ACHARYA’S NRV SCHOOL

OF
ARCHITECTURE

SUBJECT CODE: 21ARC24

SUBJECT TITLE: HISTORY OF ARCHITECTURE-II
SEMESTER: 2
SECTION: A
FACULTY NAME: AR. MANU M
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MODULE-2

ARYAN & DRAVIDIAN

TEMPLES

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SYLLABUS
MODULE: 2

6. Beginnings of Dravidian architecture: Pallavas, rathas at Mamallapuram, Shore temple, Kailsanatha and
Vaikuntaperumal temples at Kancheepuram.

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INTRODUCTION TO DRAVIDIAN ARCHITECTURE

• In view of the fact that this style was being practiced almost entirely in the Tamil country, anciently known as
Dravidadesha has been referred to as the Dravidian Style.
• This southern type of architecture, has been found to resolve into five periods corresponding to
the five principal kingdoms which ruled in the south of India during the course of its evolution.
• These are as follows

1. Pallava (600 – 900 AD)

2. Chola (900 – 1150 AD) DRAVIDIAN ARCHITECTURE
3. Pandya (1100 – 1350)

4. Vijayanagar (1350 – 1565 AD)

LATER DRAVIDIAN ARCHITECTURE
5. Madurai or Nayaks (1600 ‐1736AD)

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PALLAVAS
• The Pallavas came into prominence in the seventh
century and continued paramount in the south until
the beginning of 10th C.

• The centre of their kingdom lay on the lower reaches of

Palar river, and the chief examples of Pallava architecture
are to be found in the country around the town of
Kanchipuram the ancient capital and the port town of
Mamallapuram (Mahabalipuram).

• The Pallava dynasty maintained its varying forms of

architecture for some three centuries, from 600 to 900 AD,
and its production resolve themselves into two phases, the
first of these occupying the 7th C, and the second the eighth
and ninth centuries.

• The first phase the examples were entirely rock cut, in the
second phase they were entirely structural.

• There were four principal rulers, during the period of

Pallavas power, and the works of each phase have been
divided into two groups, comprising four groups in all,
each of which is named after the king who was ruling at
that time.
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RATHAS AT MAMALLAPURAM
• Pancha Rathas (also known as Five Rathas or Pandava
Rathas) is a monument complex at Mahabalipuram, Tamil
Nadu, India.

• Pancha Rathas is an example of monolithic Indian rock-cut

architecture. The complex was initially thought to have
carved during the reign of King Narasimhavarman I (630–668
CE.)

• The complex is under the auspices of the Archaeological

Survey of India (ASI) and is part of the UNESCO World
Heritage site inscribed by UNESCO as Group of Monuments
at Mahabalipuram.

• Each of the five monuments in the Pancha Rathas complex

resembles a chariot (ratha), and each is carved over a single,
long stone or monolith, of granite which slopes in north–
south direction with a slight incline.

• The structures are named after the Pancha Pandavas and

their common wife Draupadi, of epic Mahabharata fame.
• In order of their size, they include the Dharmaraja
Ratha, Bhima Ratha, Arjuna Ratha, Nakula Sahadeva Ratha,
and Draupadi Ratha.
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D H A R M A R A J A R AT H A
o It lies next to Bhima Ratha.
o It was built by king Narasimhavarman I, who reigned
from 630 AD.
o This Ratha is dedicated to Lord Shiva and is
largest of all rathas at Mamallapuram.
o It is square in plan, with sides about 10m long
and 13m high.
o Essentially a monolithic, the Ratha has no internal
spaces other than the galleries with carved columns
at the entrance and at the rear end.
o Overall it is a larger scale version of Arjuna Ratha,
but with one further roof storey and a large number
of miniature edifices carved on the roof.
o There are twelve square stupis at the corners and
twenty four shalas on the sides, all of the exhibiting
the kudu motif.

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B H I M A R AT H A
• It lies next to Arjuna Ratha and is most imposing It reproduces the Buddhist chaitya model. It is sculpted in the
image of the halls that are used as Buddhist meeting places.
• The design of the Bhima Ratha is based on one of the fundamental forms of Indian architecture, the elongated
meeting hall.
• The entrance portico has four free standing columns and a series of kudus running along the entablature. Above
them are the miniature buildings found on the four sides of the temple.

