Dravidian architecture

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Dravidian architecture, as unique and spectacular as any Greek, Roman or Egyptian architecture, spans many thousands of years. These pyramid shaped temples relied on intricate carved stone in order to create a step design consisting of numerous statues of deities, warriors, kings, and dancers. Hundreds of these ancient wonders can be found in the Southern Indian states of Tamil Nadu, Andra Pradesh, Kerala, and Karnataka. Various kingdoms and empires such as the Pallavas, Cholas, Chalukyas, and Hoysalas amongst the many others have contributed greatly to the evolution of Dravidian architecuture through the ages. Dravidian styled architecture can also be found in parts of Northeastern Sri Lanka, Maldives, and various parts of Southeast Asia.

Contents 1 Composition and structure 2 Influence from different time periods 2.1 Pallavas 2.2 Cholas 2.3 Chalukyas 2.4 Rashtrakutas 2.5 Western Chalukyas 2.6 Hoysalas 2.7 Vijayanagar 3 References

[edit] Composition and structure

Dravidian style temples consist almost invariably of the four folowing parts, arranged in various manners, as afterwards to be explained, but differing in themselves only according to the age in which they were executed:^[1]

1. The principal part, the actualtemple itself, is called the Vimana. It is alwasy square in plan, and surmounted by a pyramidal roof of one or more stories; and it contains the cell in which the image of the god or his emplem is placed.

2. The porches or Mantapams, which always cover and preced the door leading to the cell.

3. Gate-pyramids, Gopurams, which are the principal features in the quadrangular enclosures that surround the more notable temples.

4. Pillard halls or Chaultris -- properly Chawadis -- used for various purposes, and which are the invariable accompaniments of these temples.

Besides these, a temple always contains tanks or wells for water -- to be used either for sacred purposes or the convenience of the priests -- dwellings for all the various grades of the priest-hood are attached to it, and numerous other buildings for state or convenience.^[1]

[edit] Influence from different time periods

In Southern India seven kingdoms and empires stamped their influence on architecture during different times.:

[edit] Pallavas

The Pallavas ruled from AD (600-900) and their greatest constructed accomplishments are the single rock temples in Mahabalipuram and their capital Kanchipuram, now located in Tamilnadu.

Pallavas were pioneers of south Indian architecutre. The earliest examples of temples in the Dravidian style belong to the Pallava period. The earliest examples of Pallava constructions are rock-cut temples dating from 610 - 690 CE and structural temples between 690 - 900 CE. The greatest accomplishments of the Pallava architecture are the rock-cut temples at Mahabalipuram. There are excavated pillared halls and monolithic shrines known as rathas in Mahabalipuram. Early temples were mostly dedicated to Shiva. The Kailasanatha temple in Kanchipuram built by Nandhivarman is a fine example of the Pallava style temple.

[edit] Cholas

The Chola kings ruled from AD (900-1150) and included Rajaraja Chola I and his son Rajendra Chola who built temples such as the Brihadeshvara Temple and Siva temple of Thanjavur.

Temple building received great impetus from the conquests and the genius of Rajaraja Chola and his son Rajendra Chola I. The maturity and grandeur to which the Chola architecture had evolved found expression in the two temples of Tanjavur and Gangaikondacholapuram. The magnificent Siva temple of Thanjavur, completed around 1009, is a fitting memorial to the material achievements of the time of Rajaraja. The largest and tallest of all Indian temples of its time, it is at the apex of South Indian architecture.^[2]

The temple of Gangaikondacholapuram, the creation of Rajendra Chola, was intended to exceed its predecessor in every way. Completed around 1030, only two decades after the temple at Thanjavur and in much the same style, the greater elaboration in its appearance attests the more affluent state of the Chola Empire under Rajendra.^[3]

The Chola period is also remarkable for its sculptures and bronzes. Among the existing specimens in museums around the world and in the temples of South India may be seen many fine figures of Siva in various forms, such as Vishnu and his consort Lakshmi, and the Siva saints. Though conforming generally to the iconographic conventions established by long tradition, the sculptors worked with great freedom in the 11^th and the 12^th centuries to achieve a classic grace and grandeur. The best example of this can be seen in the form of Nataraja the Divine Dancer.^[4]

[edit] Chalukyas

The Badami Chalukyas also called the Early Chalulyas, ruled from Badami in the period AD 543 - 753 and spawned the Vesara style called Badami Chalukya Architecture. The finest examples of their art is seen in Pattadakal, Aihole and Badami in northern Karnataka. Over 150 temples remain in the the Malaprabha basin.

The most enduring legacy of the Chalukya dynasty is the architecture and art that they left behind. More than one hundred and fifty monuments attributed to the Badami Chalukya, and built between 450 and 700, remain in the Malaprabha basin in Karnataka.^[5]

The rock-cut temples of Pattadakal, a UNESCO World Heritage Site, Badami and Aihole are their most celebrated monuments. Two of the famous paintings at Ajanta cave no. 1, "The Temptation of the Buddha" and "The Persian Embassy" are attributed to them.^[6][7] This is the beginning of Chalukya style of architecture and a consolidation of South Indian style.

