TEMPLE OF ARCHITECTURE

RAMAPPA TEMPLE
- PRAVIN SURYA
- K GAYATHRI BHARATHI
The Rudreshwara (Lord Siva) temple, is a UNESCO World Heritage Site
located in the state of Telangana in southern India. It is 66 km (41 mi) away
from Warangal, 15 km (9.3 mi) from Mulugu, 209 km (130 mi) from
Hyderabad. It lies in a valley in Palampet village of Venkatapur mandal of
Mulugu district, a tiny village long past its days of glory in the 13th and 14th
centuries.
Jayashankar Bhupalpally lies on an ecological frontier that separates the
eastern edge of the Deccan dry inland plateau from the wetter and more
fertile coastal plain.
It is located about radially north-east of Warangal, the then capital
Orugallu.
The temple is strategically located on the foothills of the reserve forest
with the Ramappa Cheruvu on the south of the hill.
The temple is located amidst of an agricultural field which was once an
important city- Palampet during the Kakatiya period. Hindu Temples were
constructed on sites which satisfy the canons of beauty, religious sanctity,
convenience and architectural stability.
An inscription in the temple dates it to the year 1213 CE and
says it was built by a Kakatiya General Recharla Rudra, during
the period of the Kakatiya ruler Ganapati Deva.
The temple is a Sivalayam, where Lord Ramalingeswara is
worshipped. Marco Polo, during his visit to the Kakatiya
empire, allegedly called the temple "the brightest star in the
galaxy of temples".
Ramappa Temple stands majestically on a 6-foot (1.8 m) high
star-shaped platform.
The hall in front of the sanctum has numerous carved pillars
that have been positioned to create an effect that combines
light and space wonderfully.
The temple is named after the sculptor Ramappa, who built it,
and is perhaps the only temple in India to be named after a
craftsman who built it.
The core zone of the property constitutes the Rudreshwara Temple complex enclosed in the Prakara wall.
The plan of a temple chiefly depends on its spatial organization.
All the components in the complex are oriented on the east-west axis and face the east, towards the rising
sun following the Vastu shastra.
The main temple is in the stellate plan and has Garbhagriha, Antarala and SabhaMandapa adorned with
porches and figures placed in the center of the courtyard.
In the temple complex, the Nandi Mandapa becomes the first visual reference to the complex. The Nandi
Mandapa leads into the temple proper from the Pradakshinapatha.
Another temple has Garbhagriha, Antarala and Sabha Mandapa is found to the north of the main temple.
Besides these temples, there is a spacious pillared Mandapa located to the south of the main temple. The
Upapitha on which it stands is star shaped in plan.
Towards the south-west of
the main temple there is a
small room which is now
called Pakashala.
A small Mandapa having four
pillars supporting its flat roof

housing a pillar on that has

engraved the inscription of
the famous Recharla Rudra is
placed to the North–East of
the main temple.
a) Kateshwara Temple:
Located to the North of the main temple there is a temple
dedicated to Lord Kateswara. It consist of a Garbhagriha, an
Antarala and a Sabha Mandapa.
The temple is constructed on a high Upapitha and is
approached by a flight of steps. On either side of the steps
elephant monoliths were beautifully carved in stone.
The carvings on the exterior of the building are plain,
consisting of two bands of leaf pattern. Around the hall runs a
platform on which eight small cells for images have been built.
Several of these cells have fallen down, but two of them are
still intact and contain images of Vishnu and Ganapati carved
in dolerite. The door of the shrine is beautifully carved and the
friezes represent Siva in tandava pose.
b)Kameshwar Temple (Kalyana Mandapa) :
Situated to the south of the main temple, this temple is placed on a stellate Upapitha consisting of a
spacious pillared Mandapa with small cells on its eastern and western side.
The Mandapa has four pillars enclosing a square space in the middle. The ceiling had some fine carvings
with blossomed lotus.
Near the steps of the temple, stands a pair of monolithic stone elephants. According to the inscription of
Recharla Rudra, this structure to the south of the main temple is called Kameshwara Temple. It is
presently known as the Kalyana Mandapa for its absence of Garbhagriha and symmetrical entry from the
four cardinal directions.
c) Pakashala:
Towards the south west of the main temple, is a
small room now known as Pakashala. It was
earlier the kitchen where the food was served to
the devotees.

d) Nandi Mandapa
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 are commendable.
The splendid neutrality that characterizes the
look and the posture of the Nandi make this
image of Nandi one of the glorious triumphs of
the Kakatiya art.
