granite
stones, that too when there was no stone available in the nearby locations. It is huge a 216 feet
hollow structure which has withstood all weak or violent disturbances of nature – winds,
rainfalls, storms – when the Great Tanjore Temple is built of interlocking stones without any
binding material. We call ourselves modern and technologically advanced but even today – No
200+ feet structure in this world is built without binding materials, cements or blocks. Such
highly developed, flawless and perfect is the Vedic building technology used by Hindu King
RajaRaja Chola and his Hindu engineers that in comparison it portrays our
present construction technology as primitive and farce.
The Tanjore (Thanjavur) City and Temple is not Built by Aliens But Tamil Hindus Who
Respect their Gods
The city is believed to have been named after an asur (demon) Rakshas Tanjan who was
annihilated by Bhagwan Vishnu. Locals say that the city gets its name from ‘Than-sei-
oor’, which means a place surrounded by rivers and green paddy fields. Several hundreds of
years ago Tanjore was initially developed and maintained by Chola dynasty (பசோழர்) with
rigorous hardwork and for selfless bhakti, love towards Bhagwan Shiv. That is the main reason
that Tanjore is lush green, lavishly spread with good water facilities and palm forests. Hindu
RajaRaja Chola was proponent of fresh environment and cared for nature, to let divine opulence
flow through Tanjore and other nearby cities developed by him and his heirs. There are many
places, structures and ancient establishments developed with Vedic engineering that are
considered mysterious as it is seen with the paradigm of vested western mindset. Bhagwan Shiv
Mandir, Thanjavur or famously corrupted by english as the Tanjore big temple is one of the most
mysterious dharmic structure around.

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!
Peruvudaiyaar Kovil – Solved Mysteries of Brihadisvara Shiv Temple, Thanjavur
(Tanjore)
SOME OF THE MYSTERIES OF THE THANJAVUR (TANJORE) BIG TEMPLE ARE:
1. Underground passages in Thanjavur (Tanjore) 216 feet Temple
2. Huge cap stone at the top of Thanjavur (Tanjore) Shiv Temple
3. Painting in Thanjavur (Tanjore) Big temple
4. Granite stones used for the Mandir construction
5. Cutting and carving of Granite stones for Building Shiv Temple
6. Secret passages in Thanjavur (Tanjore) Big temple
7. Shadow of Thanjavur (Tanjore) Shiv Temple
8.
The construction of the world’s first known and only shallow Shiv temple built by interlocking
stones and not by binding them is still a great mystery to the people of world who are devoid of

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knowledge based on Vedas and ancient Hindu texts. With the blessing of Shiv Shankar, Hindu
King RajaRaja Chola constructed Thanjavur (Tanjore) temple.
1. UNDERGROUND PASSAGES IN BRIHADISVARA THANJAVUR (TANJORE) 216
FEET TEMPLE
The Tanjore big temple contains more than 100 underground passages to various places. The
underground channels also contain some secret paths that lead to various places like the Palace
of RajaRaja Chola and also to other important destinations.
The underground transits end to different temples and also to various places in and around
Tanjore. Most of the underground passages were sealed and if the people choose the wrong
passage then there are possibilities that the path might lead to mazed unexitable zones. It is
widely known that this was a trap for the safety of RajaRaja Chola kingdom.
Underground Passages of Thanjavur (Tanjore): The underground passage is build for Sages,
Kings, Queens who roamed through the various temples using underground routes conveniently.
The routes were very useful to reach temples during auspicious days like Thaipusam (தமிழர்
திருவிழோ), Deepawali (दीपावली), Makar Sankranti (मकर संक्ांति) , Maha Shivratri (महा
तिवराति) and other such pious Hindu festivals. Few passages were interconnected to be used for
free flow of fresh air running through lush green vegetation filled with oxygen for healthy
breathing of the occupants roaming through the underground transits of the Thanjavur (Tanjore)
temple.
There was a separate elevated platform constructed for RajaRaja Chola so that he was
conveniently able to do abhishek of large Shiv Ling present in Garbhagriha.

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Other passages were leading to doorways of tunnels which were sources of water channelized
from the fresh river water.
2. HUGE CAP STONE AT THE TOP OF THANJAVUR (TANJORE) SHIV TEMPLE
The biggest mystery of all the other mysteries in Thanjavur (Tanjore) Shiv temple is the huge
cap stone in the top of the huge Mandir (பகோவில்). The weight of the cap stone at the top of
Thanjavur (Tanjore) weighs astonishingly 80 tons. No man built shallow structure around the
world has such huge stone cap at the top of the constructed temple.
“Why was the top of the Thanjavur temple capped ? and How did the Hindu builders of
Thanjavur (Tanjore) were successfully able to place the heavy cap stone at the top of the
Gopuram on 216 feet high temple ?.”
These are frequently asked queries which globally baffles scientists, archaeologists and common
people.
2.1 Why was the Top of the Thanjavur temple Capped
The Garbhagriha, where Shiv Lingam is placed emits huge amount of electromagnetic positive
energies. The 80 tons stone was kept as a repulsive force so as to make the energy revolve
around the temple perimeter and keep the place pious and divinely graceful. The flow of energy
move around and within the Vedic structure giving healthily calming, soothing and mentally
composing effect to the bhakts and yogis.

