•Shikara has the repetition of architectural motifs, converted into an element

of decoration. These architectural motifs have much deeper meaning.

Symbolically it means to reach or get closer to the GOD
•There are two style of temple architecture were followed.
•Dravidian style in south
•Indo Aryan in north.
1. In one concept it was the derivation from the peaked or domed huts.
2. Temple developed form stupa-elongated form of the dome.
3. Temple is referred as ratha so the shikhara

North Indian Nagara Style South Indian Dravida Style Combined Style
Papanath temple – Pattadakal
• Dedicated to Lord Vishnu
•Built as the chief temple after the capital was founded
•Later on converted into Shiva’s temple
•Clearly shows the evolution of the temple
Papanath temple – Pattadakal
•90’ x 30’ in dimension. The Papanath
temple erected before the end of
the 17th century reveals in experience in
architectural design.

•This plan lacks in correct placement of

the main parts and a logical inter
relationship between them.

•The shikhara at the eastern end of the

building is too short and under sized
For the length of lower building part and
the antrala is too big.

•It looks like square assembly hall than a

• Too large, takes the shape of a square
vestibule more like a mandapa than an
court with 4 pillars.
ante chamber to the sanctuary.
• Instead of a connecting chamber it
•Antarala or Vestibule is wrongly
becomes another hall.
positioned
• Disproportion in plan has created
disproportion in elevation.
•Temple has on plan a sanctum (garbhagriha ) surrounded by a circumambulatory
path (pradakshinapatha)
•With devakoshtha pavilions in its three walls, an ardha-mandpa, a sabha-
mandapa and an entrance porch (mukhamandapa)
•There is no Nandi-mandapa but an ornate image of Nandi is housed in the
eastern half of the sabha-mandapa.
•The temple is built on a five mouldings plinth is embellished with animal motifs,
floral designs and kudus.
• The wall surfaces are relieved with niches (devakoshthas) housing Shaiva and
Vaishnava deities and depicting episodes from the Ramayana.
• These niches are topped by various designs of chaitya-arch motifs and
perforated windows.
• The amalaka and kalasa are however missing.
•Both the plan and the elevation does not harmonize.
•The interior still bears the influence of rock cut architecture .
•The string courses surrounding the building resemble strong braces holding the
structure together. the decoration of the outer surface consisting of repetitions of
elements.
•relief shrines in a triangular pattern on the canopies, shows little understanding of
architectural ornamentation.
VIRUPAKSHA TEMPLE – PATTADAKAL 740 AD
•This temple, in worship, known as ‘Shri Lokeswara- was built by Lokamahadevi, the
Queen of Vikaramaditya II in A.D.740 to commemorate her husband’s victory over
the Pallavas of Kanchipuram.

• It closely resembles the Kailasanatha temple at Kanchipuram on plan and

elevation and represents a fully developed and perfected stage of the Dravidian
architecture.
•This temple on plan has a square sanctum (garbhagriha) with a circumambulatory
path (pradakshinapatha), an antarala with two small shrines with entrance porches
& a separate Nandi-mandapa in front.

•The complex is enclosed by high prakara walls.

•Against the inner faces of these walls there were small shrines (originally 32)
dedicated to the subsidiary deities of which only a few are extant now.

•The enclosure has been provided with ornate entrance gates (pratolis) on both east
and west. The temple is built on a high plinth of five fully evolved mouldings.

• All these projections of the sanctum walls carry niches housing images of Shaiva and
Vaishnava deities

•The superstructure over the sanctum is a Dravida-vimana in three storeys

•It is square in plan and repeats in its elevation many elements of the parapet and
walls beneath.

•It has a beautifully shaped square roof (shikhara) with a round finial kalasa above.
•The whole of the interior of this temple is embellished with elegant carvings and
aesthetically moulded sculptures.

•Episodes from the Ramayana (e.g. abduction of Sita) Mahabharata (e.g. Bhishma lying
in a bed of arrows), Bhagavata (e.g. Krishna lifting the Govardhan mountain) and
Kiratarjuniya (e.g. Arjuna receiving the Pasupatastra from Siva) are depicted on the
pillars of the sabha- mandapa and the pilasters here have the sculptures of amorous
couples and Rati and Manmatha.

• Flora, fauna and geometrical patterns adorn various parts of the temple.

• Doorjambs (dwara-shakhas) with their delicate carvings, pillars and pilasters with
various types of capitals and carvings on their faces

• lintels relieved with animals, birds and architectural motifs, ceilings depicting divine
beings and the majestically standing dwarapalas - attest to the heights reached by the
Chalukyan sculptures.

The Nandi-mandapa situated to the east of the temple, is a square pavilion open on all
the four sides.
Virupaksha Temple
Virupaksha Temple