“On the top of the temples of this (god), shines distinctly a golden cupola, illuminating the space of the sky, always having the brilliance of a vast sun’s orb standing on the lofty peak of the eastern mountain” This part of the inscription at Ramappa temple issued by Recharla Rudradeva in 1213 AD justifies why this monument is of a universal heritage of human artistic excellence. Ramappa temple getting the status of UNESCO World Heritage Site is recognition for the medieval architecture of Telangana, which started during Kalyani Chalukyan period and reached its zenith under Kakatiyas.
Star-shaped Kaktiya Rudreshwara temple aka Ramappa temple consists of Garbhagriha, Antarala, Ardha mandapa, Ranga mandapa, Nandi mandapa, Shasana mandapa and subsidiary temples, enshrined in a prakara (compound wall). The temple is constructed on an upapitha of 6.5 ft height, endowed with a 10ft wide pradakshina patha. The three-storied Shikhara or Vimana of the temple is completely brick-built not to burden the structure below. Even the brick of the Ramappa is the result of the culmination of experimentation in brick starting from Satavahana times in Telangana.
These floating bricks, as popularly called are made of clay mixed with the acacia wood, chaff, myrobalan and ushira (vatti verlu), making the brick very light enabling it to float on water. Sand-box technology used to keep the foundations strong made Ramappa templ e exemplary. Bracket figures are very special as they mark the artistic creativity of the sculptor. They spring from outer pillars and touch the roof projections giving support. Alasa kanyas, lion motifs carved as bracket figures make a physical support in an artistic way. Sculptural excellence of Ramappa is exhibited in every inch of the temple as displayed in the form of richly carved architraves, door jambs, lintels, elephant freezes, lion freezes, decorative motifs, Jaina figures, rishis, Siva, Narasimha, Ganesha and Bhairava etc.
Black polished pillars in the mandapa still retain the lustre even after eight centuries of harsh interaction of nature and humans. The sculptures of voluptuous nayikas Nagini and Madanika are just a perfect demonstration of feminine aesthetics in stone. Sculptures of woman with high-heels, wearing cloth with lace embroidery will certainly envy our modern fashion icons. Sculptures on Ranga mandapa demonstrate the nature of this part of the temple which was for the dance and performing arts. Natya ganapati, dampati (couple in a sensuous pose), Rati-Manmadha, Gopika-vastrapaharana, raasa- krida from Bhagavata justify the proposition that temples or religious places are not just for the dharma or moksha aspect, but also of kama, which is one of the four purusharthas. Shasana mandapa is another exceptional part of the temple complex, where a separate mandapa structure was erected to house the shasana (inscription) issued describing the consecration of the temple.
“It is a very exceptional addition in temple architecture as it provides historical credence,” says eminent epigraphist Dr D Surya Kumar. Ornamented Nandi in the temple is nothing but the love for agriculture with a sign of Kakatiya sculpture. On the occasion of the temple becoming a World Heritage site it will not be proper if tributes are not paid to some people who left us this rich legacy. They are: Ramappa — who is said to be the chief sculptor, Recharla Rudra — who commissioned the temple, and Jayapa Senani — whose Nritta Ratnavali found expression in the form of sculpture. Jayapa Senani of our times, Dr Nataraja Ramakrishna, who brought back all the angika, abhinaya, bhangimas from the beauties mesmerising us on pillars for centuries in the form of Andhra Natya or Perini, which made the temple a living museum of art.
(The author is General Secretary, Public Research Institute for History, Archaeology & Heritage, Telangana)