Other Living CHOLA Temples

Dr Uday Dokras

The next destination is  Gangaikonda Cholapuram, situated 45 kms to the southwest of

Chidambaram, in the Udayarpalayam taluk of Ariyalur district, Tamil Nadu. The nearest railway
station is at Kumbakonam and Ariyalur. But, the simplest way to reach Cholapuram is by road,
with the help of state transport and private buses. You need to travel via Kaattumannarkudi or
kovil, which is 27 kms from Chidambaram. From there, local buses and auto rickshaws are
available at reasonable rates, to cover the final 17 kms. Locally, Gangaikonda Cholapuram is
known as Jayakondam (please, remember this). So, lets know more about the Cholapuram
temple …..

Cholas had become the greatest power in South India by 10th century CE. They had reached the
borders of the Rashtrakuta kingdom in the north. Rows of temples were built on both the banks
of the river Cauvery to mark their growing power. Cholas greatly made use of art to proclaim
their power, used temples to make unequivocal statements about their political hegemony. The
Great Chola King, Rajaraja I, crowned in 985, carved out an overseas empire by establishing a
second capital at Pollonaruva in Sri Lanka. The Brihadeeswara (Big temple of Thanjavur), built
by him (995 – 1010) at his capital Thanjavur, though he did not live to see it completed is a
product of this success. Temple inscriptions make clear the triumphal nature of the edifice.

Just a couple of years after Rajaraja I built the Brihadeeswara Temple in Thanjavur, his proud
son Rajendra I (1012 – 1044 AD) became the Chola ruler. Rajendra ruled jointly alongside his
father, until the latter’s death in 1016 AD. Having served as a general under his father, Rajendra
was an accomplished warrior who led many successful military expeditions. He had his army
march northwards, all the way to the Ganga, to bring home pots of holy water from the river.
Defeating enemy armies along the way, his men returned victorious, earning Rajendra the
title ‘Gangaikondachola’, meaning ‘the Chola who conquered the Ganges’.

He established a new capital city called Gangaikondacholapuram (also called

Gangaikondacholeshwaram) about 70 km from Thanjavur, and had a royal temple by the same
name built in it. The temple is commonly called the Brihadisvara Temple now (the one we are

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going to explore). Rajendra also built a lake in the town called Cholagangam to mark his
victorious expedition. It was fed by the Cauvery river, and some water from the holy river,
Ganga was poured into it as well. Today, people call it Ponneri lake.

Front view of the Glorious east facing Brihadisvara Temple, Gangaikonda Cholapuram.

Gangaikonda Cholapuram Temple is the pinnacle of the achievements of Rajendra I, the mighty
Chola King, who established his new capital here with the magnificent city and temple dedicated
to Lord Siva. The temple is massive and richly carved with sculptures. The architecture has
complex carvings on the hard granite stones unlike the customary simple style of the Cholas. The
sculptures that adorn the walls and ceilings of Gangaikonda Cholapuram are exquisite.The
temple is famed for its bronze sculptures, artwork on its walls, the depiction of Nandi and the
scale of its tower. As well as its notability for having been built by Rajendra I, the temple is also
noteworthy for its numerous inscriptions, although none of them are his.

History of Brihadisvara temple, Cholapuram

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The Gangaikonda Cholapuram Temple is smaller yet more refined than the Thanjavur Big
temple. Because of its delicate appearance and gentle curve, this temple is often called the
feminine version of the one in Thanjavur. The temple was constructed in 1035 AD by Rajendra
Chola I. Some experts believe that the temple was built during 1020, during the 6th regnal year,
but inscriptions indicate the 20th regnal year, which is 1035 AD. Rajendra wanted to emulate the
temple built by his father after his victory in a campaign across India that Chola era texts state
covered Karnataka, Andhra Pradesh, Odisha, and Bengal. After his victory, he demanded that the
defeated kingdoms send pots of Ganges River water and pour them into the temple’s well. The
well was originally called Cholagangam as it was filled with water from Ganges.

Gangaikonda Cholapuram remained the Chola capital for the next 250 years. Rajendra I built the
entire capital with several temples using plans and infrastructure recommended in Tamil Vastu
and Agama Sastra texts. These included a Dharma Sasta, Vishnu and other temples. However,
these structures were destroyed in the late 13th and 14th centuries except this temple. The other
Chola landmarks, clearly shown by soil covered mounds and excavated broken pillar stumps and
brick walls, are found over a large area nearby. The earliest inscription that mentions this city by
name is dated 1029, while the earliest reference to Rajendra I’s expedition towards the Ganges
river in the north is dated 1023. The first gift to the newly built Gangaikonda Cholapuram temple
is dated 1035. Rajendra I, must have involved the same craftsmen used by his father and
transferred them from Thanjavur. Archaeological excavations have revealed fort walls and
palace remains a few kilometers from this temple. It is believed that Kulothunga Chola I,
Rajendra’s successor, built fortifications around the city.

