Konark Sun Temple
An Architecture Marvel of Eastern India
A symbol of India's heritage, Konark Sun Temple, commonly known as Konark is situated in the eastern state of Odisha (earlier known as Orissa), India and is one of the eminent tourist attractions. Konark houses a massive temple dedicated to the Sun God. The word 'Konark' is a combination of two words 'Kona' and 'Arka'. 'Kona' means 'Corner' and 'Arka' means 'Sun', so when combines it becomes 'Sun of the Corner'. Konark Sun Temple is situated on the north eastern corner of Puri and is dedicated to Sun God. Konark is also known as Arka khetra. There are three images of Sun god at three different sides of the temple, positioned in proper direction to catch the rays of the sun at morning, noon and evening.
A symbol of India's heritage, Konark Sun Temple, commonly known as Konark is situated in the eastern state of Odisha (earlier known as Orissa), India and is one of the eminent tourist attractions. Konark houses a massive temple dedicated to the Sun God. The word 'Konark' is a combination of two words 'Kona' and 'Arka'. 'Kona' means 'Corner' and 'Arka' means 'Sun', so when combines it becomes 'Sun of the Corner'. Konark Sun Temple is situated on the north eastern corner of Puri and is dedicated to Sun God. Konark is also known as Arka khetra. There are three images of Sun god at three different sides of the temple, positioned in proper direction to catch the rays of the sun at morning, noon and evening.
Sun Temple of Konark, built in the middle of 13th century, is a massive conception of artistic magnificence and engineering dexterity. King Narasimhadeva I, the great ruler of the Ganga
dynasty had built this temple, with the help of 1200 artisans within a period of 12 years (1243-1255 A.D.). Since the ruler used to worship the Sun, the temple was considered as a chariot for the Sun God. Konark Temple was designed in the form of a gorgeously decorated chariot mounted on 24 wheels , each about 10 feet in diameter, and drawn by 7 mighty horses. It is really difficult to understand, how this huge temple, every inch-space of which was so wonderfully carved, could have been completed within such a short time. Whatever that might
be, the konark temple even in its present ruined state, still a wonder to the whole world. Great poet Rabindranath Tagore wrote of Konark:
dynasty had built this temple, with the help of 1200 artisans within a period of 12 years (1243-1255 A.D.). Since the ruler used to worship the Sun, the temple was considered as a chariot for the Sun God. Konark Temple was designed in the form of a gorgeously decorated chariot mounted on 24 wheels , each about 10 feet in diameter, and drawn by 7 mighty horses. It is really difficult to understand, how this huge temple, every inch-space of which was so wonderfully carved, could have been completed within such a short time. Whatever that might
be, the konark temple even in its present ruined state, still a wonder to the whole world. Great poet Rabindranath Tagore wrote of Konark:
"here the language of stone surpasses the language of man."
Around the base of the temple there are images of animals, foliage, warriors on horses and other interesting structures. On the walls and roof of the temple beautiful erotic figures are carved. Sun temple of Konark is a masterpiece of Orissa's medieval architecture.
The Konark temple is widely known not only for its architectural greatness but also for the sophistication and abundance of sculptural work. Konark is an exceptional mixture of marvelous temple architecture, heritage, exotic beach and salient natural beauty. The large structure of Konark Temple seen today is actually the entrance of the main temple. The main temple which enshrined the presiding deity has fallen off and only the remains can be seen. Even in its ruined state it is a magnificent temple reflecting the mastermind of the architects that imagined and constructed it.
Dharmapada's Tale
At the time, Bisu Maharana's twelve-year-old son, Dharmapada arrived at the site. Bisu Maharana had never set eyes on his son, as he had left his village when his wife was still pregnant. Dharmapada provided proof that he was indeed the son of Bisu Maharana by bringing with him their old pet dog that Bisu had left behind at home and also cherries from a bush in their garden that grew nowhere else but at Bisu Maharana’s garden. Thus convinced that it was his son, Bisu was overcome with joy. Seeing the crestfallen faces of all the artisans and the worry creases on his father’s forehead, Dharmapada probed into the matter and came to know about the impending death sentence of all the 1200 artisans as they were not sure of how to mount the crown stone.
Dharmapada then proposed a solution to mount the crown stone by placing a strong magnetic rod in the dome at the top which would keep the iron-ore laden rocks all attracted and in place. The structure stood strong and sturdy after they followed Dharmapada’s suggestion of mounting the crown stone. But, the artisans were still apprehensive that the king would be displeased to learn that a 12 year-old boy had succeeded where 1200 of his best artisans had
failed. This could result in the king ordering the death of all artisans due to their failure too. Thus, the artisans wanted to kill Dharmapada, so that the King would never come to know of the boy and his achievement in a matter of 2 days. Bisu Maharaha was torn between the love for his son and his responsibility to save the reputation and lives of all the artisans who looked upon him as their leader.
failed. This could result in the king ordering the death of all artisans due to their failure too. Thus, the artisans wanted to kill Dharmapada, so that the King would never come to know of the boy and his achievement in a matter of 2 days. Bisu Maharaha was torn between the love for his son and his responsibility to save the reputation and lives of all the artisans who looked upon him as their leader.
Seeing the catch-22 situation that his father was caught in, Dharmapada climbed onto the temple and leapt into the water. He gave up his life to save his father and his co-workers. The king, who later came to know of what had transpired chided the artisans saying he had only threatened them with their life as he wanted the structure to be completed soon. He also was very regretful that an able, creative artisan had been lost due to a wrong presumption. By Padma Jairam.
Main Attractions
§ The main temple structure and the geometrical patterns all around the temple
§ The carved wheels and the spokes of the wheel which serve as sun dials
§ Architectural figures including the war horses, the elephants and the guarding lions at the entrance § The Nata Mandir (Dancing Hall)
§ Three images of Sun God at three direction of the temple to catch the rays of the Sun at dawn, noon and sunset
§ The various images of dieties, dancers, musicians, elephants and mythical creatures The second level of the temple structure which showcases the famous erotic sculptures
§ The Nava Graha (Nine Planets) Temple
§ The Konark is the third link of Odisha's Golden Triangle. The first link is Jagannath Puri and the second link is Bhubaneswar (Capital city of Odisha)
§ The Konark temple is constructed as a gigantic chariot with 24 wheels about three meters high and pulled by 7 horses, housing the Sun God within the entrance is guarded by two huge lions, each killing a war elephant and beneath the elephant is a man. The lions represent pride, elephants represent wealth and both of them consumes man
§ Konark temple was initially built on the sea bank but now the sea has receded and the temple is a little away from the beach. This temple was also known as 'BLACK PAGODA' due to its dark
color and used as a navigational landmark by ancient sailors to Odisha
color and used as a navigational landmark by ancient sailors to Odisha
§ Everyday, the Sun's rays would reach the Nata Mandir from the coast and reflects from the diamond placed at the center of the idol
§ A heavy magnet was placed at the temple top and every two stones of the temple is sandwiched by iron plates. The idol was said to have been floating in air due to the arrangement of magnets. The magnet at the top is said to have disturbed compasses for coastal voyagers and later on removed
The Sun Temple of Konark has been declared a world heritage site
by United Nations Educational, Scientific and Cultural Organization (UNESCO) in
1984.
by United Nations Educational, Scientific and Cultural Organization (UNESCO) in
1984.
Location - Puri District,
State of Orissa
State of Orissa
Date of Inscription - 1984
Criteria - (i)(iii)(vi)
Property - 11 ha
Ref - 246
Brief Description - On the shores of
the Bay of Bengal, bathed in the rays of the rising sun, the temple at Konarak
is a monumental representation of the sun god Surya's chariot; its 24 wheels
are decorated with symbolic designs and it is led by a team of six horses.
Built in the 13th century, it is one of the most famous Brahman sanctuaries.
the Bay of Bengal, bathed in the rays of the rising sun, the temple at Konarak
is a monumental representation of the sun god Surya's chariot; its 24 wheels
are decorated with symbolic designs and it is led by a team of six horses.
Built in the 13th century, it is one of the most famous Brahman sanctuaries.
The mythological reference states that Lord Krishna's son Samba was smitten with leprosy due to his father's curse. The former underwent severe penance for 12 years at Mitravana near the confluence of Chandrabhaga River with the sea at Konark and ultimately succeeded in pleasing the God Surya, the healer of all skin diseases, and was cured of his illness. In gratitude, he decided to erect a temple in the honor of Surya.
While bathing in the river on the following day, he found an image of God, fashioned out of Surya's body by Viswakarma. Samba installed this image in a temple built by him in Mitravana, where he propitiated the God. Since then, this place has been regarded as sacred.
In ancient times worship of Sun god was in vogue and the people were accustomed with the worship of two Supreme deities--one mother Earth as Dharitri Maata and the other the Sun, the Dharam devata. Sun god is regarded as the supreme lord of the universe and the prime object of life giving energy, being the healer of diseases and bestower of desires.
Surya has been a popular deity in India since Vedic period. Therefore, it is described in Rig Veda regarding Prayer of Sun God as follows. It was dedicated to the Sun-God (Arka) popularly called Biranchi-Narayan, and the tract in which it is situated was known as Arka-Kshetra as well as padma-kshetra. Among the five great religious zones or Kshetra which were located in Odisha (Orissa), Konark was considered to be one, the other four being Puri, Bhubaneswar, and Jaipur.
While bathing in the river on the following day, he found an image of God, fashioned out of Surya's body by Viswakarma. Samba installed this image in a temple built by him in Mitravana, where he propitiated the God. Since then, this place has been regarded as sacred.
In ancient times worship of Sun god was in vogue and the people were accustomed with the worship of two Supreme deities--one mother Earth as Dharitri Maata and the other the Sun, the Dharam devata. Sun god is regarded as the supreme lord of the universe and the prime object of life giving energy, being the healer of diseases and bestower of desires.
Surya has been a popular deity in India since Vedic period. Therefore, it is described in Rig Veda regarding Prayer of Sun God as follows. It was dedicated to the Sun-God (Arka) popularly called Biranchi-Narayan, and the tract in which it is situated was known as Arka-Kshetra as well as padma-kshetra. Among the five great religious zones or Kshetra which were located in Odisha (Orissa), Konark was considered to be one, the other four being Puri, Bhubaneswar, and Jaipur.
There are several smaller shrines situated in the neighborhood of the Sun Temple. In them are found Rameswar,Chitreswara,Tribeniswara, and Utpaleswar, all Siva-lingas; and Ramachandi Rudrani, Khileswari, Charchika and Chitreswari, various forms of Goddess Durga. Legends embodied in the Kapila Samhita, the Madala Panji, and the Prachi-mahatmya, take the sanctity of Konark back to mythical times. The legends of these late texts are an obvious adaptation of a much earlier tradition as recorded in the Bhavisya Purana and the Samba Purana.
History of Konark Sun Temple
The Sun Temple at Konarak was built in about 1250 ADby the East Ganga king Narasimhadeva. It is thought he built the temple to commemorate military successes against Muslim invaders.
According to local legend, the temple has a great aura of power that comes from two very powerful magnets said to have been built into the tower - magnets that allowed the king's throne to hover in mid-air.