• The Roof of the Bhima Ratha is in barrel vault style, and can be seen from outside. The short sides of the roof
present the form of kudu and the end section of the barrel vault.
• On the long sides of the building are columns carved from the rock that resemble those running on the sides of
the rock cut halls at Ellora and Ajanta.
• The bases of these columns are in the form of seated lions and the columns grow out of the lions heads.
• Along the cornices supporting the roof, run miniature edifices and “kudu” form bays.
• The main entrance is on one of the long sides.
• The only point on which the Bhima Ratha differs from a chaitya is the absence of an apsidal end.
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A R J U N A R AT H A
• It lies next to Draupadi Ratha
• It is a fine example of the step pyramid structure
decorated with miniature buildings.
• The miniature buildings are oblong along the sides
(shalas) and square at the corners (stupis) and they
imitate the successive levels of the cosmic
mountain.
• The Arjuna Ratha is of square plan and modest
dimensions, its sides been only 5m long. It is derived
from Buddhist Vihara.
• The high relief sculptures on the external walls set
between pilasters of a kind that in the wooden
original, would have supported the roof.
• The sculptures show the god Shiva along with
Vishnu and tower guardians.

N A K U L ‐ S A H A D E VA R AT H A
• It lies in the end of the line next to
Dharmaraja Ratha.
• This Ratha is based on “chaitya hall” of
Buddhist temple.
• It reproduces the basilican plan with apsidal
end and barrel vault characteristic of the
Buddhist Chaitya.
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DRAUPADI RATHA
• It is the smallest and simplest of all rathas.
• It is not derived from any Buddhist structures.
• It is dedicated to the goddess Durga.
• It is square in plan and its roof is a projecting curvilinear structure of
four planes, like that of a hut roofed with palm leaves.
• The corner ridges are decorated with delicate carvings. Their volutes
stand out above niches containing high – relief carvings of the goddess to
whom the ratha is dedicated, Durga.
• On either side of this monolith are two great free standing images, a Lion
and a Nandi Bull.

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SHORE TEMPLE
• Located at mahabalipuram mamallapuram,
port city of kanchipuram, pallava capital.

• Built by narsimhaverma rajsimha (690 a.D-

715 a.D)

• Most famous one, stands on the extreme for

shore of coromandal coast, overlooking the
bay of bengal, built with blocks of granite.

• As one of the group of monuments at

mahabalipuram, it has been classified as a
unesco world heritage site since 1984.

• Mahabalipuram shore temple consists of 2

pyramidal towers over 2 shrines shrine. 1
situated in east dedicated to lord shiva.
Shrine 2 situated in west dedicated to lord
vishnu.

• These shrines acted as lighthouses for ships.

The Shore Temple is made of three shrines: one
dedicated to Vishnu, sandwiched by two larger
• The whole structure is enclosed with a ones for Shiva.
massive wall and the entrance is provided
from west.
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• Walls: parapet and coping crowned by figures of kneeling bulls, sculptures and kudu.

• The carvings on roof resembles the panch rathas.

• Roofs carved with finials, showing that the temple was complete and functional.

• Exterior: boldly carved with lion and other supernatural animals. Also contain the images of Parvati, shiva,
Subramanya. Kudus were the identifying features of temple walls.

• Beneath the towers, the sanctuary walls are largely undecorated, although their engaged columns are
carved with lion bases.

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• Vimana over shrine is about 20 m high. It has

umbrella shaped kalasa (octagonal dome), at it’s
summit.

• Verendah behind contains a figure of lord vishnu

in the garbhagriha (sanctom sanctorum), an image
of shivalinga embraces the site.

• Ardhamandapa, garbhgriha established with a

large lingam, with 16 sides perimeter about 2 m.

• The two isolated buildings mahamandapa and

central vimana(shrine) are joined by an
intermediate hall called ardhamandapa, which is
built much later in 14th century ad.

• Central shrine surrounded by smaller shrines with

small shikhars (8 small shrines, 6 to right and 2 to
left. All designed similar to rathas).

• Stone nandi nandi- shiva bull seated on large

platform height- 2.8m length – 2m leo graph motif
(rampant lion pilaster)

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KAILSANATHA TEMPLE AT KANCHEEPURAM

• Kailasanathar Temple(meaning:"Lord of the Cosmic
Mountain") , Kanchipuram is one of the cultural assets of
India.

• It’s located in Pillayarpalayam, two kilometers away

from Kanchipuram City, Tamil Nadu. The temple is built
by Rajasimha Pallava. His son, Mahendravarman III
completed the construction later.

• It is the architectural icon of the Pallava dynasty.

• The temple is built in the tradition of Smartha worship of

Shiva, Vishnu, Devi, Surya, Surya, Ganesha, Kartikeya,
which has replaced Buddhism.

