UNIT-1

PANDYAS ARCHITECTURE

Introduction

In the twelfth century the chola power began to won and the

pandyas gradually supplemented them. In the thirteenth century the chola

dynasty collapsed, and for a time the pandyas gained supremacy in the

south.

The pandyas unlike the cholas, were not prolific temple builders

like their predecessors. In addition to the few vimanas built during their

reign, they concentrated mainly on the gopurams (gateway)- they most

imposing element of the south Indian temple complex. In this respect they

changed the tradition of lavishing the greatest attention and skill on the

vimana, The most sacred part of the temple.

The characteristics pyramidal tower of the gopuram rests on a

single or two storeyed oblong base. A doorway provides entrance in the

middle of its longer side. The lower vertical part, made of solid stone

masonry, provides a strong foundation, lighter materials like brick, timber

and plaster usually go into the pyramidal superstructure like the ground

plan, the wagon vaulted roof is oblong . A row of stupis (finials) crowns

the whole.
 In general these principal designs of the gopuram were maintained

failly consistently. But differences in appearance and surface treatment

makes it possible to caregories the gopuram into two board types, one has

the sloping sides more or less straight and the surface. Decoration is

mainly architectural, consisting of pillars, pilasters and niches. In the

other type the sloping sides are curved, mostly concave, sometimes

convex, thus giving it a soaring appearance and the surface decoration is

plastic, with floral decorations and figure – subjects representing a wide

range of the hindu pantheon.

A typical example from this period is the sundara pandya gopuram

added to the Jambu-Kesvara temple around the middle of the thirtheenth

century. The gopuram on the eastern side of the Chidambaram temple.

Bears an inspiration with the name of the pandyan ruler sundara. It rises

to a height of forty except that the lower storey in more elaborate it does

not differ from the late chola types. The surface decoration shows some

further development as well as new elements. For example the

nagabandham (snake motif) makes its appearance where the square

portion of the pillar turns into the octagonal from the idol, under the

phalaka (abacus) has spiked indentations New forms appear in the kudu.

A shrine motif or kudu crowns the kumba panjaram. While a shrine, such

as sala, kuta, etc. surmounts the devakosto.

 The accession of the eastern calukya rajendra II to the chola throne

as kulottunga I (A.D. 1070-1120) had its impact on the chola

administration of the Pandya country to the south. The Cola viceroyalty

effectively ceased to exist, and military “cantonments” in various parts of

the Pandya country took its place. This weakening structure eventually

led tu the re-emergence of the Pandyas as a powerful force, though

initially in a subordinate and subdued role. This continued until the first

and fiercest uprising of independent Pandya power under Maravarman

Sundara Pandya I (A.D 1216-1238). This king had just enough time and

prowess to strike a blow at the Colas and to give vent to the feelings of

the dynasty’s hurt pride. In A.D 1219 he defeated chola kulottunga III,

burnt the cities of Uraiyar (Tiruci) and Tanjavur, and only Hoysala

intervention (this time as well as later in the reign of Rajaraja III) saved

the Cholas from complete disastar.

Sundara Pandya’s descendant Jatavarman Sundara Pandya I

(accession c. A.D.1251) kept up pressure on the last and least powerful of

the Cholas, Rajendra III. Hoysala presence in the northwestern quarter of

Cholanadu (in the persons of Someswara and his son Ramanatha) was

one more factor with which he had to deal. He not only vanquished and

killed Somesvara, but subdued the Cheras, Colas, Kadavas, Telugu

Codas, Kakatiyas, and even the Simhalas.

 The next Pandya monarch Maravarman Kulasekhara (accession c.

A.D. 1268) could have a peaceful reign lasting for about half a century.

This was followed by a long period of distress, arising out of the

devastating onslaughts of the Muslims who had been brought to the

Pandya country by Kulasekhara’s illegitimate son Jatavarman. Rajaraja

Sundara Pandya. A line of Pandyas, however, managed to survive, and it

feebly continued to rule in the far south, at Tirunelveli and Tenkasi, to be

subjected finally to the power of the Vijayanagar potentates from the time

of Kampana.

Against this background one might wonder whether there could

have been any Pandya building activity at all. The Pandyas who lay low

during Chola supremacy had neither the means nor will to pursue

building activities, though there had been an interesting and viable

tradition to follow up. Some beautiful buildings doubtless were built

during Cola hegemony, however, which carry local Pandinadu stylistic

elements. The few buildings built after Pandya resurgence seem to turn

even more strongly to the older tradition, though they could neither

recapitulate the spirit nor the quality of early Pandya or Pandya-Cola

creations. They are the mere shadow of former Pandya glory.

SOURCES OF PANDYA HISTORY

The Greek ambassador to chandragupta maurya megastenes,

mentions Queens of pandyas as Pandaia and locate them in the south of

India, extending into ocean. It consisted of three sixty five Villages which

met the needs of the Royal Palace each day of the year. He described the

queen as daughter of Heracles (by some author as Shiva and Krishna)

Madurai, capital of Pandyas in mention in Kautiyas arthasastra 4th

century BCE as mathura of the South

 UNIT-2

ARCHAEOLOGICAL SOURCES OF PANDYA

Pandyas are also mentioned in the inscriptions of Maurya Emperor.

Ashoka 3rd Century. BC in is inscription 2nd And 13th. Major Rock

addict, Ashoka refers to the peoples of South India, the Chola cheras

Pontius and sathya patras. These folks is also not part of the Maria, a

we're on friendly terms with ashoka.

