A DISSERTATION

Submitted by

MONISHA.V

In partial fulfilment of the requirements

For the award of the degree

Of

BACHELOR OF ARCHITECTURE

Under
FACULTY OF ARCHITECTURE AND PLANNING

In

SCHOOL OF ARCHITECTURE AND PLANNING

ANNA UNIVERSITY
CHENNAI 600 025
April 2018
*Butter sheet*
 A DISSERTATION

Submitted by

MONISHA.V

In partial fulfilment of the requirements

For the award of the degree

Of

BACHELOR OF ARCHITECTURE

Under
FACULTY OF ARCHITECTURE AND PLANNING

In

SCHOOL OF ARCHITECTURE AND PLANNING

ANNA UNIVERSITY
CHENNAI 600 025
April 2018
*Butter sheet*
 DECLARATION

I declare that this dissertation entitled “PALLAVAN ARCHITECTURE IN

MAHABALIPURAM AND KANCHIPURAM-THE SPECULATION AND
MUSINGS OF A SCULPTOR” is the result of my work and prepared by me under
the guidance of AR. SHALI JAISON and that it has not formed the basis for the
award of any degree, diploma, associate ship or fellowship of any other University
or Institute previously. Due acknowledgement have been made wherever
anything has been borrowed from other sources.

Date: Signature of Candidate

Name & Roll No MONISHA.V 2014701022
*Butter sheet*
 BONAFIDE CERTIFICATE

Certified that this Dissertation forming part of Course work AR - 9452, of VIII th
Semester, B.Arch, entitled “PALLAVAN ARCHITECTURE IN
MAHABALIPURAM AND KANCHIPURAM -THE SPECULATION AND
MUSINGS OF A SCULPTOR” SUBMITTED BY “MONISHA.V, 2014701022” to
the School of Architecture & Planning, Anna University for the award of under
graduation Degree in Architecture is a bonafide record of work carried by her
under my supervision.

Certified further that to the best of my knowledge the work reported herein does
not form part of any other thesis or dissertation on the basis of which degree or
award was conferred on an earlier occasion on this or any other candidate.

External Jury Supervisor

Head of the Department DEAN

Date: Date:
 ACKNOWLEDGEMENT

The topic I chose is what my heart wanted to do. Belonging to the same vicinity
of both Kanchipuram and Mahabalipuram, the places were both special to me
and these are the places where I find my roots and identity from its rich culture
and history –the pallavan architecture-the precursor to Tamilnadu’s temples. I
had the good opportunity to go and enjoy both the places and on this note I thank
my parents who were kind enough to help me do what my heart wanted to do. I
would also like to thank my architect M/s. Shali Jaison, who was patient enough
to guide me through this entire course in a most useful manner. I would also like
to thank all the people, who with or without their knowledge helped me to reach
places that I have never been to. I would also like to thank my friends who helped
me to live in a peaceful manner when I was home away. I would to thank my
seniors who helped me all the time whenever I asked for any doubt or help .Also
I would like to thank the Kings of the dynasty and the sculptors, who with their
ever tiring work came about with a wonderful places that inspired me to know
more about the history and culture of them.
 ABSTRACT

Ruling over a period of 600 years, the Pallavas were the kings who ruled over the
southern part of Andhra and the northern part of Tamilnadu also known a s
Thondaimandalam. Their contribution to the country’s rich heritage has no limit
and the structures have been standing for more than a 1000 years after all those
years of monsoon and natural disasters. The dissertation goes on about the
architecture of the two pallavan cities, which acted as the main centres of the
dynasty for entire period of the reign-Kanchipuram the capital city and
Mahabalipuram, the port and trade centre.

.
CONTENTS
1. CHAPTER 1
1.1 INTRODUCTION
1.1.1 HISTORY OF PALLAVAS
1.1.2 ADMISTRATION
1.1.3 RELIGION
1.1.4 ARMY
1.1.5 LOCAL ADMINISTRATION
1.1.6 JUDICIARY
1.1.7 ECONOMY AND TRADE
1.1.8 KINGS OF THE DYNASTY

2. CHAPTER 2
2.1 ARCHITECTURE OF PALLAVAS:
2.1.1 THREE PERIODS OF ARCHITECTURAL DEVELOPMENT
2.1.2 MAHABALIPURAM- A PLACE OF EXPERIMENTS:
2.1.2.1 TOWN PLANNING IN MAHABALIPURAM
2.1.2.2 FORMATION OF GUILD AND PRINCIPLE
2.1.2.3 SCULPTURE GROUP OF MONUMENTS
2.1.2.3.1 MONKEY GROUP OF MONUMENTS
2.1.2.3.2 ELEPHANT GROUP OF MONUMENTS
2.1.2.4 BAS RELIEF
2.1.2.4.1 THE NEW ARJUN’S PENANCE
2.1.2.4.2 THE OLD ARJUN PENANCE
2.1.2.5 THE ROCKCUT ARCHITECTURE
2.1.2.5.1 PANCHAPANDAVA MANDAPAM
2.1.2.5.2 DHARMARAJA MANDAPAM
2.1.2.5.3 VARAGHA MANDAPAM
2.1.2.5.4 KRISHNA MANDAPAM
2.1.2.5.6 MAHISHASURA MARTHINI MANDAPAM
2.1.2.5.6 TIGER CAVES
2.1.2.6 RADHAS IN MAHABALIPURAM - MONOLITHIC ARCHITECTURE
2.1.2.6.1 PANCHA RATHAS
2.1.2.6.1.1 DRAUPADHI RATHA
2.1.2.6.1.2 ARJUNA RATHA
 2.1.2.6.1.3 DHARMARAJA RATHA
2.1.2.6.1.4 BHIMA RATHA
2.1.2.6.1.5 NAKUL & SAHADEVA RATHA
2.1.2.6.2 PIDARI RATHA
2.1.2.6.3 VALLAYANKUTAI RATHA
2.1.2.6.4 GANESH RATHA
2.1.2.7 STRUCTURAL TEMPLES
2.1.2.7.1 MUKUNTHA NAYANAR TEMPLE
2.1.2.7.2 OLAKANESHWARA TEMPLE
2.1.2.7.3 SHORE TEMPLE
2.1.3 BUILDING MATERIALS AND CONSTRUCTION
2.1.4 CUTTING OF STONES
2.1.5 CHARACTERISTIC FEATURES OF PALLAVAN ARCHITECTURE
2.1.6 KANCHEEPURAM – THE CITY OF THOUSANDS TEMPLE
2.1.6.1 TOWN PLANNING IN EARLY PERIOD
2.1.6.2 KANCHEEPURAM GROUP OF MONUMENTS
2.1.6.2.1 KAILASANATHAR TEMPLE
2.1.6.2.2 VAIKUNTHAPERUMAL TEMPLE
2.1.6.2.3 MADANGEESHWARAR TEMPLE
2.1.6.2.4 TRAILOKYANATHA JEENASWAMI TEMPLE,
THIRUPARUTHIKUNDRAM

3. CONCLUSION
4. BIBILIOGRAPHY
INTRODUCTION

The Pallavas ruled over the Thondaimandalam, present

Chennai, Tiruvallur, Vellore, Kanchipuram, Tiruvannamalai and the northern part
of Viluppuram district in Thondaimandalam, and group the southern part
of Viluppuram District, the Union Territory of Pondicherry and Cuddalore. The
dynasty extended up to Chittoor and Nellore districts of Andhra Pradesh in north.
It extended from the river Krishna in the North to the river Palar in the South.
They ruled over a period of 275 AD to 897 AD. The capital city is known to be
Kanchipuram, which was noted to be center for Vedic learning, and land of 1000
temples. Even after several years after the rule 100 temples of pallavan dynasty
exists in a good condition.
The monuments older than the Tanjore big temple is situated in these parts of
Tamilnadu. Another important place is Mahabalipuram or Mamallapuram, served
as the port for the region. The dynasty is well known for its contribution to art and
architecture.
.