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2.2. How Hindu Tamil Architects of Tanjore Placed Stone at the Top of Thanjavur Shiv Temple
There are two explanations (a) Manually (b) Vedic Mantra
(a) 80 Ton Stone Cap Placed on top of Brihadeeswarar Temple
The Massiveness of Structure and 80 Ton Stone Cap at Top of Thanjavur Shiv Temple
At the top of the Sri Vimana Thanjavur temple, near the neck of the Gopuram there are 8 Nandis
seen very prominently even while standing from the ground. These Nandis are huge and carved
from single stone. A Nandi of the similar scale is seen on the southern Prahara. One can judge
the size of the Nandi and its relative weight.
On the front side of the Vimana that is facing the east direction one can see the sculptures of
abode of Bhagwan Shiv called as Mahameru. The whole of Sri Vimana is built using granite
rocks and the sculptures in them are covered by a thin layer of mortar to preserve the granite
sculptures inside.

33
It is widely known that there were no heavy machines, cranes or any high end equipments used
to lift the stone up and place it at the top of the temple. The only thing that could help achieve,
the almost impossible feat, were the fleet of elephants. A massive triangular podium of half-
pyramidal shaped structure was constructed that was erected adjacent to the opposite side of the
massive temple. The mammoth task was carried over by intelligent Vedic architects while
performing Yagna to take blessings of Bhagwan Shiv, under guidance of Brahmans, Hindu Sages
and RajaRaja Chola. The figure below represents the construction site, explains how it was done.
Massive staircase of rollers were constructed at the base to pull 80 tons stone by fleets of
elephants and men. The platform was more inclined towards ground and not so angular as seen
in the representational image.
Mammoth: The Size of the 80 Ton Stone Cap and Nandi Moortis at Top of Shiv Temple

34
(b) Vedic Mantra Used to Place 80 Ton Stone on Top of Thanjavur (Tanjore) Temple
ओ३म् (ॐ) is the Vedic sound and the creator of everything in this universe – invisible atom to
biggest mountains. Sun itself recites ॐ (chanted as ओ३म् ) while giving light to the world. The
meditation of OM (ओम) by Sun God keeps it alive and helps it in positioning itself properly in
the solar system.
YOU CAN HEAR SOUND
OF ॐ RESONATED BY SUN .
SAGES AND COMMON HINDUS KNEW THE SECRET OF SOUND VIBRATION

35
When chanting of Vedic Mahamantra ॐ ( as ओम) can position sun and make it master of our
solar system. Then reciting Vedic Mantra could levitate 80 ton stone for placing it at top of
Brihadeeswarar Temple or Periya Kovil, an easy task for Vedic sages. There were many gupt
mantras (ரகசிய மந்திரங்கள்) that were recited by Hindu Sages to get impossible tasks
done while penancing and remembering Bhagwan Shiv. It might sound miracle for all of us so
called modern but materialistic beings; it was never a secret for ancient Hindus. In fact, modern
inventions are stolen from Vedas – the material yantras (machines) that we all use today was
strictly prohibited by our Sages.
3. PAINTING IN THANJAVUR (TANJORE) BIG TEMPLE
There are lots of high quality paintings in the Tanjore big temple that explain many things about
the kingdom of Chola dynasty and also the greatness of particularly, the RajaRaja Chola. Some
paintings also explain about the RajaRaja Chola’s selfless bhakti towards Bhagwan Shiv
Shankar. There were also depiction of contemporaneous history in the painting of Thanjavur
(Tanjore) or Thanjai. Thanjavur has a unique place in the history of Indian painting, it is so
because the paintings are splendid, beautiful and looks very fresh as if the depictions were made
recently.
Painters across the world are awestruck and they are still trying hard to figure out how even
today these hundreds of years old Hindu paintings look so natural and novel. RajaRaja Chola
always respected Hindu Sages, Gurus and Sadhus – one of the paintings reflect him giving
respect to his Guru.
Thanjavur Paintings Everlasting Beauty: The everlasting beauty of Thanjavur paintings lies in
the herbs. Hindu Sages used natural elements for designing Vedic symbols which acted as
gateways of communication. These symbols were purposely painted using solution made up of
natural elements like flower petals, colorful leaves, haldi (turmeric), treated muds, crushed
salts, neem, pressed herbs, etc. The lasting of such Vedic designs were ensured using medicinal
learnings of Ayurved. Hindu Sages were intelligent and they knew that to establish divine
connection with Gods, the continuous recitement of mantras should be supported by yantras that
have longer recency and permanency. The same method of Hindu Sadhus were originally

36
replicated by Hindu Painters, who used their ancient knowledge to paint everlasting beautiful
paintings.
4. GRANITE STONES USED FOR THE MANDIR CONSTRUCTION
The granite stones are one of the strongest stones in the world. It is very difficult to carve
intricate designs on the granite stones without powerful blunt devices. Granite is also very heavy
so movement of huge stones from one place to another is also not possibly easy. More than
130,000 tons of granite were used to build Rajarajeshwar Thanjavur temple. The heavy stones
weighing several tons were bought down from the place that was located 50 miles away from the
Tanjore temple.
Granite Stones Pulled By Elephants: Hindu Kings had huge resource of animals for building
temples and army forces. How opulent was legacy of Hindu Kings, can be known from the fact –
Greek biographer stated that Nanda dynasty had a mighty military power of 80000 horse back
troops, 200000 foot soldiers, 6000 battle elephants and about 8000 war horse-drawn vehicles.
The reference of human and animal resource of Nanda dynasty was only for battlefront. For
constructing structures they had different pool of animal resources. Similarly, RajaRaja Chola
had allocated over 1000 elephants and over 5000 horses for the construction of structures.

