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241
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VOLUME 7, ISSUE 7(1), JULY 2018
ARCHITECTURAL FEATURES OF KAKATIYAS SPECIAL

REFERENCE TO TEMPLE VIMANA

Research Scholar
Dept. of AIHC & Archaeology
S.V University
Tirupati
Introduction
The Kakatiya temples described so far are of great value for the
study of the architecture of medieval Deccan. They possess several
peculiar and interesting features which are not to be found in the
temples in other parts of Telangana. These temples constitute a distinct
group and illustrate the evolution of an important style of architecture.
The main features of the Kakatiya style of architecture derived from
the foregoing study of representative temples are as follows.
Temple types:
'The plan of these temples shows an interesting variety. There are
two general types of temples, the single shrine and the triple
shrine.The triple shrines are found at Panagal, Pillalamarri, Palampeta
and Hanumakonda and seem to have been very popular during the
Kakatiya period. These shrines are generally known as Trikutas. The
general pattern of these shrines consists of a central mantapa with a
porch in one direction and a shrine in each of the other three
directions, all facing the mantapa. The famous Rudreswara,
Vasudeveswara and Surya temple of Hanumakonda is the best and
finest example of a triple shrine. One such shrine at Pillalamarri and
the shrine at the western end of the tank bund at Palampeta are
similar in plan. The triple shrine at Panagal and one shrine to the west
of the main temple at Palmpeta are similar in plan. In all these
examples each shrine contains the Garbhagriha and the Antarala
before it.
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Among the single shrines there is an appreciable variety. The great

temple at Palampeta is the best and the most complete and fully
developed example of this type. It has the Garbhagriha, Antarala and
Mantapa with three porches on the three sides. The main shrine at
Ghanapur, five other shrines and the Reddigudi at the same place and
the ruined temple at the eastern end of the tank bund at Palampetaare
of the same type. The Erakeswara temple of Pillalamarri is similar. The
next variety contains the Garbhagriha, Antarala and Mantapa with a
single porch. The Nameswara shrine at Pillalamarri, one of the minor
shrines at Ghanpur and minor shrine at Palampeta are good examples
of this type. The third variety contains only the Garbhagriha and
Antarala. Three shrines at Ghanapur, two small shrines at the western
end of the tank bund and minor shrine at Palampeta are examples of
this variety. In the next variety, the Garbhagriha is found behind an
open Mantapa as in the case of three examples at Ghanapur. There is
only the Garbhagriha in the last variety as in the case of one shrine at
Ghanapur.1
The Base of Temples

