NOMINATION DOSSIER RUDRESHWARA (RAMAPPA) TEMPLE AT PALAMPETAT (JAYASHANKAR BHUPALPALLY DISTRICT), THE GLORIOUS KAKATIYA TEMPLESANDGATEWAYS AS WORLD HERITAGE SITE ARCHAEOLOGICAL SURVEY OFINDIA BY UNESCO -World Heritage Convention UNDER CULTURAL CATEGORY TELANGANA STATE, INDIA Nomination Dossier

for inscription of

THE GLORIOUS KAKATIYA TEMPLES AND GATEWAYS RUDRESHWARA (RAMAPPA) TEMPLE

AT PALAMPET (Jayashankar Bhupalpally District), TELANGANA STATE, INDIA AS WORLD HERITAGE SITE UNDER CULTURAL CATEGORY BY UNESCO - World Heritage Convention

ARCHAEOLOGICAL SURVEY OF INDIA 2017 Prepared by Team of GSV Suryanarayana Murthy, Conservation Architect

Coordination Prof M.Pandu Ranga Rao, Kakatiya Heritage Trust, Warangal

Cover Design, Inner Design Visual Quest India Pvt. Ltd

Printing Sri Balaji Graphics

NOMINATION DOSSIER- for inscription of The Glorious Kakatiya Temples and Gateways Rudreshwara (Ramappa) Temple- at Palampet (Jayashankar Bhupalpally District), Telangana State, India as World Heritage Site

Cover Front: Huntress Madanika of the Bracket fi gure and Vimana Rear: Sivatandava pose on Ceiling in Dolerite

Hyderabad, Telangana State, India January- 2017 Edited and redrafted in November 2017

Directorate of Archaeology and Museums Department ( Under Ministry of Youth Advancement, Tourism and Culture), Government of Telangana Opposite to Lepakshi Handicrafts Emporium, Gunfoundry, Abids, Hyderabad – 500 001, Telangana State, India Off: + 91-40-23234942 | Fax: +91-40-23234942 E-mail: [email protected] RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 3 RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 5 CONTENTS

5 | Protection and Management of the Property 138 List of Images 8 5.a. Ownership 139 List of Maps 10 5.b. Protective designation 139 List of Illustrations/ Drawings 10 5.c. Means of implementing protective measures 139 5.d. Existing plans related to municipality and region in which the proposed Acronyms and Abbreviations 11 property is located 140 5.e. Property management plan or other management system 140 5.f. Source and levels of fi nance 142 Executive Summary 12 5.g. Sources of expertise and training in conservation and management techniques 142 5.h. Visitor facilities and infrastructure 142 Nomination Dossier 21 5.i. Policies and programmes related to the presentation and promotion of the property 144 5.j. Staffi ng level and expertise 144

1 | Identifi cation of the Property 22 6 | Monitoring 146 1.a Country 24 6.a. Key indicators for measuring state of conservation 148 1.b State, Province or Region 24 6.b. Administrative arrangements for monitoring property 148 1.c. Name of Property 25 6.c. Results of previous reporting exercises 148 1.d.Geographical coordinates to the nearest second 25 1.e. Maps and plans, showing the boundaries of the nominated property and Buff er zone 27 7 | Documentation 154 1.f. Area of Nominated property and Proposed Buff er zone 29 7.a. Photographs and audiovisual image inventory and authorization form 155 7.b. Texts related to protective designation, copies of property management 2 | Description 30 plans or documented management systems and extracts of other plans 2.a. Description of Property 32 relevant to the property 159 2.b. History and Development 107 7.c. Form and data of most recent records or inventory of property 159 7.d. Address where inventory, records and archives are held 159 3 | Justifi cation for inscription 120 7.e. Bibliography 159

3.1.a. Brief Synthesis 122 8 | Contact Information of responsible authorities 162 3.1.b. Criteria under which inscription is proposed 122 3.1.c. Statement of Integrity 123 8.a. Contact information of responsible authorities 163 3.1.d. Statement of Authenticity 125 8.b. Preparer 163 3.1.e. Protection and anagement requirements 125 8.c. Offi cial Local Institution/ Agency 163 3.2. Comparative analysis 126 8.d. Other local Institutions 163 3.3. Proposed statement of Outstanding Universal Value 129 9 | Signature on behalf of the State Party 165 4 | State of conservation and factors aff ecting the Property 130 4.a. Present state of conservation 131 Annexure I 168 4.b.Factors aff ecting the property 136 Annexure II 174 (i) Development Pressures 136 Glossary 194 (ii) Environmental Pressures 136 (iii) Natural disasters and risk preparedness 136 Acknowledgement 198 (iv) Responsible visitation at World Heritage Sites 136 (v) Number of inhabitants within the property and the Buff er zone 137 Annexure III - Maps, Drawings and Illustration

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 7 LIST OF IMAGES

Image no. Title 2.26 Changing expressions of Elephants carved 2.54 Details of the Kudyasthamba on the 4.2 Rudreshwara Temple -as seen in 2015 on the vedika doorjamb of Garbhagriha 2.1 The natural setting of Rudeshwara Temple 4.3 Natyanmandapa sthamba in 1914 blended with serenity of lake, hill and 2.27 Pilasters of Vimana on the padavarga 2.55 Tiers of the Bharasila with scrolls of 4.4 Natyanmandapa sthamba in 2015 fields 2.28 Three dimensional sculptures of the Puranic stories 5.1 Vehicle Parking 2.2 Aerial view of Rudreshwara Temple. Madanikas arranged in pairs 2.56 Tripurasura Samhara panel at the bottom 5.2 Harita cottages at the foot of Varala Gutta 2.3 Southern view of Kateswara Temple 2.29 Natraki in High heels of the beam above the Natya Mandapa 5.3 Harita Restaurant at the Ramappa 2.4 Pakashala 2.30 Nagini 2.57 Gajasura Samhara panel at the bottom of the beam above the Natya Mandapa Cheruvu bund 2.5 Nandi rests on the upapitha of the 2.31 Rati 5.4 Boating at Ramappa Cheruvu mandapa 2.58 Gouri Kalyana panel at the bottom of the 2.32 Gayani in tribhanga pose beam above the Natya Mandapa 6.1 Kameshwara Temple undergoing 2.6 Inscription of Recharla Rudra in the 2.33 Mardala conservation as seen in 2012 temple premises 2.59 Siva in the tandav pose 2.34 Abhinaya Nartaki 6.2 Change in color of sandstone 2.7 Vimana of Rudreshwara Temple 2.60 Andhakasura Samhara scene on the 2.35 Nartaki Konavattam of the Natya Mandapa ceiling 6.3 Change in color of Dolerite 2.8 Light weight porous bricks used in the Vimana(Shikara) 2.36 Nartaki in tribhanga pose 2.61 Nandi– the vehicle of Siva 2.9 Floating brick of Ramappa Temple 2.37 Abhinaya Nartaki 2.62 Cavity wall of the Prakara wall adorned in the shikara 2.38 Dancer imitating Abhinaya Nartaki 2.63 The parts of stone used in the making of the wall are connected using iron dowels 2.10 Polished Dolerite Stone withlustrous finish 2.39 Jayassi Nartaki 2.64 Exterior of Gollagudi Temple 2.11 Sculptures of Surya and Gaja Vyala 2.40 Huntress Madanika 2.65 Fallen column at Siva Temple 2.12 Granite used in making the ceiling of the 2.40 Nartaki in vyatyasthapada pose Sabha mandapa 2.66 Vana Gutta (Ramappa Reserve Forest) 2.41 dancer in vyatyasthapada pose 2.13 Vimana of the temple converges to the 2.67 Agriculture fields of mirchi (Red chillies) skies 2.42 Gaja and vyala are very precisely connected to form the brackets 2.68 Tirthankara friezes on the padavarga 2.14 Brahmakanta Sthambas of the Natya 2.69 Musicians and Dancers in vyatyasthapada Mandapa 2.43 Bands on Kapota exactly offset the exterior wall pose 2.15 Miniature cells placed on the Kakshasana 2.44 Mahanasika on the Vimana of 3.1 Finess in scuplting of Dolerite 2.16 Natya Mandapa, the platform for Rudreshwara Temple 3.2 Natya Mandapa conceived to be a performance 2.45 Churning of milk ocean depicted on the performance space 2.17 Ardhamandapa, the entry to the Sanctum Madhyabhaga of the Natya Mandapa 3.3 Ghanpur temples Sanctorum sthamba 3.4 Nandi Mandapa at Dodda Basappa Temple 2.18 Linga 2.46 Rows of lotus bands, hamsas and beads Dambal 2.19 Chisels of the Adhisthana on the capital of the pillar 3.5 Kadalikakarana at Mahadeva Temple ,Ittagi 2.20 Elephants band sculpted on the 2.47 Bands of chains of varying types in the 3.6 Architrave at Mahadeva Temple,Ittagi Adhisthana metallic finish 3.7 Angkor Bayon Temple 2.21 Pradakshinapatha-North East view 2.48 A fine needle inserted though the intricate carvings 3.8 Apsaras at Halebidu Temple 2.22 Three tiered devakosthas with a Garbhagriha and Antarala along the path 2.49 Dancers in Antarala of Rudreshwara 3.9 Gaja-Kesari Sculptures at Srirangam of circumambulation (Ramappa) Temple Temple 2.23 Cantilever rock portico supported by 2.50 Creeper scroll acts as a perforated wall 3.10 Dance Sculptures at Angkor Bayon Temple allowing light to the Garbhagriha bracket figures and Gajavyala brackets 3.11 Musical Pillars at Vittala Temple, Hampi 2.51 Apasmarapurusa on the lintel of 2.24 Doorjamb of antarala carved out of 3.12 Khajuraho Group of Monuments Dolerite Ardhamandapa dwara 3.13 Group of Monumnets at Pattadakal 2.25 Exterior composition of sculptures 2.52 Detail of the characters on the lintel scroll 3.14 Temple at Sambor Prei Kuk 2.53 Figure of Dwarapalikas with the musical pillar 4.1 Rudreshwara Temple -as seen in 1914

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 9 LIST OF MAPS LIST OF TABLES

Map no. Title Table Title No. 1.1 Rudreshwara(Ramappa) Temple, India location on world Map 3.1 Comparison of Ramappa temple with other Kakatiya Temples and WHS 1.2 Telangana State, India 5.1 Existing plans related to municipality and region in which the proposed property is located. 1.3 Rudreshwara (Ramappa) Temple, Jayashankar Bhupalpally district, Telangana State 5.2 Annual Budget of ASI for the preservation and maintenance of Rudeswara Temple complex. 1.4 Topography Map of the nominated property and surroundings 6.1 Key Indicators for measuring state of conservation 1.5 Core zone Map of the nominated property 7.1 Photographs and audio-visual image inventory and authorization form 1.6 Core & Buffer zone Map of the nominated property 2.1 Topography Map of The Rudreswara Temple and its surroundings. 2.2 Core & Buffer zone Map of the nominated property ACCRONYMS AND ABBREVATIONS 2.3 Rudreshwara Temple and its surroundings 2.4 The Spread of Chalukyas ASI Archaeological Survey of India 2.5 The Chalukyas split mainly in Hoysala, Kakatiyas and Yadavas DAM Directorate of Archaeology and Museums 2.6 Expansion of Bahamani and Vijayanagara Kingdoms IAP-Warangal Inscriptions of Andhra Pradesh- Warangal District ICOMOS International Council on Monuments and Sites INTACH Indian National Trust for Art and Cultural Heritage LIST OF ILLUSTRATIONS KHT Kakatiya Heritage Trust Illustration Title NIT, Warangal National Institute of Technology, Warangal No. NGO Non- governmental Organization 2.1 West side elevation of Kameshwara Temple as seen in 2011 OUV Outstanding Universal Value 2.2 Ground Plan of Rudreshwara Temple SoI Survey of India 2.3 Spatial composition in Rudreshwara Temple TSTDC Telangana State Tourism Development Corporation 2.4 Diminishing layers of the vimana UNESCO United Nations Educational, Scientific and Cultural Organization 2.5 Composition of a Kakatiya pillar WHS World Heritage Sites 2.6 Antarala Dwara is richly carved 2.7 Cross-section of the Sabhamandapa- Sand-box technology used in the foundation 2.8 The madhyabhaga and tala components of the pillar are connected by interlocking the stones and without using any mortar 2.9 Iron dowels inserted between the horizontal beam components adding additional strength to the structure 2.10 Components of the ceiling placed in the kadalikakarana method of construction 2.11 Elevation of Siva Temple 4.1 Restoration Plan of Prakara wall 4.2 Plan of Kameswara Temple prepared for removal of stones

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 11 EXECUTIVE SUMMARY

State Party : India EXECUTIVE State, Province or Region : Telangana State, Jayashankar Bhupalpally District Telangana State, as a geographical and political entity was born on 2nd June , 2014 as the 29th and the youngest state in Union of India. The state SUMMARY of Telangana is carved out of the state of Andhra Pradesh, based on its distinct geographical and cultural identity.

Name of the Property : The Glorious Kakatiya Temples and Gateways Rudreshwara (Ramappa) Temple at Palampet (Jayashankar Bhupalpally District), Telangana State, India

Geographical coordinates to the nearest second: Latitude : N 18˚ 15’ 32.88” Longitude : E 79˚ 56’ 35.54”

Textual description of the boundary(ies) of the nominated property: The property of Archaeological Survey of India (ASI), Rudreshwara Temple Complex as demarcated is the core zone of the property. The complex is being maintained with a landscaped garden and visitor facilities at the rear side of the ancient temple complex boundaries. The buffer zone of Rudreshwara Temple consists of the Prohibited and regulated zone as demarcated by the ASI under the AMASR Act, 2010. The buffer zone is therefore marked to be 300 meters from the core zone boundary. The buffer zone is a natural setting consisting of the agricultural fi elds of Palampet village, part of Ramappa reserve forest and voger channel.

A4 or A3 size map(s) of the nominated property, showing boundries and buffer zone (if present) A4 size Maps: a. Map of Core zone (page no.14) b. Map of Core and Buffer zone (page no.15)

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India 13 Aerial view of Redreshwara (Ramappa) temple Executive Summary MAP OF CORE AND BUFFER ZONE

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 15 Criteria under which property is nominated Criteria (iii) Criteria (i) Bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which Represent a masterpiece of human creative genius is living or which has disappeared Rudreshwara (Ramappa) Temple is a master piece of Kakatiyan style of Temple architecture Rudreshwara Temple is a best surviving example of Kakatiyan tradition of art, architecture with the use of engineering innovation by creating fl oating bricks, sand-box foundations, and technology, even after the onslaught on various other temples of Kakatiyan era. The material selection knowledge and ingenuity in stone sculpting as technological ensemble. temple is an outstanding example of temple architecture evolution illustrating a phase of The sculptural and form modifi cation, evolution of temple art, sculpture and use of development in the science, technology, and art of temple building and construction in technology in material selection and making as displayed in Rudreshwara Temple at Deccan India. The temple stands as a testimony demonstrating an elaborate materialization Palampet,Keerthi Thoranas at Warangal, Temple of Thousand Pillars at Hanumakonda are of the regional dance customs and Puranic texts. master pieces of human creativity. Criteria (ii) Exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design. Rudreshwara Temple displays an important interchange of human values over a span of about 180 years i.e. from 12th to 14th century CE. in the Telugu language speaking region of the Deccan India by the Kakatiyas on development of sand-box technology for geo- structural strength, manufacturing of light weight bricks, evolving improved technology from the Kalyana Chalukyas. The interchange of human values is also displayed in the later traditions of Vijayanagara, due to the strong evolved knowledge system of Kakatiyas. The Chalukyan values were carried over to Kakatiyan in the sculpture making and temple form. This indigenously developed method, treatment of divine, human, animal, fl oral and Sand-box Technology used at the foundation of Rudreshwara Temple geometric designs in most appealing proportions, creation of three dimensional fi gures, in an immaculate way using tiny tools and implements is a contribution for the human kind Draft Statement of Outstanding universally. This also led to unique architectural style of the region identifi able as Kakatiyan Universal Value style distinctive to the region of Telangana. a. Brief Synthesis intact even after 800 years of construction. The Great Living Rudreshwara Temple, These sculptures express movement type popularly known as Ramappa Temple of dynamism in form; either human or at Palampet, Warangal stands as a lone animal appears static or sedentary. Every testimony to the highest level of creative, form conveys active movement. artistic and engineering talents evolving The Kakatiyas have evolved from the and involving various experimentations in Chalukyas of Kalyana and had left behind expressive art forms of Kakatiya period. the knowledge and values for the future This is the crest jewel of Kakatiya art era of Vijayanagara. The development in tradition, the fl avor and infl uence of which the construction of the temple as a plan can be gleaned even through the sculptures form, art form and technical form from the of Hoysala and Chalukya. Chalukyan form of construction in forming The thoughtful selection of the materials a more superior style of temple architecture and use ranging from inventing light is best resembled in the built form of porous fl oating bricks to reduce the load Rudreshwara Temple. The site stands as on the foundations to the making of fi ne a testimony of fl ourishing agriculture sculptures on the hard dolerite stone, on the based settlement on a land devoid of any basis of its strength and availability is visible. perennial water source by the Kakatiyan The technology used in the construction Empire in the 12th century. of the temple has established a scientifi c The proposed site is a unique cultural research base in the present century. They representative of the Golden era of understood the need for utilizing sand as a Telugu language speaking people under material for the foundations. the umbrella of Kakatiyan Empire. The The sculptures of the Rudreshwara Temple temple is an outstanding example of especially its bracket fi gures are one of a temple architecture evolution illustrating kind sculptures carved out on the dolerite a phase of development in the science, giving it a metal like fi nish with its luster technology, and art of temple building and

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India 17 Exterior of the Sabhamandapa adorned with bracket figures Nomination Dossier construction in Deccan India. The temple Chalukyas (8th Century AD) and later earthquake resistant structures using sand- the knowledge of art and architecture th stands as a testimony demonstrating an from their ascenders. The adapting of the continued to Vijayanagara (14 century box technology and other traditional elaborate materialization of the regional Chalukya style of architecture in creating a AD). Rudreshwara Temple is a best methods; the geo- technical knowledge in dance customs and Puranic texts. new style of architecture called the Kakatiya surviving example of Kakatiyan tradition of the careful selection of materials and use style of architecture can be very well seen art, architecture and technology, even after ranging from the hypabyssal dolerite stone Justifi cation for Criteria the onslaught on various other temples to the invention of light weight porous b. in the form and design of the Rudreshwara th Temple. of Kakatiyan era. The establishment and fl oating bricks in the 13 century and the

EXECUTIVE SUMMARY Criteria (i): continuity of Kakatiyan power patronised commendable sculptural efforts in chiseling The Kakatiyas have carried forward the Rudreshwara Temple is a master piece of the emergence of this architectural marvel, the very hard dolerite rocks to get the temple architecture knowledge of the linking regional dance traditions as everlasting metallic polishes are very well Kakatiyan style of Temple architecture Chalukyas and have brought tremendous with the use of engineering innovation documented in the dance treatise Nritta displayed and are intact at Rudreshwara developments in its architecture with Ratnavali by military general Jayasenapati. (Ramappa) Temple, Palampet. by creating fl oating bricks, sand-box respect to its geographical condition foundations, material selection knowledge The effort of Kakatiyan craftsmen to d. Statement of Authenticity establishing the Kakatiya Temples as a fully interpret this regional dance customs, and ingenuity in stone sculpting as developed temple of the medieval era. technological ensemble. The sculptural and Kakatiyan lifestyle and to establish textual The proposed site maintains the form modifi cation, evolution of temple The temples having stellate ground renderings as a physical representation, in authenticity for their material, form, design art, sculpture and use of technology in plan were introduced by the Chalukyan the form of Madanikas, motifs on kakshasana and construction techniques displaying the material selection and making as displayed architects and later adopted by the Kakatiya and carvings stand as a testimony to the original values of Cultural and building in Rudreshwara Temple at plampet, Keerthi architects articulating it into their own outstanding universal value in popularising traditions of Kakatiya Empire. Thoranas at Warangal, Temple of Thousand style. cultural artforms. 1. Form and design Pillars at Hanumakonda are master pieces The creations of Trikutalaya and Keerthi The temple is known for its signifi cant The Rudreshvara Temple is designed to of human creativity. Thorana in temple typology and entrance sculptural art, hence named after the provide spacious ambience consisting Rudreshwara Temple displays engineering gateways in India are representative main sculptor of the temple- Ramappa. of the 10feet wide Adhisthna serving as innovation by creating fl oating bricks to examples in form and design. They The sculptures on the brackets of maidens Pradakshinapatha, the Sabhamandapa-the create light weight over the walls of the demonstrate both a creative masterpiece, (Madanikas) are a facial handwriting of most signifi cant part of the temple used structure. The temple deployed indigenous and stand as sole examples for continuity of the Kakatiyan sculptors and their easy for multi-purpose, as ritual space, political geo-technical knowledge in chiseling one of evolved cultural traits and transformation manipulation of the chisel which reached and cultural discourses, served as hall of the hardest rocks of the earth to give the fi ne through interchange of human values for its climax of graceful fl uency in modeling, justice and entering into treaty before the fi nish to the sculptures that has its lustre many years of Indian art history. Selection designing and carving these Madanikas. Lord Rudreshvara, performing dance and intact even after 800 years of construction. Use, and making of materials, traditions The fi ne chisels and polish on the fi ne music. The temple plan form, its spatial The use of simple material like sand in the and construction techniques followed in crystalline rock, has helped retain the luster organization and all the major elements are construction of foundation of a lofty temple Thousand pillars temple, Rudreshwara of the sculpture even today. intact and untouched. making it an earthquake resistant structure (Ramappa) Temple and Swayambhu 2. Material and Substance is a masterpiece of the creative effort of the Temple have established scientifi c research c. Statement of Integrity Kakatiyas in the fi eld of construction and base proving the creative master pieces Kakatiyas have carried forward the stellate The temple expresses great artistic geo-technology. during Kakatiyan era. temple form and adopted the Vesara splendour ranging from six feet sculptures style of Vimana from the Chalukyas and to six inches with fi ne fi gurative expression Criteria (ii): Well planned irrigation systems - devoid that embellish the entire architectural Rudreshwara Temple displays the of any perennial water source, stand have very well adapted it to the cultural geography of Telangana. Kakatiyas in space. The temple with 40nos 6ft interchange of human values over a span of as characteristic features of Kakatiyan Madanikas and Gaja-Vyalas, and relief about 180years i.e. from 12th to 14th century kingdom. The construction of large the construction of their temples had very presicely followed the rules of sculptures, thematic sculptures and dance CE. in the Telugu language speaking region scale reservoirs with a network of canals sculptures(about 600in number), is intact of Deccan India by the Kakatiyas from the and distribution channels is evident temple construction as prescribed in the Shilpa-sastra and Vastu-sastra. and structurally stable despite the use of Kalyana Chalukyas, Hoysalas and pass onto with Ramappa lake and Ghanpur fi ve types of material. The fl oating bricks Vijayanagara Empires in the development Cheruvu respectively, close to the Temple The temple is a living memory of the legend which went missing due to vandalism were of a more evolved and improved form sites of Ramappa and Kotagullu. This of the Kakatiyas who brought a golden era reconstructed after conducting an extensive of technology, sculpture making and technology developed by introduction to the Telugu speaking region of South study, following the same techniques used architecture. of embankments to expand the water India. The temple stands a testimony to by the Kakatiyas during the construction Kakatiyas were the political successors of catchment areas, dams for improved the exchange of cultural, traditional and of the temple in the 13th century. Support the Kalyana Chalukyas (Kannad speaking storage and water transportation through technical knowledge of construction from pillars were inserted a century back to region) in the Telugu speaking region ruled canals for agriculture. its precedents i.e. the Chalukyas of Kalyana protect the cornice from falling down. to the kingdoms which fl ourished in the by the Chalukyas. The Kakatiyas, along with Criteria (iii): 3. Use and function th post Kakatiyan period. the Hoysalas and Yadavas had announced Cultural traditions of Kakatiya (12 Ramappa Temple is a living temple, draws themselves as rulers independent of the Century AD) are evolved from exchange The indigenous value held by the innovative the attention of people in large number. Chalukyas. With the succession over the and continuity of human values from construction techniques of building It is very much functional, exemplifi es Chalukyas, the Kakatiyas had also taken

