The PPP is for the UG and PG students. Not for my API.

1. Art of Chola Period ( c.850-1250 CE)
“The Age of improvement & refinement of Dravidian Art & Architecture”
Sachin Kr. Tiwary

2. Map of Chola Empire & their
important place

3. Map showing the extent of the Chola empire during Rajendra Chola I (c. 1030 CE)
Map
Showing
Extension of
Chola
Empire
out of
todays India
boundary,

4. Historical Background
• One of the longest-ruling dynasties in the world's history,
• Earliest datable references to the Chola are in inscriptions from
the c.300 BCE left by Ashoka (Major Edict No.13),
• Heartland of the Cholas was the fertile valley of the Kaveri river,
• Under Rajednra Chola-I & his successors Rajendra Chola-I,
Rajadhiraja Chola, Virarajednra Chola & Kulothunga Chola-I, the
dynasty became a military, economic & cultural power in South-
Asia & South-East Asia,
• At the beginning Cholas migrated north during the time of the
Pallavas to establish a kingdom of their own, away from the
dominating influences of the Pandyas & Pallavas,
• Huen-tsang, who spent several months in Kanchi during 639–
640 CE writes about the "kingdom of Culi-ya", in an apparent
reference to these Cholas,
• Vijayalaya was the founder of the Imperial Chola dynasty who
was the feudatory of the Pallava dynasty, took an opportunity
arising out of a conflict between the Pandya dynasty & Pallava
dynasty in c. 850, captured Tanjavur from Muttarayar &
established the dynasty,
• Thanjavur became the capital of the Imperial Chola Dynasty.
Statue of Rajaraja Chola at the Brihadiswara Temple, Thanjavur

5. Architectural Introduction-
• At least 300 stone temples were built, among which the
great temples at Thanjavur, Gangaikondacholapuram &
Darasuram are often considered their finest artistic
achievements for the monumentality of conception,
architectural grandeur, powerful sculpture & fine painting.
• After the decline of the Pallavas in Tamil Nadu, the Cholas
emerged as a triumphant power. Everyone knows that
they were responsible for the erection of number of
temples in Tamil Nadu. Their age is famous for Vimanas.
The erection of Vimanas attained maturity only under the
Later Cholas. For instance the Tanjore Vimana, erected by
the Cholas, is considered as the Touch Stone of Indian
Architecture as a whole.
• The Chola architecture is not merely migrated to the
other corners of India but also overseas. Rajaraja I has
constructed a Siva temple at Polanuruva in Srilanka in the
same pattern of Chola architecture. His son Rajendran I
conducted eastern expeditions in order to stabilize the
trade between Tamil Nadu and far flung countries of
South East Asia. The temple of Angorwat in Combodia was
born out of commerce and conquest.

6. Books
Temple art under the Chola queens
by Balasubrahmanyam Venkataraman
Early Chōl̤a art: origin and emergence of
style
by Rama Sivaram
Chōl̲a Murals: Documentation and Study
of the Chōl̲a Murals of Bṛihadīśvara
Temple, Thanjavur
by P. S. Srirama

7. CHOLA
ART
Purpose
Medium
Context
Theme
Technique
Types
InfluencePlace
Sources
Unique
Feature
Under
whom
Order ?
Golden Age
of Art & Architecture
In South India

8. Inscriptions-
• Inscriptions of Aditya I record that he built a number of temples along the banks of the river Kaveri.
• The temples carries an inscription on the administrative and financial procedures concerning the day-to-day
administration of the temple.
• The inscriptions give, apart from a comprehensive history of the times, a full enumeration of all the metallic
images set up in the temple.
Literatures-
• Huen-tsang, who spent several months in Kanchi during 639–640 CE writes about the "kingdom of Culi-ya”
Monuments- Art (Metal, Stone & Mural)-
Temples of following kings:-
Early
• Parantaka I (907-953 CE) : Koranganatha Temple, Tiruchirappalli Dist. Tamil Nadu,
• Built by a feudatory of Parantaka Chola II (957–970 CE) : Moovar Koil-Muvarkovil Temple, Kodumbalur,
Pudukkottai , Tamil Nadu
Medieval
• Rajaraja I (985-1014 CE) : Brihadeshwara/ Rajarajesvaram/ Peruvudaiyarkovil Temple, Thanjavur Dist. TL
• Rajendra Chola (1012- 1044 CE) : Gangaikonda Cholapuram Temple, Kumbakonam Dist. Tamil Nadu
Late
• Raja Raj Chola II (1146–1173 CE) : Airavateshwara Temple, Darasuram near Thanjavur, Tamil Nadu
• Kulothunga Chola III (1178- 1218 CE) : Kampaheswarar Temple, Thirubhuvanam, Tamil Nadu
Sources