There are two varieties in the bases of these temples. Some temples
contain a double base consisting of the Upapitha with a broad
pradakshina at its top and the Adhistanabuilt above it inside the
pradakshinapada. The triple shrine at Hanumakonda, the Erakeswara
temple at Pillalamarri, the main shrine at Ghanpur andPalampeta are
good examples of this variety. All the other temples have only a single
base, the Adhistona.
Temple Walls
The architects of the Kakatiya period used several new designs for
decorating the outer side of the walls of the temples. They did not
convert them into picture galleries as is the case with the Hoyasala
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temples. Nor were large spaces left with a pilaster here and a niche
there as is the case with the Pallava and Chola temples. These
architects spread the decorative members uniformly on the wall space
and thus secured balance and elegance. The walls of the Kakatiya
temples do not have pronounced angles and returns, projections and
curves so as to form a stellar plan. The part with the Garbhagriha and
Antarala inside is essentially rectangular. A few projections have been
added on to the plain surface so as to create an alternation of
projections and recesses. The central projection is invariably broader
and where there are two of them, one contains a miniature shrine as is
the case with the triple shrine at Hanumakonda and three such shrines
in a vertical row as in the case of the Palampeta temple. In some cases,
the projections contain, at the base of the pilaster in it, either a kosta or
a sala or a miniature shrine of the Nagara Order as in the case of a
minor shrine in the compound of the Palampeta temple. The recesses
contain mostly a miniature vimana of horizontal bands on a pilaster as
in the case of the triple shrine at Hanumakonda and the great temple
at Palampeta, the same type of vimana under a creeper as in the case of
the main temple at Ghanapur and Kuta-kosta as in the case of the
Erakeswara temple at Pillalamarri. The projections on the walls of the
great temple at Palampeta contain a sala on two slender pilasters with
one slender pilaster on either side. There is only one temple whose
walls are plain, the shrine at the eastern end of the tank bund at
Palampeta.
Pillars of Temple
Thepillars in the kakatiya temples are of two broad varieties,
plain and decorated. The pillars inside the mantapa of Palampeta
temple and the triple shrine at Hanumakonda are of black granite and
lathe turned. They are highly polished and decorated with various
geometrical and bead designs. The pillars in the mantapa of Palampeta
temple contain fine figure sculptures, both secular and religious and
www.ijmer.in 148
scenes from the epics. The pillars in the other temples and shrines are
of sand stone and mostly plain though in a few cases there is figure
sculpture of a high order. In two cases, the Palampeta temple and the
main temple at Ghanapur, there are short pillars located above the vedi
on the adhistsna and supporting the roof above, which are remarkable.
They contain diagonal brackets with the figures of lion and elephant
and beautiful women in attractive dancing pose. These brackets with
female figures correspond to the madanika brackets of Hoyasala
temples but for their plasticity and dynamism they are reminiscent of
similar figures from Sanchi and Amaravati.2
Temple Vimanas
The vimanas of these temples are peculiar. They are not of the
curvilinear variety of the Early Chalukyan temples of northern
Karnataka and Telangana. Nor do they have horizontal rows of
diminishing size containing the series kuta, sala and panjara as is the
case with the Pallava and Eastern Chalukyan temples. They contain
rows of either distended kutas or sala or miniature vimanas, narrow
and wide, the former occurring in the place of the kutas and the latter
in the place of the salas. The different talas are not clearly marked and
the entire structure looks like a pyramid with decorations on the
surface. The principles of vertically and horizontally have been
harmoniously balanced in these vimanas. Another distinguishing
feature is the presence of the sukanasa. This member is generally
added at the front base of the curvilinear vimanas of the Early
Chalukyan temples in Telangana, Andhra and northern Karnataka and
also before the Nagara and Vesara vimanas of diminishing tiers found
in northern Karnataka. The addition of the Sukanasa to the vimanas of
the Kakatiya temples is peculiar.
Miniature Vimanas
Another peculiar feature of the Kakatiya temples is a row of
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miniature vimanas of brick found on the edges of the roof. These are
found in the Erakeswara and Nameswara shrines of Pillalamarri and
the triple shrine at Panagal. These rows of vimanas are similar to the
series of Kuta. Panjara and Sala found in similar places in Pallava
temples and the Vijayanagara times.
Minature vimanas are a popular architectural device used widely in
the Kakatiya temples. They are found in recesses on the outer side of
walls, on the outer side of the low vedis raised above the adhistanas, on
the architrave above the upper beam and canopies of the entrances of
the Antaralas and Garbhagrihas and in a few cases on the entablature
above the beams of Mukhamandapas. These miniature vimanas contain
from five to nine talas of horizontal bands of diminishing size and have
sometimes a conical band, either plain or decorated in the centre of the
front face. They sometimes contain an ayatasra part above the gala.
They are crowned by Sikharas which are either four faced and belong to
the Nagara or derand amalaka shaped and belong to the Vesara order.
They are single vimanas in most cases but in others they are in three
sections one emerging out of the other. It is evident that these are not
more decorative designs but are actual miniatures of existing vimanas
because the latter are found above several miniature shrines in the
Kakatiya temples.3
Miniature shrines
These are found extensively in Kakatiya temples. In each case the
shrine is complete. It has a canopy and a low parapet with an opening
in the centre in the front. There is a Garbhagriha beyond with a lotus
on the underside of its ceiling. There is a kapota above the walls and a
vimana of horizontal bands with a Nagara or Vesara Sikhara above. In
a few cases, there is no Shikhara and the vimana ends with the
phalaka. Such shrines are found on the side walls of the Antaralas, on
the architrave above the entrance of Garbhagrihas and as in the case of
the triple shrine at Hanumakonda and the great temple at Palampeta
on the outer aide of the walls of the Garbhagriha.
www.ijmer.in 150
Temple entrances
Another interesting feature relates to the dwara of the Antharala.
This dwara is fixed in a large and wide frame consisting of the wall
portion, pillars, pilasters and jambs. All these are fully sculptured.
There are fret work frames with holes set vertically above the base of
the jambs in order to let in enough light. In the temples of other styles
the dwaras are located in the centre of walls which are plain or
decorated. Another feature relating to these dwaras is the projecting
canopy above the crossbeam. These canopies contain as many curves as
there are in the padi below. The architraves above the dwaras are
equally remarkable. In the bigger temples, like the triple shrine at
Hanumakonda and Palampeta and the main temple at Ghanpur, this
portion found above the Antharala is like a frame with two makaras at
the extremities with the upper edge cut into a number of creeper
arches, with a dominating deity figure in the centre flanked by figures
of minor deities or humans. The portion above the cross beam of the
dwara of the Garbhagriha contains a row of miniature shrines or
Vimanas.4
Minor Shrines
Another peculiar feature of these Kakatiya temples is the setting up
of miniature shrines for minor deities on the vedi located on the edges
of the mandapa and above the adhistana. Such shrines are found in the
Palampeta and the main temple at Ghanpur.
Subsidiary shrines:
The major temples like those at Ghanpur and Palampeta are
surrounded by a cluster of minor shrines. There are several of these
both inside and outside the compound of Palampeta temple while at
Ghanapur eighteen of such shrines are located on the four sides of the
main shrine.
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Other features:
There are some other features characteristic of the architectural
style of the Kakatiya temples. Plank shelves in the walls of the
Garbhagriha and finely carved canopies above the vedi containing the
linga are features not found in the temples of other styles. Similar is
the case with the moon stone found before the entrances of Antaralas
and Garbhagrihas. The vedi on the edges of the mandapa with its outer
side decorated with figure sculpture and miniature vimanas adds
grandeur to the interior. Thus the Kakatiya temples possess numerous
new features and constitute a group by themselves.5
Conclusion
The Kakatiya dynasty expressed itself best through religious art
& architecture. Kakatiyas preserved the balance between architecture
and sculpture, that is, while valuing sculpture, it laid emphasis on
architecture where due. The Kakatiya temples, dedicated mostly to
Siva, reveal in their construction a happy blending of the styles of
North India and South India which influenced the political life of the
Deccan.
References:
 Select Kakatiya Temples. Dr.M.Rama Rao. 1966 P 99-101
 Temples of Telangana M. Radhakrishna Sharma, P123.
 Superstructure architecture of Ghanpur group of temples in
Kakatiya times.Koteswara Rao Kore and Dr. P Sudhakar,
International Journal of Applied Research.
 The Art & Architecture of Kakatiyas. Satyanarayana Singh.
Bharatiya Kala prakashan.Delhi.1999
 Ramappa temple. Jewel of “Kakatiyan” Architecture. G.S.V.
Suryanarayan Murty. Research Journal
www.ijmer.in 152
Volume 7, Issue 9(2), September 2018
International Journal of Multidisciplinary
Educational Research
Published by
Sucharitha Publications
48-12-3/7, Flat No: 302, Alekya Residency
Srinagar, Visakhapatnam – 530 016
Andhra Pradesh – India
Email: victorphilosophy@gmail.com
Website: www.ijmer.in
Volume 7 Issue 9(2) September 2018
S. Pg.
No No
1. ICT Enabled Systems and Their Services in Agricultural 1
Extension
Vikram N. More
2. Climate Change in India- Constitutional and Statutory 15
Protections to Citizens
A.Gowreeswari
3. 28
4. The Palliswara Mudaiya Mahadeva Temple – Kalakada, 34