The conquest by Dharma has been own here on the boders and

even six. Hundred yojanas (5400 to 9600 km) away where the Greek king

antiochos rules beyond there where the four kings named prolemy

antigonus, maya's and Alexander rule likewise in the south among the

cholas, The pandyas as far as Tamirabarani river.

The earliest pandya to be found in epigraph is Nedunjeliyan,

figuring in the Tamil Brahmin mangulam inscription (near Madurai)

assigned to 3rd and 2nd, centuries BC, the record documents gift of

rockcut beds to a Jain ascetic. It is assumed that the people found in the

mangulam inscription nedunjeliyan, kadalan, and Izhachadaikan predates

rulers such as Talaiuanganam Nedunjeliyan and palyagasalai

Mudukudimi peruvaluthi.
Kharavela, the kalinga king who ruled during 1st century BCE, in his

HAthigumpha inscriptions, claims to have destroyed and old Confederacy

of tamil countries (the tamira – desa - sanghata). Which had lasted 132

years and to have acquired a large quantity of pearls from the pandyas.

Silver punch-marked coins with the fish symbol of the Pandyas

dating from around the same time have also been found.

EARLY TAMIL LITERATURE

The early historic Pontius are celebrated in the earliest available

Tamil poetry the poems refers to about 12 pandya rulers. According to

tradition the legendary sangams (the academies). Where held in madurai

under the patron age of the pandyas. Several Tamil literary works such as

iraiyanar Agaporul, mention legend of separates and sangams and

ascribe, Patronage to the Pandyas.

Pandya rulers from early history of South India.

 Koon pandiya

 Nedunjeliyan I (Aaariyap padai kadantha)

 Puda – pandya

 Palayagasalai Mudukudumi peruvaluthi

 Nedunjeliyan II

 Nan Maran
  Nedunjeliyan III

 Maran Valuthi

 Kadalan Valuthi

 Musiri Mutriya cheliyan

 Ukkirap Peruvaluthi

Pandya rulers such as Nedunjeliyan the victor of Talaiyalanganam and

Mudukudini peruvaludi, the patron of several sacrificial Halls, the

Palayaga Salai. Find mention in a number of poems, such as

Mathuraikkanci Besides several short poems found in the Agananuru and

the Purananuru collections. There are two major works Mathuraikkanci

and Nedunalavadai which give you a glimpse into the society and the

commercial activities in the pandya, country during the early historic

period, the purananuru and Agananuru collections contains poems, sung

in praise of various pandya rulers and also poems that were claimed to be

composed by the rulers themselves.

Besides the poems. King Peruvaludi is also mentioned in later

copperplate Grant, 8th - 9th century CE in work Mathuraikkani the author

mankudi maruthanar, refers to his pattern Talayhalanganam Nedunjeliyan

as the lord of korkai and the warlord of the Southern Paranthavar people,

it contains a full-length description. Of madurai and the pandya country

under the rule of Nedunjeliyan .In the famous battle of Talayhalanganam

in East tanjore. The Pandya is said to have defeated his enemies, which

includes the chera and the Chola. He's also praised for his victory of

Mizhalai and mutturu to Vels centers along the ocean Pudukottai. The

Nethunalvadai (in the collection of pattupattu) by nakkirar contains a

description of King Nedunjeliyan's Palace.

ECONOMY

The pandya country located at the extreme South Western tip of the

south Asia served as an important meeting point, throughout the history

of the India. The location was economically and geopolitically significant

as a key Point connecting. The shipping between southeast Asia and the

Middle Eastern greek-roman Merchants frequented the ancient Tamil

country. Present-day South India and Sri Lanka securing contacts. With

the tamil Chiefdoms of the pandya Chola and Chera families. The

Western Sailors also established a number of trading settlements on the

harbors of the ancient Tamil region, the trade with South Asia by the

Greek Roman World Flourised since the time of the Ptolemic Dynasty, a

few decades before the start of the Common Era and remained long after

the fall of the Western Roman Empire, the contacts between South India

and the Middle East continued. Even after the Byzantiams loss of the

ports of Egypt and the Red Sea in the seventh century.

 The early historic pandya. Country was famous for its supply of

pearls. The ancient Port of Korkai in present day to Thoothukudi was the

center of pearl trade. Written records from Greeko Roman and Egyptian

voyagers give details about the Pearl Fisheries off the Gulf of mannar,

Greek historian Megasthenes reported about the Pearl fisheries indicating

that the pandyas derived great wealth from the Pearl trade convicts were

according to the periplus of the trythraean sea used as Pearl drivers in

korkai.

The periplus even mentions that pearls inferior to the Indian shot or

exporter in great quantity, from the marts of apolagas and omana. The

pearls from the pandya country were also in demand in the kingdoms of

North India. Literary references of the Pearl fishing mentioned, how the

fishermen, who dive into the sea, avoid attacks from sharks. Bring up the

right whorled chunk and blow on the funding shell.