9. • Pallava art & architecture represent an early stage of Dravidian art- architecture which blossomed to its
fullest extent under the Chola dynasty.
• Pallava sculptors later graduated to free-standing structural shrines which inspired Chola dynasty's
temples of a later age.
• The Kanchi Kailashnatha Temple built by Rajasimha Pallava was the inspiration for Raja Raja Chola's
Brihadeshwara at Thanjavur, it can be safely concluded that the Pallavas were among the first emperors
in India to build both large temple complexes & very large deities & idols which influence later Chola.
• Pallava architecture attained full maturity & provided the models upon which the massive Brihadeshwara
Temple of the Cholas at Thanjavur & Gangaikonda Cholapuram at Kumbakonam & various other
architectural works of note were constructed.
• The architectural elegance of the Dharmaraja Ratha is its pyramidal structure which rises in three steps.
It is built with a square layout. IT is influenced the Chola architecture.
• The conquest of these rulers and the migration of the skilled craftsmen and artisans from one place to
anothers might have caused of the transition of this art.
• The artistic nature of the rulers and the craftsmen resulted in the combination of different styles and the
creation of new ideas in making sculpture. One would not deny that the same style was also adopted
simultaneously in different regions.
Influence
Pattadakal of Chalukyan Art & Architecture
Mahabalipuram of Pallava Art & Architecture
Acc. to Nilakanta Shastri, A History of South India"

10. • Yali (partly lion, elephant & horse) – Pallava
used yali or lion motif whereas Chola
abandoned it and used yazhi at base or kudus
in other parts of the pillar.
• Dwarapala – In Pallava architecture dvarapalas
are comparatively gentle. In chola architecture
dwarapala became fierce with protruding tusk.
• Gopuram – The gopuram in pallava dynasties
were comparatively dwarfed. But in chola
dynasty they became enlarged with high
enclosure walls.
• Finial – The finial in Pallava dynasty was a little
swelling in the top of the vimana. But in Chola
dynasty it became beautiful vase with artistic
design.
COMPARATIVE

11. Virupaksha Temple (740 CE), Pattadakal, KR
Dharmaraja Temple (800 CE), Mahabalipuram, TL
Brihadeshwara Temple (1100-1200 CE), Tanjaur, TL
Influence

12. Under whom
Order ?
Moovar Koil-Muvarkovil Temple,
Pudukkottai built by a feudatory of
Parantaka Chola II during the second
half of the tenth century.
King
QueenFeudal
Brihadeshwara
Gangaikonda Cholapuram
Airavateshwara Temples and many more
Sembiyan Mahadevi- Gandaraditya wife, Parantaka
I's second son
Lokmaha Devi- Rajaraja I's queen
Kundavai= the sister of Rajaraja I
Vanavan Mahadevi-
https://shodhganga.inflibnet.ac.in/bitstream/10603/56998/12/12_chapter%205.pdf

13. • Normally comprised the plains, Central &
Northern Tamil Nadu & at times the entire state of
Tamil Nadu as also adjoining parts of modern
Karnataka & Andhra Pradesh. The earliest
monuments are to be found both to the north &
the south of the Kaveri region: the temples at the
Pallava capital of Kanchipuram & their coastal port
of Mamallapuram, & the monuments in the
southern Pandyan region around Madurai &
Pudukkottai.
• Starting with Vijayalaya Chola & continuing till
Sundara Chola, the middle phase of Rajaraj
Chola and Rajendra Chola when the achievements
scaled heights never reached before or since and
the final phase during the Chalukya Chola Pd.
(Chola–Chalukya wars were a series of wars fought
from 992 C.E. to 1120 C.E.) of Kulotunga Chola I till
the demise of the Chola empire.
Places The Vijayalacholeswaram near Pudukkottai in Tamil
Nadu is an example of a surviving early Chola building.
Early Chola-
 Koranganatha, Tiruchirappalli
 Moovar Koil-Muvarkovil Temple, Pudukkottai built
by a feudatory of Parantaka Chola II during the
second half of the tenth century.
Middle Phase of Medieval Chola-
o Brihadisvara Temple, Thanjavur
o Gangaikonda Cholapuram, Kumbakonam
o Airavatesvara Temple, Darasuram
Late Chola-
• Tiruvalisvaram Temple, Tirunelveli
• Vijayala-Cholesvaram, Pudukottai (Earliest Example of
Rock-Cut Temple, Chola Pd.)
• Ayikudi Balasubramanya Swami Temple, Thirunelveli
• Nageswaraswamy Temple, Kumbakonam
• Valisvara Temple, Tirunelveli
• Kampaheswarar Temple, Thirubuvanam
• Vaidyanatha Temple, Tirumalavadi
• Uttara Kailasa Temple, Tanjaur.