37
After constructing several temples, RajaRaja Chola and his Hindu engineers mastered the art of
building Mandirs from Granite stones.
5. CUTTING AND CARVING OF GRANITE STONES FOR BUILDING SHIV TEMPLE
The cutting and carving of the granite stone is very difficult, britishers after seeing Granite block
temples tried to replicate the feat but failed miserably. While mughals when saw such temples
tried ways to dismantle or reconvert Hindu temples into satanic tombs and mosques – true to the
terrorism legacy they got from quran and dacoit mohammed. It was patience, selfless bhakti
and love towards mother earth that made it possible. Hindu Kings were keen on protecting
nature and never did any harm to the environment when they build temples. Whenever
range of trees were cut from the forests for the construction of temples, an equal and in some
cases double the number of trees were planted. Even today it is not possible to carve intricate
designs on the Granite stones, as shown in the Thanjavur temples.
How Granite Stones were Cut, Carved and Customized: Series of holes were created in the
granite block. The holes could be deeper or surfacial based on the requirement. Then wooden
sticks were filled in those holes, water was poured in the holes. After a long period of time the
rocks would break. And in similar manner, customized Granite blocks were cut.

38
6. SECRET PASSAGES IN THANJAVUR (TANJORE) BIG TEMPLE
A dedicated secret passage was created to connect different secret places in hidden mesh-like
structure. It is decorated with distinct features depicting Vedic history of Bharat (India). While
roaming through secret passages, it is impossible to come back to the starting point, as no one
knows the route to reach the inter-places meshed to each other. That is the reason, most of the
underground and secret passages are closed for the common public and archaeologists.
What are Secret Passages of Thanjavur (Tanjore): Secret Passages are closed since entrance
to them is only possible when you recite right mantra to enter it. The in-roads through the secret
passages lead to places which RajaRaja Chola wanted only his close confidante to know. Such
places were holding keys to the treasure chest, rare scripts, calligraphs and vaults whose
confidentiality were to be maintained.
Shadow of Thanjavur (Tanjore) Gopuram of Shiv Temple not Falling on Ground

39
The huge cap of Tanjore big temple is constructed in such a way that the shadow of the Tanjore
big temple Gopuram will not fall on the ground at noon in any season. It will just fall on itself.
Why Does the Shadow of Gopuram Does not Fall on the Ground: It is the only structure in
the world to have this peculiar feature. During morning or evening when the Sun is out, the
shadow can be seen falling on the ground. It is only during noon that the shadow of
Gopuram will not fall on ground but on itself. The main reason is the basement of
structure which is big enough to absorb the shadow of the Gopuram on its base itself.
INTERESTING FEATURES OF THE BRIHADEESHWARA TEMPLE OF TANJORE
(THANJAVUR) WORLD HERITAGE
A study in Oriental architecture or history is certainly incomplete without a mention of the
Tanjore Brihadeeshwara Temple or the Tanjore Periya Kovil (Big Temple). This imposing
structure was built by RajaRaja Cholan and his sister Kundavai, both ardent devotees of
Bhagwan Shiv. It was constructed by the King at the height of the Chola reign to signify his
bhakti, power and strength. Here are few interesting facts about this Chola temple of Thanjavur:
a) The original name of the deity was Rajarajeshwar. The Hindu Marathas protected it from
mughal invasion, gave it the name Brihadeeshwara or the Great Ishwara.
b) The main temple is entirely built of granite. More than 130,000 tons of granite were used to
built it.
c) The only temple in the world wherein the shadow of its Gopuram does not a appear on the
ground at noon.
d) The statue of Nandi at the entrance of the temple is carved out of a single stone.
e) The main Vimanam, which is at about 200 feet is often called Dakshin Meru or Southern
Meru. Meru also signifies the centre of the universe and the axis of the world.
f) The inspiration to build the temple came to Raja Raja Cholan during his visit to Sri Lanka
seeing Vedic structures of Hindu kings and was a result of a divine dream he had.
g) The temple has a portrait of Raja Raja Cholan paying obeisance to Bhagwan Natraj. This is
undoubtedly, the first ever instance of a royal portrait.
h) Inscriptions in the temple point towards Kunjara Mallan Raja Raja Perunthachan as the chief
architect of the temple. His successors survive to this day and practice the art of Vastu or Vastu
Shastra.
i) Portraying dance is the reflection of divine emotions of Bhakts (devotees) showing their joyful