 COIN STYLES

The art of coin making in the pandyan dynasty used punch marking

methods which was a type of early Indian Coinage known for its unique

symbol, and irregular shapes, they ranged in colors from Gold, Silver and

copper depending on the political influence of the time. Some of the

earliest coins were square-shaped and were marked with elephants

symbols on one side in later periods. The coins were marked with fish

heraldic symbols and various emblems. This fish that are seen on

pandiyan coins of the same, as those notable on the national Pandyan

flag, which includes Double fish emblem. Other coins styles depict Chola

influences, as they contain a tiger motif and human figures the

kammatasor were the workers responsible for minting those various coins

in the thermal country

 UNIT-3

ARCHITECTURAL FEATURES

The temple in this period consists of a vimana and ardhamandapa,

the latter either smaller or of the same width as the vimana. The vimana is

only rarely differentiated into bhadra and karnas. Niches take position at

the walls' central points. Though framed and pedimented with a torana,

they are usually narrow and shallow on the vimana, broader but even

shallower on the mandapa. The adhisthana is of only one variety,

Padabandlia. The kudyastambhas are usually of the same variety,

Brahmakanta exceptions are Visnukauta at Brallinapuram and

Rudrakanta at Alagarkovil. The phalaka in some instances is given such

prominence that it almost hides the padma-mandi below. The padma in

several cases differs in form from that in colanadu style. Potika in most

cases continues to have tenon-like projections, though in a few cases

puspapotika is also encountered. Bhutamala is rarely featured. The kapota

has nasis, sometimes fully worked out with carvings on the mukhapatti

and inside the gadha. The shape of the 'nisi, as in earlier temples, is in

Pandinadu form (syenakara), but decadent. The vyalamala above shows

full vyalas (sometimes mixed with elephants) in profile, a feature net with

also in most Pandya temples of previous periods. Vyalas are often

rendered in low relief.

 The vimana is sometimes dvitala the upper tala usually brick. The

superstructure with grhapindi in sonic cases directly starts over the

vyalamuld, since hare with kutas. and salas is omitted. In the griva region

Vrsas flank the karnakutas. Garuda or lion figures sometimes replace

vrsas depending on the deity enshrined. The sikhara is usually square or

round, rarely octagonal. The mandapa, if the same size as the vimana, is

separated from it by a sometimes deep recess. In the interior of the

mandapa, as in earlier temples, free-standing pillars are absent. The

gopura, in this phase, had not gained importance.

Pandinadu style of this phase preserves several formal features of

the earlier phases, lint without their quality, and introduces a few new

features'in the treatment of the superstructure. Vis-à-vis the

contemporaneous Colanadu style, it makes a poor show. The Pandyas had

suffered touch at the hands of the colas, and the depletion of their cultural

resources is glaringly reflected in this new phase of their architecture.

 THE CAVE TEMPLE

KALUGUMALAI TEMPLE (768-800)CE

The oldest surving early pandya shrine is the rock cut temple is

unfinished, it is a dvitala vimana temple with richly curved art.

Kalugumalai is a region of the pandyan dynasty, home to the region of

the pandyan dynasty, home to the kalugumalai temple complex is desined

in Dravidian style and comprises a gopuram and a vimana The entrance

way into the kalugumalai depicts stone cut elephants, creditable to early

pandyas and the exterior of the temple is lined with Inscriptions narrating

stories of the lord of the pandyan empire.

NARASIMHA CAVE TEMPLE AT ANAIMALAI (770 AD)

Was built by maran sadaiyan, The minister of nedunjadaiya parantaka,

anaimalai is a district of south india that is hime to key landmarks of

pandyan architecture. A rock cut temple cave, referred to in modern times

as the narasinga perumal temple is located here. It is a stone temple with

two pillars cut out and a shrine in the centre. Just near to this is another

rock cut temple with architectural.

Features similar to that of the pallava kingdom. It has a Lotus engraving

on the front pillars and four rock sculptures, dedicated to Hindu deity

Vishnu.
THIRUNELVELI NELLAIAPPAR TEMPLE

Nellaiappar temple is a large rock cut style temple with five

gopurams, notable for the aesthetic features carved into the roof and

pillars, the foundation of the temple were built by Pandyan society, and

the temple was continually added to by following dynasties. A key

feature of the Nellaiappar temple are the 161 musical pillars, Which when

struck make a different musical note, The Nellaiapar temple was also

home to pandyan paintings of the time, including paintings of lotuses and

other floral motifs.

VETTUVAN KOIL

Vettuvan koil is a temple structure carved into the side of the

rocky. Cliff that can be attributed to the pandyas Circa. 8th century ACE.

Although unfinished, the temple displays a rectangular front area with the

square vimana bordered by realistic rock-cut sculptures of flowers and

Jain figures.

The carvings are separated into various levels that reflect the bas-

relief art from significant to pandyan communities. Vettuvan Koil is

tamil for heaven of sculptures and it was carved under rule of pandiyan

King Paranthakan, Nedujadaiyan, it is bordered by pavement and has the

Shikara (Rising peak of the temple) coming out directly From the canopy.
It is architecturally notable for its intricate Shrine carved into the middle

that has sculptures seated around the border. These sculptures are unique

as they do not reflect the typical position of ancient South Indian and

pandyan figures. Usually figures are sculpted in a front on position.

However, the sculptures of vettuvan koil are seated unlike others

throughout India.

Malaiyadi-k-kurichi

In the Thirunelvaeli District would appear to be the earliest known

pandya cave. Temple of the Mandaba type with a single Shrine cell on the

rear. It was built by Maran-Sendan

Subramaniya Temple at Thiruparankundram

The four shrined temple was built by sattan ganapathi, Another

minister of Nedujadaiya parantaka. Vishnu, subramaniya, Durga,

Ganapathi, And Shiva are found in separate shrines the sculptures of

Gajalakshmi and Bhunaneshwari are also found. the Sittanavasal cave

temple is a typical pandya version of a Mahindra style cave temple, with

the facade pillars, carrying taranga corabals.

Sathyagirisvara temple at Tirumayam, The southern cave Temple

at MalayanKovil the Siva temple at tirumal puram, the cave temple at the

trichy etc are other examples.