1
HISTORY OF PALLAVAS:

The origin of dynasty has its own twists and turns of myths and tales stated below:
 The pallavan kings must have been the descendants of Parthians –the
foreigners who ruled west India.
 A Brahmin royal lineage of Vatakas of Deccans.
 Descendants of a Chola price and a Naga princess of Manipallavam.
 Since no adequate evidence available it is now accepted that they were
natives of Thondaimandalam.
 They are also identical with Pulindas (as per Asoka inscriptions).
 The pallavas were said to be feudatories of Satvahanas before they grew
into power. After their fall in third century they became an independent
dynasty.

ADMINISTRATION:

The system of MONARCHY was followed in the dynasty, the king was revered
as equal to the god or is sometimes considered as the messengers or
descendants or representatives of god. The post of king was hereditary.
They kept the titles of Maharaja, Maharajathiraja dharma Maharajathi raja.

RELIGION:

Enthusiasm and devotion during the Pallavan rule was manifested in the
magnitude of the temples and the highly sculpted temple forms. The dynasty was
tolerant towards all religion. Even few kings supported Buddhism, Jainism, and
the Brahminical faith and were patrons of music, painting, and literature. Some
even converted between religions based on their faith. For example Jain born
Mahendravaraman –I (600-630 CE) converted to Shaivism under influence of
saint Appar.

2
When Buddhist monk Xuan Zank visited Kanchipuram during the reign of
NARASIMHAN –I he reported that he found 100 Buddhist monasteries and 80
temples.

ARMY:

Despite being art loving kings the Dynasty had strong and big army which was
well trained with war techniques and abilities,
They basically had 4 divisions: the infantry the elephants, the chariots the cavalry
.the also had navy which led many expeditions and also waged a war in srilanka.

LOCAL ADMINISTRATION:

The administrative units were called Nadu and Oor.The division nadu is governed
by a committee by name NATTAR. They carry out the king’s order and the
administrative duties of Nadu. Sabha is the committee of village administrations
.they are governed by group of people called perumakkal. Each Sabha is divided
into committees called the Vaariyams, which looked after the irrigation tanks
village garden landscapes, administration of temple etc.

JUDICIARY:

The dynasty had judiciary at three levels. The first and foremost court of king was
called dharmasena.The courts in town was called as adikarna.The courts in
villages was called the karnas , which settles the civil disputes in village.The
punishments was not cruel or harsh and were mostly in form of fines or penalty.

ECONOMY AND TRADE:

3
The main income was the land tax. Therewere18differettaxes (as per copper
inscriptions found during excavations) there were taxes on potter (kusakaanam),
weaver (than irai) oil pressers, washer man goldsmith cattle breeder, etc.

The palace internal expenses are managed by the “kumaripandaram” it includes

expenses made in royal court public work and grants.

KINGS OF THE DYNASTY:

The ruling period of the dynasty can be divided into two.

 Early Pallavas-the period of conquests and establishment of kingdom.

 Later Pallavas –the period of establishment of the art and architecture of
the dynasty
THE EARLY PALLAVAS:
 Simhavarman I (275–300)
 Skandavarman (unknown)
 Visnugopa (350–355)
 Kumaravishnu I (350–370)
 Skandavarman II (370–385)
 Viravarman (385–400)
 Skandavarman III (400–436)
 Simhavarman II (436–460)
 Skandavarman IV (460–480)
 Nandivarman I (480–510)
 Kumaravishnu II (510–530)
 Buddhavarman (530–540)
 Kumaravishnu III (540–550)
 Simhavarman III (550–560)
THE LATE PALLAVAS:
 Simhavishnu (575–600)
 Mahendravarman I (600–630)

4
  Narasimhavarman I (Mamalla) (630–668)
 Mahendravarman II (668–672)
 Paramesvaravarman I (670–695)
 Narasimhavarman II (Raja Simha) (695–722)
 Paramesvaravarman II (705–710)
 Nandivarman II (Pallavamalla) (730–795)
 Dantivarman (795–846)
 Nandivarman III (846–869)
 Aparajitavarman (879–897)

Among the several rulers the most important line of rulers, who contributed to the
art and architecture of the dynasty are :
1. Mahendravarman-I
2. Narasimhavarman-I (Also known as Mamallan)
3.Parameshwaravarman- I
4. Narasimhavarman- II (Also known as Rajasimhan)

These rulers were not only known for their political or wars but also to the
contribution to the development of south indian dravidan temple architecture ,art,
literature, sculpture, paintings, etc.

MAHENDRAVARMAN-I:

King Mahendravarman is the pioneer of the South Indian architecture in

Mahabalipuram .he commissioned the construction of new type of temple
architecture in the south. He was also a poet, dramatist, and a musician. He
supported all religions such as the Hinduism (Saivism and Vaishnavism) ,Jainism
,Buddhism. He himself was born a jain but later turned to Hindu under the
influence of the saint Appar. He was the first to start the rock cut temple
architecture in a hamlet by name Mandagapattu, which is one of the first known
cave temple in the pallavan architecture history.

5
It was during his period the Chalukyan king Pulikesin –II waged an war on the
Kanchipuram, after the former heard about the beauty of the kingdom. He was
defeated badly in that war.

THE ADVENT OF MAMALLA:

King Mahendravarmans, next in line to throne was Narasimmhavarman-I was

one of the greatest king of his period (the others being Harshavardhan Gupta in
north and Pulikesin II of the Chalukyas) he was even a greater king than his
father, a patron of art and architecture of the pallavan architecture and he
defeated the Kind Pulikesin II in revenge for his father s defeat.

In the war, he was helped by a refugee king Mana Varman of Srilanka. He helped
him get back his throne by sending a fleet of army from the shores of
Mahabalipuram. Thus he was a great king and even a greater human who was
loyal to his friend. Also from this fact we can come to know that Mahabalipuram
being a port for trade and also acted as naval base.

