PANDYA ARCHITECTURE – 1100 – 1350 AD

The Genesis of the Gopurams of Dravidian Style

 the Gopura too resembles a Mandala; With
sculptures and carvings of Yalis and mythical
animals located in the outer enclosure.
Humans and divine beings are in the inner
enclosures.
The peak of the Gopura, the Kalasha, is at
the centre of the Mandala
PANDYA ARCHITECTURE – 1100 – 1350 AD
The Genesis of the Gopurams of Dravidian Style

Differences between Vimana and Gopuram:

Shikhara ,a Sanskrit word translating literally to "mountain peak",

refers to the rising tower in the Hindu temple architecture of North
India .

In South India, the equivalent term for "shikhara" is "vimana".

Type 1
There existed two types as to the form of the Gopuram with
respect to the appearance and the surface treatment

Type 2
First type:
• Straight sloping sides
• Firm and rigid contours
• Geometric form where the treatment is architectural
• Pillars and pilasters were used

Second type: more ornate

• Curved and concave sides
• Creating an upward
• sweep
• Surface treatment is of Florid nature
• Figure subjects predominate
• Every portion is plastered thick with images
• The roof is spectacular with cornuted gables
The ridge line breaks into a row of tall
pinnacles forming a climax to the fretted and
pullulating mass below
 The sanctity of Vimanas was not in any manner affected by its diminished size.
While the sculptures on the outer Gopuras could house secular and even erotic themes,
the Vimana had to be austere and carry only the prescribed divinities associated with the mula-
bhera in the sanctum.
The Vimana is verily the representation or the outer visible form of the murthi that
resides within it; and is revered as such.
It represents the glory (vaibhava) of the deity who resides within it. The Gopura on the other
hand does not usually command an equal status.
While the temple complex is designed as a Mandala with the sanctum at its heart (Brahma –
sthana); the sanctum along with the Vimana atop is itself regarded a Mandala.
The image is located in the mid-point of the sanctum which is designed as a square; that is,
where its diagonals intersect each other. This point is elevated, in a three dimensional
projection, and rendered as the sthupi or the central point of the Vimana. The Kalasha is
installed at this point.
In order to appreciate the Mandala configuration of the Vimana, one could take its top-
elevation; that is, take an aerial view from directly above the Vimana
The sthupi , the central point , the needle of the Vimana being the bindu of its
Mandala
configuration.
 Gopura is generally constructed with a massive stone base and a superstructure of brick
and pilaster. It is rectangular in plan and topped by a barrel-vault roof crowned with a row of
finials. It differs from the Vimanam in that it need not necessarily be square-based. Above that
rectangular base a pyramidal structure covered with brightly colored plethora of sculpture is
raised to a great height.

A Gopura has to be towering and massive.

In the ancient times, the cities all over South India could be discerned from afar by the distinctive
shape of their Gopuras dominating the skyline.

When viewed from top, the Gopura too resembles a Mandala;

With the Goblins, Yalis, mythical animals and other beings located in the outer enclosure
.The humans and the divine beings are in the inner enclosures.
The peak of the Gopura, the Kalasha is at the centre of the Mandala Symbolically, the Gopura
and the entrance to the temple represent the feet of the deity.
A devotes bows at the at the entrance, the feet of the Lord, as he steps into the temple and
proceeds towards the sanctum, leaving behind the world of contradictions.
PANDYA ARCHITECTURE – 1100 – 1350 AD

Surface Decoration:

•Most of the Pandya Gopurams are of the architectural type simple

and conventional due to the early period of evolution

Dravidian Order:

• Pillars and capital saw two changes

•The Idaie or flower motif was given a scalloped edge- foliated and
exquisite appearance

•Alteration of the Bracket overhanging the bracket into a moulded

pendent or a drop

• The Palagai was altered in proportion

• Abacus 2” thick, 4’ 6” feet dia
NAYAK ARCHITECTURE – 1600 AD onwards
Evolution of the Temple- Complexity in Plan due to Complexity in Ritual

