DEVELOPMENT OF HINDU

ARCHITECTURE: DRAVIDIAN
STYLE

GROUP – 4
Jayasree-43,
Rithika -61,
Nirmitha - 74,
Bhavya -78,
Divyamsi - 79,
Sreeja - 80
 INTRODUCTION
• 1.DRAVIDIAN ARCHITECTURE OR THE SOUTH INDIAN TEMPLE STYLE IS FOUND IN HINDU TEMPLE
ARCHITECTURE THAT EMERGED IN THE SOUTHERN PART OF THE INDIAN SUBCONTINENT OR SOUTH
INDIA AND IN SRI LANKA, REACHING ITS FINAL FORM BY THE SIXTEENTH CENTURY.
• 2.IT IS SEEN IN HINDU TEMPLES, AND THE MOST DISTINCTIVE DIFFERENCE FROM NORTH INDIAN STYLES IS
THE USE OF A SHORTER AND MORE PYRAMIDAL TOWER OVER THE GARBHAGRIHA OR SANCTUARY CALLED
A VIMANA, WHERE THE NORTH HAS TALLER TOWERS, USUALLY BENDING INWARDS AS THEY RISE,
CALLED SHIKHARAS.
• 3.HOWEVER, FOR MODERN VISITORS TO LARGER TEMPLES THE DOMINATING FEATURE IS THE
HIGH GOPURA OR GATEHOUSE AT THE EDGE OF THE COMPOUND; LARGE TEMPLES HAVE SEVERAL,
DWARFING THE VIMANA; THESE ARE A MUCH MORE RECENT DEVELOPMENT. THERE ARE NUMEROUS OTHER
DISTINCT FEATURES
• .4.MENTIONED AS ONE OF THREE STYLES OF TEMPLE BUILDING IN THE ANCIENT BOOK VASTU SHASTRA, THE
MAJORITY OF THE EXISTING STRUCTURES ARE LOCATED IN THE SOUTHERN INDIAN STATES OF ANDHRA
PRADESH, KARNATAKA, KERALA, TAMIL NADU AND TELANGANA.
• 5.VARIOUS KINGDOMS AND EMPIRES SUCH AS THE CHOLAS, THE CHERA, THE KAKATIYAS, THE PANDYAS,
THE PALLAVAS, THE GANGAS, THE KADAMBAS, THE RASHTRAKUTAS, THE CHALUKYAS, THE HOYSALAS,
AND VIJAYANAGARA EMPIRE AMONG OTHERS HAVE MADE SUBSTANTIAL CONTRIBUTION TO THE EVOLUTION
OF THE DRAVIDA ARCHITECTURE.
 DRAVIDIAN STYLE OF TEMPLE
ARCHITECTURE

• DURING THE REIGN OF PALLAVA RULERS DRAVIDIAN STYLE DEVELOPED.

• THOUGH, ROCK CUT ARCHITECTURE WAS PRESENT IN SOUTH INDIA.
BUT LATER TEMPLES STARTED INTO EXISTENCE .
• AS RULERS OF SOUTH INDIA WAS MAINLY OF THE HINDU ORIGIN SO, WE
FOUND TEMPLES OF HINDU DEITIES IN SOUTH INDIA.
• SOUTH INDIA IS ALSO CULTURALLY RICH AS COMPARED TO INDIA
• SOUTH INDIANS HAVE VERY MUCH AFFECTION AND ATTACHMENT TO
THEIR CULTURE. SO, THEY FOLLOW IT RELIGIOUSLY AND CONSISTENTLY.
EATURES OF DRAVIDIAN STYLE
• The temple is enclosed within a compound wall.
• Gopuram: The entrance gateway in the centre of the front wall.
• Vimana: The shape of the main temple tower. It is a stepped pyramid that rises up geometrically (unlike the Nagara style Shikhara
that is curving).
• In the Dravida style, shikhara is the word used for the crowning element at the top of the temple (which is shaped like a stupika or
octagonal cupola).
• At the entrance to the garbhagriha, there would be sculptures of fierce dvarapalas guarding the temple.
• Mandapa.is a open pavilion provided after entering into the temple for the devotees.
• Subsidiary shrines could be found wither within the main tower or beside the main tower.
• In many temples, the garbhagriha is located in the smallest tower. It is also the oldest. With the passage of time and the rise of the
population of the temple-town, additional boundary walls were added. The newest structure would mostly have the tallest
gopuram.
• Example in the Sri ranganathar Temple at Srirangam, Tiruchirappally, there are 7 concentric rectangular enclosure walls each
having gopurams. The tower at the centre has the garbhagriha.
• Famous temple towns of Tamil Nadu: Kanchipuram, Thanjavur (Tanjore), Madurai and Kumbakonam.
 the
superstructure,
tower, or spire
above the
sanctuary and
also above the
pillared mandapas

the entrance Mandapa is a

gateway in the pillared hall or
centre of the pavilion for public
front wall. rituals