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Executive Summary Nomination Dossier 19 the height of technological and artistic at different levels. For the conservation tradition of temple building in Deccan. and preservation of the property, the The Ramappa temple is a Brahminical national conservation policy of the Ancient Siva Temple. The Temple follows all the Monuments, Archaeological Sites And authentic Shaiva-Agama rituals followed in Remains (NPC-AMASR) is followed by a Siva Temple. the ASI. 4. Traditions, techniques and The temple being well protected from EXECUTIVE SUMMARY management systems natural disasters due to its construction The temple was constructed keeping in techniques holds no major threat to the mind the use and function of the temple, Outstanding Universal Value. The fallen hence making the management of this down Kameshwara Temple is undergoing religious ensemble easy for management. a major restoration work which is well The Conservation procedures are managed and taken care by the ASI with authentic to material, form, geometry and the help of Kakatiya Heritage Trust. consecrational rites and rituals deployed in the construction of a temple. 5. Location and setting Name and contact information of The original location and surviving rural offi cial local institution/ agency setting including the agricultural land part of the buffer zone maintain the prestine 1. Archaeological Survey of India (ASI), status , being away from developmental Department of Culture, Government pressure. The Ramappa temple is one of India such intact surviving example in Indian Address: sub-continent displaying the integrated ASI, Hyderabad Circle, relationship between the lake and temple Kendriya Sadan, III fl oor, II Block, as mentioned in 5th century text Brihat Sultan Bazar, Hyderabad, Samhita. Telangana State NOMINATION 6. Language and other forms of Tel: +91-40-24658124 intangible heritage Fax: +91-40-24651012 Rudreshwara Temple is the testimony of E-mail: [email protected] DOSSIER the Golden age of the Telugus brought in Web: www.asihyderabadcircle.nic.in the region of Telangana by the Kakatiyas. Nritta Ratnavali authored in 1253 A. D. by 1.a. ASI, Warangal Sub Circle Jayasenapati was inspired from the dance Address: female fi gures carved in Ramappa Temple. Thousand pillared Temple The study of temple’s dance scultpures gives Hanumakonda, Warangal -11 an understanding of the desi dance traditions Telangana State such as perini, prekhana, gavundali, rasaka, Tel: +91-870 – 2447790 dandarasaka ghatisisri nrttam performed in E-mail: [email protected] the temple and the thrust on desi sthankas, 2. Directorate of Archaeology and charis and karnanas. The temple inspired Jayasenapati, the commander of Kakatiya Museums Department elephant force to write the valuable treatise (Under Ministry of Youth Advancement, Nritta Ratnavali on dance traditions of Tourism and Culture) Telangana in later13th century. Government of Telangana e. Requirements for Protection and Address: management Opposite to Lepakshi Handicrafts Emporium, The site is a property of the Archaeological Gunfoundry, Abids, survey of India and hence is mainly Hyderabad – 500 001, Telangana State responsible for the protection and Tel: + 91-40-23234942 management of the property. The property Fax: +91-40-23234942 is managed by an integrated management E-mail: [email protected] plan involving owners and stakeholders CHAPTER 1 IDENTIFICATION OF THE PROPERTY

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 23 1.a. COUNTRY : India IDENTIFICATION OF THE PROPERTY OF IDENTIFICATION

Map1.1–Rudreshwara (Ramappa) Temple, India location on world Map

1.b STATE, PROVINCE OR REGION : Telangana State, Jayashankar Bhupalpally District

Telangana State, as a geographical and political entity was born on 2nd June, 2014 as the 29th and the youngest state in Union of India. The state of Telangana is carved out of the state of Andhra Pradesh, based on its distinct geographical and cultural identity.

Map1.3 - Rudreshwara (Ramappa) Temple, Jayashankar Bhupalpally District, Telangana State

1.c NAME OF THE PROPERTY The Glorious Kakatiya Temples and Gateways -Rudreshwara (Ramappa) Temple, Palampet, Jayashankar Bhupalpally District, Telangana State, India

1.d. GEOGRAPHICAL COORDINATES TO THE NEAREST SECOND:

Latitude :N 18˚ 15’ 32.88” Longitude :E 79˚ 56’ 35.54”

Map1.2- Telangana state, India RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 25 Topography Map of the nominated property and surroundings- Map 1.4

Map1.4 - Topography Map of the nominated property RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India 27 and surroundings Nomination Dossier 1.e. MAPS, AND PLANS, SHOWING THE BOUNDARIES OF THE NOMINATED PROPERTY AND BUFFER ZONE 1. Core zone Map of nominated property - Map 1.5 2. Core & Buffer zone Map of the nominated property - Map 1.6

Map1.5 - Core zone Map of the nominated property

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 29 1.f. AREA OF NOMINATED PROPERTY AND PROPOSED BUFFER ZONE Area of nominated property : 5.93 ha Buffer zone : 66.27 ha Total : 72.20 ha

Map1.6 - Core & Buffer zone Map of the nominated property

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 31 CHAPTER 2 DESCRIPTION

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 33 2.a DESCRIPTION OF PROPERTY b) Temple surroundings Rudreshwara Temple, popularly known as Ramappa Temple is a living legend of the Rudreshwara Temple was built as the chief temple of the region, later fl ourished and spread Kakatiya dynasty is one of the master pieces of Kakatiya art, architecture and technology. with numerous minor temples in the surrounding. DESCRIPTION 2.a.i. Geography Rudreshwara Temple, popularly known as Warangal, the then capital Orugallu. Ramappa Temple is a living legend of the The temple is strategically located on the Kakatiya dynasty is one of the master pieces foothills of the reserve forest with the of Kakatiya art, architecture and technology. Ramappa Cheruvu on the south of the hill. The Temple of Rudreshwara is in a The temple is located amidst of an small village of Palampet in Jayashankar agricultural fi eld which was once an Bhupalpally District, Telangana. important city- Palampet during the 1 Jayashankar Bhupalpally lies on an Kakatiya period . ecological frontier that separates the eastern Hindu Temples were constructed on sites edge of the Deccan dry inland plateau from which satisfy the canons of beauty, religious the wetter and more fertile coastal plain. sanctity, convenience and architectural It is located about radially north-east of stability.

The gods always play where groves are near rivers, mountains and springs, and in towns with pleasure garden.

“ Brihat Samhita, LV. 8. “Bhavishya Purana, I, CXXX. 15. a) Geology of the area ” The Ramappa Temple is situated on the along with well-defi ned bedding planes downstream side of Ramappa Tank and the with high porosity and transmissibility rocks in the area are essentially sand stones, with moderate compressive and tensile which belong to Chelvai series of the Pakhal strengths. The lineaments identifi ed in basin belonging to Precambrian age and the area are in the direction of NNE-SSW, are pink coloured medium grained with NE-SW and E-W. The E-W lineament is silicious matrix. These are traversed by a passing very closer to temple. large member of vertical and inclined joints

Map 2.1: Topography Map of The Rudreshwara Temple and its surroundings

Image 2.1: The natural setting of Rudreshwara Temple RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India 35 blended with serenity of lake, hill and fields Nomination Dossier 2.a.ii. Temple complex (core zone) a) Kateshwara Temple b)Kameshwar Temple (Kalyana Mandapa) The core zone of the property constitutes the Rudreshwara Temple complex enclosed in the Located to the North of the main temple Prakara wall and the adjacent area demarcated by the Archeological Survey of India (ASI) there is a temple dedicated to Lord Situated to the south of the main temple,

DESCRIPTION for the protection of the heritage structure. Kateswara. It consist of a Garbhagriha, this temple is placed on a stellate Upapitha an Antarala and a Sabha Mandapa. The consisting of a spacious pillared Mandapa temple is constructed on a high Upapitha with small cells on its eastern and western The temple is conceived as a place of transit, a ford or crossing- and is approached by a fl ight of steps. On side. The Mandapa has four pillars place (tirtha). There is a symbolism of the passage through the either side of the steps elephant monoliths enclosing a square space in the middle. doorways which is connected with the idea of transition from the were beautifully carved in stone.3 The The ceiling had some fi ne carvings with “ temporal to the eternal.2 carvings on the exterior of the building blossomed lotus. Near the steps of the are plain, consisting of two bands of leaf temple, stands a pair of monolithic stone - George Michell pattern. Around the hall runs a platform elephants. on which eight small cells for images have According to the inscription of Recharla The plan of a temple chiefl y depends on” its there is a spacious pillared Mandapa located been built. Several of these cells have fallen Rudra, this structure to the south of the spatial organization. to the south of the main temple. The down, but two of them are still intact and main temple is called Kameshwara Temple. Upapitha on which it stands is star shaped contain images of Vishnu and Ganapati It is presently known as the Kalyana All the components in the complex are carved in dolerite. The door of the shrine is oriented on the east-west axis and face the in plan. Towards the south-west of the main Mandapa for its absence of Garbhagriha temple there is a small room which is now beautifully carved and the friezes represent and symmetrical entry from the four east, towards the rising sun following the Siva in tandava pose. Vastu shastra. called Pakashala. A small Mandapa having cardinal directions. four pillars supporting its fl at roof housing The main temple is in the stellate plan a pillar on that has engraved the inscription and has Garbhagriha, Antarala and Sabha- of the famous Recharla Rudra is placed to Mandapa adorned with porches and fi gures the North–East of the main temple. placed in the center of the courtyard. In the temple complex, the Nandi Mandapa This reveals the maintenance of perfect becomes the fi rst visual reference to the architectural harmony and unity in the complex. The Nandi Mandapa leads into the spatial organization of the temple. temple proper from the Pradakshinapatha. Many of the built form elements of Another temple has Garbhagriha, Antarala the temple are separated and there is a and Sabha Mandapa is found to the north proliferation of buildings which all combine of the main temple. Besides these temples, to function as a temple.

Image 2.3: Southern view of Kateswara Temple

Figure 2.1: West side elevation of Kameshwara Temple as seen in 2011

Image 2.2: Aerial view of Rudreshwara Temple RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 37 are commendable. The splendid neutrality f) Rudreshwara Temple that characterizes the look and the posture This temple is in a stellate plan (Trikuta with beautiful, almost life size fi gures of of the Nandi make this image of Nandi one temple form) placed on a star shaped maidens (Madanikas) on either side of the of the glorious triumphs of the Kakatiya

DESCRIPTION Upapitha. The plinth of the plat-form had doors of these porticoes. The temple has a art. A unique feature of this Nandi is that been divided into a foliating surface, which Garbagriha preceded by an Antarala, Sabha from which every angle you look at its face; gives a very pleasing effect to the general Mandapa with ornamental pillars at the it appears to be looking at the on-looker. appearance of the monument. The sanctum four corners and sculptured inner roof. is on the western side and towards the East, North and south the temple has porticoes Image 2.4: Pakashala e) Inscription pillar A small Mandapa having four pillars c) Pakashala supporting its fl at roof houses a dolerite Towards the south west of the main temple, pillar on which is engraved 201 line is a small room now known as Pakashala. It inscription of the famous Recharla Rudra. was earlier the kitchen where the food was This pillar inscription is major source of served to the devotees. information, which informs about the temple and other works of Recharla Rudra, d) Nandi Mandapa the general who built the temple. There is a Nandi Mandapa, the fi rst structure of the temple complex situated in front of the eastern portico of the main temple. It has an imposing Upapitha and impressive Adishtana. The Vedi bandha is adorned with carved panels bearing fl oral designs and fi gures of elephants and of musicians in successive rows. The roof and the pillars of the Mandapa can be seen fallen down. It is a closed Mandapa with four pillars built for the purpose of giving shelter to Nandi, the vehicle of Lord Siva. The Nandi is cut out of a huge monolith rock of dolerite. The marvelous smoothness and polish of the bull’s back body and the extraordinary skill displayed in carving the numerous details of its ornamental hangings

Image 2.5: Nandi rests on the Upapitha of Image 2.6: Inscription of Recharla Rudra in Image 2.7: Vimana of Rudreshwara Temple. the Mandapa the temple premises.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 39 2.a.iii. Material Architecture, a man’s physical expression a) Floating brick Making of the fl oating bricks of culture is mainly determined by the i) The Vimana is made up of light weight The architects at that time might have number of joints and to make the structure

DESCRIPTION physiography of a country. Temple architecture in Telangana is closely related porous bricks in order to reduce the load of realized the need for such bricks and as monolithic as possible although their to the rocks in the area because the temples the super structure. formulated the composition, presumably transportation, lifting and placement were constructed mostly with the stone ii) These bricks fl oat on water with using locally available clay from the tank in position at different elevations might quarried locally. a density ranging from 0.85gm./cc to beds (Kaolinite clay) mixed with organic have posed serious problems. Heavy sized 0.90gm/cc, which are highly porous and resigns like gum Karea (available in the elements were used in columns because of The architects of the Kakatiyan period forests) along with jute and rise husk and their massive nature. had exploited various stone deposits with very low permeability and take higher strengths exceeding 30kg/cm2 unlike the burnt the same in specially designed kilns at with their knowledge in identifying the 2 optimal temperatures. The organic resins at building materials, their strength and their normal brick which takes about 20kg/ cm with a density of about of 2.2gm/ cc. higher temperatures got volatilized leaving expected life. Building material, together behind holes which are not interconnected with its tonal values, texture and structural iii) These light and spongy bricks are brown like the pumice in volcanic eruptions. possibilities affects the local traditions4. in colour and unusually big in size 14” x6” x4” weighing almost 3 Kgs5. This has resulted in enhanced porosity Locally available materials such as; with very low permeability and density less Sandstone, Granite and Dolerite are used The light and porous bricks of the spire than water. This kind of a material has not in the temple construction. served a defi nite purpose. The spire was been found any where across the world in The architect used sand for foundations required to be made light so that the the medieval era making this a man-made and in preparing lime mortar. Pink Chelvai load on the stone roof would be reduced engineering genius6. considerably. The spire itself was hollow sandstone is mainly used in the construction The elements used in the construction of the temple. inside resulting in a reduction of load on the supporting columns. The lightweight mainly used medium and heavy size The Kakatiyas used sandstone for the porous bricks with their smoothened elements. It is observed that medium and Image 2.9: Floating brick of Ramappa main temple, but the beams of the temple surfaces reduced the absorption of moisture. heavy size elements were used to reduce the Temple adorned in the Shikara are carved out of Granite, Dolerite and sandstone.

Image 2.8: Light weight porous Bricks used in the vimana (Shikara) RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 41 Image 2.10: Polished Dolerite Stone withlustrous finish RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 43 b) Dolerite Dolerite is an igneous hypabyssal rock which is fi ne grained micro-crystalline black rock used for the making of pillars, jambs, lintels and its motifs7.

DESCRIPTION Dolerite is an extremely tough stone to carve, but once cut and polished, endures for all time, hence used in making the bracket fi gures and columns, which were very exquisitely carved and have taken mirror like polish with its fi ne grained microcrystalline texture. Compressive strength of Dolerite ranges from 2000-3000 Kg/cm2, the highest in the history of construction materials8. Dolerite rocks were employed as columns for taking heavy loads, wherever necessary. c) Sandstone The rocks in the area are essentially sandstones, which belong to Chelvai series of the Pakhal basin belonging to pre-Cambrian age. Pink coloured, medium grained Chelvai sandstone with siliceous matrix is extensively used in the entire construction. Those are traversed by a large member of vertical and inclined joints along with well-defi ned bedding planes with high porosity and transmissibility with moderate compressive and tensile strengths9. The sandstone used here has a compressive strength range from 600 to 1000Kg/cm2. Tensile strength varies from 50 to 80Kg/cm2. Though the entire temple is built with Chelvai sandstone, some of the major columns where concentrated loads are coming, the Kakatiyas have used the well carved dolerite rocks as pillars in the central Mukha Mandapa and sandstone fl oor beams are used beneath these pillars10.

Image 2.12: Granite used in making the ceiling of the Sabha Mandapa

d) Granite Granite is used in making the columns and beams of the temple where the intensity of load is very high. The compressive strength of granite ranges from 1000 to 2000 kg / cm2 its tensile strength ranged from 100 to 160 kg / cm2.

Image2.11: Sculpture of Surya and Gaja Vyala RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 45 2.a.iv. Rudreshwara Temple 1) Vimana A temple is a combination of different ventilation, creation of space for doorways, The Vimana is composed of different of four horizontal layers (bhumis) topped components, arranged on vertical axis in according to the principles of manduka measurements and is the most elegant and by the Dravidian Shikara. an order so as to imbibe an aesthetic and mandala, were followed by the Kakatiya distinctive feature of a temple symbolizing ritualistic character. Provision of path for architects for the construction of the ‘from sthula to sukshma’ i.e. from mass to The superstructure, in spite of its countless circumambulation around the main shrine, Rudreshwara Temple11. pinpoint. projections and recesses, is principally square on plan and perfectly pyramidal in It is a storied pyramidal Vimana of Vesara shape12. order. It is a fi ve storied temple composed

“On the top” of this temple (i.e. the Rudreshwara Temple) shrines distinctly the golden cupola illuminating the space of the sky, always, having the brilliance of a vast sun’s orb, standing on the “lofty peak of the eastern mountain

6 Record from the inscription of Recharla Rudra dated to 1213 AD. in the Rudreshwara” Temple Complex.

5

10 12 3 4 89

7 1. Garbhagriha 2. Antarala 3. Natya Mandapa 4. Sabha Mandapa 5. Kakshasana 6. Miniature cell 7. Pradashinapatha 8. Nandi Mandapa 9. Nandi 10. Devakosta

Figure 2.2: Ground Plan of the Rudreshwara Temple The entire proportionate system of temples Upapitha has been founded on the principles of visual The wide base provided by the upapitha coordination and perception at the human gives a broad platform to the entire temple, eye level. These proportions could be enhancing the beauty and by giving the achieved with the composition of Upapitha, required height to the building. Adhisthana, padavarga, prastara and the vimana of the temple. The temple is a hall- Prastara temple meaning, only the shrine is enclosed Prastara creates a division between the roof by walls. Whereas the hall and the porches and the wall breaking the monotony of the are open and have a short parapet wall. vertical elements and is the base for the roof. Image 2.13: Vimana of the temple converges to the skies

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 47 2. Sabha Mandapa 3.Natya Mandapa Sabha Mandapa is the covered hall consisting The four profusely carved dolerite stone of dolerite. The fl oor of the Natya of spaces for the devotees. It consists of the pillars demarcate this circular stage Mandapa is a slightly raised platform to

DESCRIPTION three entrance porches- Mukha Mandapa, Rangabhoomika where the dancers pay demarcate it position from the Sabha seating spaces called Kakshasana and tribute to lord Rudreshwara. This part of Mandapa. The beams, ceiling and pillars platform for dancers Natya Mandapa. the temple is the most plentifully carved of the Natya Mandapa are wisely used to Sabha Mandapa is built with 9 bays i.e. and consists of some of the best sculptures depict mythological stories from Puranas. Navaranga supported by 16 pillars. of the Kakatiyan era carved on the hard It gives the devotees the fi rst insight of the Linga of Rudreshwara.

Sthamba Pillar or Sthamba is the most important architectural as well as artistic member that increases the elegance of the temple by distributing the spaces by its very nature of verticality. Brahmakanta sthamba type of pillar from the Shilpasastra is followed. In the temple, two types of pillars are used i.e. Sthambas and Ardha-sthambas. The pillars on the Kakshasana are the Ardha- sthambas giving support to the bracket fi gures, Kapota and the ceiling overhead. Four pillars of dolerite are arranged round the pedestal in the shrine demarcating the stage for performance in the Sabha Image 2.14 :Bhramakanta Sthamba of the Mandapa. Natya Mandapa

Kakshasana Miniature cells Kakshasana is the raised platform along the These are eight 4’ x 4’ small cells placed Image 2.16: Natya Mandapa, the platform for performance parapet of the Sabha Mandapa developed on the Kaskhasana around the periphery of into an ornamental feature adding to the the Sabha Mandapa to house the associated architectural value of the interiors of the deities. They are built using large sandstone 4. Ardha Mandapa Sabha Mandapa. Kakshasana acts as a blocks. The doorways of these cells are Ardha Mandapa is the enclosed space which stone seat with the sloping parapet as the ornamented. prepares a devotee to enter the Garbhagriha. back rest; and as a platform for placing the Ardha Mandapa is marked by the Antarala miniature cells. dwara to the East and the Garbhagriha dwara on the West, and miniature cells on the either sides on the wall. The doorway to Ardhamadapa consists of perforations in the form of fl oral scrolls to allow suffi cient light to enter the Garbhagriha. The composition of the doorway is such that the light entering the Garbhagriha is focused mainly on the statue of the Linga.

Image 2.17: Ardha Mandapa, the entry to the sanctum sanctorum Image 2.15 :Miniature cells placed on the Kakshasana

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 49 5. Garbhagriha Garbhagriha is the enclosed space to the The Kakatiyan architects were very careful sanctum sanctorum. It is enclosed in the in designing the Garbhagriha. They had lofty cavity walls providing sanctity and taken care of the removal of the liquid security to the idol. The Garbhagriha is offerings made to the god by giving a water topped with the pyramidal shaped Vimana channel to extricate through the cavity wall adding the cosmic value to the temple. and pouring into the bowl placed in front The approach doorway to the Garbhagriha of the devakostha at the North wall of the is the most articulated doorway designed Garbhagriha. From the bowl the water is by the Kakatiyas. It doesn’t have any channelized to the Upapitha and exits the form of perforations to restrict the light temple through the rain water harvesting and disturbance coming to the sanctum channel along the base of the main temple. sanctorum. The Siva Linga stands on the Panavatta.

The sacredness of the image in the ‘womb’ of the temple expresses itself as a powerful force whose infl uence expands outwards: hence the potency of sacred images that are aligned with these “forces. ” - George Michell

Figure 2.3: Spatial composition in Rudreshwara Temple

RUDRESHWARA (RAMAPPA)Image TEMPLE, 2.18: Palampet, Linga India Nomination Dossier 51 6. Pradakshinapatha 7. Devakostas 8. Bracket fi gures The top slab of Upapitha is a 10’ wide platform Devakostas are three tiered aedicule created at 38 Bracket fi gures are installed along the creating Pradakshinapatha of the temple. the center of the exterior wall on three sides. exterior of the Sabha Mandapa to provide

DESCRIPTION Aedicule (Devkostha) for idols of other Hindu They are the house of other Hindu deities to support to the overhanging Kapota. These deities and other sculptures present throughout be worshipped by the devotees. The Vedikas dolerite brackets present on the East, North the journey takes the devotee through the of these niches are decorated with animal and South of the temple, stand out in the visual experience of different dimensions of the friezes. The ceilings are fl at with fl ower composition of the temple exterior. It is highly celestial world. designs underneath. Devakostas are a result of ornamented component consisting of Gaja- The circumambulation takes place in a clockwise a sucessful reproduction of recreating multi Vyalas and twelve Madanikas. direction starting from the south Mukha storied buildings of that period. Bracket is an architectural element and its Mandapa. In the path of circumambulation, Image 2.20: Elephants band sculpted on the function was not only architectural but also the devotee experiences the sculptures and Adhisthana terchnological as the cantiliver rock portico Devakostas on the exterior wall of the temple. of friezes are found on the Adhisthana and supported by bracket fi gures and Gaja-Vyala Throughout the circumambulation, bands the Vedika of the wall. These rows of friezes brackets. It is an oblong stone piece fi xed consists of: between the pillar and roof beam to give i. Pattika additional strength and stability at the joint. ii. Alpa-Padma The bracket fi gures of Madanikas are arranged iii. Tripatta in pairs under the eaves. iv. Band with elephants and gods The devotees are provided shade from the sun carved on it from the overhanging Kapota. The Kapota v. Pattika with hanging semi- of Rudreshwara Temple is unusually long. circular stones The under side of the Kapota is given much These bands give uniformity and unite the prominence as it attracts the sight of the whole composition of the exterior of the Image 2.22 : Three tiered devakostas with a pilgrims who circumambulate the temple on temple. garbhagriha and antarala along the path of Image 2.19: Chisels of the Adhisthana circumambulation the Pradakshinapatha.