The muslims started moving south which led to the shifting of the capital south at Madurai
The architecture flourished principally under the rule of Tirumalai Nayak 1623 – 1659
The Madura Style as it is also known as was a revival of the Pandya style of architecture

The expansion of the temples corresponded to the expansion of the temple

ritual :

The forms and ceremonies became more elaborate leading to the arrangement of buildings for
the activities
The increase in the structural form was due to the wider powers given to the deity
NAYAK ARCHITECTURE – 1600 AD onwards
Evolution of the Temple- Complexity in Plan due to Complexity in Ritual

INNER AREAS :
• Consisted of flat roofed courts, one enclosed within the other
• This normally covered a fairly large rectangular space
• Within the inner of the 2 courts is the sanctum, the cupolas of which covered in gilt
projects out through the flat roofs acting as the focal center
• There is a guarded seclusion to the inner area
OUTER AREAS:
• Concentric series of open courtyards known as ‘Prakarams’
• Enclosed within high walls, open to sky as they are too large to be roofed
• Provide space for secular buildings connected with the ceremonies

EXPANSION OR GROWTH OF TEMPLES:

1. Inner Areas or Cella: Wholly covered and sancrosanct

• The Cella and the Portico form the sanctum – origin of temple
• Cella was enclosed within another flat roofed hall to protect the original sanctuary
and to emphasize the sacredness
• Pillared aisles were added entrance through a small gopuram in front on the east
• Later the covered court was enclosed within a similar structure, division of the
concentric corridors by means of pillars and pavilions
• 2 entrances on the E and W with a larger gopuram than the previous
enclosure
2. Outer Areas:
• The entire composition was enclosed within a rectangle by means of a high wall
• The remaining space was left to provide a wide open courtyard or Prakaram
• The enclosure was entered by Gopurams, one on the E and W
• The Gopuram on the E was the principal doorway and largest
• Various structures were erected inside - pillared halls or Mandapas and subsidiary
shrines
• Semi religious buildings such as granaries, store rooms for ceremonial supplies
• Later concentric rectangles were added contained within higher enclosing walls leaving
another open space between the inner and the outer perimeters
• 4 entrances adorned the four walls in the center at the cardinal points
• Each consisted of a Gopuram larger than the previous one within the outermost
enclosure 2 large important structures were built- Thousand Pillared Hypostyle hall and
a Square Tank of water for ablutions, lined with steps and surrounded by an arcade
• This formed the basis for temple layouts but layer temples were sometimes
disproportionately enlarged – Srirangam which has 7 concentric rectangular enclosures
the whole resembling a town.
Concept of Temples:
Spiritual nor Architectural

The Gopurams induce a feeling of awe and majesty, leading to progressive halls,
smaller and dimmer than the previous, till the mystery of the Cella or darkened
shrine to feel the presence of God
NAYAK ARCHITECTURE – 1600 AD onwards
Evolution of the Temple- Complexity in Plan due to Complexity in Ritual

Elements of Temple:

1. Gopuram in the exterior

• Characteristic of the southern style

• Most of them are 1st class Gopurams –
• 150’ high to 200’
• 16 stories
• central doorway 25’ high on longer side
• Forms a corridor through the gopuram
• Rooms on either side for guardian and
the door keeper
•
One of these rooms has a staircase to reach the gopuram with a wide landing at
each
storey leading to the summit
External treatment
• Ht. of Gopuram emphasized by vertical lines
• Each storey has a perpendicular projection
• In-between each storey diminishing tiers, forming horizontal lines
• Horizontal portion sometimes had figures- which were life size.
NAYAK ARCHITECTURE – 1600 AD onwards
Evolution of the Temple- Complexity in Plan due to Complexity in Ritual

2. Pillars or Colonnades in the

interiors Moderate ht. of 12’
Presence of a 1000 pillared hall eg. At
Madurai

4 kinds of pillars –

1. Square moulded patterned -simplest one enlarged to a square pier normally with radiating
brackets

2. Rampant dragon -Most common type 1000 pillared hall

Superstructures are cleverly composed above the dragon pillars
Gryphon bracket, capital or beam

