EVOLUTION OF HINDU TEMPLE ARCHITECTURE

UNIT III HISTORY OF ARCHITECTURE

EVOLUTION OF HINDU TEMPLE

ARCHITECTURE
Hindu forms of worship
Evolution of temple form
meaning, symbolism,
ritual and social
importance of temple
categories of temple
elements of temple
architecture

Early shrines of the Gupta

and Chalukyan periods
Tigawa temple
Ladh Khan and Durga
temple, Aihole
Papanatha, Virupaksha
temples,Pattadakal
Kailasanatha temple,
Ellora.

EVOLUTION OF THE RELEGION

HINDUISM THE RELIGION

CIVILIZATION OF HINDUISM
EXPRESSION OF GOD IN ART

Figural art
Importance of emblems
Animals and birds in art
Expression of divinity as sacred images

TEMPLES IN THE EYES OF MAN

DYNAMICS OF TEMPLE
FORMS OF TEMPLE
Timber Origins Of Indian Architecture
Cutting And Carving In Stone
Brick And Stone Construction

TEMPLE STYLES
EARLY INDIAN SHRINES

HINDUISM THE RELIGION

Hinduism did not appear until the centuries
immediately preceding the Christian era
ARYANS the nomaders bought with them, the
literary tradition of Sanskrit & some Early traditions
to India. These early traditions were later
documented as sacred texts VEDAS.

HINDUISM THE RELIGION

It is in this context that Buddhism and Jainism appeared in the 6th century BC, which focused
on the ethical philosophies of everyday life which were directed towards transcendence of
human existence

Before the beginnings of the Christian Era the major cults of Hinduism had emerged.
Elaborate rituals and ceremonies were rapidly evolved for the worship of divinities and myths
and popular legends flourished
Literature developed during these period were Vedas, Brahmans and Upanishads (for the
priests) and epics (Ramayana & Mahabharata) puranas (for common people)
Epics remain as examples the richness of the contrasting cultural traditions and expresses
the characteristic feature of the new religion
In the puranas & epics , the earlier pantheon of Vedas are completely overwhelmed by new
repertoire of popular cults

HINDUISM THE RELIGION

The then existing harappan civilization was into worshipping female principles and some
natural plants and animals celebrated fertility (the creative force) both male and female
forms
PRE ARYAN BEGINNINGS : By the time RIG VEDA was compiled Aryans had already
absorbed many elements of ideology from Indus Valley Civilization
Changes in the living patterns, religion are revealed in the later literary works of Brahamans
and Upanishads
The philosophy of these religious texts were revolving around the notion of escape (Moksha)
from the present world underlying the beginnings of doctrine of transmigration (Samsara)
An important doctrine is the concept of karma in which actions of human being in one life
span directly affect the rebirth to follow

HINDUISM THE RELIGION

The emergence of the new religion and culture of

Hinduism strongly influenced the monumental architectural
and artistic traditions developed by Buddhism & Jainism

Earlier structures were fashioned with less durable

materials (timber, brick ) until Gupta period (4th century
AD) when stone was used as the material of construction

As northern and southern India have an independent

histories, the initial forms of Hindu architecture took two
different styles based on their geographical position

HINDUISM THE RELIGION

EXPPRESSION OF GOD IN ART
Hindu art is primarily an art of sacred images in
which gods, godesses, demons and innumerable
semi-divine beings take visible form
The art of hinduism responds to the multiplicity of
forms representing the same divinity.
The art of countless sacred images which
communicates the different aspects of divine while
reminding the worshipper that ultimate truth lies
beyond the world of appearances

EVOLUTION OF TEMPLE FORM

CONCEPT AND EVOLUTION OF HINDU TEMPLE

DYNAMICS OF TEMPLE
In hinduism the attainment of spiritual perfection is linked to a long journey of many stages,
frequently visualised as progression upwards through various stages of consciousness
Temples are conceived as a place of transit
The symbolism of the passage through the doorway is connected with the idea of the
transition from the temporal to the eternal resulting in the most significant aspect of
devotional dynamism in hinduism the circum ambulation pradhikshana
Focus on the center of the sanctuary
Symbolic representation of combined ideologies
Radiation of energy outwards from the center to the sanctuary in four directions.
Sacredness of image in womb of the temple

Secondary images placed outside garba griha in elaborately decorated niches.

