5-6 Dravidian

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6 2015 Bhuvnesh, Assistant Professor GCAD 1

DRAVIDIAN TEMPLE ARCHITECTURE
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WHAT is Dravidan style
This form was being practiced almost entirely in Tamil country, anciently
known as Dravidadesha and thus is reffered to as Dravidian style.
WHY is it important
The building art developing in South India was assuming a separate form.
At the same time they seem to be based on chaitya halls and viharas of
Buddhist architecture.
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GATEWAY COLLEGE OF ARCHITECTURE & DESIGN
DRAVIDIAN TEMPLE ARCHITECTURE HISTORY OF ARCHITECTURE - I
• DRAVIDIAN ARCHITECTURE is an
architectural style of south India,
which evolved around 6th Century
A.D. and developed for about 10
centuries.
• They consist primarily of pyramid

shaped temples which are dependent
on intricate carved stone in order to
create a step design consisting of
many statues of deities, warriors,
kings, and dancers.
• The majority of the existing structures

are located in the southern Indian
states of Tamil
Nadu, Karnataka, Kerala, and Andhra
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Pradesh.
Dravidian style temples consist almost invariably of

the four following parts, arranged in various
manners:
1. VIMANAM
The principal part, the actual temple itself, is called the
Vimanam. It is always square in plan, and surmounted
by a pyramidal roof of one or more stories; and it
contains the cell in which the image of the god or his
emblem is placed.
2. MANDAPAS
The porches or Mandapas, which always cover and
precede the door leading to the cell.
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3. GOPURAMS
Gate-pyramids, Gopurams, which are the
principal features in the quadrangular
enclosures that surround the more notable
temples.
4. CHAWADIS/CHAULTRIS
Pillard halls or Chaultris—properly
Chawadis -- used for various purposes, and
which are the invariable accompaniments of
these temples.
Besides these, a temple always contains

tanks or wells for water dwellings for all
the various grades of the priest.
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HISTORY OF ARCHITECTURE - I
Architectural historian sub divide the period of dravidian architectural

growth into :
• Pallava Period (A.D. 600-900)
• Chola Period (A.D. 900-1150)
• Pandya Period (A.D. 1100-1350)
• Vijayanagar Period (A.D. 1350-1565)
• Late Pandya and Madura Period (From A.D. 600)

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PALLAVA STYLE (600-900 A.D)

• Pallavas were pioneers of south Indian architecture., laying the foundation for Dravidian
style.
• The dynasty maintained its varying form of architecture for nearly three centuries.
• The production is resolved into two phases
WHOLLY STRUCTURAL
WHOLLY ROCK CUT
MAHINDRA GROUP AD 610- RAJASIMHA GROUP AD 690-

640, PILLARED c. 800 TEMPLES
PHASE –II
PHASE –I
HALLS(MANDAPA) ONLY
MANMALLA GROUP AD 640-690 NANDIVARMAN GROUP c AD

MANDAPA AND 800 – c 900, TEMPLES
RATHAS(MONOLITHIC TEMPLES)
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PHASE-I :MAHENDRA GROUP AND
MANMALLA GROUP MANDAPAS AND RATHAS
The first half of the phase(Mahendra Group) consist of only

Mandapas
• Open pavilions excavated in rock
• Kind of portico to one or more cellas deeply recessed in
interior wall
• The exterior façade formed of rows of pillars
MANDAPA
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PILLARS
• Each pillar on average 7ft High x 2ft dia
• Shaft were square except for middle third which

was chamfered in to an Octagon.
• Immense and heavy bracket provided the capital.
• Composition on the whole suggest origin a very

elemental structure in which ponderous wooden
beams and bracket were main features.
• At Bairavakonda, a much more sophisticated

design of capital and shaft and introduction of
another element, figure of a lion combined with the
lower portion of the shaft as well as the capital.
(See figure)
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PHASE-I :MAHENDRA GROUP AND MANMALLA GROUP-
MANDAPAS AND RATHAS
The second half of the phase(Manmalla Group) consist of Mandapas and

Rathas
• Same general character and proportion as of previous group, but much

more Highly Developed, a proof of rapid progress that took place
during short period that intervened.
• The mandapas were relatively shallow halls or porticos and are TRIMURTI MANDAPA
remarkable not for size but their exceptional character of design and
execution.
• Approx. Dimensions were: Width of façade 25 ft ; Height of façade 15-

20 ft ; depth overall including cella 25 ft ; pillars 9 ft high and 1-2 ft
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diameter; cellas, rectangular 5-10 ft. side.