Mahendravarman-II who succeeded his father Mamallan continued the works

and followed the policies of his father and grandfather. He ruled just for five years.
And was succeeded by his son Parameshwaravarman –I

PARAMESHWARAVARMAN-I

His reign was mostly the wars but however he contributed to art and architecture
specifically in Mahabalipuram. He continued and completed the works by his
predecessors and it was during his time there were attempts to make masonry
temples using granite slabs. The era of this king saw the introduction of stone
carves cult images in the rear wall of sanctum. He was succeeded by his son
Narasimavarman-II

NARASIMHAVARMAN-II:

6
Also named as Rajasimhan, the dynasty during his reign enjoyed a time which
had no wars and the time was contributed to the development of temple
architecture entirely. The king Narasimavarman started the construction of
masonry temples. He was the one who commissioned the Kanchipuram’s most
celebrated and oldest temple Kailashanathar temple and the Mahabalipuram
shore temple. Being religiously tolerating king, he also contributed to the building
of the construction rock cut Buddhist Vihara in different parts of the kingdom. He
was succeeded by his son Nandi Varman –II.

NANDIVARMAN-II:

King Nandi Varman built the Vaikuntha Perumal temple. After his period the
successors were weak. And they were overthrown by the Cholas in the 9th
century.

ARCHITECTURE OF PALLAVAS

Pallavan period is an age when architecture showed grandeur and beauty. The
period is also known as the age of “poetry in stone”.
The art and architecture of the dynasty rose and fell together with it.it was divided
into three periods. In the lands of Karnataka the chalukyan artisans were
exchanged from one dynasty to another due to the war between pallava and
chalukyas.thus the artisans ended up in the sea facinf city of mahabalipuram
which is also rich in the raw material-granite being the trade center there was also
exchange of knowledge about the building construction with the persons from
Greece java sumatrra combodia srilanka etc.as a result there was some influence
of freek pillars and other structural concepts in the construction.

EARLY PERIOD -

Also known as the MAHENDRA STYLE, The period extends from 610 to 640
A.D.The structures belonging to this era take the form of rock cut temple .they

7
were excavated in natural rock .They are rudimentary in nature and have crude
essence in them. It is because they were the experimental and initial development
stage of the South Indian rock cut architecture. It was the first time ever the crafts
person had to work with granite which is more difficult to work on.

INTERMEDIATE PERIOD

Also known as MAMALLA STYLE, this architecture style was little refined than
the predecessor the Mahendra style. The structures took the form if free standing
monolithic rock cut structures. They were called the RATHAS. This predominant
style is found in the town of Mahabalipuram. The second phase started with the
reign of king Rajasimhan, in which all buildings are entirely structural.it began
towards the end of

LATE PERIOD
The phase was divided into two phases.
 FIRST PHASE
 SECOND PHASE

In the first phase, the material used was sandstone. These types are mostly found
in the city of Kanchipuram the capital of the dynasty .The quality of architecture
is more intrinsic in nature and greatly refined features .In the second phase the
use of composite material construction is found. The lower portion of the temples
was of sandstone. And the upper portion i.e. the tower or gopura was with brick
with lime plaster.

POST PALLAVAN PERIOD:

After the reign of the pallavas, around 900 A.D the Cholas conquered the land
of pallavas. The construction type changed from sandstone to granite due to its
abundant availability and durable quality.

8
9
 MAHABALIPURAM-A PLACE OF EXPERIMENTS?

In the evolution of temples, the temples in badmi and aihole were the first known
temples to be constructed. The architectural features needed for the temple are:
The sanctuary –known as Vimana and the upper roof portion that covers it is
known as shikara , inside the Vimana is a small chamber that holds the deity
known as the gripagriha ,whose entrance is on the eastern side .in front of it is
the mandapa or hall for communion prayer and assembly . The leading hall from
mandapas the ardha mandapa and this in later periods has add on transepts
known to be the maha mandapa. Some temples were kept into a central
rectangular courtyard surrounded by the a wall that provided a path for the
circumambulation within the premises and in addition to that it ensured seclusion
from the outside environment. This was called the ”pradakshinapatha”. The kings
and the people wanted to give a “dwelling place to the almighty” and then the
other heavenly elements and subsidiary gods. Thus the supreme power was kept

10
inside the gripagriha and the other heavenly beings that is said to protect people
are made to come under one roof into a structure called TEMPLE.

The temples in the Badami and Aihole were of lintel beam construction and the
roof part didn’t go as high as they expected and it was flat roof. The stone masons
started to put dolmens over the temple gripagriha which led to the stepped
pyramidal form, every step moulded horizontally of varying thickness. But instead
of stone it was done in timber and other perishable materials and it didn’t give
any permanence to the structure.

Meanwhile in further south, the craftsmen of the pallavas in the shoreline of

mamallapuram, who might have been transferred as a result of war between the
rival kingdoms- the chalukyas and pallavas who were at each other’s throat all
the time., started to experiment there. It was a period where the power of
chalukyas and the pallavas were even. The pandyas kadambas and other south
Indian kings were supporting the both sides of the rivalry based on the political
expediency that were profitable on both sides.

The nearness to the sea, abundance of the raw materials on the nearby side,
trade influence, the mind of the artisans to experiment with the building styles,
the will of the king to give permanence to the structure, the reverence towards
the religion led to the discovery of wonderful monuments that exists till this date.

TOWN PLANNING IN MAHABALIPURAM

The city of mahabalipuram, situated near the mouth of palar river, stood on 100
ft. high and half mile long hill of granite gneiss rising out of the sand bed. There
are traces of citadel protected by fortification that existed over the mountain. The
traces of citadel had stone basement which survived till the date. The super
structure, built of bricks timber and mortar ceased to exist due to the time and
war.

11
The city seems to be well designed with water supply and drainage which is
proved by the remnants of the channel and conduits in the existing structures.

THE FORMATION OF GUILDS AND PRINCIPLES

The masons and the sculptors tried to derive new forms and thus they resulted in
different types of structures that will ultimately lead to better looking structure that
serves the purpose.as the movement was going they came about to set
standards and principles in the procedure, structure that are to be followed in the
art of building the temples and implying that the masons were working with one
general understanding and goal, with a well-established code. Thus it ensured
the uniformity of the style in the structures.
In this situation there were two guilds formed -the stone masons and the stone
shilpas (the sculptors).these guilds exists the7th century A.D .they were
responsible for the aesthetics of the structures that were built at that place. At first
they taught the art in form of gurukulas but later it became hereditary. There were
also movement in the guilds between different dynasties that gave birth to new
school of arts at different periods. The guilds were also the means to preserve
the inner character of the crafts developed by a series of trial and errors and to
communicate with other places where this crafts are being practiced.

SCULPTURE GROUP OF MONUMENTS

1. MONKEY GROUP OF MONUMENTS

The monkey group of monuments present next to the Arjun's penance comprises
of family of a monkey-father mother and baby monkey searching lice in each
other’s head. The sculpture expresses the love that exists in the animal kingdom

2. The elephant group of monuments:

12
2. ELEPAHANT GROUP OF MONUMENTS:
This sculpture hidden behind the Trimoorthy caves depicts a tale from the Jataka
tale of a monkey elephant and partridge arguing whose elder of them all.
The relief has the carvings of a partridge, a monkey, and elephant with two little
ones. Thus we can see a Buddhist influence in sculptures while Ajanta caves
managed to depict the tale through paintings, our sculptors in Mahabalipuram
managed to give life to the stone through the tale and permanence to it thus
carrying the legacy to future generations.