TEMPLE SITES : Natural elements and its forms of water, trees, caves, mountains, etc were
considered sacred were considered as potential sites for temples.

CONCEPT AND EVOLUTION OF HINDU TEMPLE

FORMS OF TEMPLE SCIENCE OF BUILDING
TIMBER ORIGINS OF INDIAN ARCHITECTURE
Wood and flexible timber / bamboo characterized the versatility of their building forms and
promoted a degree of innovation which resulted in a variety of architectural forms.
Hindu temple models are directly derived from wood and bamboo architecture
Horse shoe arched window
Apse
Ribbed barrel vault
Usage of stone started with buddhist sanctuaries
Heavy cross beams, rafted framework
Rock cut copies of actual timber beams
Wood also influenced the elements of stone and brick such as doorways, column design, roof
forms (eg: thatched slopping roof copied in stone in LADHKAN temple)

CONCEPT AND EVOLUTION OF HINDU TEMPLE

CUTTING AND CARVING IN STONE
Dates back to 3rd and 2nd century BC
Started as technique of cutting rock to create artificial cave temples
Tools used were pointed chisels and iron mallet

ROCK CUT ARCHITECTURE technique evident from unbuilt rock

cut caves from Pallavan architecture, Mamallapuram 7th Century AD

CONCEPT AND EVOLUTION OF HINDU TEMPLE

CUTTING AD CARVING IN STONE
ROCK CUT ARCHITECTURE

Driving a tunnel (man height) till beneath the place where ceiling would be
Widen & deepen by cutting steps
Two workers as pair one stonemason for rough work and another to clean and polish
Incised colonnade on polished rock and divided remaining area into square panel.
Further carved inwards till the required depth and width.
STRUCTURAL ROCK CUT ARCHITECTURE developed initiating rock cut techniques of
carving caves which is evident in mahabalipuram rathas.

Mass of the temple and sanctuary were built of stone slabs developing a quasi-monolithic
temple form
Intricate ornamented motifs were carved out at joints almost making it invisible.
Another leading feature of hindu temple architecture is the emphasis of carving of surface
ornamentation as the principal visual language.

CONCEPT AND EVOLUTION OF HINDU TEMPLE

BRICK & STONE CONSTRUCTION
Principle forms of using stone in temple architecture were the stone columns,
stone / timber beams at lintel level and horizontal stone slabs.
The post and the beam construction method is extended by development of
corbelling techniques stones / bricks in horizontal course were progressively
projected out to cause a gap between two walls till it can be closed with one single
brick/ stone.
Factors of functional engineering principle was never a part of Hindu temple
architecture
Pillar lintel corbel scheme is the root of Hindu temple architecture along with
some structural principles of canteliver, dome , etc at rudimentary levels.
Dome at the ceiling achieved by rotating and diminishing squares.

CONCEPT AND EVOLUTION OF HINDU TEMPLE

1. GARBHAGRIHA.
5. ENCLOSING WALL

2. MANDAPA.

3. ANTARALA

6. PRATHIKSHANA PATH

4. MAHAMANDAPA
7. ARTHA MANDAPA.

CONCEPT AND EVOLUTION OF

HINDU TEMPLE
Sanctuary as whole is called as
Vimana.
Upper pyramidal or tapering
portion of the vimana is called
Sikhara.
Inside vimana there is small dark
chamber or cellar for the reception
of the divine symbol . It is called
Garbhagriha or womb house.
It was entered from a doorway on
its inner eastern side
Opposite to the cella there was a
pillared hall Mandapa. It was the
pavilion for the assembly of those
paying their devotions to the
divine symbol of the cellar

CONCEPT AND EVOLUTION OF HINDU TEMPLE

In the earliest example the mandapa
was detached . E.g.. Shore temple at
mamallapuram & kailasanathar temple
at kancheepuram . (700 A.D).then it
was attached to the building.
The intermediate chamber is called
Antarala. Porch which leads to the
mandapa is called as Artha mandapa.
The main entry hall is called Maha
mandapa.