14. • Stone- Granite, Black Granite, Dark Black Basalt (Brick in Architecture)
• Metal- Bronze (Image), Copper, Gold (Coin),
• Mural- Over the plain wall and over the sculptures.
oReligious- Shaktism, Vaishnavism, Shaktisim,
oPolitical- Mural of King, Mural of Court Saint, Image of King made of metal,
oSecular- Narrative scenes of social, nature.
 Chiseling- Stone,
 Molding- Metal.
Religious Place- Temples,
Public Place- Public Building,
Political Buildings- Royal Palaces.
Medium
Theme
Technique
Context

15. Types
Freestanding
Stone
Sculptures
Stone
Sculpture
attached to
the wall
Murals Metal
Sculptures
Inscriptions Numismatics
Architecture

16. Purpose
Religious
Political
Economical
Social
Gigantic
Architecture
Showing
Power
Official
Ceremonies
Social
Activities-
cultural
activities
Hub of
economic-
Keeping
Money for
Safety
Message
Centre for
the Public

17. Parantaka I (907-953 CE) : Koranganatha Temple, Tiruchirappalli Dist. Tamil Nadu
• The Koranganatha Temple at Srinivasanallur is an example of the period of Parantaka I. This
temple dedicated to Lord Vishnu is situated on the banks of the river Kaveri, and is a small
temple with beautiful sculptures on every surface. The base of the wall has a row of sculpted
mythical animals that were a unique feature of Chola architecture. The first floor is made of
bricks which have been plastered.

18. Parantaka I (907-953 CE) : Koranganatha Temple, Tiruchirappalli Dist. Tamil Nadu

19. Shiva as
Dakshinamurti
on the
southern
wall of the
temple.
'one who is
facing
south
(dakṣiṇa)'
https://tamilnadu-favtourism.blogspot.com/2017/09/koranganatha-temple-srinivasanallur.html

20. Dakshinamurti
(one who is facing south (dakṣiṇa)’ or 'Dakshinya' means Karuna in Sanskrit or kindness)
• Generally shown with four arms- In his upper arms, he holds a snake or rosary or both
in one hand and a flame in the other; while in his lower right hand is shown in
vyakhyanamudra, his lower left hand holds a bundle of kusha grass or the scriptures. The
index finger of His right hand is bent and touching the tip of his thumb. The other three
fingers are stretched apart,
• Seated upon a deer-throne or on a bull,
• Under a banyan tree,
• Facing the south,
• Surrounded by sages who are receiving his instruction.
• Right foot on mythical Apasmara (Apasmāra is a dwarf who represents spiritual
ignorance and nonsensical speech) and his left foot lies folded on his lap.
• Sometimes even the wild animals, are depicted to surround Shiva.
• Dakshinamurthy, in the Hindu system of beliefs is regarded as the ultimate Guru - the
embodiment of knowledge and the personification of ignorance (as represented by, the
demon being crushed under the feet of the deity).
• The Abhaya Mudra, a gesture with the hand lifted above thigh with palm facing
out, fingers pointing, is interpreted as His grace upon His students.
• The rosary or the snake signifies tantric knowledge.
• The fire represents illumination, removing the darkness of ignorance.
• The Jnana Mudra is interpreted in this way:- The thumb denotes the God and the index
finger denotes the man. The other three fingers stand for the three congenital
impurities of man viz. arrogance, illusion and bad deeds of the past births. When man
detaches himself from these impurities, he reaches God.
• Other views-three fingers denote the three states of life:
• Jagruti (Fully awake through senses and mind),
• Swapna (Sleep state - When the mind is awake) and
• Sushupti (True-self - When the senses and mind go into soul- Atma).

21. Koranganatha
Temple
https://www.flickr.com/photos/29848963@N03/albums/72157649304765037

22. Rajaraja I (985-1014 CE) : Brihadeshwara Temple, Thanjavur Dist. Tamil Nadu
• The temple stands within a fort, whose walls are later additions built in the 16th century Nayak pd.
• The towering vimanam is about 200 feet in height called Dakshina Meru (Southern Mountain).
• The octagonal Shikharam rests on a single block of granite weighing 81 tons.
• It is believed that this block was carried up a specially built ramp built from a site 6 kilometres away from the temple.
Huge Nandi dot the corners of the Shikharam, and the Kalasam on top by itself is about 3.8 metres in height. Hundreds of
Stucco figures bejewel the Vimanam, added on during the Maratha period.
• The main deity is a Shivalinga 3.7-meter tall set in a two storeyed sanctum, and the walls surrounding the sanctum delight
visitors as a storehouse of Murals & Sculptures.
• Temple is set within a large rectangular enclosure, measuring 241 by 121m, nearly a perfectly proportioned double square.
https://en.wikipedia.org/wiki/File:The_Big_Temple_-_Thanjavur.jpg

23. https://www.thanjavur.nic.in
The volume of
stone
quarried from
upstream
near
Tiruccirappalli
and
transported
by water to
the two
temples, 45
km and 95 km
respectively. It
has been
estimated tha
t around
130,000 tons
or 50,000
cubic
metres of
granite used
in the temple.