European mariners sailing off the coast used the temple's tower for navigation, but dubbed it the Black Pagoda for the frequent shipwrecks that occurred along the coast. They attributed the disasters to the legendary magnets' effect on the tidal pattern.
Konarak was sacked by the Muslim Yavana army in the 15th century. The central statue enshrined in the temple was smuggled away to Puri by priests, but the Sun Temple was badly damaged in the attack.
Nature took over the destruction from there. Over the centuries, the sea receded, sand engulfed the building and salty breezes eroded the stone. It remained buried under a huge mound of sand until the early 20th century, when restoration began under the British.
British archaeologists uncovered the lower parts of the temple that had remained well preserved beneath the sand and restored what they could of the rest of the ruins. Trees were planted to shelter the temple from the damaging winds and a museum was opened to display
whatever sculpture wasn't left in situ or sent to Delhi, Calcutta and London.
whatever sculpture wasn't left in situ or sent to Delhi, Calcutta and London.
In 1924, the Earl of Ronaldshay proclaimed the newly-revealed temple to be "one of the most stupendous buildings in India which rears itself aloft, a pile of overwhelming grandeur even in its
decay."
decay."
What to See at Konark Sun Temple
The Konark Sun Temple takes the form of a huge chariot for the sun god Surya, with 12 pairs of stone-carved wheels and a team of seven galloping horses (only one of which survives intact).
The temple also symbolizes the passage of time, which is under the sun god's control. The seven horses, which pull the sun temple eastwards towards the dawn, represent the days of the week. The 12 pairs of wheels represent the 12 months of the year and the eight spokes in each
wheel symbolize the eight ideal stages of a woman's day.
wheel symbolize the eight ideal stages of a woman's day.
The main entrance to the complex is on the eastern (sea-facing) side, in front of the Hall of Offerings(bhogamandapa). This was a later addition to the complex and was likely used for ritual dance performances, as its walls are carved with sculptures of musicians and dancers
as well as erotic scenes.
as well as erotic scenes.
The sanctuary tower was once the centerpiece of the Konark Sun Temple, but today it is no more than a jumble of sandstone slabs off the western wing. The imposing structure with the pyramidal roof that now takes center stage is actually the porch (jagamohana).
The roof of the porch has three tiers covered in statues, mostly musicians and dancers sereneding the sun god during his daily passage through the heavens. Sculptures on the bottom platform include a Shiva Nataraja, performing the cosmic dance. The interior is now blocked up.
Just beyond the porch is a double staircase that leads to a shrine containing a statue of Surya, the sun god. The beautiful image is carved of high-quality green chlorite stone and is one of the masterpieces of Konarak. Surya wears tall riding boots and is accompanied by a small figure of Aruna, the charioteer, at his feet. From here you can climb down into the remains of the inner sanctum, where the deity was originally enshrined.
The surfaces of the temple are carved with exquisite stone sculptures with a wide variety of subjects, including manyerotic scenes based on the Kama Sutra. Erotic sculptures are found especially in niches halfway up the porch, along the sides of the platform and around the doorways of the main building.
Similar sculptures can be found on the temples of Khajuraho in Madhya Pradesh. The erotic art most likely symbolizes the ecstatic bliss enjoyed by the soul when it unites with the divine, but there are a number of theories on the matter.
Other sculptures decorating the temple's exterior include deities, animals, floral patterns, voluptuous women, mythical beasts and aquatic monsters. The 24 giant wheels are beautifully
carved and each of the eight spokes bears a medallion containing figurative carvings.
carved and each of the eight spokes bears a medallion containing figurative carvings.
Friezes above and below the wheels depict military processions and hunting scenes, with thousands of rampaging elephants. Look for the giraffe in the top frieze along the south side of the platform - this proves that Konarak traded with Africa in the 13th century.
Once in 2000 years, the Sun’s rays reach the temple from the coast and reflect back from the
diamond placed at the center of the idol.
DESCRIPTION
OF ELLORA CAVES
BUDDHIST
CAVES
How the Construction of Kailash Temple
was Done
Within the temple, on its eastern wings is the chamber of Lord Shiva and his consort Parvati. The other chamber has the image of Lord Vishnu.
diamond placed at the center of the idol.
AJANTA AND ELLORA
CAVES
KAILASANATHA TEMPLE (CAVE16)
The last great cave temples of India are Ellora
Caves – group of
34 monasteries and temples made at the ancient trade route between the nearby
Paihan and the important city of Ujjain. Not that many know that in total in
this area there are more than 100 rock cut caves but these 34 are located
closer together (their entrances are spread along the cliff face for a bit more
than 2 km), have common interesting history and magnificent architecture and
art. These "royal" caves were hewn in the vertical basalt cliff of
the Charandri hill (Sahyadari Hills) sometimes around 630 – 1000 AD. Some
sources state that some caves are older – from 550 AD.
Caves are numbered from 1 to 34 starting from the south-east
to the north-west. In Ellora Caves this numbering means much more than just
simple numbers attributed by scientists for the convenience. In general smaller
numbers here mean older caves with somewhat less elaborate interiors, while
larger number is attributed to newer cave which has more exquisite sculptures and other
artwork.
While the previous giant achievement of ancient Indian
civilisation –Ajanta Caves – has more impressive natural setting and is more ancient
(what also is a value), Ellora is even more rich with art than Ajanta. Knowing
how incredibly rich are Ajanta Caves this might seem impossible – but this is a
fact recognised by numerous visitors to both sites.
HISTORY IN SHORT
Rashtrakuta
dynasty ruled in large part of contemporary India in the 6th – 10th centuries.
These powerful clans had excellent internal organisation and managed to keep
control over the vast area with sure hand, wisdom and also skilled use of
religion as the organising institute for society. In these times Central India
experienced gradual shift from Buddhism to Hinduism, at the end of this period
Jainism became more widespread. These religions rather peacefully co-existed in
Central India and Ellora Caves serve as one of the best examples for this.
Ellora, especially the glorious Kailasanatha Temple is the
highest architectural attainment throughout the rich history of art during the
time of this dynasty.
First caves in Ellora were created shortly after the previous
royal shrines of this region – Ajanta Caves – were abandoned. In many aspects
Ellora Caves continue the tendencies originating in Ajanta, but there are
numerous influences from other regions of India and new trends in art
represented in Ellora.
The first group of shrines were created by Buddhists of
Mahayana branch. These are caves numbered from 1 to 12 and were built in 630 –
700 AD (some sources state that in 400 – 800 AD).
Next group was created when the influence of Buddhism
vaned and Hinduism gradually became the mainstream religion. In fact some of
Ellora Hinduist shrines are older than some Buddhist caves. Local rulers were
more supportive to Shaivism – a trend of Hinduism devoted to Shiva – thus also
Ellora got exquisite shrines devoted to Shiva. These caves are numbered 13 – 29
and built in 550 – 780 AD (other sources state that in 600 – 900 AD).
Last group of shrines was created in times when local
rulers were more inclined towards Jain religion, Digambara branch. Jain caves
form a distinct group, numbered from 30 to 34, created sometimes around 800 –
1000 AD.
Cave temples hewn in rock were considered to be the best
possibility to go away from the reality of the material world and meditate
close to the heart of the mountain. But these caves were not an another reality
hidden away from the mundane world – they formed a part of political ambitions
of the people of influence, they served as intellectual and arts centre of
Central India.
Contrary to Ajanta Caves, Ellora Caves did not recede in
oblivion, they were admired by people throughout the history up to this day.
Nowadays this is one of the most popular tourist attractions in Maharashtra
state and one of the older UNESCO World Heritage monuments.
DESCRIPTION
OF ELLORA CAVES
There is no place for illusions about this chapter –
words can not describe the incredible richness of artistic and phylosophical
messages emanated by thousands of sculptures, drawings and inscriptions in
Ellora. Below you will find just an attempt to list the caves and outline some
of their values.
BUDDHIST
CAVES
These caves, numbered from 1 to 12, were created in 630 – 700
AD (or in 400 – 800 AD?). Newest are Caves 11 and 12, oldest is Cave 6. These
are the largest Buddhist cave temples in India.
Most
structures (all except Cave No.10) are viharas – Buddhist monasteries. Here
they are large, multi-storeyed premises with apartments, kitchens and other
rooms making them suitable for living. Some have shrines with Buddhas.
·
Cave
1 - vihara with eight small
cells. Possibly served as a granary for other viharas, comparatively simple
design with little adornment.
·
Cave
2 – large vihara with enormous
central chamber supported by 12 square pillars. Adorned with numerous
sculptures of seated Buddhas.
·
Cave
3 and Cave 4 –
similar to Cave 2, in poor condition.
·
Cave
5 (Maharwada) – the largest
vihara. Named after local Mahar people – they used this enormous chamber as a
hideaway during the monsoon. Central hall is 36 meters long, contains sculpture
of seated Buddha.
·
Cave
6 – created after 600 AD. Among
other values contains two beautiful sculptures of star goddess Tara and goddess
of learning Mahamayuri with peacock.
·
Cave
10 (Vishvakarma, Visvakarma,
"Carpenter’s Cave", Sutar-ka-Jhopda, Sutar-ki-Jhopari) – the most
famous local Buddhist cave, chaitya griha. Built around 700 AD.Cave has a
beautiful multi-storeyed entrance with two pillared side porticos. They have
chambers – possibly intended to be sanctuaries but not completed. Behind the
entrance there is enormous chaitya (shrine). Columns in the main hall have
ghata-pallava (vase and foliage) capitals. Main hall has central nave and two
side aisles – separated by 28 octagonal columns.Vaulted roof of chaitya has the
characteristic ribs – resembling wooden architecture and used in many other
cave temples.In the rear end there is 3.3 m high Buddha statue seated in
preaching pose. Behind Buddha on the rear wall there is carved large Bodhi
tree.Initially cave had a high screen hall, now ruined.
·
Cave
11 (Do Tal or Dho Thal – „two
storeys”) – vihara, one of latest Buddhist structures here, with three storeys.
Third, basement storey was discovered in 1876. It has been converted to Hinduist
shrine as witnessed by images of Durga and Ganesh. Buddha shrine has been left
intact.
·
Cave
12 (Tin Tal or Teen Thal – „three
storeys”) – vihara, one of latest Buddhist structures here, with three storeys.
Upper hall contains five large sculptures of bodhisattvas, hall is flanked by
seven Buddhas.
HINDU TEMPLES
Built
sometimes around 550 – 780 AD (or 600 – 870 AD?), numbered from 13 to 29. Three
oldest caves (17 – 29) were built during the time of earliest Kalachuri dynasty
well before Rashtrakuta dynasty. The oldest are caves 28, 27. Ellora Hindu
temples were created during the time of prosperity and serve as magnificent
testimony to high achievements of Indian civilisation.
·
Cave
14 – carved in the early 600s,
contains exquisite stone carvings - friezes. Initially was shaped as a Buddhist
vihara but during the work converted to Hindu shrine. Entrance guarded by river
goddesses Ganga and Yamuna.