Vimana is the
structure over the
garbhagriha or inner
sanctum

garbhagriha is the sanctum sanctorum, the

innermost sanctuary of a temple where resides
the murti of the primary deity of the temple
MATERIALS USED IN CONSTRUCTION RUBBLE:
• IN PREHISTORIC AND EARLY HISTORIC TIMES RUBBLE, NATURALLY FRAGMENTED OR
DELIBERATELY CHIPPED ROCK OF NO SPECIFIC SHAPE, WAS THE MOST FREQUENT BUILDING
MATERIAL.
• STONES: IT POSSESSES GOOD RESISTANCE AGAINST ABRASION. IT IS QUITE STRONG AND
DURABLE BUILDING MATERIAL.
• WOOD: ANOTHER BUILDING MATERIAL WAS WOOD, FROM BOTH CONIFEROUS AND
DECIDUOUS TREES, ESPECIALLY POPLAR; FOR SUPPORTS AND ROOF CONSTRUCTION IN THE
TRADITIONAL ARCHITECTURE OF INDIA.
• MUD: FREQUENT BUILDING MATERIAL IN INDIAN CULTURAL AREAS WHICH WAS AVAILABLE
EVERYWHERE. IT IS USED FOR PLASTERING AND EVEN AS A COOLING MATERIAL.
HISTORY OF DRAVIDIAN STYLE
• THE DRAVIDIAN STYLE OF TEMPLE ARCHITECTURE OF SOUTH INDIA WAS PIONEERED BY THE
PALLAVAS WHO REIGNED IN PARTS OF KARNATAKA, ANDHRA PRADESH, AND NORTHERN TAMIL NADU
UNTIL THE NINTH CENTURY. DURING THE PALLAVA RULE, ROCK-CUT ARCHITECTURE WAS THE MOST
POPULAR CONSTRUCTION METHODOLOGY. THE PANCHAPANDAVA CAVES AT PALLAVARAM AND
RUDRA SALESHWARAM CAVE AT MAMANDUR ARE AMONGST THE MANY ROCK-CUT CONSTRUCTIONS
THAT BLOOMED DURING THE PALLAVA RULE.
• THE FREE-STANDING MONOLITH RATHAS (CHARIOTS CARVED OUT OF HARD GRANITE) BUILT BY KING
NARSIMHAVARMAN MAMALLA (A PALLAVA KING), WAS AN IMPORTANT BREAKTHROUGH IN THE
EVOLUTION OF DRAVIDIAN TEMPLE ARCHITECTURE OWING TO THEIR MULTI-TIERED STRUCTURE
KNOWN AS TALA. THESE TALAS ARE STACKED ONTO EACH OTHER WITH THE LOWER TALA BEING
WIDER THAN THE UPPER ONE, MAKING IT RESEMBLE A STEPPED PYRAMID.
• NARSIMHAVARMAN MAMALLA BUILT A PORT TOWN CALLED MAMALLAPURAMA . MAMALLAPURAM
IS WHAT WE KNOW TODAY AS MAHABALIPURAM –A FAMOUS TOURIST DESTINATION. IT IS SAID THAT
MAMALLAPURAM WAS ALMOST A LABORATORY TO THE PALLAVAS, WHERE THEY EXPERIMENTED
WITH VARIOUS CONSTRUCTIONAL AND SCULPTURAL TECHNIQUES.
• THE MAIN SHRINE OF THE KAILASANATHAR TEMPLE, BUILT IN THE PALLAVA CAPITAL KANCHIPURAM,
FEATURES A GOPURAM (TEMPLE GATEWAY TOWER) AND AN ENCLOSURE WALL KNOWN AS PRAKARA,.
BOTH THE GOPURAM AND PRAKARA ARE UNIQUE FEATURES OF THE DRAVIDIAN TEMPLE
ARCHITECTURE.
• AFTER THE PALLAVA RULE CAME THE MIGHTY CHOLA DYNASTY. THE CHOLAS RULED THEIR
TERRITORY FOR MORE THAN FOUR CENTURIES AND HAD HELD ONTO THEIR ANCIENT
CAPITAL OF URAIYUR IN TRICHY. THE CHOLA RULE WAS A GOLDEN PERIOD FOR ART AND
ARCHITECTURE.

• HAVING DEFEATED THE PALLAVAS THEY HAD A BIG CHALLENGE TO FACE WHEN IT CAME
TO RULE OVER A REGION THAT HAD SEEN THE GLORIOUS RULE OF THE PALLAVAS AS WELL
AS THEIR ICONIC ROCK-CUT ARCHITECTURE AND BUILT ARCHITECTURE AT
MAMALLAPURAM AND KANCHIPURAM.

• THE EARLY MEDIEVAL CHOLA ARCHITECTURE DREW SEVERAL CONCEPTS FROM THE
ARCHITECTURAL STYLE OF THE PALLAVAS. MOST OF THE TEMPLE STRUCTURES
CONSTRUCTED BY THE MEDIEVAL CHOLAS WERE ERECTED USING LOCAL CHIEFTAINS AND
WERE ENTIRELY BUILT IN STONE; FOUND IN TAMILNADU. VIJAYALAYACHOLEESVARAM, A
NINTH-CENTURY SHIVA TEMPLE LOCATED IN NARTHAMALAI, WAS NAMED AFTER THE
FIRST CHOLA KING VIJAYALA. THIS TEMPLE IS KNOWN FOR ITS UNCONVENTIONAL PLAN
WHERE THE SANCTUM IS CIRCULAR AND ITS PRAKARA (ENCLOSURE WALL) IS SQUARE-
SHAPED.

• MOOVARKOIL IS ANOTHER LANDMARK IN THE EARLY MEDIEVAL CHOLA ARCHITECTURE.

AT THE MOOVARKOIL, ONE CAN OBSERVE THE TRANSITION FROM NON- REFINED
SCULPTURAL FORM TO DELICATE SCULPTURAL FIGURES, ATTRIBUTED TO THE PALLAVA
INFLUENCE. BRIHADEESWARAR TEMPLE AT THANJAVUR IS ONE THE GREATEST EXAMPLES
OF DRAVIDIAN ARCHITECTURE. THE TEMPLE HAVE MASSIVE STRUCTURES CONSTRUCTED
OUT OF LARGE BLOCKS OF GRANITE. IT IS A MYSTERY TO THIS DAY AS TO HOW SUCH A
HEAVY STONE WAS LIFTED TO SUCH A GREAT HEIGHT.
• THE DRAVIDA ARCHITECTURE REACHED ITS PEAK AT THE TIME WHEN THE POWER OF THE CHOLAS
STARTED DECLINING. THE PYRAMIDAL VIMANA PLACED ON A SQUARE BASE, THE VIMANA TOWER
STRUCTURES CONSTRUCTED BY SUPERIMPOSING DIMINISHING STOREYS OVER ONE ANOTHER, THE
HARA (A HORIZONTAL ROW ON EACH STOREY CONSISTING OF MINIATURE SHRINES) ARE DISTINCT
FEATURES OF SOUTH INDIA’S DRAVIDIAN ARCHITECTURE.

• IN THE DRAVIDA TEMPLE DESIGN, THE MAIN STRUCTURE IS DIVIDED INTO GARBHAGRIHA
(SANCTUM), MAHAMANDAPA (CLOSED HALL), MANDAPA (SEMI-CLOSED HALL), ARDHA MANDAPA
(PORCH) AND NATYA MANDAPA (FOR CLASSICAL DANCE PERFORMANCES). GOPURAMS (TEMPLE
GATEWAY TOWERS) ARE ONE OF THE MOST DISTINCTIVE FEATURES OF THE DRAVIDIAN TEMPLES.
BOTH VIMANAS AND GOPURAMS HAVE HAD THEIR PYRAMIDAL STRUCTURE DIVIDED INTO MANY
DIMINISHING STOREYS.

• AN ENCLOSURE WALL IS KNOWN AS PRAKARA THAT ENCOMPASSED THE ENTIRE TEMPLE COMPLEX
WITHIN. DEPENDING ON THE SIZE OF THE TEMPLE, THE NUMBER OF CONCENTRIC PRAKARAS IS
CHOSEN. A WATER TANK NEAR THE TEMPLE FOR RITUALISTIC PURPOSES AND LARGE NANDIS (GATE-
GUARDIAN DEITY OF KAILASA, THE ABODE OF LORD SHIVA) WITH A MANDAPA OF THEIR OWN, ARE
OTHER OVERWHELMING FEATURES OF THE DRAVIDIAN FORM.

