IMPERIAL RASTRAKUTAS

Introduction:
 The Rashtrakuta dynasty was a medieval Indian dynasty that ruled
over a large part of the Indian subcontinent from the 6th to the 10th
century CE. They were known for their patronage of art,
architecture, literature, and religious activities, and were one of the
most powerful and influential dynasties in South India during their
peak.
 The Rashtrakutas originated in the Deccan region of modern-day
India, specifically in the region of Karnataka. They emerged as a
prominent dynasty in the mid-6th century CE under Dantidurga,
who established the Rashtrakuta kingdom with its capital at
Manyakheta (now Malkhed) in present-day Karnataka. The dynasty
reached its peak under King Dhruva (780-793 CE) and his
successor, King Govinda III (793-814 CE), when their empire
spanned from the Narmada River in the north to the Kaveri River in
the south, and from the Arabian Sea in the west to the Bay of
Bengal in the east, covering a large part of present-day India.
 The Rashtrakutas were known for their military prowess and
successfully engaged in numerous wars and battles against their
neighboring kingdoms, including the Pallavas, Chalukyas, and the
Pala dynasty. They also maintained diplomatic relations with other
major powers of their time, such as the Abbasid Caliphate and the
Tang Dynasty of China.
 The Rashtrakutas were great patrons of art and architecture, and
their rule witnessed a flourishing of literature, sculpture, and temple
construction. They built numerous magnificent rock-cut cave
temples, including the famous UNESCO World Heritage Site, the
group of monuments at Ellora Caves, which is considered a
masterpiece of Indian rock-cut architecture. They also promoted the
spread of Hinduism and Jainism, and their rule saw the
 development of several important religious and philosophical
works.

 The Rashtrakuta dynasty declined in the 10th century CE due to

internal conflicts, external invasions, and the rise of new regional
powers. However, their contributions to art, architecture, literature,
and culture left a lasting impact on Indian history and continue to be
celebrated to this day.

Imperial Monuments of Rastrakutas

 Cave no.15 Dashavatara Cave
 The Dashavatara Cave is a Hindu temple cave, which was built in the
8th century CE during the Rashtrakuta dynasty. .It is one of the largest
and most elaborately decorated caves at Ellora.

 Cave no. 15, also known as the Dashavatara Cave, is located in the
UNESCO World Heritage Site of the Ellora Caves in Maharashtra,
India. It is a Hindu cave temple that dates back to the 6th or 7th
century and is dedicated to Lord Vishnu. The Dashavatara Cave is a
monolithic structure, which means it was carved out of a single piece
of rock. The excavation of the cave would have involved removing
over 200,000 cubic feet of rock, which is a remarkable feat of ancient
engineering.

 The cave gets its name from the ten avatars or incarnations of Lord
Vishnu that are depicted in the cave. The sculptures of the ten avatars
are carved on the front facade of the cave, and they include Matsya
(fish), Kurma (tortoise), Varaha (boar), Narasimha (half-man, half-
lion), Vamana (dwarf), Parashurama (the warrior sage), Shree Ram,
Shree Krishna, Buddha, and Kalki (the tenth and final avatar, who is
yet to appear). The sculptures of the ten avatars on the front facade of
the cave are arranged in two rows of five, with Matsya at the top left
and Kalki at the bottom right. The sculptures are all around 6 feet tall
and are intricately carved with fine details.
 The cave also has several other sculptures and carvings that depict
scenes from Hindu mythology, including the marriage of Shiva and
Parvati, and the story of Gajendra Moksha. The interior of the cave
has a shrine that houses a lingam (a symbolic representation of Lord
Shiva) and a carving of Lord Vishnu reclining on the serpent Ananta,
surrounded by other deities.

 The Hindu temple housed in Cave 15 has an open court with a free-
standing monolithic mandapa at the middle and a two-storeyed
excavated temple at the rear. Large sculptural panels between the wall
columns on the upper floor illustrate a wide range of themes,
including the ten avatars of Vishnu. An inscription of Dantidurga,
critical to establishing the age of the temple, is on the back wall of the
front mandapa. According to Coomaraswamy, the finest relief of this
cave is the one depicting the death of Hiranyakashipu, where Vishnu
in Narsimha form, emerges from a pillar to lay a fatal hand upon his
shoulder. It is a Rastrakoot dynasty sculpture.

 The Dashavatara Cave is an excellent example of the rock-cut

architecture of ancient India and is a popular tourist destination in
Maharashtra.