3. Deity

4. Portrait of the donor or family

•The third and fourth are similar, bigger than life size and
attached to the shafts
•No structural significance, held by attachments to the shaft
•Some cases provide additive support as seen at Meenakshi
Temple Madurai.
•Couching dragons and foliated brackets predominate
NAYAK ARCHITECTURE – 1600 AD onwards
MEENAKSHI SUNDARESWAR TEMPLE – MADURAI

The Meenakshi Sundareswarar temple (twin temples) is one

of the biggest temples in India.
The original temple built by Kulasekara Pandyan was in
ruins. The plan for the current temple structure was laid by
Viswanath Naik and was completed by Tirumalai Nayakar.
The Aadi, Chittirai, Maasi, and Veli streets surround the
temple.
Both temples are adorned with exquisite carvings &
sculptures and gold plated vimanams.

• The temple has 2 main sanctuaries

dedicated to Shiva and his consort
Meenakshi
• The temple is hance a temple within a
temple
• The outer wall is almost a square
measuring
• 850’ x 725’ with 4 large gateways
towards the center of the 4 sides
•The main Gopuram is on the E
NAYAK ARCHITECTURE – 1600 AD onwards

Planning:
The main Gopuram leads one to the pillared
avenue 200’ x 100’
This leads to the smaller Gopuram forming the
eastern entrance to the 2nd Prakaram
The 2nd Prakaram is a rectangular enclosure 420’
x 310’ having 4 gopurams in the center of each
wall
All the Gopurams are smaller than the previous
one as is the case with all temples
Most of the 2nd enclosure is covered with a flat
roof, partly open in the N
Within this is another court 250’ x 156’ with one
entrance on the E
The most elaborate part of the temple and the
most intricate grouping of pillars is found outside
this entrance
The sacred shrine is located inside the last
entrance
NAYAK ARCHITECTURE – 1600 AD onwards
MEENAKSHI SUNDARESWAR TEMPLE – MADURAI

The Sanctum Sanctorum – Shiva:

•The shrine consists of 3 components
•Assembly hall
•Vestibule
•Cella
•The cella is surmounted by a shikhara which penetrates through
the flat roof seen from outside rising like a golden crown
•The courts, corridors, halls making up the enclosures have
colonnades of pillars arranged in long lines or groups forming
diverse vistas in all directions
Sanctuary of Meenakshi:
•The other sanctuary of the temple is dedicated to Meenakshi –
fish eyed
•Enclosure on the S side of the temple at the rear
•Half size reproduction having one compartment within the
other
•225’ x 150’ entered by 2 Gopurams the one on the W being
larger then the E
•Rising above the flat roof is the cupola
NAYAK ARCHITECTURE – 1600 AD onwards
MEENAKSHI SUNDARESWAR TEMPLE –

Pool of Golden Lilies:

•Lies in front of the Meenakshi shrine

• Rectangular 165’ x 120’

• Surrounded by steps and a pillared portico on

all 4 sides

•The great mass of the S Gopuram is seen in the background over

150’ high and reflected on its surface

• In the middle is a tall brass lamp column.

• The reflection of the granite pillars in the colonnade adds beauty

 Sri Ranganathaswamy Temple, also known as Thiruvaranga Tirupati dedicated to
Vishnu.
Situated in an ethereal setting on the island of Srirangam that is bounded
by the two rivers of Cauvery and Kollidam (a tributary of Cauvery.

More importantly, it is not just a temple but a temple-town, a temple centred settlement pattern that
comprises of Sapta (seven) concentric rectangular enclosures or prakarams formed by thick and
huge rampart walls that run round the sanctum sanctorum in which the deity presides.
While the inner five enclosures of the complex constitute the temple, the outer two enclosures
function as the settlement.