·
Cave
15 (Dasavatara - Cavern of the
ten avatars) – built in the middle of the 8th century, two floors. Upper floor
contains some of the most exquisite carvings. Initially started as a Buddhist
vihara – it was shaped like open court with free-standing monolithic mandapa
with two-storeyed cave temple at the rear. Cave contains exquisite sculptural
groups depicting scenes of Hindu religious motifs including panels with five of
Vishnu’s ten incarnations – avatars. Contains also one of famous Hindu artworks
– Shiva as Nataraja, the Cosmic Dancer.
· Cave
16 (Kailash Temple, Kailasanatha)
one of the highest achievements of ancient architecture worldwide, designed
to resemble Mount Kailash – the abode of Lord Shiva. Created sometimes around
760 – 860 AD, started during the reign of Rashtrakuta kind Krishna I (ruled in
757 – 773). Although technically sculpted out of single rock, Kaliash Temple is
free standing structure with many stories, two times larger in area than, f.e.
Parthenon in Athens. It is the largest monolithic human built structure of the
world, up to 36,6 metres high. Length of structure – 84,1 m, width – 47 mw. Art
historian Sharada Srinivasan considers that the work at such cave temple was
started by levelling the area above the temple and exactly measuring the
silouette of the future temple from above. After that artisans started to carve
down the rock as if it was cheese, immediately carving elaborate sculptures.
Debris possibly was removed over temporary rock bridges. It is assumed that
construction of this temple took 100 years starting from around 760 AD, 200,000
tonnes of rock were removed. This required extremely good planning and precise
work to avoid damage to completed work. Initally Kailasanatha was covered with
thick, white colored plaster, thus resembling the sacred icy Kailash mountain
in Tibet. Temple starts with high entrance gate or gopuram. It serves as a
screen between the sacred temple and the outer world. Behind the gopuram there
opens a courtyard with three storeys high columned galleries. In the middle of
this courtyard stand several buildings – also hewn out of the same monolithic cliff.
Earlier there were flying bridges connecting galleries with the structures in
the centre but these have collapsed now (or removed after the construction
works were completed?). First after the gopuram comes a 7 metres high shrine to
bull Nandi with two monolithic towers - Dhvajastambhas – flanking it. Next
behind the Nandi image there is the largest structure inside the temple – large
mandapa – hall of the temple and the main shrine of Kailash Temple, called
Nandi Mandapa. Temple over the shrine rises up to 29,3 m high and stands on 16
pillars. Initially temple was colored in bright colors, today nearly all color
is gone. Only few paintings remain on the ceiling of mandapa. On existing
remnants it is seen that the painting has been done three times at least. The
giant mandapa is held by numerous life-sized elephants – also carved out of the
original rock! This artistic method originates from Pitalkhora Buddhist caves,
the 2nd century BC and later has been repeated in many artworks. Adjoining the
mandapa comes the last structure inside the courtyard – Shiva temple. It is
formed like a pyramid, resembling South Indian temples. Both Nandi Mandap and
Shiva temple are housing lingams. Southern Indian influences in the
architecture of Shiva temple could be explained by presence of Southern Indian
artists – the state governed by the Rashtrakuta dynasty included also part of
Southern India. Shiva temple has many similarities to South Indian Virupaksha
Temple at Pattadakal which was made several decades earlier.
How the Construction of Kailash Temple
was Done
It
seems a Mahayagya was performed for the rock. There is
Vedic tradition of asking permission from the rock, ground, water whenever a
path is carved through the mountain, earth or river respectively. After humbly
taking permission through proper Vedic rituals, the construction process
starts. Chanting Vedic mantras the rock was energized, sanctified then taking
permission from god and remembering Vishwakarma, the mammoth task was taken to
carve the rock. Even while carving it seems that methodical Vedic principles
were followed because even to this day when you chant Mantras within the
temple, the sound resonates, vibrates and echoes in a peculiar manner
making you feel slowly connected to a Vedic cosmos, which cannot be felt
anywhere in the world. The enormity of the temple conveys the endless
creation of infinite Universe that Bhagwan created for us before de-manifesting
it again to maintain cycle of creation to destruction.
The Kailash temple is not built. All is cut and carved from
one gigantic piece of rock, hewn out of the Charanandri hills of the
Sahyadri range of the Deccan Plateau at a village, which once was called
Elapura, (later renamed as Ellora by british), 30 km northwest of Sambhajinagar
(aurangabad). The Kailash temple was cut from the top down in a U-shape
form, about 50 Meters deep in the back and sliding to lower levels on the sides
to the front where there is an entry gate. From where the cutting was started
is not known, definitely it could be from the Ganesh Dwar (every Hindu temple
has a place that is dedicated to Bhagwan Ganesh, Son of Bhagwan Shiv), but
later were the de-pilings done simultaneously or step by step – nothing is
clear even after deep research conducted by several experts.
Another interesting facts about the unique construction of
Kailash temple is the digging of holes that cannot be done by human beings of
even height of 3 feet. The way holes are dug it shows someone very small can
carve it in as normal human being cannot enter and dig such holes. Such narrow
holes can only be drilled if we are using hi-tech computer controlled machines.
There are numerous shafts, holes and narrow lanes which cannot be made by
humans. It is possible that they are created using waters mixed with some
secret chemicals but then how can so uniformly it withstand the perpendicular
wall, how the flow was controlled in the floors, if entrance of humans are not
possible to stop at other side then how it was halted on other side, why it
does not surpassed from other side, as the solution could had caused problem in
maintaining symmetricity. Neither hi-tech tools, nor chemical were used so
does Patalwasis (smaller humans of Patal Lok) crossed the dimension and
helped in construction of Great Kailash temple and its perimeter.
Based
on Archaeological Survey of India, ASI’s information, stunning Architectural
feats.
- The rear wall of its excavated
courtyard has length of 276 feet (84 m), breadth of 154 feet (47 m)
and height of 100 ft (33 m) high.
- The temple is built carving a
big rock of 164 feet (50 m) deep, 109 feet (33 m) wide, and 98 feet (30 m)
high.
- Largest cantilevered
rock ceiling in the world.
- Located at 99-km from Sambhaji
Nagar (aurangabad), Maharashtra. The entire complex of Ajanta encompasses
29 rock-cut rooms.
- It is assumed by some experts
that the entire complex and temple structure might be created between 200
BC and AD 650 only using rudimentary hand tools.
- Four are Chaityas (temples) and
Most others are Viharas (living quarters).
- The carving was done from top
to down digging a single basalt cliff rock.
- Work happened only 16 hours a
day. The reflection of sun rays from mirrors were used as there was no
electricity in ancient period. However, there are so many inner parts of
the structure where even sun rays cannot reach even using multi-layered
mirror arrangement so delicately carving intricate designs in such places
is done using yogic eyes.
- During Satyug, average height
of people were 32 feet and their lifespan was lakhs of years with wishful
death for Yogis. It is highly possible that the major carving of
digging deep the entire mountain were done by these pious and strong
people.
·
Today
building a massive structure like Kailash temple would require pre-design and
3D conceptions using latest CAD softwares and high-tech computers. Imagining
how the structure will look at which area we should have distance
properly maintained to start carving, where we should pause, which side we
should start building entrace, how the internal design be formed. There are
hundreds of questions which require answers and only getting resolutions around
these queries alone would require several months of hundreds of dedicated
designs, 3D graphic artistes and designers who have knowledge of construction
and civil work.
·
Most
important of all we need an architect who is perfectionist having in-depth
knowledge of Vastu, Vedic science of construction and mantras. Even one single
mistake would mean abandoning the entire rock and searching for the new
mountain. Administering thousands of labors to slice the rock and carve it with
so much perfection need an able leader and astute decision maker who has
complete design in mind with exemplary intricate details, before materializing
it in real.
·
The
precision with which the sculpts can be cut is still not invented by
engineers in the world today. So we will need manual labors to minutely
carve the temple. It will require at least 10,000 skilled workers to carry out
the digging, carving, sculpting and materializing the entire structure as
envisioned. The total duration required to complete the task cannot be
estimated because till date in modern times, no single mid-size rock is cut to
create a temple.
·
It
is very difficult to meet such Hindu Sages who can strongly interact with
ancient Gurus and ask for the process to replicate the feat. There are Sages in
Himalayas and forests in India who can help the builders. But these Sages use
physical body (human form) to undertake penance and elevate their soul to next
level and meet Bhagwan himself. They are above all senses including the one to
recreate a mammoth structure.
·
·
Cave
21 (Rameshvara, Ramesavara) –
possibly the oldest Hindu cave in Ellora, from the late 500s. Contains some of
the most beautiful carvings. At the far end of entrance verandah two beautiful
figurines of river goddesses Ganga and Yamuna.
·
Cave
22 (Nilkantha) – contains
beautiful stone carvings.
·
Cave
25 (Kumbharvadam). Contains
beautiful sculpture of Surya – Sun god – driving his chariot towards the dawn.
·
Cave
27 (Gopilena) Beautiful waterfall
between cave 28 and Dumar Lena adds unexpected charm to these unique monuments.
·
Cave
29 (Dhumar Lena) – created in the
late 6th century. Unusual, cross-shaped planning. Contains enormous, beautiful
sculpted panels with depictions of Shiva, other exquisite carvings.
JAIN TEMPLES
Creators
of these last five temples draw much of inspiration from the older, existing
temples. Jain temples are not large if compared to Hindu and Buddhist
structures – Jain religion is religion of asceticism. Jain stone carvings
though are unsurpassed in quality and complexity. Earlier many stone carvings
were covered with paint which for most part is gone now.
·
Cave
30 (Chhota Kailash) – smaller
version of Kailash Temple with beautiful pillars.
·
Cave
32 (Indra Sabha – Indra’s
Assembly Hall). Extremely ornate, two floors. In the centre there stands
monolithic shrine. Ceiling is adorned with enormous carving of lotus. Contains
remnants of valuable mural which in its artistic technique shows the beginning
of medieval period in Indian painting. Sculpture of naked Gomateshwara who
stands meditating in a forest without noticing how the vines have grown and
twisted around his legs and scorpions and snakes crawl around him.
·
Cave
33 – contains remnants of
valuable mural which in its artistic technique shows the beginning of medieval
period in Indian painting.
·
Cave
34 – small and can be accessed
only through the opening in Cave 33.
Lepakshi Temple
The Lepakshi temple, also known as Veerbhadra
temple is one among the spectacles of Indian history which have hidden
treasures in its chest. The small village where the temple finds itself is in
Anantapur District of Andhra Pradesh. It is a paragon of excellent
architecture and art. Once the quintessence of Vijayanagara Empire, Lepakshi is
culturally and archaeologically significant as it acts as the prime location of
the shrine dedicated to Veerabhadra. The Lepakshi Temple is an exhibition
of timeless art, with famous frescoes and murals.
The Lepakshi Temple is home to the miraculous hanging pillars
and a cave chamber where Sage Agasthya is said to have lived. Another thing
which makes the temple unique and a place to must visit is a footprint
that is believed to be of Maa Sita. As soon as you step inside the temple, you
get the glimpses of the history of Vijayanagara kingdom by way of
pictorial representations. From the figures of musicians and saints to that of
Parvati and Lord Shiva, the Lepakshi Temple has everything which makes it an
attraction of archaeological and artistic splendour. Apart from the
architectural importance, the temple according to Skanda Purana is
a divyakshetra, in other words, an important pilgrimage destination of
Lord Shiva.
