Location: Tamil Nadu state Map
Date: 1010 AD
Height: 217 ft (66 m)
When: Nov-Mar
Brihadeeswarar Temple is a Hindu religious complex
in Tamil Nadu state of India. It was constructed in 1010 AD. It
reaches a height of 217 ft (66 m). The Brihadeeswarar Temple is
completely built of granite . It is the first and only temple of its
kind in the world made of granite. It attracts people from its
grandeur, architecture and central dome. This temple to UNESCO 's
World Heritage declared.
It was built by the first Chola ruler Rajaraja Chola between
1003-1010 AD . It is also named after him as the Rajarajeshwar
temple . It was counted among the largest structures in the world of
its time. The building has thirteen (13) storeys (the height of the
storeys is odd in all Hindu occupations.) The height is about 66
meters. The temple is dedicated to the worship of Lord Shiva .
It is a repository of crafts in every branch of art - architecture ,
stone and copper, iconography, painting, dance , music , jewelery
and engraving. This temple is an excellent example of engraved
Sanskrit and Tamil archive calligraphy. A feature of the
construction art of this temple is that the shadow of its dome does
not fall on the earth. Swarnakalash is situated on the summit. The
stone on which this urn is located is estimated to have a weight of
2200 mana (80 tons) and is made of a single stone . Seeing the huge,
magnificent Shivalinga installed in the temple, his name
Brihadeeswarar seems appropriate.
On entering the temple there is a square pavilion inside the gopuram
. Nandi is seated on the platform there . This statue of Nandi is 6
meters long, 2.6 meters wide and 3.7 meters high. This is the second
largest statue of Nandji built in India with the same stone. Other
scenic temples in Tanjore are Tiruvoririyur, Gangaikondacholapuram
and Darasuram.
The temple is located on the outskirts of the southern
Indian city of Thanjavur, which is famous for its numerous temple
complexes. It can be reached via a secluded side street off West Main
Street. To the west of the temple there is a forest area and to the
south is the Grand Anikut Canal.
Construction began in 995 by
Rajaraja I. The stones had to be brought from a quarry 45 kilometers
away because there was no granite nearby. According to the inscriptions
on the base of the temple, Rajaraja I himself was involved in its
completion in 1010 by adding the spire to the Vimana. The temple was
officially dedicated to Shiva under the name Rajarajeshvera, but most
likely served to glorify its builder. After the completion of the
temple, Rajaraja I brought around 600 temple servants to Thanjavur,
including musicians, dancers, singers, conch shell players, canopy
bearers, lamplighters, potters, washermen, astrologers, tailors,
carpenters and gardeners. The temple was built to represent Rajaraja's
vision of his power, his position of power and absolute order as a royal
temple.
The construction technology of the temple is
considered clear and perfect; the entire temple complex is designed
almost symmetrically. The rectangular 241 × 121 m temple site is
surrounded by a wall decorated with 250 Linga statues. The wall's only
gate is on the northeast side of the temple grounds. It has two
gopurams, which were typical of the Chola period. The outer five-story
entrance portal is higher at around 30 meters, the inner three-story
gopura is decorated with Hindu stories.
In the center of the
eastern temple grounds is a pavilion with a bull monolith, the third
tallest Nandi statue in India with a height of 3.7 meters.
The
main temple is a Dravida style structure. On the east side of the
temple, a portico leads into two large vestibules (mandapa) supported on
columns (hypostylos), which are accessed via stairs and through which
the main tower of the temple (vimana) is reached. The outer wall of the
temple is supported on partially inscribed bases and has numerous
reliefs. The entire temple complex consists almost entirely of
uncemented granite blocks. On a floor area of 25 × 25 m and 60.96
meters, the Vimana rises to 13 floors. Characteristic of the tower
architecture of the Chola period, a hollow step pyramid with a
monumental dome-like top, using similar large stone blocks (monolith
construction). In the cella, which is accessible via a vestibule
(antarala), there is a four-meter-high linga made of polished basalt,
which occupies the first two floors and is separated from the rest of
the vimana by a ceiling.
The dome of the Vimana consists of a
granite block weighing around 80 tons. Allegedly / presumably a ramp
several kilometers long was built to get to the step pyramid. There are
8 Nandi figures on the dome, which point in all directions.
The Chola dynasty (c. 850–1280 CE) rose to prominence in South
India, building on Pallava and Chalukya traditions while innovating
in scale, engineering, and imperial symbolism. Emperor Rajaraja I
(r. 985–1014 CE, birth name Arulmozhivarman) commissioned the temple
around 1003–1004 CE (possibly his 19th regnal year) during the
height of Chola military expansion and prosperity. He conquered the
Pandyas, Cheras, parts of Sri Lanka, and other regions, amassing
wealth that funded grand projects.
Construction lasted about 7
years and completed in 1010 CE (his 25th regnal year) with the
consecration and installation of a gold-plated kalasam (finial) atop
the vimana. The chief architect is traditionally identified as
Kunjara Mallan Raja Rama Perunthachan (or simply Perunthachan in
legends). Granite blocks were quarried ~50 km (30+ miles) away and
transported along the Cauvery River; the temple reportedly used 40
times more stone than typical Chola temples and was built without
mortar.