A unique feature of this Nandi is that from
which every angle you look at its face; it
appears to be looking at the on-looker.
e) Inscription pillar:
A small Mandapa having four pillars
supporting its flat roof houses a dolerite
pillar on which is engraved 201 line
inscription of the famous Recharla Rudra.
This pillar inscription is major source of
information, which informs about the
temple and other works of Recharla Rudra,
the general who built the temple.
f) Rudreshwara Temple:
This temple is in a stellate plan (Trikuta temple form)
placed on a star shaped Upapitha. The plinth of the plat-
form had been divided into a foliating surface, which gives
a very pleasing effect to the general appearance of the
monument.
The sanctum is on the western side and towards the East,
North and south the temple has porticoes with beautiful,
almost life size fi gures of maidens (Madanikas) on either
side of the doors of these porticoes.
The temple has a Garbagriha preceded by an Antarala,
Sabha Mandapa with ornamental pillars at the four corners
and sculptured inner roof.
Materials:
Locally available materials such as; Sandstone, Granite and Dolerite are used in the temple
construction. The architect used sand for foundations and in preparing lime mortar. Pink Chelvai
sandstone is mainly used in the construction of the temple. The Kakatiyas used sandstone for the
main temple, but the beams of the temple are carved out of Granite, Dolerite and sandstone.
a) Floating brick:
i) The Vimana is made up of light weight porous bricks in order to reduce the load of the super structure. ii) These
bricks fl oat on water with a density ranging from 0.85gm./cc to 0.90gm/cc, which are highly porous and with very low
permeability and take higher strengths exceeding 30kg/cm2 unlike the normal brick which takes about 20kg/ cm2 wit
a density of about of 2.2gm/ cc. iii) These light and spongy bricks are brown in colour and unusually big in size 14” x6”
x4” weighing almost 3 Kgs5. The light and porous bricks of the spire served a defi nite purpose. The spire was required
to be made light so that the load on the stone roof would be reduced considerably. The spire itself was hollow inside
resulting in a reduction of load on the supporting columns. The lightweight porous bricks with their smoothened
surfaces reduced the absorption of moisture.
Making of the floating bricks:
The architects at that time might have realized the need for such bricks and
formulated the composition, presumably using locally available clay from the
tank beds (Kaolinite clay) mixed with organic resigns like gum Karea
(available in the forests) along with jute and rise husk and burnt the same in
specially designed kilns at optimal temperatures.
The organic resins at higher temperatures got volatilized leaving behind
holes which are not interconnected like the pumice in volcanic eruptions.
This has resulted in enhanced porosity with very low permeability and
density less than water. This kind of a material has not been found any where
across the world in the medieval era making this a man-made engineering
genius.
Making of the floating bricks:
The elements used in the construction mainly used medium and heavy size elements. It is
observed that medium and heavy size elements were used to reduce the number of joints and to
make the structure as monolithic as possible although their transportation, lifting and
placement in position at different elevations might have posed serious problems. Heavy sized
elements were used in columns because of their massive nature.
b) Dolerite:
Dolerite is an igneous hypabyssal rock which is
fine grained micro-crystalline black rock used for
the making of pillars, jambs, lintels and its motifs.
Dolerite is an extremely tough stone to carve, but
once cut and polished, endures for all time, hence
used in making the bracket figures and columns,
which were very exquisitely carved and have
taken mirror like polish with its fine grained
microcrystalline texture.
Compressive strength of Dolerite ranges from
2000-3000 Kg/cm2, the highest in the history of
construction materials.
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.
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.
Rudreshwara Temple:
A temple is a combination of different
components, arranged on vertical axis
in an order so as to imbibe an aesthetic
and ritualistic character.
Provision of path for circumambulation
around the main shrine, ventilation,
creation of space for doorways,
according to the principles of manduka
mandala, were followed by the
Kakatiya architects for the
construction of the Rudreshwara
Temple.
Rudreshwara Temple:
The entire proportionate system of
temples has been founded on the
principles of visual coordination and
perception at the human eye level.
These proportions could be achieved with
the composition of Upapitha, Adhisthana,
padavarga, prastara and the vimana of
the temple. The temple is a halltemple
meaning, only the shrine is enclosed by
walls. Whereas the hall and the porches
are open and have a short parapet wall.
Upapitha
The wide base provided by the
upapitha gives a broad
platform to the entire temple,
enhancing the beauty and by
giving the required height to
the building.