Surrounding the temple there were

inward cells which encloses the temple.
Most of these early temples have a
processional path or passage ,
prathikshanapath which surrounds the
mandapa, outside the cellar.

CONCEPT AND EVOLUTION OF HINDU TEMPLE

Shikara has the repetition of architectural
motifs, converted into an element of decoration.
These architectural motifs have much deeper
meaning.
Numerous niches, recesses , alcoves and
altars were provided inside the temple which
has the images of the immortals,so that the
whole place is the assembly of the devas or
holy shrines.

CONCEPT AND EVOLUTION OF HINDU TEMPLE

TEMPLE STYLES

COMBINED STYLE

NORTH INDIAN STYLE

Geographical classification of the land by

major rivers and mountains as northern and
southern india gave birth to two distinctive
styles in temple architecture.
NAGARA / NORTHERN / PRASADA DRAVDIAN / SOUTHERN /
VIMANA

NORTHERN STYLE AND

DEVELOPED AND FLOURISHED
FROM FOOTHILLS OF HIMALAYAS O
CENTRAL PLATEAU OF DECCAN ,
GUJARAT IN THE WEST TO ORISSA,
BENGAL IN THE EAST

COMFINED WITHIN THE

SOUTHERN PENINSULAR
CONTINENT BELOW THE DECCAN
PLATEAU

SHASTRAS LIST THHE HORIZONTAL

DIVISIONS OF VERTICAL PROFILE
OF THE BUILDING FROM
SUPERSTRUCTURE TO FINIAL AND
CLASSIFY TEMPLES ACCORDING TO
THEESE DIVISIONS

SHASTRAS TAKE INTO ACCOUNT

SUCH VARIANTS OF BUILDINGS
WHOSE ELEVATIONS ARE BASED
UPON A SINGLE UNIT / NUMBER
OF UNITS VERTICALLY
SUPERIMPOSED

SIKHARA REFERS TO THE WHOLE

SUPERSTURCTURE

SIKHARA REFERS TO THE FINIAL

END.

SOUTH INDIAN STYLE

CONCEPT AND EVOLUTION OF HINDU TEMPLE

They have the structural features for
keeping off the rain and enabling the
smoke to escape.
Sikhara - In one concept it was the
derivation from the peaked or domed
huts.
Temple developed form stupa.just
the elongated form of the dome.
Temple is referred as ratha or car.
so the sikhara may have been
derived from that.
The device on the finial of the sikhara
distinguishes the temple system

CONCEPT AND EVOLUTION OF HINDU TEMPLE

Siva temple linga or phallic emblem in the cella, on eastern side & an effigy of
the sacred bull is there in front of the cella.

Vishnu temple above the spire of the vishunu temple will have a disc or wheel
statue of deity.

Another thing which distinguishes was the lintel of the doorway to sanctum. On
these principal images were carved back , west and center.Carvings mostly
related to the particular deity enshrined within.

CONCEPT AND EVOLUTION OF HINDU TEMPLE

Temple was built east west so that the early morning rays of the sun directly falls into
the holy of holies, thus filling it with the fresh glory of the coming day.
It also symbolizes the entry of the god into his own temple of the world.

Though different temples were built during different ages they had certain fundamental
principles which is controlled by the act of building in all its phase. they had also some
well established technical code.
there were two institutions, seni or guilds they do practice. silpas or canons of arts
professed to do for the theory. they had vastu sastra or rules of architecture .
It contains detailed directions for the proper construction of every kind of buildings like
religious or secular.

The constructional methods of the Hindus had little inventiveness.

they had laws of gravity in which all pressures are transmitted directly down wards.
there was no use of mortar. thus Indian temple architecture is called DRY ORDER.

Indian masons didnt prepare the materials on the site of the structure ,but from the
quarry itself, often some considerable distance away.

EARLY HINDU SHRINES

DEVELOPMENT OF HINDU TEMPLES

GUPTA PERIOD
CHALUKYAN
RASHTRAKUTHAS
PALLAVAS
CHOLAS
PANDYAS
INDO ARYAN STYLE

GUPTA PERIOD

BEGINNING OF GUPTA PERIOD

No evidence of Architectural Records since Mauryan period. This period
created an favorable to a revival of all forms of human activity spiritual
and material.
As Gupta were by religion, Brahmanical they followed Hinduism.