• AFTER THE COLLAPSE OF THE CHOLAS IN THE NINETEENTH-CENTURY, THE PANDYAS CAME BACK TO
POWER. HOWEVER, PANDYAS DID NOT FOCUS ON CREATIVE ARCHITECTURE UNLIKE THE CHOLAS,
AND RATHER CONCENTRATED ON BUILDING GOPURAMS TO THE EXISTING TEMPLES. THE MAIN
CONTRIBUTION OF PANDYAS WAS ON THE DEVELOPMENT OF TEMPLE GATEWAYS; THEY
CONSTRUCTED THE GATEWAYS AT THE JAMBUKESHWARA TEMPLE AND THE EASTERN GOPURAM OF
THE THILLAI NATARAJA TEMPLE.
• VIJAYANAGARA EMPIRE THAT CAME INTO BEING IN 1336 CE, THOUGH CONCENTRATED ON
BUILDING NEW TEMPLES IN AND AROUND THEIR CAPITAL HAMPI, ALSO MADE
SIGNIFICANT ADDITIONS TO OLDER EXISTING PALLAVAAND CHOLA TEMPLES BY
CONSTRUCTING HIGH GOPURAMS KNOWN AS RAYA GOPURAMS AND KALYANA
MANDAPAM (MARRIAGE HALLS).

• AN IMPORTANT EXAMPLE OF THE VIJAYANAGARA ERA IS THE HALL OF THOUSAND

PILLARS IN RANGANATHASWAMY TEMPLE AT SRIRANGAM CONSTRUCTED DURING THE
YEARS 1336–1565 CE. THE PILLARS ARE BEAUTIFULLY CARVED WITH SCULPTURES OF
WILDLY REARING HORSES BEARING RIDERS ON THEIR BACKS.

• AFTER THE COLLAPSE OF THE VIJAYANAGARA EMPIRE, VARIOUS NAYAKAS (THE MILITANTS
OF THE VIJAYNAGAR EMPIRE) WERE DECLARED INDEPENDENT. THESE NAYAKA RULERS
INCLUDE THE THANJAVUR NAYAKAS, GINGEE NAYAKS, AND MADURAI NAYAKS. THE
NAYAKA RULERS CONTINUED THE LEGACY OF THEIR PREVIOUS MASTERS AND ADDED
GLORY TO THE EXISTING TEMPLE COMPLEXES BY BUILDING VARIOUS HALLS AND
GOPURAMS.

• THE SOUTHERN GOPURAM AT MADURAI’S MEENAKSHI AMMAN TEMPLE IS UNDOUBTED,

ONE OF THE MOST SIGNIFICANT CONTRIBUTIONS TO THE DEVELOPMENT OF GOPURAMS
BY THE NAYAKAS. THE COLLAPSE OF THE VIJAYANAGARA EMPIRE AND THE DECLARATION
OF INDEPENDENCE OF VARIOUS NAYAKAS UNDER THEM MARKED THE LAST PHASE OF THE
EVER-LIVING DRAVIDIAN TEMPLE ARCHITECTURE OF SOUTHERN INDIA.
DRAVIDIAN STYLE DURING THE PALLAVA PERIOD/DYNASTY

. THE PALLAVA TIME PERIOD 600 AD TO 900 AD.

. PALLAVAS IN SOUTHERN INDIA WHOSE MEMBERS ORIGINATED AS INDIGENOUS SUBORDINATES OF THE

SATAVAHANAS IN THE DECCAN, MOVED INTO ANDHRA, AND THEN TO KANCI ,WHERE THEY BECAME
RULERS.

. THIS DYNASTY HAD CATEGORISED ITS ARCHITECTURAL STYLE INTO TWO PHASES.

>FIRST PHASE (600 AD TO 700 AD) - ROCK CUT ARCHITECTURE

>SECOND PHASE(700 AD TO 900 AD) - STRUCTURAL ARCHITECTURE

 TWO PHASES OF PALLAVA ARCHITECTURE

FIRST PHASE SECOND PHASE

STYLE - ROCK CUT ARCHITECTURE STYLE - STRUCTURAL
ARCHITECTURE
This style had two forms:
This style had only temples.
1)MANDAPAS
2)RATHAS
MANDAPAS(610AD-690AD)
.MANDAPAS WERE INTRODUCED DURING THE RULES OF
MAHENDRAVARMAN DATING BACK FROM 600 AD TO 640 AD.

MANDAPAS ARE BASICALLY OPEN PAVILLION EXCAVATED AS IN ROCK.

IT TAKES THE SHAPE OF SIMPLE COLUMNED HALL WITH ONE OR MORE

RECTANGULAR CELLS ON THE BACK HALL. Depicting
FAÇADE CONTAINS- ROLL CORNICE DECORATED WITH KUDUS, ABOVE mythological
THIS A PARAPET OR ATTIC MEMBER FORMED OF MINIATURE SHRINES, A
LONG ONE ALTERNATING WITH A SHORT ONE
stories
•PILLARS ARE THE MAIN CONTRIBUTIONS OF THIS PERIOD Kudus
•BEGINNING OF THE PALLAVA ORDER OF COLUMN •EG.
MAHISHASURAMANDAPA, ADIVARAHA, KRISHNA ,MANDAPAM ,VARAHA
MANDAPAM SCULPTURES DEPICTING MYTHOLOGICAL STORIES
 -EVOLUTION OF PALLAVAN ORDER (610 AD TO 690 AD)
The early pillars were the rudimentary type of beam
and bracket
•This was modified to a sophisticated design of the
capital and the shaft
•Finally the introduction of an element- lion
•This figure was incorporated into the lower portion
of the shaft and later at the capital
•This lion symbolized the ruling dynasty –
Simhavishnu
•Sq. shaft where the middle third is chamfered into
an octagon ht. 7’0” ,The dia of the column – 1’0”-2’0”
 THE PRINCIPAL ELEMENTS IN THE
FAÇADE OF THE MAMALLAPURAM
GROUP IS THE LION PILLAR WHICH
PALAGAI – wide
abacus RESTS ON THE ANIMALS HEAD.
IDAIE- Lotus Form
THE CRUDE BLOCK BRACKET IS
KUMBHA – Melon
OBVIOUS IN EARLY EXAMPLES, LATER
Capital
GETS MORE REFINED AND GRACEFUL
TADI – Refined
Necking A NATURAL LEONINE FIGURE – A
KALASA – Inverted DEVIATION FROM A GROTESQUE
Lotus
HORNED LION IN THE MANDAPAS
SIMHA-lion stambham
FLUTED BANDED SHAFT- STAMBHAM

-PARTS OF DRAVIDIAN ORDER

RATHAS (610 AD- 690 AD)
A RATHA IS IN REALITY A CAR OR CHARIOT,
PROVIDED BY THE TEMPLE AUTHORITIES FOR
THE CONVEYANCE OF THE IMAGE OF THE DEITY
DURING PROCESSIONS

IT REFERS TO A SERIES OF MONOLITHIC SHRINES

, WHICH ARE EXACT COPIES IN GRANITE.