Legend and History of Lepakshi Temple
The origination of name Lepakshi has two myths associated with
it. According to the first legend, Lepakshi found its roots in the legendary
Ramayana when Ravana had kidnapped Sita. As he was taking her away, the bird
Jataya tried saving her from his hand. Defeated by Ravana, he fell on the
floor. As he was counting his last breathe Lord Rama helped him attain Moksha
by saying 'Le Pakshi' which in Telugu means
'Rise Bird.' Hence the name Lepakshi originated.
According to another legend, there were two brothers in the Vijayanagar Kingdom - Virupanna and Veerupanna. Virupanna's son was blind, and it is said that he gained sightedness while he was playing around the Shivalinga in the temple. Veerupanna was one of the financiers of Vijayanagar. Blamed by others for using the royal treasury; some say for the completion of the temple while some say for curing his son, the king gave orders for taking off his eyes. Disturbed by the false accusation, he forestalled the punishment and threw his eyes onto the walls of the temple. Hence, the place got its name Lape-Akshi meaning the village of the blinded. Now the eerie part is that the temple wall still has the blood marks of the eyes.
According to another legend, there were two brothers in the Vijayanagar Kingdom - Virupanna and Veerupanna. Virupanna's son was blind, and it is said that he gained sightedness while he was playing around the Shivalinga in the temple. Veerupanna was one of the financiers of Vijayanagar. Blamed by others for using the royal treasury; some say for the completion of the temple while some say for curing his son, the king gave orders for taking off his eyes. Disturbed by the false accusation, he forestalled the punishment and threw his eyes onto the walls of the temple. Hence, the place got its name Lape-Akshi meaning the village of the blinded. Now the eerie part is that the temple wall still has the blood marks of the eyes.
Architecture of Lepakshi Temple
The temple is an outcome of Vijayanagara
Architectural Style. It is divided into three parts, namely, Mukha
Mandapa or the assembly hall, Arda Mandapa or the Ante-Chamber, and
lastly, Garbhagriha or the Sanctum Sanctorum.
The pillars and walls have the images of divine beings, musicians, dancers, saints, guardians, and 14 avatars of Shiva. The fresco painting technique is used with bright colours to make the scenes of Rama and Krishna from famous epics: Ramayana, Mahabharata and the Puranas. The fresco on the ceiling of Ante-Chamber is Asia's largest fresco painting. It measures 23 by 13 feet. This is a representation of the 14 avatars of Lord Shiva. These paintings showcase the beauty of Vijayanagara pictorial art. The colours are subtle personifying the grandeur of its history. A blend of mineral and vegetable colours make the walls of the Lepakshi temple awe-inspiring.
The entrance to the sanctum has the figurines of goddesses Yamuna and Ganga. The Hall's exterior columns are full of decorations in the form of carvings of soldiers and horses. The northeastern part of the room has the images of Nataraja and Brahama along with that of a drummer. One can also see the carvings of dancing nymphs around it. The southwest hall has the image of Parvati flanked by the female attendants.
The pillars and walls have the images of divine beings, musicians, dancers, saints, guardians, and 14 avatars of Shiva. The fresco painting technique is used with bright colours to make the scenes of Rama and Krishna from famous epics: Ramayana, Mahabharata and the Puranas. The fresco on the ceiling of Ante-Chamber is Asia's largest fresco painting. It measures 23 by 13 feet. This is a representation of the 14 avatars of Lord Shiva. These paintings showcase the beauty of Vijayanagara pictorial art. The colours are subtle personifying the grandeur of its history. A blend of mineral and vegetable colours make the walls of the Lepakshi temple awe-inspiring.
The entrance to the sanctum has the figurines of goddesses Yamuna and Ganga. The Hall's exterior columns are full of decorations in the form of carvings of soldiers and horses. The northeastern part of the room has the images of Nataraja and Brahama along with that of a drummer. One can also see the carvings of dancing nymphs around it. The southwest hall has the image of Parvati flanked by the female attendants.
The
deity Veerbhadra is deified in the sanctum sanctorum. A life-size image of
his having been decorated with skulls could be seen. It is believed that Sage
Agasthya has installed the image of Linga here. The ceiling above the deity has
the painting of it builder brothers, Virupanna and Viranna.
Within the temple, on its eastern wings is the chamber of Lord Shiva and his consort Parvati. The other chamber has the image of Lord Vishnu.
India’s second largest monolith after Gomateshwara
Another architectural marvel of Lepakshi is the colossal statue of Nandi, Lord Shiva’s bull. About a mile before the main temple, the statue is India’s second largest monolith after Gomateshwara, standing tall at 27 feet by 15 feet and carved out of a single stone. The structure is famous for its mammoth size and flawlessly proportioned body, and the finely carved ornaments around its neck and in its ears.
Inside the temple, a gargantuan statue of Ganesha is yet another spectacle. And if this was not enough to quench the thirst of art history lovers, the largest Nagalinga in India draws one’s attention, with its enormous Naga with three coils and seven hoods forming a canopy over a black granite Shivalingam.
The frescos at the Lepakshi temple are some of the finest specimens of art history in India. The 24 by 14 feet mural of Veerabhadra on the wall of the main sanctum sanctum is the largest fresco in India! The fresco depicting scenes from the wedding ceremony of Lord Shiva and Parvati, popularly known as the Shiva-Parvati Kalyanam is also something to look out for.
Attractions at Lepakshi Temple
Key points of interest in the temple include a rock chain, Vastu
Purush, the Padmini race lady, the hanging pillar, Monolithic Nagalinga, Durga
Paadam, Lepakshi saree designs, and Eyes of Viroopaakshanna.
1. The Hanging Pillar: One of the most peculiar things about the temple is its hanging pillar. It is suspended in the main hall which is said to be the hall of reception for Shiva and Parvati's marriage. The miraculous thing about the pillar is that Among the 70 pillars of the Lepakshi Temple, this pillar is a salute to the makers of the temple. A British Engineer to know about the secret of its hanging in the air had made an unsuccessful attempt to move it which is the reason behind it dislodgement. To prove its uniqueness people often pass clothes from under it.
2. Naglinga: The Naglinga here is the largest Monolithic Naglinga in India. History says that this was built in just an hour by the sculptors while their lunch was being prepared.
3. Durga Padam or the footprint of Maa Sita: The Lepakshi Temple owes its fame to the remarkable attractions it has. One among these is the Durga Padam which makes the place more pious.
4. Lepakshi Saree Designs: On your arrival at this grand temple, you get a chance to glance at the beautiful Lepakshi saree designs that are carved on the pillars. The brilliantly carved textures are an epitome of creativity in the hands of Indian carvers.
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasizing the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for fetus. Only priests are allowed to enter this inner-most chamber.In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shivas sacred bull mount.
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for “Ashta-dikpaalakas” (Guardians of the directions) – Indra, Agni, Yama, Nirrti, Varuna, Vayu, Kubera, Isana – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varu?a, V?yu and Isana are preserved in situ.)
As one walks around the vast temple premises, they will find pillared corridors with hundreds of Nandi mounted on them. There are smaller shrines dedicated to other Deities like Lord Ganesha and Lord Subramanya. Of these, the shrine dedicated to Lord Subramanya is the most beautiful with ornate sculpture. This is the standard size of a Dravidian style temple, Raja Raja Chola magnified the style by several times and built the Brihadeeswara Temple.The temple "vimana" visible from a few kilometres away towers to a whopping 216 ft. This huge temple was built entirely of granite, which is one of the hardest rocks on the surface of the Earth.How did people cut these rocks when they had only soft iron tools a 1000 years ago? The Chola king Raja raja who built this temple in about 20 years moved more stone over more distance than the pharoahs who built the great pyramid of Egypt.
Lord Dakshinamurthy
Lord Ganesha
Lord Surya
Lord Chandra
"Among the many other temples the cholas built, the most important one is Thanjavur Brihadeeswara Temple, built by Rajaraja Cholan, the Great Chola king. The temple, dedicated to Nandi, the Bull is a masterpiece of the captivating Chola architecture. The mount of Lord Shiva i.e. Nandi has been made from a single granite rock.Thanjavur Brihadeeswara Temple is a great example for the Architectural Masterpiece of Chola Rule in South India, and is unique to have the tallest tower (216 ft) over the sanctum sanctorum unlike the other temples.This auspicious Temple is made over a 29 m square base and is surrounded by moat on two sides and Grand Anaicut River on the other side. The compound within the temples inner wall measures about 500 feet x 250 feet. The walls of the sanctum are adorned with the wall paintings of Chola and Nayak periods. The temple has a soaring vimana and a stunted gopuram. The inner sanctum and the gopuram were constructed over a period of 12 years. The temple was constructed from a single piece of granite weighing around 80 tonnes.The Cholas were great patrons of art and during their reign, the most magnificent temples as well as exquisite bronze icons were created in south India. Sama Varma designed the unique structure because no shadows of the temple were cast on the ground at any time of the year. It has been the symbolic of the fact that the Supreme is considered to be there and yet not there. The temple is the finest contribution of the Chola dynasty to the Dravidian style of temple architecture.It is believed that the temple designers studied the architecture of all the famous temple across the country at that time, made blue prints, did a lot of research on the type of soil to be used, analysed how the base would hold such a huge Vimana and came up with some really innovative, ingenious ideas to executing it like the dome of the Vimana alone is 80 tonnes and it is believed to have been placed at the top of Vimana by building a 6 km ramp from the top of the Vimana to a nearby village and the dome hauled up the ramp by elephants !It seems each succeeding tier of the Vimana leading to the temple was built through an interlocking system of stones carved in such a way that they fitted into each other without any material used to bind them together ! What a work of genius !If you can read Tamil, do read Balakumaran’s Udayar, the 6 part novel also talks about the building of the temple. To know the technicalities you can check the internet, there are interesting articles on how the temple was built or watch Discovery Channel’s documentary on the temple, you will be amazed !Raja Raja Chola made sure he left behind enough information through inscriptions on the temple walls. These inscriptions talk about the people who contributed to the temple, the temple funding and utilization of funds, administration and taxes. The temple was not built merely as a place of worship, it was supposed to be a centre of art, learning, performing arts, may be it even served as a fortress or a shelter in times of need. It was also a means of useful employment as it is believed that prisoners of the Chola Empire were used as construction labourers. Probably, this is why, Brihadeeswara Temple, despite being the greatest temple ever built in honour of Lord Shiva, is not exactly of much pilgrim importance."Best time to Visit: is during the Hindu month of Visakha or May month as per English calendar when annual festival is celebrated for 9 days, beginning with Satabhisha star day. This star symbolises the birth star of RajaRaja and hence festival is celebrated every month on satabhisha star day. On festival day, the deity is bathed with water in which fragrant champaka flower is soaked.