The reasons for the city’s destruction are unclear. The Pandyas who defeated the Cholas during
the later part of 13th-century “may have razed the city to ground” to avenge their previous
defeats. However, it is unclear why other temples were destroyed and this temple was spared, as
well as why there are around twenty inscriptions from later Cholas, Pandyas and Vijayanagar
Empires indicating various gifts and grants to this temple if they previously razed this place. An
alternative theory links the destruction to the raids, plunder and wars, particularly with the
invasion of the capital city and the territories, that were earlier a part of the Chola and Madurai
Empires, by the armies of the Delhi Sultanate led by the army commander Malik Kafur in 1311,
followed by Khusrau Khan in 1314, and Muhammad bin Tughlaq in 1327. The period that

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followed saw many wars from the Delhi Sultanate and they carved out new states such as the
nearby Madurai Sultanate (1335–1378). The Vijayanagara Empire defeated the Madurai
Sultanate in 1378 and this temple, along with other Chola era temples, then returned to the
control of South Indian kings who repaired and restored many of them. The temple was added to
the list of Great Living Chola Temples in the year 2004.

According to available evidences, the last Chola, King Rajendra Chola III’s rule did not end due
to defeats in war. There are signs of some devastation that hint at some major catastrophe that
happened around Gangaikondacholapuram which brought to an end the Chola rule. The temple,
unfortunately, was looted several times. It was also used as a garrison and fortified cantonment
by the Pandyas and later on by the British as well.

Floor Plan of Brihadisvara temple, Cholapuram

Though the temple of Gangaikonda Cholapuram follows the plan of the great temple of
Thanjavur in most details it has an individuality of its own. From the remains it may be seen that
it had only one enclosure wall and a gopuram while the Thanjavur temple has two gopurams and

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enclosures. The prakara follows the Thanjavur lay-out in that it had a two storeyed cloister
running all around. Only a part of this has survived in the north. The stones from the other
portions were utilized to build the Lower Anaicut across the
Kollidam, during British rule in 18th century. The pillars of cut stone are severely plain
throughout as in Thanjavur.

Second session of Day 2 – Exploring the Great Living Brihadisvara temple, Gangaikondam      
Gangaikonda Cholapuram Temple of Lord Shiva is really grand and is regarded as the
reproduction of Brihadeeswara temple built by Rajaraja Chola, father of Rajendra Chola I. It
surpasses the Thanjavur Big temple sculpture as, by the time it was built, Chola sculptors and
artisans had perfected the art of temple architecture. It is a tribute to the magnificent architects
and artisans.

As one steps in, the great Sri Vimana (superstructure) arrests the visitor’s sight. The Vimana
with its recessed corners and upward movement presents a striking contrast to the straight-sided
pyramidal tower of Thanjavur but with octagon shape of Dravidian architecture. As it rises to a
height of 182 feet (55 m) and is 9m shorter than the Thanjavur tower (as a mark of respect to his
father’s masterpiece) with larger plinth, it is often described as the feminine counterpart of the
Thanjavur temple.

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(Welcome Scene) Front view of Brihadisvara temple, Cholapuram – The temple is approached
through the eastern entrance from the road. The entrance is called the
“Mahaduvar” leads to the inner court. This Temple is renowned for having a
four-meter-high Lingam, one of the biggest Sivalingam in South India. Interestingly,
to provide a private worship area for the royal family, the sanctum is
encircled with two walls.

Mahaduvar – Entrance tower in east, has only basement portion: the superstructure is completely
fallen down. The stones from this ruined gopuram were used for the construction of the lower
Anaicut dam across the nearby Kollidam river. On

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plan, the whole edifice forms a rectangle approximately 60 feet by 33 feet. Large dvarapalas with
7 ft height, were placed on the outer facade.

A Flag post or Dvaja Sthamba is placed in front of the temple, near the eastern entrance….

Flag Post or Dvaja Sthamba of Brihadisvara temple – Having a height of 40 ft and is plated with brass, recently.
Look at the design works ! they are similar to the art works of modern day flag posts, seen in many other south
indian temples.

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In this Flag mast, there are four images sculpted in the cardinal directions. The images are, Siva-Parvathi facing
east, Nandi facing west, Lord Karthikeya facing north and Lord Ganesha facing south.