24. 1
2
3
4
7
9
10
12
11
14
15
6
13
5
8
http://www.thanjavurtourism.com/

25. Rajaraja I (985-1014 CE) : Brihadeshwara Temple, Thanjavur Dist. Tamil Nadu
Religious- Sculptures Major and
Minor ditties
Shiavism (Chandeshvara, Nataraja,
Nandi, Parvati, Kartikeya, Ganesha,
Sabhapati, Dakshinamurti, Chandesh
wara, Varahi etc.),
Vaishnavism & Shaktism
Political- Scene of infantry,
Image of a king (made of metal,
stone and murals),
Karuvur Deva
(the guru of Rajaraja Chola),
Others- Dwarapala
.

26. The ground floor level, walls have the following
sculptures:
East wall:
Lingodbhava, standing Shiva, Pashupata, Dvarapalas
Brihadeshwara Temple
Airavateshvara temple
at Darasuram, Cola Pd.
1146-1172 CE.
https://www.shivshankar.in/lingodbhavmurti
Pashupata

27. Brihadeshwara Temple
Dwarapala

28. South wall:
Bhikshatana, Vīrabhadra, Dakshinamurti, Kalantaka,
Nataraja, dvarapalas
West wall:
Harihara, Lingodbhava, Chandrashekhara
without prabhavali, Chandrashekhara with prabhavali, Two
dvarapalas
North wall:
Ardhanarishvara, Gangadhara without Parvati, Pashupata,
Shiva-alingana-murti, Two dvarapalas
Brihadeshwara Temple
Gangaikonda Cholapuram Temple
Bhikshatana is an aspect of Shiva and one of the 64 forms of
Maheshwara Murtham. Shiva is depicted wandering from place to place for
alms, mendicancy. Bhikshtana is represented as a nude four-armed ma,
adorned with ornaments holding a begging bowl made of human skull in his
hands which is Brahma Kapal. According to Hindu scriptures, Mahadeva
assumed the form of Bhikshatana to get rid of his sin of severing the fifth
head of Lord Brahma Deva. His sin got expiated upon reaching the holy city
of Varanasi This aspect of Mahadev is more popular in South India,
especially Shiva temples in Tamil Nadu.

29. Bhikshtana is depicted as a
nude four-armed man adorned
with ornaments who holds a
begging bowl in his hand and is
followed by demonic attendants
and love-sick women.
• In the Kurma and Vamana
Puranas, Shiva's sin takes
corporeal form, becoming a
ghoulish woman called
Brahmahatya who follows
Bhikshatana everywhere he
goes.
• The women of the houses
who came to grant him food
became enamoured by his
appearance and followed him,
singing and dancing.
https://en.wikipedia.org/wiki/Bhikshatana

30. Vīrabhadra
• He was created
by the wrath of
Shiva and
destroyed
the Yagya (fire
sacrifice)
of Daksha, after
Daksha's
daughter and
Shiva's
consort Satee
self-immolated in
the sacrificial
fire. Airavateshvara temple at Darasuram,
Cola Pd. 1146-1172 CE.

31. Vīrabhadra
Gangaikondacholapurama Temple

32. Kalantaka,
ender of death and time
• Kalantaka is an aspect of
the Hindu god Shiva as the
Conqueror of Time and
Death, itself personified by
the god Yama.
• He is depicted as defeating
or killing Yama when the
latter comes to take the
life of Shiva's devotee
Markandeya. Shiva is often
depicted as dancing on
Death, personified by
Yama.
• Markandeya is an ancient
sage born in the clan
of Bhrigu Rishi.
The Markandeya
Puran especially,
comprises a dialogue
between Markandeya and
a sage called Jaimin.Kalantaka dancing on Yama,
Gangaikonda Cholapuram Temple

33. Kalantaka

34. Nataraja
• The sculpture is symbolic of Shiva as the lord of dance and dramatic arts,
• It typically shows Shiva dancing in one of the Natya Shastra poses,
Iconography
• Holding fire in his left back hand,
• The front hand in gajahasta (elephant hand) or dandahasta (stick hand) mudra,
• The front right hand with a wrapped snake that is in abhaya (fear not) mudra while pointing
to a Sutra text, and
• The back hand holding a musical instrument, usually a damaru.
• He is surrounded by a ring of flames, standing on a lotus pedestal, lifting his left leg (or in rare
cases, the right leg) and balancing / trampling upon a demon shown as a dwarf (Apasmara or
Muyalaka) who symbolizes ignorance.
• The dynamism of the energetic dance is depicted with the whirling hair which spread out in
thin strands as a fan behind his head.
Symbolism
• His body, fingers, ankles, neck, face, head, ear lobes and dress are shown decorated with
symbolic items, which vary with historic period and region.