Constructed in the Dravidian style of architecture, the Temple Complex is massive in scale and
spread over 156 acres (63.131 hectares).
 Apart from the 7 prakarams with massive walls, the Temple Complex has 21 very
colourful sculpted gopurams (consecrated gateways with towers), 50 sub shrines, 9
sacred pools, gildedVimana (dome) over the sanctum sanctorum of the presiding
deity, and other interesting features such as fresco paintings.

Evidences prove the origin of the temple in 1st century CE during the Sangam
period (3rd Century BCE – 45th Century CE).

However, as it stands today, the temple represents an accretion of building

activity over centuries, the architectural idioms coming from the several royal
dynasties who were captivated by and adored the Temple.
Some of these were the early Cholas (1stCentury CE), later Cholas (13th Century CE),the
Kongu rulers from Tamil west, the Pandyas from south (6th – 10th Centuries CE and 13th – 14th
Centuries CE), the Hoysalas (10th – 14thCenturies CE), and the later rulers and viceroys of the
celebrated Vijayanagara Empire of Karnataka (16th Century CE).
 Mandapams (Halls): There are many mandapams at Sri Ranganathaswamy Temple. One
of the finest is the Hall of 1000 pillars (actually 953), an example of a planned theatre-like
structure. Made of granite, it was constructed during the Vijayanagaraperiod (1336–1565).
The great hall is traversed by one wide aisle in the centre for the whole of its greater length

The most artistically interesting of the halls that the Nayaks added to the complex is the
Sesharayar Mandapam on the east side of the fourth enclosure. The hall is celebrated for
the 40 leaping animals carved on to the piers at its northern end.
The Sesharayar mandapam consists of monolithic pillars with sculptures of wild horses
bearing riders on their backs, trampling their hoofs upon the heads of rampant tigers and
seem only natural and congruous among such weird surroundings.

The Garuda Mandapam (hall of the legendary bird deity of Vishnu, Garuda) located on the
south side of the third enclosure is another Nayak addition.
 The Kili mandapam is located next to the Ranganatha shrine, in the first enclosure of the
temple. Elephant balustrades skirt the access steps that ascend to a spacious open area.
The Ranga Vilasa mandapam is a huge one, where the weary devotee may rest a while
and watch others haggle and purchase items for rituals.

The Kottarams (Granaries): The Kottaram houses the huge Granaries which stand
testimony to a systematic food security planning not only to the temple but probably to the
entire population of the temple town.
.
 The exterior of the vimana and attached mandapa has finely worked pillars with
fluted shafts, double capitals and pendant lotus brackets.
Sculptures are placed in the niches of three sides of the sanctuary walls.
Gopurams (Temple Towers): There are 21 huge Gopurams. The Rajagopuram is the
second tallest Temple tower in the world rising to a height of 72 mts.
The documents, while mentioning the boundaries of the lands, provide useful information
on irrigation facilities, land measures, tax structure and the names provided for the lands in
the particular village.
Inscriptions also throw light that the Srirangam temple was one among the handful of
temples which have had an Arokyasala (Health Centre) that had rendered medical service to
the people.
 The idol of the main deity is unique that it is not made of granite as in many temples, but
Stucco (a unique combination of lime, mortar and stones bound together by a special paste
(Thailam), made of musk, camphor, honey,Jaggery and sandal).

Vahanas: The Vahanas (Vehicles on which The Lord is mounted and carried on the
shoulders by devotees) are by themselves excellent pieces of architecture on wood. Wood is
carved into the shapes of animals, exotic birds, sun, moon, trees etc and elegant gold or
silver plating is done on them.

An interesting piece of history is the Yanai Vahana. An ordinary eye would describe it as an
Elephant, however on a closer look one would observe that it has four tusks. A quick search
on the Encarta Encyclopedia will let us know that these four-tusked elephants were known as
Mastodontoidea, which are said to have evolved around 38 million years ago and became
extinct about 15 million years ago when the shaggy and two tusked Mastodons increased in
population.
 Water Harvesting Systems (Temple Tanks): The Temple complex has 2 large Temple
tanks inside it, Chandra Pushkarini and Surya Pushkarini.
The Complex has been built in a way that all the water collected flows into the tanks. The
capacity of each Pushkarini is around 2 million litres and the water is cleansed by action of
fishes in it.

