Evolution of vimana

As respects the vimana engineering of Tamilnadu, it is said that dharmarajaratha is the trailblazer of the
later evolved Dravidian vimanas. It is said that in plan, segment and in plan, the shore temple vimana is
simply an auxiliary advancement of the solid Dharmarajaratha. The vimanas of the basic sanctuaries of
the Pallava time frame to be specific Koilasanatha and VaikunthaPerumal sanctuaries at Kanchi and the
shore temple at Mahabalipuram, are predominantly three storeyed. In any case, E.B.Havall concedes the
presence of five stories on account of the Shore temples. The ornamental component on account of
both the Siva sanctuaries are the main stooping bulls, that too on the highest floor. In the Chola time
frame, first significance is distributed to the advancement of Vimana engineering. The words Srivimana
and Sri Koyil found in the engravings of the Cholas at the first run through itself uncovers its essential
spot. The Vijayalayacholisvaram temple at Narthamalai is one of the soonest and most amazing of the
auxiliary stone sanctuaries worked during the hour of Vijayalaya. The presents of awesome figures like
Umamahesvaramurti improve the magnificence of the Vimana. On account of the Koranganatha temple
at Srinivasanallur, the internal segment of the sanctum is in round structure, despite the fact that it is by
all accounts square apparently. The round shape, may maybe be proposed to speak to pranava or
Omkara, the spiritualist profound image of the Hindus. The stature of the Vimana is 50 feet. Among the
sanctuaries of Aditya II, the NaltunaiIsvaram temple at Punjai, Thanjavur District, possesses the
prevalent spots. The presence of little models outlining the tales of Ramayana, on the adhisthana
partition, feature the magnificence of the vimana. This is by all accounts the primary temple to have
such penals. Yet, so far the figures have not been completely considers. The external dividers of the
Sanctum contain the standard pictures of Dhakshinamurti, Lingodbhavamurti, and Brahma.The pilasters
show fascinating moving figures. One such figure uncovered the moment and sensitive workmanship of
the artist. In the event that one embeds a little needle through the ear, it emerges from the mouth
without any problem. The vimana of the Brahmapurisvara temple at Pullamangai likewise uncovered the
formed penals on the cellar of the vimana, showing the figures like Gajasamharamurthi, Kalarimurti,
Andakasura, Vasha Vishnu, the Tandava figures of Siva, which are practically amazing in the field of
decay small plastic art.In the center Chola period (AD.985-1070), compositional headway is noticeable in
the Vimana parcels mostly in the two sanctuaries, one is the Brihadeeswarar temple at Thanjavur and
the other is the Gangaikondacholisvaram temple at Gangaikondacolapuram. The Srivimana of the Big
temple raises to a fantastic tallness of 63.41 meters; from the floor of the internal yard. The
garbhagraha measures 30.18 meters by 30.18 meters at the base, as per the most recent estimation
taken by the Archeological Survey of India. The cella is twofold – storeyed, every story being shown by
an enormous over-hanging molding. This twofold storeyed cells, is by all accounts the further
improvement of a similar rule found in the Koranganatha temple at Srinivasanallur. The models which
adorn the first of the garbagraha are Bhikshatana, Virabhadrar, Harihara, Lingodhbavar, Ardhanarisvara,
Gangadhara, Dakshinamurthi, Kalantaka, Nataraja and Candrasekharamurti. In the relating wealth of the
second level over the interceding molding, Siva as Tripurantaka is rehashed in various postures.
Presence of all the more imaginatively decorated figures add excellence to the Vimana structure. This is
the highest Dravida vimana having thirteen tiers.16 Moreover, it is the mightiest temple construction of
the south. Topping the storeys of the Sri Vimana is a single block of granite 7.77 metres square
estimated to weigh about eighty tones. This is actually a 10 advancement of the driving force of the
designers of the Cola time frame. It is said that the vimana with its recessed corners and upward
development presents a striking difference to the straight sided pyramidal pinnacle of Thanjavur.19
Thus the inward state of the vimana, truly talk about its uniqueness. The griva is one adorned with
specialties in the four ways and at the four corners of the square stage supporting it, there are four
nandis. The grive specialties are delegated with Kirtimukhas. The vimana ascends, to a stature of just
48.77 meters (160). The sanctum sanctorum houses the linga estimating 13 ½ feet high.

In the later Chola period (AD 1070-1280) temples like Armrtaghatesvara temples at Melakkodambur,
Airavatesvara temple at Darasuram, and the Kampharesvara temple show engineering curiosities,
particularly in the treatment of the vimanas. The amritaghatesvara temple is profoundly cutting-edge in
numerous perspectives. The vimana lays on an upapita, on whose sides are set the wheels of the chariot
on axles, reasonably cut. This ratha molded vimana is by all accounts the soonest explore in this new
style of design so far known. Above it raises the adhisthana, comprising of a couple of moldings, the
upana the padman the Kantha, the Kumuda with ribbed edges and agarppattiyal. There are bas-reliefs
between the last two. They uncover the lives of the Tamil holy people. In one board, is portrayed a linga,
revered by the enthusiasts. In another an elderly person is demonstrated prostrate before youngster
who employs an exe. It appears to recount to the account of Candesvara, who remove his dad's leg. One
board depicts an individual, attempting to take out an eyeball with a bolt, within the sight of the linga. It
is a delineation of the narrative of KannappaNayanar, one of the 63 Nayanmars. close by, there is a linga
in an inclining position and an individual with the assistance of a rope attempts to reestablish it to its
upstanding position. This outlines the legend of a female enthusiast named Titakai, associated with the
Lord of the temple of Tiruppanandal. She used to enhance the Lord with a wreath consistently. In the
event that so happened one day that her saree slipped at the hour of her reverence. The Lord to ensure
her unobtrusiveness, dismissed his face. The endeavors of the apparent multitude of nearby individuals,
including the ruler, neglected to bring the lings, to its unique upstanding position. Atlast, the endeavors
of KunkiliyakkalayaNayanar were crowed with progress. Another significant element of this vimana is
the presence of arrangement of figures of rishis and devatas who are accepted to have done retribution
in this spot during the different yugas. Under the base of each figure, there is a mark in Tamil and
Grantha characters of the twelfth century giving the name of the figure. The names engraved are
Devendra, Surya, Candra, Parvataraya and Patanjali. The second tala of the vimana, give some headway
in its style. In prior Cola sanctuaries, for the most part a progression of scaled down holy places called
salas in the inside and Karnakutas (square altars with cruvi-straight sikharas) on either side of the sala
are mounted in the primary tala over the garbhagraha divider. Here there are no such smaller than
expected sanctums. Yet, there are four figure-specialties in every one of the fundamental cardinal
focuses, further, there are four pancaras one at every one of the four corners, between the Kostas.
There is a raising lion on either side of the Pancara. The plans of the second tala here, is interesting and
denoted another complex improvement in Dravidian vimana engineering.During the periods of the kings
like Rajaraja III and Rajendra III, temples, having vimanas of architectural workmanship were not
constructed, as their period was pre- occupied with political chaos and confusion. Even in the
subsequent periods of Pandyas, Vijayanagar and Nayaks, vimanas lost its significance.