In front of the flag mast, one can see a “Couchant Bull” facing west, towards the main sanctum

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Nandi Statue (Couchant Bull) – The loyal mount of Lord Siva, constructed using bricks and lime, placed in front of
the Mahamandapa, which leads to the main sanctum.

original one was monolithic. A Bali pitha is found on east of Nandi.

A mythical monster face, found below the neck, on the torso of Nandi statue. Looks like a Chinese art work …. isn’t it ?
Can this be identified as an example of ancient cultural exchanges ? Just look at his face…. How calm and how proud he
is !  Guarding his Lord without any inhibition….
The building to the north of Nandi, called Alankara mandapa, and now housing the executive
office of the temple was in all probability constructed in the 19th century. On the northeast

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corner of the temple complex, you can see a circular well adorned with a lion structure at the
entrance…. “Simhakeni”

“Singhamukha Kinaru” (Lion-faced well) – The lion-faced entrance to the well has a flight of steps leading to
the water level. An inscription on the sculpture (in the bottom part of left side) in the 19th CE characters
records that it was constructed by Zamindar of Udiyarpalaiyam.

Huge Circular well situated to the right side of Lion-faced well.  After his victory (Ganges
conquest), Rajendra Chola demanded that the defeated kingdoms send pots of Ganges River water and pour
them into this temple well.

Viewing the Great Sri Vimana from the Lion’s perspective….

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The superb architecture of the temple boasts of a 9 storey Vimanam that extends to the height of
185 feet. Not less than 54.86m in height, the temple structure follows the style of
Thanjavur big temple. Whole temple is thrived with rich and intricate carvings that are exclusive
to Chola style of artistry. Known to comprise a little northern style, the structure embraces
intricate carvings in the Vimanam. The colossal shrine also addresses several significant bronzes
of the Chola age.

Incredible piece of architecture, isn’t it ?  Archeological Survey of India has renovated the Srivimana and painted it
beautifully
after the chemical cleaning. The sight of the Srivimana from this second entrance is magnificent and beautiful.

The structural difference of this Srivimana with that of Rajaraja-I’s Brihadeeswara temple at Thanjavur is that; this
Srivimana is of feminine structure and the Thanjavur Srivimana as masculine in nature. The main difference, that is
obvious, is this Srivimana has 8 sided (Octagonal) in structure and Thanjavur Srivimana has 4 sided (Quadragonal) in
structure.

Top view of the Sri Vimana -The neck is provided with four niches in the cardinal directions and
bulls at the corners. The niches are topped by arch-like embellishment called kirtimukhas. The
globular element on the top called Sikhara is according to tradition, made of one stone weighing
many stones. But, in fact, it is made of many pieces of cut stones dressed for the purpose, as may
be seen from the portion where the plaster has fallen down. The final, stupi is a metal vase

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(Kalasa) with a lotus-bud design at the top. It is gilded with gold and is said to carry an
inscription named after Nallakka-tola-udayar, a Poligar of Udayarpalaiyam. It is not known
whether the stupi is the original one and probably gilded by the Poligar or is a new one gifted by
him.

The main temple consists of a sanctum tower called Sri Vimana or Sri Koil, a big rectangular
mandapa called the mahamandapa with an intervening vestibule called mukhamandapa.  The
front entrance to the great mandapa is approached by steps from north and south. As the flooring
of the mandapa is on a high elevation, the steps rise to a considerable height forming a high
platform in the front. It is said that there is a subterranean passage with steps under this platform.
Some claim that this passage leads to the royal palace, while others assert that it leads to the river
Kollidam. Yet a third tradition says that it leads to an underground treasury wherein invaluable
properties belonging to the temple are preserved. None in the living memory has set foot on this
passage for fear of darkness, poisonous gas and wasps. It is not unlikely that the empty
underground space below the great mandapa and the space between the steps were utilized as
store houses.

Inner view of the elongated Mahamandapa – Photography is banned inside of it.

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So let me explain the inside of this structure, The Mahamandapa. If the original mahamandapa
had been preserved, it would have retained the grandeur of its conception and beauty. But as it is,
only the portion up to the main base is original. The side walls, the pillars and the ceilings have
been reconstructed; probably in the 18th century AD. Obviously the superstructure should have
crumbled due to neglect and vegetation. However a part of the original has survived up to the
ceiling at the western end. From the surviving portion it may be seen, the roof (prastara) of the
mahamandapa was in level with the prastara of the ground floor (adi bhumi) of the main Vimana.
Like the walls of the main Vimana, a horizontal cornice divides the outer walls of the
mahamandapa into two parts. They carry a series of niches both in the upper and lower courses.