Image 2.23: Cantilever rock portico supported by bracket figures and Gaja-Vyala brackets

Image 2.21: Pradakshinapatha - North East view

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 53 2.a.v. Sculptures of Rudreshwara Temple The sculptural and form modifi cation displayed With the infl uence of smartha philosophy in the Rudreshwara (Ramappa) Temple is a and Brahmanical Hinduism, the great masterpiece of human creativity. classics such as Palakurti Somanatha’s DESCRIPTION Basavapuranam, Panditaradya, Nanne The temple has plenty of decorations, but Choda’s Kumarasambhavam, Marana’s at places distributed over the appropriate Markandeyapuranam, Pothana’s components of the temple. This thoughtful Mahabhagavatam, Tikkana’s Mahabharatam, arrangement of ornamentation in the temple Ramayanam of Gona Budha Reddy and has made the sculptures exceptionally beautiful. Bhaskara were all written during the Kakatiyan The Kakatiya art was represented on the period and post Kakatiyan period. architectural members like pillared Mandapas, Adhisthanas, and Padavargas, Prastharas, beams, With the infl uence of Indian art this religious ceiling and Vimana portions which provide philosophy and the interesting stories from the space to exhibit the architectural exuberance. sacred books were the main source of spiritual and devotional inspiration for the sculptors Kakatiya sculptors used the stone, which is to produce the images of gods and goddesses available in Deccan trap that permits a metallic and several of their exploits, which formed the polish because of its volcanic nature. The pieces of Indian Art. hardness and fi ne texture of this stone was very convenient to carve out beautiful fi gures The sculptural art of the Kakatiyas refl ects with striking contours and angularity. The the contemporary socio-religious conditions. very hardness of the stone has actually helped The fi gures of multiple gods and goddesses the artist to transform his inner vision into i.e. Siva, Vishnu, Brahma, Ganesa, Kartikeya living reality. The portrayal of epic and Puranic and Bhairava, and the well-known forms themes on the temple walls form another means of the goddesses like Saptamatrikas, of communication with the illiterate masses 13. Mahisasuramardini, Parvathi, Durga, Chamunda, etc., denote the fl ourishing state of The temple is one of the few temples which Hinduism during this period. Nritta Ratnavali have strictly followed the guidelines of image of Jayasenani, the original sanskrit script along making as prescribed in the Shilpa-sastra14 . with translation in English coupled with The Shilpa-sastra treatises give guidelines to the analysis in English was published by Kakatiya sthapati for the placement of the sculptures, its Heritage Trust (KHT) in 2013. conception and execution. The sculptural panels, depicting themes from All Kakatiya sculptures express of movement-a the Ramayana, the Mahabharata and the type of dynamism in form; either human or Bhagavatapurana such as abduction of Sita, animal appears static or sedentary. Every form Ravana shaking Kailasa, Churning of milk from conveys active movement.The universal poise of the hevenly ocean, Gaurikalyana, Tripurasura, all statuettes, the expression on their faces and Andakasura and Gajasura Samhara etc., would the compositional excellence are the distinctive suggest that the sculptors if the Kakatiyan art characters of all Kakatiya sculpture. drew inspiration mainly from the sacred books The Kakatiya sculptors took keen interest in of the Hindus and translated them in to the depicting various divine fi gures along with stone for the visual education of the different their consorts on the architectural member of a sections of the society. temple in order to educate the mass visiting the temples at the time of periodical festivals.

Architecture and sculpture are inextricably interwoven in the Indian art. The Indian artist brought newness into time worn “members of the Indian temples through the play of light and shade. - M. Radhakrishna Sarma (1972)” RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India 55 Image 2.24: Doorjamb of Antarala carved outNomination of Dolerite Dossier 1. Upapitha 2. Adhisthana The Upapitha is majorly plain in nature. The The Kakatiya Sculptor maintained a judicious Padma and Adopadma layer of the Upapitha are balance between architecture and art. This

DESCRIPTION decorated with honeysuckle motifs in regular can be seen in the Adhisthana of the Kakatiya and inverted positions. Temples as the component is neither plain nor The chisels of the bands of the Upapitha, in crowded with ornamental designs and fi gure itself is an ornamentation this architectural sculpture 15. member.

Image 2.26: Changing expressions of Elephants carved on the vedika Vedi bandha The decorations on the Vedi bandha are done in a series of 4 horizontal bands consisting of fl oral designs, mythological scenes, male and female dancers accompanied by musicians. From bottom to top the following has the pattern of carving on the four sections. Rows of elephants; Vajra-bandha decorations, the section is divided into a number of compartments with dancers, deities and Image 2.28: Three dimensional sculptures of musicians carved in them. Important among the Madanikas arranged in pairs the sculptures which are repeated are Munis, wall a miniature spire is carved a copy of the big Ganesha, Bhairava, Siva, Devi and Narsimha on the top of the garbagriha. carved in each compartment. The last band is again decorated with Vajra-bandha16. 4. Bracket fi gures The bracket fi gures of the Rudreshwara (Ramappa) Temple are the highlight of the sculptures of the temple. There are two types of fi gures carved on the bracket fi gures, one is the mythical Vyalas and others are the famous Madanikas of Palampet. The bracket fi gures represent almost a conventional carving characterized by stiffness and almost frozen rigidity. These acclaimed by many as great works of art, Image 2.27: Pilasters of Vimana on the have a stylized movement and cubistic Image 2.25: Exterior composition of sculptures Padavarga carving. The angular protuberances are 3. Padavarga dominating while the limbs are slim and Garbhagriha outer wall pip lake at time border on emancipated The exterior walls of the Garbagriha are decorated outwardly with pilasters crowned with Shikaras The exterior walls of the garbagriha are look. The facial physiognomy has been of the Nagara and Dravida type disposed alternately and in the middle of the wall a miniature spire decorated outwardly with pilasters crowned is carved a copy of the big on the top of the Garbagriha. standardized as noted above, the mask with Shikaras of the Nagara and Dravida type like rigid and rather frozen face is grave in disposed alternately and in the middle of the The sculptures on the Padavarga are different from exterior of the Vedi-bandha of the Sabha expression. Mandapa.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 57 Image 2.24: Doorjamb of antarala carved out of Dolerite Madanikas Th e Madanikas are beautiful maidens showing roles of a maiden like that of a Nagini, Manini, Rati, Mardala, Dalamalika, Huntress and Dancer. Th ese fi gures are the most DESCRIPTION described and acknowledged sculptures among the Kakatiyan sculptures.Th e fl uid rendering of the volume and the serpentive curve of the body endow these fi gures with an animation, dynamic as well as compact. All are curved in high relief, deeply under cut and most proportionately modeled and ornamented. Only the essential and the most indispensable elements are being retained to convey the full import of the fi gures depicted. Th e maidens in the sculptures depict the powerful emotions of human heart, its joy and sorrows, ecstasy of enjoyment and experience and passionate outbursts and tender moods are appropriately expressed by the Kakatiyan sculptors through these Madanika bracket fi gures17.

‘Greece may rightly be proud of the sober dignity of the caryatids of the Erectheum, but as art must represent human thought and life in all its phases, the fi gure brackets at Palampeta occupy a “ distinct position among the sculptures of their kind, showing elegance combined with a joyful mood.’ . - Gulam Yazdani”

Dalamaika Dalamalika is the women garlanding herself with a branch. She is adorned with ornaments like padasara, kadiya and especially the padukas. Th e garments of the Dalamalika are designed with circular and diamond designs are quite beautiful. She is shown in a graceful dancing pose18.

Image 2.29: Nartaki in high heels RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 59 Nagini with two snakes A fi gure of Nagini carrying a snake in her lift ed hands, another snake hanging like a garland over her shoulders. Th is is the most important Madanika among the others all it portrays all the beauty of womanhood moulded into this wonderful form. She is portrayed as a tantric fi gure. Th e coiled serpent at the Nagini’s feet is a symbol for kundalini force. When this serpent uncoils and ascends to reach the sahasraram the head, siddhi, and spiritual enlightenment is achieved. It conveys, Nagini is a yogini, who has conquered the serpent power, symbolized by her holding the serpent in her arms. Th e tranquil expression in the face conveys, she has attained siddhi, and such individuals do not have any consciousness of their physical bodies, naked ness conveys this19. Th e idea of the exuberance of youth with unfettered emotion is illustrated by this Nagini sculpture.

Image 2.30: Nagini RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 61 DESCRIPTION

Rati Godess Rati shown holding sugar cane symbolizes love, tenderness and the advent of spring. Her legs are in vyatyasthapada mudra. Her garland is the most appreciated element.

Image 2.31: Rati RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 63 Gayani A singer in tribhanga pose with two miniature drummers on either sides is depicted here. Th e Madanika is posing with her entire weight on the right leg while the left one is raised and bent at the knee. Her right arm is lift ed up above her head and palm is in hamsa (swan) mudra. Her supple waist and delicate neck are gracefully bent to the proper right. Her half opened mouth shows her singing. Th e graceful folds on the stomach the imaging expression in her fully opened eyes are very attractive.

Image 2.32: Gayani in tribhanga pose RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 65 DESCRIPTION

Mardala Madanika with a Mridanga placed in the breadth of the middle line of her chest is carved very divinely. Her chest is on the middle line. She is in dwibhanga pose fl anked by musicians.

Image 2.33: Mardala RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 67 Abhinaya Nartaki Nartaki fi gure is turning her body and looking towards the right side. Nartaki has her (mutilated) arms raised towards sky. She doesn’t have an Uttariya. . She is in Tribhanga Pose.

Image 2.34: Abhinaya Nartaki RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 69 DESCRIPTION

Nartaki Nartaki standing fi rmly on her left leg with the right leg over her left thigh. her left hand is close to her breasts and right hand fi rmly lifted above her head. She is being accompanied by a pair of drummers.

Image 2.35: Nartaki RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 71 Nartaki Nartaki fl anked by two musicians. Her hands are raised above her hand. She is in tribhanga pose.

Image 2.36: Nartaki in tribhanga pose RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 73 DESCRIPTION

Abhinaya Nartaki Maiden dancer standing and exhibiting her Abhinaya is sculpted on this bracket. Her hands are raised above her head, slender waist bent to right, with her eyes fully opened looking slightly upwards. She is being accompanied by miniature drummers playing the drums in rhythmic movement on her sides.

Image 2.38: Dancer imitating Abhinaya Nartaki

Image 2.37: Abhinaya Nartaki RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 75 Jayassi Nartaki Th is Madanika is dancing in a pose as described by Jaya senapati in this book Nritta Ratnavali20, hence the pose in which she is dancing is named as Jayassi Pose. Her head is bent gracefully in nata and her waist is in chinnapose and her right hand is gracefully raised above her head with the palm in tripataka pose. Her right hip is curved and the right leg is fi rmly placed on the ground. Her left hand is in svastika, legs are in vyatyastapada pose. Th e left toes are pointing to the ground. Th e left hand is curved over and the palm is at the waist in ardha-chandra (crescent moon). Th e ear rings are circular adding grace to the bent neck and the slight tilt of her head. Th ere are other small dancing fi gurines carved relatively in fi ne dimension moving round the main dancer. Th e coiff ure is stylized.

Image 2.39: Jayassi Nartaki RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 77 DESCRIPTION

Huntress Madanika The Huntress Madanika is a unique bracket fi gure of Rudreshwara (Ramappa) Temple. Her legs are in vyatyastha pada and she is in tribhanga pose. Ahe holds a bow in left hand and an arrow in her right hand. Her costumes are adorned with the bands of fl owers.

Image 2.40: Huntress Madanika RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 79 Gayani Nartaki Nartaki exhibiting the vyatyasthapada pose. She is poising her weight on her left leg while right one is raised and bent at the knee point. Her proper right hand is raised above the head with palm turned down wards. Her mouth is half open and eyes wide-open as if she is singing while giving her dance performance.

Image 2.41: Dancer in vyatyasthapada pose

Image 2.40: Nartaki in vyatyasthapada pose RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 81 DESCRIPTION

Gaja-vyala Brackets Gaja-vyalas are mythical monsters that are exquisitely carved and arranged in pairs in the form of brackets under the massive eaves of the sabhamadapa. They are shown standing fi rmly planting their back legs on the head and raised trunk of an elephant. Their protruding tongue and tusks, reptile like agility, short cunning ears, and bulging bellicose eyes and above all the fi erce and terrifying expression on their faces are splendidly delineated by the master craftsmen of the period21. The way the Gaja and the Vyala are placed springing out from the sockets of the Madhyabhaga of the pillars, it feels as if these creatures are assigned to carry the load of the eves, hence protecting the temple.

Image 2.42: Gaja and vyala are very precisely connected to form the brackets RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 83 5. Prastara 6. Vimana The Kapotas and Vyalas which form a part the temple on the Pradakshinapatha. It The Vimana being a vertical component On moving from bottom to top the size of the prastara are decorated with Jharavari. is designed like a wooden eve of secular adorned with layers of horizontal bands in of the layers reduces and the sculptures are structure having horizontal bands and repeated with diminishing sizes. The tiers of DESCRIPTION Kapota the form of mahanasikas followed by the semi- circular grooves. It is decorated with bhumis of the Vimana and topped by the pilasters rising vertically give the structure The intricate carving of the bottom portion graceful drop designs where as its underside Shikara and Kalasa. the vertical theme, while the railings and of the Kapota of Rudreshwara Temple is the is decked with a series of lotus pendents22. the bold cornices with horizontal courses best example of Kakatiyan Kapotas. Much Since the Kapota is slanting, the horizontal give the horizontal theme. prominence was given in decorating the bands have graduated projections and Each tala is adorned with a row of miniature underside of the Kapota as it attracts the recesses with each band connected with Dravidian vimana models standing on sight of the pilgrims who circumambulate curved bands. slender Sthambikas. The central projected member is ornated with sala and kosta crowned by a shikara sila. Each tala is surmounted by a griva which is adorned with row of pillars. The Shikara is decorated with nasis at the central portions. The sculptures of vimana are carved on the porous bricks and plastered. Figure 2.4: Diminishing layers of the vimana. Mahanasika The mahanasika resembles a nose. The nasi is a major ornamentation to the vimana.

Image 2.43: Bands on Kapota exactly offset the exterior wall

Characterizing the style of the main Shikara, Fergusson added “ a compromise between the styles of North and South India ”

Image 2.44: Mahanasika on the Vimana of Rudreshwara Temple

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 85 7. Sthamba The Kakatiyan pillars possess a fi ne lustrous Alamba, jharavari or ornamentation of polish and exhibit the greatest possible hanging drops, hamsa, dancers, musicians and gundika decorations in tiers adds

DESCRIPTION exuberance of varied design and motifs, boldly designed and fi nely executed to the uniformity and balance to the pillar. minutest detail. They are decorated with Puranic stories, female fi gures, chains and beads. The pillars of the central mandapa are cubical at bottom, octagonal and circular bands covered with processions of musicians and dancers in the middle with a square section above on the face which are depicted scenes from the Bhagavatha and Image 2.48: A fine needle inserted through a tapering top surmounted with a pitha the intricate carvings. and corbel. The pitha is beautifully covered with fl owing pearl tassels while the corbels Saptamatrikas are plain with chamfered ends 24. A sculpture depicting the seven powerful mothers of the deities Brahmi, Maheshwari, The beautiful sculpture depicted on the Image 2.46: Rows of lotus bands, hamsas Kaumari, Vaisnavi, Varahi, Indrani and pillars like Gopikavastrapaharana, three and beads on the capital of the pillar Camunda. This scroll is a part of an epic dancers with four legs, musicians, the story related to lord Siva and this victory Kollattam troupe, amritamadana etc., are The chain motifs are rendered in metallic over Andhakasura. eye catching. fashion in the pillars of the Natya Mandapa In this piece of art, all the goddesses are are so elegant and tastefully decorated represented as seated in the Ardhaparyanka showing excellence in craftsmanship. pose with the mount carved on the pitha and the goddesses have four hands.

Image 2.45: Churning of milk ocean Figure 2.5: Composition of a Kakatiya pillar depicted on the Madhyabhaga of the Natya Mandapa sthamba

Image 2.49: Dancers in Antarala of Rudreshwara (Ramappa) Temple Image 2.47: Bands of chains of varying “The ornamentation of the pillars of the Mandapa, architrave types in the metallic finish of the antharala and the ceiling of the Ranga Mandapa are rich, subtle and fi ne like exquisite fi ligree work on gold or silver The sculptures on the pillars and pilasters “ indeed .23” made of dolerite are carved in a three dimensional form. They are so precise - PV Narasimha Rao, Then Prime Minister of India that a needle can be passed through these ” minute details of the sculptures.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 87 The Kathasaritsagara refers to the mother Garbhagriha Dwara joining to swell the dance movement of The sculptures on the Garbhagriha is a solid Siva, of Kalabhairava, who dances amidst composition of pilasters consisting of rows them on the crematorium. In such

DESCRIPTION of Vyalas, Madanikas and fl oral scrolls. The representation Chamunda, usually has one lower part of the door jamb is adorned with of her hands in sucimukha, near the chin, dwarapalika as per the Shilpa sashtra rules. connoting wonder. The foot- rest is designed as a miniature version of the templeUpapitha carved on dolerite. The lintel band of the doorway has pilasters of Vimana.

Image 2.51: Detail of the characters on the Figure 2.6: Antarala Dwara is richly carved lintel scroll 8. Dwara The lower segment of the doorjamb is The door frames of the sanctum sanctorum and Ardha Mandapa are noted for their carved with Dwarapalikas playing with lord marvelous intricacy, beauty, bewildering wealth of details and a very high degree of artistic Krishna. The branch which the Dalamalika fi nish even to the minutest details25. It is carved with creeper scrolls, Makara-torana on the is garlanding herself to has a unique feature lintel and patralata (creepers) with inset fi gures of dancers. attached to it. The pillar is sculpted hollow and created the seven musical notes when Antarala Dwara Apasmarapurusa tapped at different points of the pillar. The jali work of vartula with dancers and musicians, Dalamalika and Nataraja panel make this doorway perhaps the most ornate one in Telangana. Latticework on the either side of the doorway of the Antharala contains circles formed by a creeper, enclosing drummers and dancing girls. They are twenty dancers and forty drummers, thirty on each side in three Image 2.51: Apasmarapurusa on the lintel of vertical rows. In spite of repetitions of the Ardha Mandapa dwara postures, the variety is pleasing. On the lintel of the Antarala dwara is a sculpture of Siva dancing on apasmara, in the company of the Matrikas, Ganesa and Camunda, who begins the series, and Ganesa, who ends it are equally hilarious in their dance26. The other Matrikas are just commencing the dance, sway their bodies in lovely fl exion, but their dance is yet to begin, Nandi is seated at one end to watch the dance,and the chauri bearers Image 2.50: Creeper scroll acts as a are fl anking Siva and moving the fl y whisk perforated wall allowing light to the gently . Siva dancing amidst the Matrikas Image 2.53: Figure of Dwarapalikas with the Image 2.54: Details of the Kudyasthamba on garbhagriha is a popular theme of the Kakatiyan art. musical pillar. the door-jamb of Garbhagriha

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 89 9. Bharasila Tripurasura- Samhara Murty Every inch of the four entablatures which Panel depicting scene from a Puranic support the Natya Mandapa experienced story of Siva being evoked by other gods to assassinate tripurasuras (three demons).

DESCRIPTION the touch of the Kakatiyan master sculptor’s chisel. The fi gure of a Jain tirthankara in the panel is unique and therefore noteworthy. Siva in alidha over a four-wheeled chariot drawn by a charioteer faces the viewer in Image 2.58: Gouri Kalyana panel at the bottom of the beam above the Natya Mandapa a triumphant mood. The galloping horse Gouri Kalyana of the chariot, Ganesa fl ourishing the Panel showing Siva in a procession towards Kalyanavedika seated on his mount Nandi weapons, the fl ying fi gures and the poses followed by other gods is present on one of the beams of the Natya Mandapa of the other fi gures beside the thirthankara lead on illusion of movement to the panel. Ceiling This sculpture has battle scene in action of The underside of the konavattams and chandaravattams, are delineated in the fashion of a stage chiseled out of a deep cavity. The leaves. The central cutting slab has geometrical patterns. actors in the drama are vigorously bought The central pendant found in the Natya Mandapa is shown projecting downwards fourth. The presentation is not overcrowded considerably on its underside is Sivanataraja. The Sivatandava is composed with a complex Image 2.55: Tiers of the bharasila with to confuse the mind of the viewers. series of linear movements which tends to take a ceaseless motion. scrolls of Puranic stories

Image 2.56: Tripurasura- Samhara Murty panel at the bottom of the beam above the Natya Mandapa Roof Beam The beams are decorated with lotus design and fi gure sculptures depicting the mythological scenes. They depict various scenes from the Puranas and mythological stories. The four beams of rectangular cross section of the run along the four sides of the square formed face of the beams; all the three visible faces are carved with beautiful scenes of Sivatandava, Siva Parvathikalyanam, Saptarsis , Tripura Samhara , Andakasurasamhara , Gajasura-Samhara and the game played by Jaganmohini27, which experienced the touch of the Kakatiya master sculptor’s chisel. Gajasura Samhara Image 2.59: Siva in the tandava pose Panel representing Siva engaged in a vigorous dance on the elephant demon’s head after Tripurasura- Samhara Murty killing him. Siva is accompanied by other gods Vishnu, Indra, Ganesha, Brahma, Vishnu, Indra, Kumaraswamy and musicians. Siva as Tripura-Samhara Murthy can be is unique and therefore noteworthy. He seen on a lintel of the ceiling of Natya is in dhyana-mudra. The gods, goddesses Image 2.57: Gajasura Samhara panel at the bottom of the beam above the Natya Mandapa. Mandapa of the temple. This is a unique and celestial maidens are invoking the lord panel as Siva is depicted not in action with to fi ght with the three asuras. Siva having the bow, and his lower right hand is in been pleased rides on the chariot to destroy abhayamudra, probably granting protection the tripurasuras. In this panel the galloping to the frightened divinity. Indra, Ganesa, horse of the chariot, Ganesa fl ourishing the Brahma and Vishnu are also shown in the weapons, the fl ying fi gures and the poses of sculpture. The fi gure of a naked bhiksatana the other fi gures beside the tirthankara lead Siva seeks with the rishipatnis in the panel on illusion of movement to the panel.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 91 Andhakasura Samhara 2.a.vi. Engineering Marvels of Kakatiyas The scene of Andhkasura Samhara episode The Kakatiyan Sthapatis had not left a pit 2m to 3m deep below ground level in purposefully represented in a triangular place unturned in experimenting and and fi ll it with sand which acts as a frame of the ceiling of the Natya Mandapa.

