GANGAIKONDA CHOLAPURAM TEMPLE - JAYAMKONDAN

INTRODUCTION

Looking to witness the architectural brilliance of South India’s golden age, preserved in UNESCO-recognized masterpieces?

So what makes these ancient Chola temples worth your time? More than you’d expect—let me show you why.

About a 40-minute drive away lies one of the grand temples of the Chola dynasty, located in Gangaikondacholapuram — a name that means "the city of the Chola who brought the waters of the Ganges."

For foreign visitors to know: Prior to colonial rule, the concept of "vacation" as we know it today did not really exist in India. Instead, after completing their household duties, many people would purchase a one-way ticket to Benares (now Varanasi), intending never to return. Their final wish was to pass away on the banks of the sacred Ganges River, where they would either be cremated and have their ashes scattered in its waters, or, in some cases, have their entire body consigned to the river. The Ganges, home to flesh-eating turtles that would consume the remains, is believed by Hindus — even today — to have the power to cleanse all karma, thus freeing the soul from the cycle of rebirth

Even today, travel can often feel like a major ordeal. Now imagine undertaking the long, arduous journey from South India to Varanasi back in the 10th century! So, Rajendra Chola had a brilliant idea: instead of making the arduous journey north, why not bring the Ganges to South India? If not the “Entire River”, at least a few potful of its sacred water — enough to sanctify a well, from which others could symbolically cleanse their karma.

And so he did — after triumphing over the kings of North India. Thus was born the name Gangaikondacholapuram — "the city of the Chola who brought the Ganges

Like his illustrious father Raja Raja Chola, Rajendra Chola was a formidable warrior, a skilled administrator, a brilliant conqueror, and a benevolent ruler for the Tamils of the Chola kingdom. Following tradition, and seeking to leave his own mark, Rajendra decided to establish a new capital after his father’s time. He chose this site, naming it Gangaikondacholapuram and built a magnificent Chola-style temple dedicated to Shiva. It was here that the sacred waters of the Ganges were ceremonially poured into a well within the temple complex, sanctifying the place for generations to come.

A NOTE ON READING MY BLOG

Considering the wonderfully diverse mix of visitors these temples attract—from Chennai locals on their daily rounds to international travellers experiencing their first South Indian shrine—I’ve tried to pack in as much essential information as possible. This blog aims to be both a practical guide and a cultural companion, blending historical context, architectural insights, spiritual nuances, and everyday observations.

I’ve made a conscious effort to strike a balance between catering to domestic readers who may already be familiar with many of the rituals and traditions, and international visitors who may be encountering them for the first time. For instance, some practices—like entering the inner sanctum (Garbhagriha)—are reserved for Hindus only, which can come as a surprise to some foreign visitors. I’ve flagged such moments to help you navigate with awareness and respect, without feeling lost or awkward.

That said, feel free to cherry-pick the parts of this blog that resonate most with you. Whether you're here for the architecture, the photography, the spiritual atmosphere, or just a great cultural story, there's something in these temples for everyone. If the whole post doesn’t hold your attention, no worries—dip into what interests you most, and skip the rest. After all, exploring a temple should feel like a discovery, not a checklist.

Shall we get started then?

GETTING THERE: LOCATION, TRAVEL TIPS & TIMINGS

If you are continuing your journey from Chidambaram — after visiting the Thillai Nataraja Temple, as most travellers do — you will likely reach Gangaikondacholapuram around 1:00 PM. Although the sanctum will be closed at that hour, you can still explore the outer prakaram (circumambulatory passage), visit the sacred well where the Ganges water was poured, and marvel at the temple’s stunning architecture from the outside. In fact, the sanctum is less ornate than the exterior, so you will not have missed much. However, if you wish to see the sanctum as well, it is advisable to enjoy a leisurely lunch at Chidambaram and start later, timing your arrival at around 4:00 PM when the sanctum reopens.

Temple timings

Open from 6:00 AM to 12:30 PM & from 4:30 PM to 10:00 PM daily. Open from 6.00 am to 10.00 pm without breaks during functions/ceremonies

Gangaikondacholapuram temple photo by Nandhinikandhasamy from Wikimedia commons licensed under CC by SA-4.0

PARKING: WHERE TO LEAVE YOUR VEHICLE

Whether you are self driving or with a driver, parking is conveniently located just outside the temple — an informal setup under the shade of trees, with nothing much to worry about.

FOOTWEAR ETIQUETTE & DRESS CODE: TO KNOW BEFORE YOU GO

For footwear, there is a well-organized kiosk near the entrance. From there, it’s about a 50-meter walk to the temple. Often, a coir mat is spread out along the path to make the walk more comfortable, especially when the ground gets hot under the sun.

Dress code: Long trousers that cover the ankles and no sleeveless tops are expected. In short—dress modestly, please. You might spot people wandering in with shorts and T-shirts, but temple rules tend to change faster than a monsoon cloud over Chennai. It’s always safer (and more respectful) to err on the side of tradition.

THE TEMPLE: HISTORY, ARCHITECTURE & CULTURAL SIGNIFICANCE

The Chola temples are a fresh breath of air in terms of architectural style compared to the other temples discussed in my previous blogs. The Chola temples mark a refreshing shift in architectural style, characterized by their balanced proportions, majestic vimanas (sanctum towers), and intricate stonework. Unlike the later Vijayanagara temples, where towering gopurams (gateway towers) dominate the complex and often overshadow the sanctum, Chola temples maintain a cohesive visual focus, with the vimana itself standing as the principal and most imposing structure. This temple is not only a UNESCO World Heritage monument but also a living place of worship, partially funded by the UN for its upkeep and maintenance. Inside the temple complex, you’ll find lush grass underfoot, dotted with shady coconut palms and other trees, offering a cool respite as you explore.

A brief history: The temple at Gangaikondacholapuram was built by Rajendra Chola I in the early 11th century, following his victorious campaigns in the north, particularly against the Pala dynasty. It was established as his new capital and was designed to be a symbol of his power and devotion to Lord Shiva. The temple’s construction is said to mirror the grandeur of the Brihadeeswarar Temple at Thanjavur, built by his father, Raja Raja Chola. The temple's most notable feature is its sanctum, where the sacred waters of the Ganges were ceremonially poured, a gesture symbolizing Rajendra Chola’s conquest and connection to the divine. Over the centuries, the temple has not only served as a place of worship but also as a living testament to the architectural and cultural splendour of the Chola dynasty.

