Famous Temples in India

Architecture

Origin of the Name - Rajaraja-I named this temple as Rajarajesvaram and the deity Shiva in linga form as Peruvudaiyar, the temple is also known in the deity's name as Peruvudaiyar Kovil (in Tamil language). In later period Maratta and Nayaks rulers constructed various shrines and gopurams of the temple. In later period when the Sanskrit language was more popular during the Maratha rule the temple was named in Sanskrit as Brihadisvaram and the deity as Brihadisvara. Now-a-days it is called as Thanjai Periyakovil (Tanjore big temple).

The temple faces East direction and built in Dravidian style of architecture. The gopuram of the main entrance is 30 Meters high. There are three main gopurams to the shrine called the Keralantakan, Rajarajan and Tiruanukkam. All the three entrances are guarded by Dwarapalakas or ferocious doorkeepers of huge proportions, all monoliths. The main gopuram called ‘Keralantakan’, so named to commemorate Rajaraja’s victory over the Chera King, leads to a majestic gopura measuring 90 Feet in height. This second gopuram, called ‘Rajarajan’ opens into a large central area housing the main shrine and the unique sub-shrines built during various successive stages of history. The outer part of the gopura contains the magnificent sculpture of Shiva seated in Sukhasana and many scenes from the Shivapurana. The Northern entrance to the temple complex is called ‘Tiruanukkam’. The tall flag staff is found in front of Nandi mandapa. Near that, there are four small sized Nandi idols are placed.

Tiruanukkam Gopuram - The Northern entrance to the temple complex is called ‘Tiruanukkam’. Though it does not have a gopuram over it, some sculptures of women holding auspicious objects such as kalasams etc. can be seen here. It is thought to have been embellished in the Kerala style with wooden pavilions overlaid with gold leaf in ancient times.

Rajarajan Gopuram - This gopuram is built by Rajaraja-I and depicts the mediaeval chola architecture where the Raja gopuram (the entrance gopuram) diminish in size and the Karpagraham (the main deity's gopuram) is significant. The two huge 15 feet monolithic Dvarapalas on either side of this entrance is seen. The 15 feet huge monolithic stone sculpture of the Dvarapala reveals the Thattva (concept) that God is everywhere as shown by the upper two hands and the pose of right hand index finger denotes that God is one and only one. On keen notice one can see an Elephant is being swallowed by a Snake and the Lion standing behind. This denotes even if one faces such a big problem as of this magnitude a strong stand (a firm belief in God) similar to that of a Lion's strong standing posture will lead ways to realize God. The puranic scenes are engraved in small panels in the front and the rear lower part of the gopuram. These miniature sculptures capture the events of the Hindu mythology to the sufficient detail to one to narrate the mythological story behind the scene. Various scenes from Kannappa Nayanaar, Valli Thirumanam, Shiva's Kamathahana etc., are seen.

Keralaanthagan Gopuram - Rajaraja Chola assumed the title of Keralaanthagan meaning Destroyer of Kerala (Chera's) after his victory over Kerala king Baskararavivarma. This gopuram is named after this title. This is a five stage gopuram. In the front side of the gopuram one can see various forms of Shiva Rudhrathandava pose (a fierce Shiva in dancing form), Shiva with Parvathi, Bikshadanar (Shiva as beggar). In the rear side of the gopuram one can see Krishna Leela, Mahavishnu in the first stage, Narasimha combating with Hiranyakasipu in one side and Hiranya Samkara on the other side. On the top stage Shiva and Vishnu idols are seen. The Keralaanthagan gopuram is constructed on the same architectural concept of the Srivimana. Firstly, the load is distributed on two huge granite walls and the walls are merged into single structure as it approaches the height. Secondly, the Ball and Lock of the huge granites locks themselves with the neighboring rock, one can see the small projections evenly distributed on the base of the structure. Thirdly, the huge base platform distributes the load to the ground with the minimum foundation depth.

