Upon entering the main temple complex and reaching the first mandapa, we were immediately fascinated by the innovative architectural designs on display. This particular mandapa was crafted to create the illusion of horses pulling a chariot. Delving into the history of such architectural concepts, I discovered that about 50 years prior to the construction of the Airavatesvara Temple, the Amirthakadeswarar Temple, commissioned by Chola king Kulothunga I in 1113 CE, also employed a similar design. However, a comparison reveals a stark contrast in complexity and grandeur between the two. While the concept was present in the Amirthakadeswarar Temple, the Airavatesvara Temple elevated it to a new level of magnificence and proportion. The desired effect of a chariot being pulled by horses is more pronounced and awe-inspiring in the Airavatesvara Temple, showcasing advancements in architectural innovation. Subsequent temples embraced the concept of a temple or mandapa being pulled by horses or elephants like a chariot. This design evolution suggests progress in architectural techniques, notably seen in later temples commissioned by Pallava kings. A strikingly similar structure can be observed in the Sun Temple at Konark, built approximately a hundred years after the Airavatesvara Temple, further highlighting the enduring impact and evolution of this innovative architectural concept.
The distinctive architecture of the Airavatesvara Temple unfolded before us, presenting an enchanting tableau. A majestic horse, poised on its hind legs with its front legs raised in the southern direction, dominated the scene. Behind it, a grand chariot wheel added to the spectacle. To the east, steps led to the mandapa adorned with intricately carved elephant sculptures. These elephants, with uplifted trunks, intricate decorations, and a sense of dynamic movement, contributed to the temple’s well-defined aesthetic.
After ascending the steps, we reached the famous Rajgambhir Tirumandapam. Our attention was particularly drawn to two remarkable sculptures on the exterior walls of the mandapa. The first depicts Nagaraja, the serpent king, with five hoods crowning his head. This human-like figure featured four arms, two of which were folded in prayer over its chest, exuding a gentle expression. The second sculpture portrays Sage Agastya in a seated posture. He is depicted beautifully, with a serene expression on his face, a withered janva (sacred thread) going across his protruding belly and hands holding a rudrakshamala (prayer beads) and a kamandalu (water pot). There is debate regarding whether this representation of Agastya belongs to the Vedic period, as numerous illustrious Agastyas were prominent in the south, leading to confusion about their identities and contributions. Shridhar Venkatesh Ketkar’s Marathi encyclopaedia mentions an Agastya, who served as the guru and minister of the first Pandya king, and was a scholar of sculpture science, which suggests that this might be a sculpture of him and not the Agastya from Vedic times. Known for his text Agastya Sakaladhikara, Agastya laid down rules on proportions for idols, a legacy incorporated into subsequent sculpture texts like Kasyapiya, Saraswatiya and Anshuman-Vedkalpa. These guidelines, still considered valuable by sculptors today, contain details on sculpting the sixteen forms of Lord Shiva, reflecting the significance of the Shaivite tradition during that period. It is plausible to assume that the inclusion of the Agastya sculpture in the temple could be a gesture of gratitude and respect toward him by the sculptors, acknowledging his contributions to the field of sculpture science.
The Rajgambhir Tirumandapam boasts a remarkable array of 108 columns, renowned worldwide for their intricate miniature carvings. The mandapa begins with a slightly elevated open area, resembling a porch, which is balanced by twelve stone columns. Along the outer side of this space, eight pillars showcase sculptures of the mythical creature “Yali” (Vyal) near the ground. Yali, a fantastical being amalgamating various animals, is a common motif in South Indian temples, symbolising the harmonious integration of diverse animal characteristics. In this instance, the yalis, known as gajvyal, exhibit a distinctive structure, featuring the trunk of an elephant and a body resembling that of a lion. During our visit, a local guide explained each organ in the yali structure in detail, revealing a composition that includes several animals – lion, elephant, dragon, eagle, bull and pig. Notably, all eight yali sculptures on the columns share a common design, only with differentiated tails. These yalis are believed to have been crafted with the specific intent of safeguarding the temple by warding off evil forces.
Among the twelve pillars, the four central pillars stand out for their exceptional and distinct carving patterns. These pillars narrate stories from the Skanda Purana in a serialised form, depicted in mesmerising miniature carvings. The carvings unfold a sequence of events, including Daksha’s yajna, the humiliation of Shiva during the ritual, Parvati’s courageous entry into the fire, the ensuing war between the deities and Shiva’s ganas, Parvati’s intense penance to win Shiva’s favour, the marriage ceremony of Shiva and Parvati attended by Vishnu and Brahma, and the musicians of the wedding procession. The detailed carvings vividly bring these scenes to life, capturing the speed, emotion, and overall atmosphere of each moment. Observing these miniature sculptures, I found myself completely engrossed in the narratives, appreciating the skill and artistry of the sculptors who brought these stories to life in stone. In that moment, I could not help but offer a heartfelt mental bow of admiration and gratitude to the talented craftsmen behind these living carvings.
Upon entering, we encountered a spacious hall adorned with numerous carved stone columns, spanning 23 metres in the southwest direction and a little over 21 metres in the east-west direction. As we gazed into the interior, the mandapa appeared to be a space seemingly designed for artistic performances and enjoyment. Some scholars share a similar hypothesis, suggesting that this temple was not primarily constructed as a centre of trade and commerce, unlike the temples at Thanjavur and Gangaikondacholapuram. Instead, it was envisioned as a centre for entertainment and stress relief.
This purpose is affirmed by the choice of images carved into the pillars of the mandapa. The Chola kings’ tradition of promoting various arts, including the royal patronage of Bharatanatyam, a dance form, is reflected herein. The temple features the 108 mudras (hand gestures) of this dance art engraved on the pillars. Some miniature sculptures, as tiny as a finger, are a must-see. These include a dancing Ganesha, Shiva and Parvati engaged in a relaxed interaction, and the depiction of Gajasamhara. The Gajasamhara sculpture, also known as Gajasuravadh, narrates the tale of Shiva vanquishing an asura named “Neel”, who assumed the form of an elephant. In the tale, after slaying the asura, Shiva wears the elephant skin. In this miniature sculpture, Shiva is portrayed with eight hands, wielding a damaru (drum), khadga (sword), trishul (trident) and gajacharama (elephant hide). Parvati, positioned beside Shiva, appears frightened by his rudra (fierce) form, while holding the infant Kartikeya. This particular depiction has garnered the attention of sculpture scholars, who acknowledge it as a remarkable piece of art within the temple.
Entering the hall, we found ourselves in awe, unsure of where to direct our gaze amid the overwhelming beauty. The intricately carved roof added to the visual splendour. Notably, this space houses miraculous sculptures, playing with the illusion of vision. One such example is the portrayal of a female acrobat viewed from multiple perspectives. Initially, she appears seated, but upon closer inspection, her body seems to be kneeling on the right side, her legs neatly folded. Intriguingly, she presents a different stance when viewed from the left side. In a delightful twist, the fourth perspective showcases the same woman engaged in exercise, with her body weight supported by her arms and both legs raised from behind. These optical illusions add a layer of marvel to the artistic wonders within the hall, leaving its viewers immersed in the skilful craftsmanship and the playful magic of visual perception. There is also another impressive and elaborate sculpture called VrishabhaKunjaram in the Shilpaslesh style, which is found on the temple wall. It features a single face with a twist: an optical illusion whereby on one side it is an elephant and on the other it is a bull.
Excerpted with permission from Dynasties of Devotion: The Secrets of Seven Iconic Hindu Temples, Deepa Mandlik, translated from the Marathi by Aboli Mandlik, HarperCollins India.