In the art of building they wanted fundamental significance in aesthetic

character and in Structural procedure.
For the aesthetic character they first started to avoid the meaningless
forms which is the expression of the undeveloped mind and unskilled
forces.
For the structural procedure thing they started with dressed stone
masonry.

BEGINNING OF GUPTA PERIOD

The anthropomorphic conception of a `deity naturally called for some
permanent habitation and so a structural shrine came into being. Thus the
concept of evolution of temple was started.
Thus we see the

Indian temple passing

through various
stages, corresponding
to the need - clearings
in forests, a reed hut,
and finally a sanctuary
of first wood and then
of brick and stone

BEGINNING OF GUPTA PERIOD

EVOLUTION OF EARLY HINDU TEMPLE
By this period garbha griha in stone was
evolved.
Pillared porticos with a flat roof and
highly carved stone pillars the
important features of temples of this
period.

It also possessed some of the distinctive

Characteristic features like
shape of the pillars and capitals,
treatment of the Intercolumniation,
the system continuing as the string
course round the entire building and
the design of the doorway.
eg Tigawa temple.

EARLY SHRINES OF GUPTA PERIOD

The Gupta shrines more than a symbol , they reflect that sudden glory
which comes with fresh Inspiration in the capital or order.
it is the purna kalasa or bowl of plenty which has produced the vase
and flower motif.
They had the square pedestals and octagonal shafts surmounted by a
vase shaped capital.
Door way to the shrine was a typical Gupta design with their
overhanging lintels

BEGINNING OF GUPTA PERIOD

TIGAWA TEMPLE
Presently in Jabalpur
Earliest form of Hindu Temple
has all main characteristics of early Hindu
temples
an inner garba-griha
surrounded by an ambulatory path
an outer portico with columns in the
front, and
above all, a flat roof of stone.
This temple is notable for the vitality of the
carving on its outer columns.

BEGINNING OF GUPTA PERIOD

TIGAWA TEMPLE
The sanctum being a square structure of 12 side Enclosing a cellar
of 3.75 m2. While the porch projects in front by 7.
In the Gupta temple the inter columniations is different. Middle Interval
wider than those on either side.It has flat roof with overhanging eaves.
Front part contains the Gupta order. It contains the massive Abacus
surmounted by a device of lions. it has plain square Pedestal and
short shaft has many sides.The extended lintel on the top of the
doorway reminds the wooden construction .
12

12

3.75
Sq M

CHALUKYAN PERIOD

CHALUKYAN PERIOD
Built shrines for Aryan
Gods in their capital city
Aihole
Craftsmen were familiar
with the Buddhist rituals
and traditions of Gupta
sculpture
No experience in free
standing monuments
They picked the
santhagar or the
assembly hall of the village
council as their model
Adopted the timber
structure to stone masonry
and the plan from village
assembly hall

CHALUKYAN PERIOD
The Hindu structural temple took its introductory form during this period.
Unlike the Gupta shrines the Chalukyan temples has the pillared assembly hall called
mandapa..
E.g. LADHKHAN temple and Durga temple at Aihole.

In this period temple they had

the public spaces
surrounding the temple for
congregational Purposes.
they had stone seat or
podium as a seat rest.
In the order they had square
shaft and bracket capital.
through out the temple they
had Stone pilasters
It had the stone seating
called asana in the entrance
halls

CHALUKYAN PERIOD
LADHKAN TEMPLE
LATER ADDITION

CHALUKYAN PERIOD
LADHKAN TEMPLE
When Gupta shrines were
built in central India &
Northern India,Chalukyans
started to get over the
power in southern India.
The first efforts of the
Chalukyan are
represented by a
considerable group of
stone built shrines and
temples at Aihole.
In shape it is a Square and
comparatively low ,flat
roofed building. The plan
has fifty feet in all side.

CHALUKYAN PERIOD
LADHKAN TEMPLE

The open pillared hall has

the two square group of
columns. thus providing
the double aisle all
around.
The cellar is placed in the
western side against the
back wall. in front of it the
effigy of a bull almost fills
the central hall.