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A scene at the southwest corner of the Mahamandapa – Sculptures of King Rajendra Chola I and
his consort Queen Tribhuvanamadevi, decorated with crystal ornaments. (This space is closed
with metal grills due to security reasons)

As mentioned earlier, the adibhumi of the main Vimana has two floors inside the sandhara
passage (the intervening passage), the intervening cornice forming the intermediate floor level.
The mahamandapa should have been a two storeyed pavilion, quite fitting with the mahaprasada
of the temple. In view of the tall dvarapalas guarding the entrance to the mukhamandapa, the
central passage should have had only the upper ceiling without the intermediate flooring. Thus
the central passage was flanked by two storeyed structures, resembling the storeyed cloister of
the enclosure. It would have presented a most spectacular sight when the deities were taken out
in procession through the mahamandapa.

As it stands today the inner side of the mandapa has a central passage, leading from the front to
the sanctum flanked by two raised platforms and a passage running around. Two massive
dvarapalas are noticed at the western and guarding the entrance to the mukhamandapa. A few
sculptures and bronzes receiving regular worship are on the northern platform. The north eastern
corner houses an interesting solar altar, now worshipped as Navagraha (nine planets).

Moving on to The Main Sanctum of Gangaikondam Brihadisvara temple…..

The sanctum enshrining the main deity is encased by an inner wall. Between the inner wall and
the outer, there is an intervening passage-called sandhara running all around. The two walls are
joined at the top by a series of corbelling. They are provided to support the massive super-
structure. No painting is noticed in the inner passage. The inner sanctum houses a very big Siva
Linga, rising to a height of thirteen feet. It is said to be one of the biggest Siva Linga enshrined in
a sanctum in any South Indian temple. The entrance to the sanctum is guarded by massive
doorkeepers, dvarapalas. The mandapa immediately preceding the sanctum is approached by
steps leading to it from the north and the south sides and also from the great mandapa in the east.
The entrances are guarded by big dvarapalas (15 ft high) of astonishing beauty….

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 Remarkable view of Two Dvaraplas (15 ft high), guarding the northern entrance to the
Ardhamandapa, preceding the main sanctum. They are showing the ‘ Thatva concept ‘ of
Hinduism. Tiger emblem of Chola dynasty is shown between their legs.

Similar view of Two Dvaraplas (15 ft high), guarding the northern entrance to the
Ardhamandapa, preceding the main sanctum. They are showing the ‘ Thatva concept ‘ of
Hinduism.

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The mandapa is supported by massive plain and square pillars. The eastern walls flanking the
opening to the great mandapa carry groups of small sculptures illustrating Shaivite themes. The
following are the themes thus represented;

(On top) The episode of Ravana travelling in his chariot; shaking the Kailasa Mountain; Siva
seated with Uma, pressing the mountain with his toe; Ravana’s anguish under the weight of the
mountain and finally Siva bestowing boons on Ravana, are depicted in three panels. (On the
middle) The second episode on the same wall depicts Vishnu, worshipping Siva with 1008 lotus
flowers; finding one short he plucks his own eye and offers it as a flower; Siva bestows grace on
Vishnu.

The panels closer to the entrance depict the marriage of Siva with Uma. Uma, the daughter of
Himavan, desirous of marrying Siva, undertakes austerities and worships Siva; Siva, after testing

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 her steadfastness as a beautiful youth, marries her; the celestials witness the marriage; Brahma,
the creator offers oblation to the sacrificial fire and Vishnu gives Uma in marriage to Siva.

The east wall close to the entrance on the northern side depicts the Kiratarjuna scene; Arjuna the
Pandava hero performs austerities to obtain a Pasupata weapon; Siva as a hunter accompanied by

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Uma as a huntress, tests Arjuna’s devotion; picks up a quarrel with Arjuna over a kill; Arjuna
not knowing the personality behind the hunter, enters into a duel with him and is ultimately
vanquished; Siva manifesting himself bestows the weapon.

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At the extreme north of the same side are portrayed two episodes, one representing Siva quelling
the pride of God of death, in order to protect his devotee, Markhandeya and the other
representing Saint Chandikeswara a great devotee of Siva, cutting off the leg of his father, who
disturbed his faith and Siva bestowing grace on both father and son.

Though these group sculptures are carefully selected, they are imperfectly finished and lack the
beauty and elegance of the sculptures of the main tower.

Coming to the outside from the main sanctum through northern entrance of the Ardhamandapa,
you can see, one of the famous scenes sculpted in this Brihadisvara temple complex (near the
Dvarapala on the left side wall)….