THEY ARE BUILT OF WOOD, AS SHOWN BY

BEAM-HEADS RAFTERS AND PURLINS.
RATHAS AT MAHABALIPURAM
THE RATHA CAVE TEMPLES, COMMONLY CALLED THE
PANCHA PANDAVA RATHA, ARE A STYLISTIC ANOMALY
MARKING THE POINT OF TRANSITION BETWEEN THE
EARLIER TRADITION OF ROCK-CARVED CAVE TEMPLES AND
THE LATER TRADITION OF FREESTANDING STONE
STRUCTURES, OF THE TYPE SEEN AT THE NEARBY SHORE
TEMPLE.

CARVED IN THE 7TH CENTURY BY THE PALLAVA KINGS, THE

RATHA TEMPLES ARE AN ATTEMPT TO IMITATE FREE-
STANDING STONE CONSTRUCTION IN THE LIVING ROCK..

THE FIVE RATHAS NAMED AS DHARMARAJA RATHA, BHIMA

RATHA, ARJUNA RATHA, DRAUPADI RATHA AND
NAKULSAHADEV RATHA.
DRAUPADI RATHA
DRAUPADI RATHA: SMALLEST AMONG
THE GROUP DEDICATED TO DURGA
SIMPLEST AND THE MOST FINISHED A
CELL OR PANSALA SQUARE IN PLAN
THE SHAPE OF THE ROOF –THATCHED
STRUCTURE – PORTABLE SHRINE .
THE BASE IS SUPPORTED BY FIGURES
OF ANIMALS, A LION ALTERNATING
WITH AN ELEPHANT
ARJUN RATHA
STEPPED PYRAMID STRUCTURE
DECORATE WITH KUDUS
THE SQUARE DETAILS AT THE
CORNERS ARE TERMED AS STUPIS
AND THE OBLONG ONES IN THE
FAÇADE SHALAS
SQUARE IN PLAN 5M
BHEEMA RATHA
REPRODUCES THE CHAITYA MODE
KEEL OR BARREL VAULTED ROOF WITH
A CHAITYA GABLE END
THE STRUCTURE IS 2 STORIES HIGH
THE FRONT PORTICO CONSISTS OF 4
COLUMNS
THE GABLE END OF THE ROOF IS
ORNAMENTED WITH A CENTRAL
SYMBOL SIMILAR TO THE STUPA
DEPICTS A PRAYER HALL WITH CURVED
BARGE BOARDS TAKING THE PLACE OF
THE VAULTED ROOF.
 Shala stupi kudu
DHARMARAJA RATHA NAKUL SAHADEV RATHA

THE RATHA IS BASED ON ‘CHAITYA

DEDICATED TO SHIVA LARGEST OF THE HALL’ OF BUDDHIST TEMPLE WITH
5 RATHAS AN APSIDAL END ON THE SOUTH
SIDE AND DOUBLE PILLARED
SQUARE IN PLAN 10M PORTICO ON THE NORTH SIDE.
ITS PLINTH MEASURES 5.5M 3.35M
CONSISTS OF 3 STORIES THE LAST OF
AND RISES TO A HT OF 5M IN FOUR
WHICH IS 13M HIGH TIERS.
NO INTERNAL SPACE OTHER THAN
THE ROOF IS ELABORATELY CARVED.
GALLERIES WITH COLUMNS AT THE
ENTRANCE

THERE ARE 12 SQUARE STUPIS AT THE

CORNERS AND 24 SHALAS ON THE
SIDES.
PLAN OF PANCH RATHAS
GANESHA RATHA
DEDICATED TO SHIVA. LION ORNAMENTING A PIER IN THE
FAÇADE.

2 LION PILLARS IN THE PORTICO AEDICULE ON EITHER SIDE WITH

CARVED SCULPTURES

3 STORIES WITH THE KEEL ROOF -

PROTOTYPE FOR THE GOPURAM

•IN ELEVATION IT HAS 2 PARTS

•SQUARE PORTION WITH PILLARED VERANDAH BELOW

•PARAMEDICAL SHIKARA/TOWER FORMED BY CONVERTED CELLS

•STRONGLY MOULDED STYLOBATE ( BASE)

•TURRETED ROOF
 SECOND PHASE (690 - 900 AD)
STRUCTURAL TEMPLES
SHORE TEMPLE

•THE SHORE TEMPLE WAS CONSTRUCTED IN 700 AD BY

NARASIMHA VARMA II RAJASIMHA

•CONSTRUCTED OF DRESSED GRANITE

•THE COMPLEX CONSISTS OF 2 SHRINES DEDICATED TO SHIVA

AND 1 SHRINE DEDICATED TO VISHNU

•LOCATED NEAR THE SHORE OF MAMALLAPURAM THE

TEMPLE WAS CONSTRUCTED WITH THE INTENTION OF THE
CELLS FACING THE EAST SO THAT THE FIRST RAYS OF THE SUN
WOULD ILLUMINATE THE SHRINE

•AMONG THE BREAKERS STOOD A STONE PILLAR TO ACT AS A

LIGHTHOUSE .

•THIS CONCEPT LED TO THE DIFFERENT ARRANGEMENT OF

THE PARTS IN THE LAYOUT .
PLANNING:
•THE PLACEMENT OF THE CELLA IN THE EAST LEFT NO SPACE FOR THE MANDAPAS,
FORECOURTS AND GATEWAY

•THESE WERE HENCE PLACED IN THE REAR OF THE SHRINE

•THE CENTRAL STRUCTURE IS SURROUNDED BY A MASSIVE ENCLOSURE WALL, WITH

THE ENTRY ON THE WESTERN SIDE OF THE COURTYARD

•THE LAYOUT WAS FURTHER COMPLICATED BY THE ADDITION OF 2 SHRINES ADDED

ASYMMETRICALLY ON THE WEST.

