declined, and the various local kings vied with one another to erect
glorious shrines to the Hindu gods.
MAMALLAPURAMIn addition to cave temples and masonry
temples, Indian architects created a third type of monument: free-
standing temples carved out of rocky outcroppings. Sculpted
monolithic temples are rare. Some of the earliest and most impres-
sive are at Mamallapuram, south of Madras on the Bay of Bengal,
where they are called rathas,or “chariots” (that is, vehicles of the
gods). In the late seventh century, the Pallava dynasty had five
rathas (FIG. 6-21) carved out of a single huge granite boulder jut-
ting out from the sand. The group is of special interest because it il-
lustrates the variety of temple forms at this period, based on earlier
wooden structures, before a standard masonry type of temple be-
came the rule in southern India.
The largest Mamallapuram ratha, the Dharmaraja (FIG. 6-21,
left), dedicated to Shiva, is an early example of the typical southern-
style temple with stepped-pyramid vimana (see “Hindu Temples,”
page 172). The tower ascends in pronounced tiers of cornices deco-
rated with miniature shrines. The lower walls include carved columns
and figures of deities inside niches. The Bhima ratha to the right, ded-
icated to Vishnu, has a rectangular plan and a rounded roof; the next
ratha, the Arjuna, is a smaller example of the southern Indian type. At
the end of the row sits the very small Draupadi ratha, which was
modeled on a thatched hut and is dedicated to Durga, a form of the
goddess Devi. The two largest temples were never finished.THANJAVUR Under the Cholas, whose territories extended into
part of Sri Lanka and even Java, architects constructed temples of
unprecedented size and grandeur in the southern Indian tradition.
The Rajarajeshvara Temple (FIG. 6-22) at Thanjavur, dedicated in
1010 to Shiva as the Lord of Rajaraja, was the largest and tallest tem-
ple (210 feet high) in India at its time. The temple stands inside a
walled precinct. It consists of a stairway leading to two flat-roofed
mandapas, the larger one having 36 pillars, and to the garbha griha
in the base of the enormous pyramidal vimana that is as much an
emblem of the Cholas’ secular power as of their devotion to Shiva.
On the exterior walls of the lower stories are numerous reliefs in
niches depicting the god in his various forms.
KHAJURAHOAt the same time the Cholas were building the
Rajarajeshvara Temple at Thanjavur in the south, the Chandella dy-
nasty was constructing temples—in northern style—at Khajuraho.
The Vishvanatha Temple (FIG. 6-23) is one of more than 20 large
and elaborate temples at that site. Vishvanatha (“Lord of the
World”) is another of the many names for Shiva. Dedicated in 1002,
the structure has three towers over the mandapas, each rising higher
than the preceding one, leading to the tallest tower at the rear, in
much the same way the foothills of the Himalayas, Shiva’s home, rise
to meet their highest peak. The mountain symbolism applies to the
interior of the Vishvanatha Temple as well. Under the tallest tower,
the shikhara, is the garbha griha, the small and dark inner sanctuary
chamber, like a cave, which houses the image of the deity. Thus,6-21Rock-cut rathas,
Mamallapuram, India, second
half of seventh century. From left
to right: Dharmaraja, Bhima,
Arjuna, and Draupadi rathas.
Indian architects also created
temples by sculpting them from
the living rock. The seventh-century
rathas (“chariots” of the gods) at
Mamallapuram were all carved from
a single huge granite outcropping.India and Pakistan 1716-21ADescent
of the Ganges,
Mamallapuram,
first half of
seventh
century.6-21BDurga
Slaying
Manisha,
Mamallapuram,
seventh century.
6-22A
Kailasanatha
Temple, Ellora,
second half of
eighth century.