Brihadisvara Temple
Brihadisvara Temple | |
---|---|
தஞ்சைப் பெருவுடையார் கோயில் | |
Chola architecture | |
Creator | Rajaraja I |
Completed | 1010 CE[1][2] |
Inscriptions | Tamil |
Elevation | 66 m (217 ft) |
Official name | The Brihadisvara Temple complex, Thanjavur |
Part of | Great Living Chola Temples |
Criteria | Cultural: (ii), (iii) |
Reference | 250bis-001 |
Inscription | 1987 (11th Session) |
Extensions | 2004 |
Area | 18.07 ha (44.7 acres) |
Buffer zone | 9.58 ha (23.7 acres) |
Brihadishvara Temple, called Rajarajesvaram (lit. 'Lord of
The original monuments of this 11th-century temple were built around a moat. It included gopura, the main temple, its massive tower, inscriptions, frescoes, and sculptures predominantly related to Shaivism, but also of Vaishnavism and Shaktism. The temple was damaged in its history and some artwork is now missing. Additional mandapam and monuments were added in the centuries that followed. The temple now stands amidst fortified walls that were added after the 16th century.[10][11]
Built using granite, the
Nomenclature
Rajaraja Chola, who commissioned the temple, called it Rajarajeshvaram (Rajarājeśvaram), literally "the temple of the god of Rajaraja".[15] A later inscription in the Brihannayaki shrine calls the temple's deity Periya Udaiya Nayanar, which appears to be the source of the modern names Brihadisvara and Peruvudaiyar Kovil.[16]
Location
The Peruvudaiyar Temple
The city and the temple though inland, are at the start of the
History
A spectrum of
Additions, renovations and repairs
The main temple along with its gopurams is from the early 11th century. The temple also saw additions, renovations, and repairs over the next 1,000 years. The raids and wars, particularly between Muslim
Description
Architecture
The Peruvudaiyar temple's plan and development utilizes the axial and symmetrical geometry rules.[27] It is classified as Perunkoil (also called Madakkoil), a big temple built on a higher platform of a natural or man-made mounds.[28] The temple complex is a rectangle that is almost two stacked squares, covering 240.79 metres (790.0 ft) east to west, and 121.92 metres (400.0 ft) north to south. In this space are five main sections: the sanctum with the towering superstructure (sri vimana), the Nandi hall in front (Nandi-mandapam) and in between these the main community hall (mukhamandapam), the great gathering hall (mahamandapam) and the pavilion that connects the great hall with the sanctum (Antrala).[29]
The temple complex integrates a large pillared and covered veranda (prakara) in its spacious courtyard, with a perimeter of about 450 metres (1,480 ft) for circumambulation. Outside this pillared veranda there are two walls of enclosure, the outer one being defensive and added in 1777 by the French colonial forces with gun-holes with the temple serving as an arsenal. They made the outer wall high, isolating the temple complex area. On its east end is the original main gopuram or gateway that is barrel vaulted. It is less than half the size of the main temple's vimana. Additional structures were added to the original temple after the 11th century, such as a mandapa in its northeast corner and additional gopurams (gateways) on its perimeters to allow people to enter and leave from multiple locations.[29][30] Some of the shrines and structures were added during the Pandya, Nayaka, Vijayanagara and Maratha era, before the colonial era started, and these builders respected the original plans and symmetry rules. Inside the original temple courtyard, along with the main sanctum and Nandi-mandapam are two major shrines, one for Kartikeya and for Parvati. The complex has additional smaller shrines.[29][31][32]
The Peruvudaiyar temple continued the Hindu temple traditions of South India by adopting architectural and decorative elements, but its scale significantly exceeded the temples constructed before the 11th century. The Chola era architects and artisans innovated the expertise to scale up and build, particularly with heavy stone and to accomplish the 63.4 metres (208 ft) high towering vimana.[31][29]