BAS RELIEF:
THE OLD ARJUN’S PENANCE:

A huge bas relief is found on the way to the five rathas.its almost incomplete and
is considered to be done before the arjuns penance as a trial model. The reilief
shoes the penenace of Arjun and shiva next to him with other structures such as
the other heavenly beings like gandharvas apsaras etc.

13
THE NEW ARJUN’S PENANCE:
The unique large and first ever bass relief present in the town of Mahabalipuram,
the Arjun’s penance, carved over a large rock boulder gives us the tale of
penance of Arjun, one of the heroes of mahabharath.the rock is a freeze of many
events happening. It shows the descent of Ganges from heaven which is
represented as the cleft in the middle. The presence of a moat below indicated
that water must have flown through it in olden days. All other carving on the
boulder seems to concentrate towards the center cleft. The reliefs bears the
carvings of the gods and goddesses such as Shiva Chandra ,surya, Parvathi and
other celestial beings such as gandarvas,apsaras etc. and also sages , ganas
and animals like lion ,tiger, elephants and boar.

Another interesting scene is the depiction of cat’s penance. If observed closely,

the carving of Arjun, we see the fine detailing of his ribcage showing up due to
the severe penance. On the bottom we can see a cat making fun of his penance
and while mouse are surrounded .quite n the contrary to Arjun’s body the cat has
a protruding pot belly. Here comes the artists sense of humor. The cat goes into
penance with his eyes closed so that the mice might come out and that it can
have a hearty meal. Thus it’s proved that everything is in the details

The scene is generally is to depict the penance of Arjun made to obtain

pasupatha ashtra weapon and Shiva grants this boon while he is in hunter’s form.
But Shiva in the carvings is not in his hunter form which led to doubt of identity of
sculpture. But the other tale regarding bagiratha doing penance and Shiva
granting the boon to Ganga to flow from heaven seems to match the entire story
.depicted in the bas relief.

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15
THE ROCKCUT ARCHITECTURE:
Of the rock cut examples of Pallavan architecture at Mamallapuram, the
mandapas may be referred to first: these carved halls are ten in number, and are
to be found on various suitable sites on the main hill. In most instances. They are
of the same general character and proportions as those of the previous group,
but much more highly developed, a proof of the rapid progress that took place
during the short period that intervened.

PANCHA PANDAVA MANDAPAM:

The largest cave was the Pancha Pandava Mandapam situated near the Arjun’s
penance. The front façade had six lion pillars and the interior was decorated with
the pilasters. The structure was unfinished. The extreme interior walls show the
reference grid on which the sculptures must have been planes to be carved. The
brackets above the pillar was decorated with human riding lion or griffin. It was
originally planned to have a circumambulatory path around it. This was not
attempted in any rock cut temples of the pallavan dynasty.

DHARMARAJA MANDAPAM:
In the west foot hill there is a small cave temple known as the dharma raja
mandapam. This rock cut cave temple belongs to Mahindra style and was
commissioned by the King Parameshwaravarman I, who dedicated it to lord
Shiva. The interiors and columns were not much decorated but left plainly and
the structures when observed has sharp and clear cuts compared to other
temples .the pillars are engraved with conches and discus (signs of being
vaishnavite influence) despite being Shiva temple, indicates peaceful
coexistence of the both sects

VARAHA MANDAPAM:
The Varaha Mandapa Cave with four rows of delicate lion columns on its facade
is an elaborately carved cave, though small, with sculptures in relief covering the
entire walls of the Mandapa. The cave was dedicated to Vishnu, who is depicted
in relief on the left wall, sustaining the ground from the seabed in the incarnation

16
of Varaha (boar). On the rear wall is depicted in relief a scene of an elephant
spraying water on the consort of Vishnu and the goddess of fortune, Lakshmi.
The mandapa in the front has two lion- pillars and two pilasters, and beyond this
in the centre, the cell is guarded by two dwarapalas. There are four panels on the
walls of front mandapa representing Varaha raising goddess earth from the
ocean. (Bhuvaraha panel), Gajalakshmi seated on lotus and bathed by
elephants, Durga with four arms and Trivikrama overcoming the demon king Bali.
The delineation and modelling of the figures are remarkable.

THEVIEW OF VARAHA MANDAPA

THESCULPTURES FOUNDIN THE VARAHA MANDAPA

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KRISHNA MANDAPAM:
The largest cave-cut Hindu temple in Mahabalipuram is Krishna Mandapam - it
is also one of the oldest structures in Mahabalipuram. This structure is cut in
diorite, above the temple there are located enormous boulders. Entrance of the
temple has six columns, five columns are adorned with horned lions. Further
inside there are more columns.

MAHISHASURAMARDHINI MANDAPAM:
At the Mahishasuramardini Mandapa Cave is depicted a scene of Goddess
Durga, Shiva’s consort, with eight arms on a lion’s back, eliminating the demon
Mahisha in the figure of a buffalo. The cave has a front mandapa with a triple cell
with four pillars and two pilasters. On either side of this mandapa two large panels
one representing Seshasayi Vishnu and other Mahishasuramardhini. The central
cell is intended for a Siva Linga; on the wall behind is the representation of
Somaskanda.

18
 THE VIEW OF MAHISHASURA MARTHINI CAVE UNDER THE
OLAKANESHWARA TEMPLE

TRIMURTHY CAVES
This cave temple consists of three shrines which have been excavated on the
western façade of the hill. These shrines have been hewn out sharing a common
and contiguous platform, the middle shrine is project forward providing due
importance. As the platform is raised above the ground level, staircases are
provided to each shrine. All the shrines are adorned with their own set of
dvarpalas, carved in the niche created out of slim, slender pilasters. The upper
part of the cave façade is decorated with dormer windows (kudu arches) topped
with interconnected oblong shrines. This cave does not have any front mandapa
or porch which is rarely absent in the Pallava cave temples. The pillars of this
cave temples do not fall under the accepted Mahendra or Mamalla order. Though
the cave is one of the most complete structure but it is devoid of inscriptions
except a solitary phrase which does not provide much information on the
authorship.

19
 TRIMUTHY CAVE
TIGER CAVES:

It gets its name from the carvings of tiger heads on the mouth of a cave which
forms a part of the complex. The Tiger Cave is considered to be one of the
Mahabalipuram rock-cut temples constructed by the Pallavas in the 8th century
AD. The site is located on the Bay of Bengal coast.

20
RATHAS IN MAHABALIPURAM - MONOLITHIC ARCHITECTURE:

The chalukyans started with cave architecture and directly went to the structural
temple stage. But the pallavas had different approach when it come to go to their
success and it gave a better results .they started with rock cut temples and then
there was an intermediate stage of monolithic construction known as the rathas .
They tried different forms in plan-square (Dharmaraja ratha), oblong (Bhīma
ratha), apsidal (Sahadeva ratha). Variety in super structure – pyramidal with
octagonal crown (Dharmaraja ratha), wagon roof (Bhīma ratha), pyramidal with
square crown (Pidari ratha) hut roof (Draupathi ratha).