PRASTARA
Prastara creates a division
between the roof and the wall
breaking the monotony of the
Vimana
The Vimana is composed of different
measurements and is the most elegant and
distinctive feature of a temple symbolizing ‘from
sthula to sukshma’.
It is a storied pyramidal Vimana of Vesara
order.
It is a five storied temple composed of four
horizontal layers (bhumis) topped by the
Dravidian Shikara.
The superstructure, in spite of its countless
projections and recesses, is principally square
on plan and perfectly pyramidal in shape12
SABHA MANDAPA
Sabha Mandapa is the covered hall consisting of spaces for the devotees.
It consists of the three entrance porches- Mukha Mandapa, seating spaces called Kakshasana
and platform for dancers Natya Mandapa.
Sabha Mandapa is built with 9 bays i.e. Navaranga supported by 16 pillars. It gives the devotees
the first insight of the Linga of Rudreshwara.

1.KAKSHASANA
Kakshasana is the raised platform along the parapet of the Sabha Mandapa developed into an
ornamental feature adding to the architectural value of the interiors of the Sabha Mandapa.
Kakshasana acts as a stone seat with the sloping parapet as the back rest; and as a platform
for placing the miniature cells.
MINIATURE CELL
These are eight 4’ x 4’ small cells placed on the Kaskhasana around the periphery of the Sabha
Mandapa to house the associated deities. They are built using large sandstone blocks. The
doorways of these cells are ornamented.
2.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 Ardhasthambas giving
support to the bracket figures, 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
Mandapa.
Natya Mandapa:
The four profusely carved dolerite pillars
demarcate this circular stage Rangabhoomika
where the dancers pay tribute to lord
Rudreshwara.
This part of the temple is the most plentifully
carved and consists of some of the best
sculptures of the Kakatiyan era carved on the
hard stone of dolerite.
The floor of the Natya Mandapa is a slightly
raised platform to demarcate it position from the
Sabha Mandapa.
The beams, ceiling and pillars of the Natya
Mandapa are wisely used to depict mythological
stories from Puranas.
Ardha Mandapa:
Ardha Mandapa is the enclosed space which
prepares a devotee to enter the Garbhagriha.
Ardha Mandapa is marked by the Antarala 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 floral scrolls to allow
sufficient 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.
Garbhagriha
Garbhagriha is the enclosed space to the sanctum
sanctorum.
It is enclosed in the lofty cavity walls providing
sanctity and security to the idol.
The Garbhagriha is topped with the pyramidal
shaped Vimana adding the cosmic value to the
temple.
The approach doorway to the Garbhagriha is the
most articulated doorway designed by the
Kakatiyas. It doesn’t have any form of perforations
to restrict the light and disturbance coming to the
sanctum sanctorum.
The Siva Linga stands on the Panavatta.
The Kakatiyan architects were very careful in designing the Garbhagriha. They had taken care of the
removal of the liquid offerings made to the god by giving a water channel to extricate through the cavity
wall and pouring into the bowl placed in front of the devakostha at the North wall of the Garbhagriha. From
the bowl the water is channelized to the Upapitha and exits the temple through the rain water harvesting
channel along the base of the main temple.
Pradakshinapatha
The top slab of Upapitha is a 10’ wide
platform creating Pradakshinapatha of
the temple.
Aedicule (Devkostha) for idols of other
Hindu deities and other sculptures
present throughout the journey takes
the devotee through the visual
experience of different dimensions of
the celestial world.
The circumambulation takes place in a
clockwise direction starting from the
south Mukha Mandapa.
In the path of circumambulation, the
devotee experiences the sculptures and
Devakostas on the exterior wall of the
temple.
Pradakshinapatha
Throughout the circumambulation, bands of friezes are found on the Adhisthana and the
Vedika of the wall.
These rows of friezes consists of: i. Pattika ii. Alpa-Padma iii. Tripatta iv. Band with elephants
and gods carved on it v. Pattika with hanging semi- circular stones.
These bands give uniformity and unite the whole composition of the exterior of the temple.
Devakostas
Devakostas are three tiered aedicule created at the
center of the exterior wall on three sides.
They are the house of other Hindu deities to be
worshipped by the devotees.
The Vedikas of these niches are decorated with animal
friezes.
The ceilings are flat with flower designs underneath.
Devakostas are a result of a successful reproduction
of recreating multi storied buildings of that period.
Bracket figures
38 Bracket figures are installed along the exterior of the
Sabha Mandapa to provide support to the overhanging Kapota.