40
feelings which they sense when they see the God himself. Depictions of nartakis or dancers
showing eighty one of hundred and eight karanas (108 synchronised movements of hands and
feet) in Bharat Natyam are carved here. These selective karanas represented here are a part of
karanas mentioned in the Natya Shastra of Rishi Bharat. There is also evidence that the temple
was a platform for trained dancers to showcase their devotional talent. These depictions are first
of their kind.
j) The inscriptions also mention the different kinds of jewels used in the period. Each of these
jewels are mentioned in detail. A total of twenty three different types of pearls, eleven varieties
of diamonds and rubies are mentioned in these inscriptions.
k) The chanting of ॐ in the Grabhagriha exponentially expands the positive energies in the
temple.
What astounds historians is that there was not a single granite quarry in about 100 km radius of
the temple. This means that transporting these stones would have been a herculean task. But Raja
Raja Cholan insisted on the use of these stones. All of these features make this Chola temple of
Tanjore, a magnum opus of the opulent Chola kingdom. Tourists across India must be
encouraged to visit this amazing temple. It is wonderful structure similar to another stunning
Kailasa temple architecture. Both these temples are beautiful and opulent than thousands of
Taj Mahals put together – a tomb that needs repair almost every year. No such Hindu temples
ever needed any repair since the time of inception. Few needed restoration post series of raids
and destruction of Mughal terrorists.
Time to showcase our glory to the world. We Indians must promote such temples to restore our
culture and educate Hindu youth about our affluent past.
GREAT INTEGRATION OF MUSIC, VEDIC SOUND AND HINDU ARCHITECTURE
The Only Tallest Hindu Temple Known to be at Least 1000 Years Old
The temple was built within schedule, completed in record time of 7 years, amounting to moving
and placing almost 50 tons of rock each and every day, not to forget carving and aligning it.
When the Brihadeeswara temple was completed in 1003 CE, it was the tallest temple in India by
an order of magnitude of 10. A thousand years later, standing at 216 feet, it is still the tallest non-
bound temple in India and world. Atop the soaring Viman (famously known due to its structure
as explained in Vymanika Shastra) – is a capstone that weighs 80 tons. The best thing in the
Chola temples is that the tower lies over the sanctums has more elevation as compared to the
towers set over the Gopuram (tower) that could be found at the entrance. After dusk, when the
temple is been illuminated, its topmost light over the dome seems not less than another planet
glowing and coming closer to the earth. This is also one of the attraction of the tallest Shiv
Temple that draw thousands of people to it.
Thanjavur (Tanjore) Temple Honors Vedic Music and Sacred Sound of the Universe
Sree Ganesh idol is worshiped first before praying other Gods. At the entrance of sanctum
sanctorum, one can see the two idols of Shivputra Ganesh in the corridor. On taping the two, you
will feel the sound traveling through stone in one idol and through metal on the other. The main
hall of the temple was used by the devotee dancers and musicians performing bhajans to praise
Bhagwan Shiv. There are some musical pillars producing different sounds when tapped. The
entire Vedic structure was built in sync with sacred sounds, vibrations, geometry and mantra. It
is great integration of Vedic elements collated into one massive building

41
Thanjavur’s Brihadeeswara temple: The epitome of Chola architecture’s magnificence
New Delhi | Updated: May 17, 2019 10:51 AM
The temple sanctum remains closed from 12 pm to 4 pm, and one must keep that in mind while
visiting.
X
The temple sanctum remains closed from 12 pm to 4 pm, and one must keep that in mind while
visiting.
By Monidipa Dey
Standing as a shining example of the high standards reached by the mighty Cholas in field of art
and architecture, the Brihadeeswara Peruvudaiyar temple in Thanjavur is also a reminder of the
times when temples held a central position in the polity of the land and dominated the socio-
political, religious, and educational scenarios. A masterpiece of Raja Raja Chola’s times (1010
CE), the temple was built to dominate the skyline of Thanjavur of that era, and it continues to do
so even to this very day.

42
The main shrine in Brihadeeswara Peruvudaiyar temple is dedicated to Shiva, and the sanctum
holds a large Shivalinga established by the great Raja Raja himself. Like other Chola temples,
this one also has a flight of steps leading from two sides to a raised platform, which further leads
on to the pillared mandapas and sanctum. The tall vimana over the sanctum is pyramidal in shape
with a circular stone shikhara on top and is one of the tallest in South India.
The large temple courtyard is surrounded by a prakara or wall, and attached to the wall is a
pillared cloister that holds murtis of Nagadevtas, and 108 Shivlingas. As one enters the temple
complex, the first small gate that one crosses is known as the Maratha gate, built by the Marathas
at a later period. The Maratha gate is followed by two Chola era gates with tall gopuras that are
crowded with sculptures, while the walls hold beautiful carvings depicting stories from the epics.
An empty moat runs around the temple complex.
The east facing the main temple has a large nandi mandapa in front. Built at a later period, this
pillared mandapa has a huge monolithic black nandi sitting inside it. There are colorful paintings
on the mandapa ceiling, which were done at a much later period (early 20th century) by the local
artists’ guild. Besides the nandi mandapa, there are other subsidiary shrines built at different
times in the temple courtyard, which include the Ganapati shrine, Karuvur devta shrine,
Subhramanya shrine, Chandikesvara shrine, Amman shrine, and Nataraja shrine.