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Majestically seated Lord Siva’s lower right hand garlands the head of Chandesvara, while the
left upper hand holding the end of a flower garland tying it round the head of Chandesvara:
upper right hand holds axe (Parasu), while the lower left hand not visible might be holding deer.
Chandesvara is piously seated in worshipping (anjali) posture with folded hands. Bhuthaganas
are seen behind the God. Devi is seen seated near the God. It is suggested that the King Rajendra
himself has carved his own image (his coronation scene) and shown his benevolence to Lord
Siva. The art historians regards this sculpture as the masterpiece of this period.

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Facing towards Chandeshanugrahamurthi, on the west wall, is the figure of Saraswathi, the
Goddess of Knowledge. She is seen seated on a lotus throne with four arms; holding a rossary of
beads and an amrita kalasa in the upper arms and a palm leaf and Chinmudra pose in the lower
ones; behind her is shown a prabha, aureole.

Lets explore the northern side of Brihadisvara temple complex…….

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Splendid view of the Northern entrance to the Ardhamandapa, preceding the main sanctum. Two
15 ft Dvarapalas, Chandeshanugrahamurthi and Goddess Saraswathi are the interesting visuals in
here.

South facing Chandikesvara Temple (near the northern entrance) – The little temple to the north-
east of the central shrine enshrining Chandikesvara, the steward of Siva . It is an all stone temple
built on a raised basement, with a storeyed
superstructure. The sanctum is approached by side steps. Inside the sanctum is an image of
Chandikesvara, coeval with the temple. The outer walls of this sanctum have niches on all the
three sides, carrying sculptures of Chandikesvara. He is the principal subsidiary deity in
Siva temples and till about 13th century AD. All transactions relating to the temple were made in
his name. Hence a separate shrine is provided for him in the temple complex.

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Superstructure of Chandikesvara temple with a Lotus bud shaped circular Shikhara and A stupi
or final (Kalasa) made out of brass at the top. Presence of Kirthimukhas and Nandi at four
cardinal directions.

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 East facing Mahishasuramardhini Shrine – To the west of the lion-well is a shrine dedicated to
the Goddess, Mahishasuramardhini. The shrine is a later structure (probably built in 14 -15th
Century) and did not form part of the original layout. It consists of a sanctum preceded by a
mandapa. The Goddess installed in the sanctum is similar to a Durga found at Virareddi street, in
the same village and is in all likelihood, Chalukyan in origin.

‘Brihanayaki Amman Temple’ (Northern Kailasa) – To the north of the main temple is a small
shrine now housing the Goddess, Brihannayaki, the consort of Lord Gangaikonda Cholesvara.
The temple resembles the southern kailasa in every aspect and is called Uttara Kailasa. It has a
sanctum, preceded by a front mandapa, provided with side-steps. In front of this is a bigger
mandapa (mahamandapa), which is well preserved, unlike its southern counterpart. The Vanni
tree seen on the bottom left is the Thalavirutcham or Sthala Vriksha of this temple.

Two gatekeepers flank the entrance. In front of the gatekeepers, in the mahamandapa, are images
of Saraswati in the north and Gajalakshmi in the south. One of the Dvarapalas is shown here…..

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North side of Brihanayaki Amman temple – The niches on the sanctum and the front mandapa
carry Ganesha, Nataraja, Bhikshatana, Subrahmanya, Dakshinamurthi, Lingodhbhava, Brahma,
Bhairava, Ardhanari, Durga, and Gauriprasada are noticed in order, from the south.

A lion pendent ear ring is seen on the right ear while a roll or pendent is seen in the left ear. A
parasol above and a fly whisk on the either side are shown. The breast is shown on the left
emphasizing the feminine aspect. The left side wears a sari extending up to the knee. Right part
wears the tiger skin. Both masculine firmness and feminine tenderness visualized in the same
face which is the salient of this sculpture.

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A sculpture of Bearded Brahma – Four armed standing three headed (the fourth head at the back
not being visible) and bearded figure of Brahma standing erect position; holding sruk and sruva
(sacrificial ladles and spoons for pouring oblations of ghee) in the upper right arm and a rosary
of beads in the lower right; a bunch of dharbha grass in the upper left and lower left is placed on
His thigh.

It is significant that the mahamandapa of this Amman temple has steps to it, only on the side. In
ancient times, steps were always provided on the sides and not in front of the sanctum. The
beautiful image of Goddess now enshrined in the sanctum of this temple should be a later
installation. Originally the temple should have enshrined a Siva Linga, like the southern Kailasa.
Though separate shrines of Goddesses came to be built in the main temples only from the reign
of Rajendra I, no Devi-shrine was built originally in this temple, the present one being clearly a
later institution.

Back to the details about Great Sri Vimana of Brihadisvara….