Note: In the following sections, I offer a “Virtual Walkthrough of the Temple, in Words and Images” —a vivid, step-by-step walkthrough that reveals its many facets in words. If you prefer to experience the temple firsthand and let its beauty unfold naturally during your visit, you may wish to skip ahead. For your convenience, I’ve enclosed the virtual tour within red markers.

Let’s explore the temple. Shall we?

Exploring the Temple

The horizontal three-tier architecture of Chola temples is a distinctive feature that can be seen in the arrangement of the Mukha Mandapa, Antarala (vestibule), and Garbhagriha (sanctum). The Mukha Mandapa serves as the facade hall for devotees, where they can gather, offer prayers, and experience the temple’s grandeur. Just behind it, the Antarala acts as a transition space for the priests, connecting the main hall to the innermost sanctum. Finally, the Garbhagriha, the most sacred part of the temple, houses the deity and represents the divine presence, often a symbol of spiritual enlightenment. This three-tier design not only ensures a smooth flow of worshippers but also reflects the intricate balance between accessibility for the devotees and sanctity for the gods.

The Gangaikondacholapuram Temple is one of the largest temples in South India and is constructed entirely out of granite, a material that was not easily sourced in the region. It is said that granite for the temple was brought from the region around Pudukkottai, which is about 60 km away from the temple site. The construction of this temple required a massive amount of granite, some estimates suggesting that nearly 20,000 tons of granite were used in its construction.

The temple was built to rival the grandeur of the Brihadeeswarar Temple at Thanjavur, and it showcases the brilliance of Chola architecture. The temple’s vimana (tower) is a massive structure that soars to a height of 55 meters, making it one of the tallest structures of its time in South India.

The site for temple construction during the Chola period was chosen with a mix of spiritual, astrological, geographical, and political factors. It was a carefully considered decision that aimed to create a harmonious connection between the physical and divine worlds.

The temple is indeed dedicated to Arulmigu Peruvudaiyar, which is another name for Lord Shiva in his form as the supreme deity of the temple. (Arulmigu Peruvudaiyar means the “Graceful Supreme Lord”).

The Gangaikondacholapuram Temple is adorned with several other shrines and features a cloistered passage that was originally two stories high. However, this passage was later broken, and its remains still stand as a testament to the temple's once grand architectural design. Since the temple is a UNESCO World Heritage Site, these structures remain untouched, preserved as part of the site’s historical and cultural significance.

By now, you’ve probably spent around 40 minutes soaking in the majesty of the temple (add another 10 minutes if you’ve been lucky enough to visit the sanctum and give your prayers a little extra time to reach the divine). It’s time to wrap things up and continue your journey.

Head back to the footwear kiosk and reclaim your shoes. Then, call your driver.

It’s time to leave the temple behind... at least for now. The next stop awaits!

FESTIVALS & CELEBRATIONS: THE TEMPLE IN FULL SPLENDOR

Maha Shivaratri & Natyanjali (February – March)

This festival is devoted to Lord Shiva, the presiding deity of Temple. All through the night the temple witnesses vigils, special Pujas (rituals), devotional singing, and a large gathering of devotees. The Natyanjali Festival at Gangaikondacholapuram typically showcases classical dance forms like Bharata Natyam, offering both devotees and visitors a deeply enriching cultural and spiritual experience. Timed to coincide with Maha Shivaratri—usually observed in February or March—the festival is organized by local cultural bodies in collaboration with the Tamil Nadu Department of Tourism.

Panguni festival (March – April)

At the Gangaikondacholapuram Brihadeeswarar Temple, the festival is celebrated with grandeur, attracting thousands of devotees. Key highlights include:​ marriage of Lord Shiva and Goddess Parvathi is re-enacted, procession featuring the temple's chariot, carrying the idols of the deities, parades through the streets, accompanied by music and devotional chants, temple adorned with thousands of oil lamps illuminating the temple and a sacred flame is ignited atop the temple's vimana, symbolizing the divine presence of Lord Shiva.

Aadi Thiruvadhirai (July – August)

This vibrant festival, held in the Tamil month of Aadi, commemorates the birth anniversary of the great Rajendra Chola. The celebration features classical dance performances such as Bharata Natyam, Silambattam (long stick fighting), and Karagattam (A dance that combines devotion, artistry, and physical balance. The Karagam a decorated pot balanced on the dancer's head, often filled with water or adorned with flowers, without being held by hands.), along with Carnatic music concerts. Traditional Therukoothu street plays vividly portray the legendary achievements of Rajendra Chola, adding a rich cultural and historical dimension to the festivities.

The Annabisheka (October – November)

Every year during the Tamil month of Aippasi (October–November), the Temple in comes alive with the grand celebration of Annabisheka. Timed with the Aippasi Pournami full moon, this sacred event is not just a ritual but a heartfelt offering to Lord Shiva, symbolizing gratitude for the harvest and a collective prayer for abundance, well-being, and food for all.

Thiruvadhirai (December-January)

Thiruvadhirai is a deeply revered festival celebrated in the Tamil month of Margazhi (December–January), and it holds special significance at this temple. Dedicated to Lord Shiva in his cosmic dancing form, Nataraja, the festival symbolizes the celebration of divine rhythm and universal balance.

The day marks the Ardra nakshatra (star) and is believed to be the time when Lord Shiva performed the Ananda Tandava—the dance of bliss. Devotees observe the occasion with early morning temple visits, special Abhishekas (ritual baths) for the deity, and elaborate Alankarams (decorations) of Lord Nataraja. Traditional music and dance performances often accompany the rituals, echoing the spirit of the divine dance itself.

A special sweet dish called kali—made from rice, jaggery, and ghee—is prepared and offered to the deity, then shared among devotees as prasadam (blessed food). The entire temple atmosphere during Thiruvadhirai is charged with devotion, music, and spiritual fervour, making it a major highlight in the temple’s festive calendar.

PHOTOS: WHAT’S ALLOWED, NOT, ANGLES, LIGHT & GOLDEN HOUR

Photo angles & perspective

• Wide angle shot of the profile of the temple showing the horizontal 3-tier Chola architecture.