DESCRIPTION creating new styles and technologies “sand cushion” under the foundation, a The colossus form of Siva in tandava, after in the construction of the temple. The technology which is still being practiced in destroying the demon Andhakasura with Kadalikakarana style introduced to reduce areas where expansive soils are found. Then his forceful trident, thrust in to the body the burden of carrying huge pieces of a retaining (basement) wall of dry stone of the demon is gratefully worshipped dolerite. Cavity walls introduced to keep masonry without any cementing mortar by the diminutive forms of Brahma and the interior of the temple cool as Palampet was constructed over the sand cushion Vishnu fl anking on both sides and the still lies in a hot region. The introduction of all- round the periphery of the temple to smaller fi gures of musicians attuned to the sand-box technology for the foundation of a height of 1m to 2m above ground level dance of victory. The carver’s intention to this lofty temple is a marvel in itself. and then the space inside the walls are project the triumphant Siva as the greatest fi lled with sand. They followed a pattern of of all the gods is amply fulfi lled. This is 1. Sand-box Technology star type construction for accommodating an excellent example of best utilization of Trikuta28. Image 2.60: Andhakasura Samhara scene a limited space to emphatically convey an Kakatiya builders have placed great reliance on the Konavattam of the Natya Mandapa idea to the viewers. on the strength behavior of confi ned sand, The second inner retaining wall of 1.5 m ceiling and any cause that affects the confi nement height was built above the Pradakshinapatha of sand would also affect the performance of and the box was fi lled further with sand. the entire structure resting on it. Sand-box Thus the total sand thickness from the technology is adopted for the foundations. bottom of the foundation pit to the top of The need for utilization of sand as a the second retaining wall was about 6.00 m. foundation material is of two fold, primarily The main fl oor of the temple was then laid as sand in the sand-box under confi ned on the sand bed by heavy sandstone slabs conditions with optimal density to take and beams covering the entire inner box care of the static and the dynamic loads with no mortar. On this prepared platform coming on to the foundation. Secondly the columns were installed at appropriate over lying well carved members and for places, taking care to see that their load uniform load distribution in addition to is distributed on to the sand bed through overcome the pockets of concentrated stress the fl oor beams. The cavity walls built for in the cavities. the sanctum sanctorum were also directly resting on the fl oor on the sand bed. The method of construction of Kakatiya Temples was to excavate a wide foundation

Image: 2.61 Nandi– the vehicle of Siva 10. Nandi The monolith of Nandi by the Kakatiyas holds a superior quality in craftsmanship. The Nandi exhibits a considerable degree of masculine prowess. To give a life like fi nish to the Nandi, the sculptors didn’t miss out showing the veins of the Nandi present under the skin of the stately bull. Figure 2.7: Cross section of the Sabha Mandapa - Sand-box technology used in the foundation “The nandi has a cubistic head and front classifi ed by chains of neck ornaments that suggest gold” “ - M. A. Dhaky RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India 93 ” Nomination Dossier 2. Cavity wall 3. Interlocking of stone components 4. Earthquake resistant structures The walls of the temple are built of large The stone components in the construction Kakatiyas have integrated all the members volumes of their ingenity in accomodating slabs of masonry and have a double shell, were joined together without the use of including Pradakshinapatha, Kakshasana, additional factor of safety. In order to the core being hollow in the middle. This any binding material. They were connected cavity walls and roof elements through incorporate the monolithic structure to DESCRIPTION method of building is exposed to view with each other simply by interlocking iron dowells so as to allow the monument the monument, the Kakatiya engineers had where the outer shell of the wall has been the components. The interlocking devices to act; like a monolithic structure. In integrated all the rock elements with iron destroyed by climatic or other causes29. include projections and curvatures carved addition they have introduced dove-tailing, dowels, thus creating stability even during Main temple walls are cavity walls in the rocks for better stability and for tongue and grove joints and interlinking earthquakes of moderate intensity. The constructed by two rows of stone blocks prevention against sliding. the members with cup and cone technique horizontal acceleration produced during an spaced at a distance of 30cm to 60cm and to withstand various vibrations induced earthquake will have a tremendous impact fi lled the hollow by sand, soil and other including earthquake forces, which on the structure if they are not interlocked construction debris. They have relied normally produces horizontal acceleration. together. The structure vibrates as a heavily on the confi ned sand-box method In the case of Rudreshwara (Ramappa) monolithic member and the sand in the of construction. The load bearing columns Temple, the fl oor beams have failed sand-box will act as an absorbing cushion, and walls directly constructed over the viloently creating upheavels to the tune reducing the impact on the structure proposed fl oor beam grid is resting on the of 10cm to 20cm have created differential reducing the impact of the horizontal sand-box. It has been confi rmed that even for settements in the structure and yet, the acceleration induced by the earthquakes. the load bearing elements; the foundations entire structure is intact. This speaks have not been taken on the hard strata. The builders have placed great reliance on the strength behavior of confi ned sand and any cause that reduces the confi nement of sand, adversely affect the performance of the entire structure resting on it30.

Figure 2.8: The madhyabhaga and Tala components of the pillar are connected by interlocking the stones and without using any mortar

Figure 2.9: Iron dowels inserted between the horizontal beam components adding additional strength to the structure

Image 2.62: Cavity wall of the Prakara wall

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 95 The chisels and hammers vary in sizes depending on the stage of work. Rough chiseling to eliminate huge chunks

DESCRIPTION of stone require forceful hammering and the hammers intended for this purpose are heavy and the chisels have large working ends. Smoothening the surface and execution of delicate carving work require soft handling and needs minimum force to be applied. The hammers for this type of work are lighter and chisels are slender and pointed. Chiselling and polishing The chiseling of a sculpture is done many times all over the image. The shilpi working on his image executes four lines of work. Heavy chiseling- the fi rst line is executed with Vettappu or the heavy chisel with blunt working end. The aim of this is to eliminate as much unwanted stone as possible and to Figure 2.10: Components of the ceiling prepare a crude outline of the image. placed in the kadalikakarana method of The second line of work is executed with construction theivus or chisel proper. The crude outline is chiseled to work out the clear features of 6. Load transmission the image. At this stage the stone is carefully The Kakatiyas had an enormous knowledge scraped. The chisels have pointed working of the use of materials. This can be seen in ends which can dislodge only a small piece the wise usage of materials based on their of stone at every beat. properties. The temple has been built with three principal rocks namely sandstone, The third line of work is executed with granite and dolerite. The observation of Arappasam or Palamunai. When the surface distribution of load on four inner columns is even, Palamunai is used and when it of the main temple clearly shows the high is uneven as in the contours or image, Arappasam is used. Image 2.63: The parts of stone used in the making of the wall are connected using iron intensity of load transmitted. dowels The columns were erected on the sand- The next item of work is polishing the box fl oor prepared. The roof beams were surface of the stone. This is done by rubbing 5. Kadalikakarana31 Konavattam installed over them to form the grid. iron powder of varying coarseness over the stone surface. First rough crumbs over It is the method of constructing the ceiling Konavattam is placed above the beam. It is 7. Sculpture making geology in the Rudreshwara Temple. the largest triangular slabs on the ceiling. the surface, successively nicer powders are Methods and techniques: rubbed till the stone attains a high polish The principle employed for the construction Chadaravattam and glistens. of this type of ceiling is that of laying stones The technique of cutting through around Chadaravattam is the triangular slab present the central fi gure to bring it in lime light one over the other and drawing of each in the 9 compartmented ceilings between layer inward from above. The reduction of is a novel method adopted by the Kakatiya the konavattam and the ceiling slab. The sculpture. The fl oral canopy of the late space, as it goes up, is achieved by placing slab is smaller in size when compared to the triangular stones at each angle of the square Chalukyan art is still continued but in konavattam. They are placed diagonal to symbolic form only. The fl owing creepers compartment. Finally the top portion is the previous tier to form a twisting effect. covered by a single slab of stone. In this are springing out of the snouts of the type of ceiling, as the tiers increases, the Ceiling slab makaras, placed over the miniature pilasters number of corner and central stone slabs is The roof of a compartment of the temple is carved on either side of the principle fi gure. correspondingly increased. closed after the ceiling slab is placed on its Tools and implements The courses of stone slabs are layers as Chandravattam. The sthapati’s tools and implements consist Konavattams, Chadaravattams and fi nally of a large number of chisels and hammers. topped by the ceiling slab.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 97 2.a.vii. Buffer zone The buffer zone of Rudreshwara Temple consists of the Prohibited and regulated zone as demarcated by the ASI under the AMASR Act (Annexure I). The buffer zone is therefore marked to be 300 meters from the core zone boundary. The buffer zone is a natural setting consisting of the agricultural fi elds of Palampet village, part of Ramappa reserve forest and voger channel.

Map 2.2: Core & Buffer zone Map of the nominated property RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 99 DESCRIPTION

Name of Temple Co-ordinates

1 Siva temple 18015’37.71” N 79056’23.41” E

2 Siva temple (near rice mill) 18015’39.13” N 79056’29.09” E

3 Trikuteswara swamy Temple 18025’22.58” N 79093’93.21” E

Map 2.3: Rudreshwara Temple and its surroundings

b. Surrounding Temples Besides the Rudreshwara Temple complex, there are several minor temples exquisitely carved and situated within a distance of about half a mile from the main temple. All these temple are dated to be built during the Kakatiya era.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 101 2. Siva Temple This temple is just a heap of ruins situated to the north west of the main temple. The Image 2.64: Exterior of Gollagudi Temple plan of the building consists of an open pillared hall, an antarala and a square garbha- griha. There is also a detached open mandapa in front of the temple which probably served as the Nandimandapa.

1. Gollagudi Situated on the south-west of the main temple. It is a trikutalaya consisting of a mandapa on the east and three Garbhagrihas on the north, south and east of the temple. Parapet with sculptures, rows of hamsas carved on the entablature and doorways with jali work are the special features of this temple.

Image 2.65: Fallen column at Siva Temple RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 103 c. Reserve forest Vana Gutta The Natural setting of Ramappa would not was formed in a catchment of the hills

DESCRIPTION be possible without the hills of the Ramappa forming the present reserve forest. The Reserve forest consisting of Varala Gutta forest hill is the lungs of the region giving a and Vana Gutta. The Ramappa Cheruvu permanent green cover.

Image 2.66: Vana Gutta (Ramappa Reserve Forest)

Agricultural fi elds The region of Telangana was a dry and drought prone region before the advent of the Kakatiyas. The Kakatiyas found a potential in the soils of Telangana and built huge lakes for the growth of crops in the region. After the construction of lakes, water was available in excess in the region enabling the farmers to produce paddy crops for Kharif and Rabi seasons.

Figure 2.11: Elevation of Siva Temple Image 2.67: Agriculture fields of mirchi (Red chillies)

Voger Channel The natural setting of a temple was consciously planned with a waterbody in its surroundings by Kakatiyas. The voger channel was created by the Kakatiyas from Ramappa Cheruvu to the far villages of the region to irrigate the surrounding fi elds. This channel passes through the western side of the temple. The channel is part of the irrigation channel system of Ramappa Cheruvu.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 105 DESCRIPTION

2.a.viii. Socio economic scenario The Kakatiyas had inherited much of their political culture from their former Chalukya overlords, the two houses differed profoundly claimed warrior (Kshatriya) status and adopted grandiose imperial titles like Maharajadhiraja Parameswara. The Kakatiyas, on the other hand, claimed neither Kshatriya rank nor imperial status32. Instead Kakathiyas and the Telangana’s other leading warrior families proudly claimed to belong to the lowest (sudra) section of India’s traditional four- fold varna system of socio-ritual ranking. a) Role of Temple b) Saptasantanas The political, religious policies of the state evolved temple and The temple of Rudreshwara along with the Ramappa Cheruvu its allied institutions as centrifugal and centripetal force that was constructed by General Recharla Rudra on the ideology of regulated the lives of the people. saptasantanas. This is revealed from the inscriptions inscribed in the inscription pillar present in the Temple complex. The temple was not merely a place of worship; it fi lled a large place in the cultural and economic life of the people. Its Saptasantanas was a popular ideology of conducting seven construction and maintenance offered employment to number meritorious deeds. Its constituents viz: (i) brahman village, (ii) of architects and craftsmen who vied with one another in bold gifting a son, (iii) dedication of literary peace, (iv) hoarding of planning and skillful execution. The making of icons in stone treasure, (v) excavation of tank, (vi) raising a grove, and (vii) and metal gave scope to the talents of the best sculptors of construction of a temple, were sanctioned by the dharmic texts and approved by people and polity as common shared ideology the country. The daily routine gave constant employment to 35 number of priests, choristers, musicians, dancing-girls, fl orists, and practices for attaining merit. cooks and many other classes of servents. The periodical festivals like Sivaratri, Ekadashi etc. were occasions marked by fairs, contests of learning, wrestling- matches and every other form of popular entertainment. It also served as the town hall where people assembled to consider local affairs or to hear the exposition of sacred literature33. The enlightened Kakatiyas had embarked upon liberal construction of different temple forms invariably associated with water tanks and thus realizing the twin objectives of punya and purushardha.34

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 107 c) Infl uence of Tank on the Temple (6) These developments in the dry region

DESCRIPTION The Kakatiyas were the fi rst to realize that led to developing settlements. Temples the red and sandy soil of Telangana, lying were built to monitor the people living in on a bed of granite and crystalline rock, was the settlements. extremely fertile and eminently suitable for Image 2.68: Tirthankara friezes on the padavarga wet cultivation, though its porous character d) Religion demanded a plentiful supply of water to Telangana’s socially egalitarian society also make it fruitful and to yield suffi cient grain structured how, at the highest level, religion to feed the people. They also saw that if the and the Kakatiya state was mutually related. water following down the many rivers and Kakatiyas when under the guidance of streams in the country could be conserved Chalukyas, had introduced themselves and utilized for the purpose of agriculture, with titles pleasing the Chalukyan wet crops could be raised on a large scale. kings. After the elipse of the Chalukyas, They accordingly conceived the idea of Rudradeva continued to use the rhetoric constructing large tanks and dams in which of dependence, the difference, however, water suffi cient to irrigate vast areas of land being that the new overlord was no longer could be stored up. a mortal Chalukya ruler, but the immortal ‘Self-manifested lord’, Swayambhu Siva. The political - economic policy of The Kakatiyas ruled at the behest of the god conservation of dry to wet lands through Siva himself, in his form as self-manifest deforestation and tank irrigation brought lord of the universe37. signifi cant changes in the society, they are: (1) Caste proliferation due to increased The Chalukyas on the other hand built infl ow of the forest dwellers and many Siva Temples but the then king autochthonous communities into the Vikramaditya VI built the major temples society, and dedicated to lord Vishnu. The royal temple at Kalyana was dedicated to lord Vishnu. (2) Emergence of new professions Kakatiyas were initially the followers of related to administration, irrigation-tank Jainism who during the reign of King construction, maintenance, repairs, water 36 Ganapatideva, became the followers of distribution, taxation etc . Saivism. Hence, he built many Siva Temple (3) The temple building activity in this whole kingdom. accommodated artisan communities Image 2.69: Musicians and Dancers in vyatyasthapada pose through shares in the devabhogas and The relation of Kakatiyas with Jainism contributed for the consolidation of the and Vaishnavism is very clearly visible in 2.b. HISTORY AND DEVELOPMENT people into a caste-cum-professional guild, the sculptures of the temple. Sculptures of The temple constructed in the beginning one. The Peninsular plateaus consist of panchanam varu. tirthankaras can be found on the band of of the 13th century is a masterpiece of fi ve distinct physiographic sub-divisions: fi gures on the padavarga of the main temple. (4) In dry interior plateaus, the settled Kakatiya Temple Architecture. It is the Western Hills, Northern Deccan Plateaus, The scene of lord Krishna playing with the fi nest example of the medieval Deccan South Deccan Plateau, Eastern Plateaus and agricultural was relatively a new Madanikas found on the door jamb of the phenomenon and many peasants got Temples conserved. Eastern Hills. The South Deccan Plateau antarala doorway shows the Vaishnavism Rudreshwara (Ramappa) Temple is part of again consists of the Telangana Plateau and recently switched from other occupation, cult during the Kakatiya period. particularly pastoralism and hunting. the Telugu speaking region - Telangana. the Karnataka Plateau. Telangana region thus forms a distinct micro physiographical (5) The development of tank irrigation in 2.b.i. Geo-cultural background region38. this period there was economic prosperity. Telangana The Satavahanas ruled Telangana region for This paved the way for proliferation of nd The origin of the word ‘Telingana’ is being about 400 years right from the 2 century trading activities and the formation of new B.C. to beyond the 2nd century CE. trade guilds such as nakara and pekkandru. into use from the medieval times. The term These guilds formed by different Telangana means the country of the Telugus. After the Satavahanas, the fi rst important communities were organized to cater to the The basis for the cultural personality of dynasty that ruled over Telangana was the ever growing specialized trade. Telangana is the physiography of the region. Chalukyas of Badami. India has seven major physiographical divisions of which Peninsular plateau is

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 109 DESCRIPTION

Kalyana Chalukyas Dynasty (973 AD-1126 AD) The Kalyana Chalukya dynasty was established in 973 CE. and dominated the Deccan from its capital in Kalyana for two centuries, distinguishes itself from its distant forbearers, the Badami Chalukyas (r. 543-753), whose capital had been Badami in the southwestern Deccan. Under the Chalukyas, the center of their kingdom was in the Kannada speaking region of Karnataka with their capitals at Badami and Kalyani, with Telangana forming an extension of their dominion. During Vikramaditya VI’s reign (1076-1126CE.), the generals were given all the insights of royalty. Although the emperor remained in theory the supreme bestower of honours, over time even this prerogative was increasingly delegated to feudal lords in his confi dence39. The exceeding of so much authority encouraged the larger feudatory lineages like the Hoysalas, the Yadavas and the Kakatiyas to assert their autonomy from their imperial overlords, a process that accelerated soon after Vikramaditya VI’s long reign40. As the sprawling Chalukya Empire fragmented and was succeeded by three major regional kingdoms, a trans-regional vision of polity based on ideas of the Sanskrit Cosmopolis was replaced by a scaled- back vision of polity defi ned by regionally based vernacular languages. Mapping themselves over the Marathi, Kannada, and Telugu speaking regions of the plateau respectively, the Yadavas, Hoysala, and Kakatiya successors to the Chalukyas represented political manifestations of an ethno-regional consciousness that had already taken root across the Deccan.

Map 2.4: The Spread of Chalukyas | © Power, Architecture and Memory

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 111 Kakatiya Dynasty (1123AD- 1323AD) The Kakatiyas ruled from Hanumakonda at fi rst and then from Warangal(Orugallu then) as capitals of their kingdom and the central part of their dominion being Telangana. During Ganapatideva’s reign (1199-1261 CE.), for the fi rst time the Telugu speaking region got united under one unifi ed rule. Telangana had fallen to the Delhi sultanate in 1323 A.D with a great destruction to the major temples of the Kakatiyas, especially the Swayambhu Temple in the Warangal fort premises. Golden age of Telugus The Kakatiyas and their period occupied a position of predominance in the history of South India. they brought political unifi cation of entire Telugu speaking area, after the fall of the Sathavahanas and before the rise of Vijayanagara kings. Under their enlightened rule, trade, commerce, art and literature fl ourished and agriculture developed by utilizing every drop of water and conserving it by creating large number of water bodies which are still surviving and giving food and water even today. The sectarian differences in the realm of the religion were eliminated, education and learning received due recognition and patronage.

Map2.5: The Chalukyas split mainly in Hoysala, Kakatiyas and Yadavas| © Power, Architecture and Memory

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 113 DESCRIPTION

Tuglaq Invasion After invading Devagiri (1325-51 A.D), the Muslims invaded Orugallu and took over the Kakatiya kingdom. They ruled from Devagiri (Daulatabad) as their capital. This shift in capital again lost the importance being given to the Telugu speaking region back to Kannada speaking region. Being at a distance from the capital, this group of temples was safe from the invasions of the Tuglaqs. The Tuglaqs control was weak in the Warangal (then renamed as Sultanpur) region. The Warangal region slipped from the hands of Tuglaqs within a decade and was controlled by two local dynasties- the Musunuri chiefs (1331-68 A.D) and the Recerla Nayakas of Rachakonda (1368-1424A.D) 41. Bahmani Dynasty In 1424 Warangal was reduced to a provincial governorship of the Bahamani sultans. In 1504 Shitab Khan managed to wrest the city from its Bahmani governor. He was the former Bahamani amir who established himself at the old Kakatiya capital. He proclaimed that he had restored the cults of three deities associated with the Kakatiya state. The Bahamani Dynasty was established with Gulbarga as its capital. The Bahamani subedar of Telangana, Sultan Quli Qutb Shahi declared himself as an independent ruler. He ruled from Golconda, some 150km away southwest of Warangal. Since then the Telugu speaking region of Warangal, never received the glory importance as received during the Kakatiya era.

