A Trailblazer Monument

South India is  indeed a treasure trove of temple architecture. The Dravida Style is famed far and wide for the sheer grandeur of plan and workmanship. The first major works of that style were initiated by the Pallavas in the 8th. century.
Hindu Temples, say the scholars, originally were simple shrines of wood and compacted earth, while it was the Jainas and Buddhists who thought of cutting into rock faces to make their Viharas. During the Hindu Renaissance period, many of these Viharas were converted into Brahminical temples. Inspired by these durable structures, free standing Rock Cut temples were experimented first by the Pallavas , Mamallapuram being a showpiece of their skill. Transition from rock-cut to regular, Structured Temples ( ie, made of assembled stone parts) was natural and organic progression, especially when regions north of Kanchi, (in Kalinga in particular), the Nagara style of temple building was blossoming in full strength.


Pallava Narasimha Varman II ( aka Rajasimhan) , a visionary and Art enthusiast ,  had a magnificent structured temple built in his capital Kanchi, in the early 8th. Century, a " First" which became a prototype for other ambitious projects, most notably  The Virupaksha in Pattadakal. This is the KAILASANATHAR kovil . Its old Tamil name, Kacchipettu Periya ThiruKattrali meaning, "The Big Stone Shrine of Kanchi " points to the fact that it was an architectural novelty. It is believed that Dravida style temple building activity took off in a big way in the South, only after this Pallava edifice rose up. Design ideas like its broad pyramidal Gopuram, pilastered walls, conical Shikaras are considered the fore runners of the massive multitiered pagodas and prakaras fashioned by the later Pandyas , Chozhas and Nayakas. The perimeter wall enclosing the complex is also a "first". This Sacred Wall or ThiruMathil is fitted with mini shrines or Devakulikas ( about 58 in all) which is a rematrkable architectural feature which has never been replicated in any Tamil Nadu Shrine since then. Though, Pattadakal seems to have been inspired by this wonderful detail. 

This massive building project  envisioned by Rajasimha also received contributions from his pious Queen, Rangapataka and his son, Mahendravarman III . The Western half is named Rajasimheshwaram and the Eastern part is named Mahendravarmeshwaram . The Queen is gratefully remembered in a an inscription. 

Though not immense , its fortress like layout with tightly packed corridors and sculpted niches just overwhelms. Constructed from fragile sandstone blocks and plastered over,  it has withstood the elements fairly well. Reportedly, the entire monument was painted in brilliant natural dyes. What a dreamland that would have been !

Sandstone , by nature, is less durable than granite , but easier to carve . Many parts of the temple show moderate to severe weathering . Some age- worn parts have been sanded , cemented over and white washed by the ASI , which in my opinion, could have done with more feeling for the original design and some traditional artistry.
But , never mind, at least it is being taken care of. Re-plastering was done both in the 19th Century and the 20th Century. 

 Many Inscriptions in the lovely calligraphy of Pallava Grantha can be seen around the outer wall. As one scholar has noted in a talk, though Rajasimha created this magnificent monument as a mark of his piety , an offering to Lord Shiva, he did not exactly shy away from bragging about it too ! Certain passages in the Inscriptions are said to have immodestly boastful epithets he gives himself ! 

The Sculptures :  Pallava sculptors excelled in  creating tall, lithe , athletic figures who were  dynamic and full of verve . In each Koshta, a certain moment of drama is frozen . The attention to detailing is so precise and sharp that the swing of a neck ornament , the flutter of a flying sash , the twist of a hip are all captured faithfully bringing alive the action of live bodies in cold stone ! 

Each Koshta is flanked by leaping Lions , which are not faithful to nature, but rather Mythical , perhaps indicating they are more grand and majestic than ordinary  Lions.  The Kailasanatha Temple dozens ofthese Lions, constantly reminding  the viewer of  the fact that it is an  offering of Raja-Simha !  

The only thing that could not be saved during restoration was the fresco work. Done in vegetable dyes, the paintings which must have once been jewel like, can now be imagined only from the small shreds and scraps that remain in some sheltered niches.

The sculptures, it goes without saying,  are awesome. Not only the multitude of life sized Yaalis, but also the varied mythological forms of Shiva ( around 64) are perfect in form and symmetry. EAch nich is surroundeed by a framework showing attendent semi-divine beings and decorative motifs. The Garbagriha , housing a huge granite lingam cut with longitudinal facets , is open only during the short simple puja conducted once a day by the lone priest. The shrine is Sandhara, meaning, a circumambulatory path is provided around the sanctum. 

A languid Nandi is placed quite a distance away from the entrance of the temple, placidly watching this jewel of ancient art, across a nicely trimmed grass meadow. 

It is a  Protected Monument , under care of ASI. 

No one , with even with a rudimentary interest in Indian art and iconography, can come away unmoved by the magnificence of The Kailasanathar Kovil.

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Post Script:  Rajasimha ruled from 700 CE to 729CE.  In addition to this glorious  trailblazing monument, he also commissioned the building of  The Shore Temple ( and a few others) in Mahabalipuram and the one in Panamalai ( in Arcot District). All of them of superb architecture and artistic merits. 

 One of the best known Pallava Kings, RajaSimha ( NarasimhaVarman II) was an accomplished Dramatist and Poet too , in addition to being an able ruler. But his works, in Sanskrit language,  have not survived, even though it is known that they  were performed as Koodiyattam and Chakyar  Koothu , two very ancient forms of theatre. (These forms are still  kept alive in Kerala.)

Rajasimha  had diplomatic relations with the Court of China ; the Tang Dynasty  had made him a General Of South China , entrusting him with the job of warding off intruders into China . 

Towards the mature phase of his life, he became an acclaimed Saint /Savant , known by the name Kadavarkon Kazharsinghan , and was included in the holy register of 63 Nayanars ( Foremost Devotees of Shiva) for his religiosity and religious endowments . 

His Religiosity also seems to have been of the pompous and fierce kind ! There is a legend that once, when attending a puja in  the Achaleshwaram Shrine of Tiruvaroor , the wife who was accompanying him innocently picked up a flower fallen on the ground and smelt it. Apparently, the flower had slipped from the basketful that had been brought for worship. Enraged by her act of impiety, Rajasimha and another "saint" cut off her nose and arm as punishment ! A bizarre and very disproportionate reaction that doesn't exactly cover "saints" in glory ! But there it is , a legend apparently illustrating  his unsullied devotion to Shiva ! 

 It has been suggested by some scholars that the Queen could have been a Jain , possibly Rashtrakuta Amoghavarsha's daughter Sangha, whom Rajasimha had married for political reasons. A Jain princess may not have known what she did was wrong. Which makes the King's action seem doubly cruel. 

But he probably had his comeuppance for his egotism . Another famous legend of Lord Shiva preferring to grace the opening ceremony of a penniless  saint's  mind-built imaginary temple , ignoring the opulent stone Temple built by the  proud King ,  popularly names the King as  this Rajasimha and the indigent Saint as Poosalar. 

Quite a colourful character, indeed !