The early rock-cut temples have monolithic, vimanas,

Rock-cut temples are found in Thiruparankundram, Anaimalai,

Karaikudi Kalugumalai, Malaiyadikurichi and Trichy. These Temple

were constructed for Lord, Shiva and Vishnu.

Jain cave Temple at Sittanavasal

It is and pudukottai district. It has bas- relief. Jain tirthankara

sculptures on the Hind wall of the shrine and in the riches of the lateral

walls of the mandable in front.

The simple cave, temples of the pandyas consists of a pillared

veranda, with a shrine cell, and cellss cut into either the rear or the side

walls of the Veranda or Hall. depending on which way the main facade of

The Veranda or mandapa faced they are essentially Mandapa type of

temples.

They have massive pillars on the facades essentially Square in

section at the base and top with an octagonal middle section, carrying

heavy potikas are corbels usually with their straight level resulting in an

angular profile. There are some examples with pillars of other types and

corbels with a curved profile under the taranga moulding.

 RATHAS TEMPLES

Kalugumalai is a panchayat town in kovilpatti taluk of thoothukudi

District in the Indian state of Tamil Nadu. Kalugumalai is 21 km and 22

km from kovilpatti and sankarankovil respectively, the place houses The

rock Cut kalugusamy temple monolithic vettuvan koil and Kalugumalai

Jain bods.

The hill kalugumalai (Hill of vulture) earlier, it was known as

araimalai or Thirumalai even before that it was referred as Nechchuram

and Thiruneccuram. Some of the Epic Graphics mentions that there was a

place for the pandya official called Ettmannan. at the foot of kalugumalai.

The large urn burials symmetry was found. However, hundreds of urns

were destroyed during Limestone Quarring opposite to kalugusala

moorthy temple. There is a small Palace, which served as local residence

of raja of Ettaiyapuram.

The place was the scene of Kalugumalai note of 1895 when ten

people were killed in caste clashes

 STRUCTURAL TEMPLE.

The structural Temple of Pandyas are simple, containing sanctum

and sanctorum artha mandapa, muha mandapa.

Some of the temples are as follows

I. Chokkalingesvara Temple and vadavayil Amatnthan Temple at

Ukkirankottai

II. Bhuvanathaswami temple at kovilpatti

III. Gopalaswami temple at mannarkovil

IV. Valisvara temple at vallisvaram

V. Then alahar temple at kovilkulam

VI. Manoumanisvara temple at vijayanagaram

VII. Kudai alakar koil at Madurai

VIII. Sowmyanarayana temple at tirukkottiyur

IX. Alagar koil at thirumaliruncholai

X. Alagar koil at savaapperi

XI. Nimbi koil at thirukkurankudi

XII. Siva temple at enathi

XIII. Thirumalanathar and Erichcha vudaiyar temple at ambasamudram.

BOOMINATHASWAMI TEMPLE AT VIRANALLUR

The temple was built by the reputed pandya, king Adhivira pandya

as a token his great victory over his rival king Vagulathaman through the

grace of Buminathan who helped him.

The later Pandyas give importance to the outlying portions of the

temple scheme. The gopuras occupied a prominent Place.

CHIDAMBARAM TEMPLE

In Plan the eastern gopura called sundara pandya gopuram of the

chidambaram temple occupies a rectangular 90x60, while the two liers

comprising it's verticals substructure are together 35 feet high, the total

height of its seven times including the roof being 135 feet.

Meenakshi Temple at madurai visvanath temple at thenkasi,

Nellaiyappar temple at Tinnelveli etc received the benefaction of

Kulasekara pandya.

The structural temples are small stones temples, and have all the

features of bigger temples.

Vimana

Mandapa
 Shikara but were simple in style. Temples consists of garbhagraha,

arthamandaba and Mahamandaba. The Shiva Temple have a nandi in

front of the Mahamandaba, the period of the later pandya rulers saw the

development of elegant vimanas with finely sculptured idols on the

gopurams of the temples.

The rectangular entrance or portals of the temples are called

gopurams. The portions above the entrance is pyramidal in shape.

Gradually the gopurams were given more importance than

Shikaras.

While the former were higher and more imposing the later

declined in height lofty, gopurams of great proportions with lavish

decorations, were constructed by succeeding dynasties

Examples

Groups of small temples or to be seen at Tiruchirapalli District of

Tamil Nadu. These Zenith of pandya architecture or Meenakshi Temple

at madurai and Aranganathar Temple at srirangam.

Structural stone temples are found in kumbakonam,

Thiruvannamalai, Kovilpatti, Thiruppathur, Alagarkoil, Ambasamudram,

Madurai Shiva Temple at ambasamudram Vijayanarayana at Nanguneri,.

Lakshmi narayana Temple at Athur are structural temples Pandyas built

temples mandapas gopurams at the chidambaram and srangam.

MEENAKSHI AMMAN TEMPLE MADURAI.

The Pinnacle of pandyan architecture was found in the Meenakshi

Amman Temple of Madurai. This Temple was built by kulasekhara

pandiyan during his rule, the temple served as an epitome of dravidian

architecture with gopuram, gatetowers, pillared Halls and reservoirs for

ritual bathing.

AYIRAM KAAL MANDABAM

The gigantic thousand pillar structure was built from a monolithic

by Ariyanatha Mudaliyar in 1569, which is situated inside the Meenakshi

Amman Temple.

Meenakshi Amman Temple contains 15 stories and the main

gopuram stands approximately 170 feet tall. The temple also contains

mandapas ornate pillared halls.