Map 2.6: Expansion of Bahamani and Vijayanagara Kingdoms | © Power, Architecture and Memory

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 115 2.b.ii. Kakatiya dynasty b) Inscription on the pillar a) Establishment of Kakatiya dynasty According to the inscription of the four Kakatiya Empire: Kakatiya chieftains sides of the slab setup in the madapa of fi rst emerged as Chalukya feudatories in the courtyard of the main temple, Recharla the mid- eleventh century and remained Rudra constructed a big tank and a town loyal to their overlords for over a hundred named Akunuru on the tank bund and the years, until 1163, when their ruling chief, Temple of Rudreshwara in the town. He Rudradeva (r.1156-95), began omitting gifted two villages, named Upparapalli and Borlapalli, for the enjoyment of this references to his family’s former overlords 45 in Kalyana. It was Rudradeva’s nephew god and Gaurisa . He also constructed Ganapati (r. 1199- 1262), however, who Katesvara and Kamesvara Temples on the consolidated the kingdom by conquering either side of the Rudreshwara Temple, coastal Andhra, bringing nearly all the which is popularly known as Ramappa Telugu- speaking eastern Deccan under his Temple. sway. Although Warangal is mentioned as the capital in Kakatiya inscriptions as early 2.b.iv. Development of the Kakatiya as Rudradeva’s reign, Ganapati appears to Architecture have been responsible for rebuilding the The Kakatiyan Temples are infl uenced city’s inner wall, using enormous blocks of from its ancestors (Chalukyans). dressed granite. The Thousand Pillar Temple and b) Kakatiya Ganapatideva Swayambhu Temple were the initial Ganapatideva (1199-1261 CE.) was a great Kakatiya Temple examples from which the conqueror. By his prowess, he enlarged the Rudreshwara Temple has arrived. frontiers of his kingdom up to the River Temple is not merely a place of worship Kaveri in the South and up to the sea in the but something more with cosmic and east. In this task he was helped by a number spiritual signifi cance. The Hindu Temple is of able generals and ministers, of whom considered as the image of the Cosmic man Rudra of the Recharla family is famous. For called the Vastu purush. the fi rst time the Telugu speaking region Vastu is primarily the planned site of the got united under one unifi ed rule. They building. Its shape is square as a rule and were the fi rst to build a capital in a drought the full name is Vastupurusamandala. This prone area where no source of perennial 42 name consists of three parts, Vastu, Purusa water was received . and Mandala. Vastuhere, is the extent of existence in its ordered state, and is beheld in 2.b.iii. Temple History the likeness of the Purusa or cosmic man. The a) Recharla Rudra form of the Vastupurusamandala is a square. The shrines at Palampet belong to the The drawing of the Vastupurusamandala is period of the Kakatiyas and constitute imperative prior to building a temple. the perhaps the fi nest examples of medieval elaboration of this concept seems to have Deccan Temples. The Temples of Palampet been almost completed at the age of the were the pious works of this chief, Recharla ‘Braht samhita’ and the ‘Visnudharmottara’ Rudra, in 1135 (1213 A.D) during the and at the height of temple building activity reign of Kakatiya Ganapatideva43. His about 1000 A.D the actual drawing of the inscription running to nearly 204 lines diagram on the ground which the temple engraved on four sides of a polished basalt was to occupy seems to have been the pillar now erected in a small mandapa practice. From the sketching of the cord, within the courtyard of the temples or the drawing of the lines of the mandala, enumerates the glorious achievements of every one of the movements is a rite and this feudatory family and commemorates sustains the building. These movements, the construction of the main Temple at rites and meanings are not accessory and Palampet in Saka 1135 by Rudra44. they go into the making of the temple, its It took around 40 years for the construction shape and proportions and that of every of the temple. carved detail and every fi gure, each at its proper place46.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 117 1. Trikuta plan form 3. Bracket fi gures Sometimes the roots have extended into detailed research report has investigated on Kakatiyas, the decendents of Chalukyas, The concept of using bracket sculptures in the soil fi ll of the cavity walls, widening the construction techniques followed by followed the same principles, which the art can be an adaptation from Hoyasala the cavity and destroying walls and other the Kakatiyas at the Rudreshwara Temple, were followed by their masters, while architecture, but not the form. The form structural elements51. Thousand Pillared Temple, Hanumakonda DESCRIPTION and Warangal Fort. constructing numerous temples. But of the Kakatiya bracket fi gure is entirely Rudreshwara (Ramappa) Temple has there is some difference in the plans as different and much superior in composition. been under the care of the Archaeology ASI has done many conservations works the Kakatiya ones were more superior to Bracket is an architectural element and its Department since the early twentieth till then for the betterment of the Temple. those of their masters. The temple plans function was purely architectural. It was century. The change in political powers They have improved the Nandimandapa. of ekakuta, dvikuta and trikuta adopted an oblong stone piece fi xed between the from the princely state of Nizam’s to its Chemical cleaning of the sculptures has by Kakatiyas are similar in the early stages pillar and the roof beam to give additional integration into Indian Union, made a shift also taken place. Work on the Prakara wall which were gradually changed to stellate strength and stability at the joint. Later in the Archaeology Department i.e. from is ongoing. forms which were not appeared in the this architectural component spurred the the Archaeology Department of Hyderabad 2.b.v. Present day Chalukyan Temples. Provision of path for imagination of the sculptor and the bracket to the Archaeological Survey of India. circumambulation around the main shrine, fi gurine was born. Long before Hoyasalas, Rudreshwara (Ramappa) Temple, Palampet suffi cient ventilation, creation of space for bracket sculpture appeared in some In the beginning of the twentieth century, was enlisted in the tentative list by the doorways, according to the principles of Chalukyan structures. Hoyasala artist has Telangana was a part of the Nizam’s UNESCO, World Heritage Centre on manduka mandala, were followed by the taken up this concept and developed into Domain. 15/04/2014 under the title The Glorious Kakatiya architects47. a sculptural marvel. They carved and fi xed In 1914, the Archaeological Department Kakatiya Temples and Gateways as a The temple architecture of 9th - 10th about forty beautiful damsels on the pillars was established in Hyderabad. On the advice serial nomination along with Rudreshwara centuries CE. is represented by varied plans of Chennakesava Temple at Belur and of the Director General of Archaeological (Thousand Pillar) Temple, Hanumakonda such as square, apsidal, rectangular and also at Halebid. In later times the bracket Survey of India, Prof. Gulam Yazdani was and the Swayambhu Temple, Warangal grouped around the main shrine. Trikutas sculpture took the form of rampant lions, appointed as its fi rst Director. Since then Fort as in whc. unesco.org/en/ came into existence for the fi rst time48. horses and elephants giving the impression the Preservation and conservation of the tentativelists/5889. of bearing the load of the roof. Rudreshwara Temple was being taken The administering committee while The temples having stellate ground care by the Archaeological Department of plan were introduced by the Chalukyan 4. Vimana preparing the nomination dossier had Hyderabad. reevaluated the sites for protection and architects and later adopted by the Kakatiya The Kakatiyas being the decendents of architects. The Kakatiyan architects have Gulam Yazdani after his inspection had management and decided to compare but the Chalukyas adopted the style of vimana taken immediate measures to prevent not to include in the sites of Rudreshwara articulated the built form very profusely in from the Chalukyas. their own style which shows the interchange the monument from falling by providing (Thousand Pillar) Temple, Hanumakonda of architectural style forms49. The Chalukyas Temples were of a vertical masonry columns to support the and Swayambhu Temple, Warangal Fort thoroughly different style - one whose falling prastara. These measures have saved the nomination. As of now the authenticity 2. Sculptures northern, Nagara affi nities are as clear as the the temple from depletion. of these sites cannot be presented in complete meaning and the integrity cannot The sculptures of Kakatiya reached its southern Dravidian style. The Vimana of th th the Chalukyas was a perfect amalgamation b. Archaeological survey of India (ASI) be maintained with the issues pertaining to epoch during the 12 and 13 century. management of both the sites. Prior to this period in the neighboring of the Northern and Southern typology The Archaeological Survey of India had Hoyasala kingdom, a marvelous art form of vimanas creating a new style called the overtaken the properties and works of the Swayambhu Temple, Warangal Fort had appeared during the 11th and 12th centuries. Vesara type of Vimana. This amalgamation Archaeological Department of Hyderabad fallen down and mainly archaeological in At Khajuraho in central India during 10th, with a variation can be well seen it the since the integration of the Princely state nature, due to onslaught invasions from 11th centuries a vibrant and robust sculpture Temple of Rudreswara. of Hyderabad into the Indian Union in the Delhi sultanate during 14th century AD, evolved. Down south, the Pallava art of the year 1948. and as the conservation process needs a 2.b.v. Conservation works 7th and 8th centuries is a pleasing form with The main function of the Archaeological complete reassessment for authenticity of naturalistic overtones. There is no similarity The Rudreswara Temple was built with the Survey of India is to explore, excavate, the temple ruins. Hence, it is not included among all the three groups, and each one ideology of being conserved for the future conserve, preserve and protect the the nomination. has an independent style of expression. generations. This can be clearly found from monuments and sites of National and the inscriptions on the inscription pillar Rudreshwara (Thousand Pillar) Temple has Kakatiya style of art is entirely different International Importance. been encroached upon by a few settlements from the above three styles. in the temple premises where the Recharla Rudra had requested the visitors to preserve The day-to-day works conducted by the in and around the site making it diffi cult For the fi rst time in the history, a temple is the monument for the generations to ASI are published in the series publication to manage the location and setting while popularly remembered by the name of its come50. of ‘Indian Archaeology: A Review’ since managing the site. Hence, Thousand Pillar sculptor rather than the deity residing in the 1953-54. Temple was decided not to include in the temple. This itself shows the importance After the fall of the Kakatiyan Dynasty there nomination. is no evidence of sustained maintenance In 1991, ASI got a research report prepared laid down in the sculpture making of the Therefore, Rudreshwara (Ramappa) temple. over long periods of time. This has resulted by the Department of Civil Engineering, in loosening and falling of elements and Regional Engineering College, Warangal Temple stands and fi ts into the criteria as a growth of trees and plants in the joints. on the ‘Geotechnical Appraisal and representative of “The Glorious Kakatiya Evaluation of Kakatiya Monuments’. This Temples and Gateways”.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 119 1According to the inscription found at the Inscription 28Rao, M.P, et. All, Geo-Technical Splendour of the Pillar (M.R.K. Sarma, Temples of Telingana, 1972, p. Kakatiyas, Souvenir -Kakatiya Heritage Trust, Warangal, 115) p. 13 2G. Michell, ‘The Hindu Temple An introduction to its 29M.R.K. Sarma, Op. cit., 1972, p. 189 meaning and forms’, New Delhi, 1977, p. 66. 30Rao, M.P, et. All, Geo-Technical Splendour of the 3G. Yazdani, (1922). The Temples of Palampet. Memoirs Kakatiyas, Souvenir -Kakatiya Heritage Trust, Warangal,

DESCRIPTION of the Archaeological Survey of India. Issue 6. p. 176 p. 13 4G. Michell, Op. cit., p. 88. 31As cited by Y. Gopala Reddy in his book ‘the Ghanapur Group of Temples’ to N.V. Mallayya, Studies in Sanskrit 5Rao, M.P.R (2001). Geo-Technical Splendour of the Texts on Temple Architecture (with special reference to Kakatiyas. In Rao, MP (ed.)Kakatiya Heritage Trust Tantrasamuchchya) Madras. 1949, p. 260 Souvenir. Warangal: District Council for Cultural Affairs, Warangal & INTACH, Warangal chapter. p.9 32Parabrahma Sastry, P.V,(1978). The Kakatiyas of Warangal. p. 175. 6ibid. op. cit.,2011. p.10 33Sastri, K.A.N (1958). History of South India. p. 314- 7A. Ali, Kakatiya Literature and Art, Cultural Heritage of 315. the Kakatiyas, Warangal.1993, p. 23. 34Rao, S.N,(1993) Introduction.In: Rao, S.N (ed.) 8Rao, M.P, et. all., (1987)Op. cit., p. 128 Cultural Heritage of the Kakatiyas, Warangal, , p. 4. 9Rao, M.P.R.(2001)op. cit., p. 10 35Durga, P.S.K (2013) State and society under the 10Rao, M.P, et. all.,(1987)Op. cit.,p. 91 Kakatiyas of Warangal: A critical appraisal (A.D 1000- 1323). p. 9 11Singh,B.S. (1999).The Art and Architecture of Kakatiyas. p. 33 36Ibid. (2013) Op. cit., p.5 12Reddy,Y.G (1985)The Ghanapur Group of Temples. p. 37 Eaton, R.M, Wagoner, P.B, (2013) Power, Memory, 43. Architecture. p. 17. 13M. Krishna kumari, (1990)Social and cultural life in 38M.R.K. Sarma, (1972) Op. cit., p. 3-4 medieval Andhra. p.46. 39Reddy,Y.G (1983). The Feudal Element in the 14Boner, A. (1962) Principles of Composition in Hindu Western Chalukyan Polity. In: Chalukyas of Kalyana, Sculpture: Cave temple Period. E. J. Brill, Leiden. p.96. (ed). Rao, N. p. 115-20. 15Reddy, Y.G. The Exterior Architectural and Artistic 40Eaton, R.M., Wagoner, P.B. (2014) Op. cit. Embellishment of the Kakatiya temples.ITIHAS.8th. 41Ibid. (2014) Op. cit.,p.165. No.1. Pl.115. 42 Rao, P.V.N, Ramappa A symphony in Stone, Cultural 16M. R. K. Sarma, (1972)Op. cit., p. 120 Heritage of the Kakatiyas, Warangal, 1993, p. 8 17Y. Gopal Reddy,(1985) Op. cit., p. 68. 43I.A.P. Wgl district. No. 50, p.141 18M. R. K. Sarma, (1972) Op. cit., p. 265 44 Rao, P.V.N, Op. cit., 1993, p. 8 19Visvanadham.K. Symphony in Stone, Warangal, 2008, 45I.A.P, Wgl district.No, 50.p. 141-149. p. 50. 46G. Yazdani, (1922). Op. cit., p. 176 20V. Raghavan 47 M.R.K. Sarma, Op. cit., 1972, p. no. 33 21Y. Gopal Reddy, Op. cit., 1985, p. 70-71. 48B.S. Singh, Op. cit., 1999, p. 33 22Chary, S., Ramappa and other temples at Palampet. p. 119-120. 49B.S. Singh, Op. cit., 1999, p. 23 23Rao, P.V.N. (1993). Ramappa- a symphony in stone. 50 ibid., 1999, p. 26. In:Rao, S.N (ed.).Cultural Heritage of the Kakatiyas. p. 51Bernette, LD. 9. 24Ibid. (1993) Op. Cit,. p.10. 25Reddy, Y.G, (1985) Op. cit., , p. 57. 26Dhaky,M.A (1983). Encyclopedia of Indian Temple Architecture: South India. Encyclopaedia of Indian Temple Architecture (i:i), p. 533 27Rao, M.R, Op.cit., Pl. XXXII.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 121 CHAPTER 3 JUSTIFICATION FOR INSCRIPTION

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 123 3.1.a. Brief Synthesis technology, and art of temple building and of a lofty temple making it an earthquake and construction techniques followed in The Great Living Rudreshwara Temple, construction in Deccan India. The temple resistant structure is a masterpiece of the Thousand pillars temple, Rudreshwara popularly known as Ramappa Temple stands as a testimony demonstrating an creative effort of the Kakatiyas in the fi eld (Ramappa) Temple and Swayambhu at Palampet, Warangal stands as a lone elaborate materialization of the regional of construction and geo-technology. Temple have established scientifi c research testimony to the highest level of creative, dance customs and Puranic texts. base proving the creative master pieces 3.1.b.2. Justifi cation for criteria (ii) during Kakatiyan era (2.b.iv; pg117). artistic and engineering talents evolving 3.1.b. Criteria under which Inscription and involving various experimentations in is Proposed Rudreshwara Temple displays the Well planned irrigation systems - devoid expressive art forms of Kakatiya period. interchange of human values over a span of of any perennial water source, stand This is the crest jewel of Kakatiya art The Ramappa Temple is proposed to be about 180years i.e. from 12th to 14th century as characteristic features of Kakatiyan tradition, the fl avor and infl uence of which inscribed in the WHS under criteria (i), CE. in the Telugu language speaking region kingdom. The construction of large can be gleaned even through the sculptures (ii), (iii). and justifi cations are elaborated of Deccan India by the Kakatiyas from the scale reservoirs with a network of canals below. Further illustrations and detailed JUSTIFICATION FOR INSCRIPTION JUSTIFICATION of Hoysala and Chalukya. Kalyana Chalukyas, Hoysalas and pass onto and distribution channels is evident architectural documentation can be referred Vijayanagara Empires in the development with Ramappa lake and Ghanpur The thoughtful selection of the materials in Annexure III and use ranging from inventing light of a more evolved and improved form Cheruvu respectively, close to the Temple porous fl oating bricks to reduce the load 3.1.b.1. Justifi cation for criteria (i) of technology, sculpture making and sites of Ramappa and Kotagullu. This architecture(2.b.i; pg107). technology developed by introduction on the foundations to the making of fi ne Rudreshwara Temple is a master piece of sculptures on the hard dolerite stone, on the of embankments to expand the water Kakatiyan style of Temple architecture Kakatiyas were the political successors of catchment areas, dams for improved storage basis of its strength and availability is visible. with the use of engineering innovation the Kalyana Chalukyas (Kannad speaking The technology used in the construction and water transportation through canals by creating fl oating bricks, sand-box region) in the Telugu speaking region ruled for agriculture(2.a.viii.c: pg 106). of the temple has established a scientifi c foundations, material selection knowledge by the Chalukyas. The Kakatiyas, along with research base in the present century. They and ingenuity in stone sculpting as the Hoysalas and Yadavas had announced 3.1.b.3. Justifi cation for Criteria (iii) understood the need for utilizing sand as a themselves as rulers independent of the technological ensemble (2.a.iii; pg38). th material for the foundations. The sculptural and form modifi cation, Chalukyas. With the succession over the Cultural traditions of Kakatiya (12 The sculptures of the Rudreshwara Temple evolution of temple art, sculpture and Chalukyas, the Kakatiyas had also taken Century AD) are evolved from exchange especially its bracket fi gures are one of a use of technology in material selection the knowledge of art and architecture and continuity of human values from from their ascenders. The adapting of the Chalukyas (8th Century AD) and later kind sculptures carved out on the dolerite and making as displayed in Rudreshwara th giving it a metal like fi nish with its luster Temple at plampet, Keerthi Thoranas at Chalukya style of architecture in creating a continued to Vijayanagara (14 century intact even after 800 years of construction. Warangal, Temple of Thousand Pillars at new style of architecture called the Kakatiya AD). Rudreshwara Temple is a best These sculptures express movement type of Hanumakonda are master pieces of human style of architecture can be very well seen surviving example of Kakatiyan tradition of dynamism in form; either human or animal creativity. in the form and design of the Rudreshwara art, architecture and technology, even after Temple. the onslaught on various other temples appears static or sedentary. Every form Rudreshwara Temple displays engineering conveys active movement. of Kakatiyan era. The establishment and innovation by creating fl oating bricks to The Kakatiyas have carried forward the continuity of Kakatiyan power patronised The Kakatiyas have evolved from the create light weight over the walls of the temple architecture knowledge of the the emergence of this architectural marvel, Chalukyas of Kalyana and had left behind structure. The temple deployed indigenous Chalukyas and have brought tremendous linking regional dance traditions as the knowledge and values for the future geo-technical knowledge in chiseling one developments in its architecture with documented in the dance treatise Nritta era of Vijayanagara. The development in of the hardest rocks of the earth to give respect to its geographical condition Ratnavali by military general Jayasenapati. the construction of the temple as a plan the fi ne fi nish to the sculptures that has establishing the Kakatiya Temples as a fully The effort of Kakatiyan craftsmen to form, art form and technical form from the its lustre intact even after 800 years of developed temple of the medieval era. interpret this regional dance customs, Chalukyan form of construction in forming construction. The use of simple material The temples having stellate ground Kakatiyan lifestyle and to establish textual a more superior style of temple architecture like sand in the construction of foundation plan were introduced by the Chalukyan renderings as a physical representation, is best resembled in the built form of architects and later adopted by the Kakatiya in the form of Madanikas (2.a.v.; pg54), Rudreshwara Temple. The site stands as a architects articulating it into their own motifs on kakshasana and carvings stand testimony of fl ourishing agriculture based style. as a testimony to the outstanding universal settlement on a land devoid of any perennial value in popularising cultural artforms. water source by the Kakatiyan Empire in The creations of Trikutalaya and Keerthi the 12th century. Thorana in temple typology and entrance The temple is known for its signifi cant gateways in India are representative sculptural art, hence named after the The proposed site is a unique cultural examples in form and design. They main sculptor of the temple- Ramappa. representative of the Golden era of demonstrate both a creative masterpiece, The sculptures on the brackets of maidens Telugu language speaking people under and stand as sole examples for continuity of (Madanikas) are a facial handwriting of the umbrella of Kakatiyan Empire. The evolved cultural traits and transformation the Kakatiyan sculptors and their easy temple is an outstanding example of through interchange of human values for manipulation of the chisel which reached temple architecture evolution illustrating many years of Indian art history. Selection its climax of graceful fl uency in modeling, a phase of development in the science, Use, and making of materials, traditions designing and carving these Madanikas. Image 3.1: Finess in scuplting of Dolerite

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 125 The fi ne chisels and polish on the fi ne music. The temple plan form, its spatial 5. Location and setting 3.2. COMPARATIVE ANALYSIS crystalline rock, has helped retain the luster organization and all the major elements are of the sculpture even today. intact and untouched. The original location and surviving rural setting including the agricultural land part 3.1.c. Statement of Integrity of the buffer zone maintain the prestine Kakatiyas have carried forward the stellate status , being away from developmental temple form and adopted the Vesara pressure. The Ramappa temple is one style of Vimana from the Chalukyas and such intact surviving example in Indian have very well adapted it to the cultural sub-continent displaying the integrated geography of Telangana2. Kakatiyas in relationship between the lake and temple the construction of their temples had as mentioned in 5th century text Brihat very presicely followed the rules of Samhita. temple construction as prescribed in the Image 3.2: Natya Mandapa conceived to be a 6. Language and other forms of intangible Image 3.3: Ghapur Temples Shilpa-sastra and Vastu-sastra. performance space heritage 2. Material and Substance Comparison with other Kakatiya Temples The temple is a living memory of the Rudreshwara Temple is the testimony of and Gateways legend of the Kakatiyas who brought a The temple expresses great artistic the Golden age of the Telugus brought in golden era to the Telugu speaking region of splendour ranging from six feet sculptures the region of Telangana by the Kakatiyas. Swayambhu Temple within Warangal South India. The temple stands a testimony Fort needs a complete reassessment to six inches with fi ne fi gurative expression Nritta Ratnavali authored in 1253 A. D. by to the exchange of cultural, traditional and that embellish the entire architectural for authenticity of the temple technical knowledge of construction from Jayasenapati was inspired from the dance ruins for any conservation process. space. The temple with 40nos 6ft female fi gures carved in Ramappa Temple. its precedents i.e. the Chalukyas of Kalyana Madanikas and Gaja-Vyalas, and relief Rudreshwara(Thousand Pillars) Temple, to the kingdoms which fl ourished in the The study of temple’s dance scultpures gives at Hanumakonda needs a conservation sculptures, thematic sculptures and dance an understanding of the desi dance traditions post Kakatiyan period. sculptures(about 600in number), is intact management plan to present the integrity such as perini, prekhana, gavundali, rasaka, of the site for complete meaning, due The indigenous value held by the innovative and structurally stable despite the use of dandarasaka ghatisisri nrttam performed in fi ve types of material. The fl oating bricks to encroachments in the vicinity. Other construction techniques of building the temple and the thrust on desi sthankas, Kakatiyan temples and Gateways at Ainole earthquake resistant structures using sand- which went missing due to vandalism were charis and karnanas. The temple inspired reconstructed after conducting an extensive are incomplete in terms of visibility of the box technology and other traditional Jayasenapati, the commander of Kakatiya criteria; methods; the geo- technical knowledge in study, following the same techniques used elephant force to write the valuable treatise the careful selection of materials and use by the Kakatiyas during the construction Nritta Ratnavali on dance traditions of Thus Rudreshwara (Ramappa) Temple ranging from the hypabyssal dolerite stone of the temple in the 13th century. Support Telangana in later13th century. stands an exceptional testimony of to the invention of light weight porous pillars were inserted a century back to Kakatiyan art and cultural tradition fl oating bricks in the 13th century and the protect the cornice from falling down. 3.1.e. Protection and management incorporated in technology, and requirements commendable sculptural efforts in chiseling 3. Use and function engineering of Temple buildingand fi ts the very hard dolerite rocks to get the The site is a property of the Archaeological into the criteria as a representative of “The everlasting metallic polishes are very well Ramappa Temple is a living temple, draws survey of India and hence is mainly Glorious Kakatiya Temples and Gateways”. the attention of people in large number. displayed and are intact at Rudreshwara responsible for the protection and Architectural features (Ramappa) Temple, Palampet. It is very much functional, exemplifi es management of the property. The property the height of technological and artistic The proposed site of Ramappa Temple 3.1.d. Statement of Authenticity is managed by an integrated management tradition of temple building in Deccan. plan involving owners and stakeholders for inscription is compared to Regional The proposed site maintains the The Ramappa temple is a Brahminical at different levels. For the conservation heritage temples built under Chalukya, authenticity for their material, form, design Siva Temple. The Temple follows all the and preservation of the property, the Hoysala, Chola and Vijayanagara regime and construction techniques displaying the authentic Shaiva-Agama rituals followed in national conservation policy of the Ancient based on infl uences, materials and evolution original values of Cultural and building a Siva Temple. Monuments, Archaeological Sites And of architectural characteristics or features th th traditions of Kakatiya Empire. 4. Traditions, techniques and Remains (NPC-AMASR) is followed by the evolved around 8 -14 century. 1. Form and design management systems ASI (Annexure II of Nomination dossier). NandiMandapa: Ramappa Temple lines up with the regional heritage site Dodda The Rudreshvara Temple is designed to The temple was constructed keeping in The temple being well protected from mind the use and function of the temple, natural disasters due to its construction Basappa Temple at Dambal and WHS sites provide spacious ambience consisting namely Brihadeshvara Temple at Tanjore, of the 10feet wide Adhisthna serving as hence making the management of this techniques holds no major threat to the religious ensemble easy for management. Outstanding Universal Value. The fallen Kailasanatha Temple at Ellora, and Pradakshinapatha, the Sabha Mandapa-the Hoysaleshvara Temple Halebidu having most signifi cant part of the temple used The Conservation procedures are down Kameshwara Temple is undergoing authentic to material, form, geometry and a major restoration work which is well richly carved monolith Nandi seated in a for multi-purpose, as ritual space, political seperate mandapa to he East of the temple. and cultural discourses, served as hall of consecrational rites and rituals deployed in managed and taken care by the ASI with justice and entering into treaty before the the construction of a temple. the help of Kakatiya Heritage Trust. Lord Rudreshvara, performing dance and

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 127 Kadalikakarana and Architrave: The Ramappa temple of Kakatiyas evolved from the earlier Kakatiyas and Kalyana Chalukyas and thus it exhibits similar characteristic freatures such as architrave, thoranas and structural components such as columns and Kadalikakarana.