35. 600-700 CE.
Badami Cave no. 1,
Karnataka
600 CE.
Elephanta Cave,
Maharashtra
600 CE.
Ellora Cave no.21,
Maharashtra
Nataraja

36. https://en.wikipedia.org/wiki/Nataraja From the wall of the Brihadeshwara Temple, Mural

37. Nataraja
Stone, Metal
& Mural

38. Nataraja Harihara

39. It is the fused representation
of Vishnu (Hari) & Shiva (Hara) from
the Indian tradition. Also
knownas Shankaranarayana
("Shankara" is Shiva, and
"Narayana" is Vishnu).
“Vishnu is the heart of Shiva and
likewise Shiva is the heart of
Vishnu”
The Shiva half will have the matted
locks of a yogic master piled high on
his head and sometimes will wear a
tiger skin, reserved for the most
revered ascetics.
Shiva's pale skin may be read as ash-
covered in his role as an ascetic.
The Vishnu half will wear a tall
crown & other jewelry, representing
his responsibility for maintaining
world order. Vishnu's black skin
represents holiness.
Harihara- Combined Image

40. Chandrashekhara
"चन्द्र (candra)", meaning "moon", and "शेखर (śekhara)", meaning "crest" or "crown"
Mythology- Daksha many daughters among twenty seven stars were married to moon. But the
moon had special attraction towards Rohini. So all the other wives complained it to the father.
Daksha got angry and cursed the moon to lose its luminance (kala) day by day. Everyday the moon
started loosing one luminance part (kala) out of his 16 parts. Afraid and ashamed moon
disappeared into the ocean. There are many herbs that require the light of the moon to grow.
Without moon, they were harmed. Consequently there was suffering in the world. To end the
problem the celestials advised moon to take refuge in the Great Divine, Lord shiva. Left with only
one kala, he took refuge in Lord Shiva. Being the graceful Almighty, He wore the moon crescent
on His head, making him grow for 15 days and decay for 15 days periodically.
The Tantric text Saradatilaka Tantra produces the iconographic features of Chandrasekhara. The
eighteenth patala (chapter) of this text says—“One should eternally meditate Maheswara, who is
of white colour just like the mountain of silver. The god bears moon on his head. The icon of the
divinity holds an axe and buck by his upper right and left hands respectively, while the varada
mudra and abhaya mudra by the lower two hands. The five faced propitious god sits on a white
lotus and wears tiger’s skin. Each face of the god has three eyes.
Bengal’s renowned museums, like the Indian Museum, Kolkata, the Asutosh Museum of Indian
Art, Bangladesh National Museum in Dhaka, Varendra Research Museum in Rajsahi, Bangladesh
have the evidences of Chandrasekhara image.

41. Ardha-narishwara
Gangaikonda Cholapuram Tamil Nadu Elephanta, Maharashtra
https://www.jstor.org/stable/4129920?seq=1
Art Institute, Chicago Museum

42. Ardhanarishwara- Combined Image
• The right half of the deity being Siva and the left
half devoted to Parvati or Sakti.
• Three words: ardha, nari, and isvara.
• These are recognized to mean “isvara (i.e., Siva)
with the nari (i.e., Parvati) and his ardha (i.e.,
half)”.
• The half male and half female aspects of duality
have also been found in Egypt and Greek myths.
• From a philosophical perspective,
Ardhanarisvara is the idea that male and female
concepts are entangled and forever bound
together in cosmic union.
• It is believed that this image came into being as
a symbol of a “Supreme Being” that is capable of
doing all things singly.
Airavatesvara temple, Darasuram, Tamil Naduhttp://www.mahavidya.ca/2015/06/17/ardhanarisvara/

43. Ardhanarishwara
• The Ardhanarisvara form of Siva resembles two essentially
contrasting cosmic forces, named prakrti and purusa.
• The duality of male and female principles is the concept of
Father heaven and Mother earth.
• In some works Siva is exemplifies the extreme of austerities
and Parvati symbolizes a more extravagant or lavish lifestyle.
Their marriage is seen to symbolize stability and unity through
merging these two urges of humanity and all other living
beings.
• Ardhanarisvara is a saumya and santa (peaceful) aspect of Siva.
• In the right ear is an earring in the shape of either a crocodile
(makara-kundala, sarpakundala or any other kundala) often
symbolizing the Supreme.
• The female side earring is called valika and is worn on the left
side.
• Siva’s right leg should be bent and resting on a lotus.