THE ADDITION OF THE SHRINE ON THE WEST WITH THE SMALLER SPIRE GIVES THE
IMPRESSION THAT IT IS THE MAIN ENTRANCE

THE 2 SUPPLEMENTARY SHRINES HAVE CONVERTED THE SHORE TEMPLE INTO AN

UNCONVENTIONAL DOUBLE TOWERED MONUMENT VERTICALITY OF THE TEMPLE
ACCENTUATED WITH A SLENDER MONOLITHIC STUPI

THE CENTRAL BUILDING SEEMS TO BE A DEVELOPMENT OFF THE RATHAS WITH A

DIFFERENCE IN THE TREATMENT
FEATURES:
WATER CHAMBERS:
•SURROUNDED BY AN OUTER RECTANGULAR ENCLOSURE

•PORTIONS OF THE GROUND FLOOR OF THE ENCLOSURE CONSISTED OF

A SYSTEM OF SHALLOW CISTERNS WHICH COULD BE FLOODED ON
CERTAIN OCCASIONS

•THE SPACE COULD HENCE BE RESOLVED INTO A WATER TEMPLE

•SOME OF THE CONDUITS AND RECEPTACLES CAN BE TRACED

•THE WATER WAS FED INTO THE SYSTEM BY MEANS OF CANAL AND
CONVEYED BY SLUICES •OVERFLOW WAS CARRIED THROUGH THE REAR
OF THE SHRINE TO THE SEA

ENCLOSURE:
•SURROUNDING WALL HAD A PARAPET AND COPING WITH FIGURES OF
KNEELING BULLS

•BOLD PROJECTING LION PILASTERS ON EXTERIOR WALL

•ENTRANCE THROUGH A RICHLY ORNAMENTED DOORWAY ON THE

WESTERN SIDE LEADING TO A CORRIDOR ON ONE SIDE
KAILASANATHA TEMPLE
THE TEMPLE HAS RETAINED THE PALLAVA ARCHITECTURE IN ITS
ORIGINAL STYLIZED FORM WITH INFLUENCE OF THE LATER STYLES
DEVELOPED BY THE CHOLA DYNASTY AND VIJAYANAGARA EMPERORS

IT IS OF STONE BUILT ARCHITECTURE UNLIKE THE ROCK CUT

ARCHITECTURE BUILT INTO HALLOWED CAVES OR CARVED INTO ROCK
OUTCROPS AS IN MAHABALIPURAM.

THE TALL GOPURAM (TOWER) IS TO THE LEFT AND THE TEMPLE

COMPLEX IS TO THE RIGHT.

THE TEMPLE'S FOUNDATIONS ARE MADE OF GRANITE, WHICH COULD

WITHSTAND THE WEIGHT OF THE TEMPLE, WHILE THE SUPER
STRUCTURE INCLUDING THE CARVINGS ARE ALL MADE OF SANDSTONE.

INITIALLY, ONLY THE MAIN SANCTUARY EXISTED WITH PYRAMIDAL

VIMANA AND A DETACHED MANDAPA(MAIN HALL)

THE TEMPLE COMPLEX IS COMPLETE IN ALL RESPECTS AS IT HAS

GARBAGRIHA (SANCTUM SANCTORUM), ANTARALA (INNER
ENCLOSURE), MANDAPA, A HIGH COMPOUND WALL, AND AN
ENTRANCE GATE, THE GOPURAM.
THE MANDAPA, WHICH WAS INITIALLY DETACHED, WAS MADE
PART OF THE MAIN SHRINE BY INTERPOSING AN
ARDHAMANTAPA(SMALLER HALL).

THE PILLARS OF THE MANDAPA HAVE THE REPETITIVE FEATURES

OF MYTHICAL LION MOUNTS.

THE STRUCTURE HAS A SIMPLE LAYOUT. WITH A TOWER OR

SHIKARA AT THE CENTER OF THE COMPLEX.

THE SHIKARA OF THE TEMPLE, ABOVE THE MAIN SHRINE

(SANCTUM SANCTORUM), IS SQUARE IN PLAN AND RISES UP IN
A CURVILINEAR STYLE OR PYRAMIDAL SHAPE.

THE TOWER HAS MANY LEVELS RISING PROPORTIONATELY. THE

TOP OF THIS TOWERT, THERE IS A SMALL ROOF IN THE SHAPE OF
A DOME.

THE PILLAR ELEMENTS WITH MYTHICAL ANIMAL SHAPES (LIONS

ON THE BASE) ARE EXTRA FEATURES IN PALLAVA STYLE.
AT THE ENTRANCE, THE GOPURAM WALLS ARE
PLASTERED.
ITS ENTRANCE WALL HAS EIGHT SMALL SHRINES AND A
GOPURA, PRECURSOR TO THE MAIN GOPURA.

AT SOME LATER STAGE, THE MANDAPA AND THE

SANCTUARY WERE JOINED BY AN INTERMEDIATE HALL
CALLED THE ARDHAMANTAPA, WHICH IS REPORTED TO
HAVE MARRED THE BEAUTY OF THE TEMPLE TO SOME
EXTENT.

THE TEMPLE IS ENCLOSED WITHIN WALLS IN A

RECTANGULAR LAYOUT.

THE OUTSTANDING FEATURE OF SCULPTURES IS THE

PROFUSION OF DEPICTION OF THE ERECT LIONS
PROJECTING OUT IN SEVERAL DIRECTIONS.
THERE ARE TWO SCULPTURES OF SHIVA HERE WHICH ARE
SEEN HOLDING THE VEENA] IN THE HAND.