JUSTIFICATION FOR INSCRIPTION JUSTIFICATION Image 3.8: Bracket Figures at Belur Image 3.10: Dance Sculptures at AngkorWat Image 3.6: Architrave at Mahadeva Temple Temple ,Ittagi lack lustrous fi nish. These sculptures do relief are limited including hand gestures of not stand out and their signifi cance is less AngkorWat are located at the lower segment of hollow Vimana made of fl oating bricks observed as they are placed at unnoticable of the architecture. Ramappa Temple has over a heavily built stone superstructure. height. Whereas bracket fi gures of around 200 dance sculptures ranging from Realising the instability of dense Ramappa Temple are about 6ft in height, six inches to six feet are traced depicting Vesara superstructures, the architects of elegant and decode the traditional dance both marga and desi traditions of Indian Rudreshvara Temple invented fl oating brick forms and music practised in Telangana classical dance. It is a treasure house for Image 3.4: Nandi Mandapa at Dodda Basappa technology for constructing Vimana as a region. While assessing from aesthetic music and dance, a guide for the scholarly Temple Dambal weight reduction solution, thus helping the approach, fi ne fi nish and complete resarch. temple to withstand differential settlement. treatment the sculptures are of exceptional The conservation measures have kept the quality amongst all schools of sculptures Extracting Melodious Sound: In Vittala Architrave, a unique feature derived from Temple at Hampi, a group of pillars Chalukyan temples is rooted strongly Vimana intact. In comparison with other from Deccan such as Kalyana Chalukya, Hoysala temples at Halebidu and Belur, Hoysala, Seuna, Himadpanthi, Chedi, clustered around a centrally placed column in Ramappa Temple. The architrave at of massive dimensions found in the Ramappa temple was appropriately made WHS Boyan Temple at AngkorWat which Chola, Pandya, and Vijayanagar and have are a heap of stone and rubbles today, sustained for about 800years. RangaMandapa function as a single unit of detailed fi gurines and perforations on evoke a two-fold admiration possessing dolerite stone and is one the largest surviving Ramappa Temple is stable despite of the material variety and sand-box foundation. Gaja-Kesari: Composite sculptures musical qualities along with pleasing examples among other contemporary recognised as Yali, are deployed as pillar temples, surpassing previous generation Quality of Sculptures: The bracket sculptures in Vittala Temple at Hampi, temples of Mahadeva and Doddabasappa fi gures of Kalyana Chalukyas from Ranganathaswamy Temple at Srirangam in strength and integrity. Kuruvatti Temple and bracket fi gures and other post-Vijayanagar period built in Vimana: Ramappa Temple is one of the of Chennakeshava Temple at Belur are sand stone and granite. The Gaja-Kesari uncommon temples to have Vesara style exquisitely chiselled in soap stone.Granite fi gures of fi ne polished dolerite are placed sculpture of Brihadeshvara Temple at as bracket fi gures supporting the Prastara Tanjore and Vitthala temple at Hampi on the Ardha-stambas innovatively at Ramappa temple. Dance Sculptures: The dancing Apsaras in

Image 3.5: Kadalikakarana at Mahadeva Image 3.7: Angkor Bayon Temple Image 3.9: Gaja-Kesari Sculptures at Image 3.11: Musical Pillars at Vittala Temple, Temple ,Ittagi | ©Francesco Bandarin / UNESCO Srirangam Temple Hampi

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 129 architectural features. Continuous striking and sculptors of the time have created Comparison with World Heritage Sites form a musical composition, perhaps built space for not only religious and political The Rudreshwara Temple is compared under the supervision of great musicologists deliberations but also to experience visual to other Kakatiyan temples, and cultural of the times. and performing arts. WHS on National and International The Kakatiya sculptors in 13th century level considering time period, infl uences much before Vijayanagar period have on art and architecture refl ecting on the experimented producing melodious criteria (underlined) under which they are sound at Ramappa Temple, sure of when inscribed (Table 3.1). hit gently on the sculpted bark of tree a small sculpture located at the right lower segment of Antarala Dwara. The architects

Location Site Name Time period WH Criteria Comparison Statement

Kakatiyan and Hoysala temples are known for their evolution into distinct styles derived Karnataka, Group of Monuments Hoysala Dynasty from Chalukyas. Developed over three centuries before the Vijayanagara period, the (ii), (iii) India (10-14th Century) Kakatiya architectural traits and the experimentation on hard granite were exceptional to at Hampi, Bellary be an architectural proto-type to the Vijayanagara style.

WHS The Chola temples exhibit an important interchange of human values within Chola regions for the evolution of distinct style in temple building and Architecture. Both Tamil Nadu, Great Living Chola Temples, Chola Dynasty Chola temples and Kakatiyan temples are examples of characteristic development during (ii), (iii) India Tanjore (10-13th Century) the same time period. The Ramappa temple stands as a testimony to Kakatiyan Temple building tradition as the Brihadeshwara temple is to Chola Temple building tradition. Natrioal WHS Khajuraho Group of Monuments are known for the development of distinct style Madhya in temple building and depicting balance between architecture and sculpture. However, Khajuraho Group of Chandela Dynasty the Ramappa Temple during Kakatiya period represents a different kind of structural Pradesh, (i), (iii) Monuments (10-12th Century) ingenuity integrating sand-box technology,cavity walls, fl oating bricks and architectural India features like Keerthi Thoranas, Jagati, Kakshasanas, and Madanikas is unique.

WHS Group of Monuments at Pattadakal is a representative of the high point of eclectic art and had achieved a harmonious blend of architectural forms from northern and southern India. A similar high point was achieved with the Kakatiya temples and gateways with a Karnataka, Group of Monuments at Chalukya Dynasty distinct manifestation as seen in the temple complexes with the construction technology (iii), (iv) India Pattadakal (7-8th Century) of Kakatiyan builders, viz., Keerthi Thoranas, sandbox technology for foundations, use of fl oating bricks in Ramappa temple. The Ramappa temple among other Kakatiyan temples demonstrate the electic manifestation of regional dance forms and Puranic texts.

WHS Longmen Grottoes, located on the banks of Yi River is known for its Royal Cave Wei and Tang temple art made in the 7th and 8th century CE. The sculptures at Rudreswhara Temple Longmen Grottoes, (i), (ii), China Dynasties with it intricate details, dynamics, dance and musical features on lustrous dolerite stones Loyang City (iii) (4-9th Century) sourced from outside the site is much superior in its sculptural art when compared to the sculptures of relief limestone sculptures of buddha at Longmen Grottoes. The Ramappa temple and Ramappa Cheruvu at Palampet is comparable to WHS Sambor Prei Kuk Archaeological and Cultural Landscape of Ancient Ishanapura for its distinct Temple zone of Sambor Prei adaptation of infl uences and translating them into unique architecture styles namely Chenla Empire (ii), (iii) International Cambodia Kuk and Archaeological site of Kakatiyan style of architecture and also exhibiting engineered water management systems. (6-8th Century) Ancient Ishanapura The Ramappa temple stands as a testimony in exhibiting and preserving an elaborate materialization of the regional dance customs and Puranic texts in comparison to the Archaelogical site of Sambor Prei Kuk.

Table 3.1 contd; Comparison of Ramappa Temple with other Kakatiya Temples and WHS

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 131 3.3. PROPOSED STATEMENT OF Kakatiyas.The Chalukyan values are carried d) Statement of Authenticty. OUTSTANDING UNIVERSAL VALUE over to Kakatiyan in the sculpture making The proposed site maintains the a) Brief Synthesis and temple form. This indigenously authenticity for their material, form, design developed method, treatment of divine, This Rudreshwara (Ramappa) Temple and construction techniques displaying the human, animal, fl oral and geometric original values of Cultural and building belongs to the Kakatiyan era exhibiting the designs in most appealing proportions, interchange of human values over a span traditions of Kakatiya Empire. The temple creation of three dimensional fi gures, in was constructed keeping in mind the of about 180 years i.e. 12th to 14th century an immaculate way using tiny tools and CE. in the Telugu language speaking use and function of the temple, hence implements is a contribution for the human making the management of this religious region of the Indian sub-continent. It kind universally. This also led to unique is a living prodigy of sculpture making, ensemble easy for management. The architectural style of the region identifi able Conservation measures undertaken are seismic resistant sand-box technology and as Kakatiyan style distinctive to the region

JUSTIFICATION FOR INSCRIPTION JUSTIFICATION authentic to material, form, geometry and the engineering innovation by creating the of Telangana. Image 3.12: Khajuraho Group of Monuments fl oating bricks. The Kakatiyas have carefully consecrational rites and rituals deployed in the construction of a temple. | © Aneta Ribarska/ UNESCO adopted the temple form-trikuta from Criteria (iii): The temple is known for its the later Chalukyas and transferred the signifi cant sculptural art, hence named after e) Protection and Management evolved values to the Vijayanagara dynasty. the main sculptor of the temple- Ramappa. Requirements. The temple represents a full development The sculptures on the brackets of maidens The site is a property of the Archaeological of the medieval Deccan style proving its (Madanikas) are a facial handwriting of survey of India and hence is mainly Outstanding Universal Value. the Kakatiyan sculptors and their easy responsible for the protection and b) Jusfi cation for Criteria manipulation of the chisel which reached management of the property. The property its climax of graceful fl uency in modeling, Criteria(i): Rudreshwara (Ramappa) is managed by an integrated management designing and carving these Madanikas. plan involving owners and stakeholders Temple is a master piece of Kakatiyan style The fi ne chisels and polish on the fi ne of Temple architecture with the use of at different levels. For the conservation crystalline rock, has helped retain the luster and preservation of the property, the engineering innovation by creating fl oating of the sculpture even today. The Madanikas bricks, sand-box foundations, material national conservation policy of the Ancient in the dance poses were the inspiration Monuments, Archaeological Sites and selection knowledge and ingenuity in for documenting a Dance treatise named Image 3.13: Group of Monuments at stone sculpting as technological ensemble. Remains (NPC- AMASR) is followed Nritta Ratnavali written by the Kakatiya by the ASI (Annexure II of Nomination Pattadakal | © ASI The sculptural and form modifi cation, military general Jayasenapati. evolution of temple art, sculpture and dossier). use of technology in material selection c) Statement of Integrity: The temple being well protected from and making as displayed in Rudreshwara Creation of this Kakatiyan Temple displays natural disasters due to its construction Temple at Palampet, Keerthi Thoranas at the marvelous geo-technical knowledge techniques holds no major threat to the Warangal, Temple of Thousand Pillars at exploiting the knowledge from its ascenders Outstanding Universal Value. The fallen Hanumakonda are master pieces of human (Chalukyas), tapping the potential of its down Kameshwara Temple is undergoing creativity. geographical location and adding their a major restoration work which is well Criteria (ii): Rudreshwara Temple displays creative and technical knowledge. The managed and taken care by the ASI with an important interchange of human values Kakatiyas in the construction of their the help of Kakatiya Heritage Trust. over a span of about 180 years i.e. from temples had very presicely followed the rules 12th to 14th century CE. in the Telugu of temple construction as prescribed in the language speaking region of the Deccan Shilpa-sastra and Vastu-sastra. Hence the India by the Kakatiyas on development temple is a living epitome of the legend of of sand-box technology for geo-structural the Kakatiyas who brought a golden era strength, manufacturing of light weight to the Telugu speaking region of South bricks, evolving improved technology from India. The temple stands a testimony of the Kalyana Chalukyas. The interchange the exchange of cultural, traditional and of human values is also displayed in the technical knowledge of construction from later traditions of Vijayanagara, due to its precedents i.e. the Chalukyas of Kalyana Image 3.14: Temple at Sambor Prei Kuk the strong evolved knowledge system of to the kingdoms which fl ourished in the post Kakatiyan period. © So Sokun Theary / UNESCO

1G. Yazdani, Annual report of the Arcaeological departemen of his highness the Nizam’s dominions, 1917. 2Prof. M. Pandu Ranga Rao,(2011), geo-technical splendor of the Kakatiyas, Kakatiya Heritage Trust, Pg.no. 7-15. INTACH, Warangal chapter

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 133 4.a PRESENT STATE OF CONSERVATION i. Rudreshwara (Ramappa) Temple complex The property and components contributing The property is under conservation to the Outstanding Universal Value are since 1914 since the Nizams’ dominion in a well maintained status due to the by Gulam Yazdani and has been carry efforts of Archaeological Survey of India forwarded by the Archaeological Survey of (ASI). ASI is working in collaboration India (ASI) since the formation of the state with Departments of Civil Engineering, of India. Presently the conservation works GIS and Geo technology of National of the temple is taken care by ASI with the Institute of Technology (NIT), Warangal, guidance of Kakatiya Heritage Trust (KHT). Professionals and experts from INTACH, Warangal Chapter and Kakatiya Heritage The efforts of conservation and the Trust (KHT). authentic status of the property is clearly CHAPTER 4 visible through the status in 1914 and 2015 in the images 4.1 to 4.4. STATE OF CONSERVATION AND FACTORS AFFECTING THE PROPERTY

Image 4.1: Rudreshwara Temple – as seen in 1914 Image 4.2: Rudreshwara Temple – as seen in 2015 © Gulam Yazdani

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 135 The component of the temple and its condition is outlined along with a reason for the state of conservation. a. Prakara The decorations of the prakara has fallen down. These are found and are to be placed at its original position.

Figure 4.1: Restoration Plan of Prakara wall

b. Nandi Mandapa Though the fl oor beams of the temple have Nandi Mandapa underwent major differential settlement, the superstructure restoration for stability and alignment did not collapse due to the extraordinary including the earlier foundation. The roof factor of safety incorporated in the Image 4.3: Natyanmandapa Sthamba in 1914 Image 4.4: Natyanmandapa Sthamba in 2015 of the Mandapa is planned to be restored. structure. © Gulam Yazdani The place is protected to avoid any future However a comprehensive plan is in damage. preparation to correct this settlement c. Rudreshwara Temple misalignment as per the conservation The temple is in continuous supervision measures of ASI. and monitoring by the ASI and has been protected.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 137 d. Kateswara Temple g. Inscription Pillar ii. Buffer zone The temple is in well preserved status, The inscription pillar is of signifi cance The state of components in the Buffer zone of the property is of importance due to the except for missing portion of Shikara due to the vision of Kakatiyan rulers for undisturbed natural integrity and historical link with tank and the settlement during the the mention of Ramappa Cheruvu and establishment of Rudreshwara Temple. e. Pakashala a city, must be Palampet along with the a. Surrounding Temple The component is in a well preserved and 1 establishment of the temple . The surrounding temples are in dilapidated condition. A plan is prepared by ASI in maintained state. The pillar is in well preserved state. consultation with KHT for the restoration of these temples. f. Kameswara Temple (Kalyana b. Ramappa Reserve Forest Mandapa)

STATE OF CONSERVATION AND OF CONSERVATION STATE The location of the property is strategically on the foot hill of the forest makes it favourable The Mandapa is undergoing conservation. for un disturbed location for any pressures of development. Scientifi c procedures have been followed FACTORS AFFECTING THE PROPERTY AFFECTING FACTORS in the conservation of the temple. c. Ramappa Cheruvu The Kakaityan Irrigation system and lakes was created near catchment of hills forming an integral part of Temple environs. Ramappa Cheruvu is maintained by Irrigation department and now under Kakatiya mission project by Government of Telangana for revival, restoration of historical lakes and irrigation systems.

4.a.ii Threats to the Outstanding Universal Value The fl oating bricks of the Vimana of the main temple are tampered with by the visitors in the absence of security. Visitor pressure is the main aspect threatening the OUV of the property, mainly due to tampering, vandalism and theft. There is a comprehensive plan and continuous monitoring and action by ASI in collaboration with NIT, Warangal, KHT , INTACH, Warangal and District Administration. This is evident from the annual reporting of ASI in Indian Archaeology – Review and reporting. The reporting extracts are outlined in Chapter 6. Monitoring

Structural threat due to overstressing of Floor beams The structural analysis conducted by the team of Regional Engineering College (REC)(present NIT), Warangal has found that the fl oor beams resting on the sand have been subjected to tensile strength which is far less, than that of the stress developed in the fl oor beams due to the super structure. This is the primary reason for all the broken fl oor beams that have been observed at the Rudreshwara Temple. The fl oor beams, having large cross sections made up of sandstones have failed severely resulting in settlement of all the four major load bearing dolerite pillars.

Figure 4.2: Plan of Kameswara Temple prepared for removal of stones

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 139 4.a.iii Conservation measures Ministry of Culture, Government of India. Kameswara Temple (Kalyana Mandapa) is ii. Environmental Pressures undergoing restoration work, and is being The property is undisturbed by any rebuilt using same building elements with environmental pressure or disaster. little modifi ed structural stability and quality control including well laid out iii. Natural disaster and risk documentation procedures. preparedness There will be boost expected in the visitation to the property. The property is being viewed as a part of larger There is no failure of monument due to Prakaraof the temple is undergoing 2 tourism region by TSTDC, Government of Telangana. restoration work. earthquake or the failure of expansive soils . A major infrastructure and Heritage Village Tourism Differential settlement control measures Site lies in zone II of the seismic zone. development plan is proposed linking other sites of the STATE OF CONSERVATION AND OF CONSERVATION STATE tourist region i.e., Laknavaram lake, Medaram Jathara, NIT, Warangal submitted a proposal for the But the site needs a comprehensive Tadvai in Warangal district for Visitor infrastructure management plan for future research and FACTORS AFFECTING THE PROPERTY AFFECTING FACTORS creation of lime concrete apron of 3m width and heritage awareness oriented development. all-round the temple and a grout curtain unexplored science and technological wall to a depth of 3 m below ground level, aspects of the property. • Visitors Carrying capacity away from the apron to reduce the loss of Risks relating to vandalism and visitor The property at present and in future has suffi cient confi ned sand from the sand-box. pressure affecting OUV needs attention. scope for visitor carrying capacity. Other special security measures are in There is a visitor orientation and • Deterioration of the property due to visitors preparation to prevent threats to the participation strategy outlined by National Outstanding Universal Value. Conservation Policy, 2014 (Annexure – II). The site needs expert’s intervention in mitigating the Expert’s intervention is anticipated for Risk risk of vandalism happening due to visitation. ASI is Preparedness plan from Tourism. planning continuous orientation for the visitors as per 4.b. FACTORS AFFECTING THE National conservation Policy, 2014 PROPERTY iv. Responsible visitation at World Heritage sites v. Number of inhabitants within the property and i. Development pressures the buffer zone (1) Land use pattern and Activities in and The location of the property is with around the site i. Estimated population located within : an undisturbed natural integrity with reserved forest hills, Ramappa Cheruvu The property on all sides is bound by 37,025 (As per 2011 Census of India and agricultural fi elds within and Agricultural lands and Palampet village of Palampet and surrounding villages) is on the North in proximity. There is a beyond regulated zone, i.e. 200 meter of + 100,000 to 200,000 (Visitor population Rudreshwara Temple as per AMASR Act, reserve forest hill and historic Ramappa 2010. Cheruvu on the South Western part of annually to the Temple and the temple. The integrity of the site The development activity of rebuilding with natural setting of Cultivation lands, Medaram Jathara and Shivarathri festival) or new construction relating to villages in Ramappa Cheruvu, Reserve forest and Buffer zone and Tourism Zone identifi ed Palampet village outside regulated zone of ii. Area of nominated by Government of Telangana do not affect ASI makes the property an outstanding property : 5.93 ha the property either visually or physically locale prevented from serious development due to physical distance being planned. pressures faced by other monuments of iii. Buffer zone : 66.27 ha But Tourism management and village Department of Archaeology and ASI in Warangal sub-circle development in the Buffer zone certainly iv. Total : 72.20 ha needs orientation and planning due to (2) Present Visitation and Projected levels inscription. of visitation v. Year : 2011 It is anticipated to boost the efforts for There is a visitation of about 100,000 conservation of Built Heritage resource tourists annually including Tourists, School in Telangana after the inscription, due to Children and Pilgrims. But this number Conservation Policy being contemplated goes to 200,000 including general annual by the Government of Telangana. This number of visitors, during Medaram policy is being planned as a cultural policy Jathara, located about 52 Km from the site 1Sarma, M.R.K (1972) Temples of Telingana:The Architecture, Iconography, and Sculpture of the Chalukya and and different from National Conservation and Shivarathri festival. Kakatiya Temple. p.115. Policy, 2014 as brought out by ASI under 2Rao, M.P.R, et.al.(1987) Geotechnical Appraisal and Evaluation of Kakatiya Monuments. Warangal, A.P. Warangal: Dept. of Civil Engineering, Regional Engineering College.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 141 Rudreshwara (Ramappa) is a living Hindu the people. Hence it became a ‘public space’ Temple where the daily rituals are followed. for participation of rulers and the common The property is a social gathering area folk in several activities. Therefore, the for the people living in the surrounding society and nature responsible for keeping villages. this temple ‘living’ till date is marked as the buffer zone of the property. 5.a. OWNERSHIP The Rudeshwara Temple complex is under The temple was built along with the city the custodianship of the Archaeological of Palampet, and the Ramappa Cheruvu Survey of India (ASI), Hyderabad Circle for in the beginning of the 13th century. The protection, conservation and management. reserve forest hills is part of the natural setting responsible for the selection of site The Kakatiya Heritage Trust (KHT) and for the lake. Therefore, the buffer zone is INTACH, Warangal chapter are part of chosen of the basis of the places related to ongoing investigation, conservation and the making of this great temple consisting research efforts through NIT, Warangal at of the agricultural fi elds of Palampet village, the instance of ASI, Hyderabad Circle. part of Ramappa reserve forest and voger The infrastructure development in the channel. proximity of the Temple complex is under the ownership of the Telangana State Tourism Development Corporation (TSTDC). Directorate of Archaeology and Museums CHAPTER 5 (DAM) is the stakeholder of the property 5.c. MEANS OF IMPLEMENTING on behalf of the Government of Telangana. PROTECTIVE MEASURES PROTECTION AND MANAGEMENT The preparation of this dossier is monitored The Archaeological Survey of India (ASI) OF THE PROPERTY and funded by Department of Archaeology along with the Endowments Department and Museums under Ministry of Tourism is responsible of the conservation and and Culture, Government of Telangana. protection of the core zone of the property Executive offi cer, Ramappa Temple, while the buffer zone is under their Palampet and Deputy Commissioner, respective legal provisions. Warangal Zone appointed by O/o. The ASI regional offi ce is located at Commissioner, Endowments Department, Hyderabad which co-ordinates with the Government of Telangana manages the Directorate, ASI, New Delhi and concerned religious rituals and festivals of the temple agencies. through appointed Priests and attendants. There are different levels of authorities and 5.b. PROTECTIVE DESIGNATION agencies that mandates the protection and The property is a living temple protected management of the property under the by the Archaeological Survey of India (ASI) diversity of Acts. under the following legal instruments: i. National level • The Ancient Monuments and Archaeological Survey of India (ASI) Archaeological Remains and sites Act, 1958 (AMASR Act, 1958) ii. State level Directorate of Archaeology and Museum • AMASR (Amendment and Validation) (DAM), Act, 2010 Government of Telangana The Ancient Monuments Preservation Act, Telangana State Tourism Development 1904 Corporation (TSTDC) Rationale for the boundary of the buffer iii. Local level zone: District collector, Jayashankar Bhupalpally The temple and its allied institutions in the medieval times evolved as centrifugal and Kakatiya Heritage Trust (KHT) centripetal forces that regulated the lives of Endowments Department

