Kailasanathar Temple, Kanchipuram, Tamil Nadu, India

The Kailasanathar Temple, Kanchipuram, also referred to as the Kailasanatha temple, is a Pallava-era historic Hindu temple in Kanchipuram, Tamil Nadu, India.

Dedicated to Shiva, it reflects a Dravidian architecture and was built about 700 CE by Narasimhavarman II with additions by Mahendravarman III.

A square-plan temple, it has a mukha-mandapa (entrance hall), a maha-mandapa (gathering hall) and a primary garbha-griya (sanctum) topped with a four-storey vimana.

The main sanctum is surrounded by nine shrines, seven outside and two inside flanking the entrance of the sanctum, all with forms of Shiva. The outer walls of the temple's prakara (courtyard) is also surrounded by cells.

Kailasanathar Temple, Kanchipuram
The Kailasanathar Temple (meaning: "Lord of Kailasa"), is built in the tradition of Smartha worship of Shiva, Vishnu, Devi, Surya (Sun), Ganesha and Kartikeya.

The temple complex is complete in all respects as it has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a high compound wall, and an entrance gate, the gopuram.
The mandapa, which was initially detached, was made part of the main shrine by interposing an ardhamantapa (smaller hall).

Panorama of the facade
Mahendravarman III, the son of Narasimhavarman II (Rajasimha), completed the front façade and the gopuram (tower).

Prior temples were either built of wood or hewn into rock faces in caves or on boulders, as seen in Mahabalipuram.
The Kailasanathar temple became the trend setter for other similar temples in South India.

Nandi statue
The large statue of Nandi stands 50 m (164 ft) east of the temple facade.

Panorama of the northern outer wall
The facade is on the left and the central shrine is on the right.

Panorama of the northern outer wall and the central shrine

Details of the facade
The facade is made up of small sanctuaries lined up next to each other. Each shrine has two columns supported on Yalis.

Yali
The creature is represented in many South Indian temples, often sculpted onto the pillars.

In its iconography, the yali has a cat-like graceful body, but the head of a lion with the tusks of an elephant (gaja), and the tail of a serpent.
Images or icons have been found on the entrance walls of the temples, and the graceful mythical lion is believed to protect and guard the temples and ways leading to the temple.
The yali is said to be a guardian creature, protecting human beings both physically and spiritually. It is regarded to be a fearless beast, possessing supremacy over the animal world. It is also believed to be the symbolic representation of man's struggle with the elemental forces of nature.

Lingam
Inside each of the small temples on the facade is a lingam.

The lingam is an abstract or aniconic representation of the Hindu god Shiva
The lingam is a short cylindrical pillar-like symbol of Shiva, made of stone, metal, gem, wood, clay or precious stones.
It is often represented within a disc-shaped platform, the yoni – its feminine counterpart, consisting of a flat element, horizontal compared to the vertical lingam, and designed to allow liquid offerings to drain away for collection.

Knights riding yalis
The exterior of the temple's outer wall is completely surrounded by knights riding yalis.

Precursor entrance gate (gopura)

Its entrance wall has eight small shrines and a gopura, precursor to the main gopura.
At some later stage, the mandapa and the sanctuary were joined by an intermediate hall called the ardhamantapa, which is reported to have marred the beauty of the temple to some extent.

Main entrance gate (gopura)
After de precursor entrance gate we can contemplate the main entrance gate.

At the entrance, the gopura walls are plastered.

Panorama of the main entrance gate (gopura)

Yali and door guard (dvarapala)
Yali (center) and dvarapala (right) guarding the south side of the main entrance gate door.

A Dvarapala or Dvarapalaka (Sanskrit, "door guard") is a door or gate guardian often portrayed as a warrior or fearsome giant, usually armed with a weapon - the most common being the gada (mace).
The dvarapala statue is a widespread architectural element throughout Hindu, Buddhist, and Jaina cultures, as well as in areas influenced by them like Java.
These statues were traditionally placed outside Hindu temples or Buddhist temples, as well as other structures like royal palaces, to protect the holy places inside.

Circumambulatory passage
A circumambulatory passage, with a symbolic meaning is situated along the compound wall.