43
READ: IRCTC Northeast packages: Explore adventurous and hilly terrains of Meghalaya
like never before; details here

44
The main temple walls hold some of the most exquisite Chola era stone sculptures, which
include huge dwarapalas with their famous tarjani (warning) and vismaya (wonder) mudras. The
other murtis seen on the temple walls include Ganesha, Vishnu with Sridevi and Bhudevi,
various aspects of Shiva, Saraswati, and Mahishasuramardini.
The Brihadesvara Peruvudaiyar temple is especially famous for its inscriptions that give a
detailed account of the different rulers and dynasties. This temple has inscriptions by the Cholas,
Pandyas, Vijayanagara kings, Marathas, and Nayakas. One of the Maratha inscriptions gives
details on how the king arranged for purification and re-consecration ceremonies of the temple in
1801-02 while building mandapas, repairing damaged shrines, and renovating the wall, kitchen,
and courtyard flooring.

45
The magnificence of Chola art can be viewed here in the form of incomplete carvings of fine
karanas of Natyashastra on the corridor walls in the first floor. The dark ambulatory passage that
goes around the sanctum springs a surprise in the form of three large sculptures of Shiva, along
with exquisite Chola era paintings on ceilings and walls.
Travel tips: Brihadeswara Peruvudaiyar temple in Thanjavur tends to overwhelm the viewer with
its beautiful architecture, paintings, and exquisite sculptures. The temple is huge and the entire
complex will take a few hours for a thorough look. The best time to visit is from November to
January when the weather is relatively cooler. The temple sanctum remains closed from 12 pm to
4 pm, and one must keep that in mind while visiting.
(The author is a well-known travel writer. Views expressed are personal.)
https://www.financialexpress.com/lifestyle/travel-tourism/thanjavurs-brihadeeswara-temple-in-
the-epitome-of-chola-architectures-magnificence/1580216/
Great Living Chola Temples
The Great Living Chola Temples were built by kings of the Chola Empire, which stretched over
all of south India and the neighbouring islands. The site includes three great 11th- and 12th-
century Temples: the Brihadisvara Temple at Thanjavur, the Brihadisvara Temple at
Gangaikondacholisvaram and the Airavatesvara Temple at Darasuram. The Temple of
Gangaikondacholisvaram, built by Rajendra I, was completed in 1035. Its 53-m vimana (sanctum
tower) has recessed corners and a graceful upward curving movement, contrasting with the
straight and severe tower at Thanjavur. The Airavatesvara temple complex, built by Rajaraja II,

46
at Darasuram features a 24-m vimana and a stone image of Shiva. The temples testify to the
brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting.
Great Living Chola Temples (India)

47
Outstanding Universal Value
Brief synthesis
The great Cholas established a powerful monarchy in the 9th CE at Thanjavur and in its
surroundings. They enjoyed a long, eventful rule lasting for four and a half centuries with great
achievements in all fields of royal endeavour such as military conquest, efficient administration,
cultural assimilation and promotion of art. All three temples, the Brihadisvara at Thanjavur, the
Brihadisvara at Gangaikondacholapuram and Airavatesvara at Darasuram, are living temples.
The tradition of temple worship and rituals established and practised over a thousand years ago,
based on still older Agamic texts, continues daily, weekly and annually, as an inseparable part of
life of the people.
These three temple complexes therefore form a unique group, demonstrating a progressive
development of high Chola architecture and art at its best and at the same time encapsulating a
very distinctive period of Chola history and Tamil culture.
The Brihadisvara temple at Tanjavur marks the greatest achievement of the Chola architects.
Known in the inscriptions as Dakshina Meru, the construction of this temple was inaugurated by
the Chola King, Rajaraja I (985-1012 CE) possibly in the 19th regal year (1003-1004 CE) and
consecrated by his own hands in the 25th regal year (1009-1010 CE). A massive
colonnaded prakara with sub-shrines dedicated to the ashatadikpalas and a main entrance
with gopura (known as Rajarajantiruvasal) encompasses the massive temple. The sanctum itself
occupies the centre of the rear half of the rectangular court. The vimana soars to a height of
59.82meters over the ground. This grand elevation is punctuated by a high upapitha,
adhisthana with bold mouldings; the ground tier (prastara) is divided into two levels, carrying
images of Siva. Over this rises the 13 talas and is surmounted by an octagonal sikhara. There is a
circumambulatory path all around the sanctum housing a massive linga. The temple walls are
embellished with expansive and exquisite mural paintings. Eighty-one of the one hundred and
eight karanas, posed in Baharatanatya,are carved on the walls of second bhumi around
the garbhagriha. There is a shrine dedicated to Amman dating to c.13th century.
Outside the temple enclosure are the fort walls of the Sivaganga Little Fort surrounded by a
moat, and the Sivaganga Tank, constructed by the Nayaks of Tanjore of the 16th century who
succeeded the imperial Cholas. The fort walls enclose and protect the temple complex within and
form part of the protected area by the Archaeological Survey of India.
The Brihadisvara temple at Gangaikondacholapuram in the Perambalur district was built for
Siva by Rajendra I (1012-1044 CE). The temple has sculptures of exceptional quality. The
bronzes of Bhogasakti and Subrahmanya are masterpieces of Chola metal icons.
The Saurapitha (Solar altar), the lotus altar with eight deities, is considered auspicious.
The Airavatesvara temple at Tanjavur was built by the Chola king Rajaraja II (1143-1173
CE.): it is much smaller in size as compared to the Brihadisvara temple at Tanjavur and
Gangaikondacholapuram. It differs from themin itshighly ornate execution. The temple consists
of a sanctum without a circumambulatory path and axial mandapas. The front mandapa known