CHALUKYAN PERIOD
LADHKAN TEMPLE

Three of these sides are

completely enclosed by
walls , two of which has
perforated stone grills
(added on in the later
periods) and eastern
side has projected
porch.

CHALUKYAN PERIOD
LADHKAN TEMPLE
In this Ladhkhan temple ,
we can see the beginning
of the asana meaning
stone seating ,in the
portico.

BRACKET Capital

The asana is the timber

bench with the inclined
back an element of the
assembly council was
removed from the interiors
and reproduced in the
portico.
ASANAS: Seating Element / Balusters

These asanas functionally

Only the effigy shows it was a Siva temple which added later.
serve as a seating
But other dedicatory blocks shows it was a Vishnu temple.
element and aesthetically
acts as balusters for the It has bracket capital column which has the expanded floral
portico.
abacus which supports the bracket.

LADHKAN TEMPLE
BUILDING MATERIALS
Walls Cyclopean Stones without binding materials
Roof Gargantuan stone slabs

CHALUKYAN PERIOD
The roof has the flat
slab. In its entire length
the grooves are
chiselled.. Long narrow
stones are placed fitting
into the grooves. this
type of roof got its
concept from timber
structure.
Projecting edges of the
roof slabs were rounded
off to imitate the original
thatch overhang. Even
bamboo ribs holding the
thatch down are
reproduced in bulky
semi-cylindrical stones.

CHALUKYAN PERIOD
DURGA TEMPLE
This is the brahmanical version of
the Buddhist Chaitya hall adapted to
suit the service of the former belief.
The seventh century Durga Temple
at Aihole is dedicated to Lord
Vishnu. It took its name from the
Kannada word "durgadagadi" or
"temple near the fort."

pteroma

The temple includes mukha

mandapa,sabha mandapa and
garbhagriha.
36

It has an apsidal ended structure

measuring 60 by 36.
60

24

CHALUKYAN PERIOD
DURGA TEMPLE
36

There is a large portico on its

eastern front 24 in depth. Thus it
forms 84.
60

24

Two flight of steps leading to a

portico give entrance to the
temple on the eastern side.

4 square pillars support the

ceiling of the mukha mandapa
from which a highly ornate
doorway leads into the sabha
mandapa and garbha griha
The pillared hall, is divided into a
central nave and two side aisles
by two row of pillars.

DURGA TEMPLE

CHALUKYAN PERIOD
DURGA TEMPLE
Niches enclosing bold figure
sculpture adorn the walls of the
sabha mandapa and garbha griha
along the pillared corridor.
It is raised on high and heavily
molded plinth or stereo bate.
Over the apse a short pyramidal
tower or sikhara has been
subsequently added.

pteroma

36

60

24

Another notable feature in the design

of the durga temple has peripheral or
pteroma, a passage formed by the
colonnade of a verandah .The main
cellar is surrounded by this pteroma
which is connected with pillared
portico.

CHALUKYAN PERIOD
PAPANATH TEMPLE
The Papanath temple erected before
the end of the 7th century reveals in
experience in architectural design.
This plan lacks correct placement of
the main parts and a logical inter
relationship between them.

30

The sikhara at the eastern end of the

building is too short and under sized
for the long, low building and the
antrala is too long.

90

Antrala looks like square assembly

hall than a vestibule, more like a
mandapa and like an antechamber to
the sanctuary.

CHALUKYAN PERIOD
PAPANATH TEMPLE
Dedicated to Mukteswara
according to inscriptions, this
modest temple seems to have
been completed around 740 A.D.
There seems to have been a
change of intention during the
course of construction of this
temple as can be known from its
too narrow circumambulatory
path whose floor slabs conceal
the external moulding of the
garbhagriha walls and the
buttress like projections of the
north and south garbhagrihawalls into the ardha-mandapa,
both of which are unusual
features.

