Kanchi Kailasanatha Temple – Part 3

Understanding the Layout of a Pallava Masterpiece

In the first article of this series, I introduced the greatness of the Kailasanatha Temple and explained why a single visit is not enough to appreciate it. In the second article, we travelled through the history of the Pallavas and saw how centuries of experimentation in temple architecture ultimately culminated in this masterpiece of Rajasimha.

Before we begin examining the sculptures, inscriptions, paintings and architectural details individually, it is important to understand the overall layout of the temple. After all, the Kailasanatha Temple is not merely a collection of structures. It is a carefully conceived architectural composition where every shrine, passage, mandapa and enclosure has a purpose.

The complex is spread across nearly 2 acres. Yet, the core structure of the temple occupies only about 0.4 acre.

Words fall short in describing the beauty of this extraordinary temple. No wonder the builder Rajasimha called himself Atyantakama (the Man of Infinite Desires) and Kalasamudra (the Ocean of Arts).

Whenever I see this temple, I feel humbled that I am not intelligent enough to fully understand it. Whenever I write or speak about this temple, I am doubly humbled that I am unable to express everything that it has to offer.

When the entire world stands amazed before the Big Temple of Thanjavur, it is worth remembering that the builder of that great monument, the mighty Rajaraja Chola himself, stood amazed before the Kailasanatha Temple. It is widely believed that this temple inspired him in the construction of the Brihadisvara Temple.

What we call the Kailasanatha Temple today was originally known as Rajasimheswaram. The temple complex can broadly be divided into Rajasimheswaram, the main temple; two mandapas; Mahendravarmeswara Griham, the smaller temple in front; the Devakulikas surrounding Rajasimheswaram and a few on either side of the Dwarasala; and finally, the gigantic Nandi.

The east-facing temple has Rajasimheswaram at its core. It houses the presiding deity, the majestic Kailasanatha.

One of the most remarkable features of the temple is the Sandharam, an inner circumambulatory corridor around the sanctum. This is regarded as the earliest known example of such an arrangement in a Tamil Dravida temple. The narrow passage allows devotees to circumambulate the sanctum from within the structure itself.

Surrounding the sanctum are the Khanda Haarmyam, also known as Angalayams. These consist of nine shrines, six facing east and three facing west, attached to the outer walls of the sanctum. Each contains magnificent sculptures depicting various forms of Shiva.

Besides these Angalayams, the exterior walls of the sanctum are filled with both large and miniature sculptural panels, making every side of the temple a visual feast.

The Maha Mandapam of the Pallava period originally had openings on all four sides. During the Chola period, however, an intermediate mandapa was added between the sanctum and the Maha Mandapam. Today, access to the sanctum is through this later mandapa from the southern side.

The Devakulikas form a garland of miniature shrines around the temple. Each is a complete temple in miniature, following the traditional Shadvarga architectural format.

The eastern and western corridors predominantly feature Somaskanda panels. The southern corridor contains Samhara Murti forms, while the northern corridor is known for its Anugraha Murti representations.

There are six Devakulikas on the eastern prakara, eight on the western prakara, twenty-two on the southern prakara and twenty-two on the northern prakara, bringing the total to fifty-eight Devakulikas. Between every pair of Devakulikas are beautifully executed structural panels.

Further east stands the comparatively smaller Mahendravarmeswara Griham, built by Mahendravarman III, the son of Rajasimha. Both the outer walls of the shrine and the inner walls of the temple contain numerous sculptural panels. Two subsidiary shrines are also associated with this structure.

Outside stands the east-facing Dwarasala, regarded as the precursor to the later development of gopurams in Tamil Dravidian temple architecture. The Eastern Dwarasala is considered the oldest surviving entrance structure of its kind among the temples of Kanchipuram.

To the south of the Dwarasala are two Devakulikas, while six Devakulikas are located to its north.

Interestingly, Dwarasalas adorn all four directions of the temple complex. Together they are known as Sarvatobhadra, though only three of them contain sculptural representations.

Surrounding the complex is the Prakara Madil, the enclosure wall punctuated at intervals by rampant lions or yalis, one of the most distinctive features of Pallava architecture.

Another noteworthy feature is the Gomukha, an outlet through which the abhisheka water from the sanctum drains into a stone tank.

Far in the distance sits the gigantic Nandi, facing the temple. It is surrounded by pillars, suggesting that a mandapa may once have existed around it.

To the true right of the Nandi lies a water body.

To the true left of the main temple, several sculptures discovered in and around Kanchipuram have been preserved and displayed.

This, in short, is the layout of the Kailasanatha Temple. While it may appear straightforward on paper, every structure, every shrine and every passage has a story to tell. In the coming articles, we shall explore them one by one. 

Happy travelling.

You can read my previous articles of the series:

Part 1 - Introduction

Part 2 - The Pallavas and the Evolution of Temple Architecture