48
in the inscriptions as Rajagambhiran tirumandapam, is unique as it was conceptualized as a
chariot with wheels. The pillars of this mandapa are highly ornate. The elevation of all the units
is elegant with sculptures dominating the architecture. A number of sculptures from this temple
are the masterpieces of Chola art. The labelled miniature friezes extolling the events that
happened to the 63 nayanmars (Saiva saints) are noteworthy and reflect the deep roots of
Saivism in this region. The construction of a separate temple for Devi, slightly later than the
main temple, indicates the emergence of the Amman shrine as an essential component of
the South Indian temple complex.
CRITERION FOR A LIVING CHOLA TEMPLE
Criterion (i): The three Chola temples of Southern India represent an outstanding creative
achievement in the architectural conception of the pure form of the dravida type of temple.
Criterion (ii): The Brihadisvara Temple at Thanjavur became the first great example of the
Chola temples, followed by a development of which the other two properties also bear witness.
Criterion (iii): The three Great Chola Temples are an exceptional and the most outstanding
testimony to the development of the architecture of the Chola Empire and the Tamil civilisation
in Southern India.
Criterion (iv): The Great Chola temples at Thanjavur, at Gangaikondacholapuram and
Darasuram are outstanding examples of the architecture and the representation of the Chola
ideology.
Integrity
These temples represent the development of Dravida architecture from Chola period to Maratha
Period. All three monuments have been in a good state of preservation from the date of the
inscription of the property and no major threats affect the World Heritage monuments. These
monuments are being maintained and monitored by the Archaeological Survey of India. The
tradition of temple worship and rituals established and practiced over a thousand years ago,
based on still older Agamic texts, continues daily, weekly and annually, as an inseparable part of
life of the people.
Authenticity
The three properties are considered to pass the test of authenticity in relation to their conception,
material and execution. The temples are still being used, and they have great archaeological and
historical value. The temple complexes used to be part of major royal towns, but have remained
as the outstanding features in today’s mainly rural context. The components of the temple
complex of the Brihadisvara at Thanjavur, declared a World Heritage property in 1987, includes
six sub-shrines which have been added within the temple courtyard over a period of time. The
later additions and interventions reinforce the original concept embodied in the main temple
complex, in keeping with homogeneity and its overall integrity. The traditional use of the temple
for worship and ritual contribute to the authenticity. However the periodic report of 2003 noted a
number of conservation interventions that have the potential to impact on authenticity e.g
chemical cleaning of the structures and the total replacement of the temple floor; highlighting the
need for a Conservation Management Plan to guide the conservation of the property so as to
ensure that authenticity is maintained.
Similarly at the Brihadisvara complex at Gangaikondacholapuram, the sub-shrines of Chandesa
and Amman were originally built according to the plan of Rajendra I, as well as
the Simhakeni (the lion-well).Over time The sub-shrines of Thenkailasha, Ganesha and Durga

49
were added. The authenticity of these additions is supported by the Agamictexts concerning
renewal and reconstructions of temples in use.
At Darasuram, archaeological evidence since gazettal enhances the authenticity of the property.
The Airavatesvara temple complex itself has been entirely built at the same time with no later
additional structures, and remains in its original form. The Deivanayaki Amman shrine built a
little later also, stands in its original form within its own enclosure.
Protection and management requirements
The three cultural properties, namely, the Brihadisvara Temple complex at Thanjavur, the
Brihadisvara temple complex at Gangaikondacholapuram and the Airavatesvara temple complex
at Darasuram have been under the protection of the Archaeological Survey of India from the
years 1922, 1946 and 1954 respectively. Further, all of them were brought under the Tamil Nadu
Hindu Religious and Charitable Endowments Act from the year 1959, at the time of its
enactment. The management of these cultural properties can, therefore, be divided into two
distinct parts: (1) The conservation, upkeep and maintenance of the properties, covering physical
structure, architectural and site features, environment and surroundings, painting, sculpture, and
other relics; and, (2) Temple administration covering staffing structure and hierarchy, accounting
and bookkeeping, records and rules.
The management authority in relation to (1) is solely vested with the Archaeological Survey of
India while the aspects covered in (2) are entirely looked after by the Department of Hindu
Religious and Charitable Endowments of the Government of Tamil Nadu. Therefore, it is evident
that the property management is, in effect, jointly carried out by these two agencies, one a
Central agency, the other belonging to the State.
The practice has been for the two agencies to prepare their own management plans
independently, and review them from time to time. When necessary, joint discussions are held
and any apparent contradiction or points of conflict are given due consideration and sorted out.
In the case of the Brihadisvara temple at Thanjavur and the Airavatesvara temple at Darasuram,
the agencies consult the Hereditary Trustee of the Palace Devasthanam when necessary to
finalise any issue which requires the Trustee’s input.
However, since the nomination of the extended property , the Archaeological Survey of India the
Department of Hindu Religious and Charitable Endowments, Government of Tamil Nadu, have,
in principle, agreed to draft a joint property management plan encompassing the specific
requirements of both while meeting the fundamental objectives of protecting and promoting (1)
the three cultural properties while enhancing their Outstanding Universal Value; (2)
the Vedic and Agamic traditions and their significance in the life of the people; (3) the arts
(sculpture, painting, bronze casting, dance, music and literature) inseparable components of
traditional culture; and (4) the ancient science of vastu and silpa shastras, the fundamental
guidelines to the construction of temples and religious structures, and to sculpture and painting.
Since the inscription of property as World Heritage property, the monuments have been
maintained in a good state of preservation and no major threats affect the monuments. Periodic
maintenance and monitoring of the monuments by Archaeological Survey of India keeps the
monuments to the expectation of tourists. However a Tourism Management and Interpretation
Plan and a Conservation Management Plan are required to guide future work and determine
priorities for conservation and interpretation effort. Basic amenities like water, toilets, etc. have
been provided attracting more tourists to the place. Improving landscaping and tourist amenities