In order to make the circumambulation, there is a narrow entry passage which devotees must crawl through.
Seven steps must be climbed in order to reach the passage.
Passing through the narrow passage is indicative of passage through life.
After circumambulation, the exit is through a pit or another narrow passage symbolic of death. The entry point for this passage is called the Gate of Death.
It is believed that making the circumambulation round the various deities would usher the same blessings as visiting paradise.
When one completes circumambulation, crawling and coming out of the passage indicates coming out of their mother's womb and also explains Hindus' belief of rebirth. Hence, the exit is called the Gate of Birth.
There is another belief that by completing this circumambulatory passage, the cycle of rebirth is broken and one attains Moksha. The passage explains the life cycle including aging process, death and rebirth.

Main entrance gate (gopura) west side
In this view we can see the inside of the main entrance gate.

Panorama of the entrance hall (mukha-mandapa)
After the main entrance gate (gopura), we can contemplate the entrance hall (mukha-mandapa).

Another panorama of the entrance hall (mukha-mandapa) and the primary sanctum (garbha-griya) topped with a four-storey tower (vimana)

Entrance hall (mukha-mandapa) south side

Narasimha, the fourth avatar of Vishnu
Narasimha is depicted as having the body of a man and the head of a lion. He is one of the ten primary avatars of Vishnu, known as the Dashavatara.

Narasimha was incarnated to protect his devotee, Prahlada, and to restore dharma (cosmic order) by destroying the demon king Hiranyakashipu. Hiranyakashipu had gained a boon that made him nearly invincible, with conditions that he could not be killed by man or beast, inside or outside, during day or night, on the ground or in the sky, by any weapon.
To circumvent the boon, Vishnu took the form of Narasimha—part lion, part man. Narasimha appeared at twilight (neither day nor night), on the threshold of a palace (neither inside nor outside), placed Hiranyakashipu on his lap (neither on the ground nor in the sky), and killed him with his claws (not by any weapon).
Narasimha symbolizes the triumph of good over evil and the protection of devotees by the divine. His fierce form also represents the boundless power of Vishnu to preserve cosmic balance and righteousness.

Vamana, the fifth avatar of Vishnu
Vamana was born to restore the cosmic balance by subduing the demon king Bali, who had gained control over the three worlds through his devotion and penance.

Disguised as a small Brahmin boy (Vamana), Vishnu approached Bali and requested as much land as he could cover in three steps. Bali, known for his generosity, agreed to fulfill the request.
After Bali agreed, Vamana grew to an enormous size, transforming into Trivikrama. With his first step, he covered the entire earth; with the second step, he spanned the heavens.
For the third step, Bali offered his own head, acknowledging Vishnu's supremacy and surrendering his pride. Vamana then stepped on Bali's head, sending him to the netherworld (Patala), but also granting him immortality and a place as a benevolent king in the netherworld.
The Vamana avatar highlights the importance of humility and devotion. Despite Bali's power, he ultimately surrendered to Vishnu, demonstrating the importance of recognizing divine authority.
Vamana's steps symbolize the restoration of cosmic balance and order, emphasizing Vishnu's role as the preserver and protector of the universe.

Shiva cutting the head of Brahma

Brahma, the creator god, once became excessively proud and developed five heads. His pride and desire for supremacy led to arrogance, which disturbed the balance of the cosmos.
To curb Brahma's arrogance and to restore cosmic order, Shiva, in his fierce form known as Bhairava, severed one of Brahma's five heads. This act was a lesson in humility and the importance of balance among the Trimurti (Brahma, Vishnu, Shiva).
The decapitation of Brahma's head by Shiva underscores the idea that even gods must adhere to the principles of humility and cosmic order. It also symbolizes the destructive aspect of Shiva, who eliminates ego and ignorance.
As a result of this act, Brahma came to be depicted with four heads instead of five. Additionally, the severed head of Brahma, also known as Kapala, remained attached to Shiva's hand for a long time, signifying his penance.
This narrative highlights the complex interplay of creation, preservation, and destruction within Hindu mythology, showcasing how these divine actions maintain cosmic balance and order.