• PHASE-I :MAHENDRA GROUP AND MANMALLA
GROUP-MANDAPAS AND RATHAS
• The second half of the phase(Manmalla Group) consist of

Mandapas and Rathas
• Rathas: Monolithic temples,

• Each is essentially a replica, Quarried out of whale-backed rock
• Separate kind of religious structure
• Built largely of wood, as shown by beam heads, rafters and purlins
faithfully represented in granite reproduction.
• Largest ratha measuring 42 ft long, 35 ft wide and 40 ft tall. And
derived from Buddhist vihara/monastery.
• The seven pagodas namely Valaiyankutti, Pidari, Arjuna, Bhima,
Dharmaraja, Sahadev and Ganesha and a eight one Draupadi which
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is portable.
All Rathas: Square In Plan And
Pyramidal In Elevation.
• Five rathas standout even as they are

of varying in size and details, due to
same architectural treatment.
• Seem to have evolved out of
Vihara/Monastery, though cells
have lost their original character and
intention and become modified into
ornamental turrets.
• The transition from Buddhists vihara
to a hindu shrine is best decribed by
the lagest ratha namely Dharmaraja
PANCH RATHA
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PANCH RATHA

DHARMARAJA
 As to the elevation it has two parts

• a square portion with pillared verhandah below
• shikhara formed of converted cells above
 Strongly moulded Stylobate,

 its lion pillored porticos casting their deep
shadows,
 the scintillating appearance of its turreted roof,
The design is not only a storehouse of pleasing

forms and motifs, besides being fulfilled is shown
by the architectural monuments developed from
this rock-cut model which evolved later.
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DHARAMRAJA RATHA
• Even more significant than the foregoing are the

remaining three examples of rathas known as
Bhima, Sahadeva and Ganesh, which appear to
be based on chaitya halls.
• In their proximity are images also carved in the

rock,
of a lion symbolizing Durga,
an elephant symbolizing Indra
and a bull symbolizing Siva.
And style of architecture is that which is associated

with Buddhists, seemingly apply that these
structures were not a monopoly of a religion but
shared common origin.
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PHASE-II RAJASIMHA AND NANDIVARAM GROUP
Instead of permanent yet inflexible carving of granite, the art of structural building was taken up, as it was
being realized that this process gave greater powers to the workman, it provided him with more freedom to
place the structure where he needs and make it what shape he liked.
SHORE TEMPLE
• The first Pallava building to be constructed of dressed stone.
• So named in modern times as it stands on the extreme foreshore of the ancient port.
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The temple is same as the monolithic Dharamaraja Ratha in principle, but the difference in treatment is
considerable by:
• Use of structural building technique

• There is a original ideal motivating the design of the Shore, particularly noticeable in the shape of the
tower.
• This shows in the obvious desire of the builders to rid themselves of vihara incubus and devise a building
more architecturally rational/
• In a way to shake off the shackles of its prototype and give effect to their own rising genius.
• Pronounced type of pilaster
• Rampant lion in the prominient relief found wherever structural form of ornamental support is required.
• Herald lion erect and holding of the Dravidian capital projects from every angle.
• Portion of ground floor enclosures consist of a system of shallow cisterns which could be flooded on
occasions turning it into a water temple.
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As a proof of its excellent workmanship for over a thousand years the “shore”
temple has endured on this exposed spur of rock, buffeted for half the year by
the monsoon rollers, at other time
:the grey sea creeps half visibile, half-hushed, and grasps with its
innumerable hand its silent walls
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• Plan not according to custom

Idea was that the cella should face east overlooking sea so that the shrine
may be illuminated by the first rays of rising sun and observable to those
on ships reaching harbor
• Essentially landmark by the day and beacon by the night
Problem : no room for assembly hall or even entrance gateway
1. Entry obtained through western side( left side open entirely)

2. Two additional shrines are attached rather asymmetrically to western
end on which provides smaller spire and as well as what apperars at
first sight as a main entrance
3. Its converted to a double towered monument unconventional in its
grouping and difficult to comprehend
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CHOLA DYNASTY
• The dynastic history of cholas began in 900 AD

• The buildings attributed to this dynasty during the 10 century are neither many nor large but
all these small structures are very complete in their formation and display a freshness and
spirit in marked contrast to the last productions of the declining style of Pallavas.
• They appear to either herald a new movement or received some simulation from a more
virile source like the chaulakyans, who at the time were again extending their power.
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KORANGANATHA TEMPLE
Mandapa – 25 x 20 ft
Vimana – 25 sq. ft with a height of 50 ft.
Korangnatha is of modest proportions, similar
in principle to its predecessor, but it can be
seen that the builders developed an
appreciation for plain surface. Two major
changes from the previous pallava dynasty are
discernible.
• The rampant and herald lion motif
disappeared
• A neck molding has being introduced
where it connects to a shaft in the pillar and
adding another to the lower part of the
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capital in form of a vessel(kalasa).