According to architectural treatises, basements (upa-pithas) are introduced in temples to increase

the height of the main tower; to add to structural stability and to make the temple tower
majestic.That these purposes are magnificently fulfilled by the basement of  Gangaikonda
Cholapuram temple, may be noticed even by a casual visitor not conversant with architectural
principles. Besides the purposes mentioned above, the basement also provides, a space to walk
around the tower. In this temple, the basement is ornamented with sculptures of lions and
leogriffs with lifted paws.

The main base adhishtana is decorated with well defined courses, consisting of the lotus
moulding adaspadma, and the kumuda moulding, topped by a frieze of leogriffs and riders. This
constitutes the main base, the top of which forms the flooring level of the inner sanctum. That
portion of the structure rising above the main base up-to the roof cornice is called ‘the wall’
(bhitti or kal). It is the principal element that encases the main sanctum and carries on it a
number of niches housing various deities. The wall in this temple is divided into two horizontal
courses by an intervening cornice. Lower and upper courses have an equal number of niches, on
all the three sides except the front

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North side of the Sri Vimana, Brihadisvara temple – On the vertical axis the wall surfaces are
well defined by intervening recesses forming a rectangle in the centre and squares at the corners.
Each is made up of a central niche housing a deity, flanked by a group
of small sculptures which in turn are flanked by pilasters simulating pillars. Thus each niche
housing a deity appears as a miniature shrine. The recessed walls in the lower courses carry a
vase and pilaster ornamentation,  while on the upper courses, there are small niches housing
deities. Thus these are five principal deities in the lower course and nine deities in the upper
course on each side.

The sculptures in the lower courses, of the Sri Vimana depict various aspects of Siva and also the
subsidiary deities who include Ganesha, Vishnu, Subrahmanya, Durga, Brahma, and Bhairava,
supplemented by Lakshmi, Saraswati, and Durga in the niches of the great mandapa. The
sculptures were made separately and fitted into the niches. They are flanked by a group of small

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sculptures, carved in situ, illustrating the theme the niche sculpture seeks to represent. The
sculptures on the upper courses represent, besides some aspects of Siva, the guardian deities of
the eight quarters.

Lets examine the sculptures on the lower courses (north side of Sri Vimana)…..

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“Kalandhaka” (at the northwest corner) – Four armed Siva shown in such a way destroying Kala,
God of death, right leg placed on Kala and with the left pressing him down. The upper right arm
holds parasu is about to strike, while the lower right holds the trident, the upper left holds a deer
(antelope) and the lower left points to Kala. Surya and Chandra are shown at the top and
devotees in one side. Another side shown Markhandeya, devotee of Lord Siva worshipping
Linga and the God of death, Yama dragging him forcibly with a rope.

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“Durga” (next to Kalandhaka) – The Goddess is standing with eight arms holding discus, arrow,
sword and abhaya in right arms and conch, bow, shield in the left arms respectively and the one
hand is on her thigh. A buffalo head is shown below (Shape shifting demon, Mahisha)
and lion stands behind her.

“Brahma” (at the center above Komugham) – Four armed standing three headed (the fourth head
at the back not being visible) and bearded figure of Brahma standing erect position; holding sruk
and sruva (sacrificial ladles and spoons for pouring oblations of ghee) in the upper right arm and
a rosary of beads in the lower right; a bunch of dharbha grass in the upper left and a kamandala

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in lower left; goddess Saraswathi on the right side holds a bunch of palm leaves in her left arm,
in the left goddess Savithri is present. In the side walls Surya, Chandra, devas and sages are
present.

“Bhairava” (next to Brahma) – standing with eight arms in naked position wearing garland of
skulls, round eyes, protruded teeth, hair show like a flame, holding trident, parasu, sword and
noose in his right arm; fire, kapala, khatwanga and bell in his left arm and a coil of snake shown
around his thighs.

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 “Kamantaka” (at the northeast corner, next to Bhairava) – Seated figure of Lord Siva with four
arms; right upper arm holds a rossary while the lower arm pointing down. The left upper arm
holds a chouri and the lower is placed on thigh. In the right side wall a sage is shown in penance
attitude; two devotees are shown below him. On the left side at the top, Manmatha, the God of
love is shown aiming an arrow at Siva. Two devotees are shown in the middle; Manmatha and
Rathi are seen below the devotees.

The interesting thing is that, one can see ancient inscriptions (Grantha script) imprinted on the
basement part below these sculptures. Together, they called ‘ Chola Prasasthi ‘.   Prasasthi is a
poetic way of expressing the extol of the king and his various heroic activities. Prasasthi’s start
with auspicious saying such as Swasthi Sri etc., they give historical details, name of the king, his
title, name of his queen, the regnal year and later on about donations, land details etc.

Time to move on to the Western side of Great Sri Vimana of Brihadisvara….

