The Pallava, or Dravidian style of architecture, both large-scale and small-scale, was at its peak during the Chola dynasty’s rule in the southern parts of India. The style actually originated during the Pallava empire, whose architects developed a style of construction which allowed for greater stability, and thus greater height as well.
The Pallava style is again divided into two subparts: the rock-cut phase and the structural phase. The rock-cut phase primarily consisted of temples cut directly from huge rock formations, carved from top to bottom, and invariably used many pillars and grand halls, one leading into the other so that the grandeur of the temples was accentuated. This style is also called the Mahendra style of architecture, and took its inspiration from the Jain style of temples. Some good examples of such architecture are the cave temples at Pallavaram and the Pancha Rathas at Mahabalipuram.
The second phase was an evolution of the first; temples were fashioned as free-standing structures, built as one level on top of the other, and each level narrowing as the structure went higher. Each level also had intricate figures carved into the foundation. The temples’ structure was designed as such because it increased stability and guaranteed durability, especially as its builders worked from bottom to top, layering each level with care. Some excellent examples of such structures are the Shore Temple at Mahabalipuram and the Vaikunta Perumal Temple at Kanchipuram.
It was at this phase that the style was in its Chola period, and thus at its peak. To date, its designs are commonly seen in the artisans’ work, especially in Tamil Nadu. The temples are adorned with detailed stone sculptures of various gods, goddesses and auspicious animals, each craved specifically and with care. These have successfully withstood the test of time, and are a accredit to the artisans who gave their lives to such constructions. It is these artisan families’ descendants who take up their ancestors’ work and carve statues out of rock, harkening after the same style. They thus evoke a sense of our rich past, and remind us of a time when a great empire stood on the same ground, leaving a legacy carved in stone.
Unfortunately, these artisans are often overlooked when one reviews the variety of art forms found in India, because of a multitude of reasons. There seems to be an advantage given to North Indian history, and South Indian empires are never really explained in mainstream history, which results in a blatant lack of information that we, the general public, are exposed to. Even if we know of such empires, we never factor in the existence of such beautiful art that is evocative of that past which we all share. Thus, these artisans are never really put on the map, despite the exquisiteness of their work or the authenticity they have. We, at IndiHands, try to put them on the map, make their work more accessible to you. We try to create awareness about the beauty that is available to us. And most of all, we take a small step towards saving an artform that has survived centuries from facing the very real threat of extinction.
Carving Sculptures out of Stone: Dravidian Statues
The Pallava, or Dravidian style of architecture, both large-scale and small-scale, was at its peak during the Chola dynasty’s rule in the southern parts of India. The style actually originated during the Pallava empire, whose architects developed a style of construction which allowed for greater stability, and thus greater height as well.
The Pallava style is again divided into two subparts: the rock-cut phase and the structural phase. The rock-cut phase primarily consisted of temples cut directly from huge rock formations, carved from top to bottom, and invariably used many pillars and grand halls, one leading into the other so that the grandeur of the temples was accentuated. This style is also called the Mahendra style of architecture, and took its inspiration from the Jain style of temples. Some good examples of such architecture are the cave temples at Pallavaram and the Pancha Rathas at Mahabalipuram.
The second phase was an evolution of the first; temples were fashioned as free-standing structures, built as one level on top of the other, and each level narrowing as the structure went higher. Each level also had intricate figures carved into the foundation. The temples’ structure was designed as such because it increased stability and guaranteed durability, especially as its builders worked from bottom to top, layering each level with care. Some excellent examples of such structures are the Shore Temple at Mahabalipuram and the Vaikunta Perumal Temple at Kanchipuram.
It was at this phase that the style was in its Chola period, and thus at its peak. To date, its designs are commonly seen in the artisans’ work, especially in Tamil Nadu. The temples are adorned with detailed stone sculptures of various gods, goddesses and auspicious animals, each craved specifically and with care. These have successfully withstood the test of time, and are a accredit to the artisans who gave their lives to such constructions. It is these artisan families’ descendants who take up their ancestors’ work and carve statues out of rock, harkening after the same style. They thus evoke a sense of our rich past, and remind us of a time when a great empire stood on the same ground, leaving a legacy carved in stone.
Unfortunately, these artisans are often overlooked when one reviews the variety of art forms found in India, because of a multitude of reasons. There seems to be an advantage given to North Indian history, and South Indian empires are never really explained in mainstream history, which results in a blatant lack of information that we, the general public, are exposed to. Even if we know of such empires, we never factor in the existence of such beautiful art that is evocative of that past which we all share. Thus, these artisans are never really put on the map, despite the exquisiteness of their work or the authenticity they have. We, at IndiHands, try to put them on the map, make their work more accessible to you. We try to create awareness about the beauty that is available to us. And most of all, we take a small step towards saving an artform that has survived centuries from facing the very real threat of extinction.