• Vimana – the super-structure over the Sanctum

• The cloistered passage

• The mystery figures with the hat & western attire on the super structure

• The surrealistic doors guardians

• The paintings on the perimeter wall and the Nandi sacred bull hall’s ceiling

EXPLORING THE SURROUNDINGS: AROUND THE TEMPLE COMPLEX

Just a short drive—barely a couple of kilometres—from the grandeur of the Big Temple lies the Maratha Palace and the Saraswathi Mahal Library. Originally constructed by the Nayaks in the 16th century, the palace later came under the reign of the Marathas, earning it the name by which it is known today.

The Cholas were pioneers in crafting processional Hindu deities in bronze as early as the 9th century. Even today, a handful of traditional workshops continue this legacy, creating exquisite bronze idols using the ancient lost-wax method. Visiting these artisan units is both educational and engaging—and if you're lucky, you might just find a beautiful piece to take home.

Tanjore has long been a cradle of classical arts—dance, drama, and music have all flourished here under royal and temple patronage. Even today, the iconic veena, a symbol of South Indian music, is handcrafted in workshops near the Big Temple. Many of the small shops in the area gladly take custom orders and will even ship your made-to-order veena straight to your doorstep.

If you’re a photography enthusiast looking to capture the essence of Tanjore, a town walk offers endless opportunities for stunning shots.

AMENITIES & PUBLIC FACILITIES FOR VISITORS

There is a fairly clean facility inside the temple but for a more sophisticated one, find a nearby café/restaurant or one of the handicrafts shops near the Maratha palace.

SHOPPING & ESSENTIALS: WHAT TO BUY AND WHERE

For shopping in Tanjore, besides picking up the usual souvenirs from the little shops near the shoe stand inside the temple, make sure to check out the specialty Tanjore Dancing Dolls. These exquisite creations are made from papier-mâché and are a unique reflection of the region's rich cultural heritage. The dolls, often depicting graceful Bharata Natyam dancers in vibrant costumes and delicate poses, make for a perfect keepsake on your desk or a nice gift.

For shopping in Tanjore, beyond the souvenirs near the temple, there are a couple of delightful handicraft shops near the palace that offer an eclectic mix of treasures from all over India. From intricate wood carvings to hand-woven textiles, these shops are a perfect stop for anyone looking to take a piece of India’s diverse craft traditions home.

For something distinctly Tanjore, don’t miss the bronze images crafted in one of the local bronze-making units, where you can find statues of deities and other cultural figures, all made using the ancient lost-wax technique. And if you fancy a musical souvenir, you can always visit the veena-making workshops where you can commission a beautifully handcrafted veena, a true representation of the region’s musical heritage.

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THE DARASHURAM TEMPLE - KUMBAKONAM

This UNESCO temple is the epitome of Chola architecture. The temple is known mostly for its exquisite miniature carvings on the stone, the musical pillars and the stone chariot drawn by horses and more.

GETTING THERE: LOCATION, TRAVEL TIPS & TIMINGS

The Darashuram Temple, which shares a similar architectural style with the previous temple, is located approximately 40 kilometres (1 hour drive) from Gangaikondacholapuram. This temple was constructed at the height of the Chola dynasty's reign.

If you're traveling from Gangaikondacholapuram, consider taking a break in the nearby town of Kumbakonam. A sacred town, Kumbakonam is renowned for its exceptional vegetarian restaurants, often offering traditional Thali meals served on banana leaves. If your trip is organized by a tour operator, you'll also find several prominent resorts that provide excellent vegetarian lunches.

With the lunch break, you’ll arrive at the temple just in time as the sanctum is being opened.

Temple timings

Open from 6:00 AM to 12:30 PM & from 4:00 PM to 10:00 PM daily. Open from 6.00 am to 10.00 pm without breaks during functions/ceremonies

PARKING: WHERE TO LEAVE YOUR VEHICLE

Ample parking is available in front of the temple, near the washroom facilities. A short 100-meter walk from the parking area will lead you to the temple, where you can admire tamarind trees that are over 100 years old. As part of the UNESCO heritage site, the surrounding grounds are beautifully maintained, with lush grass pastures adding to the charm.

FOOTWEAR ETIQUETTE & DRESS CODE: TO KNOW BEFORE YOU GO

There isn't an organized kiosk for footwear, but you'll often find a few elderly women or flower vendors who will look after your shoes in exchange for a tip at the end.

THE TEMPLE: HISTORY, ARCHITECTURE & CULTURAL SIGNIFICANCE

The Darashuram Temple, also known as the Airavatesvara Temple, is primarily constructed using granite, with estimates suggesting that around 1,500 tons of granite were used in its construction. This impressive amount of stone was used to create the temple's intricate carvings and majestic structure, reflecting the architectural brilliance of the Chola dynasty. The Airavatesvara Temple in Darashuram, near Kumbakonam, is a 12th-century Chola-era structure dedicated to Lord Shiva, built by Raja Raja Chola II.

Key architectural features of this temple include:

Vimana (the super structure above the sanctum) is a multi-tiered vimana around 24 meters high. The vimana follows the classic Chola style—compact, pyramidal, and proportionate.

The front mandapam (pillared hall) is built in the shape of a stone chariot that rests on stone wheel drawn by horses creating movement in art. The chariot-like mandapam is sculpted to appear as though it’s being drawn by both horses and elephants, reinforcing the illusion of a celestial procession. In Indian temple iconography, elephants symbolize strength, stability, and protection. Their placement alongside the horses—which represent speed and energy—creates a beautiful balance of power and grace. This blending of animals provides visual rhythm and symmetry to the structure.

The walls and pillars of the Airavatesvara Temple are richly adorned with exquisite sculptures that reflect the artistic brilliance of the Chola period. These carvings serve not just as decoration but as a vibrant visual narrative spanning mythology, culture, and everyday life.

You’ll find mythological scenes intricately rendered—episodes from the Ramayana, Mahabharata, and various Shaivite legends are brought to life in stone. Alongside these divine tales are charming glimpses of ordinary life: women grooming themselves, musicians tuning their instruments, and vendors at work—offering a rare and humanizing window into the world of 12th-century Tamil society.

One of the temple’s most celebrated features is its depiction of Bharata Natyam dance poses, captured in remarkable detail. Each posture, (karanas) carved into the pillars, reflects not only aesthetic grace but also a deep understanding of classical dance theory. These sculptures are considered some of the earliest and most accurate stone records of Bharata Natyam in temple architecture.