 PANCHA RATHAS –
1. Draupathi ratha
2. Arjun ratha
3. Bhīma ratha
4. Nakul shadev ratha
5. Dharma raja ratha
 GANESHA RATHA
 PIDARI RATHA
 VALLAYANKUTAI RATHA

PANCHA RATHAS:
When one looks at the group of monuments one can see that it is a freeze of a
group of rathas that are in procession. Though the monuments are named after
the Mahabaratha heroes they are in no way related to those legends. The
monuments are merely the different approaches mad by the sculptors and the
masons to form a new concept for the design of the temples.

21
 PLAN OF PANCHA RATHA

THE VIEW OF PANCHA RATHAS

22
  DRAUPATHI RATHA
The entance of the ratha is spanned proportionately and is decorated with
beautifully shaped Makara toranas.the dwaralapalikas sit in the front of the
entance guarding the main deity durga inside.the basic form of the ratha is from
the hut .it sis one storeyed structure and is comparitvely smaller than that eother
rathas. Named after the common wife of the Pancha Pandavas, this ratha which
lies at the northern end of the five rathas is dedicated to Goddess Durga.
Constructed in the form of a small hut of Bengal, it is the smallest of the five
rathas, and measures 3.4 m by 3.4 m with a height of 5.5 m. The curvilinear
thatched roof is devoid of any finial but is embellished with motifs in the joints.
The high rise platform leading to the entrance door of the west facing ratha is
decorated with sculptures of lion and elephant heads chiselled alternately. Durga
images adorn the ratha, particularly on the sanctum that portrays Goddess Durga
standing on a lotus and also on the exterior surface of the wall facing east.

23
  ARJUNS RATHA
The two storey building is mre similar to dharmaraja ratha but in smaller in size.
This dvi-tala or two tiered vimana facing west and carved out of a live rock
measuring 3.5 m by 4.9 m with a height of 6.1 m is dedicated to Lord Shiva. It
shares the same upapitha or secondary platform with the Draupadi Ratha. The
structure of the Arjuna Ratha is quiet simple and looks like a small palace.
Although very much akin to the Dharmaraja Ratha, it differs from the latter in
some respects which includes having one tier less than the latter, shape of the
dome being octagonal and front yard adorned with a finely chiselled stone
lion. The garbhagriha or sanctum sanctorum has a pillared Mukhamandapa or
inner porch. The entrance of the ratha rests on two pillars and two lion mounted
carved pilasters. The four sides of the cornices are decorated with kudus. In-
between the exquisitely carved pillars lies slit-niches that consist of figures of
several deities like Siva. The 8 niches of the second storey consist of carved
figures of couples. A figure of Lord Shiva’s mount, Nandi the bull, is housed on
the rear of the ratha.

24
  BHIMA RATHA
This ektala vimana facing west is an oblong structure with a base measuring 12.8
m by 7.3 m and a height of 7.6 m. It reminds one of the Buddhist cave architecture
like the Sala-Shikhara. Dedicated to Lord Vishnu, this structure has a barrel-
vaulted terrace and decorated columned porch, suggestive of palace
architectural style. It is chiselled out of a pink granite boulder which soars
gradually from north to south. The lower floor of the vimana, although incomplete
indicates the plan that was chalked out for the floor that include a pillar-rested
circumambulatory passage. It has open veranda with long pillars, lion mounted
columned galleries on both long sides and kudus. Such embellishments are
sculpted on the façade of the structure atop the cornices that demarks the two
floors. The cornices connected to a passage are carved with oblong-shaped
shrines. The gable ends are embellished with beautiful motifs while the interior of
the vimana are inscribed with Nasikas which is supported by the small half pillars
decorated by the royal figurines. The two tiered structure has a circumbabulatory
path that is covered within the roof structure.

25
26
  NAKUL SAHADEVA RATHA :
This ratha dedicated to Lord Indra was named after the twins Nakula and
Sahadeva, the last two of the Pandava brothers. It is the only ratha among the
five that faces south and to some extent resembles a Chaitya Hall that is a
Buddhist prayer hall. As the structure looks like backside of an elephant, it is
referred as ‘Gajaprishtakara’ and the style as ‘gajapristha’. A monolithic sculpture
of an elephant also finds place beside the ratha. Constructed on the same base
as that of the Dharmaraja, Bhima and Arjuna rathas, this dvitala or two tiered
structure has an apsidal plan. Although the ratha is devoid of any idol to worship,
carved figures of gods and demi-gods adorn the niches of its interior walls.

PLAN OF NAKUL AND SAHADEV RATHA

THE ELEVATIONS OF RATHA

27
  DHARMARAJA RATHA

The ratha is largest of all rathas and acted as the precursor for the fore coming
temple architecture. The ratha is a square plan and has three floors and is the
only ratha to be designed to have a shrine at each level. The ground level is
incomplete and the steps to reach the upper level is incomplete. The sanctum top
has the somaskandha panel, the first one to be used in the ratha which in later
stages was used in all structural temples.it is in this ratha both sculpture and
architecture is well balanced. This became the model for the all the later shrines
in Tamil country. The shikara has the kudu arches emblishes in all the eith sides
wth floral design and it reminds oft the typical brass work that comes from later
Period. The structure is a 8 tiered monument and Features of the vimana includes
open porches, progressively smaller storeys giving the structure the shape of a
pyramidal tower having terrace and a shikhara, octagonal in shape, at the apex.

28
IMAGES OF DHARMARAJA RATHA

29
 .
KUDU ARCHES IN BHIMA RATHA WHICH IS FOUND IN DHARAMARAJA
RATHA AND ALSO WILL BE FOUNFIN KAILASHNATHA TEMPLE IN LATER
PERIOD

Seen on the outskirts of the town the rathas were minor variations of the Arjun’s
ratha. There are no inscriptions found on the surface of the surfaces of the rathas
and were incomplete.

PIDARI RATHAS
The Pidari rathas are a pair of rathas that possess the same features as the
Arjun’s rathas .they are incomplete in structure and as we observe the lower part
of the structure is still in crude form. The one ratha has a square Nagari style
dome and the other has octagonal Dravidian shikara/dome on the top.as the
structure descends down from the top the structure clarity diminishes .both the
structures were built over a boulder of rock that stands on the mountain
region.one of the tower is four tiered (octagonal dome) and the other if four tiered
(square dome).the tower portion is well distinguished features and has barrel
vault shaped turrets that decorates the tiers of the Vimana. The typical features
such as the pilasters are found in the all four elevations of the both structure. The
south ratha faces east and north ratha faces north. This orientation is not followed
in any other shrines.