Nandi Mandapa
The ground plan of Cave No. 15, the Nandi Mandapa, typically includes
the following features:
1. Main Mandapa: The main mandapa or hall is a rectangular space
with a pillared hall supported by rows of intricately carved columns.
The hall is typically open on all sides and may have a high ceiling
adorned with carvings or sculptures.
2. Nandi Shrine: The Nandi Mandapa is named after the iconic Nandi
(sacred bull) sculpture that is usually placed facing the main temple
entrance. The Nandi shrine is a separate chamber within the cave and
 is typically square or rectangular in shape. It houses a large Nandi
sculpture, which is considered the divine mount of Lord Shiva.
3. Pillared Hall: The pillared hall or mandapa is the main space for
worship and rituals. It is typically supported by rows of carved pillars
that have intricate carvings depicting various Hindu deities, celestial
beings, mythological scenes, and decorative motifs. The pillars may
have different architectural styles, such as the square, octagonal, or
fluted shafts, and may be adorned with ornamental capitals and
bases.
4. Sanctum: The sanctum or garbhagriha is the innermost chamber of
the Nandi Mandapa, where the main deity of Lord Shiva is usually
housed. The sanctum is typically a small square or rectangular
chamber with a doorway or entrance, which may be adorned with
carved lintels and jambs.
5. Peripheral Shrines: The Nandi Mandapa may also have smaller
shrines or niches dedicated to other Hindu deities, which are located
around the main mandapa or along the walls of the cave. These
shrines may have sculptures or carvings associated with the
respective deities.
6. Circumambulation Path: The Nandi Mandapa may have a
circumambulation path (pradakshina path) around the sanctum or the
main mandapa, which is used by devotees to perform rituals and
offer prayers.
7. Other Features: The Nandi Mandapa may also have other
architectural features, such as vestibules, antechambers, decorative
motifs, friezes, and other ornamental elements that add to the overall
grandeur and aesthetic appeal of the cave temple.
It's important to note that the actual ground plan and layout of Cave No.
15 may vary, and for accurate and detailed information, it is
recommended to refer to architectural drawings, plans, or diagrams
provided by reliable sources or visit the site in person.
 floor 1 floor 2

 The cave is a rock-cut temple, consisting of a single mandapa or hall

with a flat roof. It is rectangular in shape and measures
approximately 27 feet in length and 20 feet in width. The entrance to
the cave is from the east, and there are three doorways that lead into
the mandapa.
 Inside the mandapa, there are ten large relief sculptures depicting the
ten avatars of Lord Vishnu, arranged in two rows of five on each
wall. The sculptures are intricately carved and depict the avatars in
action, surrounded by other characters from Hindu mythology.
 The walls of the cave also feature various other sculptures and
carvings, including depictions of other deities, animals, and scenes
from Hindu mythology. The ceiling of the cave is plain and has no
carvings or decorations.
 Overall, The Dashavatara Cave is a remarkable example of rock-cut
architecture and art, and its intricate carvings and sculptures continue
to captivate and awe visitors from around the world.

Cave no. 16 Kailashnath temple

 Cave No. 16 at the Kailashnath Temple refers to a specific cave
within the Kailashnath Temple complex, which is a famous Hindu
temple located in the Ellora Caves, Aurangabad, Maharashtra, India.
The Kailashnath Temple is renowned for its stunning architecture and
is considered one of the most impressive cave temples in India.
 Cave No. 16, also known as Kailasa Temple, is the largest and most
elaborate cave in the entire Ellora Caves complex. It is dedicated to
Lord Shiva and was carved out of a single massive rock during the 8th
century by the Rashtrakuta king, Krishna I. The temple is a monolithic
structure, meaning it was carved from a single rock, and it features
intricate carvings, sculptures, and frescoes.
 The Kailasa Temple is designed to resemble Mount Kailash, the
mythical abode of Lord Shiva, and is a remarkable example of ancient
Indian rock-cut architecture. It has a multi-storied structure with a
courtyard, various halls, pillars, and shrines. The main sanctum
houses a massive Shivalinga, the sacred symbol of Lord Shiva, and
the temple also includes depictions of various Hindu deities, celestial
beings, and mythological scenes carved into the walls.
 Architecture: The Kailasa Temple is a prime example of rock-cut
architecture, which involves carving a temple out of a single rock or
mountain. It is considered one of the most ambitious and technically
challenging rock-cut structures in the world. The temple is designed to
replicate Mount Kailash, which is believed to be the abode of Lord
Shiva, and it is surrounded by a massive courtyard with various
structures and intricate carvings.

 Construction: The construction of the Kailasa Temple is believed to

have started during the 8th century CE, under the patronage of the
Rashtrakuta dynasty, particularly King Krishna I. It is said that the
temple was carved over a period of several decades by a team of
skilled artisans, sculptors, and laborers using chisels, hammers, and
picks.

 Size and Scale: The Kailasa Temple is the largest cave in the Ellora
Caves complex, measuring approximately 164 feet (50 meters) in
 length, 109 feet (33 meters) in width, and 98 feet (30 meters) in
height. The main temple structure, including the sanctum, assembly
hall, and other chambers, is carved entirely out of a single rock, and it
is estimated that over 200,000 tons of rock were excavated during its
construction.