Special Reference to Vimana
5. 41
6. Socio Demographic Profile Among Pulmonary 46

Tuberculosis Patients Under RNTCP in Selected
Peripheral Health Institutions in U.T of Puducherry
T.Nanthini, Karaline Karunagiri and K.Devi
7. Gandhian Way for a Better Environment 62
D. Simhachalam
8. Monumental Heritage Tourism in Andhra Pradesh 72
Vangala Rajitha
9. Job Recruitment Processing System through Hadoop 82
Multi Node Cluster using MapReduce
M.V.Nagendra and K.N.Brahmaji Rao
10. Social Welfare Schemes and Women Empowerment in 88
Tamil Nadu - A Study
A.Chitra
VOLUME 7, ISSUE 9(2), SEPTEMBER 2018
THE PALLISWARA MUDAIYA MAHADEVA TEMPLE –

KALAKADA, SPECIAL REFERENCE TO VIMANA

Research Scholar
Dept. of AIHC & Archaeology
S.V. University
Tirupati
Introduction
The Palleswara mudaiya temple is located in Kalakada village

on the right southern bank of the small river Satyavathi in Chittore
District of Andhra Pradesh. This temple was probably constructed by
vaidumba king palla who ruled some time about the middle of the 9th
century A.D. And named after him as palliswara. The name palliswara
occurs in an inscription of kulottunga I engraved on the adhisthana.
Kalakada was the capital of Vaidumbas who claimed themselves as
kalakadapura varadhiswara. The temple comprises of a vimana, an
ardha-mandapa and a maha-mandapa, all built continuously of stone
and in a unified architectural pattern. The tritala vimana is square on
its plan which maintained right upto sikhara which is curvilinear in its
corners. It presents a beautiful plan of concentric squares from the base
to the slab on the top of the sikhara, when one looks at it from above.
There is a nandi in front of the temple. It is lightly damaged in the head
region and so the left horn is not seen. Besides a thick band in the neck,
there is an ornamental ribbed-band going round the body.1
Art & Architecture
The temple of Pallisvara mudaiya mahadeva faces west. It