The temple faces east, and once had a water moat around it. This has been filled up. The fortified wall now runs around this moat. The two walls have ornate gateways called the gopurams. These are made from stone and display entablature. The main gateways are on the east side. The first one is called the Keralantakan tiruvasal, which means the "sacred gate of the Keralantakan". The word Keralantakan was the surname of king Rajaraja who built it. About a 100 metres (330 ft) ahead is the inner courtyard gopuram called the Rajarajan tiruvasal. This is more decorated than the Keralantakan tiruvasal, such as with its adhishthanam relief work narrating scenes from the
Preservation & Restoration
As a world heritage monument, the temple and the premises comes under the Archaeological Survey of India (ASI) which falls under the Ministry of Culture of the Government of India, to ensure safety, preservation and restoration. The surrounding facilities have been upgraded to create an ambience worthy of the grandeur of this ancient marvel with lighting, signage and facilities for devotees and visitors. The lighting of the monument is designed to enhance the natural color of the stone along with the sculptural forms adorning all corners of the temple. The restoration has been undertaken by the Archaeological Survey of India that commissioned Sheila Sri Prakash Indian architect and designer to lead the design.[35]
Sanctum and the Sri-vimana
The sanctum is at the center of the western square. It is surrounded by massive walls that are divided into levels by sharply cut sculptures and
In the
The main
Deities and Natya Sastra dance mudras
The temple is dedicated to Shiva in the form of a huge
North side | South side |
Bhairava (Shiva) | Ganesha |
Mahishasuramardini (Durga) | Vishnu |
Saraswati | Gajalakshmi |
The Shaivism temple celebrates all major Hindu traditions by including the primary deities of the Vaishnavism and Shaktism tradition in the great mandapa of the main temple. The distribution of the deities is generally symmetric, except for the east entrance side which provide for the door and walkway. In addition to the main deities, each side provides for dvarapalas (guardians), and various other sculptures. The vestibule has three stone sculptures that is intricately carved, and mural paintings.[40] The ground floor level sanctum walls have the following sculptures:[40]
- East wall: Lingodbhava, standing Shiva, Pashupata-murti, plus two dvarapalas flanking the pathway from ardha-mandapam
- South wall: Bhikshatana, Virabhadra, Dakshinamurti, Kalantaka, Nataraja[note 3] plus two dvarapalas
- West wall: Harihara (half Shiva, half Vishnu), Lingodbhava, Chandrashekhara without prabhavali, Chandrashekhara with prabhavali, plus two dvarapalas
- North wall: Ardhanarishvara (half Shiva, half Parvati), Gangadhara without Parvati, Pashupata-murti, Shiva-alingana-murti, plus two dvarapalas
On the second floor, Shiva's Tripurantaka form in different postures is depicted corresponding to these sculptures. Above these floors, the sri-vimana towers above in thirteen storeys (talas). Above these storeys is a single square block of granite weight 80 tons, and 7.77 metres (25.5 ft) side. On top of this block, at its corners are Nandi pairs each about 1.98 metres (6 ft 6 in) by 1.68 metres (5 ft 6 in) in dimension. Above the center of this granite block rises the griva, the sikhara and the finial (stupi) of Tamil Hindu temple architecture. This stupi is 3.81 metres (12.5 ft) in height, and was originally covered with gold (no longer). The sikhara at the top is cupola-shaped and weighs 25 tons.[40][41] Each storey of this tower is decorated with kutas and salas. The shrinking squares tower architecture of this temple differs from the tower at the Chola temple at Gangaikondasolisvaram, because this is straight in contrast to the latter which is curvilinear. The temple's sri-vimana magnitude has made it a towering landmark for the city.[40]
The upper storey corridor wall of the aditala is carved with 81 of the 108 dance karanas – postures of
The garbhagriha is square and sits on a
Mandapa
The two mandapa, namely maha-mandapa and mukha-mandapa, are square plan structures axially aligned between the sanctum and the Nandi mandapa. The maha-mandapa has six pillars on each side.