Vishnu riding Garuda

As the preserver and protector of the universe, Vishnu's role is to maintain cosmic balance and uphold dharma (righteousness).
A mighty, eagle-like being, Garuda symbolizes speed, power, and the ability to swiftly traverse the cosmos. He serves as Vishnu’s vehicle, emphasizing his readiness to come to the aid of devotees and restore cosmic order.
Garuda's association with Vishnu signifies the triumph of good over evil. Together, they are seen as destroyers of negative forces and protectors of the righteous. Garuda's presence amplifies Vishnu's ability to combat and eradicate malevolent forces.
Garuda, being a bird, represents the elevation of the soul and the pursuit of higher knowledge. Vishnu’s ride on Garuda symbolizes the journey of the soul toward enlightenment and liberation, guided by divine wisdom and protection.
Garuda's formidable appearance and strength are metaphors for the courage and resilience required to overcome life's challenges. Vishnu’s choice of Garuda as his mount highlights the importance of steadfastness and bravery in the face of adversity.
Vishnu, a deity connected with the earth and humanity, and Garuda, a creature of the sky, together represent the union of terrestrial and celestial realms. This unity underscores the interconnectedness of the physical and spiritual worlds.
Garuda is also known as the devourer of serpents, which symbolize ignorance and bondage. His role as Vishnu's mount signifies the protection of devotees from these negative influences and the guidance towards spiritual freedom.
The image of Vishnu on Garuda is a powerful representation of divine guardianship, spiritual ascent, and the eternal struggle between good and evil. It serves as an inspiring metaphor for the journey of the soul under the protection and guidance of the divine.

Murugan (Kartikeya) painting the face of his consort Valli
This image often represents the loving and artistic side of their relationship.

Murugan, the son of Shiva and Parvati, is revered as the god of war and victory, but also as a divine lover.
His consort, Valli, is a symbol of beauty and devotion.
The act of Murugan painting Valli’s face is a metaphor for the harmonious and affectionate bond between the divine couple.
This depiction emphasizes the gentler, more intimate aspects of divine relationships and is celebrated in various forms of art and sculpture, particularly in South India.

The tower (vimana) seen from south
The vimana of the temple, above the main shrine (sanctum sanctorum), is square in plan and rises up in a pyramidal shape.

The tower has many levels rising proportionately.
At the top of this tower, there is a small roof in the shape of a dome.
The exterior faces of the tower (vimana) have images of aspects of Shiva - Bhikshatana, Somaskanda and in Samhara-Tandava (destructive dancing) pose.

Shiva Dakshinamurthy
Dakshinamurthy (also spelled Dakshinamurti) is an aspect of Lord Shiva as a guru (teacher). The name "Dakshinamurthy" literally means "one who is facing south" in Sanskrit.

Dakshinamurthy represents the personification of supreme awareness, understanding, and knowledge. He is considered the ultimate guru who imparts wisdom and enlightenment.
The south direction is significant in Vedic traditions, symbolizing death, transformation, and the end of ignorance. Dakshinamurthy facing south indicates his role in guiding devotees towards spiritual liberation.
Dakshinamurthy is often depicted in a serene, meditative posture, teaching through silence and presence rather than words. His silence is said to convey profound truths and wisdom.
He is usually shown with four arms, holding a book (scriptures), a rosary (symbolizing meditation), a flame (representing knowledge), and sometimes a snake (symbolizing ignorance being overcome).
Dakshinamurthy is often depicted sitting under a banyan tree, surrounded by sages who are receiving his teachings. This emphasizes his role as a teacher of the highest truths.
Dakshinamurthy is worshipped as the god of wisdom and meditation. Temples dedicated to him often have his image installed facing south.
Dakshinamurthy's form and teachings are a reminder of the importance of seeking inner wisdom and the transformative power of knowledge and meditation.

Seven mothers (Sapta Matrikas)
The seven mothers (Sapta Matrikas) are a group of goddesses who represent the energies (Shaktis) of major deities.

They are often depicted together and are associated with different gods.
Brahmani: The consort of Brahma, the creator god.
Maheshvari: The consort of Shiva, the destroyer god.
Kaumari: The consort of Kartikeya, the god of war.
Vaishnavi: The consort of Vishnu, the preserver god.
Varahi: The consort of Varaha, an avatar of Vishnu in the form of a boar.
Indrani: The consort of Indra, the king of the gods.
Chamunda: Also known as Yami, associated with Yama, the god of death.
These goddesses are revered for their protective and nurturing roles, and they play a significant part in various Hindu rituals and traditions.