[edit] Rashtrakutas

The Rashtrakutas who ruled the deccan from Manyakheta, Gulbarga district in the period AD 753 - 973 built some of the finest dravidian monuments in Ellora (Kailasanatha temple) in the rock cut architecture idiom. Some other fine monuments are the Jaina Narayana temple at Pattadakal and the Navalinga temples at Kuknur in Karnataka.

The Rashtrakutas contributed much to the culture of the Deccan. The Rashtrakuta contributions to art and architecture are reflected in the splendid rock-cut shrines at Ellora and Elephanta, situated in present day Maharashtra. It is said that they altogether constructed 34 rock-cut shrines, but most extensive and sumptuous of them all is the Kailasanatha temple at Ellora. The temple is a splendid achievement of Dravidian art. The walls of the temple have marvellous sculptures from Hindy mythology including Ravana, Shiva and Parvathi while the ceilings have paintings.

The project was commissioned by King Krishna I after the Rashtrakuta rule had spread into South India from the Deccan. The architectural style used was dravidian. It does not contain any of the Shikharas common to the Nagara style and was built on the same lines as the Virupaksha temple at Pattadakal in Karnataka.^[8]

[edit] Western Chalukyas

The Western Chalukyas also called the Later Chalukyas ruled the deccan from AD 973 - 1180 and further refined the Chalukyan style, called the "in-between" or "Gadag" style. Over 50 temples exist in the Krishna River-Tungabhadra doab in central Karnataka. The Kasi Vishveshvara at Lakkundi, Mallikarjuna at Kuruvatii, Kalleshwara temple at Bagali and Mahadeva at Itagi are the finest examples produced by the Later Chalukya architects.

The reign of Western Chalukya dynasty was an important period in the development of architecture in the deccan. Their architectural developments acted as a conceptual link between the Badami Chalukya Architecture of the 8th century and the Hoysala architecture popularised in the 13th century.^[9][10] The art of Western Chalukyas is sometimes called the "Gadag style" after the number of ornate temples they built in the Tungabhadra - Krishna River doab region of present day Gadag district in Karnataka.^[11] Their temple building reached its maturity and culmination in the 12th century, with over a hundred temples built across the deccan, more then half of them in present day Karnataka. Apart from temples they are also well known for ornate stepped wells (Pushkarni) which served as ritual bathing places, many of which are well preserved in Lakkundi. Their stepped well designs were later incorporated by the Hoysalas and the Vijayanagara empire in the coming centuries.

[edit] Hoysalas

The Hoysala kings ruled southern India during the period AD (1100-1343) and developed an unique idiom of architecture called the Hoysala architecture in Karnataka state. The finest examples of their architecture are the Chennakesava Temple in Belur, Hoysaleswara temple in Halebidu, and the Kesava Temple in Somanathapura.

The modern interest in the Hoysalas is due to their patronage of art and architecture rather than their military conquests. The brisk temple building throughout the kingdom was accomplished despite constant threats from the Pandyas to the south and the Seunas Yadavas to the north. Their architectural style, an offshoot of the Western Chalukya style,^[12] shows distinct Dravidian influences. The Hoysala architecture style is described as Karnata Dravida as distinguished from the traditional Dravida,^[13] and is considered an independent architectural tradition with many unique features.^[14][15]

[edit] Vijayanagar

The whole of South India was ruled by Vijayanagar Empire from AD (1343-1565), who built a number of temples and monuments in their hybrid style in their capital Vijayanagar in Karnataka. Their style was a combination of the styles developed in South India in the previous centuries. In addition, the Yali columns (pillar with charging horse), balustrades (parapets) and ornate pillared manatapa are their unique contribution. King Krishna Deva Raya and others built many famous temples all over South India in Vijayanagar Architecture style.

Vijayanagara architecture is a vibrant combination of the Chalukya, Hoysala, Pandya and Chola styles, idioms that prospered in previous centuries.^[16][17] Its legacy of sculpture, architecture and painting influenced the development of the arts long after the empire came to an end. Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage hall), Vasanthamantapa (open pillared halls) and the Rayagopura (tower). Artisans used the locally available hard granite because of its durability since the kingdom was under constant threat of invasion. While the empire's monuments are spread over the whole of Southern India, nothing surpasses the vast open air theatre of monuments at its capital at Vijayanagara, a UNESCO World Heritage Site.^[18]

In the 14th century the kings continued to build Vesara or Deccan style monuments but later incorporated dravida-style gopurams to meet their ritualistic needs. The Prasanna Virupaksha temple (underground temple) of Bukka Raya I and the Hazare Rama temple of Deva Raya I are examples of Deccan architecture.^[19] The varied and intricate ornamentation of the pillars is a mark of their work.^[20] At Hampi, though the Vitthala temple is the best example of their pillared Kalyanamantapa style, the Hazara Ramaswamy temple is a modest but perfectly finished example.^[21] A visible aspect of their style is their return to the simplistic and serene art developed by the Chalukya dynasty.^[22] A grand specimen of Vijayanagara art, the Vitthala temple, took several decades to complete during the reign of the Tuluva kings.^[23]

[edit] References