In essence, the temple’s sculptural program is a stone tapestry—blending divine myth, artistic expression, and the pulse of everyday life into a harmonious whole.

Unlike many other temples, the Airavatesvara Temple does not feature a circumambulatory path immediately surrounding the sanctum. Instead, the circumambulation is guided through an outer prakaram that runs along a cloistered passage, enclosing the temple complex.

One particularly notable feature of the Airavatesvara Temple is the presence of Sanganidhi and Padma Nidhi at the entrance—figures that stand in contrast to the more commonly seen dvarapalakas (door guardians) with fierce expressions, fangs, and multiple arms.

Here, Sanganidhi symbolizes the bestower of wealth & Padma Nidhi represents the bestower of grace. Their inclusion at such a prominent position may reflect more than just artistic choice—it possibly hints at a sociological shift or a period of relative peace and prosperity during Raja Raja Chola II’s reign. Instead of emphasizing divine protection through intimidating guardians, the temple chooses to greet devotees with embodiments of abundance and benevolence, aligning with the Chola era's cultural richness and stability.

This departure from the typical guardian motif adds a layer of subtle sophistication to the temple’s iconography and offers a glimpse into the values and temperament of the time.

I’ll leave it at that, so your guide can share the remaining stories and details when you visit the temple in person—some things are best experienced first hand.

Exploring the temple - The musical stone steps

Even before you step into the Airavatesvara Temple, you're welcomed by the sacred Nandi (bull) and a remarkable set of musical stone steps. Over centuries of working with granite, Indian artisans became experts in identifying different types based on their mineral composition—and this temple stands as a testament to that mastery.

Just behind the Nandi mandapam, you’ll find a set of seven stone steps, each tuned to produce one of the seven swaras (musical notes). Legend has it that when these stones were in pristine condition, a gentle tap with a teak stick could produce sounds so clear they could be heard from nearly a kilometre away on a quiet day.

Unfortunately, time and human curiosity haven’t been kind—visitors repeatedly striking the steps with stones caused damage. To preserve what remains, the temple authorities have now enclosed the steps with a chain-link fence. You can still see them up close, but sadly, you can’t play them anymore. Too bad—but the silence itself now tells a story.

The Legend of Airavatesvara:

According to the myth, Indra, the king of the heavens, was once cursed by the sage Durvasa. In his anger, Durvasa cursed Indra’s celestial elephant, Airavata, causing it to lose its divine powers and become physically weakened. In desperation, Indra sought Lord Shiva’s blessing to rid Airavata of the curse.

As part of the legend, Airavata travelled to the sacred site where the Airavatesvara Temple now stands. The elephant offered its prayers and worshipped Lord Shiva at this spot, seeking liberation from the curse. In response to the elephant’s sincere devotion, Lord Shiva appeared and granted him forgiveness and restoration of his divine strength. From this moment on, Airavata regained its original form, becoming as powerful as ever.

The main shrine

The presiding deity, Airavatesvara, is a form of Shiva associated with the legend of Airavata.

The shrine of goddess

The Airavatesvara Temple primarily focuses on Lord Shiva, but it also houses a shrine dedicated to his consort, Goddess Parvathi, in the form of Periya Nayaki (the great noble lady). This shrine is located adjacent to the main sanctum, and it complements the central Shaivite worship with a feminine presence, representing the divine feminine energy alongside the masculine energy of Shiva. The goddess is worshipped in the form of Periya Nayaki a divine celestial being and consort of Lord Shiva, symbolizing grace, fertility, and power. Her shrine emphasizes the importance of the feminine aspect of divine energy in Shaivite worship.

Circumambulation

The outer prakaram(Circumambulatory passage) is lined with a cloistered passage that is beautifully designed, offering a peaceful and reflective atmosphere as you walk around the temple. The open-air corridors, with their intricate ceilings and stone reliefs, provide a serene experience of the temple's spiritual environment. Adding to this tranquillity are the old Nayak-era paintings (date back to the 17th & 18th centuries) that adorn the walls, depicting scenes of divinity, royalty, and daily life. These paintings, though weathered with time, still retain their charm, with their vibrant colours and intricate details standing in stark contrast to the stone surroundings.

PHOTOS: WHAT’S ALLOWED, NOT, ANGLES, LIGHT & GOLDEN HOUR

Photo angles & perspective

• Wide angle shot of the profile of the temple showing the horizontal 3-tier Chola architecture.

• Vimana – the super-structure over the Sanctum

• Musical stone steps

• Nandi Bull & other intricate sculptures including the horse and elephant drawn stone chariot

• Cloistered passage

FESTIVALS & CELEBRATIONS: THE TEMPLE IN FULL SPLENDOR

Maha Shivaratri (February-March)

This is one of the most important festivals dedicated to Lord Shiva and is celebrated with great devotion at the Airavatesvara Temple. During Maha Shivaratri, the temple is beautifully adorned with flowers and lights, and special prayers, Abhishekas (ritualistic bathing of the idol), and Homas (fire rituals) are performed. Devotees fast and stay awake through the night in worship, chanting prayers and hymns in honour of Shiva.

Panguni Uthiram (March-April)

Panguni Uthiram is an important festival for Lord Shiva and his consort Parvathi (in the form of Periya Nayaki at this temple). It marks the divine wedding of Lord Shiva and Goddess Parvathi, and special rituals are performed to celebrate this union. The temple is decorated, and the idol of the goddess is adorned with beautiful jewellery and flowers.

Aadi Perukku (July-August)

Celebrated in the Tamil month of Aadi, this festival honours the sacred rivers and water sources, including the temple’s tank. It is a day of offering prayers and seeking divine blessings for prosperity and good harvests. Particularly well celebrated in the Cauvery river delta regions.

Navaratri (September-October)

Navaratri, the nine-night festival dedicated to the goddess Durga (and her various forms), is celebrated with enthusiasm at the Airavatesvara Temple. During these nights, special prayers and Bhajans (devotional songs) are sung in honour of the goddess. While the festival is more commonly associated with other temples dedicated to Durga, the worship of the goddess Periya Nayaki at this temple ties it into the celebrations.

Karthigai Deepam (November-December)

Karthigai Deepam is a festival dedicated to the lighting of lamps, symbolizing the victory of light over darkness. The temple is beautifully illuminated with thousands of oil lamps, and devotees participate in the Deepa Aradhana (worship with lights), offering prayers for peace and prosperity.