30
VALLAYANKUTAI RATHA:
This structure is situated over a small hillock. It is carved from a single rock. When
observed the structure seems to be fixed over a rock or seemed to be growing
from the rock. The top portion is well defined and the perfection decreases as the
structure descends down.it can be assumed that the structure was built with an
intention of developing an idea of Vimana for a structure. It has the typical
features of Arjun’s ratha and the tower is square in plan tapering up to the top in
three tiers wherein the top most tier if of nagara shrine influence .the front
elevation has pillars supporting the Vimana.

GANESH RATHA:
It is one of the finest monolithic rathas situated on the hillock region. The tower is
of three tiers and the roof form resembles that of bhimratha i.e. gable roof lined
up with small domes on top and a trident at one end .the substructure on three
elevations is decorated with series of pilasters and whereas the entry is on the
west elevation. On the west elevation is a the typical lion base pillar and the
dwarapala on the either side of entrance, which is the typical characteristics of
pallavan architecture.

31
I AND 2 IMAGE SHOWS THE PIDARI RATHAS AND THE LAST IMGE
SHOWS THE VALAYANKUTAI RATHAS

32
THE GANESHA RATHA. THE SUPERSTRUCTURE HAS THE PILASTERS
ON THE ELEVATIONS THE ROOF HAS THE KUDU ARCH WHICH HAS A
TRISHULA ON THE TOP.

33
STRUCTURAL TEMPLES:
he very choice of location of the structural temples is very fanciful-one one the
hill top ,one on a terra firma ,one on the shore ,giving a dramatical views and
pictresque look to the monuments.

MUKUNTHANAYANAR TEMPLE:
The temple is situated in the starting entrance portion of the town from the north
side. It can be considered as a structure that might have been a tentative start for
te construction of structural temples. This structure is a ratha type temple in the
northern side of the hillock .it is a square shaped plan structure, east orientation
with slender flute pillars. The temple is surrounded by a granite wall. The tower
is three tiered and is topped with octagonal dome.it belonged to the Rajasimhan
period and didn’t have any embellished detailing.

OLAKANESHWARA TEMPLE:
Situated on top of the mahishasuramardhini cave, it comes under the structural
group of temples .built in 8th century, it situated on the highest point of the
mahabalipuram hillock and is found to have served as lighthouse for the sailor
man of pallavas built from grey granite blocks, it has the carvings of legends of
the Ramayana and dakshinamurthy on its three elevation. The common
characteristics such has the dwarapalas, the pilasters are found in this
monument.

34
35
SHORE TEMPLE:

Present on the shoreline, half in sea and half in land, the main entry is toward the
sea and the subsidiary faces the shore. The spires on top are more similar to the
features of dharma raja ratha but its more delicate in shore temple .The profile is
more elongated to that of dharma raja ratha, its prototype .Its lonely spleandour ,
sea and sky for backdrop and with its 2 basal finial gives it a majestic look.The
sanctuary and subsidiary mandapams stand in center surrounded by low lying
channels and drains that carried sea water.

Constructed in dressed stone the raw material was bought from the hillock region
that lies few meters from the shore. The idea in planning shore temple is that the
main deity sanctuary overlooks the sea such that the early rising sun faces the
rising sun. Also it served another purpose for the mariners by being a landmark
to reach the shore. It is said that a beacon light is lit up in a tower in front of shrine
courtyard that acts as the indicator of the shore.

As the main cellar is facing the sea, the main entrance approach is placed at the
rear .the central structure ie the gripagriha is surrounded by a massive enclosure
wall, forming a courtyard setup and the entrance is made on the western side of
the shrine.as it was a simple scheme additional shrines were put up in the west
side.it is this shrines that changes the roof outline from single to double towered
outline. The shore temple was built, by taking the dharma raja ratha as its
prototype. There was an entire change in the mode of construction-rock cut to
structural masonry, which makes it the first structural temple of the pallavan
architecture.

The tower of the temple was taken care in such a way that it varies from the
prototype from which it was derived and let it be a new and unique example of its
own.

36
The composition of shore temple is more rhythmic and is light as it soars up higher
than the five rathas. This temple has all the typical characteristic features of
pallavan architecture such as the pilasters, rampant lion which is found in the
lower portion of the entire structure.

The outer rectangular enclosure encloses a lower level path that has a number
of shallow cisterns that was once flooded at times by the sea water indicating that
the shore temple was a water temple. The water was is brought to this part
through a canal and the exterior wall is decorated with kneeling bulls over the
parapet wall.

The main entrance on the rear side led to the corridor that led to the main
sanctum, had numerous works of the sculptors on the inner face of the enclosure
wall forming a gallery of sculptures in display.

The shrine seems to be used as a ritual place before sea voyage or sea
expeditions. The main shrine housed the fluted Shiva linga and the subsidiary
mandapa housed the Vishnu .Thus this indicates the saivaite and vaishnavite to
be coexisting with each other.

The gopura walls continue to form the circumambulatory path. The walls of
temple has the carved tales of Siva-Parvathi, Vishnu and also the history of
pallavas. Also there are inscriptions of chola period (post pallavan) on the outer
walls.

At the west side of the shrine is the lion sculpture seated on the pedestal with a
square shaped niche .this lion indicates the durga goddess on the north is a
apsidal shape plan structure which has a miniature shrine. On the west side is
found a large channel parallel to the direction of sea which might have been
served as harbour or there is a possibility to safe guard the bed rock. Though the
structures are eroded by the moisture and salt, the architectural proportion,
makeup the natural setting of sea makes it a finest example for structural temples.

37
The structures found in the north side of the shore temple are a sculpture of
Varaha or the pig and a Shiva shrine. It is a cylindrical structure carved out of a
small rock and has 5 layers. It has a small opening in which we can observe a
small carving of shiva on a hrse. The culindrical structure has the a detailing of
pillar which shors riders riding lion faced animal.thus the lion element made its
appearance in all the monuments .

38
On the western side of the shore temple is a lion structure which is a shrine with
an opening in the middle part .it houses the goddess durga with multiple hands.
This structure is carved very minutely in a very narrow hole showing off the talents
and hardships of the sculptor.

39
40
BUILDING MATERIALS AND CONSTRUCTION

The Sangam literature talks about the use of materials such as bricks timber,
metal, mortar but they were perishable materials that didn’t survive the rime and
war. However in recent excavations revealed some materials.

The existing structures were the carved out of natural granite gneiss that was
present already in the site in Mahabalipuram. Whereas in Kanchipuram it has to
bought from somewhere else. As part of the present study an inventory of
sandstone temples in Kanchipuram town was made and it is found that 25
temples are made of Sandstone.

Pallavas chose hard granite since it was abundant in the cave shrines. Hard
granite (gneiss and charnockite) for the cave temples,blakish hard variety of
leptinite for shore temple, reddish granite for Mukundanayanar temple, Softer
greyish white granite for olakaneshwara temple, and coarse sandstone (softer
stone) for Kailashanathar temple. Thus this proves the pallavan artisans made a
very considerable experimentation in materials

CUTTING OF STONE:

The stones were split using wooden wedges and water to create thermal
expansion during the day and then iron tools were used to chip and form the
stones into blocks. These were then pieced together with minimal gaps between
stones to get a seamless joint.