Maturity was attained in course of time, as magnificent temples built at Tanjore and Ganga testify.
Compared to the koranganatha their like cathedrals to a paster church.
BRIDESWARA- SIVA TEMPLE AT TANJORE (1010 AD)

Built by Rajaraja Chola I; Building Material : Granite
It’s a landmark in evolution of building art in south India.
In size alone, regardless of its superb architectural treatment, its proportions are considerable.
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The main structure rises to a massive pyramidal tower ~ 200 feet high
The tanjore temple is composed of several structures combined axially,
such as nandi pavilion, a pillared portico, large assembly hall, all
aligned in a center of a spacious walled enclosure.
Feature of the entire scheme is the grand tower of the Vimana at
western end which dominates everything in its vicinity.
The dignity and power of this fine pyramidal pile lies in the simplicity
of its parts which are three in number.
Consisting of
1. A square vertical base
2. Tall tapering body
3. Graceful domical top
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SHRINE OF CHANDESHWARA
PLAN
 Inner Prakaram
 790 x 400 ft
VESTIBULE
GOPURA
 Main structure
 180 ft long
 Shikhara ~200 ft
GARBHA GRIHA
NANDI HALL
GREAT HALL
SEVERAL LESSER TEMPLES THE ENCLOSING WALL IS COMPOSED OF A

OCCUPY THE CORNERS OF CONTINUOUS DOUBLE COLONNADE
THE COURTYARD
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 Vertical base covers a square of 82 feet side and rises perpendicularly upto a height of 50 feet. (name?)
 From this the pyramidal body mounts up in thirteen diminishing zones until the width of its apex equals
one-third of its base.
 On the square platform thus formed stand the cupola, the inward curve produces a pleasing break in the
otherwise rigid outlines of the composition while the bulbous dome poised like a light but substantial
globe is a fitting finish to its soaring character.
 The architectural manipulation is in keeping with its mass .
 The underlying idea is vertical in intention except for a massive overhanging cornice which divides the
walls of the lowest and upright portion into two stories(scheme of decoration applied here)
 Ingenious motifs and devices combined with the two ranges of pilaster above and below. Eg tree of
knowledge/great foliation which enriches the deeper recesses so effectively
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GARBHA
GRIHA,
TANJORE
TEMPLE
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 Although each feature is an critical effort in itself, an assembly of admirable artistic elements , taken as a
whole the components don’t always co-ordinate or aren't architecturally adequate.
 The surface of the pyramidal section is pattern by horizontal lines of diminishing tiers intersecting the
vertical disposition of the ornamental shrine creating an architectural texture of great beauty
 Finally there is the contrast of the rounded cupola at the summit, its winged niches on all four sides
relieving the severity of the outline just where its required.
 For the quality of its powerfully adjusted volume there is a sense of graceful balance in this example of
chola architecture. Unquestionably, the Tanjore Vimana is a touchstone of Indian architecture as a whole.
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PALLAVA PERIOD (A.D. 600-900)
CHOLA PERIOD (A.D. 900-1150)
• PANDYA PERIOD (A.D. 1100-1350)
• VIJAYANAGAR PERIOD (A.D. 1350-1565)
• LATE PANDYA AND MADURA PERIOD (FROM A.D. 600)

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PANDYA STYLE (1000 – 1250 A.D)
The Pandyas were one of the four Tamil dynasties (the other three being Chola, Chera and Pallava), which
ruled South India until the 15th century .
• During the Chola Period , it was practice of constructing the

‘vimana’ over the cella but in Pandya style attention was
directed to give importance to the temple entrance ‘ Gopuram’.
• The Gopuram is derived its name from the ‘Cow- Gate’ of Vedic
village , which afterwards became City – Gate and finally the
monumental ‘Gopuram’ over the main entrance or ‘Mahadwar’
of the temple.
• The Gopuram is oblong in plan , the length being twice the
width.
• First two storeys are almost vertical and built in solid rock.
• Typical Gopuram: Oblong in plan rising into a tapering tower
often over 150 feet in height and entered by a rectangular
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doorway in the centre of it long side.