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 143 5. d. EXISTING PLANS RELATED TO MUNICIPALITY AND iii. a. Mandated management agency iii.d.1. Comprehensive conservation plan REGION IN WHICH THE PROPOSED PROPERTY IS LOCATED. The core zone is managed by: For conserving the OUV value of the site, Additional Archaeological Survey of India (ASI), the following steps are been taken by the Plan Agency Date Endowments Department, ASI : Information District Collector through other Conservation Plan ASI 2014 and AMASR act, 2010 • The Prakara wall is under restoration OF THE PROPERTY subordinate offi ces under Government of work by the Archaeological Survey of India ongoing National Conservation Telangana. (ASI). Policy, 2014 It will be supplemented by the state Technical funding of DAM, Government of Telangana 2015 legislation as and where required. • The Kameshwara Temple is undergoing major restoration under the supervision of Archaeology, Culture iii. b. Information management ASI, KHT and NIT, Warangal. and Heritage policy The information relating to the temple and PROTECTION AND MANAGEMENT AND MANAGEMENT PROTECTION Technical advise KHT, Warangal 2010 its Outstanding Values are educated to the The temple will be placed back to its original people by the local guides assigned at the position after improving the foundations of INTACH, Warangal and the temple. NIT, Warangal temple premises. Apart from the guides, ASI has published brochures of the temple Visitor plans and ar- Endowments Department, 2015 and iii. d. 2. Protection and management explaining the people about the values of As a special entity core zone to regulate rangement for festivals Ministry of Torism and Culture, ongoing the temple complex and its glorious history. Government of Telangana the buffer zone using the Telangana State iii. c. Human resources support Country Planning Act- looks at the site as a Regional tourism plan Dept. of Tourism and TSTDC, 2015 and • Stake holder- local people participation. spatial cultural entity. information and infra- Government of Telangana ongoing The local people involved in the iii.d.3. Maintenance Plan structure development safeguarding of the temple are mainly the Revenue and land District Collector, Warangal 2015 temple priest, the devotees from the nearby The maintenance of the core zone will be done in the following steps: acquisition for plans of villages, tourist guides etc. government • Rituals of the Ramappa Temple. • Periodical inspections table 5.1 Daily rituals of lighting an oil lamp in the The cleanliness of the site will be taken 5. e. PROPERTY MANAGEMENT Up to one kilometer radius from the core sanctum sanctorum and pouring coconut care by the endowments department and PLAN OR OTHER MANAGEMENT zone, the buildings to be constructed in the water over the linga are some of the rituals the ASI together. followed in the temple. SYSTEM area will be having height restriction. • Preparation of estimates of works • Traditional craftsman are part of The implementation of the Integrated ii. Legislation Execution of the estimated work. Management Plan aims at value based restoration. The core zone is a living temple complex iii. d. 4. Monitoring Plan management and ensures safeguarding of protected by the Archaeological Survey • Traditional events of the Temple the Outstanding Universal Value of the of India (ASI) under the following legal Maha Sivaratri is celebrated every year. Plan for the quality and standards check of property. instruments: This is the festival of utmost importance in the interventions that take place on the site. the Siva Temple of Rudreshwara. It also assesses the condition of the cultural Specifi c long, mid and short term goals • The Ancient Monuments and for ensuring effective management of the Masa Sivarathri (Krishna Paksha site at a regular and periodic basis and is Archaeological Remains and sites Act, 1958 essential for maintenance of the values of property have been identifi ed and their (AMASR Act, 1958) Thriyodashi Night) is observed once in a implementation processes are in various month. Devotees visit the temple early in the site. stages. • AMASR (Amendment and Validation) the morning to start their day fasting. Timely monitoring and continuous care Act, 2010 i. Integrated Management Plan of the property is done. Short- term (up to • The Ancient Monuments Preservation 2 years), mid- term (2-5 years) and Long- The management plan is designed to give Act, 1904 iii. d. Resource protection and term (5 years and above) monitoring and the levels of jurisdiction together, to work management maintenance plans will be prepared and together for one planned program of action The buffer zone is legislated under the local implemented for preventing it from further to maintain the cultural wealth of our governing bodies under the supervision The whole complex with its existing spatial deterioration of the physical elements of national heritage. of the District Collector of Jayashankar setting is protected with utmost care. the Temple complex. Bhupalpally District. Integrated Management Plan would be The rituals practiced in the temple are iii. d. 5. Visitor Management Plan covering aspects bettering to all future iii. Core Management Plan environmental friendly and do not cause any harm to the Outstanding Universal The site being a living temple has a diversity activities of development, habitation The core zone consists of the Rudreshwara of visitors. These include pilgrims, scholars dwellings, and social sustainability both Temple complex. The temple complex Value of the temple. Hence, the rituals will be followed in its ancient practices. and those interested in just sightseeing. within the core zone and buffer zone. being a category II heritage monument of The needs of each category is different vis Buffer zone: India, its management is taken care by the The fl ow of visitors has to be taken care a vis the site. Archaeological Survey of India (ASI). inside the main Temple of Rudreshwara. The area lying in the buffer zone will be having the following regulations:

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 145 5. f. SOURCES AND LEVELS OF 5. g. SOURCES OF EXPERTISE AND FINANCE TRAINING IN CONSERVATION AND The funds for the preservation and MANAGEMENT TECHNIQUES maintenance of the physical components of For the effi cient conservation and the temple complex is managed by the ASI. management of the World Heritage Site,

OF THE PROPERTY the following experts will be appointed: Funds related to the cultural aspects and rituals of the temple are managed by the Archaeologist Endowments department. Conservation Architect During important festivals like the Kakatiya Town-planner festival the funds for the events are managed Rescue teams by the Kakatiya Heritage Trust. Administration management team PROTECTION AND MANAGEMENT AND MANAGEMENT PROTECTION Image 5.1: Vehicle Parking Financial On salaries Salaries paid Amount Spent on An- Spent on An- Year of Permanent to Home incurred on nual Repairs nual Repairs Accommodation staff (INR) Guard (INR) Non- tem- under SR under AR 8 Air conditioned Haritha Cottages are built along the Ramappa Cheruvu by the TSTDC. porary status (plan)(INR) (Non- Plan) These cottages are at a distance of one kilometer from the Temple complex. staff (INR) (INR) 2012- 13 2,05,796 3,76,320 4,70,549 1,96,530 2013-14 2,12,796 3,79,320 6,37,140 4,90,233 2014-15 2,18,796 5,25,120 6,65,214 8,00,000 2,53,429 Total 6,37,388 12,80,760 17,72,903 8,00,000 9,40,192 Table 5.2 Annual Budget of ASI for the preservation and maintenance of Rudeswara Temple complex.

5. h. VISITOR FACILITIES AND INFRASTRUCTURE Facilities available on site for visitors Guide Presently 2 guides are appointed by the TSTDC at the Temple complex to explain the Image 5.2: Harita cottages at the foot of Varala Gutta marvels of the temple. They are trained in the local language- Telugu. Signage Restaurants Boating facility A Description signage at the entrance of the main Temple Complex gives a brief description Harita Restaurant operated by the TSTDC. Boating facility available for the Ramappa of the temple. Proposal for direction signage and other information boards is proposed by Small kiosks are located at the entrance of Cheruvu. the ASI. TSTDC has provided signage from the city of Warangal to Palampet. the Main temple complex Toilets Toilets for usage of visiting public have provided at temple site and are in good maintenance by the ASI. However, new toilets are underproposal for the physically handicapped. Car Parking facility i. Available near TSTDC Cottages and the Ramappa Boating Point. ii. Outside the temple premises space is provided for parking vehicles.

Image 5.3:Harita Restaurant at the Ramappa Image 5.4: Boating at Ramappa Cheruvu Cheruvu bund RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 147 PROTECTION AND MANAGEMENT OF THE PROPERTY Telugu Civilization, By Birad Rajaram •Kakatiya Dynasty theGolden Ageof of KakatiyaFestivalpart 2012-13) Irrigation Technology oftheKakatiyas(As •Proceedings oftheNational Seminar on ISBN 978-93-5104-992-0 and Dr. Yashoda Thakore Translated by Dr. Pappu Venugopala Rao • Prof. K V Jayakumar in1991 Edited by Prof.M.Pandu RangaRaoand •Irrigation Technology ofKakatiyas, by theKHTforpromotion oftheproperty. Following isthelistofpublicationslaunched this Kakatiyanmarvel. brochures andpapersforthepromotion of Heritage Trust have publishedaseriesof INTACH, Warangal chapterandKakatiya ofthe outskirts Warangal city. about theKakatiyanheritagelocatedin creating awareness amongthepeople Brochures are publishedby theASIfor architectural ingenuityofthetemple. Administration forthetechnologicaland of Tourism andculture, andDistrict Archaeology Department Department, Survey ofIndia (ASI), Telangana Heritage inassociationwithArchaeological the Kakatiyanmonumentsunder World temple premises, torecognize asaneffort (Ramappa) Temple wascelebratedinthe In 2013,the800years ofRudreshwara Culture. and educatingonKakatiyaHeritage and by theGovt. of Telangana forfamiliarizing on thethird week year ofFebruary every yearKakatiya festival iscelebratedevery their dayfasting. the templeearlyinmorningtostart month.Devoteescelebrated onceevery visit Masa Sivarathri siva templeofRudreswara. inthe is thefestival ofutmostimportance Maha Sivaratri TraditionalTemple events ofthe PROPERTY AND PROMOTION OF THE RELATED TOPRESENTATION THE 5. i.POLICIESANDPROGRAMMES Nritta Ratnavali is celebrated every year.is celebratedevery This ( ofJayasenapati Thriyodashi night)is •One clerk •One hundikeeper •One nightguard • Two iii.Locallevel (Endowments Dept.) • Tourism ii.State level (TSTDC) •Private securityGuards Manager •Dept. Watch andward archaeologist) •AssistantArchaeologist (site (sitemanager) •SeniorAssistant Conservation •ClericalAssistant • Caretaker i. TECHNICAL, MAINTENANCE) EXPERTISE (PROFESSIONAL, 5. j.STAFFING LEVELS AND Viswanadham •Symphonies inStone, By Kasibhattla ISBN- 978-81-927072-1-1 Kakatiya Heritage trust Yajnik, VQI production inassociationwith National level (ASI) pujari (priest) Th e property is in continuous monitoring since it was listed and identifi ed as a protected monument in 1914 under Archaeological Department, HEH Nizam Dominion to till date. Th is is evident from the conservation, exploration and maintenance being recorded and reported in the annual reports of ASI. During late eighties a research work was commenced by Prof. M. PandurangaRao through REC, Warangal on Geo Technical aspects of Kakatiyan monuments focusing on Fort Warangal, CHAPTER 6 Th ousand pillar Temple, Hanmakonda and Rudreshwara (Ramappa) Temple. Th is resulted in major conservation work MONITORING in Warangal District in Th ousand Pillar Temple and Ramappa Temple. All annual plans of ASI for the property are integrated and worked upon along with plans of INTACH, Warangal Chapter, and KHT, Warangal. Visitors and events are facilitated, managed and monitored under Government of telangana by District collector through respective departments like Tourism, Endowments and Revenue.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 151 6. a. KEY INDICATORS FOR MEASURING STATE OF CONSERVATION -The Temples at Palampet, which represent, during the reign of the Chalukya dynasty, perhaps, the brightest stars in the galaxy of and that it fl ourished in the country which medieval Deccan Temples, were carefully was under their sway. Recently some Indicator Periodicity Location of record examined. This group has remained scholars, dissatisfi ed with the terminology MONITORING in obscurity owing to its unfavourable of Fergusson, have adopted equally Vegetation growth Every fortnight inspection is con- ASI, Library situation, being at some distance from the indefi nite terms, to wit, the temples of this beaten track. On the platform (6’4” high) type in the Mysore State have been called ducted by the ASI, Hyderabad circle of a cruciform plan stands the great temple. ‘Hoysala,’ which term, if applied to their Warangal sub-Circle The plinth instead of being plain has been analogue in Warangal, the seat of Kakatiya Change in colour of Monthly inspection is conducted divided into foliating surfaces, which give kings, becomes equally perplexing. If the Material - Dolerite by the ASI, Warangal ASI, Visual library a very pleasing effect to the general plan infl uence of the Chalukya dynasty is not sub-Circle Hyderabad circle of the monument, and a space 10 ft. wide considered to be the main factor in the Change in colour of Monthly inspection is conducted all around the temple once formed a sort evolution of the style, the term ‘Chalukyan’ of promenade for devout pilgrims to view might be changed for ‘Dakhani’, which can Material - Sandstone by the ASI, ASI, Drawing Library the long panels of impassioned fi gurine be the only other appropriate name for the Warangal sub- Circle Hyderabad cirlce which adorn the exterior of the building. style. Cracks in the fl oor Anually inspection is conducted These carvings are of a most heterogeneous -The other Temples at Palampet although character, consisting of gods, goddesses, beams by the ASI, DAM, Library of smaller dimensions are built more or Warangal sub- Circle warriors, acrobats, musicians, dancing less in the same style, and in some cases Hyderabad, Telangana State girls- in different and often obscene Temporary Anually inspection is conducted are adorned with sculptures of surpassing attitudes. A peculiarity of this building beauty. For instance, the scene represented Displacement of by the ASI, ASI, Library is the fi gure brackets which spring from Kameshwara Temple Warangal sub- Circle New Delhi, Head offi ce on a door panel of the temple at the western the shoulder of the outer pillars and end of the Ramappa Lake Band, in which nominally support the ponderous chajja Table 6. Key Indicators for measuring state of conservation a sylvan deity standing in front is shown beams. They are mere ornaments having removing a thorn from her foot, is full of no architectural purpose, and represent 6. b. ADMINISTRATIVE for preserving and conserving the Temple life and exhibits wonderful conception on the intermediate stage between their the part of the artist. ARRANGEMENTS FOR Complex. earlier analogues at Sanchi and the later MONITORING PROPERTY Since then Annual Reports were prepared examples at VijayanagarAnnual Report, -These monuments though structurally in by the Director of the Department. 1914-15. Twelve of them consist of female fair state of preservation were embosomed Archaeological Survey of India (ASI) fi gures which, through executed with great in a thick growth of rank vegetation, Hyderabad Circle is the fi nal authority for Enlisted below are the extracts from the precision and accuracy, in general effect are and the interiors were extremely fi lthy. monitoring the Property for Conservation. Annual Reports of the Archaeological not very pleasing to the eyes. The fi ngers The Superintendent immediately after Department of Tourism and Culture, Department of his Highness The Nizam’s with long nails are exceptionally good, his inspection of the temples had them Department of Endowments under Dominion with the year of the Annual the poses of the body are also in some thoroughly cleared of grass and plants, and Government of Telangana monitor visitor Report. cases graceful, but the contour and the their plinths fully exposed and courtyards facilities and infrastructure. expression of the face are less successful and leveled and cleaned. These simple measures 1915-16 CE. represent very poor art. The fl oral designs have not only saved the buildings from 6. c. RESULTS OF PREVIOUS -Excavation works were commenced at the and fi gures of animals, on the other hand, falling into rapid ruin, but have also REPORTING EXERCISES Rudreshwara Temple Complex. are exceedingly fi ne, and one is tempted to considerably improved their general In 1914, the Archaeological Department 1916-17 CE. think that the artists would have failed so appearance. miserably in their delineation of the human was established in Hyderabad. On the advice -The superintendent carefully examined 1921-24CE. of the Director General of Archaeological form if their work had not been dominated -Special Repairs and maintenance works the group of temples of Palampeta and by religious conventionalities. Survey of India, Prof. Gulam Yazdani was took timely measures to protect them from was done. appointed as its fi rst Director. Since then further destruction. Mr. Yazdani thinks that -The architecture of the building is lofty -These repair works continued till 1930 the Preservation and conservation of the this group “represents, perhaps the brightest and grand and there is a decided sense of Rudreshwara Temple was being taken stars in the galaxy of the Medieval Deccan proportion and symmetry. The temple 1930-31 CE. care by the Archaeological Department of Temples” the Great Temple, which stands represents the full development of the -The repairs to the beautiful Temple of Hyderabad. practically as a prototype for the smaller medieval Deccan style, which Fergusson Ramappa, Warangal District to which a ones, is described with some details in the has termed ‘Chalukyan.’ Mr Havell, in his reference was made in the report of 1928- i Archaeological Department of His report. It represents what Fergusson called enthusiastic analysis of symbolism in Indian 29 A.D repair work took place. Highness Nizam’s Dominion the Chalukyan style of its prevalence, have architecture, speaks of this designation Gulam Yazdani, in his fi rst year of the named the Hoysala style of Mysore. The as ‘delusive,’ but the reasons which led Archaeology Department of Hyderabad, inscriptions in this temple are being edited Fergusson to adopt the term were, that had visited Palampet and had taken charge by Dr. Bernett of the British Museum. the style developed its distinctive features

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 153 1931-32 CE. The day-to-day works conducted by the and lintels was continued. Jungle-clearance 1989-90 A.D -Ramappa Temple Restored. ASI are published in the series publication was attended to on the other side of the Kateshwaralayam (Devi Shrine) -The chajja towards the East which had of ‘Indian Archaeology: A Review’ since compound wall 1953-54. The existing crumbled Mukha Mandapa fallen down has been fully restored. The four 1982-83 CE. and moulded basement was dismantled MONITORING fi gure brackets of black stone of the Eastern In 1991, ASI got a research report prepared The inner part of the shikara was after numerical and photo documentation, wall, which had also fallen down, have also by the Department of Civil Engineering, strengthened by providing fresh teakwood preparation of drawings and plans from been fi xed in their original position. The Regional Engineering College, Warangal and iron girders cross- wise at the base of various angles. The reconstruction was in fi gures represent girls in dancing attitudes. on the ‘Geotechnical Appraisal and each storey. He decayed wooden beams progress and restoration had been done Several pillars of the building which were out Evaluation of Kakatiya Monuments’. This supporting the antarala brick work were up to the Adhisthana level which is on of plumb have been set in position and steel detailed research report has investigated on also replaced. A special variety of less raft foundation. The latter is fi lled with beams have been inserted wherever lintels the construction techniques followed by weight Siporex foam blocks shaped to the plum concrete. The dislodged and sunken have given way on account of the sinking the Kakatiyas at the Rudreshwara Temple, size of the old light weight burnt bricks Adhisthana moulding stones were reset in of the building. The gopuram (spire) of the Thousand Pillared Temple, Hanumakonda were introduced to fi ll the voids of the their original position. building has also been judiciously treated and Warangal Fort. vimanatalas. Nandi Mandapa with cement and concrete whereas cracks The conservation works by the ASI are 1985-86 CE. The reconstruction of Nandi Mandapa was had appeared and water percolated through categorized into chapters of which extracts them. After thorough documentation, the completed. The Nandi sculpture which from the ‘Preservation and Conservation’ was kept in Mukha Mandapa of Ramappa - Ramappa Temple established for visitors. chapter and ‘Archaeology Chemistry’ dismantling of the dilapidated Nandi Mandapa was accomplished with the help of Temple was shifted and placed in its original 1932-33 CE. chapter are enlisted below with the year of position in the Nandi Mandapa. the Annual Report. Lorane Crane. The spawling archaeological -The Temple complex was visited by the area around Ramappa temple complex was 1990-91 CE. Executive Engineer of the Department to provided with barbed wire fencing on the a. PRESERVATION OF MONUMENTS Kateshwara Temple (Devi Temple) give his feedback and reviews for the better eastern, western and northern sides, with In continuation of previous years’ work, conservation of the Temple complex. 1953-54 CE. the view to prevent encroachments. the reconstruction of Adhisthana was - Suggestions by the Executive Engineer: -This 13th century temple is well known 1986-87 CE. completed. The Mukha Mandapa was for its bracket fi gures. Jungle- clearance, reconstructed up to the beam level i. Drainage of the courtyard of the temple. The loose plaster and decayed brick portions pointing and re-fi xing of some stone of the Shikara were removed and missing including Pradakshinpatha. fl oor slabs formed the main conservation ii. Drainage of the western part of the architectural mouldings restored. The 1991-92 CE. platform around the temple. measures undertaken here. decorative motifs of the Shikara were also Kateshwara Temple (Devi Shrine) 1956-57 CE. restored. After removing the architectural iii. The insertion of steel beams in the The disturbed and dismantled mukha interior of the gopuram for the support of -Rank vegetation and shrubs on the Shikara members of the dilapidated Nandi Mandapa of the temple, the foundations were laid in Mandapa of temple was re-erected to the the superstructure. and walls were completely uprooted to stop plumb over a new raft foundation. Stainless further growth and the approaches were cement concrete. The reconstruction work iv. The cleaning and cement grouting of is in progress. steel dowels were used in joining the stone the minor temples in the courtyard of the attended to. A small garden was laid around masonry. the monument. 1987-88 CE. temple. 1992-93 CE. 1957-58 CE. After dismantling the dilapidated Nandi v. The improvement of the culvert in front Water tightening the roof of the -The roof of the main Mandapa was re Mandapa, reconstruction work of the of the main road of the temple. same was being attended on in its original reconstructed Mukha Mandapa of Sri surfaced with fresh concrete slope, and the Kateshwara Temple by way of fi lling the vi. The improvement of the retaining wall gaps formed in the inner Shikara, due to orientation. A strong concrete foundation of the nullah in front of the temple. was laid over which the carved architectural joints of the stone slabs with baby jelly the damaged wooden frame, were plugged concrete and providing brick jelly concrete and repaired. components were fi xed in their original ii. Archaeological survey of India (ASI) position up to the fi fth course and fastened over the roof was completed. The Archaeological Survey of India had 1958-59 CE. with stainless steel dowels. The core of 1994-95 CE. overtaken the properties and works of the Some of the small pieces of pillars, roof- the Mandapa has been fi lled with plum The leaky- roof over the maha Mandapa Archaeological Department of Hyderabad slabs, etc., laying on the platforms of the concrete. The work is in progress. was re-plastered to provide a chemical coat since the integration of the Princely state southern shrine were removed and stacked 1988-89 CE. to stop seepage of water. of Hyderabad into the Indian Union in the neatly in a corner of the compound- wall. year 1948. Soot was removed from the carved pillars The dislodged and sunken Nandi 1996-97 CE. Mandapa was disassembled carefully for The main function of the Archaeological and sculptures in the main temple. The disturbed portion of the wall on reconstruction at its original orientation, the south-east corner of the temple was Survey of India is to explore, excavate, 1959-60 CE. after documenting the Mandapa conserve, preserve and protect the dismantled and reconstruction of the same The cleaning of the inner partitions of the components numerically and photographed over a new foundation is in progress. monuments and sites of National and temple with water and fi bre- brushes to after preparing the detailed drawings from International Importance. remove soot from the carvings of pillars all angles. 1997-98 CE.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 155 Leaning Prakara wall in south- west corner 1978-79 CE. of Ramappa Temple The vegetation growth, lime- wash and The ongoing work of reconstruction of bat’s excreta lying on the carvings and the dismantled Prakara wall to its plumb walls of the temple were cleaned by 10% MONITORING over the newly laid foundation was taken ammonium hydroxide, teepol and 5% up. The work of fi xing the stone kanguras glacial acetic acid. Approximately one- fi fth which were recovered while excavating the of the work has been done and the reset is earth to expose the basal mouldings of stone to be carried out in the next year. Prakara wall was completed. 1979-80 CE. 2000-01 CE. The chemical treatment and preservation Garbhagriha and antarala of the sculptured and carved pillars, walls The sunken and damaged fl ooring inside and ceilings of the temple continued during the Garbhagriha was removed and re-laid the year. A solution of 10% Ammonium after shifting the Linga from inside. The hydroxide and teepol was used for the linga was reinstalled. The work of spreading removal of vegetation growth. Chemico- red soil inside the main temple complex mechanical methods by using 5-15 percent after leveling the ground was completed. acetic acid solution for the removal of white and thick lime accretions were used. The 2002-03 CE. north wall of the sanctum was preserved Damaged barbed wire fencing was removed with 3% of Perspex solution in toluene. and grill fencing over CS masonry dwarf In addition to this, eight bracket fi gures wall was provided around the protected between the east and southern enclosures area of Ramappa Temple complex. have also been cleaned and preserved. Image 6.1 Kameshwara Temple undergoing conservation as seen in 2012 1984-85 CE. The work of removal of vegetation b. Archaeology Chemistry growth, lime wash and greyish ingrained 1974-75 CE. accretions were carried out by using 3% aqueous ammonium hydroxide solution Chemical treatment and preservation of with teepol. The treated area was given sculptures in the Maha-Mandapa and the fungicidal treatment with 2% of aqueous bracket fi gures, covering a total area of solution of Sodium pentachlorophenate about 300 sq.m. was completed. The work and fi nally preserved with 3% polyvinyl involved removal of dust, lime-wash, soot acetate in toluene. and other accretions covering the fi gures and carvings. Teepol, ammonia and acetic 1985-86 CE. acid were used. The cleaned sculptures were An area of 246 sq. m. including the polished with a wax composition to restore sculptures, bracket fi gures and carvings on their luster. These black basalt sculptures pillars and walls of the temple, was treated were not only intricately carved but had a for eradication of vegetational growth, lime polished surface. wash, greyish ingrained accretions and bat excreta. Vegetational growth was removed Image 6.2 Change in colour of Sandstone Image 6.3 Change in colour of Dolerite 1976-77 CE. by using 1% aqueous ammonia and teepol. The profusely carved parapet walls of the Lime wash was removed with 5% acetic iii. List of Publications Maha Mandapa, which were covered with acid. The treated area was given a coat of 1% a thick coat of lime was and a greyish sodium pentachlorophenate as fungicide Rao, M.P.R, et.al.(1991) Geotechnical India. Archaeological Survey of India. composite adherent accretion, and the followed by a solution of preservative 3% Appraisal and Evaluation of Kakatiya (1953-2003) Indian Archaeology- A review. exterior walls of the sanctum which had polymethylmethacrylate in toluene. Monuments. Warangal: Dept. of Civil Bengal offset works: New Delhi thick growth of moss and patches of lichens, Engineering Regional Engineering College, 1986-87 CE. India. Archaeological Department of his were cleaned with the help of aqueous Warangal. Prepared for the Archaeological highness the Nizam’s Dominion. (1914- detergents, chemicals and organic solvents. In continuation of last year’s work, Survey of India. 1933) Annual Report of the Archaeological The work is in progress. vegetation growth and thick layer of lime Yazdani, G. (1922). The Temples of Department of his highness the Nizam’s wash was removed from sculptures by Palampet. Memoirs of the Archaeological Dominion.Baptist Mission Press : Calcutta. 1977-78 CE. chemico-mechanical means and the cleaned In continuation of previous years works a Survey of India. Issue 6. Calcutta: Swati area was fi nally preserved after fungicidal Publications. further area of about 990 meter square, was treatment. The work is in progress. chemically treated with the help of aqueous detergents, chemicals and organic solvents. RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 157 7. a. PHOTOGRAPHS AND AUDIOVISUAL IMAGE INVENTORY AND AUTHORIZATION FORM