The size and weight of the rocks, meant that mortar was not required to bind them
together, gravity and friction was enough and the larger slabs formed the roof. If
you look at the structures carefully, you will see that the spans used were fairly
short, since stones do well in compression rather than tension. There were
usually cross beams and columns at regular intervals.

41
 GNEISS ROCK CHARNOCKITE

REDDISH GRANITE GREYISH WHITE GRANITE

‘
COARSE SAND STONE BLACK LEPTINITE

42
The constructional methods were unlike the Greeks. They were simple but
effective order, show little inventiveness. There was little effort in the principles of
equilibrium, use of arches vaults etc. the Indian artisans clinged on to other
traditional means of construction. The architecture solely depended on the
 laws of gravity
 strength being obtained by mass supporting mass
 stability by solid resistance of weight that act vertically
 pressure being directed downwards

There was a little usage of mortar hence it was called as dry masonry. But in later
stages, when observed in the shore temple there are use of mortars in between
the stone blocks.

43
CHARACTERISTIC FEATURES OF PALLAVAN ARCHITECTURE:

COLUMNS:

THE COLUMNS FOUND IN THREE ERAS OF PALLVAN ARCHITECTURE.

In the Mamallapuram group of monuments this type of column is found.

The pillar has different parts in its structure. It is divided into three:
 The capital –the top most portion that holds on to the roof slab

 The Stamba – the middle part is the Stamba .The Stamba has the palagai,
idaje, kumba, tadi, kalasa and then the lion base

 The base –the lowest portion which connects to the floor is the base.

Mahendra’s pillars have two large, almost cubical parts at the base and
the top, with an intervening part which is levelled off at the corners and has
thus, an octagonal shape. The cubical parts on top and bottom are called
sadurams, while the octagonal section in between is the kattu. In later
times, lotus medallions are found on top and bottom sadurams which
resemble the typical Buddhist lotus motif. The corbel sits on the upper
saduram and has curved, rarely angular arms, proportionate in size to the

44
 massiveness of the pillar. In later cave temples they are decorated with
roll mouldings called taranga.

The columns were thick and square at the outset, but gradually became more
slender and the lions, symbol of the Pallavan Dynasty, were carved on their lower
parts of pillar. The lions would be sculpted in a standing posture on columns in
later Kanchipuram group of temples, but in Mahabalipuram they take a squatting
pose.

AT GANESH RATHA AT VARAHA MANDAPA

AT KRISHNA MANDAPAM AT OLAKANESHWARA TEMPLE

45
 AT BHIMA RATHA AT NAKUL SHAHADV RATHA

AT DHARMARAJA RATHA AT ARJUN RATHA

AT KAILASHNATHAR TEMPLE AT VAIKUNTHA PERUMAL TEMPLE

46
THE LION FIGURINE:
This is the typical characteristic feature of the pallavan architecture that s found
in all the pallavan group of monuments. Mostly it was found in the base of column
and also as a sculptures in walls.

AT KAILASHANATHAR TEMPLE AT MATHANGESHWARA TEMPLE

THE FRONT ELEVATION:
The exterior presents a facade formed of a row of pillars, each pillar averaging
seven feet in height with a diameter of two feet, the shafts being square in section
except for the middle third which is made into an octagon. An immense and heavy
bracket provides the capital, the composition as a whole suggesting as its origin
a very elemental structure in which a ponderous wooden beam and bracket were
the main feature.

AT PANCHA PANDAVA MANDAPAM AT ARJUN AND BHIMA RATHA

47
THE PILLASTERS:
It is yet another common features found in the rathas and the structural temples
of the dynasty. The structures has the short slender pilasters on all the sides of
the elevations some had intricately decorated pilasters and some had simple
pilasters. In the Kanchi group of monuments, all being masonry structural temples
the pilasters were of different layers of stone connected to give the form.

PILASTERS IN THE GANESH RATHA AND NAKUL SHADEV RATHA

THE FLUTED SHIVA AND SOMASKANDHA PANEL:
The concept of somaskandha panel was prevalent among the structures of the
pallavas and the love for it is seen in form of panels inside the niches. The shiva
ling was a fluted one with divisions on its face.

FLUTED SHVA IN IRAVATHANESHWARA TEMPLE AND SOMASKANDHA

PANEL BEHIND

48
KACHIPURAM THE CITY OF THOUSAND TEMPLES:
Located on the banks of the Vegavathy River, Kanchipuram has been ruled by
the pallavas from the beginning. Kanchipuram was known in early Tamil literature
as Kachi or Kachipedu but was
later Sanskritized to Kanchi or Kanchipuram. According to legend, the
name Kanchi is derived from Ka referring to the Hindu god Brahma and ‘anchi’,
referring to his worship of Hindu god Vishnu at this place.
Ancient Kanchipuram, the city of thousand temples, is one of the seven most
sacred pilgrim centres Ayodya, Madura, Maya, Kasi, Kanchi, Avanthi, Duvaragai
for the Hindus. Kanchipuram owns 108 temples dedicated to Siva and 18 to
Vishnu.

TOWN PLANNING IN EARLY PERIOD:

The town of Kanchipuram was surrounded by a fort and moat in the form of a
lotus flower. It had wide roads and streets and trees were planted on both sides.
Chariots moved freely in the streets. There was a market place on the outskirts
of the town. In the first century AD, neither the temple structure nor the rituals
were grown to such an extent in order to enable clustering of settlements around
the temples.

The streets run parallel to the central adjoining streets with the temple of the
presiding deity in centre of town. This type is known as the nandyavartha
planning. The town area has growth on the Nandivartha pattern with multi - group
of settlements centred with the temples and palace, which was joined with straight
and broad streets segregates at right angles, it was thus on a cross pattern with
palace or temples as vista closing and terminal points at the ends of the
Rajaveethi on North and South and western ends respectively. It is usually done
in the cities and towns and not in villages. Kanchipuram once had four parts:
Vishnu Kanchi, Siva Kanchi, Jina Kanchi and Buddha Kanchi, and each had a
large population of followers of the respective religions.

49
KANCHIPURAM GROUP OF MONUMENTS
Out of the six temples of temples that belong to pallavan era , those of
Kailasanatha, Iravathaneswara, and Piravathaneswara were built by Narasimha
Varman I between 700 A.D - 728 A.D. Mukteswara, Matangeswara, and
Vaikuntha Perumal temples were built by Nandivarman II from 732 A.D - 796 A.D.
Of these temples the Kailasanatha and Vaikuntha Perumal temples are on a large
scale. All monuments are of the typical Pallavan style-externally, a lofty tower
built over the central shrine rising, in tiers, diminishing in size as they approach
the summit; in front of this shrine is a large pillared hall or mandapa approached
through a small porch. The Piravathaneswara temple is an exception in that it has
a pyramidal tower over a central shrine without a porch or a pillared hall.