• This superstructure is pyramidal in shape as it is
composed of a series of zones or tiers diminishing
as they ascend.
• The average angle of slope is 25 degrees and the
width at its truncated apex is approximately one
half of its base.
• On the flat summit is mounted a particular kind
of elongated roof with gable ends and no portion
of design is more significant than this barrel-
valued uppermost story.
At this point it has become apparent that the

outstanding features of Dravidian architecture are
its two towers, the Vimana and the Gopuram,
these two towers represent the final manifestation
of two ancient forms and traditions as exemplified
by the top story of each.
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• Vimana is square in plan its finial a
rounded cupola. While gopuram is
oblong, and accordingly its
crowning feature is in form of
oblong vaulted roof, unmistakably
a survival of the keel roof of
Buddhist of Buddhist chaitya hall .
• Vimana from vihara and gopuram
from chaitya hall
Pillars At Pandya Period

• Example Darasuram: The capital
and bases of which bear the
unmistakable scalloped edge of
this period, while the bracket
above the capital has a cyma recta
curve, all distinguishing features of
the Dravidian style at this juncture
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VIJAYANAGAR STYLE (1350- 1565 A.D)
In the 14th century , a powerful Sangama dynasty established the Vijaynagar Empire
by two brothers (Harihar I and Bukka I) which in later period of two centuries
spread from Krishan river to Cape Comorin.
The Vijaynagar – the victorious city was located on the bank of the Tungabhadra
river on one side and craggy granite hill ranges on the other side.
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Characteristics :
• Temples are of moderate sizes which were rich in beauty , form and proportion.
• Main temple in the centre, there were separate shrines , pillared halls, pavilions and another
important addition in the ‘kalyanmantapa’ or the ‘pillared hall’ towards the left and in front of the
entrance.
• Another major feature is the carved pillars - with the rearing simhas (lions), yalis (lions with elephant
trunks).
• The temple complex was protective with high massive enclosures with Mahadwaras surmounted by
Tall Gopurams with decorative life - size stucco figures on the outside surfaces.
• Wide streets provided in front of the temple served as car – street as well as bazaar.
• Number of temples were constructed but most important are Vithal Temple and Hazare Ram
Temple.
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Carved Pillars Kalyanmantapa (pillared hall)
Basic planning of the temple
Pushkarni at Hampi Market place

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VITHAL TEMPLE (HAMPI ):
• The temple is dedicated to lord vishnu in the form of Vithal deity of Pandharpur for whom it was
built.
• It is 70m long and about 8 m high with single storey.
• The temple stands on a mould plinth 1.5 m high with flights of steps and other sides are guarded by
elephants.
• The maha- mantapa on the front is rich in appearance and attracts attention.
• The entire temple is enclosed in a courtyard 152m long and 95m wide with three ‘Gopurams’ that in
the east being the tallest. There is a stone chariot which is free to move.
• Outside the main entrance stands a lofty Dipdan Pillar or lamp – bearing pillar which is an elegant
piece of Indian style.
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Stone Chariot of Vithal Temple Maha –mantapa of vithal temple

Vitthal Temple at the eastern end of the baar
Plan: Vithal Temple

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Hall of Vithal temple with its ornate columns

HAZARA RAM TEMPLE :
• This temple is small in size but highly ornamented

temple in which the royal family worshipped and this
temple has large number of Ramayana panels on the
Hazara Ram Temple, Hampi
walls.
• It is surrounded by 8m high wall and has an entrance

on the east through a flat roofed porch leading to an
assembly hall, with group of four massive block
pillars built in different shape and form.
• The temple consisted of a sanctum, an Ardha

mantapa. To the south is a small doorway, which Black –stone pillars
Ramayana panels on the walls
leads to the Durbar Area. The pillar hall is notable for
its unique pillars in black-stone. They are set on a
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raised stone platform in the middle of the hall.