Format Non- Photographer/ Contact details (slide/ Date of Copyright exclusive Id. Caption Director of the of copyright print/ Photo(m/y) owner cession No. video owner video) of rights

2.1 Print The natural setting of Visual Quest Visual Quest Granted Rudeshwara Temple blended India Pvt. Ltd. India 20/11/2015 Anil Agarwal with serenity of lake, hill and Pvt. Ltd. fi elds. Address 71, Road Number 2.2 “ Aerial view of Rudreshwara “ 20/11/2015 Anil Agarwal 3, Banjara Hills, Temple. Hyderabad, 2.3 “ Southern view of Kateswara Birad Rajaram “ Telangana 500034 13/10/2012 Temple Yajnik Tel: +91-40 2354-3707 2.4 “ Pakashala 20/11/2015 Anil Kumar “ Email: mail@vqindia. 2.5 “ Nandi rests on the upapitha “ com of the mandapa. 20/11/2015 Anil Kumar

2.6 “ Inscription of Recharla ““ Rudra in the temple premises 20/11/2015 Anil Kumar 2.7 “ Vimana of Rudreshwara ““ CHAPTER 7 Temple 20/11/2015 Anil Agarwal DOCUMENTATION 2.8 “ Light weight porous bricks ““ used in the Vimana(Shikara) 20/11/2015 Anil Agarwal 2.9 “ Floating brick of ““ RamappaTemple 25/11/2015 E. Shiva Kumar adorned in the Shikara 2.10 “ Polished Dolerite Stone ““ with lustrous fi nish 20/11/2015 Anil Kumar 2.11 “ Sculpture of Surya and Gaja- ““ Vyala 20/11/2015 Anil Kumar 2.12 “ Granite used in ““ making the ceiling 20/11/2015 Anil Kumar of the Sabhamandapa 2.13 “ Vimana of the ““ temple converges 20/11/2015 Anil Kumar to the skies 2.14 “ Brahmakanta ““ Sthambas of the 20/11/2015 Anil Kumar Natya Mandapa 2.15 “ Miniature cells placed ““ 20/11/2015 Anil Kumar on the Kakshasana 2.16 “ Natya Mandapa, ““ the platform 20/11/2015 Anil Kumar for performance 2.17 “ Ardhamandapa, ““ the entry to the 20/11/2015 Anil Kumar sanctum sanctorum 2.18 “ Linga 20/11/2015 Anil Kumar ““ 2.19 “ Chisels of the ““ Adhisthana 20/11/2015 Anil Kumar

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 159 2.20 “ Elephants band sculpted on ““ 2.45 “ Mahanasika “ the 20/11/2015 Anil Kumar on the vimana of 20/11/2015 Anil Kumar Adhisthana Rudreshwara Temple 2.21 “ Pradakshinapatha- ““ 2.46 “ Churning of milky ocean “ 20/11/2015 Anil Kumar North East view depicted on the 20/11/2015 Anil Kumar Madhyabhaga of the 2.22 “ Three tiered devakostas with ““ Natya Mandapa sthamba a Garbhagriha and 20/11/2015 Anil Kumar Antarala along the path of 2.47 “ Rows of lotus bands, “ circumambulation hamsas and beads 20/11/2015 Anil Kumar on the capital of the pillar. 2.23 “ Cantiliver rock ““ portico supported 2.48 “ Bands of chains of Choodamani Birad Choodamani by bracket fi gures 13/12/2012 varying types in 06/11/2017 Nandagopal Rajaram Yajnik Nandagopal and Gaja-Vyala brackets the metallic fi nish 2.49 “ A fi ne needle inserted though “ 2.24 “ Doorjamb of ““ 20/11/2015 Anil Kumar Antarala carved 20/11/2015 Anil Kumar the intricate carvings out of Dolerite 2.50 “ Creeper scroll “ 2.25 “ Exterior composition ““ acts as a perforated 20/11/2015 Anil Kumar 20/11/2015 Anil Kumar of sculptures wall allowing light to the Garbhagriha 2.26 “ Changing expressions ““ of Elephants carved 20/11/2015 Anil Kumar 2.51 “ Apasmarapurusa on “ on the vedika the lintel of 20/11/2015 Anil Kumar Ardhamandapa dwara 2.27 “ Pilasters of Vimana ““ 20/11/2015 Anil Kumar 2.52 “ Detail of the characters “ on the Padavarga 20/11/2015 Anil Kumar on the lintel scroll 2.28 “ Three dimensional ““ sculptures of the Madanikas 20/11/2015 Anil Kumar 2.53 “ Figure of Dwarapalikas ““ 20/11/2015 Anil Kumar arranged in pairs with the musical pillar 2.29 “ Nartaki in high heels ““ 2.54 “ Details of the Dr.Choodamani choodamani 20/11/2015 Anil Kumar Dr. Choodamani kudyasthamba on the 06/11/2017 Nandagopal .nandagopal@ Nandagopal 2.30 “ Nagini 20/11/2015 Anil Kumar ““ doorjamb of Garbhagriha gmail.com 2.31 “ Rati 20/11/2015 Anil Kumar ““ 2.55 “ Tiers of the bharasila ““ 2.32 “ Gayani in ““ with scrolls of 20/11/2015 Anil Kumar tribangha pose 20/11/2015 Anil Kumar Puranic stories 2.33 “ Mardala 20/11/2015 Anil Kumar ““ 2.56 “ Tripurasura- Samhara panel ““ at the bottom of 20/11/2015 Anil Kumar 2.34 “ Abhinaya Nartaki 20/11/2015 Anil Kumar ““ the beam above 2.35 “ Nartaki 20/11/2015 Anil Kumar ““ the Natya Mandapa 2.36 “ Nartaki in ““ 2.57 “ Gajasura Samhara ““ tribhanga pose 20/11/2015 Anil Kumar panel at the bottom 20/11/2015 Anil Kumar of the beam above 2.37 “ Abhinaya Nartaki 20/11/2015 Anil Kumar ““ the Natya Mandapa 2.38 “ Damcer imitating Abhinaya Dr. Choodamani choodamani 2.58 “ Gouri Kalyana panel ““ Dr. Choodamani Nartaki 06/11/2017 Nandagopal .nandagopal@ at the bottom of the Nandagopal 20/11/2015 Anil Kumar gmail.com beam above the Natya Mandapa 2.39 “ Jayassi Nartaki Visual Quest Visual Quest 20/11/2015 Anil Kumar India Pvt. Ltd. India Pvt. Ltd. 2.59 “ Siva in the tandav pose 20/11/2015 Anil Kumar ““ 2.60 “ Andhakasura Samhara ““ 2.40 “ Huntress Madanika 20/11/2015 Anil Kumar ““ scene on the Konavattam 20/11/2015 Anil Kumar 2.41 “ Nartaki in ““ 20/11/2015 Anil Kumar of the Natya Mandapa ceiling vyatyasthapada pose 2.61 “ Nandi– the vehicle of Siva 20/11/2015 Anil Kumar ““ 2.42 “ Dancer in Dr. Choodamani choodamani Dr. Choodamani vyatyasthapada pose 06/11/2017 Nandagopal .nandagopal@ 2.62 “ Cavity wall of the Prakara ““ Nandagopal gmail.com wall 20/11/2015 Anil Kumar 2.43 “ Gaja and vyala are Visual Quest Visual Quest very precisely connected 20/11/2015 Anil Kumar India Pvt. Ltd. India Pvt. Ltd. 2.63 “ The parts of stone ““ to form the brackets used in the making 20/11/2015 Anil Agarwal 2.44 “ Bands on Kapota ““ of the wall are connected exactly offset 20/11/2015 Anil Kumar using iron dowels the exterior wall

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 161 2.65 “ Exterior of Gollagudi Temple 20/11/2015 Anil Agarwal ““

2.65 “ Fallen column at Siva Temple ““ 20/11/2015 Anil Kumar 7. b. TEXT RELATING TO 7.d. ADDRESS WHERE INVENTORY, 2.66 “ Vana Gutta (Ramappa ““ PROTECTIVE DESIGNATION, RECORDS AND ARCHIVES ARE Reserve Forest) 20/11/2015 Anil Kumar COPIES OF PROPERTY HELD 2.67 “ Agriculture fi elds of mirchi ““ MANAGEMENT PLANS OR 20/11/2015 Anil Kumar Library, (Red chillies) DOCUMENTED MANAGEMENT Archaeological Survey of India (ASI) 2.68 “ Tirthankara friezes on the ““ SYSTEMS AND EXTRACTS OF 20/11/2015 Anil Kumar padavarga OTHER PLANS RELEVANT TO THE Hyderabad circle 2.69 “ Musicians and dancers in ““ PROPERTY Library, vyatyasthapada pose 20/11/2015 Anil Kumar Rao, M.P.R, et.al.(1991) Geotechnical State Archaeology Museum (DAM) Appraisal and Evaluation of Kakatiya 3.1 “ Fineness in sculpting of Dr. Choodamani choodamani Dr. Choodamani Monuments. Warangal: Dept. of Civil dolerite 06/11/2017 Nandagopal .nandagopal Hyderabad, Telangana State Nandagopal @gmail.com Engineering Regional Engineering College, Warangal. Prepared for the Archaeological Inscription by RecharlaRudra 3.3 “ Ghanpur temples M/s. Kshetra Survey of India. 09/11/2017 Guruprasath M/s.Kshetra Hyderabad, 7.At e.the BIBLIOGRAPHY Rudreshwara Temple premises Telangana Yazdani, G. (1922). The Temples of Ali, A. (1993). Kakatiya Literature and Art. In: 3.4 “ Nandi Mandapa at Dodda Dr. Choodamani Dr. Choodamani Palampet. Memoirs of the Archaeological Rao, S.N (ed.). Cultural Heritage of the Kakatiyas. Basappa Temple Dambal 06/11/2017 Nandagopal Nandagopal Survey of India. Issue 6. Calcutta: Swati Warangal: District Council for Cultural Affairs, 3.5 “ Kadalikakarana at Mahadeva ““ Publications. Warangal & INTACH, Warangal chapter. Dr. Choodamani Temple ,Ittagi 06/11/2017 Nandagopal The property is protected under the Boner, A. (1962) Principles of Composition 3.6 “ Architrave at Mahadeva ““ AMASR (Amendment and Validation) in Hindu Sculpture: Cave Temple Period. Dr. Choodamani Temple,Ittagi 06/11/2017 Nandagopal Act, 2010 by the ASI. The salient Delhi:MotilalBanarsidass Publication

3.7 “ Apsaras at Halebidu Temple ““ features of the act is explained in the Dr. Choodamani Bonta, R.J.D (1977). In Praise of Hoysala Art. In 06/11/2017 Nandagopal Annexure I of Nomination dossier. Marg. Vol. XXXI, No. 1. New Delhi: Marg.

3.1 “ Gaja-Kesari Sculptures at ““ The National Conservation Policy by Choodamani Dhaky, M.A., Meister, M.W. (ed.) (1983) Srirangam Temple 06/11/2017 Nandagopal the ASI is followed for the conservation Encyclopaedia of Indian Temple Architecture: South India. Encyclopaedia of Indian Temple 3.12 “ Dance Sculptures at Angkor ““ and protection of the monument. The Dr. Choodamani Architecture (i:i). New Delhi: Manohar Publishers Bayon Temple 06/11/2017 Nandagopal working of the conservation policy & Distributors is well explained in Annexure II of 3.13 “ Musical Pillars at Vittala ““ Dr. Choodamani Temple, Hampi 06/11/2017 7.Nomination c. FORM Dossier.AND DATE OF MOST Durga, P.S. K (2013) state and society under the Nandagopal RECENT RECORDS OR INVENTORY Kakatiyas of Warangal: a Critical Appraisal(CE. 1000-1323). 4.2 “ Rudreshwara Temple - as ““ OF PROPERTY seen in 2015 20/11/2015 Anil Kumar List of record available: Eaton, R.M., Wagoner, P.B. (2014) Power, 4.4 “ Natyanmandapa sthamba in ““ Memory, Architecture. Third Impression. New 2015 20/11/2015 Anil Kumar Drawing documentation of the Delhi: Oxford University Press. Nominated property drawing sheets 5.2 “ Harita cottages ““ prepared by ASI in 2010 is available for Fergusson, James, James Burgess, and Richard at the foot of 20/11/2015 Anil Kumar PheneSpiers (1967).History of India and Eastern Varala Gutta reference.

5.3 “ Harita Restaurant ““ Records of conservation and protection at the Ramappa conducted by ASI and Archaeological Lake bund 20/11/2015 Anil Agarwal Depatment of Nizams Dominion since 1914 is available in the ASI and DAM 5.4 “ Boating at ““ library. Ramappa Cheruvu 20/11/2015 Anil Kumar 6.1 “ Kameshwara Temple ““ Birad undergoing conservation as 13/10/2012 seen in 2012 Rajaram Yajnik

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 163 Architecture. 2 Vols. Delhi: Munshiram Affairs, Warangal & INTACH, Warangal chapter. Manoharlal (revised edition of 1876). Reddy, Y.G., Sastry, V.V.K (ed.) (1985). The India. Archaeological Department of his highness Ghanapur Group of Temples. Hyderabad, the Nizam’s Dominion. (1914-1933) Annual Government of Andhra Pradesh. Report of the Archaeological Department of his highness the Nizam’s Dominion. Baptist Mission Reddy, Y.G., (1983) The Feudal Element in the Press : Calcutta. Western Chalukyan Polity. In: Rao. M.S.N. (Ed) The Chalukyas of Kalyana. Bangalore. India. Archaeological Survey of India. (1953-2003) Indian Archaeology - A review. Bengal offset works: Sarma, M.R.K. (1972). Temples of Telingana:The NewDelhi. Architecture, Iconography, and Sculpture of the Chalukya and Kakatiya Temple. Hyderabad: India. Government of Andhra Pradesh. (1974) Munshiram Manoharlal Publishers Pvt. Ltd. IAP- Warangal. Hyderabad: Government of Andhra Pradesh. Epigraphical Series no. 6. Sastri, K.A.N (1958). History of South India. India: Oxford University Press. Kramrisch, S (1946). The Hindu Temple. Vol. (2). Calcutta: University of Calcutta. Singh, B.S (1999). The Art and Architecture of Kakatiyas. New Delhi: Bharatiya Kala Prakashan. Kumari, M.K (1990) Social and Cultural Life in Medieval Andhra. Delhi: DiscoveryPublishing Viswanadam.kBhattla.(2008). Symphonies in stone House. (Kakatiya Sculpture). India.

Mallaya, N.V. (1949) Studies in Sanskrit Texts on Yazdani, G. (1922). The Temples of Palampet. Temple Architecture. Madras: Chidambaram India. Memoirs of the Archaeological Survey of India. Issue 6. Calcutta: Swati Publications. Michelli, G. (1977).The Hindu Temple An introduction to its meaning and forms. Web links: Great Britain: Elek Books Limited. http://asi.nic.in ParabrahmaSastry, P.V (1978). Thee Kakatiyas of Archaeological Survey of India (ASI) Warangal. Hyderabad: Government of Andhra (Under Ministry of Culture, Government of India) Pradesh. http://asihyderabadcircle.nic.in/ Archaeological Survey of India, Hyderabad Circle Rao, M.P.R, et.al.(1987) Geotechnical Appraisal and Evaluation of Kakatiya Monuments. Warangal, (ASI) A.P. Warangal: Dept. of Civil Engineering, http://telanganamuseums.com Regional Engineering College. Directorate of Archaeology and Museum (DAM) (Under Government of Telangana) Rao, M.P.R, et.al.(1991) Geo Technical Splendour of the Kakatiyas. In: Rao, M.P.R., Jayakumar, J.V. http://www.telangana.gov.in (ed.) Irrigation Technology of Kakatiyas. Warangal: Telangana State, India The District Administration Warangal INTACH Warangal Chapter. http://warangal.nic.in Warangal District Rao, P.V.N. (1993). Ramappa: A Symphony in http://www.kakatiyaheritagetrust.org Stone. In: Rao, S.N (ed.). Cultural Heritage of the Kakatiya Heritage Trust Kakatiyas. Warangal: District Council for Cultural Affairs, Warangal & INTACH, Warangal chapter. http://whc.unesco.org/en/ tentativelists/5889 Rao, P.V., Thakore, Y. (2013) NrittaRatnavali. UNESCO- World Heritage Site- Tentetive List Warangal: Kakatiya Heritage Trust. No offi cial website is available as on date of this Rao, S.N, (1993). Cultural Heritage of the dossier exclusively for the property. Kakatiyas. Warangal: District Council for Cultural

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 165 8. CONTACT INFORMATION OF RESPONSIBLE AUTHORITIES

8.a. Preparer Name Government of Telangana, GSV Suryanarayana Murthy Address: Title: Conservation Architect Opposite to Lepakshi Handicrafts Under coordination of Emporium, Prof. M. Pandu Ranga Rao, Trustee Gunfoundry, Abids, Kakatiya Heritage Trust (KHT) Hyderabad – 500 001, Telangana State Tel: + 91-40-23234942 Address: Fax: +91-40-23234942 2-2-1074/5A, #528, AlekhyaRadhaSadan E-mail: [email protected] Apts., Opp. MaharanaPratap Function Hall, 6 no. junction, Amberpet, 8. c. Other Local Institutions Hyderabad- 500013. 1) Ministry of Youth Advancement, City, Province/ State, Country: Tourism and Culture Hyderabad, Telangana State, India Government of Telangana Tel: +91-98493-47322 Address: Fax: +91-40-27402118 1st Floor, D- Block, Secretariat, CHAPTER 8 E-mail: [email protected] Hyderabad-500022, Telangana State Tel: + 91-40-23452055 CONTACT INFORMATION 8.b. Offi cial Local Institution/ Agency Fax: +91-40-23452054 1) Archaeological Survey of India (ASI) E-mail: [email protected] Department of Culture, Govt. of India Address: 2) District Collector, Jayashankar KendriyaSadan, III fl oor, II Block, Sultan Bhupalpally Bazar, Hyderabad, Telangana State. Address: Tel: +91-40-24658124 SCCL Guesthouse, Manjoor Nagar, Fax: +91-40-24651012 Bupalapally - 506169, E-mail: [email protected] Telangana State, India [email protected] Tel.: +91-7995088365 Web: www.asihyderabadcircle.nic.in E-mail: [email protected]

1.a. Archaeological Survey of India, 3) Telagana State Tourism Development Warangal (Sub-Circle) Corporation (TSTDC) Address: Address: Thousand pillars Temple 3-5-891, Tourism House, Himayatnagar, Hanumakonda, Warangal -11 Hyderabad-500 029, Telangana State Telangana State, India Phone: 0870 – 2447790 Tel.: +91-40-23262151, +91-40- E-mail: [email protected] 23262152, +91-40-23262157 Fax: +91-40-23261801. 2) Directorate of Archaeology and Museums Department (Under Ministry of Youth Advancement, Tourism and Culture)

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 167 3.a. District Tourism Offi cer 5) Kakatiya Heritage Trust (KHT) O/o. District Collectorate, Warangal, Address: Telangana State, India # 1-1-894, Siddarth Nagar, REC Post, Warangal-506004. Telangana State, India. 4) Endowments Department, Govt. of Tel: +91-870-2455599 Telangana E-mail: [email protected] Address:

CONTACT INFORMATION CONTACT Warangal zonal offi ce Near Bhadrakali 6) INTACH, Warangal Chapter, Temple Telangana State, India Department of Civil Engineering, NIT, Tel:+91-870-2421566 Warangal, Telangana State- 506004 Tel: +91-870-2459238 Email: [email protected]

8. d. Offi cial Web Address: http://asi.nic.in Archaeological Survey of India (ASI) (Under Ministry of Culture, Government of India) http://asihyderabadcircle.nic.in Archaeological Survey of India, Hyderabad Circle (ASI) http://telanganamuseums.com Directorate of Archaeology and Museum (DAM) (Under Government of Telangana) http://www.telangana.gov.in Telangana State, India http://warangal.nic.in Warangal District http://www.kakatiyaheritagetrust.org Kakatiya Heritage Trust http://whc.unesco.org/en/tentativelists/5889 UNESCO- World Heritage Site- Tentetive List No offi cial website is available as on date of this dossier exclusively for the property.

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 169 Signature on Behalf of the State Party

CHAPTER 9 SIGNATURE

Smt. Usha Sharma, IAS

Director General Archaeological Survey of India (ASI)

RUDRESHWARA (RAMAPPA) TEMPLE, Palampet, India Nomination Dossier 171