 Intricate Carvings: The Kailasa Temple is known for its intricate and
detailed carvings that adorn its walls, pillars, and ceilings. The
carvings depict various scenes from Hindu mythology, including
depictions of gods, goddesses, celestial beings, mythical creatures,
and episodes from Hindu epics like the Mahabharata and the
Ramayana. The quality and precision of the carvings are considered
remarkable, with delicate details and exquisite craftsmanship.

 Pillars and Sculptures: The Kailasa Temple has numerous ornate

pillars that are adorned with intricate carvings of divine figures,
animals, and decorative motifs. The temple also features a plethora of
sculptural panels depicting various aspects of Hindu mythology,
including stories related to Lord Shiva, Lord Vishnu, and other gods
and goddesses. The grandeur and beauty of the sculptures are
considered awe-inspiring.

 Religious Significance: The Kailasa Temple is dedicated to Lord

Shiva and is considered a sacred pilgrimage site for Shaivism, one of
the major sects of Hinduism that worships Lord Shiva as the supreme
deity. Devotees visit the temple to offer prayers, perform rituals, and
seek blessings from Lord Shiva. The temple also attracts tourists,
scholars, and art enthusiasts who are fascinated by its historical,
architectural, and artistic significance.

 UNESCO World Heritage Site: The entire Ellora Caves complex,

including the Kailasa Temple, has been designated as a UNESCO
World Heritage Site since 1983. It is recognized as an outstanding
example of rock-cut architecture and a unique cultural heritage that
represents the rich artistic and religious traditions of ancient India.
The Kailasa Temple in Cave No. 16 of the Kailashnath Temple complex
is a remarkable marvel of ancient Indian architecture, known for its
grandeur, intricate carvings, and religious significance. It is a testament
to the rich cultural and artistic heritage of India and continues to be a
prominent pilgrimage site and a popular tourist destination.

1.Courtyard: The entrance to Cave No. 16 opens into a large rectangular

courtyard, which serves as the outermost area of the temple complex.
The courtyard is surrounded by rock-cut walls and may have had some
structures or shrines along the sides, although most of them are now lost
or damaged.
2.Main Temple Structure: The main temple structure is located at the
center of the courtyard and is accessed through a gateway. It is a multi-
storied structure and is carved entirely out of a single rock, representing
Mount Kailash, the abode of Lord Shiva. The temple structure is
elaborately carved with intricate sculptures, carvings, and friezes.
3.Sanctum: The innermost chamber of the temple is the sanctum, which
houses the main deity of the temple, a massive Shivalinga, the sacred
symbol of Lord Shiva. The sanctum is a square chamber with a small
 circumambulation path (pradakshina path) around the Shivalinga for
devotees to perform rituals and offer prayers.
4.Assembly Hall: The temple also has an assembly hall or mandapa,
which is a pillared hall that serves as a space for gatherings, rituals, and
performances. The assembly hall is located in front of the sanctum and
is adorned with intricate carvings on its pillars, walls, and ceiling.
5.Pillared Corridors: The temple complex also features pillared corridors
or pradakshina paths that encircle the main temple structure. These
corridors have intricately carved pillars and walls, depicting various
scenes from Hindu mythology, including gods, goddesses, celestial
beings, and mythological creatures.
6.Peripheral Shrines: The temple complex may also have had smaller
shrines or niches dedicated to other Hindu deities, which are located
around the courtyard or along the pillared corridors. These shrines may
have had sculptures or carvings associated with the respective deities.
7.Other Structures: The ground plan of Cave No. 16 may have included
other structures such as subsidiary shrines, subsidiary chambers, open
pavilions, and other architectural features, although many of them are
now in ruins or not clearly identifiable.
Features of cave 16:
 At the entrance there is a huge rock screen with carvings and a
two-level doorway with eaves on top.
 A door on the lower level leads into the double-
storey gopuram, which has exquisitely carved sculptures on the
walls.
 Goddesses Ganga and Yamuna flank the entrance gateway.
 The gopuram at the lower level leads to the portico.
 On the either side of the portico are the north and south courts with
life-size elephants and a victory pillar framing the Kailasa.
 There are five subsidiary shrines around the main temple in the
circumambulatory path that runs along the side of the hill.
 This includes a shrine dedicated to river goddesses Ganga, Yamuna
and Saraswati, and a yajna-shala (hall of sacrifice).
 However, the main temple is the most impressive.
 The elephants and lions that form the high plinth of the main
temple signify Rashtrakuta power and prosperity.
  Rock steps in the left court lead up to the top where Nandi and a
36-column mandap with a Shiv ling are located.
 There are many beautiful carvings: of Durga, Mahishasuramardini,
Gajalakshmi seated in a lotus pool, Shiva as Ardhanari and
Virbhadra, Ravana shaking the Kailash parvat, and the
Mahabharata and Ramayana panels.