This basement of Srivimana is 100 feet by 100 feet and the foundation is square in structure and
raises 20 feet above the ground level. The courtyard in 566 ft in the length and 318 ft width and
has a transept at the west in line with the main sanctum.

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 Western side of the Srivimana of Brihadisvara temple – Compared to the Thanjavur Temple,
which has straight contours, this temple has a curvilinear contour, slightly concave towards the
top. It has divided in to eight zones. The roof cornice consists mainly of three parts: (a) the
frieze of dwarfs at the bottom, (b) the cornice forming the outer edge of the ceiling roof proper
and, (c) the frieze of leogriffs (a mythical creature) on the top. The cornice is decorated with
plain spade-like ornamentation topped by the head of a leogriffs. A row of miniature shrines runs
around the tower like a garland, and is called a hara. It consists of square pavilions at the corners,
rectangular pavilions in the middle, with nest (nida) ornamentation in between.

Above this rises the main tower, consisting of nine stories including the ground floor. The upper
stories of the main tower carry the same type of ornamentation, consisting of square and oblong
pavilions except a change; the central wagon-shaped pavilion is flanked by square ones instead
of “the nests”, the whole being projected forward than the rest. Now, look at the different
sculptures shown in the lower course niches of West side (Sri Vimana)….

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 “Gangadhara” (at the southwest corner) – Four armed standing figure of Siva, embracing and
pacifying Parvathi standing side by his side. The upper right arm of Siva receives the falling
river Ganga from his matted lock; the lower right moves gently around Parvathi. The upper left
arm holds usual attributes of Siva, the deer: the lower left is placed on the thigh. The right arm of
the Devi is placed on jer thigh while left is bent. Three rows of miniature sculptures are noticed
on the side walls. Surya is shown on the top of the wall right of Siva; Devas are in the middle
and two devotees at the bottom. In the left wall Chandra seen at the top, devotees in the middle
and Bhagiratha doing penance in the lower part.

“Lingodhbhava” (next to Gangadhara) – Four armed standing figure of Lingodhbhava coming

out from the shaft of fire. The upper right arm holds axe and the lower is in the abhaya pose; the
left upper holds deer and lower is placed on the thigh. The leg below the ankle is hidden, a

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garland of flowers is shown around the Linga portion at the top. Vishnu as a boar is shown at the
bottom in an outline. Brahma as swanOne last shot of this  is not represented in the top.

“Mahavishnu” (at the centre of west side) – Standing figure of Vishnu with four arms; the upper
two arms hold discus in the right and conch in the left respectively, the lower right arm is in the
abhaya pose while the left rests on the thigh. Sri devi with two arms present in the right

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side while on the left Bhu devi is present also with two arms. Surya and Chandra on either side
of the top side walls, devas in the middle and sages at the bottom are seen.

“Subrahmanya” (next to Mahavishnu) – The Subrahmanya figure is seen in the west wall
standing with four arms carrying Sakti and Vajra in the upper arms while the lower right is in
abhaya pose and the left in thigh. A Chennavira (the chest belt worn by the heroes) is shown
across his chest and the prominent garland of Kanni flower are shown below the crown.

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“Vishnuanugrahamurthi” (at the northwest corner) – Siva and Parvathi represented in the seated
position on a pedestal. Siva is shown with four arms carrying Parasu (axe), antelope in the upper
right and the left arms respectively, while the left arm is placed on his thigh; the right holding
Chakra.

“Ganesha Shrine” situated at the southwest corner of Brihadisvara – To the south-west of the
main temple, is a small shrine dedicated to Ganesha. It has a sanctum preceded by a mandapa.
The structure could be assigned to the 13th century on stylistic grounds.

It is from the southwest corner that, one gets an infamous view of the Great Srivimana of
Gangaikondam Brihadisvara temple…….

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 Sri-vimana at Gangaikonda has nine storeys (talas) including those at the lower levels, in
contrast to the thirteen storeys at Thanjavur. Each storey has a square-circle-oblong artwork. The
upper levels repeat the lower level design in a rhythmic shrinking pattern. The symmetry
principles are dutifully embedded in, but the rate of shrinking is not linear with height. The lower
storeys shrink faster than the upper storeys. This gives the vimana an uncommon parabolic form.
Ganesha shrine is at the left corner and Southern Kailasa at the right corner.

Coming to the Southern side of Sri Vimana of Brihadisvara…..

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 Southern side of the Sri Vimana, Brihadisvara temple – Sculptures on the upper courses
represent, besides some aspects of Siva, the guardian deities of the eight quarters. While on the
lower course of the vertical wall, one can see images of Nataraja, Harihara (Half Siva, Half
Vishnu), Ardhanareeshvara and Narthana Ganesha.