1. The Hanging Pillar: One of the most peculiar things about the temple is its hanging pillar. It is suspended in the main hall which is said to be the hall of reception for Shiva and Parvati's marriage. The miraculous thing about the pillar is that Among the 70 pillars of the Lepakshi Temple, this pillar is a salute to the makers of the temple. A British Engineer to know about the secret of its hanging in the air had made an unsuccessful attempt to move it which is the reason behind it dislodgement. To prove its uniqueness people often pass clothes from under it.
2. Naglinga: The Naglinga here is the largest Monolithic Naglinga in India. History says that this was built in just an hour by the sculptors while their lunch was being prepared.
3. Durga Padam or the footprint of Maa Sita: The Lepakshi Temple owes its fame to the remarkable attractions it has. One among these is the Durga Padam which makes the place more pious.
4. Lepakshi Saree Designs: On your arrival at this grand temple, you get a chance to glance at the beautiful Lepakshi saree designs that are carved on the pillars. The brilliantly carved textures are an epitome of creativity in the hands of Indian carvers.
Brihadeshwara Temple
Brihadeshwara Temple is a Hindu temple dedicated to Shiva
located in Thanjavur in the Indian state of Tamil Nadu. It is also known as
Periya Kovil, RajaRajeswara Temple and Rajarajeswaram. It is one of the largest
temples in India and is an example of Dravidian architecture during the Chola
period. Built by emperor Raja Raja Chola I and completed in 1010 AD, the temple
turned 1000 years old in 2010. The temple is part of the UNESCO World Heritage
Site known as the “Great Living Chola Temples”, with the other two being the
Brihadeeswarar Temple, Gangaikonda Cholapuram and Airavatesvara temple.The
temple stands amidst fortified walls that were probably added in the 16th
century. The vimanam (temple tower) is 216 ft (66 m) high and is the tallest in
the world. The Kumbam (the apex or the bulbous structure on the top) of the
temple is carved out of a single rock and weighs around 80 tons. There is a big
statue of Nandi (sacred bull), carved out of a single rock measuring about 16
ft (4.9 m) long and 13 ft (4.0 m) high at the entrance.The entire temple structure
is made out of granite, the nearest sources of which are about 60 km to the
west of temple. The temple is one of the most visited tourist attractions in
Tamil Nadu.The great Tamil ruler, Rajaraja Chola I of the Chola dynasty, built
the Brihadeswara temple. Later various additions were made in the temple but
the most prominent one among these was the addition of a copper pot over the
tower by King Rajaraja Chola II. The main deity that is worshiped in this
temple is Lord Shiva. He is worshipped in the form of Lingam. This was
originally called Adavallan that meant an expert dancer. The same name occurs
in Thiruvisaipa as the name of the deity at Chidambaram. The tower over the
shrine is named Dakshina Meru after the abode of Lord Shiva at Kailash that is also
called Meru Mountain in Hindu scriptures.Temple is designed in such a way that
the vimana never ever casts a shadow on the ground at noon. Each and every work
over stone, bronze, sculpture etc. exhibits the excellence of art which
prevailed during the Chola period. The entrance to the temple has magnificent
sculptures on the wide Gopuram. The main deity of the temple is “Shiv Lingam”.
There are many sub shrines within the fortified walls. The inscriptions found
inside the temple reveals that on those days (1000 years ago) nearly 1000
staffs were employed to maintain the temple. Among which 400 were temple
dancers. On the walls of main enclosure of sanctum sanctorum, tourists can see
mural paintings and Chola frescoes.Built by the greatest of Chola rulers,
Rajaraja, the temple was named after him as Rajarajesvaram, meaning `the temple
of the Isvara (God) of Rajaraja. Later on, it came to be known as the
Brihadisvara temple meaning the temple of the `Great Isvara. Rajaraja Chola,
like other Chola rulers, was a great patron of art and architecture. During the
time of the Cholas, most of the magnificent temples as well as exquisite bronze
sculptures in South India were created. The style and grace of these sculptures
and temples, and an eye for the minutest of the details, till today, is without
parallel.
ABOUT
THE TEMPLE
The Siva Lingam here is gigantic, more than 12 feet tall.
The Nandi facing the sanctum is also 12 feet in height and the dwarapalaks (the
guardian deities of temple) and deities around the main shrine look elegant.
The main attraction here is the huge tower above the sanctum which is about 216
feet. The tower stands tall and one can see this fabulous structure even as one
enters Tanjore. The architect and engineer of the temple was Kunjara Mallan
Raja Raja Perunthachan as stated in inscriptions found at the temple. The
temple was built per ancient texts called Vaastu Shastras and Agamas. The
temple was built using a measure of 1 3/8-inch called an angula (24 units
equalling 33 inches called a hasta, muzam, or kishku). This is the same measure
found in ancient Lothal and other sites in the Indus Valley dating back 4000 –
6000 years. This same measure is used to build structures compliant with the
Vaastu Shastras and Agamas today. While some builders use a different measure
this is considered a standard due to its antiquity.The solid base of the temple
raises about 5 metres (16 feet), above which stone deities and representatives
of Shiva dance. The big Nandi (bull), weighing about 20 tonnes is made of a
single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The
presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the
temple) measures 240m by 125m. The outer wall of the upper storey is carved
with 108 dance karanas – postures of Bharathanatyam, the classical dance of
Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century,
Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated
by Maratha rulers. There were significant additions from the Thanjavur
Nayaks.The temple complex sits on the banks of a river that was channeled to
make a moat around the complexs outer walls, the walls being built like a
fortress. The complex is made up of many structures that are aligned axially.
The complex can be entered either on one axis through a five-story gopuram or
with a second access directly to the huge main quadrangle through a smaller
free-standing gopuram. The massive size of the main Vimanam (Shikhara) is 60.96
meters high, with 16 elaborately articulated stories, and dominates the main
quadrangle. Pilaster, piers(a raised structure), and attached columns are placed
rhythmically covering every surface of the Vimanam. The gopuram of the main
entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian
architecture where the gopurams are generally the main towers and taller than
the vimanam.
MAIN
TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasizing the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for fetus. Only priests are allowed to enter this inner-most chamber.In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shivas sacred bull mount.
TEMPLE
DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for “Ashta-dikpaalakas” (Guardians of the directions) – Indra, Agni, Yama, Nirrti, Varuna, Vayu, Kubera, Isana – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varu?a, V?yu and Isana are preserved in situ.)
Adjoining
structures
Surrounding the main temple are two walled enclosures. The
outer wall is high, defining the temple complex area. Here is the massive
gopuram or gateway mentioned above. Within this a portico, a barrel vaulted
gorpuram with over 400 pillars, is enclosed by a high wall interspersed with
huge gopurams axially lined up to the main temple.
A widely held belief is that the shadow of the Vimana never
falls on the ground. However, several photographs exist showing the shadow on
the ground.The temple is said to be made up of about 60,000 tons of granite.
The capstone itself is made of four pieces of granite and weighs about 20
tons., on top of the main gopuram is believed to have been taken to the top by
creating an inclined slope to the height of 66m to the top of the gopuram.
The temple has Chola frescoes on the walls around the
sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing
and sending a white elephant to transport a devotee to heaven. These frescoes,
discovered in the 1940s by S. K. Govindasami of the Annamalai University,
portray the mythological episodes of the journey of Saint Sundarar and the
Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras
(demons). The Chola artists have proved their mettle by portraying even the
Asura women with a sense of beauty. Some of the paintings in the sanctum
sanctorum and the walls in the passage had been damaged because of the soot
that had deposited on them once uopn a time. Owing to the continuous exposure
to smoke and soot from the lamps and burning of camphor in the sanctum
sanctorum over a period of centuries certain parts of the Chola paintings on
the circumambulatory passage walls had been badly damaged. The Tanjore Nayak
kings replaced them with a few paintings of their own, about 400 years ago. The
Archaeological Survey of India, for the first time in the world, used its
unique de-stucco process to restore 16 Nayak paintings, which were superimposed
on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted
on fibre glass boards, displayed at a separate pavilion.
Art
and sculpture at its best
The Sanctum Sanctorum which houses the Shiva Linga is a
double walled structure with a passage between the two walls, this was built in
this way to hold the 40000 tonne Vimana. Fresco paintings adorn the walls from
the base to the ceiling along this passage, they are, of course not open for
public. There is an article on the internet on how these 15 feet paintings were
photographed by ASI with great difficulty since there was less than 7 feet gap
between the two walls of the passage. Forget photography, how did they even
manage to paint them in the first place, 1000 years ago !! The paintings are
believed to be on par with those at Ajantha. There are some paintings along the
pillared corridors surrounding the temple and in the Nandi Mandapam but most of
these belong to the later periods especially the Nayak reign in the 16th
Century A.D.Everything about this temple is big, including the sculpture. The
size of the temple did not seem to deter the sculptors from filling it with
sculpture ranging from huge statues to minute figures.Located somewhere in the
middle of the Vimana on the North side is the most interesting sculpture in the
Brihadeeswara Temple – a figure of a foreigner complete with modern clothes and
a hat! It is shocking yet amusing to find such a figure in a Hindu temple.
While nobody knows for sure how it came to be sculpted, it must have been an
addition during the later Centuries when this part of the country began to have
more trade relations with the West or did the Chola sculptors meet up with a
foreigner?Another interesting sculpture is this figure adjacent to the above
figure – this forlon looking lady at the edge of the picture can also be found
in the Virupaksha temple at Hampi, this figure is an exact replica of the one
at Hampi! Now, now, who copied whom? It is most likely that these figures were
added much later but how did they manage to fit it along with the existing
sculpture? If you zoom your camera lens, the lady actually looks very different
from the statues of women on most Hindu temples ! Out of thousands of figures
in the Virupaksha temple, why did they choose only this one to replicate?
Other
shrines
As one walks around the vast temple premises, they will find pillared corridors with hundreds of Nandi mounted on them. There are smaller shrines dedicated to other Deities like Lord Ganesha and Lord Subramanya. Of these, the shrine dedicated to Lord Subramanya is the most beautiful with ornate sculpture. This is the standard size of a Dravidian style temple, Raja Raja Chola magnified the style by several times and built the Brihadeeswara Temple.The temple "vimana" visible from a few kilometres away towers to a whopping 216 ft. This huge temple was built entirely of granite, which is one of the hardest rocks on the surface of the Earth.How did people cut these rocks when they had only soft iron tools a 1000 years ago? The Chola king Raja raja who built this temple in about 20 years moved more stone over more distance than the pharoahs who built the great pyramid of Egypt.
The entrance to the main temple complex is through two
beautiful arches, with ornate gopuras on top of them, covered with stucco
figures of various deities. The outer one is called the Keralantakan entrance,
and commemorates Rajaraja’s victory over the Cheras of Kerala. The inner one is
simply called the Rajarajan entrance, and is flanked by two huge and fierce
dwarapalas or guardian deities, a feature typical of Chola architecture.