Features of the main kailasa temple :

 Apart from the gopura, the main temple has a sabha griha (hall),
vestibules and a Nandi mandap which leads to the garba
griha (sanctum) with the Shiv linga, all of which are profusely
carved and with Dravidian shikharas (towers).
 A bridge connects the Nandi mandap to the gopuram.
 The stiff climb up the hill was made worthwhile by the loveliness
of the lotus on the roof of the sanctum.
 The lotus is crowned by a finial with four mythical lions, each
facing one cardinal direction.

Also read

SOLANKI TEMPLE OF GUJARAT

Introduction of Solanki dynasty :
 The Solanki dynasty, also known as the Chaulukyas, was a Hindu
dynasty that ruled parts of present-day Gujarat, Rajasthan, and
Madhya Pradesh in India from the 10th to the 13th century CE. They
were one of the most powerful and influential dynasties of western
India during the medieval period and are known for their patronage
of art, literature, and architecture.
 The Solanki dynasty was known for its military prowess and its
expansionist policies, but it also promoted art, literature, and culture.
The Solanki kings were great patrons of the arts and sponsored the
construction of many magnificent temples, palaces, and public
buildings. They also supported Sanskrit literature, which flourished
under their patronage.
 The Solanki dynasty is particularly renowned for its temple
architecture, which combined elements of North Indian and South
Indian styles and produced a unique architectural style that is now
known as Solanki or Chaulukya style. The Solanki temples of
Gujarat, such as the Sun Temple in Modhera and the Somnath
Temple in Veraval, are some of the finest examples of this
architectural style.
 The Solonki period is known as the Golden Age in the history of
Gujarat.
 A Solanki temple can be regarded as an individual growth, which
was going parallel with many other regional manifestations of the
Nagara style in North India.
 The great monuments to their credits like the sun temple at Modhera,
Rani ki vav at Patan, Navalakha temples at Ghumli, Navlatha temple
at Ghumil, Navalatha temples at Sejakpur and the Rudramahalaya
temple Siddhapura.
 The Solanki period also contributed in the field of Silpa texts like
Prabandha – Cintamani and aparajitapricha of Bhuvandevacharya.
 Anahilavada (modern Patan) was a capital of Solanki dynasty.
 Rulers :

i. Mularaja (r. 940-997 CE)

ii. Bhima I (r. 1022-1064 CE)
iii. Karandev I (r. 1064-1094 CE)
iv. Siddharaja Jayasimha (r. 1094-1143 CE)
v. Kumarapala (r. 1143-1172 CE)
vi. Bhima II (r. 1178-1241 CE)
Samantsinh, the last Chavada ruler, he adopted Mulraj who
overthrew him in 942 AD and set up what came to be known as
the Solanki dynasty.
Marugurjara style:
 The Maru-Gurjara style is a distinctive style of architecture that
emerged in western India during the Solanki dynasty's rule. It is
characterized by a blend of architectural styles from the Marwar
region of Rajasthan and the Gurjara region of Gujarat. The Maru-
Gurjara style became popular during the 11th and 12th centuries
CE, and many famous temples and monuments were constructed
in this style during the Solanki dynasty's reign.
 The Maru-Gurjara style of architecture is notable for its use of
locally available materials such as sandstone, which was
extensively used in the construction of temples and palaces. The
style also incorporated elements from other styles such as Nagara
and Dravidian, resulting in a unique architectural style that
reflects the rich cultural heritage of the region.
 Some of the most famous examples of the Maru-Gurjara style of
architecture during the Solanki dynasty include the Sun Temple at
Modhera, the Rani ki Vav stepwell in Patan, and the Kirti Stambh
tower in Chittorgarh. These structures are renowned for their
intricate carvings, sculptures, and detailed ornamentation that
make them some of the finest examples of Indian temple
architecture.

features of structures during solanki dynasty:

 Intricate carvings and sculptures: The Solanki temples are
known for their intricate carvings and sculptures, depicting
scenes from Hindu mythology. The carvings were often very
detailed and finely executed, with a high level of
craftsmanship.
 Use of local materials: The structures were typically built using
locally available materials such as sandstone, marble, and
brick.
  Geometric patterns: The Solanki temples feature elaborate
geometric patterns, such as mandalas and yantras, which were
believed to have spiritual significance.
 Dome-shaped roofs: The Solanki temples often had dome-
shaped roofs, which were supported by pillars and decorated
with carvings.
 Intricate jali work: Jali work, or perforated stone screens, were
commonly used in Solanki architecture, creating a play of light
and shadow and adding to the overall aesthetic appeal.
 Integration of water bodies: Solanki architecture often
integrated water bodies, such as tanks and stepwells, into the
design of the structures.
 Elaborate entrance gateways: The Solanki temples often
featured elaborate entrance gateways, which were intricately
carved and decorated.

Types of Shikhara :
Shikhara is a term used to describe the tower-like structure that
sits on top of a Hindu temple. During the Solanki dynasty, several
types of shikharas were developed and used in temple
architecture. Some of the notable types of shikharas during the
Solanki dynasty include: 1.Latina shikhara, 2.Valabhi shikhara,
3.Phamsana shikhara, 4.Khajuraho shikhara, 5.Bhumija shikhara.