comprises a vimana, an ardha-mandapa and a mahamandapa, all built
continuously of stone and in a unified architectural pattern. The wall
surface shows pilasters corresponding to the hara of the superstructure.
There are altogether eight pilasters in the middle besides the two
www.ijmer.in 34
cantoning pilasters at the corners. They are of square cross-section

showing the kal, kalasa, tadi, rounded kumbha, padma, phalaka and
oblong, bevelled corbels. The end corbels carry the vajana moulding on
either side of the valabhi which is embellished with curved rafter ends.
Closely following this is the drooping kapota with a pair of kudus
against the hara components. The circle of these kudu arches is not
complete but they have been designed in ogee shape, with the tip in the
nature of a trefoil barge-board design. This kind of kudu is very
interesting in its decorations. It rises over the kapota, the kantha and
the prati-kapota. The haras over the prastara of the first tala, showing
a series of miniature shrine consisting of kutas, koshthas or salas and
panjaras or nidas, forms a parapet as it were for the second tala. Very
interestingly the next tala is shown as being supported by a row of
stunted pilasters on the bhitti giving an impression that there is a
circumambulatory (pradakshinapatha) passage in the second tala which
is not indeed the case. The hara of the first tala covering the pilasters
almost upto the tadi comprises a sala in the centre, two panjaras, one
on either side of the sala, and two kutas at either corners. The sikhara
of kuta and the koshtha show a kudu arch resembling a trefoil barge-
board shape while the panjaras show a shovel-shaped finial end in their
kudus. The pilasters of the first, second and third tala do not have any
rearing lion as in the pilasters of the Pallava temples of the 7th -8th C
A.D., but have beveled corbels of the Chola specimens of this district.
The temple has been raised out of a single wall leaving no
circumambulatory passage (alindra). The pradakshina-patha could not
be shown in a functional manner but in an oblique manner, since the
double wall system (i.e., antar- bhitii and bahya-bhitti) in the
construction of the tiers of the vimana is not adopted here. Above the
rafter frame work on the corbels rises the kapota carrying kudus which
are lesser in number than in the kapota of the first tala. Similarly, the
third tala is shorter than the second tala and is covered upto the
kapotha (?) of the pilasters by the hara of the second tala and rises upto
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the kapota. The kuta, koshtha and the panjara are embellished with
kudu arches in their sikhara portion. Upon the kapota is the kantha
succeeded by a pindi slab. The chaturasra griva and a broad, flat
sikhara with nasikas in the four cardinal directions ending in shovel-
shaped finials rises over the pindi slab. The stupi in the sikhara is not
found.2
Vimana
The tritala vimana is square (samachaturasra) on plan. The

adhisthana of the vimana carries the mouldings of an upana, which is
now covered by the soil debris, a high jagati, a tripatta-kumuda, kantha
with kampa on either side and divided into pilasters (galapadas) at
distant intervals, pattika and a bold prati upon which the bhitti rises.
On the north-side of the vimana, the pattika carries a pranala, elliptical
in section and having a semi-circular aperture cut at the bottom level of
the wall. It does not show any simhamukha at the point of its inception.
It is fitted into the level of the pattika unlike in some Chola specimens.
The main vimana has an ardhamandapa in the front which in