THERE IS A LOT OF DIFFERENCE BETWEEN THE VEENA

FOUND IN THE SAID SCULPTURES AND THE PRESENT DAY .
 DRAVIDIAN STYLE DURING CHOLA PERIOD
THE CHOLA KINGS RULED FROM AD (848–1280) AND WERE PROLIFIC TEMPLE BUILDERS RIGHT
FROM THE TIMES OF THE FIRST KING VIJAYALAYA CHOLA AFTER WHOM THE ECLECTIC CHAIN OF
VIJAYALAYA CHOZHISVARAM TEMPLE NEAR NARTTAMALAI EXISTS. THESE ARE THE EARLIEST
SPECIMEN OF DRAVIDIAN TEMPLES UNDER THE CHOLAS. HIS SON ADITYA I BUILT SEVERAL
TEMPLES AROUND THE KANCHI AND KUMBAKONAM REGIONS AT THE HEIGHT OF THEIR POWER,
THE CHOLAS HAVE LEFT OVER 2300 TEMPLES, WITH THE TIRUCHY-THANJAVUR BELT ITSELF
BOASTING OF MORE THAN 1500 TEMPLES. THE MAGNIFICENT SIVA TEMPLE OF THANJAVUR BUILT
BY RAJA RAJA I IN 1009 AS WELL AS THE BRIHADISVARA TEMPLE OF GANGAIKONDA
CHOLAPURAM, COMPLETED AROUND 1030, ARE BOTH FITTING MEMORIALS TO THE MATERIAL
AND MILITARY ACHIEVEMENTS OF THE TIME OF THE TWO CHOLA EMPERORS. THE LARGEST AND
TALLEST OF ALL INDIAN TEMPLES OF ITS TIME, THE TANJORE BRIHADISVARA IS AT THE APEX OF
SOUTH INDIAN ARCHITECTURE.
 CHOLA ARCHITECTURE-900-1150AD
EARLY TEMPLES
TYPICAL FEATURES:
• THE TEMPLES ARE OF MODEST PROPORTIONS
• BUILT ENTIRELY OF STONE
• EGS. AT PUDUKOTTAI-SUNDARESWARA AT TIRUKATTALAI, VIJAYALAY AT NARTAMALAI
• THESE SHOW THE DRAVIDIAN STYLE IN ITS FORMATIVE STAGES
• USE OF WELL DRESSED GRANITE
• PALLAVAN INFLUENCE OBSERVED IN THE VIMANA-SIMILAR TO THE RATHAS
• SIMILARITIES TO THE CHALUKYAN IN SHAPE OF THE DOMICAL FINIAL OF THE SHIKARA,
WHICH IS SIMILAR TO BIDGS AT PATADAKKAL
• TREATMENT- SIMPLIFICATION OF THE EXTERIORS COMPARED TO THE PALLAVAS WITH
ELIMINATION PF THE DETAILS
• ABSENCE OF THE LION MOTIF AND THE PILLAR
• THE CAPITAL IS MODIFIED TO BY ADDITION OF A NECK OF MOULDING PADMABANDHAM
AND THE POT KALASA. THE PALAGAI IS EXPANDED TO COMBINE THE IDAEI UNDERNEATH
 CHOLA ARCHITECTURE
BRIHADEESWARA TEMPLE THANJAVUR-1000AD
• THE BRIHADEESWARA TEMPLE AT TANJAVUR WAS CONSTRUCTED AROUND 1000AD
• THE LARGEST, HIGHEST AND MOST AMBITIOUS PROJECT AT ITS TIME –A LANDMARK IN THE EVOLUTION OF SOUTH INDIAN
ARCHITECTURE
• SUPERB ARCHITECTURAL TREATMENT AND PROPORTIONS
• THE MAIN STRUCTURE IS 180’ LONG ABOVE WHICH IS THE TOWER 190’ HIGH
PLANNING:
• DEDICATED TO SHIVA
• SURROUNDED BY 2 WALLED PRECINCTS
• THE FIRST ONE MEASURES 270M*140M CONSISTING OF A HIGH WALL RUNNING ALONG THE BANKS OF THE RIVER KAVERI
• THE 2ND WALL CONSISTS OF A PORTICO WITH A DOUBLE ROW OF PILLARS, MEASURES 150M*75M THE TEMPLE IS ENTERED
THROUGH
• THE PERIMETER WALL FORMS A RECTANGULAR CLOISTER WHICH COULD BE DIVIDED INTO 2 SQUARES
• THE CENTER OF THE 1ST SQUARE CONTAINS THE NANDI PAVILION AND THE 2ND CONTAINS THE CELLA
• OVER THE CELLA IS THE MAIN GOPURAM 60M HIGH AND 15M AT ITS BASE
A. GARBHA GRIHA
B. ARDHA MANDAPA
C. MAHA MANDAPA
D. NANDI MANDAPA
E. GOPURA
F. UPA DEVATA (SUBRAMANYA)

PLAN
• THE GARBAGRIHA IS A MERE 5M SQUARE SURROUNDED BY A THICK WALL WITH
A NARROW CORRIDOR
• AXIAL PLANNING
• THE MAIN CELLA IS PRECEDED BY A HYPOSTYLE HALLS AND A NARROW
VESTIBULE
• ENTERED THROUGH A PILLARED PORTICO ON THE WEST
 CHOLA ARCHITECTURE
BRIHADEESWARA TEMPLE THANJAVUR-1000AD

COMPONENTS OF VIMANA
THE MAIN VIMANA IS A HUGE SOLID BLOCK ON THE WESTERN END CONSISTING OF 3 PARTS:
1. SQUARE VERTICAL BASE
2. TALL TAPERING BODY
3. DOMICAL FINIAL
VERTICAL BASE
SQUARE OF 82’ RISING TO A HT OF 50’
THE SQUARE VERTICAL BASE RISES FOR 2 STORIES TO ACCOMMODATE
THE LINGA WHICH WAS INCREASED IN HT
AN UPPER GALLERY WAS HENCE ADDED CREATING A 2ND STOREY
WITH THE 2 LEVELS OF THE TOWER RECEIVING THE SAME TREATMENT.
PYRAMIDAL PORTION:
13 DIMINISHING STORIES UNTIL THE WIDTH OF THE APEX IS 1/3 BASE
CUPOLA:
ON THE SQUARE PLATFORM STANDS THE CUPOLA, THE INWARD CURVE
OF THE NECK BREAKING THE RIGID OUTLINES OF THE COMPOSITION.
 >A similar view of
the hollow interior
of the gopuram of
rajarajan,
tiruvaasal

• THE HOLLOW INTERIOR OF THE VIMANA, A VIEW FROM BELOW. BUILT OF INTERLOCKING STONES
WITHOUT ANY BINDING MATERIAL, THE VIMANA HAS NOT DEVELOPED A CRACK OR TILTED EVEN A FEW
CENTIMETRES IN ALL THESE YEARS DESPITE SIX EARTHQUAKES. A SIMILAR VIEW OF THE HOLLOW
INTERIOR OF THE GOPURAM OF RAJARAJAN TIRUVAASAL.
• . THE BASIC UNIT OF THE TEMPLE'S LAYOUT, WAS TAKEN FROM THE MAIN DEITY, THE LINGA ITSELF. THE
INNER SANCTUM, THE HEIGHT OF THE VIMANA, THE INTERMEDIATE SPACE BETWEEN THE VIMANA AND
THE CLOISTERED ENCLOSURE AND THE DISTANCE TO THE TWO GATEWAYS WERE ALL PROPORTIONATE TO
THE LINGA IN A REMARKABLE WAY. FOR INSTANCE, THE HEIGHT OF THE VIMANA IS EXACTLY TWICE THE
WIDTH OF THE OUTER BASE OF THE ADHISTANA (PLINTH) OF THE SANCTUM. “THE MATHEMATICAL
CALCULATIONS WERE ADVANCED TO A GREAT EXTENT AT THE TIME OF RAJARAJA CHOLA.”
 CHOLA ARCHITECTURE
BRIHADEESWARA TEMPLE THANJAVUR-1000 AD