• The Kailasanathar temple draws some influence from

other styles developed by Chola Dynasty and
Vijayanagara Emperors, and also Pallava architecture in
its original style. The entire temple is made of stone, but
it is not like the rock-cut architecture built into hallowed
caves or carved into rock outcrops like Mahabalipuram.

• The temple has garbagriha , antarala, mandapa, high

compound wall, entrance gate, gopuram, making it
complete in all aspects. © Acharya's NRV School of Architecture
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• The mandapa was made by interposing ardhamantapa.

• Mythical lion mounts surround the pillars, which adds

to the Pallava style.

• The layout of Kailasanthar temple is simple with a tower

at the centre and with the vimana above the main
shrine, square in plan and rising up in a pyramidal
shape.

• At the top is a small roof in the shape of a dome.

• The gopuram walls at the entrance are plastered, with

eight small shrines and a gopura.

• The adrhamantapa joins the mandapa and sanctuary,

acting as an intermediate hall.

• The temple within walls, is, however, rectangular.

• The main door through the Gopuram asymmetrically

stands between these cave shrines, 2 on one side and
six on other.

• The round pillars with bottom carved in the shape of

mythical animal lions are the signature stamp of Pallava
dynasty. © Acharya's NRV School of Architecture
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• Inside the sanctum, the temple is rather simpler.

• There is a 16-faced Shivalinga in black granite.

• A pillared mandapa stands in front of the main temple.

• This temple has a pyramidal Shikhara, with sculpted

figures on each later.

• It looks like the stone plates are delicately balanced on

each other while holding the stories.

• On the top is a spherical dome-like finish, and Nandis sit in

all four directions on the layer just below the top.

• The main Nandi Mandap is about 100 meters away across

the sprawling lawns from the temple. The Nandi is mid-
sized and facing the sanctum.

• Shrines or meditation caves in front of the Kailasnathar

Temple.

• A tank is located diagonally across the temple at the other

end of the lawns.

• Outer walls of the kailasanathar temple Landscape view of

Kailasanathar Shiva Temple, Kanchipuram
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VAIKUNTAPERUMAL TEMPLE AT KANCHEEPURAM

• The temple of Vaikunta Perumal at Kanchipuram was
built from 750 AD and here the Pallava style of
architecture is seen in its most mature form.

• This temple is slightly larger and more spacious in its

proportions than Kailasanatha temple at Kanchipuram.

• Instead of the principal parts such as the cloisters,

portico and sanctuary, being separate buildings, they
are amalgamated into one architectural whole.

• It is square in plan, having a side of nearly 27m. The

eastern or front portion is carried forward by 9m to
provide for an entrance portico.

• The exterior of this formulation presents what might

have been a high and somewhat uncompromising
outer wall, but its surfaces have been so enriched with
semi‐ structural and ornamental motifs that it blends
admirably with the shikhara towering above the
whole composition but actually rising from the shrine
within.

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• It is square in plan, having a side of nearly 27m.

The eastern or front portion is carried forward by
9m to provide for an entrance portico.

• The exterior of this formulation presents what

might have been a high and somewhat
uncompromising outer wall, but its surfaces have
been so enriched with semi‐ structural and
ornamental motifs that it blends admirably with
the shikhara towering above the whole
composition but actually rising from the shrine
within.
• The vimana is square in plan, externally having a
side of 15m and its tower rises to a height of
20m from the ground.

• It is in four stories, each with a passage around it

exterior, a cella in centre and a corridor
encircling two of these for circumambulation.

• The tight knit plan, the intimate spaces, the

multiple shrines and the self glorifying Pallava
sculptures suggest that Vaikuntha Perumal was
not a public shrine, rather it was a private family
shrine of royalty, situated within or adjacent to
the palace precinct. © Acharya's NRV School of Architecture
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• The last phase of the second group of temples executed
during the Pallava regime marks the end of the
productions of this dynasty.

• It represents the works prepared during the rule of

Nandivarman and his successors, and depicts the
mode in practice in these parts during the 9th C.

• No buildings of any note were erected at this time, but

there are a few small temples which show the direction
of the movement.

• The principle examples are five in number as follows

1. Muktesvara Temple at Kanchipuram
2. Malangeshvara Temple at Kanchipuram
3. Vadamallisvara Temple at Orgadam
4. Virattaneshwara Temple at Tiruttani
5. Parashuramesvara Temple at Gudimallan near Reniguta.

• The fact that all the temples are of small size

and are mere reproductions of the previous
manifestations are proofs that the might of this
one time powerful dynasty was declining.
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