Inside, the temples enormous pyramidal vimana, nearly 60m tall, soars
spectacularly into the sky, representing the sacred mountain Meru. Inscriptions
in the temple refer to it as Dakshina Meru, or the Meru of the south. Built in
solid granite, it narrows tier by tier to a bulbous shikhara at the top. A rare
feature in this temple is that the vimana is much taller than the entrance
gopuras. It is usually the other way round in this region.The vimana is hollow
inside, all the way to the top. At its base, the sacred garbhagriha houses an
enormous monolithic Shivalinga, called Brihadeeshwara, the main deity of this
temple. He is also called Rajarajeshwara, which means, the Lord worshipped by
Rajaraja. Two walls surround the garbhagriha, forming two passages running all
around it. Chola frescos covered the walls of the inner passage, but they were
painted over in the Nayaka era. The ASI used a process called de-stucco, to
chemically peel the top layer off, preserving both sets of paintings. The
Nayaka paintings are now on display, mounted on fiberglass boards. An
incomplete series of sculptures decorates the walls of the outer passage,
depicting Lord Shiva in 81 of the 108 karanas, or dance movements in
Bharatanatyam.
A shrine dedicated to Chandikeshwara, a saint worshipped
along with Lord Shiva, stands close to the main vimana. The practice of
building separate shrines for attendant deities besides the main one, began
under the Cholas. There are more shrines dotting the complex, added by the
Nayakas and Marathas. A huge monolithic nandi or bull, the second largest of
its kind, stands in a pavilion facing the vimana - it was added in the 16th
century. The Brihadeeshwara Temple was the first of the Chola temples to be
inscribed on UNESCO’s list of World Heritage Sites. A masterclass in
architecture, engineering, logistics, planning, execution and record-keeping,
the temple truly reflects an empire at its peak and bears testimony to a
civilization with extraordinary knowledge, ability and sophistication.
The
other important idols of this temple are:
Lord Dakshinamurthy
Lord Ganesha
Lord Surya
Lord Chandra
The entire surroundings of Brihadeeswara Temple contains of
250 lingams as a representation of Lord Shiva.This temple has a special
environmental pleasure where the lingam is installed with a special stone
called Chandrakanta stone, which makes the place cool during summer and comfort
warm during winter.It is said that more than 130,000 granite have been used to
build the main structure of the Brihadeeswara Temple.Brihadeeswara Temple has
the idols of Ashta-dikpaalakas which is known as the guardians of the
directions. The presence of this six feet tall Ashta-dikpaalakas make this
temple one of the rare temples in India.
LEGEND
AND STORIES
"The Brihadeshwarar temple was built to grace the
throne of the Chola empire by the Tamil emperor Arulmozhivarman, popularly
called Rajaraja Chola I, in compliance to a command given to him in a dream.
One of the first great Tamil Chola building projects, the temples foundations
were laid out in 1002 CE. An axial and symmetrical geometry rules the temple
layout. Temples from this period and the following two centuries are an
expression of the Tamilars (Chola) wealth, power and artistic expertise. The
emergence of such features as the multifaceted columns with projecting square
capitals signal the arrival of the new Chola style.Intended to display the
emperors vision of his power and his relationship to the universal order, the
temple was the site of the major royal ceremonies such as anointing the emperor
and linking him with its deity, Shiva, and the daily rituals of the deities
were mirrored by those of the king. It is an architectural example showcasing
the pure form of the Dravida type of temple architecture and representative of
the Chola Empire ideology and the Tamil civilisation in Southern India. The
temple ""testify to the brilliant achievements of the Chola in
architecture, sculpture, painting and bronze casting.""
Arulmozhivarman, a Tamil emperor who was popular as Rajaraja Chola I laid out
foundations of Brihadeeswarar Temple during 1002 CE. It was first among other
great building projects by Tamil Chola. Main purpose of building this temple
was to grace throne of Chola Empire with compliance of one command Rajaraja
Chola I receive in a dream. Grandeur and scale is in Chola tradition. A
symmetrical and axial geometry rules layout of this temple. Temples from same
period and two following centuries are expressions of Tamils Chola power,
artistic expertise and wealth. Emergence of these types of features, such as
multifaceted columns along with projecting signals of square capitals signifies
arrival of Chola style, which was new at that time. Brihadeeswarar Temple’s
build was like one royal temple for displaying emperor’s vision for
relationship and power to universal order. This temple was one site of primary
royal ceremonies, such as anointing emperor and to link emperor with Shiva, its
deity and deity’s daily rituals was a mirror of those by king. It is one
architectural exemplar, which showcases true form of Dravida kind of
architecture in temples and is a representative of ideology of Chola Empire and
Southern India’s Tamil civilization. Brihadeeswarar Temple “testifies to Chola’s
brilliant achievements in architecture, painting, bronze casting and
sculpture.”A wish for establishing such a huge temple as per saying of people
occurred to then king Raja Raja, who was staying as one emperor in Sri
Lanka.Brihadeeswarar Temple is first among all buildings, which make use of
granite fully and it finished within five years from 1004 AD to 1009
AD.Thanjavur became a center of learning during 10th to 14th century AD. The
Brihadeeswara temple is the major center of tourist attraction at Thanjavur.
Thanjavur is the ancient capital of the Chola kings. King Rajaraja Chola
constructed the Brihadeeswara Temple in 10th century AD and the architect Sama
Varma designed it.The Cholas were great patrons of art. During their reign, the
most magnificent temples as well as exquisite bronze icons were created in
south India. Sama Varma designed a unique structure because no shadows of the
temple were cast on the ground at any time of the year. It is symbolic of the
fact that the Supreme is considered to be there and yet not there. The temple
is the finest contribution of the Chola dynasty to the Dravidian style of
temple architecture.The inner wall of the garbhagriha or the sanctum sanctorum
has sculpted 108 dance poses called karmas performed by Lord Shiva himself. The
Shiva lingam is called Peruvudaiya, Rasjarajeshwaramudvya. It is a huge lingam,
which is set in a two-storeyed sanctum. Many inscriptions give details about
contemporary times while according to experts the visual imagery is reflective
of the rites and rituals of Vedic times. Rajaraja Chola crowned it with 12.5 ft
tall finial of 9.25 kilograms of choppers plated with 800 grams of gold.
Subsequent rulers made their contributions to the temple but they do not give
the look of being added later. A huge statue of Nandi measuring 6 m length and
3.7 m in height faces the inner sanctum. The statue of Nandi was created from a
single rock piece and weighs 25 tonnes. It is in fact one of the largest
statues of Nandi bulls in India. The temple also has a spacious ground, number
of pillared halls, shrines and 250 lingams.The temple was constructed over a
period of seven years from 1003 to 1010AD, and was completed in the 25th year
of Rajarajas reign. It was conceived by Karuvurar, a yogi and siddha, as a tremendously
powerfully energy center, and was financed by Raja Raja Chola in the eleventh
century. However, according to historical lore, Rajaraja disagreed with
Karuvurar over certain aspects of the temple. It isnt quite clear what the
disagreement was about but tales tell of how Rajaraja wished that the
kumbabhishekam and inauguration of the temple should take place on a certain
date, which Karuvurar disagreed with. Whatever the reason, Rajaraja asked the
yogi to leave. Karuvurar had to wash his hands off the whole affair. However,
he constructed a little hut in the corner of the temple premises and resided
there.When the time came to install the enormous linga into the peetha or
avudaiyar, the Chola engineers struggled immensely as the linga wouldnt fit, any
which way they tried. Finally, in desperation they approached Karuvurar, who
taking his spittoon, spat into it, and handed it to them to place in the peetha
before installing the linga. The engineers did as told, and astonishingly, the
linga fit. But t was not a happy occasion. Karuvurars spitting was a symbolic
way of saying that the linga was lost. It had become cursed. Since then, many
tales tell of the curses that befell the Chola dynasty. Rajaraja himself is
said to have committed suicide, though the truth of this is not reflected in
any historical sources. Even today, it is said that any ruler who visits the
temple will lose his mandate soon!It is said that Rajarajas son, Rajendra Chola
constructed the Gangaikonda Cholapuram temple to correct for his fathers rash
actions. The temple is very similar to the Brihadeeswara temple in all aspects,
except that it is not as grand a temple. The tower is only 160 feet in height
as compared to the 216-foot high tower at Thanjavur.The Big temple of Thanjavur
was called as Rajarajeeswaram , abode of the Lord of Rajaraja Chola or the
Temple for Lord Iswara built by Raja Raja Chola the great. With the fall of the
Cholas, Thanjavur was resurrected by the Nayaks and Marathas during that time
frame the name was sanskritised and called Brahadeeswara temple.The temple had
its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called
Rajaraja Chola I, (R?jar?ja Cho?an) in 1002 CE, as the first of the great Tamil
Chola building projects.The Brihadeshwarar Temple was built to grace the throne
of the Chola empire in compliance to a command given to him in his dream.The
scale and grandeur is in the Chola tradition. An axial and symmetrical geometry
rules the temple layout.Temples from this period and the following two
centuries are an expression of the Tamils (Chola) wealth, power and artistic
expertise. The emergence of such features as the multifaceted columns with
projecting square capitals signal the arrival of the new Chola style.The
Brihadeshwarar Temple was built to be the royal temple to display the emperors
vision of his power and his relationship to the universal order. The temple was
the site of the major royal ceremonies such as anointing the emperor and
linking him with its deity, Shiva, and the daily rituals of the deities were
mirrored by those of the king. It is an architectural example showcasing the
pure form of the Dravida type of temple architecture and representative of the
Chola Empire ideology and the Tamil civilisation in Southern India. The temple
""testify to the brilliant achievements of the Chola in architecture,
sculpture, painting and bronze casting.The Brihadeeswarar Temple was built to
display the emperors vision of his power and his relationship to the universal
order. On the 275th day of his 25th regal year (1010 A.D) Raja Raja Chola
handed over a gold-plated kalasam (copper pot or finial) for the final
consecration to crown the vimana. Located in the nerve centre of the Chola
empire, the temple attracted musicians, scholars, craftsman and merchants. Most
notably, it served as a platform for the dancers who excelled in the
traditional dance form of Bharatha Natyam. The Cholas were ousted by the
Pandyas. The Pandyas were followed by the Vijayanagara empire. In 1535, the
Vijaynagar king installed a Nayak king, hence, the era of Tanjore Nayaks which
lasted till mid-17th century. In 1674, the Marathas conquered Tanjore. Later,
like the rest of the country, Thanjavur too fell into British hands. The
inscriptions and frescoes on the walls of the temple record the rise and fall
of the citys fortunes.