Apart from these there are 10 more Temple Tanks around Srirangam that come under the
control and management of the Temple. Open sand beds and Nandavanams (Flower
gardens) help in absorbing the rain water

Fresco & Mural Paintings: The walls of the Temple complex are painted with exquisite
paintings using herbal and vegetable dyes. They speak volumes about the culture and
tradition followed at those times. The figures of gods and Goddesses tell us stories and teach
us morals. The high end technologies used in these paintings ensured a long life for these
paintings and poses a tough challenge to reproduce them in these modern days.
 Belur was the first capital city of the Hoysalas. The Chennakeshava temple complex was at the
center of the old walled town located on the banks of the Yagachi River.
The complex itself was walled in a rectangular campus with four rectilinear streets around it for
ritual circumambulation of the deity.
The Chennakeshava temple was devoted to Vishnu. The richly sculptured exterior of the temple
includes sculptures and iconography and horizontal friezes that depict scenes from daily life,
music,
and dance, and narrate scenes from the life of Vishnu and his reincarnations and
the epics,Ramayana, and Mahabharata.

The layout of the town represents the cosmic diagram with walled kotte, the streets in four cardinal
directions, the temples of anjaneya at the gates at the ends of these four cardinal streets, the
rathabeedi or chariot streets around the temple, and the remains of the defensive wall and moat.
 Sacred Ensembles of Halebid
At the zenith of the Hoysala empire, the capital was shifted from Belur to Halebid that was then
known as Dorasamudhra.
The main temple at the center, various other smaller temples ad shrines and palace
buildings
were all destroyed making it the ‘ruined city’ or Halebid. Despite all the destruction, some temples
and structures of unparalleled beauty still remain.
The Hoysaleshwara temple at Halebidu is the most exemplary architectural ensemble of the
Hoysalas extant today. Built in 1121CE during the reign of the Hoysala King, Vishnuvardhana
Hoysaleshwara.
The temple, dedicated to Shiva, was sponsored and built by wealthy citizens and merchants of
Dorasamudra. While rulers have typically sponsored the grandest temples in southern India, the
merchants of the city dedicated the Hoysaleshwara temple.
The intertwining of the sacred and spiritual attainment with commerce and artistic achievement
was most clearly evidenced in the Hoysaleshwara temple.
More sculpturally and artistically sophisticated than any other Hoysala temple, the
Hoysaleshwara
temple is most well-known for the more than 240 wall sculptures that run all along the outer
wall.
 Halebid has a walled complex containing of three Jaina basadi (temples) of the Hoysala
period as well as a stepped well. The basadi are located in close proximity to the
Dorasamudhra lake. The Parshvanatha Basadi, the Adinatha Basadi, and the Shanthinatha
Basadi are three Jaina shrines containing tall idols of the Jaina deities. The Parshvanatha
Basadi, as the largest of them also has niches for idols of the 24 thirthankaras or saints of
Jainism.
The Kedareshwara temple is another exquisitely carved temple dedicated to Shiva that
is close to the Jaina basadi complex and with a temple pond adjacent to it.
Dorasamudhra was built with defensive fortifications. The walls had 5 gateways in
addition to the 4 main ones in the cardinal directions. Excavation has revealed the remains
of an inner fortification protected the royal palace, offices, and women’s quarters.
Numerous tanks, wells, and ponds, are in and around the town and lakes just
outside.Mantapa of various types are extant around the Dorasamudhra lake.
Hulikere, located on the southern side of the town is akalyani (stepped well) of exceptional
beauty. Richly carved and decorated with numerous miniature shrines, the stone well is most
outstanding example of Hoysala water structures extant today that combine artistry and
hydrology with the sacred.