44. • The female left side of Ardhanarisvara includes the head as having
a karanda makuta or dhamilla, which is a braided hairstyle or bun,
sometimes embellished with jewels or other ornaments.
• On the female forehead is half a tilaka mark or dot (bindu) that adjoins with
the half eye on the forehead of Siva (right Ardhanarisvara).
• As mentioned above, the earliest verified image of Ardhanarisvara was
found in Mathura, displayed in the form of a stone sculpture of a torso. It
was dated to the late Kusana period or the early Gupta era and can be
found in the Mathura Museum.
• Ardhanarisvara has been featured on many coins directly dating back to the
Kusana period; one of the very first mentioned is the Coin of Kaniska III.
• The Ardhanarisvara form developed over time, changing from a benign to a
fierce aspect and in the interim the conjugal and erotic aspects also
evolved. The erotic symbolism, often only seen in temples of an erotic
nature, gradually merged with forms of Tantricism. Tantricism is the belief
in a transcendental duality of Siva and Sakti.
Ardhanarishwara
http://www.mahavidya.ca/2015/06/17/ardhanarisvara/

45. GangadharaGangaikondacholapuram
Kailasanatha temple in Kanchipuram, Pallava Pd.
Kailasanatha Temple
Kanchipuram, Pallava Pd.

46. Chola Pd. Rashtrakuta Pd.Gangadhara
Bearer of the Ganga
Depicted wearing the Ganga in his
hair, either as the mermaid who
clings to the crescent moon in his
topknot or as the stream of water
spurting up like a geyser. The
Ganga, therefore, is Siva’s
constant companion, making his
tangled ascetic’s locks her way
station on her perpetual arrival
from heaven to earth.
In agreeing to bear the Ganga,
Siva involved himself in a
relationship rather than a simple
task. So closely is the relationship
of Siva and Ganga that she is
called his and is occasionally
depicted in sculpture approaching
him as a bride. Naturally, as co-
wife and rival, she arouses the
jealousy of Parvati that became a
favourite theme of both poets and
artists.

47. Gangadhara
Lalithambigai Temple
Thirumeeyachur, Thiruvarur
Tamil Nadu

48. Alingana-murti /
Uma-Maheshwara/
Umasahita

49. • Second floor,
• Shiva’s Tripurantaka
• 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.
• Upper storey corridor wall of the aditala is carved with 81 of the 108 dance karanas – postures
of Natya Shastra. This text is the basis of the Bharathanatyam.
• The 27 unrepresented karanas are blank blocks of stone, and it is unclear why these were not
carved (early 1100 CE).
• The Vitankar and Rajaraja I bronze are here.
• With the mandapa are eight small shrines for dikpalas of each direction such
as Agni, Indra, Varuna, Kubera and others installed by Rajendra I.
• The original eight shrines included those for Surya (the sun god), Saptamatrikas (seven
mothers), Ganesha, Kartikeya, Jyeshtha, Chandra (the moon god), Chandeshvara and Bhairava.
• 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.
Rajaraja I (985-1014 CE) : Brihadeshwara Temple, Thanjavur Dist. Tamil Nadu

50. Tripurantaka/
Tripurari
Shiva is depicted with
four arms wielding a
bow & arrow, but
different from the
Pinakapani murti.
He holds an axe and a
deer on the upper pair
of his arms.
In the lower pair of the
arms, he holds a bow &
an arrow respectively.
After destroying
Tripura, Tripurantaka
Shiva smeared his
forehead with three
strokes of Ashes. This
has become a
prominent symbol of
Shiva and is practiced

51. Corners are with Nandi pairs each about 1.98 m.
(6’6”) by 1.68 metres (5’6”) in dimension.
Single square block of
granite weight 80 tons,
and 7.77 m. (25.5’) side

52. 81 of the 108 dance Karanashttp://www.orientalthane.com/archaeology/news_2010_11_08_A.htm
Statue of Rajaraja Chola at the Brihadiswara Temple, Thanjavur

53. Agni
Airavatesvara Temple
The guardian deity of the
southeast direction, and is
typically found in
southeast corners of Indian
temple.
He is shown with one to
three heads, two to four
armed, is typically red-
complexioned or smoky-
grey complexioned
standing next to or riding a
ram, with a characteristic
dramatic halo of flames
leaping upwards from his
crown.
He is shown as a strong
looking man, sometimes
bearded, with a large belly
because he eats everything
offered into his flames,
with golden brown hair,
eyes and mustache to
match the color of fire.

54. Martand Bhairava
Shiva destroys the demons of ego, lust,
greed, fear and vengeance in this form
thus again preserving the world.
Ganesha
Ganesha

55. Varahi is one of the Matrikas, a group of seven mpther
goddesses in the Indian religion. With the head of a wild boar, Varahi
is the shakti of Varaha, the boar avatar of the god Vishnu.
Kartikeya as a warrior with
either one or six heads.
Kartikeya iconography shows him as a
youthful god, dressed as a warrior,
carrying the weapon called Vel / Spear. It
is a divine spear, often called sakti. He is
sometimes depicted with many
weapons including: a sword, a javelin, a
mace, a discus and a bow although more
usually he is depicted wielding
the sakti or spear. His vahana (vehicle,
mount) is a peacock. He has either one
head or six, depending on the region or
artist.