SIGNIFICANCE
"Among the many other temples the cholas built, the most important one is Thanjavur Brihadeeswara Temple, built by Rajaraja Cholan, the Great Chola king. The temple, dedicated to Nandi, the Bull is a masterpiece of the captivating Chola architecture. The mount of Lord Shiva i.e. Nandi has been made from a single granite rock.Thanjavur Brihadeeswara Temple is a great example for the Architectural Masterpiece of Chola Rule in South India, and is unique to have the tallest tower (216 ft) over the sanctum sanctorum unlike the other temples.This auspicious Temple is made over a 29 m square base and is surrounded by moat on two sides and Grand Anaicut River on the other side. The compound within the temples inner wall measures about 500 feet x 250 feet. The walls of the sanctum are adorned with the wall paintings of Chola and Nayak periods. The temple has a soaring vimana and a stunted gopuram. The inner sanctum and the gopuram were constructed over a period of 12 years. The temple was constructed from a single piece of granite weighing around 80 tonnes.The Cholas were great patrons of art and during their reign, the most magnificent temples as well as exquisite bronze icons were created in south India. Sama Varma designed the unique structure because no shadows of the temple were cast on the ground at any time of the year. It has been the symbolic of the fact that the Supreme is considered to be there and yet not there. The temple is the finest contribution of the Chola dynasty to the Dravidian style of temple architecture.It is believed that the temple designers studied the architecture of all the famous temple across the country at that time, made blue prints, did a lot of research on the type of soil to be used, analysed how the base would hold such a huge Vimana and came up with some really innovative, ingenious ideas to executing it like the dome of the Vimana alone is 80 tonnes and it is believed to have been placed at the top of Vimana by building a 6 km ramp from the top of the Vimana to a nearby village and the dome hauled up the ramp by elephants !It seems each succeeding tier of the Vimana leading to the temple was built through an interlocking system of stones carved in such a way that they fitted into each other without any material used to bind them together ! What a work of genius !If you can read Tamil, do read Balakumaran’s Udayar, the 6 part novel also talks about the building of the temple. To know the technicalities you can check the internet, there are interesting articles on how the temple was built or watch Discovery Channel’s documentary on the temple, you will be amazed !Raja Raja Chola made sure he left behind enough information through inscriptions on the temple walls. These inscriptions talk about the people who contributed to the temple, the temple funding and utilization of funds, administration and taxes. The temple was not built merely as a place of worship, it was supposed to be a centre of art, learning, performing arts, may be it even served as a fortress or a shelter in times of need. It was also a means of useful employment as it is believed that prisoners of the Chola Empire were used as construction labourers. Probably, this is why, Brihadeeswara Temple, despite being the greatest temple ever built in honour of Lord Shiva, is not exactly of much pilgrim importance."Best time to Visit: is during the Hindu month of Visakha or May month as per English calendar when annual festival is celebrated for 9 days, beginning with Satabhisha star day. This star symbolises the birth star of RajaRaja and hence festival is celebrated every month on satabhisha star day. On festival day, the deity is bathed with water in which fragrant champaka flower is soaked.
One
of the most famous, architectural marveled and historically significant Shiva
temple known to all the Hindus is the Brihatheeshwarar temple, located in
Tanjore. It is one of the largest Hindu temples in South India and is highly
treasured that its considered as one of UNESCO’s world heritage site.
In
this post, we will look into some unique, interesting and unknown facts about
this temple, which makes this special religious structure, even more
significant.
1. The famous Brihatheeshwarar Temple
was initially referred to as the Rajarajeshwar Temple. It was the Marathas who
gave the temple its current name. They also called it the ‘Great Ishwara
Temple’
2. A unique feature about the temple
is, it is the only temple wherein the Temple tower’s (Gopuram) shadow does not
appear on the ground at noon.
3. The Nandi statue located at the
entrance of the temple is said to be carved out of a single rock.
4. The king Raja Raja Cholan built the
temple after his visit to Sri Lanka. The king was inspired after witnessing the
Vedic structures built by the Hindu kings.
5. Inscriptions in the temple point
towards Kunjara Mallan Raja Raja Perunthachan as the chief architect of the
temple. His successors survive to this day and practice the art of Vastu or
Vastu Shastra.
6. The big Tanjore temple is said to
have more than hundred underground passages that connects to various other
places. Nowadays, most of the passages are sealed. In the earlier days, the
passages were used by sages, Kings and Queens to roam about different temples
and places, especially during auspicious festivals like Deepavali, Maha
Shivarathri and Makar Sankranti.
7. The temple is said to have a huge
cap stone on top of it, and the weight of the stone is said to be 80 tonnes.
The Garbhagriha where the Shiva lingam is located is said to generate large
amount of electro magnetic energy. The 80 tonne stone acts a repulsive force
and channels the energy to the inner areas of the temple to sustain its
piousness and divinity. The positive energy radiant within in the temple
structure is said to have a calming, soothing effect both mentally and
physically on the devotees.
8. For the construction of the temple,
more than 130,000 tonnes of granite was used. Surprisingly, these heavy stones
were brought down from a place that was located 50 miles away from the
Brihadeeshwar temple.
IN
a remarkable feat performed in the face of overwhelming odds, two officers of
the Archaeological Survey of India (ASI) and a young photographer have
photographed in minute detail four huge frescoes found in the Brihadiswara
temple in Thanjavur, Tamil Nadu. What makes their work all the more creditable
is the difficult location of the murals, their enormous size and their
reflecting surface, all of which posed big challenges.
The
passage around the sanctum sanctorum where the murals were found
The
murals, each 15 feet tall and 10 feet wide (4.5 metres x 3 metres), are about
1,000 years old. They are located in the narrow and dark passage around the
temple's sanctum sanctorum. The great Chola king Raja Raja I built the
Brihadisvara temple between AD 1000 and AD 1008 and the paintings were done
between AD 1008 and AD 1012.
CAPTURING
THE MAGNIFICENCE.
A
single-frame, out-of-perspective picture of the mural depicting Siva as
Nataraja
If
most visitors had hitherto no access to these paintings because of their
location, they can now relish the paintings' exact photographic reproductions,
which are on display at the newly opened Interpretation Centre on the temple
premises. The photographs measure nine feet by six feet.
Rishi
and Rishikumara in the Dakshinamurthy panel
The
four paintings depict Siva as Dakshinamurthy, the story of Tamil Saivite saint
Sundarar, Siva as Tripurantaka, and Raja Raja Chola and his family worshipping
Nataraja (Siva) at the Chidambaram temple. The paintings, rich in detail, offer
a lot of historical information. While all the frescoes in the Brihadisvara
temple together occupy 660 square metres, these four paintings alone take up
110 sq m.
Village
elders reading a document in the Sundarar panel
Photographing
the murals was extremely difficult because they are painted on both walls of the
dark, dingy and narrow passage, which has no ventilation. The space between the
two walls is less than seven feet, so there is not much space for the
photographer to step back and capture images. Since the paintings are 15 feet
tall, one must crane one's neck to look at the top portions. Most visitors are
not allowed to see these paintings because of the narrowness of the passage and
the poor light and ventilation.
Royal
ladies in the Nataraja panel
Satyamurthy
said: "The ASI, Chennai Circle, therefore, undertook a project to
photograph the murals, prepare photographic reproductions and display them in
almost their true size and original colours. This effort required special
techniques because of paucity of space, poor lighting and the enormous size of
the murals. They had to be photographed in many small frames and then joined to
make one frame. This effort needed high skill."
Vishnu
in the Kalyanasundaramurthi panel, in the Ajanta tradition
What is seen in the paintings is seen in the frames. We have
assembled the photographs without loss of perspective. Anybody can see the
paintings in their original dimensions in our photographs." He explained
why the ASI decided to go public with the paintings: "Documentation is
important because people of the next generation should know that these
paintings existed. Recopying is important. In photography, you get accurate
reproduction."
SREE
ANANTA PADMANABHA TEMPLE
Sri
Ananta Padmanabha temple is one of the most
prominent temples of India. It is considered as one of the 108 Vaishnava
temples (divya sthanam), one of the seven moksha sthalas and one of the six
Narayana sthalas. Lord Balarama, Lord Nityananda and Lord Caitanya Mahaprabhu
visited this temple. The Temple is located inside the East Fort in
the city of Thiruvananthapuram, Kerala, India. It is the holiest abodes of Lord
Vishnu. The main deity, Sri Padmanabhaswamy, is a form of Vishnu in Anantha
sayanam posture (in yogic eternal sleep of yoga-nidra). This is an ancient
temple and the city of Thiruvananthapuram derives its name from the name of the
presiding Deity enshrined in the temple. This city is also called Syanandoora
puram.
Inside the temple altar, Lord Vishnu is in a
reclining position over Ananta Shesha. He is enjoying the aroma emanating from
the lotus held in His left hand, and His right hand is blessing Lord Siva.
There are three doors through which we can have the darshan - first the Lord’s
face, then His Navel and His lotus feet. Through the first door, the worship is
offered to Siva; through the second entrance Brahma prays to Lord Vishnu from
his lotus navel, and through the third door is Lord Vishnu’s lotus feet, which
are the only shelter and suitable means for a devotee of Lord by which one can
cross over the ocean of material existence. Sri Devi and Bhu Devi, the two
consorts of Lord Vishnu stand by His side and Lord Brahma is seen on a lotus,
which emanates from the navel of Vishnu. Sages Bhrigu, Markandeya and assembly
of celestials like Narada etc. are also present.
Laksha Deepam is a unique festival being celebrated once in six years at
Sri Ananta Padmanabha Swamy Temple, Thiruvanantapuram. Lakshadeepam literally
translates as one lakh (one
hundred thousand) lamps. The
entire Temple is adorned with
one lakh (one hundred thousand) Oil Lamps in and around temple. The maiden
Lakshadeepam was celebrated on the first of Makaram 925 ME / 14th or 15th of
January 1750 AD. The festival was conducted with much pomp and fanfare, in the
grandest manner possible by King Marthanda Varma. This mega festival is
observed on the concluding day of Murajapam. Murajapam is a holy prayer offered to the Lord
Sri Ananta Padmanabha Swamy once in 6 years which comprises chanting of 3 Vedas
(Rigveda, Yajurveda and Samaveda) and Vishnu
Sahasranamam for a period of
56 days which ends on the day of Makara
Sankrantiin the month of January. Laksha
Deepam festival is celebrated
on the day ofMakara Sankranti. On
this auspicious day the entire temple is adorned with one lakh (one
hundred thousand) Oil Lamps in and around temple. This festival still
continues as an immensely grand festival and visual magnitude attracting
staggering numbers to the doors of this great Temple.
References
of Sri Padmanabhaswamy Temple in Vedic scriptures
Sri
Padmanabhaswamy Temple stands at a place considered as one of the seven
Parasurama Kshetras. Texts including the Puranas, particularly the Skanda
Purana,Padma Purana, Vayu Purana, Varaha Purana and Brahmanda
Purana have references to this holy site. In the Padma Purana,
there is reference to the temple of Ananta sayanam, where the Lord Vishnu is
having his yoga-nidra. In the Skanda Purana, Sethu
Mahatmya, Brahmakhanda Chapter-52, verses 102 to 105, some of the most
important places of pilgrimages are indicated, which include the Ananta
Padmanabha Swamy temple. It is also mentioned in the Srimad-Bhagavatamcanto
10 chapter 79 that Lord Balarama visited “Syanandoorapuram” in the course of
His pilgrimage. An entire chapter named Anantapura Mahatmyam in Brahmanda
Purana is dedicated to this temple.
Other Darshans and
Attractions inside the Temple
Inside Sri Padmanabhaswamy
Temple complex there are a number of shrines.
Sri Krishna Temple: Sri Krishna Temple is
situated in the northern side and it is believed that this is the place where
Bilwamangal Thakura disappeared from this world. This temple has a flag staff
made of silver.