1.Latina shikhara:
 It is the simple and most common type of shikhara.
 It is square at the base and the walls curve or slope inwards
to a point on top.
 Latina types are mainly used for housing the garbhagriha.
 The Latina shikhara is a type of tower-like structure that was
developed and widely used during the Solanki dynasty in
Gujarat, India. The Solanki dynasty ruled Gujarat from the
10th century to the 13th century and during this period, they
established a unique style of temple architecture
characterized by the use of curvilinear shikharas, including
the Latina shikhara.
 The Latina shikhara is a bell-shaped structure with a circular
base that gradually tapers to a point. It is typically adorned
with intricate carvings and sculptures depicting scenes from
Hindu mythology. The shikhara is often supported by a series
of brackets, called salabhanjikas, which are carved with the
figures of women in various poses.
 The Latina shikhara can be seen in many of the temples built
during the Solanki period, including the famous Sun Temple
in Modhera and the Rudra Mahalaya Temple in Siddhpur.
These temples showcase the intricate carvings and
architectural mastery of the Solanki dynasty.
 Overall, the Latina shikhara played a significant role in
defining the architectural style of the Solanki dynasty and
remains a unique feature of temple architecture in India. Its
 influence can be seen in the construction of Hindu temples
throughout India, even today.

2. Valabhi shikhara:

 These are rectangular buildings with a roof that rises into a

vaulted chamber.
 The edge of the vaulted chamber is round, like the bamboo or
wooden wagons that would have been drawn by bullocks in
ancient times.
 The form of this temple is influenced by ancient building
forms that were already in existence.

3. Phamasana Shikhara:

 They are broader and shorter than Latina type.

  Their roof is composed of several slabs that gently rise to a
single point over the centre of the building, unlike the Latina
ones which looks like sharply rising towers.
 Phamsana roofs do not curve inwards; instead they slope
upward on a straight incline.
 In many north Indian temples, the phamsana type is used for
mandapas while the main garbhagriha is housed in a Latina
building.

Gop Temple

 The Gop temple is a Sun temple located at Zinavari village in

Jamjodhpur Taluka of Jamnagar district, Gujarat, India. The Hindu
temple is dated to the 6th century and is one of the earliest surviving
stone temples in Gujarat.
 The original temple had a square plan, a mandapa and covered
circumambulation passage which are lost, and a pyramidal masonry
roof which is ruined but whose partial remains have survived. The
temple has a height of 23 feet (7.0 m) which includes a small tower.
The roof of the tower is decorated with arch-like gavaksha window
shapes below an amalaka cogged wheel-shaped crown.
 The temple has a square plan to which were added bricked double
courtyards centuries later. The temple was bigger and included a
mandapa and a roofed pradakshina-patha (circumambulation
passage), but most of it was damaged and has fallen away leaving a
peculiar looking skeletal structure. The sanctum walls remain standing
and parts above the shikhara.

 The shrine is 10 feet 9 inches square from inside. It is 23 feet high and
has 2 feet 6 inches thick walls. The walls are plain without any
ornamentation and perpendicular to height till 17 feet and over it
survives the pyramidal shikhara. Each course is about 8 inches deep
and is jointed. Thus it is built from stones without any kind of cement.

 At 11 feet from the floor, there are four holes in the front and back
walls, each 14 inches high, probably for joists; and over them, in side
walls, are six smaller holes, probably for rafters. The sanctum faces
the east. Its front wall fell and seems rebuilt at someone with the inner
sides of the stones turned out, showing the sockets of the clamps with
which the stones had been secured. There is an inscription on the
left jamb of the door which Burgess was unable to decipher.

 The shikhara (spire) is formed by six or seven courses having beveled

edges followed by square faces and at last the apex covered by single
 slab. It follows corbel principle, the interior is hollow. From outside, it
rises in tiers having three clear divisions. The lowest division has
two gavakshas or arch-shaped motifs on each side, with some images
carved in. The apex is crowned by a single stone amalaka (stone disc)
on it. Some figures on the Shikhara are identifiable. There
is Ganesha figure still visible in the west side and another Deva figure
on the north side. There are a series of holes 2 1⁄2 feet below the string-
course which supported beams that once supported the roof of inner
courtyard.

 There are two figures of deities in yellow stone inside the shrine. It
can not be decided who are they exactly. They are locally known
as Rama and Lakshaman.

Roda Group of Temples

 The Khed-Roda Group of Monuments include eighth-ninth century
dated seven Hindu temples built during Gurjara-
Pratihara or Rashtrakuta period. It also include a reservoir (Kund) and a
stepwell. They are located between Raisingpura (Roda) and Khed
Chandarani villages, 18 km from Himmatnagar in Sabarkantha
district of Gujarat, India. It is located on the bank of the seasonal stream
which merges Hathmati river downstream.
 There are six temples at the site and the photographic record of seventh
exists. All these temples are east facing.