56. Jyeshtha • Jyestha is associated with inauspicious places and sinners.
• She is also associated with sloth, poverty, sorrow, ugliness
and the crow. She is sometimes identified with Alakshmi,
another goddess of misfortune.
• Jyestha is placated by devotees fearful of infant diseases;
in eastern India she is specifically associated with
smallpox.
• Her worship was prescribed for women, who wished to
keep her away from their homes.
Antiquity- As early as 300 BCE.
• Texts that elaborate on the
iconography of Jyestha are:
the Agamas such as
the Amshumadbhedagama,
the Suprabhedagama and
the Purvakarangama;
the Vishnudharmottara Purana
• the Baudhayanagrhyasutra.

57. Jyestha is usually depicted with two arms.
Her nose is long and prominent to the extent that
she is sometimes called elephant-faced. Jyestha is
described as having "large pendulous breasts
descending as far as her navel, with a flabby belly,
thick thighs, raised nose, hanging lower lip, and is
in colour as ink. Her large stomach is described to
support her swollen pendulous breasts. She is
often depicted seated comfortably on a throne
with her feet on the ground. According to textual
descriptions, Jyestha holds a blue or white lotus in
her right hand. A water-pot is held in her left hand
or placed near her throne or placed in the hand
that makes the abhaya mudra- gesture of
protection. Her left hand usually rests on her seat
or on her thigh.
Iconography
Palur (Ancient Paluvur)
Sundaraesvara Temple-
Ariyalur - Tamilnadu

58. Sometimes, Jyestha holds a broom, in her hand. Jyestha wears
different ornaments and a tilaka mark on her forehead, a sign of her
married status. Her hair is usually braided and piled on top of her
head or wound around her head in the hairstyle called vasikabandha.
Jyestha
Jyestha has a banner depicting a crow, and is popularly
called "crow-bannered" (Kakkaikkodiyal) in Tamil. A group
of two attendant goddesses sometimes stand beside her,
usually carrying a crow and a broom. Jyestha is often
depicted with two attendants, sometimes interpreted as
her son and daughter. The man is bull-faced and holds a
rope or cord. The woman is depicted as a beautiful damsel
with a conical crown. Though Jyestha is almost never
depicted astride on a mount, she is described in most
texts as riding a donkey like Alakshmi. In other texts, she is
drawn in a chariot by lions or followed by tigers or astride
a camel or lion.
In common tradition, Jyeshta Devi is considered the elder
sister of Lakshmi Devi. She is also called alakshmI. She is
considered more beautiful while leaving, while Lakshmi
Devi is considered more beautiful while coming.

59. Chandra
• Chandra is described as young and beautiful, two-armed and
carrying a club and a lotus.
• Holding a mace in his hand, riding a chariot with three wheels
and three or more white horses (up to ten).
• Riding on a deer sometime.

60. Chandeshvara
• Chandeshwara is one of the 63 Nayanmars.
Processional bronze images of him generally show him
as a boy, with entwined locks of hair, standing with
his hands in Anjali Mudra & with an axe in the crook of
his arm.
• Seating image too, without Anjali mudra holding staff
on right hand. Left hand placed over the thigh.
• He is considered to be the guardian of the temple
belongings, is that devotees clap their hands to show
that they are leaving the temple empty-handed.
• It is also customary to leave even the sacred ash inside
the temple itself.
• He sits in the relaxed posture of maharaja-lilasana
(royal ease) and projects a noble and serene presence.

61. Stairs &
Mythical
Animal

62. Rajendra Chola (1012- 1044 CE): Gangaikonda Cholapuram Temple, Kumbakonam Dist. Tamil Nadu
• The temple of Gangaikonda Cholapuram follows the plan of the great
temple of Thanjavur,
• It had only one enclosure wall and a gopura while the Thanjavur
temple has two gopuras and enclosures.
• It is larger in plan though not as tall, the vimana being 100 feet square
at the base and 186 feet high.
• The temple, which forms a large
rectangle 340 feet long and 110
feet wide occupies the middle of
an immense walled enclosure
mainly built for defensive
purposes.
• The vimana has the same
construction as in Thanjavur, but
the number of tiers making up
the pyramidal body is only eight
as against 13 in Thanjavur.

63. Gangaikonda Cholapuram Temple, Kumbakonam Dist. Tamil Nadu
The city was founded by Rajendra Chola- I to commemorate his victory over the Pala dynasty. The name means
The town of the chola who took over Ganga (water from Ganga) or who defeated (the kings near) Ganga.