EXPLORING THE SURROUNDINGS: AROUND THE TEMPLE COMPLEX

For the photo-savvy: The temple is located in the village of Darashuram, which retains much of its traditional South Indian charm. The area around the temple is quiet, with small homes, lush fields, and rustic pathways that lead through the surrounding countryside. The village is an example of rural Tamil Nadu, offering a contrast to the grandeur of the temple with its laid-back pace and simple, everyday life.

AMENITIES & PUBLIC FACILITIES FOR VISITORS

Fairly clean pay-and-use public amenity available near the temple parking area.

SHOPPING & ESSENTIALS: WHAT TO BUY AND WHERE

Around the Airavatesvara Temple, you’ll find silk weavers working diligently at their looms, with modest homes doubling as retail outlets for their intricate creations. This area is renowned for its exquisite silk and cotton weaving, a craft passed down through generations.

The weavers here are predominantly Saurashtrians, a community originally from the Saurashtra region of Gujarat. They settled in this part of Tamil Nadu during the 16th century, fleeing religious persecution in their homeland. Over time, they brought with them their unique weaving techniques and have made significant contributions to the region's textile industry.

The textiles produced here, particularly silk sarees and cotton fabrics, are highly regarded for their fine craftsmanship, intricate designs, and vibrant colours. Visitors to the area can often purchase these beautiful hand-woven pieces directly from the weavers themselves, offering a rare opportunity to see the artistry up close and even witness the weaving process first hand.

This tradition of Saurashtrians weaving has become an integral part of the cultural fabric of the region, adding another layer of history and heritage to the space surrounding the temple.

The Saurashtrians' silk weavers can often be found waiting outside the Airavatesvara Temple, ready to invite visitors to their homes to showcase their beautiful hand-woven textiles. This close-knit community of weavers, who have settled in the area for generations, is deeply embedded in the temple's surroundings. As you leave the temple complex, they may approach you with warm invitations to visit their homes and see their work first hand.

Many of these weavers operate out of their modest houses, where they have set up their looms and display their exquisite silk and cotton creations. Some of these households now accept cards and electronic payments, making transactions easy and convenient for visitors. Even if a particular weaver doesn’t have the facility to process such payments, another member of the cooperative will step in to help—accepting your payment and ensuring it gets passed on to the right vendor.

This small but tightly-knit group of weavers works like a cooperative, supporting one another in a shared tradition of craftsmanship.

BRIHADESHWARAR TEMPLE - TANJORE

INTRODUCTION

Tanjore (Thanjavur originally in Tamil) located approximately 40 kilometres—or about an hour's drive—from Kumbakonam, holds immense historical and cultural significance. Before exploring the Brihadeeswarar Temple in Tanjore, it's essential to understand a bit about Emperor Raja Raja Chola and the Chola capital city. This background helps create a meaningful context for appreciating the grandeur of both the temple and the town.

Tanjore once served as the illustrious capital of the Chola dynasty during the reign of the formidable Raja Raja Chola I. Renowned for his imperial vision and military prowess, Raja Raja Chola established a vast and influential empire. Under his rule, Tanjore blossomed into a thriving centre of art, architecture, and religion. He played a pivotal role in the spread of Hinduism—particularly the worship of Lord Shiva—across Southeast Asia. Their empire's influence reached as far as Sri Lanka, the Maldives, parts of Malaysia, Indonesia, and Thailand and beyond.

When Raja Raja ascended the throne, he inherited a realm only confined largely to the Thanjavur-Tiruchirappalli region—the core of traditional Chola territory. Raja Raja I significantly expanded the Chola Empire asserting Chola dominance overseas by conquering northern Sri Lanka and the Maldives, firmly establishing the empire's influence across the Indian Ocean. Raja Raja Chola I, the eminent Chola emperor, maintained significant ties with China, especially in the areas of trade and diplomacy. In 1014, he dispatched a delegation to China in response to an initiative from the Chinese rulers, with the goal of strengthening commercial relations between the two empires. This mission was supported by the Chola Empire's formidable naval strength, which enabled them to connect the Chinese market with other parts of the world. He focused on Strategic control by conquering and controlling key trade routes and ports, such as the Maldives and Sri Lanka, which were crucial for trade with Southeast Asia, Arabia, and East Africa. The Chola Navy was well-equipped and well-organized, with ships of various sizes used for trade, transport, and warfare. In the 10th & 11th centuries the Cholas had a formidable force of 900,000 troops in their army.

In addition to being a brilliant military strategist, Raja Raja Chola was a great patron of literature, arts, crafts, and temple architecture. The Tanjore temple—often dubbed the Taj Mahal of the South—stands as a magnificent testament to his legacy.

GETTING THERE: LOCATION, TRAVEL TIPS & TIMINGS

Visiting the Tanjore temple depends on your travel itinerary. If you're staying overnight in Trichy, Tanjore makes for a convenient day trip. On the other hand, if you're coming directly from Gangaikondacholapuram to Tanjore, it's typical to spend the night in Tanjore and explore the temple the following morning. Either way, if you arrive at the Tanjore temple around 9:00 am, you've timed it just right— the lighting is beautiful for photos, the sanctum is open, devotees begin to stream in, and the whole place starts to come alive with energy and devotion.

Temple timings

Open from 6:00 AM to 12:30 PM & from 4:30 PM to 10:00 PM daily. Open from 6.00 am to 10.00 pm without breaks during functions/ceremonies.

PARKING: WHERE TO LEAVE YOUR VEHICLE

Whether you are self driving or with a driver, paid parking is conveniently located just opposite the temple complex.

FOOTWEAR ETIQUETTE & DRESS CODE: TO KNOW BEFORE YOU GO

As you enter the temple through the towering gateways, a sign directs you to the right, where you hand over your footwear—it’s neatly placed in numbered bags, and you receive a token for easy retrieval. Nearby, a row of shops flanks the shoe stand, but we’ll come back to those a little later.

THE TEMPLE: HISTORY, ARCHITECTURE & CULTURAL SIGNIFICANCE

It is said that Raja Raja Chola, burdened perhaps by the weight of his karmic debts because of the wars he fought, was guided by his guru, Kuruvar, to build a grand temple for Lord Shiva on this very site—as an act of atonement and spiritual redemption.