Shiva Temple (No. I) and Pakshi Mandir (No. II) Shiva Temple (No. I)

 The first two temples are reached by road. The first one is dedicated to
Shiva (No. I) and the second is the Pakshi Mandir (No. II) which has
no idols but carving of birds hence also known as the bird temple.
Temple No. II is the smallest temple among the group.

Doorframe of Pakshi Mandir (No. II)

and carvings of birds inside

Temple No. III and V

 Further 500 metres, there is a large rectangular Ladushah
kund (stepped reservoir) which may had elaborately carved shrines,
one on each of its four corners formerly. Of these, two shrines (No.
III and V) are surviving which are dedicated to Shiva and Vishnu
respectively and the base of the third (No. IV) is still between these
two.

Navagraha Temple (No. VI)

 Other two lost shrines may have been dedicated to Goddess

and Surya. Across the stream, there is another shrine which
has Navagraha depicted on its doorframe so it is known as the
Navagraha temple (No. VI).

Shiva Temple (No. VII)

 Some steps away, there is a ruined temple (No. VII) which is the
largest temple among the group. There are stone steps near the
temple No. VII leading to the river but are in dilapidated condition. It
has an image of Ganesha so it is known as the Ganesha temple and
also known as the Shiva temple.
 These temples were damaged in 2001 earthquake but were restored
later. No mortar like fixing material is used for the construction of
these temples and the lower parts of these temples are held together
by the weight of the spires.
 The sculptures collected from the site are now housed at the Baroda
Museum & Picture Gallery in Vadodara. These sculptures depict
various Hindu deities including a sculpture of Surya.
 These temples are classified under the Anarta School of Maha-
Gurjara tradition of temple construction. It is the largest group of
such styled temples.
 The Temple No. I is nirandhara shrine with bi-partite offset (dwi-
anga) plan configuration. It is situated on east-facing jagati (plinth).
The entrance mandapa is of prag-griva style with four pillars. The
inner sanctum is square. The plinth has moldings
of bhita and pattika. The circumvention path (pradakshina) is
provided by space on the plinth. The outer walls of the shrine is
devoid of ornamentation. The mandapa has phansana (pyramidal
superstructure with decreasing number of mouldings) type roof and
the latina type spire over the main shrine has elaborate
bold jala pattern carvings. It is topped by large amalaka.
 The Temple No. II It has a phansana styled spire, not
usual latina spire, like shrines found in Saurashtra.
 The Temple No. III is almost similar to Temple No. I except its tri-
partite offset (tri-anga) plan configuration.
 The Temple No. VII has a gudhamandapa with a porch while other
temples have prag-griva as in Temple No. I. Except No. VII, the
pillars of these temples are of ruchaka type with carved upper parts.
The ceilings are mostly flat with floral or other geometric carvings.
These temples has elaborate carvings only on the doorways of small
sanctuaries of the temples and porch columns. The carvings of
basement is fewer and heavy.
 The sculptures of Narsimha, Trivikrama and Varaha is on the walls
of Vishnu temple. There is a Shiva temple (No. VII) near the curve
of the river. It has gudhamandapa (closed hall) with phansana styled
roof indicating the style of roof developed later in 11th
 century. There is also Vishnu temple (No. V). It had ornamented
doorway but has no detailed sculptural ornamentation.
 The kund is collapsed on the northern side. There are four shrines
with small porches and idols in the each corner of the kund. They are
dedicated to saptamatrikas, Vishnu, Ganesha and Goddesses. It is an
earlier example of such kund.

CHIEF CHARACTERISTIC OF
ARCHITECTURE
 Garbhagriha: The garbhagriha, or inner sanctum of Solanki dynasty's
temples, was typically square-shaped rather than rectangular. This
shape symbolized the universe and represented the four cardinal
directions. The garbhagriha was located at the center of the temple
and housed the main deity of worship.
 Antarala: The garbhagriha was typically preceded by an antarala, or
vestibule, which served as a transitional space between the main hall
and the garbhagriha. The antarala was also typically square-shaped.

 Mandapa: The mandapa, or pillared hall, was a large hall that was
used for religious rituals and other gatherings. It was located in front
of the garbhagriha and often had a roof supported by multiple pillars.
The mandapa was typically rectangular in shape and had an open
entrance facing the east.
 Ardha Mandapa: The ardha mandapa, or half mandapa, was a
smaller version of the mandapa and was located in front of it. It
served as a transitional space between the outside and the mandapa.

 Pradakshina Patha: The pradakshina patha was a circumambulatory

path that encircled the garbhagriha and was used for
circumambulation, or walking around the deity in worship.

 Vimana: The vimana was the superstructure that rose above the
garbhagriha and was typically pyramidal in shape. It was often
elaborately decorated with carvings and sculptures.

