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Tank, Temple and Town Policy - Construction of Water Tanks (Water Conservation Structures) Resulting in Prosperity of Towns

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Tank, Temple and Town Policy - Construction of Water Tanks (Water Conservation Structures) Resulting in Prosperity of Towns Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Dr. Ravi Korisettar, UGC Emeritus Fellow Karnatak University, Dharwad. Onkar Tendulkar Virasat E Hind Foundation. Bombay. Dr. Ravi Korisettar Karnatak University, Dharwad. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Art and Architecture of India Module Name/Title Art and Architecture under Kakatiya dynasty Module Id IC / AAI / 01 Pre requisites Understanding the evolution and salient features of Objectives Kakatiya Dynasty art and architecture Dravida School of temple architecture, Warangal, Keywords Ramappa temple, Hanamkonda, Telangana E-text (Quadrant-I) : 1. Introduction Kakatiyas- an indigenous Telugu dynasty ruled over the Andhradesa consisting of modern states of Telangana and Andhra Pradesh from 10th century AD to the first quarter of 14th century AD. The name ‘Kakatiya’ is derived from goddess Kakati- a mother goddess Durga, venerated by the dynasty. Gunadya Rashtrakuta was the first known personality of the Kakatiya clan. He was the commander of the Rashtrakuta Krishna II who died in the battlefield while fighting with the Eastern Chalukyas. King Krishna II, very pleased with Gundaya’s loyal service towards him, rewarded Ereya, Gunadya’s son with the governorship of the Korivi region. Kakatiyas were the feudatories of Rashtrakuta kings upto 10th century AD after which they were overthrown by the Kalyana Chalukyas. Kakatiyas then became the feudatories or samanthas of Kalyana Chalukyans. The Kakatiya rulers Beta I (AD 996–1051), Prola I (AD 1052–1076), Beta II (AD 1076–1108), Durgaraja (AD 1108–1116) and Prola II (AD 1116– 1157) served the Kalyana Chalukyas until the collapse of Chalukya empire during Tailapa III’s reign. The then Kakatiya ruler, Rudradeva- Prolla II’s son, declared independence in AD 1158 and became the founder of the sovereign Kakatiya dynasty. Rudradeva was succeeded by his brother Mahadeva who ruled from AD 1195 to D 1199. During the war with Yadavas of Devagiri, Mahadeva lost his life while his son Ganapati Deva was taken as a prisoner. Luckily, Ganapati Deva was released by the Yadavas and he soon ascended the Kakatiya throne in AD 1199. Ganapati Deva ruled until AD 1262 after which his daughter Rudrama Devi assumed the throne until her death in the battlefield in AD 1289. Rudrama’s grandson Prataparudra Deva was the last of the Kakatiya rulers who ruled until 1323 AD. 2 2. Architecture: Though the Kakatiyas were influenced by the Chalukya architectural style they added their distinctive features to it. However, an uncanny resemblance can be observed between the architecture of the Kakatiyas and Hoysalas- who were contemporaries of Kakatiyas ruling the neighbouring Kannada speaking region. The architectural legacy of the Kalyana Chalukyas was developed further by both the dynasties simultaneously adding to it their own flavour ∙ Keerthi toranas are a distinct style for the gateways to temple complexes, unique only to the Kakatiyas. These toranas of magnificent proportions stand testimony to the highly evolved aesthetics of the Kakatiya temples. ∙ Trikutalayas- conjoined three temples with three separate shrines and antaralas with a common mandapa. A feature carried forward from the Chalukyas. Rarely, Panchakuta shrines were constructed by the Kakatiyas. ∙ Tank, Temple and Town policy - Construction of water tanks (water conservation structures) resulting in prosperity of towns. Kakatiyas believed that towns flourished with temples and tanks constructed next to each other. ∙ Adoption of both the North Indian Bhumija style as well as Dravidian style of temple architecture. ∙ Mini shrines on the exterior of a temple with extended base and eaves topped by towered pediments. ∙ Star shaped high plinths for temples. ∙ Lathe turned pillars. ∙ Pillars consist of three sections- square, octagonal and circular parts. ∙ Perforated screens at the entrance of garbhagriha. ∙ Eaves running all around the circumference of the temple and not just the ardhamandapa. ∙ Simple pyramidal vimanas in stepped pattern. ∙ Monolithic elephants at the entrance of the temples. ∙ Subjects of the temple exterior sculptures ranging from dancing postures, sages, various deities, floral motifs, rows of elephants. Sculptures in the temple interior include mythological stories (not only limiting to Saivism even though Kakatiyas were 3 Shaivites and in most cases stuck to constructing temples dedicated to Shiva) and trick sculptures; especially that of a row of dancers showing a set of legs lesser than the number of dancers can be found in most Kakatiya temples. ∙ Earthquake resistant ‘Sandbox technology’ for foundation. It basically consisted of at least 3 m deep foundation pit filled with sand mixture with addition of powder mixture of granite, jaggery, Terminalia Chebula (Hirada fruit) to make it further strong. In event of an earthquake, the earthquake vibrations were absorbed by this sandbox cushion and lost their strength. 