Definitely, the two big Dvarapalas at this entrance are the main attractions. If you carefully notice the Dvarapala to your left side when you enter into the entrance, there is a Lion, Snake eating Elephant and a Lizard below the right foot of the guardian. At the inner side of the entrance, the shrines of Indra and Nagaraja are found. At the top of the Sri Vimana near the neck of the gopuram there are 8 Nandhis seen very prominently even while standing from the ground. These Nandhis are huge and carved from single stone. A Nandhi of the similar scale is seen on the Southern Praharam. One can judge the size of the Nandhi and its relative weight. It is an architectural marvel that 1000 years back Cholas could architect and carry these and could place it accurately using the tools of that age.

Inscriptions - The architect and engineer of the temple was Kunjara Mallan Raja Raja Rama Perunthachan as stated in inscriptions found at the temple. As indicated by the inscriptions in those days the temple was a hub of business activities for the ower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods to the temple for its poojas and during festival seasons. The inscriptions also mention the dierent kinds of jewels used in the period -a total of twenty three dierent types of pearls, eleven varieties of diamonds and rubies are mentioned in these inscriptions. It is also mentioned in some ancient literature that the 217 Feet tall Vimaana was covered with gold plating which was later stolen by invaders. Inscriptions in the Rajarajesvaram temple indicate that Krishnan Raman constructed the fortifications around the temple. This wall is known as Krishnan Raman Tiruchurrumaligai. This is one of the oldest surviving defensive walls around any Chola temple. A metal image of Ardhanariswara was donated by him in 1014 A.D. Rajaraja Chola the Great was the first Chola King to document archives of his rule in the form of written evidence on stone tablets and copper plates. The Big temple is not only a magnificent edifice with its majestic Vimana, sculptures, architecture and frescoes, but also has a wealth and richness of Tamil inscriptions engraved on stone in superb calligraphy. Again, this is the only temple in India where the king specifically mentions in an inscription that he built this all-stone temple called ‘kattrali' (‘kal' meaning stone and ‘tali' a temple). This magnum opus, running to 107 paragraphs, describes, among others, how Raja Raja Chola, seated how he executed the temple's plan, the list of gifts he, his sister Kundavai, his queens and others gave to the temple. The inscriptions provide a list of 66 beautiful bronze idols Raja Raja Chola, Kundavai, his queens and others gifted to the temple. The inscriptions elaborate on the enormous gold jewellery, inlaid with precious stones such as diamonds, emeralds, sapphires, rubies, corals, pearls, for decorating each of these bronzes.

Vimanam (Shikhara) - The 80 tonne octagonal cupola on top of the Vimaana is a monolith. The vimaana is 13-tiered and 217 Feet tall. The inside of the Sanctum Sanctorum is hollow to the top. The Kalasam on top of the Vimaana is 6 Feet tall. The massive size of the main Vimanam (Shikhara) is 60.96 Meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. The temple has Chola frescoes on the walls around the sanctum sanctorum portraying Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. Paintings portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Shiva) with Asuras (demons). The temple has many niche sculptures of the forms of Shiva. The figure of Lingodbhava is in a niche in the Western side of the Srivimana. The Northern part of the Srivimana has the exquisite niche-figure of Ardhanarisvara, with his right arm resting on Nandi’s head. The Nandi is sculpted behind the figure of Ardhanarisvara. This part of the Srivimana also has the niche figure of Alingana Murti or Gouri Prasada Murti. Shiva is shown here with his left arm around Uma maheshvari’s shoulders. Both figures exude a languid and reposeful grace.