These dolerite brackets present on the East, North and South
of the temple, stand out in the composition of the temple
exterior.
It is highly ornamented component consisting of GajaVyalas
and twelve Madanikas.
Bracket is an architectural element and its function was not
only architectural but also technological as the cantilever
rock portico supported by bracket figures and Gaja-Vyala
brackets. It is an oblong stone piece fixed between the pillar
and roof beam to give additional strength and stability at the
join.
Bracket figures
The bracket figures of
Madanikas are arranged in
pairs under the eaves.
The devotees are provided
shade from the sun from the
overhanging Kapota.
The Kapota of Rudreshwara
Temple is unusually long. The
under side of the Kapota is
given much prominence as it
attracts the sight of the
pilgrims who circumambulate
the temple on the
Pradakshinapatha.
All Kakatiya sculptures express of movement-a type of dynamism in form; either human or animal appears static o
sedentary. Every form conveys active movement.The universal poise of all statuettes, the expression on their face
and the compositional excellence are the distinctive characters of all Kakatiya sculpture.
The Kakatiya sculptors took keen interest in depicting various divine figures along with their consorts on the
architectural member of a temple in order to educate the mass visiting the temples at the time of periodical
festivals. With the influence of Indian art this religious philosophy and the interesting stories from the sacred book
were the main source of spiritual and devotional inspiration for the sculptors to produce the images of gods and
goddesses and several of their exploits.
The sculptural art of the Kakatiyas reflects the contemporary socio-religious conditions. The figures of multiple
gods and goddesses i.e. Siva, Vishnu, Brahma, Ganesa, Kartikeya and Bhairava, and the well-known forms of the
goddesses like Saptamatrikas, Mahisasuramardini, Parvathi, Durga, Chamunda, etc., denote the flourishing state of
Hinduism during this period.
The sculptural panels, depicting themes from the Ramayana, the Mahabharata and the Bhagavatapurana such as
abduction of Sita, Ravana shaking Kailasa, Churning of milk from the hevenly ocean, Gaurikalyana, Tripurasura,
Andakasura and Gajasura Samhara etc., would suggest that the sculptors if the Kakatiyan art drew inspiration
mainly from the sacred books of the Hindus and translated them in to the stone for the visual education of the
different sections of the society
The sculptural panels, depicting themes from
the Ramayana, the Mahabharata and the
Bhagavatapurana such as abduction of Sita,
Ravana shaking Kailasa, Churning of milk from
the hevenly ocean, Gaurikalyana, Tripurasura,
Andakasura and Gajasura Samhara etc., would
suggest that the sculptors if the Kakatiyan art
drew inspiration mainly from the sacred books
of the Hindus and translated them in to the
stone for the visual education of the different
sections of the society
Upapitha
The Upapitha is majorly plain in nature. The Padma and Adopadma layer of the Upapitha are decorated with
honeysuckle motifs in regular and inverted positions.
The chisels of the bands of the Upapitha, in itself is an ornamentation this architectural member.

Adhisthana
The Kakatiya Sculptor maintained a judicious balance between architecture and art. This can be seen
in the Adhisthana of the Kakatiya Temples as the component is neither plain nor crowded with
ornamental designs and fi gure sculpture.

Padavarga
The exterior walls of the Garbagriha are decorated outwardly with pilasters crowned with Shikaras of the Nagara
and Dravida type disposed alternately and in the middle of the wall a miniature spire is carved a copy of the big on
the top of the Garbagriha. The sculptures on the Padavarga are different from exterior of the Vedi-bandha of the
Sabha Mandapa.
Vedi bandha
The decorations on the Vedi bandha are done in a series of
4 horizontal bands consisting of floral 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 musicians carved
in them.
Important among the sculptures which are repeated are
Munis, Ganesha, Bhairava, Siva, Devi and Narsimha carved
in each compartment.
The last band is again decorated with Vajra-bandha16.
Bracket figures
The bracket figures of the Rudreshwara (Ramappa) Temple are the
highlight of the sculptures of the temple.
There are two types of figures carved on the bracket fi gures, one is the
mythical Vyalas and others are the famous Madanikas of Palampet.
Madanikas
The Madanikas are beautiful maidens showing roles of a maiden like
that of a Nagini, Manini, Rati, Mardala, Dalamalika, Huntress and Dancer.
These figures are the most described and acknowledged sculptures
among the Kakatiyan sculptures.The fluid rendering of the volume and
the serpentive curve of the body endow these figures 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 figures depicted.
The 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 figures.

Dalamaika
Dalamalika is the women garlanding herself with a branch.
She is adorned with ornaments like padasara, kadiya and especially the padukas.
The garments of the Dalamalika are designed with circular and diamond designs
are quite beautiful.
She is shown in a graceful dancing pose.
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 firmly 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 fierce and terrifying expression on their
faces are splendidly delineated by the master craftsmen
of the period.
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 eaves, hence protecting the temple.
Prastara
The Kapotas and Vyalas which form a part of the prastara are decorated with Jharavari.
KAPOTAS
The intricate carving of the bottom portionof the Kapota of Rudreshwara Temple is the best
example of Kakatiyan Kapotas.
Much prominence was given in decorating the underside of the Kapota as it attracts the sight of
the pilgrims who circumambulate the temple on the Pradakshinapatha.
It is designed like a wooden eve of secular structure having horizontal bands and semi-
circular grooves. It is decorated with graceful drop designs where as its underside is decked
with a series of lotus pendents22.
Since the Kapota is slanting, the horizontal bands have graduated projections and recesses
with each band connected with curved bands
Vimana
The Vimana being a vertical component adorned with layers of horizontal
bands in the form of mahanasikas followed by the bhumis of the Vimana and
topped by the Shikara and Kalasa.
On moving from bottom to top the size of the layers reduces and the
sculptures are repeated with diminishing sizes.
The tiers of pilasters rising vertically give the structure the vertical theme,
while the railings and the bold cornices with horizontal courses give the
horizontal theme.
Each tala is adorned with a row of miniature Dravidian vimana models
standing on 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.
Mahanasika
The mahanasika resembles a nose. The nasi is a major ornamentation to the vimana

Sthamba
The Kakatiyan pillars possess a fine lustrous
polish and exhibit the greatest possible
exuberance of varied design and motifs,
boldly designed and finely executed to the
minutest detail.
They are decorated with Puranic stories,
female figures, chains and beads.
Sthamba
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 a
tapering top surmounted with a pitha and corbel.
The pitha is beautifully covered with flowing pearl
tassels while the corbels are plain with chamfered
ends 24.
The beautiful sculpture depicted on the pillars like
Gopikavastrapaharana, three dancers with four
legs, musicians, the Kollattam troupe,
amritamadana etc., are eye catching.
Alamba, jharavari or ornamentation of hanging
drops, hamsa, dancers, musicians and gundika
decorations in tiers adds uniformity and balance
to the pillar
The chain motifs are rendered in metallic
fashion in the pillars of the Natya Mandapa are
so elegant and tastefully decorated showing
excellence in craftsmanship.
The sculptures on the pillars and pilasters made
of dolerite are carved in a three dimensional
form. They are so precise that a needle can be
passed through these minute details of the
sculptures.
Saptamatrikas
A sculpture depicting the seven powerful
mothers of the deities Brahmi, Maheshwari,
Kaumari, Vaisnavi, Varahi, Indrani and
Camunda.
This scroll is a part of an epic story related to
lord Siva and this victory over Andhakasura.
In this piece of art, all the goddesses are
represented as seated in the Ardhaparyanka
pose with the mount carved on the pitha and
the goddesses have four hands.
Dwara
The door frames of the sanctum sanctorum and
Ardha Mandapa are noted for their marvelous
intricacy, beauty, bewildering wealth of details and
a very high degree of artistic finish even to the
minutest details.
It is carved with creeper scrolls, Makara-torana on
the lintel and patralata (creepers) with inset
figures of dancers.
Antarala Dwara
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
vertical rows. In spite of repetitions of the
postures, the variety is pleasing.
Apasmarapurusa
On the lintel of the Antarala dwara is a sculpture of Siva dancing on apasmara, in the company of the
Matrikas, Ganesa and Camunda
Siva dancing amidst the Matrikas is a popular theme of the Kakatiyan art.
The lower segment of the doorjamb is carved with Dwarapalikas playing with lord Krishna. The branch
which the Dalamalika is garlanding herself to has a unique feature attached to it. The pillar is
sculpted hollow and created the seven musical notes when tapped at different points of the pillar.
Garbhagriha Dwara
The sculptures on the Garbhagriha is a solid
composition of pilasters consisting of rows of
Vyalas, Madanikas and floral scrolls.
The lower part of the door jamb is adorned with
dwarapalika as per the Shilpa sashtra rules.
The foot- rest is designed as a miniature version of
the temple Upapitha carved on dolerite.
The lintel band of the doorway has pilasters of
Vimana.
Roof Beam
The beams are decorated with lotus design and figure 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.
Ceiling
The underside of the konavattams and chandaravattams, are delineated in the fashion
of leaves.
The central cutting slab has geometrical patterns.
The central pendant found in the Natya Mandapa is shown projecting downwards
considerably on its underside is Sivanataraja.
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 finish to the Nandi, the sculptors didn’t miss out
showing the veins of the Nandi present under the skin of the stately
bull.
Engineering Marvels of Kakatiyas
1. Sand-box Technology
Kakatiya builders have placed great reliance on the strength behavior of confined sand, and any cause that affects
the confinement of sand would also affect the performance of the entire structure resting on it. Sand-box technology
is adopted for the foundations. The need for utilization of sand as a foundation material is of two fold, primarily as
sand in the sand-box under confined conditions with optimal density to take care of the static and the dynamic loads
coming on to the foundation. Secondly over lying well carved members and for uniform load distribution in addition to
overcome the pockets of concentrated stress in the cavities. The method of construction of Kakatiya Temples was to
excavate a wide foundation pit 2m to 3m deep below ground level and fi ll it with sand which acts as a “sand cushion”
under the foundation, a technology which is still being practiced in areas where expansive soils are found. Then a
retaining (basement) wall of dry stone masonry without any cementing mortar was constructed over the sand cushion
all- round the periphery of the temple to a height of 1m to 2m above ground level and then the space inside the walls
are fi lled with sand. They followed a pattern of star type construction for accommodating Trikuta28.
Engineering Marvels of Kakatiyas
1. Sand-box Technology
The second inner retaining wall of 1.5 m height was built
above the Pradakshinapatha and the box was fi lled further
with sand. Thus the total sand thickness from the bottom of
the foundation pit to the top of the second retaining wall
was about 6.00 m. The main fl oor of the temple was then
laid on the sand bed by heavy sandstone slabs and beams
covering the entire inner box with no mortar. On this
prepared platform the columns were installed at appropriate
places, taking care to see that their load is distributed on to
the sand bed through the fl oor beams. The cavity walls built
for the sanctum sanctorum were also directly resting on the
fl oor on the sand bed.
2. Cavity wall
The walls of the temple are built of large slabs of masonry and have
a double shell, the core being hollow in the middle. This method of
building is exposed to view where the outer shell of the wall has
been destroyed by climatic or other causes29. Main temple walls are
cavity walls constructed by two rows of stone blocks spaced at a
distance of 30cm to 60cm and fi lled the hollow by sand, soil and

other construction debris. They have relied heavily on the confi ned
sand-box method of construction. The load bearing columns and
walls directly constructed over the proposed fl oor beam grid is
resting on the sand-box. It has been confi rmed that even for the
load bearing elements; the foundations 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.
3. Interlocking of stone components
The stone components in the construction
were joined together without the use of
any binding material. They were
connected with each other simply by
interlocking the components. The
interlocking devices include projections
and curvatures carved in the rocks for
better stability and for prevention against
sliding.
4. Earthquake resistant structures
Kakatiyas have integrated all the members including Pradakshinapatha, Kakshasana, cavity walls and roof elements
through iron dowells so as to allow the monument to act; like a monolithic structure. In addition they have introduced
dove-tailing, tongue and grove joints and interlinking the members with cup and cone technique to withstand various
vibrations induced including earthquake forces, which normally produces horizontal acceleration. In the case of
Rudreshwara (Ramappa) Temple, the fl oor beams have failed viloently creating upheavels to the tune of 10cm to 20cm
have created differential settements in the structure and yet, the entire structure is intact. This speaks volumes of
their ingenity in accomodating additional factor of safety. In order to incorporate the monolithic structure to the
monument, the Kakatiya engineers had integrated all the rock elements with iron dowels, thus creating stability even
during earthquakes of moderate intensity. The horizontal acceleration produced during an earthquake will have a
tremendous impact on the structure if they are not interlocked together. The structure vibrates as a monolithic
member and the sand in the sand-box will act as an absorbing cushion, reducing the impact on the structure reducing
the impact of the horizontal acceleration induced by the earthquakes.
5.Polishing
This is done by rubbing iron powder of varying coarseness
over the stone surface. First rough crumbs over the surface,
successively nicer powders are rubbed till the stone attains
a high polish and glistens.