The Brihadeeswarar Temple is believed to have been completed in about 6 to 7 years, an astonishing feat given its scale, complexity, and the era in which it was built (early 11th century). Construction likely began around 1004–1005 AD and was completed by 1010–1011 AD, with consecration taking place in 1012 AD. This rapid construction—without modern machinery—speaks volumes about the Chola Empire’s administrative efficiency, engineering prowess, and the sheer scale of Raja Raja Chola’s ambition.

The construction of the Brihadeeswarar Temple involved the use of over 130,000 tonnes of granite, making it one of the most massive stone structures of its time. The granite used for the temple’s construction was sourced from quarries located around the region, particularly from areas like Chidambaram and Kumbakonam, which were relatively close to Tanjore.

Transporting this enormous amount of granite in the 11th century was an extraordinary feat. It is believed that the granite blocks were transported by elephant caravans, which were a common method of moving large loads during the Chola period. The blocks were likely dragged along wooden sledges, with the help of oxen or elephants, and sometimes even floated on boats across the Cauvery River. The sheer scale and logistics behind bringing and placing these massive stones showcase the Chola Empire's engineering brilliance and organization.

It is a common Hindu tradition to conduct a housewarming or inauguration ceremony even before the temple or structure is fully complete. This practice allows devotees to begin the sacred rituals and blessings, marking the space as holy while the final touches are still being made. In the case of the Brihadeeswarar Temple, this tradition likely applied, allowing its consecration to occur while construction was still ongoing. Raja Raja Chola I passed away in 1014 AD, just a couple of years after the consecration of the Brihadeeswarar Temple. Raja Raja Chola I passed away in 1014 AD, just as parts of the Brihadeeswarar Temple were still under construction. Following his death, his son, Rajendra Chola I, shifted the focus of the empire and redirected artisans to work on establishing his own capital, which led to a diversion of resources. As a result, some parts of the Tanjore temple, including certain decorative elements and sculptures, remain incomplete to this day.

The horizontal three-tier architecture of Chola temples, which we discussed earlier in the context of the Gangaikondacholapuram temple, is also a defining feature of the Brihadeeswarar Temple. This architectural style, characterized by a layered structure that stretches horizontally, is evident in the temple’s design, where each tier progressively narrows as it rises, culminating in the towering Vimana (the temple’s spire). This design not only adds to the temple’s grandeur but also symbolizes the cosmic Mount Meru, central to Hindu cosmology.

Exploring the Temple – The gopurams

As you step into the temple, you’ll pass through the Maratha entrance. And if you're paying attention, you'll immediately notice—it’s clear this wasn’t part of Raja Raja Chola’s original design. The style; kind of blends in with the rest of the temple, but not quite. It's like someone invited a guest to a party, but they brought their own style of dancing that doesn’t quite match the rhythm! Still, it adds an interesting layer to the temple’s rich history.

The Maratha entrance to the Brihadeeswarar Temple in Thanjavur was added during the Maratha dynasty's rule, and it's often referred to as the "first gate"—because, well, it was the first line of defence! Built to protect the temple from potential threats, this gate is more functional than fancy. It's got a simple gopuram perched on top and connects to the temple’s fortifications via a moat, though these days, the moat is more of a "remember when" feature, having been mostly filled in. But hey, it still does the job of adding a bit of historical flair to the temple's entrance!

After passing through the Maratha Entrance at the Brihadeeswarar Temple, you’ll come across the Keralantakan Tiruvasal, the second gopuram (tower gate). Before going further, you can take a quick look at the temple layout plan displayed on the left there. Also, cannonballs were reportedly stored in the Keralantakan Tiruvasal (some of which you can still see), the second gopuram of the Brihadeeswarar Temple, during the time of the Maratha rule. This gopuram, as part of the temple's defensive architecture, was used not only for its religious and symbolic purposes but also for military storage. It’s said that the Marathas, who had fortified the temple area, used this space to store weapons, including cannonballs, as a precautionary measure against potential threats. It is after this entrance tower, you will have to leave your footwear at the shoe deposit kiosk.

Following that, you’ll encounter the Raja Rajan Tiruvasal, another impressive gopuram, before finally reaching the Nandi Mandapam, or the hall of the sacred bull, where a majestic statue of Nandi, the bull mount of Lord Shiva, stands guard.

Don’t miss the huge, bouncer-like door guardians as you make your way towards this gopuram! The Chola architects really went all out here, almost as if they were experimenting with a bit of surrealism—centuries before it was even a thing. These larger-than-life statues stand like towering sentinels; their exaggerated proportions making you feel like you're walking into a world of giants. The sheer scale and intensity of these guardians add a dramatic touch to the entrance, as if they’re daring anyone to step through the gates without paying respect!

The Nandi mandapam

One of the absolute showstoppers at the Brihadeeswarar Temple is the massive Nandi bull seated inside the Nandi Mandapam, a beautifully carved pillared hall. This isn't just any statue—this mighty bull is carved out of a single, colossal block of granite, making it the tallest Nandi statue in the world.

It’s not only jaw-droopingly huge (around 16 feet long and 13 feet high), but it also exudes a serene power, as if it’s been silently guarding the temple for a thousand years. And considering the size and weight of the granite, the craftsmanship is downright miraculous—no cranes, no machinery, just good old Chola ingenuity!

The Nandi Mandapam at the Brihadeeswarar Temple isn't just about that giant, granite superstar of a bull—look up, and you'll find the ceiling throwing its own visual party. Decked out in the traditional Thanjavur style, these paintings were added during the Maratha rule, and they didn’t hold back on the flair.

We're talking vibrant colours, intricate details, and that classic Thanjavur bling—gold foil, rich hues, and once-upon-a-time even precious gems.

Meanwhile, down below, the massive Nandi sits calmly on his raised platform, probably unfazed by the fabulousness happening above him.

The cloistered passage & the eight direction guardians

Along the perimeter wall of the temple, you’ll find the cloistered passage of the past. So while today the cloistered passage offers a cool, peaceful retreat from the blazing Tamil sun, in the past it was a multifunctional sacred hallway—part spiritual treadmill, part backstage, and part ritual runway.