Panorama of the seven mothers (Sapta Matrikas)

Shiva Lingodbhava
In the south facing wall the sculpture depicts Shiva as Umamaheshavara (Shiva with his consort Parvati) with Lingodbhava (emergence of Shiva as fiery pillar - linga) surrounded by Brahma and Vishnu and flying amaras on the lower level.

Lingobhava, the "emergence of the Linga", is an iconic representation of Hindu god Shiva, commonly seen in temples in Tamil Nadu.
The iconography of Lingodbhava represents Shiva emerging out of the pillar of light, with smaller images of Vishnu in the form of a boar in the bottom and Brahma in the form of a gander at the top.
The icon depicts the legend of the origin of the linga, Shiva's aniconic representation, often featured in his worship.
The tale of Lingodbhava is found in various Puranas, and is regarded to be an assimilation the old cults of pillar-veneration.

God Ganesh

According to the most popular legend, Ganesh was created by Parvati from the turmeric paste she used for bathing. She fashioned a boy out of this paste and breathed life into him, making him her son. She assigned Ganesh to guard the entrance while she bathed.
When Shiva returned and tried to enter, Ganesh, following his mother's orders, stopped him. Enraged by this unknown guard blocking his way, Shiva beheaded Ganesh, not knowing he was Parvati's son.
When Parvati discovered what had happened, she was heartbroken and demanded that Shiva restore their son.
To pacify Parvati and restore Ganesh, Shiva sent his followers to find the head of the first living being they encountered. They brought back the head of an elephant, which Shiva placed on Ganesh's body, reviving him. Thus, Ganesh gained his distinctive elephant head.
Ganesh is widely revered as the god of beginnings, wisdom, and the remover of obstacles. His position as Shiva's son grants him a significant role in Hindu worship and rituals, often invoked at the start of ceremonies and new ventures.
The relationship between Shiva, Parvati, and Ganesh represents the unity and harmony within the divine family. It underscores the balance of power, knowledge, and benevolence.
The story of Ganesh’s creation and resurrection teaches lessons about obedience, the power of a mother's love, and the importance of humility and respect in familial relationships.
Ganesh is one of the most widely worshipped deities across India and beyond, often associated with auspiciousness and prosperity. His worship reflects the respect and affection for the divine family led by Shiva and Parvati.

Shiva Bhikshatana
This is one of the forms of Shiva, depicted as a mendicant or beggar.

Bhikshatana is depicted as a wandering mendicant, wearing minimal clothing or sometimes depicted nude, symbolizing his renunciation and detachment from worldly possessions.
He carries a begging bowl, symbolizing humility and the acceptance of alms from devotees.
Despite his ascetic appearance, Bhikshatana is often portrayed as handsome and alluring, representing the paradoxical nature of asceticism combined with divine beauty.
One legend tells that after destroying Daksha's sacrificial ceremony (Yajna), Shiva adopted the form of Bhikshatana to atone for the act and to teach humility and compassion.
In another story, Bhikshatana visits the sages of the Daruka forest to teach them a lesson about true spirituality, detachment, and humility. The sages, engrossed in their rituals, failed to recognize the divine and were humbled by Shiva's presence.
Bhikshatana embodies the ideal of renunciation and detachment from material possessions, emphasizing the importance of spiritual wealth over physical wealth.
Through his mendicant form, Shiva shows that even the divine can adopt humility and live in harmony with the simplest life.
Bhikshatana's form also illustrates the concept of divine lila (play), where gods engage in earthly activities to impart spiritual lessons to humanity.
Bhikshatana Shiva is a popular subject in South Indian temple art and sculptures, often shown with a serene expression and a graceful stance, captivating his devotees with his divine charm.
He is sometimes depicted with dogs, symbolizing the presence of divine protection and loyalty.
Bhikshatana is celebrated in various rituals and festivals, particularly in Tamil Nadu, where his legends are deeply woven into local traditions and stories.
Bhikshatana Shiva is a profound representation of the balance between asceticism and beauty, humility and divinity, teaching important spiritual values through his beggar form.