The temple symbolized Chola power, devotion to Shiva, and
possibly commemorated victories (e.g., over Pandyas). It was
originally called Rajarajesvaram and referred to in inscriptions as
Dakshina Meru ("Southern Meru"), evoking Mount Meru/Kailash as
Shiva's abode. Rajaraja I, his sister Kundavai, queens, and vassals
endowed vast wealth (gold, silver, gems, coins, bronze idols—66
listed in inscriptions—and land).
Architecture and
Engineering Marvels
The rectangular complex spans ~240.79 m ×
121.92 m on a raised platform, surrounded by a massive colonnaded
prakara (circumambulatory corridor, ~450 m perimeter) and later
fortified walls (outer ones added 16th–18th centuries, with
French-era gun ports in the 18th century). Key elements include:
Vimana (sanctum tower): A straight-sided, 13-tiered (or
16-storey including base) pyramidal granite tower ~63–66 m (208–216
ft) tall—one of India's tallest—topped by an octagonal sikhara and a
monolithic granite kumbam/capstone (~7.77–8 m side, ~80 tons,
originally gold-covered). Legend claims it was hauled up a gently
sloping 4–6 mile (6–10 km) earthen ramp.
Garbhagriha (sanctum):
Houses one of India's largest monolithic Shiva lingams (~8.7–13 ft /
2.6–4 m tall, sources vary slightly on exact measurement; ~29 ft
including base in some accounts), in a square chamber (~30 m side)
with a circumambulatory path.
Nandi mandapam: Features a colossal
monolithic granite Nandi (Shiva's bull mount), ~3.7–6 m high, 5.9–6
m long, ~25 tons, facing the sanctum (added/enhanced later but
iconic).
Other features: Eastern gopuram (Rajarajan tiruvasal
with Puranic reliefs), multiple mandapas (maha-, mukha-, etc.),
antechamber (antarala), axial shrines (including later additions for
Parvati/Amman, Murugan/Kartikeya, Ganesha, Dakshinamurti, etc.), and
81 of 108 karanas (dance postures from Natya Shastra, foundational
to Bharatanatyam) carved on upper walls.
Inscriptions
Over
100 inscriptions (64 by Rajaraja I alone, plus those by successors
like Rajendra I, and later Pandya/Nayaka rulers) in Tamil and
Grantha scripts cover walls, detailing construction, endowments,
staff (600+ named individuals: priests, devadasis/dancers/singers
~400 mentioned in context, musicians, accountants, artisans,
lamp-lighters, etc., paid via land grants), wages, festivals,
repairs, and daily charity (free meals to pilgrims, ascetics,
Brahmins). They list specific gifts (bronze idols, jewels, gold
coins—e.g., 38,000+ from the king), market prices (e.g., bananas per
coin), and provide invaluable socio-economic insights into Chola
administration, temple economy, and welfare.
Frescoes,
Sculptures, and Art
Chola-era frescoes (~670 sq m, ~112 sq m
uncovered) on sanctum walls (discovered 1931) use natural pigments
on wet plaster, depicting Shaiva mythology, deities (Shiva, Vishnu,
Durga), royal/court scenes, and daily life. Soot from rituals
damaged them; Nayaka-era (16th–17th cent.) murals were painted over
some, later restored (e.g., de-stucco in 2000s). Upper walls feature
the dance karanas. Bronze icons (e.g., Nataraja style) and stone
sculptures abound.
Later History, Renovations, and Damages
The core 11th-century structure endured raids/wars (e.g., between
Madurai Muslim sultans and Thanjavur Hindu rulers), causing damage
later repaired. Pandyas (14th cent.) renovated; Nayakas (16th–17th
cent.) added major shrines (Nandi pavilion, Amman, Murugan), murals,
and structures; Vijayanagara and Thanjavur Marathas
maintained/added; French colonial forces influenced outer
fortifications. It remained a "living temple" with ongoing rituals.
Legends and Myths
Popular legends include: the massive
capstone transported via a long ramp; the vimana's shadow allegedly
never falling on the ground (a symbolic/mythical claim);
construction aided by Gandharvas or divine vision inspiring
Rajaraja; and the architect's perfectionism stories. It symbolizes
cosmic order as Dakshina Meru.
Religious, Cultural
Significance, and Modern Status
The temple hosts daily rituals
(priest-only sanctum access, lamps, offerings), major festivals
(Maha Shivaratri, Natyanjali dance festival with Bharatanatyam), and
free meals/charity traditions. It influenced South Indian art,
dance, and temple-building. In 2010, it celebrated its millennium
with 1,000-dancer performances, special postage stamps, and
commemorative coins. Managed jointly by Archaeological Survey of
India (ASI, conservation) and Tamil Nadu Hindu Religious &
Charitable Endowments (administration), with a hereditary trustee
from the Maratha royal family. It attracts pilgrims, tourists, and
scholars as a pinnacle of Tamil heritage.