Pallava Architecture

Prof. Hari K.G. Nambiar

Post-Mahendra style Rock-cut temples
• Post-Mahendra period witnessed the emergence of free-standing
monolithic shrines known as rathas. It was initiated by Mahendra’s
successor Narasimhavarman I Mamalla (CE 630-68) in his newly
built capital of Mamallapuram.
ELEVATION OF CAVE-TEMPLES
The mandapa of Mamalla style has three angas:
• (1) adhisthana – the bottom-most base of the monolithic
structure which was carved out from the same rock with
or without mouldings.
• (2) kudya-stambha (pilasters)- with their capitals
• (3) prastara- entablature or parapet encompassing the cornice
which is protective and decorative. The prastara contains a
developed kapota (cornice/eave/sunshade) decorated with kudu
(horse-shoe shaped arches) motif. Above it runs a line of
miniature decorative salas,
oblong in plan with a barrel-
vaulted (half-cylindrical shaped)
roof. In later temples, this row of
salas terminates at either end
with decorative miniature kutas,
square in plan with a domical
roof. All of these together are
called hara (garland- as they form
a chain decorating the parapet).
The cave shrine had a sopana to
climb the adhisthana or plinth.
PILLARS
They are circular, octagonal or fluted. Their bases resemble crouching
vyalis (stylised mythical lions) which is a characteristic feature of the
Mamalla style temples.
Elements decorating the pillar:
malasthana (loop of garlands)
padmabandha (lotus petals band)
kalasa (vase)
tadi (saucer shaped moulding)
kumbha (bulbous member representing water pitcher)
pali (a lotus but without any scalloped petals)
and the phalaka (abacus or basal stone tablet)
on the phalaka rests potika (boat-shaped bracket) with taranga (wavy
Or corrugated ornamentation) and a patta (flat
median band). The patta was decorated with
creepers.
MONOLITHIC RATHAS
the ratha had a small mukhamandapa in front
of the sanctum. The ratha had a single or multi-
storeyed vimana.
Single-storeyed vimana - ekatala vimana or alpa
(small) vimana.
Sadangavimana- has six parts, namely:
the adhisthana; bhitti (wall); prastara (entablature); griva (neck);
sikhara; stupi (finial) crowning the top of the vimana.
The Dvitala vimana- two-
storeyed with hara- elements
decorating the parapet wall or the
prastara- sala, kuta & the panjara
or nida (cage) is also a miniature
Parapet shrine- apsidal in plan. The
kutas, placed at the corners, are
square in plan with a domical roof
is known as kutina-sikhara.
Sala-sikhara – wagon vaulted
Sikhara. The sala is elongated in
form with barrel-vaulted roof
surmounted by a row of stupis.
 Types of vimanas
• The different elements of hara are inter-connected by
harantara (the recession between kuta and sala). A
ksudranasika (or a small nose like element or arched
kudu motif projects from the middle of the harantara).
• Tritala vimana – three-storeyed
• Catustala vimana- four-storeyed
• Mukhya vimanas- five or more talas
• Every additional storey will have a hara inserted
between the prastara and the griva (clerestory neck)- a
characteristic feature of Dravidian order temples.
• The size of each superimposed storey is smaller than
the lower one- provides stability to the structure.
Monolithic rathas at Mamallapuram
Draupadi ratha (seventh century)
Monolith carved from the
Rock. Square in plan, its
roof is a projecting
curvilinear structure of four
planes, like that of a hut
roofed with palm leaves.The
structure of the building,
with its slender pilasters, is
likewise carved in imitation
of wooden constructions.
Arjuna ratha
Step pyramid structure
decorated with miniature
buildings. Square in plan 5m
long. The latter are oblong
along the sides (shalis) and
square at the corners (stupis)
and they imitate the
successive levels of the
cosmic mountain. The high-
relief sculptures on the external
walls are set between pilasters.
Bhima ratha
Reproduces the chaitya
model. It is sculpted in the
image of the halls that
were used in Buddhist
meeting places. The roof of
the Bhima ratha is in barrel-
vaulted style, and can, unlike
the cave temple roofs, be seen
from outside, the short sides
of the roof present the form of
the kudu, the end section of
the barrel vault.
Bhima ratha
On the long sides of the
building are columns
carved from the rock that
resemble those running
along the sides of the
rock-cut chaitya halls at
Ajanta & Ellora. At
Mamallapuram the bases of
these columns are in the
form of seated lions. Along the
cornices apparently supporting
the roof run miniature edifices &
kudu form bays.
Dharmaraja or Yudhisthira ratha
Built in 630 AD by King
Narasimhavarman- I. Its
roof-storeys are
ornamented with some
fifty miniature buildings
representing the dwellings
of Lord Siva, Mt. Kailasa.
Square in plan with sides
about 10m long. 13 metre
high roof. It has twelve square
stupis at the corners.
Dharmaraja or Yudhisthira ratha
Essentially monolithic, the
ratha has no internal
spaces other than the
galleries with carved
columns at the entrance
and apsidal ends. A larger
scale version of the Arjuna
ratha, with one further roof
storey and a larger number
of miniature edifices carved
into the roof.
 Nakula-Sahadeva ratha

Nakula-Sahadeva ratha –just like

a Buddhist chaitya barrel vault
with apsidal ends. Ganesha ratha
opposite.
other relief sculptures
The Shore temple at Mamallapuram
The lofty Shore temple
• Built about 700 AD.
• Three shrines
• One important one to Lord
Shiva.
• The smaller rectangular to
Vishnu.
• Has a circumambulatory
passage.
• Vimana rises 16m from ground
(beach).
• Oriented east towards the
ocean. Eroded by salt spray.
• A slender monolithic stupi
crowning the tower.
 The Kailasanatha Temple
• Kanchipuram capital of the
Pallavas which reigned over
southern India in the seventh
& eighth centuries. Built
between 700 & 728 by
Narasimhavarman II
Rajasimha.
• A sturdy pyramidical tower,
flanked on all four sides by
small shrines. The tower
comprises four stepped
storeys ornamented, like the A modern hypostyle hall today links the
temples of Mamallapuram, tower to a mandapa or dancing hall ,
with a multitude of miniature which was formerly free-standing. The
buildings. temple is oriented eastwards, and stands
within a large courtyard preceded by a
gopuram.
 The Kailasanatha
Temple
The courtyard walls are lined
inside with little shrines; ritual
circumambulation thus takes
place between these shrines and
the sanctuary itself. Other shrines
stand outside the entrance to the
sanctuary, so that there is a total
of fifty-five such small shrines.
Each of them is covered with an
octagonal dome, on top of which
stands a stupi. The quality of the
sculpture and, in particular, of the
columns set on rearing lions,
makes it a perfect example of
south Indian Hindu art.
 The Kailasanatha Temple
• The first and third storeys of
the vimana have only kutas
and salas as parts of the
hara decoration. The
second tala is provided with
panjaras while the topmost
storey yields Nandis at the
four corners. The pillars and
pilasters depict rearing lions
at the base. The entire
temple complex is enclosed
by a prakara (outer) wall.