KAILASHANATHA TEMPLE:
Not long after the shore temple, construction of kailashnathar temple in the capital
city of Kanchipuram started during the reign of king Rajasimhan, approximately
in A.D. 700. But the actual completion of the structure took place during the rule
of his son Mahendravarman –III. The Kailasanathar temple began a new tradition
in India where the kings took deep interest in building the temples with great
structural design and antiquity. This temple has the Lion Sculptures everywhere.
Lion was the insignia of the Pallavas.

The entire structure initially had three separate components –the main sanctuary
with pyramidal tower, a pillared mandapa and the both the structures were
enclosed within a central courtyard by high wall composed of cells repeating itself
linearly around the entire plan. Later in post pallavan period another intermediate
mandapa –the ardhamandapa was added to give a spacious mandapa to house
any ceremonies. This mandapa has affected the appearance of the main
mandapa and the sanctuary.

The structure again was derived from its monolithic prototype dhramaraja ratha,
but the supplementary shrines were attached to it projecting from three sides
giving an elaborate structure different from its prototype.

50
One can see the constant repetition of the rampant lion pilaster in every possible
place. The most distinctive feature is that the tower over the main shrine.it differs
from the other rathas in Mahabalipuram by their loosely knit elements, well-
proportioned form and rhythm in mass and an elegant outline.

Apart from the structure the approach of the temple is quite indirect in this temple.
The place were the main entrance to be situated is replace with a subsidiary
temple and this deviates the straight approach to the main shrine. The foundation
is found to be made from granite and the super structure is made of sandstone.

51
THE FRONT ELEVATION OF KALASHNATHA TEMPLE

THE FRONT FAÇADE MANDAPA

52
 THE FRONT MANDAPA -ARDHAMANDAPA

CARVING FOUND IN THE REAR WALL OF THE MAIN SANCTUM THAT

SHOWS TRACES OF THE EARLY ORGANIC PAINTS

THE VIMANA

53
VAIKUNTHA PERUMAL TEMPLE:

After 10 years of construction of the kailashanatha temple, the vaikuntha perumal

temple was commissioned in the period of king nandivarman.the temple had the
necessary touch of elegance to its structure and a meaningful and different
treatment of the temple tower. Square in plan, 90 ft. in total length, the front
portion entrance is 28ft, high. The components that makeup the entire structure
is the main shrine, the mandapa, the portico. The mandapa is compartmentalized
in the interior. The Vimana rises up to 60 ft. in height in a 4 storey in which the
first two storey form the canopy for the pradikshinapatha.

Instead of a single pradikshinapatha the temple has two paths –one surrounding
the temple and another a small 8 ft., corridor that connects the ardhamandapa
which forms the colonnaded passage that faces the inner face of the outer high
wall. This inner face is decorated with the sculptures that shows the history of the
pallavas. The second circumambulatory path is a colonnaded hall going around
the entire structure has the lion base columns thought its course the lion columns
is alternatingly in two different material-granite and sandstone. The lion mane had
very sharp detailing and perfect curvilinear shape.

The plan is tightly knit and the entire structure is compact and the subject of
structure indicates that the structure might have been a part of palace complex
and had been used by royals ensuring privacy from the public.

54
55
 The pillared arcade around the The pradikshnapatha around
Main sanctuary on the walls main sanctum and the high plinth
We can observe the tales of pallavan kings

56
MADANGEESHWARAR TEMPLE:
Madhangeeswarar Temple was constructed during the reign of Nandivarman
Pallava. This Temple is square, three tier Vesara type vimana with circular griva
and sikhara. This is earliest extant temples to possess a circular griva and sikhara
though the model of this form is represented in the Bhima ratha, at
Mamallapuram.

Situated inconspicuously in the streets of the Kanchipuram, the here is no proper

entrance for the temple as there was a growth of commercial shops on its front.
On approaching we see a temple over a huge plinth. There were 6 huge panels
in the maha mandapa, on the either sides of the door were huge relief sculptures
of dwarapalaks.

The panels had the images of Gaja samharamurthy,uma devi,ravan,descnt of

ganges,shiva etc. The outer wall is completely filled with panels of individual Gods
and Goddesses with 2 people on either sides with Simha Pillar at regular
intervals.
First and second tiers of the temple have haramala consisting of karnakutas and
salas. The third tier is devoid of haramala, but carries four Nandis at the corners.
Sculpture on the walls of the temple is mostly sun relief.

57
TRAILOKYANATHA JEENASWAMI TEMPLE ,TIRUPARUTHIKUNDRAM:
The temple is built in Dravidian architecture with a three-
Tiered gopuram (gateway tower). There are three parallel shrines in the temple
with the image of Mahavira occupying the centre. All the three sanctums are
circular in shape housing the bronze images. There are painted pillars in the hall
leading to the sanctum. As in other South Indian Hindu temples, there is a flag
post (called Dwajasthambam) in between and axial to the entrance and the
sanctum. The temple has a large number of paintings on the ceilings that are
captioned in Tamil Grantha script. It is believed that Jain scriptures have the life
story of Krishna assimilated and most of the paintings depict the life story of
Krishna.

The rear chaitya hall super structure Pillared Mandapa hall

Chaitya hall plan Dravidian temple entrance

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CONCLUSION:
In Pallava culture temple is not only a place of worship but they act as a centre
for intellectual and artistic life
The monoliths are limited to the places where rock-the raw material was
available. So there are no monoliths found in the capital city of Kanchipuram.
They did considerable experimentation with the materials. They chose the hard
granite since it was available in abundant quantities. Thus they promoted the use
of locally available material, however hard it may be to achieve this architecturally
wonderful marvels. Unlike the structural temples the monoliths were built from a
single rock. Any mistake in one place can lead to abandonment of the entire
structures. The sculptures has to squat, crawl and stand on the scaffolding in sun,
wind and other harsh climates. This may explain why the bottom of the structures
were left unbuilt and undetailed.

Though the pallavas had their first structure started in the mandagapattu, it was
in the shores of mahabalipuram and Kanchipuram it flourished at its peak. The
structures still stand because of the tiring work of then sculptors and the sound
of it still ghosts in the city of mahabalipuram as we enter in .the sculptors have
kept the art still going on and modern methods have been found to make the
cutting of rocks easier. All the structures in mahabalipuram are standing but in
case of Kanchipuram its stands but in a dilapidated condition but is under the
archelogy department with care and maintenance.

There are many reasons that causes the erosion and corroding of the structures.
Unduly changing of climate conditions of all these years has caused the problem.
Also there is a problem of identity crisis of the monuments in Kanchipuram. Some
temples like Iravathaneshwara, Madangeeshwara, and Piravathaneshwara etc.
are protected by the archaeology department but are less frequented by the
visitors. The continuous urban development around those smaller shrines can be
said as the reason. The other reson can also be given by the improper basic
education about the local history to the people living in the local areas.it is due

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to this people don’t understand the importance of such monuments and they try
to ignore ,damage the

BIBLIOGRAPHY

MAHABALIPURAM UNFINISHED POETRY IN STONE -SWAMINATHAN

VISNU TEMPLES IN KANCHIPURAM –R.NAGASWAMI.

https://architexturez.net/doc/az-cf-166138

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