Inscriptions indicate that this area also had other iconography from major Hindu traditions during the Chola era, but these are now missing. The original eight shrines included those for Surya (the sun god), Saptamatrikas (seven mothers), Ganesha, Murugan, Jyeshtha, Chandra (the moon god), Chandeshvara and Bhairava.[42] Similarly, in the western wall cella was a massive granite Ganesha built during Rajaraja I era, but who is now found in the tiruch-churru-maligai (southern veranda). Of the Shaktism tradition's seven mothers, only Varahi survives in a broken form. Her remnants are now found in a small modern era brick "Varahi shrine" in the southern side of the courtyard. The original version of the others along with their original Chola shrines are missing.[42]
Murals
The temple has an underneath layer of Chola frescoes on the sanctum walls along the circumambulatory pathway. These frescoes which cover floor to ceiling, were discovered in 1931 by S. K. Govindasami of the Annamalai University.[43] The painters used natural pigments and infused it into the wet limestone layer as it was setting in. The Chola frescoes were largely of Shaivism themes. These were restored in the 2000s.[44] The total Chola fresco area is about 670 square metres (7,200 sq ft), of which about 112 square metres (1,210 sq ft) had been uncovered as of 2010 in a method that preserves both paintings, a technique developed by Archaeological Survey of India.[43] The frescoes narrate Hindu mythology.[43][45] According to Balasubrahmanyam, most frescoes are related to Shiva, but the 11th century Chola frescoes also show Vishnu, Durga and others, as well as scenes of Chola royalty, courtly and common life.[45]
The later constructions, additions and modifications to the temple curtailed the amount of natural light inside the temple. The frescoes were thus photographed in a limited way and interpreted. According to Sriraman, a complete imaging with better photographic equipment suggests that these historic interpretations were incorrect.[43] For example, a fresco that was previously interpreted as Dakshinamurti Shiva is actually a secular scene of a royal guru meditating under a banyan tree. On the tree are shown peacocks, birds, monkeys, squirrels and owls, plus a cobra. The animals and birds are shown as worried of the cobra, the ones closer to the snake are shown to be more worried.[43] Other parts of the panel similarly show a court listening to a saint. Other show women in different dresses in different dance mudra.[43]
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 upon 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.[44] 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.[44] These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.[44]
Inscriptions
The temple walls have numerous inscriptions in Tamil and Grantha scripts. Many of these begin with customary Sanskrit and Tamil language historical introduction to the king who authorized it, and predominant number of them discuss gifts to the temple or temple personnel, in some cases residents of the city.
Temple personnel
An inscription on the north wall of enclosure, dated 1011 CE, gives a detailed accounts of people employed and supported by the temple. The inscription gives their wages, roles and names. It includes over 600 names including those of
The temple employed devadasis who were dancers and singers of devotional hymns. Among its numerous inscriptions are frequent gifts that state, "to provide for worship, for food to assembly of sannyasis (monks or ascetics) and for repairs". According to George Michell, the Thanjavur temple was a major charity institution in its history. It provides free meal for pilgrims, devotees and wayfarers on a daily basis. On the days of Hindu festivals, these meals were elaborate and when brahmins were particularly invited and fed.[49][47]
Millennium commemoration
Built in the year 1010 CE by Chola emperor Rajaraja I in Thanjavur, the temple is popularly known as the Big Temple. It turned 1,000 years old in September 2010. To celebrate the 1000th year of the grand structure, the state government and the town held many cultural events. It was to recall the 275th day of his 25th regal year (1010 CE) when Rajaraja I (985–1014 CE) handed over a gold-plated
Bharathanatyam Yajna
To mark the occasion, the state government organised a
Commemorative stamps and coins
On 26 September 2010 (Big Temple's fifth day of millennium celebrations), as a recognition of Big Temple's contribution to the country's cultural, architectural, epigraphical history, a special ₹ 5 postage stamp featuring the 66 metres (216 ft) tall giant
The
Mumbai Mint issued Rs 1,000 Commemorative Coin with the same picture as on the Rs 5 coin. It was the first 1,000 Rupees coin to be released in the Republic of India coinage. This coin was a Non Circulative Legal Tender (NCLT).[57]
On 1 April 1954, the Reserve Bank of India released a ₹ 1,000 currency note featuring a panoramic view of the Brihadeeswar temple marking its cultural heritage and significance. In 1975, the then government led by Prime Minister
In 2010, the then Tamil Nadu chief minister,
Reception
The temple "testifies the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting".