64. The temple is famed for its bronze sculptures, artwork on its walls, the depiction of Nandi & the scale of its tower.

65. Varaha Avatar
of
lord Vishnu

66. Nataraj Dwarapala

67. Vishnu Durga sculpture showing Vaishnavism-Shaktism fusion
and the belief that Durga is Vishnu's sister.
Shiva with Parvati
in abhaya mudra, warrior panels below them.

68. Saraswati -She often seated on a white lotus, which symbolizes
light, knowledge and truth,
Flowers to swan – the colour symbolizing Sattwa Guna or purity,
She is generally shown to have four arms, but sometimes just two.
When shown with four hands, those hands symbolically mirror her
husband Brahma's four heads, representing manas (mind,
sense), buddhi (intellect, reasoning), citta (imagination, creativity),
and ahamkāra (self-consciousness, ego). A pustaka (book or script),
a mālā (rosary, garland), a water pot and a musical instrument (vīnā).
The book she holds symbolizes the Vedas representing the universal,
divine, eternal, and true knowledge as well as all forms of learning. A
Mala of crystals, representing the power of meditation, inner reflection,
and spirituality. A pot of water represents the purifying power to separate
right from wrong, the clean from the unclean, and essence from the
inessential. In some texts, the pot of water is symbolism for Soma-the
drink that liberates and leads to knowledge. The most famous feature on
Saraswati is a musical instrument called a Veena represents all creative
arts and sciences, and her holding it symbolizes expressing knowledge
that creates harmony. Saraswati is also associated with anurāga, the
love for and rhythm of music, which represents all emotions and feelings
expressed in speech or music.

69. Shiva shown garlanding
king Rajednra-I
Chandes-anugraha-murti
Shiva garlanding his devotee is
the most favorite tourist
attraction on the north side of
temple.
There are two theories
associated with this –
One is his pious devotee being
“Chandesa” (One of the 63
Nayanmars) and
another being Rajendra Chola I
himself.

70. Raja Raj Chola II (1146–1173 CE) : Airavateshwara Temple, Darasuram near Thanjavur, Tamil Nadu
This temple has artistic stone pillars and decorations on its walls, in a style bordering on mannerism, with an emphasis on
elongated limbs and polished features.
Best among them are the dark black basalt figures in the temple niches of Dakshinamurti, the image on the southern side of
Shiva in a teaching attitude, and to the west,
Shiva erupting out of the pillar of light to convince Brahma and Vishnu of his superiority.
The front mandapam is in the form of a huge chariot drawn by horses.

71. Elephant on the Sopan & Ratha

73. Sculptures carved on the walls

74. BullandElephantstatue

76. • The wall with a row of sculpted mythical animals
were a unique feature of Chola Art & Architecture.
• The temples of this period is covered with exquisite
well composed sculptures and friezes some
containing comic figures.
• The entire cornice of the temple towers are
embellished with designs of creepers and foliage.
• Two Gopuram in the temples (Brihadeshwara &
Gangaikonda Cholapuram) notices for the first time
in the Mature Phase of the Chola Period.
• Dwarapalas of Chola Period are unique in nature,
• Neckless over the bust of the female,
• The hair, a mass of curls,, resembles a large wig.
• The very early figures look a bit stocky.
Unique
Feature

77. • Hight nose at the height of the Chola art, whereas during first and second phase it was not
high,
• Chola art shows greater movement and rhythmic freedom of action within well-formed
outlines.
• The Cholas differentiate between the representation of gods and human portraits.
• The latter reveal distinctive individuality and character rather than an idealized type as in the
case of gods.
• Decorative details, however, have become more elaborate
Unique
Feature
• Strip running over the breast of the female
deity,
• Robustus and Heavy body,
• Elongated Mukut,
• Cylindrical long Body,
• The human figures appear less abstract

78. • Hard stones of various qualities, like granite etc. went into their construction. A number of
earlier brick and timber structures were renovated in stone.
• The whole temple stands on a bold ornate basement covered all over with inscriptions.
• A prominent molding divides the lower part of the vimana wall into two storeys. Pilasters and
niches containing statues decorate the exterior walls of each storey.
• The famous Chola frescoes, a fine gallery with great artistic merit and iconographic interest,
cover the rest of the walls.
• The upper passage contains a series of a hundred and eight sculptured panels on its inner
walls, all finished with relief sculpture expect the 27.
• Besides sculpture and painting, long and well-inscribed epigraphs provide interesting
information about the history of the temple.
• This is the greatest example of Chola Art, the architectural design takes precedence over lavish
detailed decoration.
• Sculptural ornaments became more ornate and bold advancing from bas-relief to figures
almost in the round.
Unique
Feature

79. Sources-
• https://en.wikipedia.org/wiki/Chola_art_and_architecture
• https://www.sahapedia.org/the-chola-temples
Thank
you