ARCHITECTURAL TREATMENT:
VERTICAL FACE:
• THE WALL IS DIVIDED INTO 2 STORIES BY MEANS OF AN OVERHANGING CORNICE WHICH IS THE ONLY
HORIZONTAL MEMBER
• CONTAINS PILASTERS AND NICHES WITH SCULPTURES
• IN THE MIDDLE OF EACH RECESS IS A FIGURE SUBJECT
• THE MASTERY OF THE SCULPTORS IS SEEN IN THE DVARAPALAS WHICH STAND GUARD AT THE GATE
• THE ENTIRE PERIPHERY OF THE TEMPLE BASE CONSISTS OF MYTHICAL ANIMALS – LIONS
PYRAMIDAL ROOF: THE SURFACES ARE ADORNED WITH THE HORIZONTAL LINES OF THE DIMINISHING
TIERS
THE CUPOLA AT THE SUMMIT IS CONTRASTED WITH THE NICHES ON ALL THE 4 SIDES
• BRIHADEESWARAR TEMPLE HAS BEEN LISTED AS A UNESCO WORLD HERITAGE SITE UNDER THE LIST OF
‘GREAT LIVING CHOLA TEMPLES’.
• AN APPROXIMATE OF 130,000 TONS OF GRANITE WAS USED IN THE FORMATION OF THIS TEMPLE.
• THE HOLY SHRINE HAS A TEMPLE TOWER (VIMANA) THAT IS BUILT AT A HEIGHT OF 216 FEET. BEING THE
TALLEST IN THE WORLD, IT SYMBOLIZES MOUNT PERU. ‘GOPURAS’ OR THE TWO GATEWAYS ARE LOCATED
AT THE EASTERN ENTRANCE OF THE TEMPLE.
• THE TEMPLE’S ENTRANCE HAS A LARGE STATUE OF NANDI (SACRED BULL) THAT MEASURES ABOUT 16 FEET
IN LENGTH AND 13 FEET IN HEIGHT. THIS STATUE HAS BEEN CARVED OUT OF A SINGLE STONE.
• ‘KUMBAM’ IS THE TOPMOST COMPONENT OF THE HOLY SHRINE AND WEIGHS ABOUT 60 TONS. IT HAS
BEEN ALSO CARVED OUT FROM A SINGLE GRANITE STONE.
• A HUGE IDOL OF LORD SHIVA WITH THREE EYES IS PRESENT INSIDE THE TEMPLE ALONG WITH THE 108
DANCE FORMS OR ‘KARMAS’.
• THE EXTERIOR PART ON THE OTHER END IS DECORATED WITH SCULPTURES. THERE ARE 250 LINGAMS IN
THE ENTIRE TEMPLE COMPOUND.
• THIS FAMOUS SANCTUARY IS MADE UP OF A PILLARED HALL AND AN ASSEMBLY HALL WHICH IS KNOWN AS
MANDAPAS AND MANY SUB-SHRINES.
 DRAVIDIAN STYLE DURING PANDYA PERIOD
PANDYA ARCHITECTURE-1100-1350 AD

• PANDYA CAME BACK TO THE POWER FOR A WHILE IN THE TAMIL REGION AFTER THE COLLAPSE
OF CHOLAS IN THE 13TH CENTURY.

• PANDYAS WERE NOT CREATIVE BUILDERS LIKE CHOLAS AND RATHER CONCENTRATED ON
BUILDING GOPURAMS TO THE EXISTING TEMPLES.
THE MAIN CONTRIBUTION OF PANDYAS IS IN THE HEIGHTENED FOCUS ON THE TEMPLE
GATEWAYS.

• THE PANDYAS MOSTLY CONCENTRATED ON BUILDING GOPURAMS, THE MAIN ENTRANCE. A

TYPICAL GOPURAM CONSISTS OF A BUILDING OBLONG IN PLAN, RISING UP INTO A TAPERING
TOWER AND ENTERED BY A RECTANGULAR DOORWAY IN THE CENTRE OF ITS LONG SIDE.
• THE SUNDARA PANDYA GOPURAM, GATEWAYS OF JAMBUKESWARA TEMPLE AND
EASTERN GOPURAM OF THILLAI NATARAJA TEMPLE AND SRIVILLIPUTHUR ANDAL
TEMPLE ARE THE PRIME EXAMPLES OF GATEWAYS AND GOPURAMS BUILT DURING THIS
PERIOD.

• PLAN- USUALLY IN RECTANGULAR.

• GOPURAM PLAN- RECTANGULAR IN SHAPE. GOPURA IS GENERALLY CONSTRUCTED WITH

A STONE BASE AND A SUPERSTRUCTURE OF BRICK. WHEN VIEWED FROM TOP IT
RESEMBLES A MANDALA.

• GROUND FLOOR- VERTICAL BUILT IN STONE.

• FIRST FLOOR- VERTICAL BUILT IN STONE.

• A
‌ BOVE FLOORS- PYRAMIDAL BUILT IN BRICKS(INCLINATION OF 25°).
PINNACLES CALLED SHIKHARAS ARE ALWAYS USED IN OUR NUMBERS.
NICHES- WITH HEAVILY CARVED HINDI MYTHOLOGIES SCULPTURES.

• THE TEMPLE CONSISTED OF A SERIES OF CONCENTRIC WALLS ENCLOSING OPEN

COURTYARDS OR PRAKRARAMS, APPROACHED THROUGH HIGH WATCH TOWERS.
• THE WALLS WERE PURELY UTILITARIAN WITH NO AESTHETIC VALUE.
• THE TALL GATEWAYS WERE GIVEN EMBELLISHMENT.
▪ TYPICAL FEATURES OF THE GOPURAM:
• OBLONG IN PLAN

• TAPERING TOWER OF 100-150’HT.

• ENTERED BY A RECTANGULAR DOORWAY IN THE CENTER OF THE LONG SIDE.

• SIMILAR TO THE EGYPTIAN PROPYLONS.

• SLOPING OR BATTERED SIDES.

• THE LOWEST 2 STORIES OF THE TOWER ARE VERTICAL OF SOLID STONE MASONRY PROVIDING A
STABLE STRUCTURE FOR THE SUPERSTRUCTURE.
• THE SUPERSTRUCTURE WAS COMPOSED OF BRICK AND PLASTER.

▪ SUPERSTRUCTURE :

• PYRAMIDAL IN SHAPE.
• DIMINISHING TIERS.
• THE ANGLE OF SLOPE FROM THE VERTICAL IS 25*
DIFFERENCES BETWEEN VIMANA AND GOPURAM:
• The 2 main forms in the temple are distinguished by the top story in each.
• vimana is square in plan with a rounded cupola for the final (derived from the vihara ).
• Gopuram is oblong in plan with a vaulted roof (influenced from the keel roof of the buddhist
chaitya hall)
• There existed two types as to the form of the gopuram with respect to the appearance and
the surface treatment.
TYPE 1
First type:
• Straight sloping sides.
• Firm and rigid contours.
• geometric form where the treatment is architectural pillars and pilasters were used.

second type:
• more ornate.
• curved and concave sides.
• creating an upward sweep.
• Every portion is plastered thick.
TYPE
 TEMPLE PLANNING:
• FIRST THE TEMPLE USED TO BE IN CENTRE.
• CONCENTRIC WALLS AND GOPURAMS WERE ADDED.
• THE SMALLER GOPURAMS ARE HENCE TOWARDS CENTRE WITH THE TALLER ONES AT THE PERIPHERY.
• EACH CONCENTRIC RING SHOWS THE DEVELOPMENTAL STAGES.
• EXAMPLE- JAMBUKESHWARA TEMPLE TRICHY-

SUNDARAPANDIYA GOPURAM BUILT IN 1250.