NELLAIYAPPAR TEMPLE THIRUNELVELI

The temple was built by Nindrasir Nedumaran in the 7th Century,

which was considered as one of the finest architecture of the pandiyan

dynasty. The gopurams present in the temples are built according to the

Agam sastras, which displays an epitome of architecture Brilliance, It is

believed that Thiruganasambandar a great shaiva saint was instrumental

in converting Nidrasir nedumaran to Shaivism as he was a great pattern of

Jainism.

SRIVILLIPUTHUR ANDAL TEMPLE

12 tiered tower structure, 59 M, height dedicated to the Lord of

Srivilliputhur, Srivilliputhur Andal Temple. Is the official symbol of the

government of Tamil Nadu has images of Panchamurtis. Thumburu,

Narada sanatakumara. Kinnara, mithuna the sun and the moon are

represented at His Feet. Sanctum sanctorum has three doorways Flight of

the Stairs leads to the Sanctum sanctorum. A large impressive hall with

detailed wooden carvings depicting incidence from the Puranas,

THILLAI NATARAJA TEMPLE

A hindu Temple dedicated to Lord Shiva nine gateways and four of

these have gateway Towers or gopurams each with seven stories facting

the east south west and North.

Pattamadai, Kariyamainikka-Perumal and Bilvanatha temples

(Plates 401-403)

These twin temples, though undated. !say stylistically be placed at

the end of the 12th, or beginning of the 13th century. Both the shrines

have Padabandha adhisthanas, walls with plain vedi, and Brahmakanta

pilasters. Those on the Vaisnava temple are given equal spacing, while

the central pair of pilasters on the Siva shrine is widely spaced (Plates

451, 103). The sham bhadra niches on the Visnu temple are narrow, and

appear taller than those on the Siva temple. In both cases vyalamala is

replaced by rafter ends. The Brahmakanta pilasters show heavy, Pandya-

type ornament above (Plate 402). The griva and shikhara of the Siva

shrine are round karnakutas and grivakosthas house the usual images for

a Saivite temple. Griva and shikhara for the Vaisnava shrine are square.

Kuruvitturai, Citraratha-vallabha Perumal (Tiruccakkarattalvur)

temple (Plates 404-405)

This typical later-Pandya temple has a dvitala vimana, a mandapa,

and a deep recess between. Hara is absent the second tala, in brick, starts

directly over the first and has lions on the corners, to either side of what

appear to be figures of Ganda (Plate 405). The adhisthana is Pthlabandha

with plain vedi above. The straight wall has flat, unadorned, Brahmakanta

pilasters. On the bhadra points are niches with very narrow slits, framed

by split pilasters and crowned by toranas, of which one contains a figure

of Laksmi (Plate 404). The kapota has bosses of nasis the prati-kantha

above shows elephants and vyalas in full profile, a characteristic Pandya

feature. The wall of the second talc is shorter in height, and.reproduces

the features of the lower storey (Plate 405).The griva is short it and the
Sikhara are square. The nasikosthas contain figures. The mandapa has

wider niches the central slit is extremely shallow. An inscription

associated with the mandapa declares that the construction of the temple

was in the middle of the 12th century A.D.

Idaikal, Kariyamanikka-Perumal temple and Tiruvandisvara

Nayanar temple (Plates 406-409)

The central shrine of Manavalalvar was founded by Kandiyadeva

in A.D. 1211 in the reign of Caidaiyamaran Kulasekhara. The vimana

(Plate 406) resembles those of the Pattamadai temples and the malasthana

and lasuna of the Brahmakanta columns are well .ornamented (Plate 407).

Above the kapota are full vyalas, densely arranged and shown in profile.

There is no hara. The brick upper talc, with its three devakosthas, starts

directly over the prastara. The griva and Sikhara are also brick. The

ardhamandapa has no devaktisthas. The porch and its heavily carved

Sirmhapada-Visnukanta pillars in front (Plate 408) are a later addition

still later are the pillared hall in front and the surrounding malika.

The adjoining Siva temple (Plate 409), which has a separate

prakara and a later gopura, is very much like the central shrine, except

that vyalamala is absent, and the square shikhara has karnakutas.

Aruppukottai, Sundaresvara temple (Plate 4111).

The vimana and mandapa of this temple are of the same size, with

an antarala showing kumbhalata motif (Plate 410), The Padahandha

adhisthana and Brahmakanta engaged columns require no comment.

Potika is of puspa type, a later Cola-Pandya feature. ,Bhutamala figures

beneath the kapota. Full vyalas above the kapota are shown in profits.

The temple is called the Kuvalmanisvara in an inscription of the year

A.D. 1208 of Caidaiyamaran Kulasekhara at the entrance of the mandapa.

Two other inscriptions, of the time of Maravarman Sundara Pandya I,

dated A.D. 1216, refer to the installation of Parvati and Durga images.

Tirupattur, TiruttaliSvara temple (Plate 412).

The vimana and ardhamandapa of this temple are of the early

Pandya period, dated not later than A.D. 867. The maharnandapa (Plate

412) is of the later Pandya period. The wall is straight, the pilasters

typically flat, and the niches shallow. The nasis on the kapota face are of

later Pandya type, with carved Mukhapatti. Vyalas above are in full relief,

and in profile. From the type of pranala used the date of the structure

seems late 11th or 12th century A.D.

Brahmapuram Ladanakovil (Plate 411).

Brahmapuram, situated some miles to the northeast of

Dharasanguppe in Kanyil-kumari district, has an ancient shrine standing

near a streamlet it is locally called Ladanakovil (Plate 411). The vimana

possesses bhadra and karnas separated by broad recesses showing

panjarakosthas. The bhadras possess sham devakothas with nicely carved

toranas. The engaged columns are Visnukanta, with padmamandi and

tenon-like projections in the potika. The nasis of the kapot, are carved.