50
are some of the long term plans. The temples have been centres of worship for the last 800-1000
years and continue to serve in this way. Monitoring of visitor numbers and impacts is necessary
to ensure that they do not threaten the Outstanding Universal Value.
https://whc.unesco.org/en/list/250/
Brihadeeswarar Temple about 70 kilometres (43 mi) to the southwest in Thanjavur.[1]
The
Gangaikonda Cholapuram Temple is smaller yet more refined than the Thanjavur Temple. Both
are among the largest Shiva temples in South India and examples of Dravidian style temples. The
temple is also referred to in texts as Gangaikonda Cholapuram
Temple or Gangaikondacholeeswaram Temple, Jayankondam, in the South Indian state of Tamil
Nadu. Completed in 1035 AD by Rajendra Chola I as a part of his new capital,
this Chola dynasty era temple is similar in design, and has a similar name, as the older 11th
century.
The main. temple dedicated to Shiva is based on a square plan, but it reverentially displays other
Hindu deities such as Vishnu, Durga, Surya, Harihara, Ardhanarishvara, and others.[3][5]
It opens
to the sunrise and its sanctum, as well as the mandapas, are aligned on an east-west axis. In
addition to the main shrine, the temple complex has a number of smaller shrines, gopura, and
other monuments, with some partially ruined or restored in later centuries. The temple is famed
for its bronze sculptures, artwork on its walls, the depiction of Nandi and the scale of its tower.
As well as its notability for having been built by Rajendra I, the temple is also noteworthy for its
numerous inscriptions, although none of them are his.
Except for this temple, the old city of Gangaikonda Cholapuram – the capital of a powerful
Asian empire from around AD 900 to AD 1215 or over three centuries along with its other major
Chola-era Hindu temples have been completely destroyed, leaving a desolate place.[7][8]
The
Gangaikonda Cholapuram temple remains an active temple. Four daily rituals, and many yearly
festivals are held there, of which the Shivarathri during the Tamil month of Masi (February–
March), Aipassi Pournami during Aipassi (October– November) and Thiruvadirai
during Margazhi (December–January) are the most prominent. It is one of the most visited
tourist attractions in Tamil Nadu. The Archaeological Survey of India (ASI) administers the
temple as a protected heritage monument. UNESCO declared it a World Heritage Site in 2004,
along with the Brihadeeswarar Temple at Thanjavur and Airavatesvara temple at Darasuram.
These are referred to collectively as the Great Living Chola Temples.
The Brihadeeswarar Temple is located near the village of Gangaikonda Cholapuram, about 280
kilometres (170 mi) southwest of Chennai and 50 kilometres (31 mi) from Chidambaram.
Roughly 70 kilometres (43 mi) to the northeast is the similarly named Chola
dynasty era Brihadeeswarar Temple in Thanjavur, and is about 30 kilometres (19 mi) to the
northeast of the Airavatesvara Temple. All three are UNESCO world heritage sites.[3][9]
The temple is on Highway 81 connecting Tiruchirappalli and Chidambaram.[10]
The nearby city
of Chidambaram is connected to other major cities by daily trains on the Indian railway network,
Tamil Nadu bus services and National Highways 36, 81, and 245.[11][12]
The nearest airport with
regular services is Tiruchirappalli International Airport (IATA: TRZ), about 120 kilometres
(75 mi) away.[13]