Hanuman Deity: There is a huge Deity
of Hanuman near the golden flag staff of Lord Padmanabha. The body of
Hanuman is covered with butter. This butter will not melt even in hot days or
even with the presence of fire and will not attract ants and insects. In the
seventeenth century, as mentioned above, when there occurred a massive fire in
the temple, the butter was not affected. It is mentioned that the fire could
not go beyond this point. Also, there are huge Deities of Jaya and Vijaya,
the two kshetrapalas (protectors) are located near Hanumanji.
It is believed that the foot of one kshetrapala is growing day
by day. This is evident from the protruding of the leg beyond the wooden
fencing.
Lord Nrsimhadeva Temple: Before entering the
main altar of Sri Ananta Padmanabha Swamy, we also are blessed with the darshan of
a beautiful form of Lord Nrsimhadeva.
Kulashekhara Alvar
mandapam: As we come outside of the main altar of Sri Ananta
Padmanabha Swamy we see a small mandapam dedicated toKulashekhara
Alvar. This is the place where King Kulasekhara composed many of his
divine songs including famous Mukunda-mala-stotra. It is a
marvelous and fantastic architectural work on stone. It is also known as Aayiramkaal
Mandapamand Sapthaswara Mandapam. It is supported by 28
balustrades of pillars. The pillars on the four corners can produce musical
notes when tapped. The pillars are adorned with exquisitely carved figures in
half and full relief. It is called asDashavatar Mandapam due to
depictions of dashavatara on the mandapa pillars.
Ottakkal mandapam: The Ottakkal mandapam is
single stone platform in the Sri Padmanabhaswamy Temple is a striking feature.
The Mandapam is in front of the sanctum sanctorum of Lord Sri
Padmanabhaswamy. This structure is built with a single slab of granite which is
two and a half feet thick and twenty feet square. The Abhishekams to Lord Sri
Padmanabhaswamy are performed in thismandapam. Its granite pillars are
covered with gold.
Abhisravana mandapam: This structure is in
front of the Ottakkal mandapam but outside the Cherruchuttu containing the
sanctum sanctorum. Special poojas related with Temple festivals are performed
here. Devotees use this mandapam for meditation and prayers.
The Golden flag-staff
(Dwaja Stambham): An eighty feet high pole near the eastern corridor was
installed by Anizham Tirunal. A teak wood of this dimension was carried from
the nearby forest to the Temple. As per Sastras the wood should not touch the
ground while in transport. The teak pole was then covered completely with gold
foils. The apex of the flag pole has a figure of Garuda Swamy, in
kneeling posture.
Nine Entrances: The Temple has nine
entrances, indicating the nine orifices of the human body.
Gopuram: The temple has a 100 foot,
seven-tier gopuram on the eastern entrance. On the top there
are seven golden domes suggesting pointers to the seven Worlds. The 10
incarnations of Lord Sri Krishna are portrayed inside the first storey of the gopuram.
. The ground floor under the gopuram is known as the ‘Nataka
Sala’ where the famous temple art, Kathakali is staged in the night during the
ten-day uthsavam conducted twice a year, during the Malayalam
months of Meenam and Thulam. The other three entrances are double storied
Padippuras in typical Kerala Style. Entry to the upper levels of the Gopuram is
restricted.
The Sreebalippura
(Corridor): The Temple has a marvelous Sreebalippura. This magnificent
rectangular corridor built of stone surrounds the main shrines and it is
through this corridor that the Vahanams are taken out during
Sreebali(procession). Records say that daily 4000 stone artisans, 6000 laborers
and 100 elephants worked for a period of 6 months to finish the construction of
the Sreebalippura. Sreebalippura is supported by 365 and a one quarter of
pillars. Each pillar is a monolith. The master artisan Ananthapadmanabha
Moothassari was in charge of the work.
Theerthams (Sacred water
resources): The temple stands by the side of a tank, named Padma
Theertham. Padma theertham is one of the oldest water
bodies in the city of Thiruvananthapuram. The Temple has a large number of
sacred water resources situated even in places far away from the Temple.
Bells: Large numbers of bells
adorn the Temple. In most cases the tip of the bell has a metal banyan leaf
attached to its tongue.
Mural paintings: The outer walls of
the sanctum sanctorum of Lord Sri Ananta Padmanabha Swamy and Lord Sri Krishna
are adorned with murals. Of these, theAnantha sayanam on the backside
of the sanctum is termed as the largest one among the temple murals of Kerala,
and was painted by a Brahmin artist by name Chalayil Kalahasti. It is of 18
feet long.
Multiplicity of Mandapams: Another feature of this
Temple is the multiplicity of Mandapams (platforms). There are 11 mandapams in
the Temple and 8 in thePadma theertham pond.
Other stories about the
temple –
· In 1563,
10th January it was reported that milk started flowing from the cracks of the
altar wall. This happened three times that year thus instilling the fact that
Lord Sri Ananta Padmanabha Swamy is resting on the Milk Ocean. In 1628 this
incident about milk was again observed, this time from
northern side of Rama temple opposite to main altar. To stop this flow, cracks
in this small shrine was sealed. If one is fortunate than one can see these
sealed spots with a close look.
· Even today
for a few fortunate at a particular location on the back side of the altar wall
near the lotus feet of lord, one can hear the mild sound of sea waves.
· In 1818,
the Deity of the Lord in sleeping pose moved and pujaris could
feel the tremor in the altar.
· In 1865, at
midnight one day a massive sound of a lion was heard inside the main temple.
Even today after closing the temple gates the temple guards relate the same
experience happening, thus indicating the wonderful pastime of Lord Nrsimhadeva
in the temple.
Darshan, Sevas and Festivals
Sri
Ananta Padmanabhaswamy Temple celebrates bi-annual festivals in the months of
Thulam (Alppasi) and Meenam (Painkuni). A Alpassi festival is in October/November and
the Painkuni festival which is in March/April, lasts
for 10 days each. These festivals culminate with the Aarat (holy
bath) procession to the Shankumugham beach. The word Aarat refers
to the purificatory immersion of the deities of the temple in sea. This event
takes place in the evening. The King of Travancore escorts the Aarat procession
by foot. The festival starts with Kodiyettu (flag hoisting) at Sri
Padmanabhaswamy’s gold and Sri Krishnaswamy’s silver flag poles. The festival
is of ten days duration culminating in the spectacular Palliveta and Aarat
processions on the 9th and 10th days respectively. Special Sreebalies
(processions) are conducted twice a day, in the evening 4.30 pm and at night
8.30 pm.
The
Deities of Sri Padmanabhaswamy, Lord Sri Krishna and Lord Nrsimhadeva are
carried in the Aarat procession. The Aarat procession
slowly proceeds with pomp and pageantry, colour and music, men carrying divine
emblems and insignias of royalty. The procession reaches the Sanghumugham beach
and the Vahanams are positioned in the Aarat Mandapam. Deities are
given the holy immersion in the sea after the prescribed poojas. After this
ceremony, the Deities are taken back to the temple as a procession in the light
of traditional torches, marking the conclusion of the festival. Once during the
reign of King Marthanda Varma, an elephant ran amock. Since then, the practice
of using elephants to carry the Deities in the procession was given up and
Vahanas (vehicles) carried on the shoulder by a number of priests came into
vogue. Six different kinds of beautiful conveyances are used for these
processions. They are the Simhasana Vahanam (Throne), Anantha Vahanam
(Serpant), Kamala Vahanam (Lotus), Pallakku Vahanam (Palanquin), Garuda Vahanam
(Garuda) and Indra Vahanam (Gopuram). Of these the Pallakku and Garuda Vahanas
are repeated twice and four times respectively. The Garuda Vahanam is
considered as the favourite conveyance of the Lord.
On the
bequest of the Supreme Court of India the seven member committee in the
presence of the Head Trustee of Travencore Trust of Sri Anantha Padmanabha
Swamy temple at Tiruvananthapur in Kerala have opened the six secret vaults.
They
have discovered under 20 feet of the ground approximately $ 22 BILLION
(6000CrX22= Rs 1,32,000 Cr)WORTH OF HIGHLY VALUABLE GOLD in the form of,
diamond jewelry, golden utensils, weapons, golden idols, golden elephants idols
and diamond necklaces having 500 kilograms weight and 18 feet length and bags full
of golden coins of different nations, including NAPOLEON and ITALIAN coins in
the last one week. With this Sri Anantha Padmanabha Swamy of Tiruvnanthapuram
has emerged the richest God on the earth.
Chambers:
The
temple management authorities were aware of the existence of six vaults. They
are situated very close to the middle of the temple on its western side just
below where the deity is placed.
For
documentation purposes, these vaults have been designated as vaults A, B, C, D,
E and F.
Subsequently,
two more vaults have been identified and they have been designated as vaults G
and H.
·
Four vaults C, D, E, and F, are in the custody of the temple
priests and have been/are opened at least eight times every year and the
contents stored in them are routinely taken out for use on special ceremonial
occasions.
·
As per the orders of the Supreme Court of India, a court
appointed committee opened the vaults on 30 June 2011 and entered vault A. They
unlocked an iron grille and a heavy wooden door, then removed a granite slab
from the floor. Beneath, five or six steps led to a small, dark room which
stored the treasure. The various items found scattered everywhere, They were
not arranged systematically. There were baskets, earthen pots, copper pots, all
containing valuable objects. It took about 12 days to carry the treasure
outside, and to take an inventory of it.
·
Vault B has not been opened presumable for centuries. The
Supreme Court appointed committee members opened the metal-grille door to Vault
B, and discovered a sturdy wooden door just behind it. They opened this door as
well, and encountered a third door, made of iron, which was jammed shut. The
observers considered forcing their way in, but deemed this improper; they
decided to hire a locksmith. Then, in mid-July, before the locksmith came, the
royal family got an injunction from the Supreme Court against opening vault B.
·
Vaults G and H also remain closed for centuries believably as of
May 2016, but have been opened in late 1800′s and it also had valuables which
have been documented that time.
The
main vault or the seventh vault is Vault B.
The
mysterious door of Vault B
The
entire world stands now to know whats behind that door. According to experts,
the door was supposed to unlock by itself when a secret chant is spelled, as it
is believed that the door is locked in that way
It is
believed that this chamber is being consider as highly mysterious,sacred and
risky by Trust members and other learned astrologers. The steel door of Chamber
B is having two big COBRA PORTRAITS on it and this door has no nuts, bolts or
even latches. It is just a plain chunk of steel
It is
considered to be fixed to the chamber by using “NAGA BANDHAM” by the then
“SIDDHA PURUSHAS” who lived during the reign of King Marthandavarma. in 16th
century
The
door to such a vault can only be opened by a highly erudite ‘SADHUS’ who are
familiar with the knowledge of extricating “NAGA BANDHNAM” by chanting a very
sacred and difficult “GARUDA MANTRA”.
According
to the legends, if anyone tries to force open this door ,which has “NAGA
BANDHAN” on it, then catastrophes are likely to occur throughout the world.
Vedic Astrologers
of India tried to open the door, but they were unable to open the door by
chanting the secret “GARUDA MANTA”. If this mantra is chanted properly by some
Sadhu, the automatically opens up without any human effort needed to open it.
Adding to the belief that Garuda drives away mighty serpents from our way.
As of
now, people from other side could listen to the sounds of water or sounds made
by snakes as guessed. Till date no one knows what exactly is behind the vault.