The panjaranasis are also carved, and are much larger they show vimana

aediculae in the gadhas. The usual vyalas above are replaced by a series

of the rafter ends. A short grava supports a large square sikhara. The

gravakosthas ate Sphutita instead of vittasputita and are flanked by

smaller versions.

The mandapa has no projecting, bays and is separated from the

vimana by a very deep antarala recess. The temple is in a Pandinadu style

of the late 12th century A.D. It inherits some of the elegance of temples

founded during the Pandya-COLA viceroyalty, and is noticeably better

than the general lot from this late Pandya period.

Uttarakosamangui, Siva temple (Plates 413-414)

This peculiar temple is a tritala mandakovil (Plate 413) its most

significant elements are its upapitha and the vimana walls (Plate 414).

The tall upapitha is punctuated by four parijarakestha bays while the

bhadra has an unprojected niche. The paniaranasis are dovetailed with the

kapota. At bhadra points the kapota shows a pair of alpanasis. The karnas

have no niches and are crowned by large, tall kutas. Each pair of

panjarakosthas is crowned by a sadvarga Sala over the bhadra occurs a

framed rectangular window fitted with jala and with a torana pediment

above. The wall behind and above has a flat, pilastered surface. The

three-storeyed superstructure perhaps is brick and terminates in a square

sikhara.

It is difficult to date this temple', but it perhaps. is of the 12th

century A.D. or later.

Villangudi, Siva temple (not illustrated)

This typical later Pandya temple is a square, ekatala vimana and

has a narrow ardhamandapa. The adhisthana is Padabandha. The

Brahmakanta pillars have later Pandya-style decoration. The shallow

bhadra niches have kapota crowned by. a sala-shikhara. The carved nasis

are typical Pandya type Above the kapota are prati and kantha showing
rafter ends. The round griva and shikhara are brick. The ardhamandapa

also has bhadra niches. Stylistically, the temple could be of the early13th

A.D.

Urkadu, Gostiyappar temple (Plate 415)

This square vimana is in typical late Pandya style, with

Brahmakanta pilasters and shallow bhadra niches. The ardhamandapa

follows the same style. From the pranala, and the general disposition of

the wall surfaces, the temple seems to date from the late 11th or 12th

century A.D.

Alagarkovil (Plates 416-417)

The celebrated Vaisnava temple of Alagarkovil near Madurai is

perhaps the, best among the surviving later Pandya temples. Though

undated, the style clearly shows later Pandya features, with some

excellence of workmanship deriving from the preceding Cola-Pandya

phase.

The vimana is circular (Plate 416) with a very tall jagati placed

over plinth mouldings. Above the kumuda, full vyalas in profile are

vigorously carved. There is no vedi the kudyastambhas, interestingly, are

Rudrakanta. Every alternate wall segment between pilasters (at cardinal

and sub-cardinal points) shows a sunk jala, of the box type there are no
niches. Bhutamala appears below the kapota. At long intervals the kapota

slows large nasis, harbouring lions, a seated apsaras, and one bhuta.

The ardhamandapa is supported by a Vedibhadra upapitha (Plate

417). Its beautiful adhisthana is Kapotabandha, with full-bodied vyalas in

the kantha. Wall pilasters are Visnukanta with puspapotikas of later cola

and Pandya variety. The false niches have kapota and sala-shikhara as

pediment. The alpanasis are of typical Pandya type with carved

mukhapatti. Stylistically the temple could be of the 12th century A.D.

Kalladaikkurici, Kirikrsna (Manentiappar) temple and Vinayaka

temple (not - llustrated)

The Manentiappar temple is relatively large for this period. The

vimana is differenti-ated into karnas and bhadras with recesses between.

The adhisthana is Padabandha the pilasters are Brahmakanta, with typical

later Pandya ornament. The narrow, slit-like, framed bhadra niches have

toranas. The nearby Vinayaka temple, though of the same age, has

straight walls with shallow pilasters the niches have kapota and a large

nasi above. Both temples seem to elate to the 12th century A.D.
Ramesvaram, Ramaligeswara temple complex, four subsidary

temples (Plates 418-420)

The celebrated Ramalingesvara temple-complex at Ramesvaram

possesses four temples which stylistically are of the later Pandya period.

All were seemingly independent of the main temple of Ramalingesvara.

As this famous temple's adjuncts grew, however, circuit after circuit of

colonnaded cloisters and corresponding prakaras were added, and the four

temples in question were incorporated into the vastly enlarged precincts

of the main shrine. In the northwestern courtyard formed by the third

colonnaded cloister stands the first of these four temples, a twin dvitala

Siva temple standing on a common upapitha the two facing shrines also

share a common mandapa, entered through a pillared-porch to the south

(Plate 418). The eastern shrine has paired Visnukanta pilasters on the

corners flanked by a stambhapanjara near the projecting bhadra. The

bhadra niches house images of Lingodbhava (east), Daksina-mtirti

(south), and Brahma (north). The superstructures show kiitas and sells, a

short grhapindi, and an equally short griva supporting the shapely

Visnucchanda sikham One vrsa sits at each corner of the vedi platform.

The opposite, east-facing shrine is almost identical, except that its

shikhara is Rudracchanda.
 Three other shrines stand to the west of the third cloister, the east

entrance of each now fused with the cloister. Shrine 2 (Plate 419) is

dvitala. with niches at bhadras and karnas. The octagonal griva of the

superstructure has karnakfitas the shikhara is octagonal.