The cloistered passage (also called the prakaram or circumambulatory corridor) in the Brihadeeswarar Temple had several purposes in the olden days, both ritualistic and practical:

Ritual Circumambulation (Pradakshina): Its primary purpose was for devotees to walk around the sanctum in a meditative, clockwise path as an act of devotion. This symbolic journey represents the soul’s movement around the divine core. It was a spiritual exercise, believed to accumulate good karma and purify the mind.

Sheltered Processions and Rituals: During festivals or rainy weather, processions of deities or ritual activities could be performed within this covered space. It allowed priests and temple staff to move around the temple without disturbing the rituals or getting exposed to the elements.

Storage and Functional Use: Certain niches and spaces within the passage may have been used to store ritual items, lamps, or even musical instruments used during ceremonies. Some sections possibly served as resting or preparatory areas for temple functionaries like priests and dancers.

Educational and Cultural Activities: The corridors could also serve as spaces for Vedic recitations, scripture teaching, or rehearsals for ritual dances and music performances.

In later periods (17th & 18th Centuries), especially during the Nayak and Maratha rule, parts of the cloistered passages (prakaram) in temples like Brihadeeswarar were sometimes repurposed for shops or stalls—but this was not their original use during the Chola era.

The directional deities

These days, even many Westerners are familiar with the headline acts of Hinduism—Shiva, Vishnu, Ganesh, and the like—thanks to global curiosity, yoga studios, and the occasional pop-culture cameo. But if you’d like to dip into the more vintage section of the divine roster, allow me to introduce the Ashta Dikpalakas, the directional deities who once proudly held celestial cabinet positions guarding the eight corners of the universe.

Admittedly, they’re not exactly household names anymore—think of them as the gods who got gently retired when the public's devotional spotlight shifted elsewhere. Divine downsizing, perhaps? It seems even in the cosmic bureaucracy, popularity polls matter. If Shiva and Vishnu are the current blockbuster stars, the Dikpalakas are the revered elder statesmen, now enjoying quieter roles carved into ancient temple walls rather than trending on temple playlists.

The Brihadeeswarar Temple in Thanjavur features representations of the Ashta Dikpalakas—the eight directional guardians—in its architectural design. These deities are depicted in sculptural form on the temple's walls, particularly on the Vimana (the towering structure above the sanctum).​ Each guardian deity is carved into niches corresponding to their respective directions:​ Indra – prince of heaven (East), Agni – the fire god (Southeast), Yama – the god of death (South), Nirṛti - goddess of misfortune. Worshipped out of fear and to keep her appeased! (Southwest), Varuṇa – the god of waters (West), Vāyu – the wind god (Northwest), Kubera – the lord of wealth (North) & Īśāna – the up lifter (Northeast)

The shrine of the mother & other shrines

The Brihadeeswarar Temple in Thanjavur is home to a shrine dedicated to Varahi Amman, one of the Sapta Matrikas—the revered seven mother goddesses of Hindu tradition. This shrine, nestled on the southern side of the temple courtyard, is a more recent brick structure, which houses fragments of the original sculpture of Varahi, still standing strong in its partial form.

Historically, Varahi was a deity of significant reverence during the Chola dynasty. The legend goes that when Raja Raja Chola I was on the hunt for the perfect spot to build his magnificent temple, Varahi Amman appeared to him in the form of a wild boar (“boar-powered” real estate advice!) , leading him to the site. In a gesture of gratitude (and possibly to avoid upsetting the divine boar), the king constructed a shrine for her within the temple complex.

Other shrines such as the Shrine of Ganesh, the Shrine of Durga, the Shrine of Kartikeya & the smaller shrines of Shiva’s other forms were added later either during the Nayak or the Maratha periods.

Upon closer examination, the differences in style between the later shrines and the original Chola architecture become clear. However, these additions have blended so seamlessly with the original design that it’s hard to tell where the old Chola grandeur ends and the new influences begin. It’s almost like infusing the features of the Eiffel Tower into the design of the Burj Khalifa—it’s unexpected, but somehow it works perfectly, like a futuristic twist on a classic.

The Vimana (super structure above the sanctum)

The Brihadeeswarar Temple—the pièce de résistance of Chola architectural genius and one of the tallest structures in any Dravidian temple. It’s not just a tower; it’s the ultimate divine antenna, reaching up to the heavens and signalling the presence of the gods in grand, towering style.

The Vimana stands at an astonishing 66 meters (216 feet), making it one of the tallest in the world at the time it was built. To put that into perspective, it’s like stacking 10 or 11 average 6-foot people on top of each other and then adding a top hat. The brass finial at the top of the Vimana in the Brihadeeswarar Temple is an impressive 3.6 meters (12 feet) tall.

The Vimana has a distinctive pyramidal shape, tapering as it rises, symbolizing the ascent toward the divine.

The dome on top of the vimana is crafted from a single massive block of granite, weighing approximately 80 tons.​ Some say that is made up of 4 pieces weighing 20 tons each. Anyway, to position this/these colossal stone(s) atop the temple's towering Vimana, the Chola engineers constructed a 6 km long ramp. This ramp facilitated the gradual hauling of the dome to its elevated position, showcasing remarkable ingenuity and resourcefulness.

Interestingly.....

Discovery channel ran a program called: “Unlock the Mysteries of Brihadehswara temple with Maniesh Paul” & NatGeo ran a program called: “The great living Chola temple”

Unlock the Mysteries of Brihadehswara temple with Maniesh Paul Discovery Channel video

Great living Chola temples - NatGeo Channel video

Inside the sanctum

There is no anthropomorphic form of Shiva in this temple. He is worshipped only in the form of a Shiva lingam. The Shiva Lingam in the Brihadeeswarar Temple is not just a sacred symbol; it’s a colossal embodiment of divine power and cosmic energy. Standing at an awe-inspiring height of 3.7 meters (12 feet) and crafted from a single block of granite, it’s one of the largest and most majestic Shiva Lingams in India. This imposing form represents Lord Shiva in his formless, infinite essence, radiating a sense of timeless presence and unbounded spiritual power.

The inside of the super structure is hollow with spiralling steps to go on top. Marco Polo, the Venetian explorer, mentioned something truly fascinating about the temple rituals during his visit. He spoke of 400 dance girls in the spiralling steps, whose primary role was not just to entertain but to pour flower petals during sacred ceremonies held in the shrine.