 SRIVILLIPUTTUR ANDAL TEMPLE

• IMAGES OF PANCHAMURTIS, THUMBURU, NARADA,

SANATKUMARA, KINNARA MITHUNA, THE SUN AND THE
MOON ARE REPRESENTED AT THIS FEET
• SANCTUM SANCTORUM HAS THREE DOORWAYS AND LORD
CAN BE SEEN FROM THEM
• FLIGHT FROM STAIRS LEADS TO THE SANCTUM SANCTORUM
• A LARGE, IMPRESSIVE HALL WITH DETAILED CARVINGS
DEPICTING INCIDENTS FROM THE PURANAS
• CARVINGS ACT AS SUPPORT AS WELL AS DECORATE THE
CEILING.
 THILLAI NATRAJA TEMPLE
• A HINDU TEMPLE DEDICATED TO LORD SHIVA
• THE “FORM” IS A APPEARANCE OF NATRAJA CALLED THE
SAKALA-THIRUMENT
• THE “SEMI-FORM –AN EMPTY SPACE WITHIN THE
SANCTUM SANCTORUM, THE NISHKALATHIRUMENT
• NINE GATEWAYS, AND FOUR OF THESE HAVE GATEWAY
TOWERS OR GOPURAMS EACH WITH 7 STOREYS FACING
THE EAST, SOUTH, WEST, AND NORTH.
 MEENAKSHI TEMPLE
DRAVIDIAN STYLE TEMPLE DURING NAYAKA PERIOD (1600 AD-
1800 AD)
Meenakshi Amman Temple is a historic Hindu
temple located in the southern bank of river
Vaigai in the temple city of Madurai, Tamil
Nadu, India.
It is dedicated to Parvati who is known as
Meenakshi and her consort, Shiva, named here
as Sundareswarar.

The temple was believed to be sacked by the

infamous Muslim invader Malik Kafur in 1310
and all the ancient elements were destroyed.

The initiative to rebuild the structure was taken

by first Nayak king of Madurai, Viswanatha
Nayak (1559– 1600) under the supervision of
Ariyanatha Mudaliar, the prime minister of the
Nayak Dynasty and the founder of the Poligar
System.
PLAN
The Meenakshi temple was built in the Dravidian style of
architecture.
The temple occupies a huge area in the heart of Madurai
as it spreads over 14 acres.
The temple is enclosed with huge walls, which were built
in response to the invasions.
The entire structure, when viewed from above, represents
a mandala.
A mandala is a structure built according to the laws of
symmetry and loci.
There are various shrines built within the temple complex.
Apart from the two main shrines, which are dedicated to
Sundareswarar and Meenakshi, the temple has shrines
dedicated to various other deities like Ganesha and
Murugan.
The temple also houses goddesses Lakshmi, Rukmini, and
Saraswati.
Gopurams: The temple is surrounded by gopurams (gateway tower) - There are ten gopuram the tallest of which,
the famous southern tower, rises to over 52 m and was built in 1559. The oldest gopuram is the eastern one, built
by Maravarman sundara Pandyan during 1216-1238. Each gopuram is a multi-storeyed structure, covered with
thousands of stone figures of animals, gods and demons painted in bright hues.
GOLDEN LILY POND

The temple also has a consecrated

pond named ‘Porthamarai Kulam.’
The term ‘Potramarai Kulam’ is a
literal translation of ‘pond with a
golden lotus.’
The structure of a golden lotus is
placed at the center of the pond.
It is said that Lord Shiva blessed this
pond and declared that no marine
life would grow in it.
HALL OF THOUSAND PILLAR

There are over 33,000 sculptures in the temple

complex of Meenakshi Amman Temple in
Madurai.
The temple has been tagged as one of the seven
wonders of India along with other stunning
monuments like Taj Mahal.

The temple has 12 lofty gopurams, out of which 4

major ones are placed facing the four directions.
There are 4 inner gopurams that act as the
entrances to the shrine. These gopurams are
heavily carved, and is reconstructed and cleaned
every 12 years.

The Hall of Thousand Pillars, or Aayiram Kaal

Mandapam is a wonderful piece of architecture
and is believed to be built out of a single rock .
 SRI RANGANATHA TEMPLE
DRAVIDIAN STYLE TEMPLE DURING CHOLA PERIOD ( 850 AD- 1200
AD)
Biggest temple in India and Second Biggest Temple in the world
• Temple has an area of 156 acres.
• It is enclosed by 7 concentric walls called Prakarams (outer courtyard)
• Total length of temple is over 6 miles.
Temple History
• Built by Cholas around 9th century
• Later Patronized by Hoysalas of Karnataka
• Then by Pandya kings of Madurai and the Nayaks.
• Temple was also attacked by various Moghul, French , Hyder Ali and Tippu Sultan. The emperors ransacked the temple and
looted the riches of the temple.
Total of 21 Gopurams, largest in the first wall is 13- tiered and about 73 m tall. • 39 Pavillions • 50 sanctums to various Gods.
• 1000 Pillared Hall (actually has 953 pillars) all carved with horses. • Several Water Bodies inside • The physical body of Sri
Ramanujacharya is preserved inside the temple, in a shrine dedicated to him.

1000 pillared Hall Inside the hall contains a large seated figure of Garuda; the eagle headed Vehicle , facing the sanctum.
 A- THOUSAND PILLAR
A TEMPLE

B- SESHAGIRI
S MANDAPAM
1
2 S- SHRINE
B
1 TO 4 - ENCLOSURES
3

PLAN
The temple is aligned to the north-south and east-west axis, on an
island surrounded by the Kaveri River. The river has long been
considered sacred, and called the Daksina Ganga or the "Ganges of the
South".

The outer two prakarams (outer courtyard) are residential and markets
with shops, restaurants and flower stalls. The five inner courtyards have
shrines to Vishnu and his various avatars such as Rama and Krishna.

Despite the construction of various mandapas and gopuras over

a span of many centuries, the architecture of the
Ranganathaswamy temple is one of the better illustrations of
Hindu temple planometric geometry per agama design texts in
the Tamil tradition.

There are 21 gopurams (tower gateways), among which

the towering Rajagopuram (shrine of the main gateway)
is the tallest temple tower in Asia.
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