The adjoining shrine 3 is tritala Plate 419) and stands on a low

Mancabandha upapitha. The temple has karna, pratikarna, and bhadra,

with recesses between. The bhadra niches have Daksinamurti (south),

Lingodbhava (west), and Brahma (north) deities (Dikpalas?) also appear

in the karna niches. The recesses contain single pilas-ters supporting,

curiously, makara figures, implying a makaradhvaja. The hara above the

aditala shows karnakillas, panjaras, and bhadrasalas. The second talc

omits the panjaras the third tala is without hara, and has the usual single

vrsa at each corner. Grivakosthas contain images. The griva and the

gikhara are round.

The last temple (Plate 420), known as the Gandhamadana old

temple, is tritala, and is a little larger than shrine 3. It stands on a

Mancabandha upapitha. The karnas have devakosthas the wide bhadra

devakosthas show Lingodbhava (west) and allied images the recesses

have panjarakosthas bearing images. The arrangement of the

superstructure follows, with only slight variations in the shape and

proportions of components, that of 'shrine 3. In the number of images on

the aditala's walls, and the consequent use of deep and not false niches,

these Ramesvaram shrines stiffer from normal Pandya type and

somewhat resemble that of the Cola country. Ceylonese influence might

also be at work, particularly in the last three, but this could be ascertained

firmly only if the shrines could be examined in detail. These have

suffered from weathering, and except for shrine 4they have been Coated

with plaster and then whitewashed.

Other temples (not illustrated)

Some other temples in later Pandinadu style exist in the

Ambasamudram district. The Kailasanatha temple at Marandai is like that

at Villatigudi and needs no comment. Similar is the case of the

Kumarasvami temple and the Iruvalisyara at Ilanji near Tenka§i. A hall

was added to the Tiruvalisvara temple at Tiruvatisyaram. They add

nothing to what is known from the examples discussed.

 TEMPLE SERVICES

Pandya provided endowments to maintain the temples regularly.

Varaguna II contributed 1400, gold coins for offering daily prayers in

subramanya swamy, temple at Tiruchendur, Later this gift was divided,

among 12 Villages, and were providing 2800 kalams of Paddy, as interest

paid to the temple. Similarly, Ambasamudram Temple was also given

290 gold coins by the same king. Sadayavarman sundarapandian provided

gold Ponnambalam of Chidambaram Nataraja Temple.

Kulasekara Pandian constructied the sanctum of sanctorum

Arthamandabam money, Manimandabam and Sannadhi gopuram.

Amman Koil Mandabam near Eastern Tower and the huge outer wall

where Constructed by maravarman Sundara pandiya. Parakrama

Pandiyan built the Western Tower of the temple. He also built several

temples in tirunelveli Ramanathapuram and cape comorin.

Temple Services of pandya Queens

Like Chola Queens pandya Queens also contributed Temple

services. Ulagamudayal Sanndhi in Thiruvannamalai was built by the

queen of Vikrama Pandiya. Gold ornaments and other valuable gifts were

given by the queen of veerapandiyan to the Shiva Temple of thiruvotriyur

or in north Arcot.
 SCULPTURE

The temple at kalugumalai is perhaps th eirst in tamilnadu to shows

have a number incorographic distribution of deities, particularly in sall

griva, the cloister of the first tala contains the figures of

dahshinamoorthy, Vishnu, devas, candra, skanda, siva more than five the

second has surya uma mahesa, dakshinamoorthy, bramha etc.

The tower rock cut cave temple at trichy. The teo lateral shrine

cells are decicated to siva and Vishnu, the rear wall of the mandapa has

fore niches enclosed by pilasters, the central one with a bramha and the

others with ganesha, subramaniya, surya and durga with siva and vishnu

These would form the gods of the Shanmata (Saivam, Vainavam

Ganapathyam, Kaumaram, Sauram and Saktam) Regar. ding the

Vaishnava cave-temples the reclaiming form of Vishnt is the principal

icon at Tirumayam, Malaiyadippatti and Namakkal„ Yoga Narasimha at

Anamalai and Namakkal.

A Nandi with human body is found at Thirupparankuntram This is

not found in the Pallava sculpture. In most of the Pandya (also

Muttarayar) temples, a small cistern or pit is cut into the Odor of the

sancum below the spout of the Linga pitha in order to receive th ablution
water. Usually a gutter or channel takes the overflow outside through the

Mandaya. It is absent in the Pallava Cave or. structura-temples.

The pillaiyarpatti Cave (700 AD) has a two armed Ganesar. He has

a trunk curled to his proper right. This variety is ubiquitous in the Pandya

Mnttaraiyar Cave temples. The unusual 'Hari Hara is flunked by Nandi

and by Gar-uda in human form.

At Thirumaiyam the saluting king wears rudraksha beads. A

beautiful Lingodhbhavamurti (Satyagirisvara cave, Thirumayan) the fiery

pillar, from which Siva emerges, reaches. From the floor to the roof of the

Cave.

Two gigantic dvarapalas occupy the lateral walls of the mandapa,

one wears a sacred of rudraksha beads.

Kalukumalal The unfinished monolithic temple chiselled from the

top to the bottom, called Vettuvankoll is a jewel of Pandya Sculpture. The

luxuriant sculptural decoration with its abundance of ganas-making

music, dancing, and singing and of heavenly damsels or apsaras

resembling local beauties is typical Pandya. Dome and neck (griva) of the

square Vimana are. Octagonal. The top storey of the four corners have

four Nandis one on each side. They wear the Chalakya Bell chain

Between them, facing the four quarters, there are uma-Sahita (East)
Dakshinamurthy (South), Narasimha (West, and Brahma (North) They

are supported by a freize of Vyalas.