 Gopuram: The gopuram was a monumental entranceway that

typically featured elaborate carvings and sculptures. It served as the
main entrance to the temple and was often located on the east side.

 Pithas: Pithas in architecture refer to a type of platform or base used

in Indian temple architecture, particularly in the Solanki dynasty.
In the Solanki dynasty, pithas were an important element in the
construction of temple architecture. The pitha is a rectangular
platform that forms the base of a temple or a statue. It is usually
made of stone and serves as the foundation of the temple, which is
built on top of it.
Pithas come in different sizes and shapes, depending on the type and
size of the temple or statue that they support. They are typically
square or rectangular in shape, and their height can range from a
few inches to several feet.
The pithas of the Solanki dynasty were known for their elaborate
carvings and decorations. They were often adorned with intricate
geometric patterns, floral motifs, and figures from Hindu
mythology. The carvings were typically done in high relief, giving
the pithas a three-dimensional appearance.
 The Solanki dynasty is also known for the use of stepped pithas,
which are pithas with multiple tiers or steps. These stepped pithas
were often used to support multiple statues or deities, creating a
visually striking effect.
Types of pitha: Gajapitha, Jagati Pitha, Adhisthana Pitha, Vedi Pitha

 Shikhra: read on page no.15

SOLANKI TEMPLE ARCHITECTURE

Introduction:
The Solanki dynasty, also known as the Chalukya dynasty, was a
powerful dynasty that ruled western and central parts of India from
the 10th to the 13th century. The Solanki dynasty is known for its
magnificent temple architecture, which was characterized by a unique
blend of Indian and Western architectural styles.
The Solanki temples were typically built on a raised platform called
the jagati, which was often decorated with intricate carvings and
sculptures. The temple structures themselves were characterized by
elaborate shikharas or spires, which were typically multi-tiered and
decorated with intricate carvings and sculptures.
The Solanki temples were typically dedicated to Hindu deities such as
Shiva, Vishnu, and Surya, as well as Jain Tirthankaras. They were
also known for their elaborate pillared halls or mandapas, which were
used for various religious and cultural activities.
One of the most distinctive features of Solanki temple architecture
was the use of intricately carved stone sculptures, which were used to
depict scenes from Hindu mythology as well as everyday life. The
sculptures were typically carved in high relief, giving them a three-
dimensional appearance.
The Solanki temples also made extensive use of geometric patterns
and intricate carvings, which were used to decorate the exterior and
interior of the temple structures. The carvings were often inspired by
natural forms such as flowers and leaves, as well as abstract geometric
patterns.
Also read chief characteristic on page no.24

1. Modhera Sun temple

 The Modhera Sun Temple is a magnificent Hindu temple dedicated
to the Sun God Surya, located in the small town of Modhera in the
Mehsana district of Gujarat, India. It was built in the 11th century
by the Solanki dynasty ruler King Bhimdev I and is one of the finest
examples of Indian temple architecture.
 The Modhera Sun Temple represents the 12 Adityas, who are solar

deities and children of the Sun God, Surya. The Adityas are
depicted through 12 beautifully carved idols placed around the main
shrine, each facing a different direction and with a distinct symbol
or attribute. These symbols help to identify the Adityas and include
a mace, lotus flower, thunderbolt, noose, sword, flag, goad, staff,
ring, conch shell, bow, and another lotus flower. The carvings are
incredibly intricate and detailed, with each Aditya depicted in a
different pose or mudra. The representation of the 12 Adityas in the
Modhera Sun Temple highlights the importance of solar deities in
Hinduism and adds to the temple's grandeur and beauty.
 The temple is built in Maru-Gujara style (Chaulukya style). The

temple has three axially aligned components; garbhagriha

gudhamandapa, sabhamandapa or rangamandapa and kunda.
 The temple is divided into three parts - the Gudhamandapa or the

main shrine, the Sabha Mandapa or the assembly hall, and the
 Kunda or the sacred tank. Each of these parts is intricately designed
with carvings and sculptures, making the temple a beautiful and
stunning sight.
 Gudhamandapa: The Gudhamandapa or the main shrine is an

ornately carved structure that faces eastwards, towards the rising

sun. It is elevated on a high plinth and has an octagonal base with
intricate carvings of the Sun God on its walls. The main shrine
consists of three tiers, with each tier having small niches housing
sculptures of various gods and goddesses.
The uppermost tier is adorned with a beautifully carved torana, or
archway, which is supported by four pillars. The archway depicts
various scenes from the Hindu epic Ramayana, including the
coronation of Lord Rama, his exile to the forest, and his victorious
return to Ayodhya.
The most striking feature of the main shrine is its design, which is
such that the first rays of the rising sun fall on the idol of the Sun
God at the time of the equinoxes. This is achieved through a
cleverly designed entrance, which is aligned with the east-west axis
of the temple.