51
Though inland, the temple is near the Kollidam River, within the Cauveri River delta with access
to the Bay of Bengal and through it to the Indian Ocean.
Description
The vimana traces a curve, unlike Thanjavur temple./The Ganesha shrine with the main Shiva
temple
Architecture
Gangaikonda Cholapuram Temple is built in Dravidian style of architecture with a square plan.
The original courtyard is two squares stacked next to each other, all mandapas, the upapitham,
the shrine plans, the garbha griha (sanctum) and the tower elements are all square shaped and
incorporate circles and principles of geometric symmetry. The structural elements resemble the
big Brihadisvara Temple in Thanjavur. Both include a courtyard entered through multiple
gateways and relatively small gopuram (tower). Inside are shrines, most of which are aligned on
an east-west axis; a few are perpendicular. The temple complex includes Nandi
Mandapa, Alankar Mandapa, Maha Mandapa, Mukha Mandapa and Ardha Mandapa. Some of
these were added and restored by Hindu kingdoms after the 14th century or by British India art
conservation officials in the 19th century.
The visible upapitham measures 103.63 m (340.0 ft) long by 30.48 m (100.0 ft) with an east-
west axis, but part of it is likely missing with the surviving foundation covered by soil and with a
restored surface for tourism. On the visible part, states Balasubrahmanyam, the garbha
griha (sanctum) is 30.48 m (100.0 ft) long, the maha mandapa (great hall) is 53.34 m (175.0 ft)
long, and the ardha mandapa (partial hall) is 19.81 m (65.0 ft). The square-shaped ardha
mandapa connects the sanctum and the great hall. The temple is one of the earliest ones to have
pillared halls, which became a common feature in subsequent temples.]
The main temple is built on an elevated structure with the courtyard measuring 560 ft (170 m) by
320 ft (98 m). Its sanctum measures 100 sq ft (9.3 m2
) and is entered through the Ardha
Mandapa. The sanctum doorway is flanked by dvarapalas, the guardians, each 6 ft (1.8 m) tall.

52
The sanctum contains Brihadeeswarar (Shiva) in the form of lingam. This lingam is 4 m (13 ft)
tall and the base has a circumference of 18 m (59 ft).
There is an image of a seated Nandi bull in the courtyard, aligned axially 200 m (660 ft) facing
the sanctum. There are five shrines around the sanctum and a Lion well, which was added during
the 19th century. The temple site has a monolithic representation of Navagrahas, the nine
planetary deities.
Sri-vimana
The vimanam (temple tower) is 55 m (180 ft) high, which is 3 m (9.8 ft) smaller than the
Thanjavur Temple. Historians believe that the height of the temple is deliberately kept low in
dimensions compared to the Thanjavur temple as a mark of respect of Rajendra to his father's
masterpiece. Compared to the Thanjavur Temple, which has straight contours, this temple has a
curvilinear contour, slightly concave towards the top. It is divided into eight zones.
The tower rises as a vertical square structure to a height of 10.67 m (35.0 ft) above
the adhisthanam. It has two horizontal bands with a massive cornice wrapped around it. Each
band has five individual bays on the south, west and east sides with pilasters between the bays.
The end bays are squares, the other three are oblong. The center bay of each set of five being the
widest. On each side are carvings on the wall with four horizontal rows of friezes. These narrate
Hindu legends and Puranic mythologies from the Shaiva, Vaishnava and Shakta traditions. Each
storey has moulded horizontal projections (cornices) with floral arch-shaped motifs (gavaksha).
According to Balasubrahmanyam, incorporated in the features are mythical creatures in the form
of yali, and the entablature is decorated with necklace shaped motifs.
Gangaikondacholapuram temple sculpture
Ardhanarishvara (half
Shiva, half Parvati)
Harihara (half Shiva, half
Vishnu)
Saraswati Varaha avatar of Vishnu
The Sri-vimana at Gangaikonda has nine storeys (talas) including those at the lower levels, in
contrast to the thirteen storeys at Thanjavur. Each storey has a square-circle-oblong artwork. The

53
upper levels repeat the lower level design in a rhythmic shrinking pattern. The symmetry
principles are dutifully embedded in, but the rate of shrinking is not linear with height. The lower
storeys shrink faster than the upper storeys. This gives the vimana an uncommon parabolic form.
The griva (neck) is oriented towards the cardinal directions, and like the Thanjavur Temple,
Nandi bulls sit on its top corners. Above the griva is the kirtimukhas, then a symmetric open
lotus. The tower is capped with a kalasa, whose inscription was once gold coated; the gold is
long gone. Above the kalasa is a lotus bud greeting the sky.[25]
Sculpture
There are about fifty sculptural reliefs around the walls of the sanctum, three of which —
Nataraja, Saraswati and Shiva garlanding a devotee — being the most prominent. There is a
shrine for Shaiva saint and scholar Chandeshvara (one of the sixty-three Nayanars). There are
other niches around the temple walls depicting various forms of Shiva, Durga and Vishnu. There
are many bronze statues in the temple depicting Chola art of the 11th century, with the one
of Kartikeya being the most recognisable.[28]
One relief includes a most unusual portrait of a Hindu ruler who built the temple. Shiva, with
Parvati beside him, hands down a garland of flowers to mark his victory to a diminutive seated
figure of Rajendra I.
The temple was constructed in 1035 AD by Rajendra Chola I (1014-44 CE), the son of the
famous Chola king Raja Raja Chola I, who built the Brihadeeswarar Temple at
Thanjavur.[21]
Some experts believe that the temple was built during 1020, during the 6th regnal
year, but inscriptions indicate the 20th regnal year, which is 1035 AD. Rajendra wanted to
emulate the temple built by his father after his victory in a campaign across India that Chola era
texts state covered Karnataka, Andhra Pradesh, Odisha, and Bengal. After his victory, he
demanded that the defeated kingdoms send pots of Ganges River water and pour them into the
temple's well. The well was originally called Cholagangam as it was filled with water from
Ganges.
Shiva shown garlanding king Rajendra I

Mysteries tanjore

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