The paintings on the perimeter wall

There are several paintings on the perimeter wall of the temple. The frescoes feature mythological themes, including the dances of Lord Shiva, the marriage of Shiva and Parvathi, and stories of various gods and goddesses. These paintings are believed to date from the Nayak period (after the Cholas), as they were likely commissioned to enhance the aesthetic value of the temple during the 16th-17th centuries.

The sacred trees

As you go circumambulatory you will find the sacred trees of this temple (behind the Vimana), both the Banyan Tree (Ficus Benghalensis) & The Neem Tree (Azadirachta Indica). Since Lord Shiva is not worshipped in an anthropomorphic form in this temple, devotees often tie their wishes to these sacred trees as a symbolic act of offering their prayers and desires to the divine.

The mystery figure of the man in the hat

There are a couple of intriguing figures on the south face of the vimana (super structure above the sanctum). One is that of western man peeping through a window (or even looks like he is relaxing on the balcony) and correspondingly on the other side a lady in western attire. Wide range of speculations are rife as who they could have been – ranging from “It could have been Marco Polo himself (but the temple was complete before Marco Polo visited this place), to the Christian missionaries looking for the tomb of Thomas but wrongly landed here instead of Chennai and to even the premonition of the Cholas about impending inevitable colonial rule to come!

The shrine of the goddess

​The main shrine dedicated to Goddess Parvathi at this is known as the Brihannayaki (the great lady) Shrine. This shrine was constructed later during the 13th century under the Pandya dynasty; the shrine underwent significant enhancements and renovations during the Nayak period, which spanned the 16th to 17th centuries. Noteworthy in the ceiling of this shrine are the murals from the 18th and 19th centuries done by the Maratha kings

The curse of the temple. Is it true?

It is said that Raja Raja Chola and his spiritual mentor Kuruvar fell apart on some issue and an argument rose between them. As Raja Raja ignored his mentor’s wishes, he cursed Raja Raja that he would lose his kingship if he entered the temple. Raja Raja did not lose his kingship but died within two years from the consecration of the temple. It is said that the curse of Kuruvar extends beyond king Raja Raja and whoever in power – that includes the modern politicians – enters the temple, something adverse would happen to them. While some dismiss it as a silly superstition, some (those in power particularly) are wary not to disturb the spiritual powers that are.

FESTIVALS & CELEBRATIONS: THE TEMPLE IN FULL SPLENDOR

Natyanjali Dance Festival (February/March)

Hundreds of classical dancers from across India offer their dance art as an offering to Lord Shiva in this temple.

Maha Shivaratri (February–March)

As a temple dedicated to Lord Shiva, this is the night of all-nighters – with special pujas (rituals), abhishekas (sacred ablutions of the statues), and devotional music stretching till dawn.

Arudra Darshan (December–January)

Festival celebrates and is dedicated to Lord Shiva as Nataraja, the cosmic dancer. It’s the day the universe gets a rhythm check. A special abhisheka and darshan of the dancing Shiva happens.

Panguni Uthiram (March–April)

Marks divine weddings – including that of Shiva and Parvathi. The mood is festive, colourful, and mildly chaotic in the best possible way.

Aani Uthiram (June–July)

Festival honours Lord Nataraja with elaborate rituals and processions. The deity’s “abhishekam” is accompanied by music and recitation – a full sensory experience.

Kumbabhishekam (Consecration Festival)

Once every 12 years (last held in 2020). The temple gets ritually re-energized with holy water poured over its kalashams (crowning pots). Drama level: High. With elephants, priests, water from sacred rivers, and thousands of devotees, it's the Super Bowl of temple events.

PHOTOS: WHAT’S ALLOWED, NOT, ANGLES, LIGHT & GOLDEN HOUR

Photo angles & perspective

• Wide angle shot of the profile of the temple showing the horizontal 3-tier Chola architecture.

• Vimana – the super-structure over the Sanctum

• The cloistered passage

• The mystery figures with the hat & western attire on the super structure

• The surrealistic doors guardians

• The paintings on the perimeter wall and the Nandi sacred bull hall’s ceiling

EXPLORING THE SURROUNDINGS: AROUND THE TEMPLE COMPLEX

Just a short drive—barely a couple of kilometres—from the grandeur of the Big Temple lies the Maratha Palace and the Saraswathi Mahal Library. Originally constructed by the Nayaks in the 16th century, the palace later came under the reign of the Marathas, earning it the name by which it is known today.

The Cholas were pioneers in crafting processional Hindu deities in bronze as early as the 9th century. Even today, a handful of traditional workshops continue this legacy, creating exquisite bronze idols using the ancient lost-wax method. Visiting these artisan units is both educational and engaging—and if you're lucky, you might just find a beautiful piece to take home.

Tanjore has long been a cradle of classical arts—dance, drama, and music have all flourished here under royal and temple patronage. Even today, the iconic veena, a symbol of South Indian music, is handcrafted in workshops near the Big Temple. Many of the small shops in the area gladly take custom orders and will even ship your made-to-order veena straight to your doorstep.

If you’re a photography enthusiast looking to capture the essence of Tanjore, a town walk offers endless opportunities for stunning shots.

AMENITIES & PUBLIC FACILITIES FOR VISITORS

There is a fairly clean facility inside the temple but for a more sophisticated one, find a nearby café/restaurant or one of the handicrafts shops near the Maratha palace.

SHOPPING & ESSENTIALS: WHAT TO BUY AND WHERE

For shopping in Tanjore, besides picking up the usual souvenirs from the little shops near the shoe stand inside the temple, make sure to check out the specialty Tanjore Dancing Dolls. These exquisite creations are made from papier-mâché and are a unique reflection of the region's rich cultural heritage. The dolls, often depicting graceful Bharata Natyam dancers in vibrant costumes and delicate poses, make for a perfect keepsake on your desk or a nice gift.

For shopping in Tanjore, beyond the souvenirs near the temple, there are a couple of delightful handicraft shops near the palace that offer an eclectic mix of treasures from all over India. From intricate wood carvings to hand-woven textiles, these shops are a perfect stop for anyone looking to take a piece of India’s diverse craft traditions home.

For something distinctly Tanjore, don’t miss the bronze images crafted in one of the local bronze-making units, where you can find statues of deities and other cultural figures, all made using the ancient lost-wax technique. And if you fancy a musical souvenir, you can always visit the veena-making workshops where you can commission a beautifully handcrafted veena, a true representation of the region’s musical heritage.