Depictions of dancers showing eighty one of hundred and eight Karanas (108 synchronised movements of hands and feet) in Bharatanatyam are carved here at Brahadeeswara Thanjavur. It is at the Pradaksina-Patha surrounding the Vimana that these paintings were found. A Pradaksina Patha is a circumambulatory passageway around a sacred image or building in which people walk while reciting Sutras in a clockwise direction. The walls and ceilings were covered with paintings in the Nayaka Dynasties in the 17th century over the top of far older paintings from the 11th century, which have now emerged to be seen again. On the South wall of the Pradaksina-Patha Shiva is depicted preaching under a sacred tree, on the North wall Shiva is shown exterminating demons residing in three cities, and on the West wall is Shiva welcomes a Saint on Mt. Kailasa in the Himalayas. In one scene, Shiva with eight arms is on a chariot being lead by the God of creation, Brahma and in another scene, he practices yoga on a tiger skin, wearing a Serpent on his neck and upper arm. There is also a drawing of Rajaraja-I standing with his Guru (teacher) Karuvur Thevar. A first rectangular surrounding wall, 270 Meters by 140 Meters, marks the outer boundary.

Pillars & Mandapas - Pilaster, piers (a raised structure) and attached columns are placed rhythmically covering every surface of the Vimanam. Within this a portico, a barrel vaulted gopuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple. It was built by Rajaraja Brahmarayan (Krishnan Raman). The Maratta mandapam is an extension of the Subramaniya shrine entrance and forms as Alangara mandapa. In this mandapa many paintings reveal the Maratta rule and the portrait of the Maratta kings and queens. Paintings on the walls are in huge scale. As the granite wall is not suitable for painting, the wall is plastered with a thin layer of calcium for the paintings to fix on them firmly. The vibrant colors are used and gold is liberally used in the cloth garments and ornaments in the portraits reveal the luxury of the royal family. During Shivaji Raja Period Maratta Kings drawings were painted in Mallappa Naikar mandapam (opposite to Sri Subramaniyar Sannadhi). In Vinayagar Sannadhi mandapam we can see the faded paintings also. The second parts of drawings are from Varunan Sannadhi to Somaraja Sannadhi on the outer corridor. The important paintings are Gajalakshmi, Naradha worshiping Saraswathy, Ganapathy on his vahanam Moonchuru, with his concerts on both side, Murugan on his vahanam Peacock with his consorts, Thiruvarur Thyagaraja worship by Andhanars, 64 Thiruvilayadal Purana stories etc,.

The Chola fresco paintings discovered in 1931 by Mr.S.K.Govindasamy of Annamalai University within the circumambulatory corridor Aradhana mandapam of Rajarajesvaram are of great interest. They are the first Chola specimens discovered. The passage of the corridor is dark and the enthusiast finds the walls on either side covered with two layers of paintings from floor to ceiling. The knee-length form of Shiva is seen within a pillar like structure which represents the great column of fiery light. Vishnu in the form of a wild boar dives low to find the base of this column and Brahma in the form of a Swan glides up into the heavens to discover the topmost limit of this column which is indeed Shiva himself. Both Vishnu and Brahma are unable to measure the dimensions of this column of light. The altar located at the entrance of the temple has two idols of Lord Ganesha. When one taps any one of the idol, it produces a sound that travels towards the other idol traversing through the stone at one end while metal towards the other end. The dancers and musicians performed for Lord Shiva in main hall of the temple. Various pillars of the temple produce different musical sounds.

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. The entire temple structure is made out of granite. It is a saying that there is use of granite of about 130,000 tons for making this temple. A 60 ton stone of granite is there as Kumbam and is having a carving in a single piece and it lies on main gopuram’s top. The first ever temple in the whole world that has used granite in its construction and is also the World’s tallest temple is the Brihadeeshwara Temple. The area where the temple is located has no sign of having granite even in its nearby areas. The source of having a large quantity of granite that has been used in the temple construction has yet not been known. There is no pit of granite in the 100 km radius where the temple is constructed and hence it has been calculated that a huge logistics would have been required to move the stone to construction site. Other than granite being difficult to find, it is even harder to carve the granite. The temple was built by the Chola community who wanted to cover the entire temple with the complex carved designs. There is a koneru named as Siva Ganga tank.