3. Materials: Kakatiyas used locally available granite and sandstone for the main structure, black granite especially for pillars, jambs, lintel beams, motifs and carvings. Temple vimanas were however constructed from lightweight bricks. While the sculptures are done in dolerite and granite stones, decorative brackets are carved out of black basalt stone. 4. Architectural Masterpieces of Kakatiyas: 4.1 Rudradeva Temple (Thousand Pillared Temple), Hanamakonda: Rudradeva Temple- one of the earliest and finest examples of Kakatiya architectural style, is located in Hanamakonda- the first capital of Kakatiyas before it was changed to Orugallu (Warangal). Its construction was started by King Rudradeva in 1163 AD. The temple was built soon after the Kakatiyas declared independence yet its architecture shows heavy Chalukyan influence in its design. Set on a star shaped plinth of approximately 1 m height, the temple is built in Trikutalayam style with shrines dedicated to Shiva, Vishnu, Suryadeva with a common mandapa. A 2 m tall monolithic black basalt Nandi sits in front of the temple and adorns garlands and ornaments carved from single stone. Just behind the Nandi is a pillared sabhamandapa, the pillars of which were the reason this temple came to be popularly called as the thousand pillared temple. Exterior of the main temple structure is adorned with alternate niches and pilasters. Its external walls have mini shrines with extended base and eaves topped by towered pediments. Junction of the walls i.e the corner where walls turn 90 degrees, have been given special attention and are decorated with a wide band of decoration at the centre with a projecting row of flowers. Below this are images of Vishnu on both corners of the wall beneath which is a set of three horizontal mouldings interrupted by a framed image. Under this is a continuous row of rudrakshas separating two deep horizontal recesses. Exterior of the Mandapa is done in similar fashion. Temple’s interior exhibits typical Kakatiya features like lathe turned pillars, perforated jalis, floral motifs, Kirtimukhas etc. This temple complex also has a step -well constructed for ablution before entering the temple. Most of this glorious piece of Kakatiya architecture was however destroyed by Tughlaq dynasty during their invasion of the Kakatiya territories. 4.2 Warangal Fort- Swayambu Temple and Keerthi Toranas, Warangal: In early 13th century, Ganapatideva moved his capital from Hanamakonda to the new city- Orugullu (Warangal). Orugallu was laid out in a circular plan with three concentric rings of 4 walls. The first ring constitutes Fort and has high walls made of massive granite blocks without mortar. Inner faces of the walls have steps to climb to the top of the wall. At the centre of the Warangal Fort is an open air archaeological zone containing the excavated ruins of a Swayambhu Shiva Temple, demolished by the invading armies from Tughlaqs. These ruins are of granite pillars, ceiling panels, brackets, beams and other parts of the said temple and its subsidiary shrines. Main attraction of the fort and temple complex however is ‘Kirthi Toranas’- the free-standing portals acting as decorative gateways to the Swayambhu temple complex. Each such torana has four pillars surmounted by miniature vimanas. Between them is a lintel beam with five inverted lotus buds coming out from the mouth of elongated makaras with elaborate tail designs. Below this is a row of nine rudrakshas and below them are seven inverted lotus buds. This lintel beam projects beyond the second column on either side with carved hamsas standing on platforms held up by dwarfs. The projection is supported by a curved bracket on which stands a yali. The non-religious theme of these could be a probable reason why they were spared by the Muslim army. These gates in Warangal Fort are said to be inspired from the gateways of the Sanchi stupa. Most notable ruins of the temple found in the Warangal Fort complex are: ∙ Mandapa pillars and a sanctuary entrance frame with intricately carved capital and Shaiva dwarpalaka. ∙ A triangular part of a ceiling panel showing musicians, warriors and attendants around a Mahishasuramardini image. Below this is a frieze with a continuous row of yalis. ∙ Arrangement of various temple members and Linga shrine shown guarded by slabs with dwarpalakas carved in relief. They have four hands with a conical mukuta on their head and are shown holding trishul and damaru flanked by dwarf images of attendants. The linga is placed on a platform whose moulded base has designs of swans, yalis and lotuses. The shrine is sheltered by a block that is supported by hefty pillars. ∙ Ganesha temple, assembled by placing various ruined parts, is located near the Shiva shrine. Further right is a massive broken ceiling panel containing a kirthimukha- monster mask, framed by foliage and creeper designs. ∙ An entrance frame to garbhagriha is seen with perforated screens and alternate designs of swans. The perforated jali is flanked by vertical creeper designs. Next to it is an intricately carved pilaster with a Krishna and his attendants standing under a mini torana.
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