Painted recess
In certain recesses of the monument we can still see remains of the original paint.

Panorama of the southwest corner
The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage.

Small shrine with Shiva Bhikshatana
This is one of the forms of Shiva, depicted as a mendicant or beggar.

Shiva dance
The west facing hall has sculptures of Shiva in the form of Sandhya Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with images of ganas in dancing poses and also with images of Brahma, Vishnu, Nandi and Parvati.

The Shiva Sandhya Tandavamurti refers to a specific form of Shiva depicted in a dance posture (Tandava) during the evening (Sandhya). This form symbolizes the cosmic dance of creation and destruction, showcasing Shiva's dynamic energy and power.
The Shiva Urdhava Tandvamurti form depicts Shiva in a dance posture (Tandava) that signifies the upward or ascending movement. This form represents the cosmic dance of creation and the dynamic energy that uplifts and transforms the universe.

Shiva Gangadhara
Sculpture depicting Shiva as Gangadhara capturing the river Ganges with a strand of his hair.

This form commemorates the event of the Ganges River descending from the heavens. Ganga's powerful flow was so intense that it threatened to inundate the earth.
To prevent the devastation, Shiva caught Ganga in his matted locks (jata), breaking her fall and allowing her to flow gently to the earth. This act demonstrates Shiva's power and compassion.
In art, Shiva is often depicted standing with Ganga flowing from his hair, sometimes accompanied by Parvati, his consort. This symbolizes the divine balance and the importance of the Ganga in Hindu culture.
The sage Bhagiratha, who performed penance to bring Ganga to earth to purify his ancestors' ashes, is often shown in a posture of devotion near Shiva.
This form of Shiva highlights his role as the protector and sustainer, showcasing his ability to control and harmonize the powerful forces of nature.

Shiva dance
The dance of Shiva is often referred to as the Tandava.

Shiva's dance symbolizes the cosmic cycles of creation, preservation, and dissolution. It reflects the rhythm of the universe, the endless cycle of birth, life, and death.
The dance represents the balance between destruction and creation, chaos and harmony, and is a reminder that destruction is a precursor to rebirth.
Shiva as Nataraja, the Lord of Dance, embodies the dynamic energy of the cosmos. The dance portrays Shiva's role in generating and sustaining the energy that drives the universe.
The dance is also seen as a metaphor for the awakening of the soul. It signifies the shedding of ignorance and the attainment of higher consciousness through spiritual practice.
Various elements in the depiction of Nataraja hold spiritual significance:

Flames: Representing destruction and purification.
Drum: Symbolizing the sound of creation and the passage of time.
Snake: Denoting the life force (kundalini) and control over desires.
Dwarf (Apasmara): Representing ignorance and illusion, crushed under Shiva's feet.

The joyous aspect of Shiva's dance highlights the divine play (lila) and the bliss (ananda) that comes from union with the divine.
Shiva's dance is a powerful symbol of the eternal flow and transformation in the universe, encapsulating both the tangible and mystical aspects of existence. It's a reminder of the interconnectedness of all things and the continuous process of spiritual growth and transformation.

North side of the circumambulation path

Northwest corner of the main shrine.

Sun god Surya
Surya is typically depicted riding a chariot drawn by seven horses, symbolizing the seven days of the week and the seven colors of the rainbow. His charioteer is Aruna, who is depicted as driving the chariot across the sky.

Surya represents the source of light, warmth, and life. He is seen as the sustainer of the world, essential for the growth and nourishment of all living beings.
Surya is also considered the embodiment of knowledge and wisdom. The light he provides is often seen as a metaphor for enlightenment and the dispelling of ignorance.
In many scriptures and texts, there is a mutual respect between Surya and Shiva. They are often praised together in hymns and prayers, highlighting their complementary roles in the cosmic order.
Devotees often worship both deities as part of their daily rituals. The worship of Surya for health and vitality is often combined with the worship of Shiva for spiritual growth and transformation.
In some stories, Surya is depicted as a devotee of Shiva. For instance, it is believed that Surya worships Shiva every morning, seeking his blessings.
The interplay between Surya and Shiva symbolizes the unity of various cosmic forces. Surya represents the tangible, physical energy (light and heat), while Shiva represents the metaphysical, transformative energy.