CHALUKYAN PERIOD
PAPANATH TEMPLE
Facing the east, this temple has on plan a sanctum (garbhagriha ) surrounded by a
circumambulatory path (pradakshinapatha) with niches (devakoshtha) pavilion along its
three walls, an ardha-mandpa, a sabha-mandapa and an entrance porch (mukhamandapa)
Curiously, but an ornate image of Nandi is housed in the eastern half of the sabha-mandapa.
there is no Nandi-mandapa

The temple is built on a plinth of five mouldings, embellished with animal motifs, floral designs
and kudus.

CHALUKYAN PERIOD
PAPANATH TEMPLE
The interior still bears the
influence of rock cut architecture .
The string courses surrounding
the building resemble strong
braces holding the structure
together.
The decoration of the outer
surface consisting of repetitions of
elements of bas relief shrines in a
triangular pattern on the canopies,
shows little under standing of
architectural ornamentation.

CHALUKYAN PERIOD
PAPANATH TEMPLE
The wall surfaces are relieved with niches (devakoshthas)
housing Saiva and Vaishnava deities and depicting episodes
from the Ramayana.
These niches are topped by various designs of chaitya-arch
motifs and interspersed with perforated windows.
The three devakoshtha pavilions house images of Siva in
different forms.
Pillars of the entrance porch bear Kinnara couples and
engaged columns have the figures of Dvarapalas. Lions and
sardulas are carved at the corners above the entablature and
the ceiling panel depicts dancing Siva with Parvati and
musicians and flying figures.

CHALUKYAN PERIOD
PAPANATH TEMPLE
Pillars and pilasters of the other
mandapas are relieved with mediumsized graceful sculptures of damsels
and couples (mithunas) in playful
moods.

Here figures of rearing lions are cared projecting

from above the entablature.

Central ceiling of the ardha-mandapa has relief

sculpture of dancing Siva in the company of Parvati
and musicians.
The western ceiling here has figure of Nagaraja.
Both the mandapas and the sanctum have ornate
doorframes.

Bay ceiling of the sabha-mandapa is

adorned with panels depicting
Anantasayana surrounded by the
Dikpalas, nagaraja and Gajalakshmi
from east to west.

CHALUKYAN PERIOD
VIRUPAKSHA TEMPLE
The temple plan has the
garbha griha surrounded by a
pradakshina path which
Opens into a large columned
mandapa .
The mandapa is wider than
the Sanctuary and
circumbulatory passage.
The nandhi shrine stands in
front of temple and an
enclosure walls surrounds the
temple.
The enclosure wall of this
temple interlock by a diagonal
arrangement which is unique
in Indian temple architecture.

CHALUKYAN PERIOD
VIRUPAKSHA TEMPLE
It has tall vimana ,square plan
from base to sikhara and rising
in four storeys.
Five bays adorn its outer walls
on all sides except the western
porches lead to the multi pillared
hall.
Over the parapet at the rear of
each porch rises an embryonic
gopuram,which resembles an
additional storey over the
entrances to the mandapa.
From the 3rd storey of the
vimana projects the sukanasika.

CHALUKYAN PERIOD
VIRUPAKSHA TEMPLE
Sculptural decorations perfectly blended
with the architecture relieve the heavy
solidity of the structure.
Perforated windows were alternated with
niches.
One or two pilasters separate the niches
from the windows.
These pilasters constricted just below the
capital like a neck and shoulder under the
head are among the first example of the
characteristic Dravidian order.

The harmonious blending of the elements

of this temple shows that it results from
much thought for the whole and every little
detail.
The stone though old and gray seem to
vibrate with the feeling and spirit that
shaped them.

The Virupaksha Temple of Pattadakal signifies the high watermark of the Early Chalykyan architecture. This temple was built in commemoration to the victory of the Chalykyas over the Pallavas of the
Kanchipuram.

Historic background

In fact the construction of this temple is attributed to Queen Lokamahadevi , queen of the then ruling king Vikramaditya II. An inscription on the eastern wall of the Virupaksha Temple narrates the
circumstances that led to the commissioning of this temple complex. Though the exact date is not known from the inscriptions, it is estimated that the construction was executed around the year 745 AD.

As mentioned earlier , this temple marks a major milestone in the history and architecture of the era. Vipupaksha Temple is probably the largest and most sophisticated temple the Early Chalykyas ever
attempted. This is one of the earliest ,complete and even today the best preserved specimen of Chalykya art.

