Temple Architecture in South India – Dravida Style

Four stages of temple architecture had been observed in South India – Mainly during the Pallava’s rule, around 6th century AD which are as follows:

Stage 1 – Mahendra Group 

• Marked the beginning of Rock cut cave architecture.
• Word Mandap was used instead temple.

Stage II – Narsimha Group

• Major development during this period was initiation of Decoration in rock cut cave structures.
• The architecture is represented by Monolithic rocks.
• Mandap’s now became ‘Ratha’s’ which is a refined cave, famous for beauty.
• The biggest Ratha was called as Dharamraj Rath and smallest one was called as draupadi Rath.
• Dharamraj Rath is considered as precursor of Dravidian style of temple making.

Stage III – Rajsimha Group

• At this stage the real structural development of temple’s started, and it moved outside the cave, earlier temples were part of caves.
• Example: Shore temple at Mahabalipuram, (TN) Kailashnath temple at Kanchipuram [arr] largest single work of art ever undertaken in India

Shore Temple at Mahabalipuram

Kailashnath Temple at Kanchipuram

Stage IV – Nandivarman Group

• It is said to be the declining stage of south Indian temple architecture and only small temples were constructed in this period.
• Notable examples [arr] Vaikundaperumal temple, Tirunelveli and Muktheswara temple

Dravida Style

• Deployed for Hindu temples in Tamil Nadu from the 7^th to 18^th century, characterized by its pyramidal tower.
• Unlike the nagara temple, the Dravida temple is enclosed within a compound wall.
• The front wall has an entrance gateway in its centre, which is known as Gopura/ Gopuram.
• Consists of a square-chambered sanctuary topped by a superstructure or tower (Vimana)
• Consists of an attached pillared porch or hall (Mandapa) which precede the door leading to the nucleus cell.
• The vimana is like a stepped pyramid that rise up geometrically rather than the curving shikhara of north India.
• Each story is delineated by a parapet of miniature shrines, and barrel-vault roofs at the centre.
• The tower is topped by a dome-shaped cupola and a crowning pot and finial.
• A large water reservoir or a temple tank enclosed in the complex is general in south Indian temples.

Brihadeshwara Temple at Thanjavur

• The origins of the Dravida style can be observed in the Gupta period.
• The earliest examples include 7^th century rock-cut shrines at Mahabalipuram and a developed structural temple, the Shore Temple at the same site.
• Finest examples are Brihadeshwara temple at Thanjavur, built about 1010 by Rajaraja 1, & temple at Gangaikonda Cholapuram, built about 1025 by his son Rajendra Chola.
• Subsequently, a number of successive court enclosures, each with its own gateway (Gopurams), were added.
• By the Vijayanagar period (1336–1565) the Gopurams had increased in size so that they dominated the much smaller temples inside the enclosures.

Sub Styles of Dravida Temples 

Vijaynagar Legacy

• They introduced the concept of enlarged high enclosure walls and more decoration on these high enclosure walls and Gopuram’s.
• Sculpture or motif of supernatural horses was used very frequently.
• They also introduced the concept of secular buildings (Example-Lotus Mahal).
• Typically, Vijaynagar period structures in the temple are the Amman Shrine (male deity of temple)

Lotus Mahal

Nayaka Style

• The Nayakas rose on the fall of Vijayanagara empire.
• The most famous architectural landmark of this period is the Meenakshi- Sundareswara temple at Madurai.
• The great temple complex has actually two shrines; the first one dedicated to Shiva as Sundareswara and the second one to his wife Meenakshi.
• Have all the features of Dravidian style with an additional prominent feature known as ‘Parakram’s
• Parakram’s are huge Corridore’s along with roofed ambulatory passageways. It served to connect various parts of temple while enclosing certain areas.
• Intricate carvings are seen all across the temple walls.
• The large tank set slightly off the axis to the main temple is another impressive feature of the temple.
• Surrounded by steps and a pillared portico, the tank was used for ritual bathing.

Meenakshi- Sundareswara Temple

Chola Sculpture: NATRAJ

• Shiva’s dancing position is associated with the end of the cosmic world
• Shiva has been shown balancing himself on his right leg and suppressing the apasmara, the demon of ignorance or forgetfulness, with the foot of same leg.
• Shiva raises his left leg in bhujangtrasita stance, which represents tirobhava that is kicking away the veil of maya from the devotee’s mind.
• His four arms are outstretched, and lower right hand is posed in Abhayahasta mudra
• The upper right-hand hold & Damaru
• The upper left hand is held in dola hasta and connects with the Abhaya hasta of the right hand.
• His Hair flocks fly on both the sides touching the circular Jwala mala or the garland of flame, which surrounds the entire dancing figuration.

Vesara Style/Chalukya Style/Karnataka Style

• This style has features of both Nagara and Dravidian style.
• It consists of two principle components like Dravidian style i.e., Vimana & Mandap.
• Departing from Dravidian style it does not have covered ambulatory around the sanctum.
• Example: Lad Khan temple at aihole, Temples at Badami, Virupaksha temple – Pattadakal, Hoysala temples at Karnataka.

Virupaksha Temple – Pattadakal

Hoysala Temple