 Sabha Mandapa: The Sabha Mandapa or the assembly hall is an

open pavilion with 52 intricately carved pillars, representing the 52
weeks of the year. The pillars are adorned with sculptures of various
gods and goddesses, as well as scenes from Hindu mythology.
The ceiling of the Sabha Mandapa is intricately carved with designs
and patterns, including lotus flowers, stars, and geometric shapes.
The hall also has a raised platform that was likely used for musical
and dance performances.

 Kunda: The Kunda or the sacred tank is a large step-well with

numerous small shrines and sculptures around its edges. It is said to
represent the cosmic ocean and is believed to have healing
properties. The tank has a flight of steps leading down to it, and the
water is believed to be filled with the energy of the Sun God.
The edges of the tank are adorned with beautiful carvings and
sculptures of gods and goddesses, as well as scenes from Hindu
mythology. The tank is also surrounded by small shrines dedicated
to various deities, including Lord Ganesha and Lord Shiva.
The Modhera Sun Temple is considered one of the finest examples
of Indian temple architecture, and its stunning design and intricate
carvings make it a popular tourist attraction. It is also a significant
pilgrimage site for Hindus, who come here to offer prayers and seek
blessings from the Sun God. The temple is an important part of
India's rich cultural heritage and continues to inspire awe and
wonder in visitors to this day.
Also read https://en.wikipedia.org/wiki/Sun_Temple,_Modhera

Few topics are left before Orissan Temple

 ORISSAN TEMPLES

North Indian Temple Architecture tradition :

 North Indian temple architecture is a rich and diverse tradition that has
evolved over many centuries. It is characterized by a variety of styles
and regional variations that reflect the cultural and religious diversity of
the region.
 Some of the key features of North Indian temple architecture include:
Shikhara , Mandapa, Garbhagriha, Entrance, Carvings and sculptures
 Some of the prominent styles of North Indian temple architecture
include the Nagara style, which is characterized by its curvilinear
shikharas, and the Dravidian style, which is characterized by its
pyramidal shikharas and elaborate gopurams (gateways).

Introduction of Odisha :

 Orissa (now spelled as Odisha) is a state in the eastern part of India,

and it has a rich history that dates back to ancient times. The region has
been inhabited since prehistoric times, as evidenced by the numerous
megalithic sites found in the state.
 Shailodbhavas dynasty [10th – 11th century]
Somavamshi dynasty [11th century]
Eastern Ganga dynasty [12th – 13th century]

Deula :

 Deula is an architectural element in a Hindu temple in

the Kalinga architecture style of the Odishan temples in Eastern
India. Sometimes the whole temple is also referred to as Deula.
The word "deula" in Odia language means a building structure
built with a particular style that is seen in most of the temples
from Odisha.[2] Deul is also used in English, though
the deul temples are also of a different form in
the Manbhum region of Western Bengal.

 There are three types of Deulas:

 In terms of the general north Indian terminology, the Rekha
Deul is the sanctuary and the tower over it, respectively
the garbhagriha and the shikhara, the Pidha Deul is
the mandapa where the faithful are present. The Khakhara deul
is an alternative form of tower over the sanctuary, which in
shape resembles the oblong gopuram temple gatehouses in
southern Dravidian architecture.

Rekha Deula :
 Rekha in Odia means a straight line. It is a tall building with a
shape of sugar loaf, looking like a Shikhara. It covers and protects
the sanctum sanctorum (Garbhagriha).

Lingaraja temple, example of a "shikhara deula".

 Examples :
• The Shikhara of the Lingaraja Temple in Bhubaneswar
• The Shikhara of the Jagannath temple in Puri

Pidha Deula :
 It is a square building, typically with a pyramid-shaped roof,
rather like the vimana towers over the sanctuaries of temples in
 southern Dravidian architecture. For the halls or service rooms
of the temple.

Konark Sun Temple, example of a "pitha deula".

 Examples :
• Baitala Deula, Bhubaneswar (dedicated to Chamunda)
• Varahi Deula, Chaurasi, Puri district (dedicated to Varahi)

Lakshmana Temple
• The Lakshmana Temple is a Hindu temple located in the Khajuraho
group of monuments, a UNESCO World Heritage Site in the
Chhatarpur district of Madhya Pradesh, India. It was built during the
Chandela dynasty between 930-950 CE, and is dedicated to Lord
Vishnu.
• The temple is renowned for its elaborate architecture and intricate
carvings that depict various scenes from Hindu mythology and daily
life. The temple is constructed on a high platform and is adorned
with over 600 sculptures, including 10 incarnations of Lord Vishnu
and various other deities and celestial beings.

• The temple is known for its unique architecture, which combines

elements of the Northern and Southern Indian architectural styles.
It is constructed of sandstone and is a classic example of the
Nagara style of architecture, characterized by its towering spires or
shikharas. The temple is also noted for its impressive entranceway,
which features an ornate archway decorated with intricate carvings
and sculptures.
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