From an architectural point, the Chalykyas took inspiration from the Kailasanatha temple of Kanchipuram. The resemblance between the two is striking. So is the similarity of Virupaksha Temples tower with
that of the much famous shore temple at Mahabalipuram in Tamilnadu. Later the Virupaksha Temple inspired the design of the Kailasanatha temple built by the Rashtrakootas in the present day Ellora.

While the temples of Kanchipuram, Mahabalipuram and Pattadakal were executed on sandstone, the Kailasanatha Temple of Ellora is fine example of rock cut architecture out of volcanic outcrop. Incidently
Mahabalipuram and Ellora are UNESCO world heritage sites like Pattadakal.

The victorious Vikramadithya II is believed to have astonished at the beauty of the temples at Kancheepuram. It is likely that he brought along with him some of the famous architects of the Pallava country to
make similar style temples in the Chalykya capital.

The inscriptions near the eastern gateway reads about its architect named Gunda as the most eminent sutradhari (architect) of the southern country( the Tamil country).

While the Virupaksha temple was built by Lokamahadevi the adjutant Mallikarjuna Temple was built by her sister. Both were queens of Vikaramaditya II, and built for the same purpose to commemorate the
victory of the Chalukyas over the Pallavas. The Virupaksha Temple has many distinctions. For example this temple complex together with its massive entrance towers (Gopuras) and the compound walls were
conceived and completed together. This is a deviation from the typical practice of many patrons enhancing a popular temple over a long period with architectural additions. Also Virupaksha temple is the earliest
and the most ambitious of the temple building ventures by Early Chalyukyas.

Description of Virupaksha Temple.

The first thing you notice of the Virupaksha Temple is its many fluted towers projecting over the boldly executed outer walls. The whole temple complex is oriented in a east-west axis with two massive towers
at the east and west end of the partially damaged compound wall. The eastern tower in fact faces Malaprabha river front. The outer compound wall traces the general plan of the Virupaksha Temple. Thanks to
its innovative design, when you view from a distance the compound wall looks as if it is the lower story of the temple (with the towers protruding over it) , and the temple looks much larger.

As you cross the eastern gateway, the first structure is the Nandi Mantapa (Bull Pavilion). Further ahead on the same east-west axis is the open hall (Mukha Mandapa) with three porches and a connecting
corridor at its east to access the sanctuary through an antechamber.

RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA

RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
The Kailasanatha Temple at Ellora dates
back to the period of the 8th century
Rashtrakoota ruler Krishna I . It was
built during the period 757 and 773 CE.
The Kailasanatha Temple is a Saivite
Temple located near Maharastra in
western India.
It is grouped in a family of structures
referred to as the Ellora Cave Temples
and is one of dozens of Hindu, Buddhist,
and Jain temples among the structures.
The Kailasanatha is generally regarded
to have been excavated in the mid-8th
century during the Rastrakuta Dynasty,
inscriptions claim during the rule of
Krisnaraja I.
It is constructed out of a single rock.

RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
There are both Vaisnavite and Saivite subjects scattered liberally about the temple structure
There are also many depictions of the Dikpalas, naga, and River Goddesses, though they
never appear quite as important as the sculptures of Siva, Vishnu, and Brahma, usually
appearing smaller and or made to look as if standing further back

RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
A gateway, an enclosure for
Nandi, and a mandapam line
up in front of the sanctum
which is crowned with a
vimanam, composed of
successively receding storeys,
decroated with miniature
buildings.
The mandapam in front of the
sanctum is an enormous
hypostyle hall with carved
pillars.
On either side of the Nandi
Mandapam are two 50 feet
high obelisk like pillars
decorated with frieze carvings.

RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
A collonaded gallery running along the bottom
of the cliff face, forms a deep narrow passage
that surrounds the temple.
In between this cliff face and the temple is the
pradakshinapatha.
The narrow passage mentioned above has two
storeys of hypostyle halls and porticoed
galleries
The temple covers an area of over 60000
square feet, and the vimanam (tower) rises to a
height of about 90 feet.
It is to be emphasized over and over again, and
seen to be believed that the entire monument
was made by excavation and not by
construction.

RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA

RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA