RASHTRAKUTA ARCHITECTURE AND SCULPTURE

RASHTRAKUTA ARCHITECTURE AND SCULPTURE

The contribution of the Rashtrakuta dynasty which ruled in Karnataka and many other parts of South and central India, in the fields of architecture and sculpture are immense. However most of those locations lie outside the boundaries of present day Karnataka. The art of cave temples and the practice of building huge rock-cut temples, (often monolithic) which started during the days of Emperor Ashoka reached its zenith during the rule of Rashtrakutas as manifested by the temples at Ellora and Elephanta. These temples have received allround praise by experts for their exquisite beauty. These two temples and a few in Karnataka have developed certain distinct features which have survived in later constructions. Stellar(star shaped) foundations, addition of meeting halls (Chaitya Hall’) to temples, creating meditation chambers as adjuncts to the sanctum of the Jaina temples, development of double shrined (dvikUTa) and triple shrined (trikUTa) temples, construction of ‘traipuruSa’ and ‘pancalinga’ temples are some of the innovations set in motion by the Rashtrakuta architects.

The rule of Rashtrakutas lasted from 735 A.D. to 982 A.D. and consisted of great monarchs such as Krishna-1, Amoghavarsha Nrupatunga, Krishna-2 and Krishna-3. The kings by and large were very tolerant of other religions and various sects in Hinduism. For instance, out of the 34 rock cut temples found in Ellora, Buddhism, Hinduism and Jainism have the pride of place in 12, 17 and 5 caves respectively. Even in other places, Shaiva temples and Vashnavite temples are found in abundance. Unfortunately very few temples have survived in Malkhed, the long time capital of the Rashtrakuta kingdom.

The most celebrated monument for the glory of Rashtrakuta architecture are present in Ellora, now in Maharashtra at a distance of about 15 kilometers from Aurangabad. Even here the Kailasnath temple is the most renowned. This temple has a grand entrance followed by two tall shaiva flagposts, almost fifty feet tall. A series of elephants carved on the lower pedastal (adhiThana) create an illusion that they are carrying the Kailas. The temple measures 100 ft. by 150 ft. at the bottom and stands about 100 ft. tall. It contains four sections, namely the shrine, the Nandi shrine, entrance and cloisters all-round the sanctum. It has a spacious ‘sabhamanTapa’, (meeting hall) an antarALa and a sanctum. The tower on the sanctum is built in the dravidian style. Many episodes taken from mythology related to Shiva, Vishnu and other Gods as also scenes depicting incidents from epics like Ramayana, Mahabharatah and Bhagavata are carved on the walls wherever possible. The oft-quoted statement by Percy Brown well known historian and art critic is never out of place while speaking about this temple: "The temple of Kailasa at Ellora is not only the most stupendous single work of art executed in India, but as an example of rock architecture it is unrivalled…. The Kailasa is an illustration of one of those occasions when men's minds, hearts and heads work in unison towards the consummation of a supreme ideal."

‘DashAvatAra temple, ravan-ka-Khai temple, dhumar lena cave and Rameshvara temple are also well known among the Hindu temples. Indrasabha, Jagannatha sabha and cOTA kailAs are the famous ones among the jaina shrines. Cave nimber 32 is famous for the Yakshi sculpture and the paintings on the ceiling. These caves are well known for the icons of the teerthankaras, yakshas and yakshis.

Buddhist caves at Ellora usually consist of monasteries. They are multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, etc. The most famous Buddhist cave is cave number 10. It is known as the "Carpenter's Cave".

The Elephanta caves in an island at a distance of about ten kilometers from Bombay is best known for the huge three-faced icon of Mahadeva.(mahEsha mUrti) The faces represent sadyOjAta, aGOra and tatpuruSa the three forms of Shiva. This is about 25 ft. high. The sculptures of sadAshiva and naTarAja are very well sculpted bass-reliefs . Some of these structures date back to the 5^th century A.D. The rock-cut temple is similar to a huge sculpture, through whose corridors and chambers one can walk. It covers an area of about 60000 squrare feet and it consists a main chamber and two lateral ones, courtyards and several subsidiary shrines. There is a mass of natural rock, above the temple. Kalyanasundara, gangAdhara, rAvaNAnugrahamUrty and yOgIshvara are sculpted on the West and East sides of the Northern entrance.

Some more temples and sculptures built during the regime of the Rashtrakuta kings are found in the districts of Gulberga, Bijapur, Dharwar and Raichur. A solitary Jaina basadi stands in a delapidated condition in Malkhed the Capital of the dynasty. A complex of some fifteen small temples are found in sirivALa a village in ShApur talluk of Gulbarga district. Many of these temples are built in light red sand stone and some of them have made use of black stone.

The Jainanarayana temple at Pattadakal contains a huge sabhamantap and an eqully big mukhamantap. Some Jaina temples such as those in rON and AihoLe have small meditation chambers on either side of the sanctum. The parameshvara temple at koNNUr and brahmeshvara temple at savaDi have star shaped foundations. Many of the Rashtrkuta temples are dvikUTa and trikUTa varieties. They have two or three sanctums and antarALa but they share a single mukha mantapa. Many more temples scattered around North Karnataka exhibit different features of the Rashtrkuta architecture. Many of them were followed by some modifications in later schools. For instance traipuruSa temples become trikUTa temples. The walls of many of these temples have carved sculptures depicting incidents from mythology and epics. The icons have undergone subtle changes in body contours and ornamentation een though they follow the models given by the Chalukyas of Badami. To sum up the Rashtrakutas have contributed immensely to the architectural and sculptural splendor of Karnataka.

Sirival, Its Monuments, Sculptures, and Inscriptions

8. ‘Sirival, Its Monuments, Sculptures and Inscriptions’ By C.S. Patil, 2001, Directorate of ARchaeology and Museums

9. ‘Masterpieces Of Rashtrakuta Art, the Kailas’ By Madhukar Keshav Dhavalikar, 1983, Taraporewala, Bombay.

10. ‘Rashtrakuta Art in Karnataka’ by Sindigi Rajashekhara, 1991, Sujatha Publications.

11. ‘The Rashtrakutas of Malkhed: Studies in History and Art’ By Balakrishnan Raja Gopal, 1994, Mythic Society, Bangalore.

12. ‘The Ellora monoliths: Rashtrakuta architecture in the Deccan’ By K.V. Soundararajan, 1988, Gian Pub.House

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