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“Narthana Ganesha’ (on the southeast corner of south side) – Lord Ganesha in a dancing pose
with four arms.

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 “Nataraja (at the southwest corner of south side) and Harihara (next to Nataraja)” – Four armed
dancing Siva, holding drum in the upper right arm and showing Abhaya pose bestowing palm on
the lower right. The upper left arm carries fire and the lower left is throwing across the body
in gajahasta. The matted hair locks are depicted flying on either side. On the right side of the
matted hair river Ganga is shown. By the left side of the leg is shown dancing Kali, carrying
drum, sword, trident, abhaya, dandhasta in her hands. A three legged figure, probably
representing Bhringi is seen on the right. Below the feet is shown the women saint Karaikkal
ammayar. She is holding a musical instrument called as Kinkini. Three Ganas are also shown
playing symbols and drum. On the west side wall is shown Surya on top. Subrahmanya seated
on  peacock is flying; Ganapati moves on his rat. Further down is four armed Nandikesvara
playing drum. Chandra is shown on the top of the side wall to east. Two armed Goddess Parvathi
is leaning on a bull looking Majestically; she holds lotus in her right arm. Harihara is the
combined form of Lord Siva and Lord Vishnu. A trident is shown in upper right arm and a discus
is shown in upper left arm.

You can see two other interesting images on side walls of the southern entrance leading to the
ardhamandapa of main sanctum (near the 15 ft Dvarapalas on south side)……

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 “Kankaladhara” (at the west side wall of southern entrance ) – Lord Siva is standing in a
tribhanga pose with six arms, the upper right arm holds a snake, the middle feeds the deer
(antelope) and the lower one playing on udukkai or damaru, which is broken. The upper left arm
holds a trident across the back with a chowri hanging; the middle one is placed on the head of a
dwarf (Bhutha gana) standing by the side and the bottom holding the damaru is broken. Pair of
sandals adorn his feet.

Kankaladhara – On the wall to the right of Siva, Surya on top; Bhutaganas in the middle and
wives of sages at the bottom are shown. While on the left side wall, Chandra on top, ganas in the
middle and wives of sages at the bottom are present. Makara thorana decorations above this
niche carries a bas relief of Uma Maheshvara in the centre.

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‘Lakshmi Devi” (at the east side wall of southern entrance) – Goddess Lakshmi seated on a lotus
throne with two arms. Devi holds lotus flowers in her arms; above her are shown two elephants
pouring water from pots held in their trunks (Gajalakshmi).

The shrine, south of the main Vimana and called the Southern Kailasa has a sanctum preceded
by a mandapa which in turn is fronted by flights of steps from south and north of which the
basement alone remains.

“Southern Kailasa or Dakshina Kailasa” – The outer walls of the sanctum and the front mandapa
carry niches, housing images. The niches of the sanctum carry Dakshinamurthi in the
south and Lingodhbhava in the west, while the niche on the north is empty. The niches on the
front mandapa carry; in the south, Ganesha, Nataraja, Bhikshatana, and Subrahmanya and in the
north, Gauriprasada, Durga, Ardhanari and Bhairava. The
inner sanctum of the shrine is now in ruins.

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A little to the north-east of this temple is a granite basement, probably the ruin of a mandapa. It
is now called the Alankara mandapa. To the west of this is a well, probably coeval with the
temple.

Completely ruined Alankar Mandapa in front of the Southern Kailasa.

And here come the final moments of a memorable day of my life….

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 South side of the Great Living Brihadisvara temple at Gangaikonda Cholapuram – How
spectacular, it is!  Archaeological Survey of India (ASI) administers the temple as a protected
heritage monument. UNESCO declared it a World Heritage Site in 2004, along with
the Brihadeeswara temple at Thanjavur and Airavatesvara temple at Darasuram. These are
referred to collectively as the Great Living Chola Temples.

Viewing Sunsets are always special. But with a spectacular marvel like Brihadisvara in the
scene, it gets incredibly awesome and i can’t even express that feeling in just words. Its
something you have to experience with your naked eyes, once in your life time.

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 1000 years old marvel and It has to be something special ! The Great Brihadisvara Temple of Gangaikonda Cholapuram.

The symmetry, geometry and symbolism of these temple architectures simply leaves you spell
bound. Visualizing the stories of more than 10 centuries, oh! that’s something you can’t just
imagine. looking at these marvels, one must appreciate the brilliance of Chola artisans. How
skillful, they were! And can say, in every block of stone, there is a story inside and the task of
the sculptor is to discover it. Another memorable day of discovering creations, enlightenment by
the divine and touching the depths of eternal happiness.

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