Shiva Nataraja
Shiva Nataraja, the Lord of Dance, is one of the most iconic and spiritually rich depictions of Shiva in Hindu mythology.

Nataraja’s dance, known as the Tandava, represents the cosmic cycles of creation, preservation, and destruction. It signifies the eternal rhythm of the universe and the constant state of flux.
The dance harmonizes opposing forces—creation and destruction, activity and rest. This balance is essential for maintaining the order of the cosmos.
Under Nataraja’s feet is the demon Apasmara, symbolizing ignorance and ego. By trampling Apasmara, Shiva conquers ignorance, highlighting the triumph of knowledge and enlightenment over darkness and illusion.
Symbolic Elements:

Flaming Circle (Prabha Mandala): The ring of fire around Shiva represents the cycle of time and the encircling nature of the cosmos.
Drum (Damaru): In one hand, Shiva holds a drum, symbolizing the sound of creation, the primordial sound “Om,” and the passage of time.
Fire (Agni): Another hand holds fire, representing destruction, transformation, and the regenerative power of the universe.
Hand Gestures (Mudras): The raised hand in the Abhaya Mudra (gesture of protection) symbolizes reassurance and refuge, while another hand points to the lifted foot, offering liberation.

The joyous aspect of the dance reflects the bliss and ecstasy that arise from divine play (Lila) and spiritual realization.
Shiva embodies both masculine and feminine energies, balancing strength and compassion, destruction and creation, within his dance.
The dance also represents the inner process of spiritual transformation, where the practitioner transcends ignorance and attains higher consciousness.
Shiva Nataraja is a profound metaphor for the cosmic dance of life and the ultimate unity of all existence. It serves as a reminder of the interconnectedness of all things and the continuous process of birth, growth, decay, and rebirth.

Basin of water (Kund or Tirtha)
The Kund or Tirtha in Hindu temples is an essential part of the temple’s architecture and serves both practical and spiritual purposes.

Devotees use the water in these basins for purification rituals before entering the main temple. The act of washing hands, feet, and sometimes even taking a dip is considered to cleanse the body and mind of impurities.
The water in these basins is often considered sacred and may be sourced from holy rivers or blessed by priests. In some cases, the water might be collected rainwater or natural spring water.
The water from the Kund is used in various temple rituals and ceremonies, including abhishekam (ritual bathing of deities), and it might be distributed to devotees as holy water or prasadam.
These sacred water basins play a crucial role in enhancing the spiritual atmosphere of the temple and providing a means for devotees to prepare themselves for their worship.

Durga Mahishasura Mardini
The term "Mahishasura Mardini" means "the destroyer of Mahishasura."

The buffalo demon represents the forces of ignorance, darkness, and chaos. His ability to change forms symbolizes the deceptive and ever-changing nature of evil.
As the divine mother, Durga embodies the collective energy of all the gods and goddesses. She is the epitome of divine power, purity, and righteousness.
Durga’s triumph over Mahishasura signifies the power and potential of the divine feminine energy (Shakti). It emphasizes that true strength comes from within and that inner power can conquer all forms of external and internal darkness.
This narrative inspires individuals to recognize and harness their inner strength to overcome obstacles and adversities in their lives.
The buffalo demon represents the ego and base instincts within every individual. Durga’s victory symbolizes the destruction of the ego and the rise of spiritual consciousness.
It is a reminder that the path to spiritual liberation requires one to face and conquer their inner demons, such as ignorance, fear, and negative tendencies.
Durga is seen as a protector of the righteous and the destroyer of evil. Her role as a guardian reassures devotees that divine protection is always available to those who follow the path of dharma (righteousness).
Despite her fierce form, Durga’s actions are motivated by compassion and the desire to restore balance and harmony in the universe.
Durga is often depicted with multiple arms, each holding a weapon bestowed by different gods. These symbolize the collective power and virtues needed to overcome darkness and ignorance.
Her mount, the lion, represents courage and determination, symbolizing her ability to confront and defeat the forces of evil.
The story of Durga slaying Mahishasura is not only a tale of divine heroism but also a profound metaphor for the spiritual journey, highlighting the importance of inner strength, moral courage, and the ultimate victory of light over darkness.