During this period the number of pillars of the

mantapa went on increasing and became the main
Drainage system of the Hazara Ram Temple Elephant stables consisting of number
focus of interest in the Dravidian architecture. of chambers with elaborate domes
Yoglaxmi- Narsimha Carved panels on walls

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LATE PANDYA STYLE OR MADURA STYLE (1565 – 1600 A.D)
• The Madura style developed rapidly under the powerful king, Thirumalla Nayak (1623 – 59).
Under his encouragement the work of improving and extending the existing shrines began, such
as at Chidambaram , Srirangam and Rameshwaram etc.
• The addition to the temple were made gradually but the finest effect was obtained after a long
period , when the temple attained vast size and impressive appearance.
• Due to the expansion of temples rituals ,elaborate forms and ceremonies and also to give the
temple appearance of a fortress.
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DIFFERENT STAGES OF EXPANSION OF TEMPLES –
THE FIRST STAGE of expansion was by forming an enclosure

surrounding the whole temple and providing subsidiary shrines with
pillared halls.
THE SECOND STAGE of expansion was enclosing the entire temple

complex with high walls leaving a wide – space forming prakaram with
four Gopurams , entered at cardinal points, that on eastern side being
the largest than the rest.
In the outer enclosure two important structures are commonly found –
1) One is the hypostyle hall of vast number of pillars and

2) Other a square tank for ritual ablutions.
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MEENAKSHI
. TEMPLE – MADURAI
• This is a twin temple. The temple in the

southern side is dedicated to Sri
Meenakshi the consort of lord
Sundareswarar(Shiva) and the other to
lord Sundareswarar.
• The Nayaks ruled Madurai from the

16th to the 18th centuries and left a
majestic imprint of their rule in the Temple Complex
Meenakshi-Sundareswarar temple. the
temple has many inscriptions of the
rulers in the 16th century
Gopurams of Meenakshi temple

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MEENAKSHI TEMPLE (MADURAI)
• The temple forms the heart and lifeline of the 2500 year old city of Madurai. The complex houses 14
magnificent Gopurams or towers including two golden Gopurams for the main deities, that are
elaborately sculptured and painted.
• The temple is a significant symbol for the Tamil people, and has been mentioned since antiquity in Tamil
literature, though the present structure is believed to have been built in 1600. The tallest temple tower
is 51.9 meters (170 ft) high.
• This is one of the biggest temple complexes of India. The temple is about 258 meters in length and
about 241.4 meters in breadth.
• The temple of meenakshi measures 46m x 68m. Its entrance is by a gateway through a painted corridor
about 9m long known as ‘astha shakti mantapam’ so called because after the eight statues of goddess
which support its roof on either side
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Temple Complex: Plan

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The Hall of Thousand Pillars:
This hall is a testimony to the excellence of Dravidian

architecture. The hall has 985 pillars and is so arranged
that from every angle they appear to be in a straight line.
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MUSICAL PILLARS
The Musical Pillars are near the northern tower, and there
are five musical pillars each consisting of 22 smaller
pillars - carved out of a single stone - that produce
musical notes when tapped. Meenakshi Amman Temple is
very popular because the Meenakshi amman is very
powerful in hearing to the problems of the devotee.
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SWARN PUSHKARANI POOL
Pool of Golden Lilies an artificial tank for ritual

ablution measuring 36m x 50m and surrounded
by an elegant pillared Colonnade. It is known as
the Potramaraikulam i.e Golden Lotus Tank
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RAMESHWARAM TEMPLE –
The famous Rameshwaram Temple or Ramanathaswamy Temple is regarded as one of the most
sacred shrines of Hindus in India. It is an honoured pilgrimage destination, which represents the
southernmost of the 12 Jyotirlingams * of India.
*12 shrines
enshrining Shiva
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RAMESWARAN TEMPLE 17TH CENTURY
Distinguishable feature : Pillared Corridors
Consists of double shrine enclosed within three

concentric perimeter walls, the outer measures
268 m long and 205 m wide. The temple was
planned and built within one period.
The Rameshwaram Temple is sprawled over an

area of 15 acres. It has huge gopurams, monolithic
walls and a stupendous Nandi.
A unique feature about this corridor is that the

rock used here is not found on the native island, it
was brought in from elsewhere in Tamilnadu
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across the sea.

RAMESWARAN TEMPLE 17TH CENTURY
Corridors and Pillars
• The greatness and glory of the temple lies in its long

avenue corridors.
• Length extends over 914 m
• Width of the columned corridors varies 5 to 7.6 metres
• Coloumn rise to 3.6 m from a moulded stylobate of 1.5
m high
• Richly decorated and closely set pillars continue along
the entire length of corridors in linear and lateral
directions.
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DRAVIDIAN COLUMN OR ORDER
There are three typical Dravidian pillars -
•Krishna Mantapa Mahabalipuram

•Yamapuri Mantapa Mahabalipuram
•Koranganath Temple Trichinopoly
The dravidian pillars can be classified under four heads:
•Pillars with square moulding, based on simple composition.

•Pillars with rampant animals or dragons.
•Pillars with gryphon and foliated bracket system.
•Pillars with deity in front , often with over life size attached to the shaft.
•Pillars with statues of devotees or donors.
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1. WRITE SHORT NOTE ON-
•Seven Raths /Pagodas - Mamallapuram

•Brihdeshwara Temple – Tanjore
2. Dravidian Temples of Pallavas and Pandayas
3. Trace the evolution of Dravidian temple architecture in South India, explain with two examples. Make
sketches where needed.
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5-6 Dravidian

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LECTURE

6 2015 Bhuvnesh, Assistant Professor GCAD 1

6 2015 Bhuvnesh, Assistant Professor GCAD 2

6 2015 Bhuvnesh, Assistant Professor GCAD 3

DRAVIDIAN TEMPLE ARCHITECTURE HISTORY OF ARCHITECTURE - I

• They consist primarily of pyramid

• The majority of the existing structures

Dravidian style temples consist almost invariably of

6 2015 Bhuvnesh, Assistant Professor GCAD 5

DRAVIDIAN TEMPLE ARCHITECTURE HISTORY OF ARCHITECTURE - I

Besides these, a temple always contains

6 2015 Bhuvnesh, Assistant Professor GCAD 6

Architectural historian sub divide the period of dravidian architectural

• Pallava Period (A.D. 600-900)

• Chola Period (A.D. 900-1150)

• Pandya Period (A.D. 1100-1350)

• Vijayanagar Period (A.D. 1350-1565)

• Late Pandya and Madura Period (From A.D. 600)

6 2015 Bhuvnesh, Assistant Professor GCAD 7

DRAVIDIAN TEMPLE ARCHITECTURE HISTORY OF ARCHITECTURE - I

PALLAVA STYLE (600-900 A.D)

MAHINDRA GROUP AD 610- RAJASIMHA GROUP AD 690-

MANMALLA GROUP AD 640-690 NANDIVARMAN GROUP c AD

6 2015 Bhuvnesh, Assistant Professor GCAD 8

The first half of the phase(Mahendra Group) consist of only

6 2015 Bhuvnesh, Assistant Professor GCAD 9

• Shaft were square except for middle third which

• Immense and heavy bracket provided the capital.

• Composition on the whole suggest origin a very

• At Bairavakonda, a much more sophisticated

6 2015 Bhuvnesh, Assistant Professor GCAD 10

The second half of the phase(Manmalla Group) consist of Mandapas and

• Same general character and proportion as of previous group, but much

• Approx. Dimensions were: Width of façade 25 ft ; Height of façade 15-

diameter; cellas, rectangular 5-10 ft. side.

• The second half of the phase(Manmalla Group) consist of

• Rathas: Monolithic temples,

• Five rathas standout even as they are

6 2015 Bhuvnesh, Assistant Professor GCAD 13

6 2015 Bhuvnesh, Assistant Professor GCAD 14

 As to the elevation it has two parts

 Strongly moulded Stylobate,

The design is not only a storehouse of pleasing

• Even more significant than the foregoing are the

• In their proximity are images also carved in the

And style of architecture is that which is associated

6 2015 Bhuvnesh, Assistant Professor GCAD 16

6 2015 Bhuvnesh, Assistant Professor GCAD 17

6 2015 Bhuvnesh, Assistant Professor GCAD 18

6 2015 Bhuvnesh, Assistant Professor GCAD 19

6 2015 Bhuvnesh, Assistant Professor GCAD 20

• Use of structural building technique

6 2015 Bhuvnesh, Assistant Professor GCAD 21

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• Plan not according to custom

Problem : no room for assembly hall or even entrance gateway

1. Entry obtained through western side( left side open entirely)

6 2015 Bhuvnesh, Assistant Professor GCAD 24

• The dynastic history of cholas began in 900 AD

6 2015 Bhuvnesh, Assistant Professor GCAD 25

capital in form of a vessel(kalasa).

BRIDESWARA- SIVA TEMPLE AT TANJORE (1010 AD)