turn is faced by a maha-mandapa. Both these mandapas have the same
adhishthana component in continuation of the vimana. The wall space
in the ardhamandapa is rather plain, without any specific decorations,
other than an entrance door opening towards its west. Unlike the
ardha-mandapa, the mahamandapa has a gavaksha window, one on
either side, on the north and south walls. The other scheme of
delineation of various organs upto the kapota resembles the main
vimana. The entrance on the west of this structure seems to have been
originally approached by a flight of steps. This is obviously due to the
mouldings being shown with abrupt endings on either side of the door-
way. The entrance door-way is flanked by pilasters embellished with an
inner patra-lata design and the outer band of pushpa-sakha
ornamentation. These two bands reach as far as the lintel slab at the
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top. At the lower part of the joint in a square portion are carved the
figures of dvarapalas and the figures of Ganga and Yamuna. Of these
two female reliefs facing the entrance, the figure of Ganga is to the
north of the entrance and that of Yamuna is to the south of the
entrance. These figures standing in tribhahga pose are of diminutive
character and are also stylistically depicted. The expression in the face
is not distinguishable. The figures of dvarapalas facing away from the
entrance shown to the right and left of the Ganga-Yamuna figures are
four armed, standing with their legs crossed, the right leg placed on the
ground, and the left leg resting upon the tip. The upper hands are in
vismaya pose holding a naga by the tail. The lower right arm is in
tarjani-hasta while the lower left arm rests on a club (gada). He wears a
kirita projected on the side in a peculiar fashion, kundalas, haras,
yajnopavita, udarabandha, girdle, etc. The lintel slab, carved with a
lalatabimba in the centre, shows the figure of a Gaja-Lakshmi seated in
centre flanked by a pair of female attendants on either side and other
figures of male and female, probably, a group of musicians with various
instruments in their hands. Besides the two attendants on her sides, six
other figures are shown flanking them on either side.
The Gaja-Lakshmi shown seated on a padma-pitha has two

arms, bent at elbow region and holding two lotuses against her
shoulders. She has a karanda-makuta, heavy and rounded kundalas
in the earlobes, hara, kuchabandha, being tied to the neck bands run
over the shoulders one on either side, a channavira and bahuvalayas.
Other intrinsic features in this figure could not be made out on
account of its small dimension. Close to her are depicted two
elephants, standing one on either side and holding the inverted pot
(kalasa) of water with their raised trunks in the act of pouring water
on the goddess. The female attendant towards the right of the
goddess carries a fly-whisk (chamara) in her right hand and the pot of
water in her left arm, while her counterpart on the left of the goddess
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is a chamara-dharini standing with a chamara in her right arm and

the left hand placed on thigh. The other female attendant, to the
right of the figure carrying both the chamara and the pot of water is
simply shown standing with her right hand placed across on the belly
supporting the elbow of the left arm, whose fingers are kept under
the chain.
The group on the proper right of this female attendant consists of

standing figures, two-armed all of them, one of the hands in vismaya or
in kati-hasta, while the other arm holds a weapon-like object. To the
left of the chamara-dharini is a female attendant who has a pot of water
in her left hand, being supported by her right arm holding the kalasa
above. To her left is a group of musicians, with two standing drummers,
two dancers, a seated figure playing on drum and a cymbal player at
the extreme left.
The cella is square on plan, simple and plain. It has a socket hole in
the centre of its floor. The ceiling of the cella shows a recession in the
centre due to the placement of cross lintel slabs at the corner and on
the sides. The facade of the ardhamandaapa has a pair of pilasters
showing kattu and beveled corbels. The ceiling of the maha-mandapa
has been divided into three longitudinal bays resulting in a
navarangamandapa. The pillars supporting this structure in the centre
are rather heavier than the pilasters of the preceding ardhamandapa
but resembles them in all other respects.
There is a nandi in front of the temple. This recumbent bull is

slightly damaged in the head region and so the left horn is not seen.
The thick band on its neck is no doubt a feature seen in the Pallava
images. The hump is shown with an involuted coil, curved inwards. The
forelegs are bent and resting on the base. The hind-legs are not to be
seen. Besides a thick band in the neck, there is an ornamental ribbed-
band going round the body.3
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Inscriptions
Earliest inscription belongs to Bhuvanatrinetra Inrugeya

Maharaja (C.972-1000 A.D) engraved on the outer faces of the wall of
the mandapa on both the right and left sides of the entrance. Another
inscription of Kulottunga I, (1119 A.D) refers to the temple of
Pallisvara mudaiya Mahadeva engraved on the tiers of the basement
(adhisthana) stones of the temple).4
Conclusion
The Vaidumbas are minor dynasty who hailed from

Tamilnadu. Originally and settled in Rayalaseema and Karnataka
region ruling the limited regions such as chittore, kadapa, kolar
districts. . This temple is being maintained by ASI (Archaeological
Survey of India).
Palliswara Mudaiya Mahadeva Temple. Kalakada
www.ijmer.in 39
Palliswara Mudaiya Mahadeva Temple Vimana. Kalakada
References
1. http://asiconservationportal.nic.in/public-dashboard/view-work-
estimation/3417
2. M.A.Dakey. Encyclopaedia of Indian Temple

Architecture.AIIS.1986.,p.176
3. M.D. Sampath, Chittoor Through the Ages.1980,p.208-210
3. Ep.Ind.., Vol.XXX, inscription-B, p.280-84
4. Ibid., Inscription-C, p.284-286
www.ijmer.in 40

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