The temple was declared as a
Cultural events
The Brihadishvara temple at Thanjavur is the site of annual dance festivals around February, around the Mahashivratri. Major classical Indian dance form artists, as well as regional teams, perform their repertoire at this Brahan Natyanjali festival over 10 days.[64]
Car festival
The Temple car was rolled out on its trial run from opposite to Sri Ramar temple on 20 April 2015 witnessed by a large number of people.[65] Nine days later, the maiden procession of the temple car was held. This was the first such procession in this temple held in the past hundred years, according to news reports.[66]
Novels
Administration
The temple is currently administered and managed by
Gallery
The temple features many sculptures, reliefs and murals:[70]
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Brihadisvara Temple, Thanjavur, Tamil Nadu, India
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An elephant relief on the Brihadisvara Temple, Thanjavur
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Shiva with a begging bowl as a saddhu (monk, Bhikshatana)
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Ardhanarishvara (half Shiva, half Parvati) symbolizing that the male and female principles are inseparable[71]
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Ganesha is depicted both in the main temple and a separate shrine.
-
Separate Ganesha shrine with temple corridor in the back
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Subrahmanyar shrine in the north part of the courtyard. Also called "Murugan", "Kartikeya" or "Skanda".
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Chandeshvara shrine. On right is the wall of main temple, in back the eastern gopuram. Chandeshvara is a meditating yogi and Nayanmar Bhakti movementsaint.
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Lakshmi statue, a Vaishnava sculpture reverentially displayed
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Gaja-lakshmi mural, another Vaishnavism themed artwork
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Vishnu sculpture at the Shaivism temple
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A yoga and meditation relief; the temple portrays numerous secular and saint scenes.
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Krishna playing prank on gopikas by hiding on the tree, with their clothes
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Nandi shrine
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Sculpture
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Vimana outer wall detail
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Reliefs adorning the stairs
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Relief detail
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Relief detail
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Entrance
-
Vimana view
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Left profile view
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The view at night
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Early hours at Tanjore Periya Koil
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A yoga and meditation relief
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Tamil inscriptions at Brihadisvara Temple
See also
- Penneswaraar Temple
- Thanjavur Chariot festival
- Raja Raja Chola I
- Chola Dynasty
- List of largest monoliths
- List of tallest structures built before the 20th century
- Great Living Chola Temples
Notes
- ^ Douglas Barrett in his 1975 publication on Chola architecture states that a new style emerged between 866 and 940 CE starting with Vijayalaya, the first Chola ruler. According to Barrett, the Chola style did not develop out of the Pallava tradition.[23] According to Gary J. Schwindler, Barrett's work supplies opinions that are "opportunities for endless conjecture and debate".[24]
- ^ Thanjavur was a target of both Muslim and Hindu neighbouring kingdoms, both near and far. The Madurai Sultanate was established in the 14th century, after the disastrous invasions and plunder of South India by Ala ud-Din Khalji's armies of Delhi Sultanate led by Malik Kafur.[25] Later Adil Shahi Sultanate, Qutb Shahis, Randaula Khan and others from east and west coasts of South India raided it, and some occupied it for a few years.[11]
- ^ In Tamil literature, the lord of dance form of Shiva, is referred to as Adavallan or Kuttaperumanadigal. This bronze style Nataraja from the Chola era is much celebrated and studied, including those of later texts such as Unmaivilakkam and Citampara Mummani Kovia describing its significance. Nataraja in Indian art dates to earlier pre-Chola centuries.[39]
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- ^ S.R. Balasubrahmanyam 1975, pp. 15, 25, 53 with footnotes.
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{{citation}}
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External links
- Tanjavur Brihadisvara Temple, Indira Gandhi National Centre for the Arts, Government of India
- Brihadeeswara Temple, Tamil Nadu tourism
- Dakshina Meru: The Brihadeswara Temple, Government of India
- Photos on art-and-archaeology web site
- Unesco Great Living Chola Temples