The Pandya structutal templ!s have no devakoshtha Icons on their

Vimanas and mandapa walls.

SITTANNAVASAL The ceiling of both veranda and sanctum, as also

the under surface of the beam and c ce projected in front provided

extensive ground for plastering and painting. The two pillars and pilasters

were plastered over and painted and the faces of their top Sadurams (3ft

X 2ft) offered scope for portrait painting, ten in all, of which three alone

survive, with tell-tale pigments on then here and there.

These paintings are closely related to Jain themes and symbology.

The ceiling of this cave-temple depicts a Padma vana, a magnificent lake

Swans, fisb. buffaloes and lotuses are the highlights of these paintings.

The .icing and queen and dancing apsaras with grace and elegance' are a

pleasing sight to see. Brilliance of colours, riehtfirit of expression,

palsation with . life and happiness and delicacy of feeling in these jain

paintings have given supremacy to this art for all times.

It is a depiction realistic in all sense of a wide lotus pool filled

primarily with the lotus and bud and bloom in natural lines and drawn

with all delicacy of details, including the fine nerves of the petals, amidst
the circular lotus and cleft lily leaves, peltate on their stalks, the various

stages of unfolding from the rolled up young leaves exhibiting their pale

green and prominently veined under surface, over the water level, the

mature ones quite circular, dark green and placidly floating on the water

surface The pool teams with animal life all kind, fish of diverse type

cleaning through, and shootng out of the water, birds (cakora) in pairs

dallying with their mates, plying over the water elephants wading through

and buffaloes wallowing In the water.

There are two youthful looking persons clad in coin-cloth near each other

at the south west corner on the frontface of the upper saduram of the

Southern pillar.

An exceedingly beautiful apsara maiden, a celestial dancer in a

graceful dance movement. She with a twist of the body (bhanga), with a

pretty face turned front and eyes following the movement and lips pouted

and head tiered jauntily at the neck to her right, is executing a dance

movement (ghajahasta pose) Her coiffure is decked with ornaments and

flowers. lier earlobes have circular rings The neck and arms are adorned

with necklaces and pearl earlands. and arms with armlets over the elbow

and bracelets on the waists, while she wears n bikini like waist cloth. her

twisting torso is bare, exposing her heavy full bosom. Similary another

lissome apsara is found.

 The structural temples are small stones temples, and have all the

features of bigger temples. We Mana mandapa Sakura, but we're simple

in style. Temples consists of garbhagriha, are the mandible and

Muhammad Baba. The Silver Temple have a nandi in front of the

Muhammad Baba, the period of the later pandya. Rulers saw the

development of elegant vimanas with finely sculpted idols on the go

promise of the temples, the rectangular and Prince are portals of the

temples are called go proms. The portions above the entrance is

pyramidal in shape. Gradually the go prompts were given more

importance than Sakura's. While the former were higher and more

imposing the later declined in height lofty, go prompts of great

proportions with lavish decorations, were constructed by succeeding

dynasties examples. Groups of small temples or to be seen at Tripoli

District of Tamil Nadu. These anyth of pandya architecture or Meenakshi

Temple at madurai and arrange another Temple at SRI rangam. Structural

stone temples are found in kumbakonam through anomaly. Cool party

TripIt or allegorical will ambasamudram Madre Shiva Temple at

ambasamudram within China Temple at non canary. Lakshmi narayana

Temple at Arthur or structural temples Pandey has built temples

mendeavors go prompts at the chidambaram and SRI rangam Meenakshi

Amman Temple madurai. The Pinnacle of pandiyan architecture was

found in the Meenakshi Amman Temple of Madre. This Temple was built
by kulasekhara pandiyan during his rule, the temple served as an epitome

of dravidian architecture with gopuram Ramsgate, Towers pillared Halls.

And reservoirs for ritual, bathing.

I am calm and album the gig antic thousand pillar. Structure was

built from a monolithic by Aria NADA, moodily are in 1569, which is

situated inside the Meenakshi Amman Temple. Meenakshi Amman

Temple contains 15 stories and the main go g stands approximately 170

feet tall. The temple also contains multiple Zorn. It pillar Halls. Nellie a

temple thurl. Bailey, the tournelle really was built by Nin dresser need

more on in the 7th Century which was considered as one of the finest

architecture of the pandiyan dynasty. The go prompts present in the

temples are built. According to the rum sastras, which displays an

epitome of architecture Brilliance, It is believed that thrill on some under

Great save a saint who was instrumental in converting indiscernible

Morin to Syverson as he was a great pattern of Jainism. She will put her

on dark Temple, 12 tiled Tower structure, 59 M, height dedicated to the

Lord of civil Lipitor, she will put her under Temple. Is the official symbol

of the government of Tamil Nadu has images of pan from Ortiz. Tom

grew Narada another kumara. Kiner, Emma tuna the sun. And the moon

are represented At His Feet. Sanctum sanctorum has three doorways

Flight of the Stars leads to the Sanctum sanctorum. A large impressive

haul with detailed wooden carvings depicting incidence from the

Piranhas, thillai nataraja Temple Hindu Temple. Dedicated to Lord Shiva

9, gateways. And four of these have gateways Towers or go prompts each

with seven stories affecting the east south west and North.
 PAINTINGS

PAINTINGS UNDER THE PANDYAS

The pandiyan kings gave equal patronage in developing the art

forms during their rule, though many paintings found in various caves

had been lost or damaged for various reasons. Some paintings had stood

the test of time.

Some of the notable contributions from the painters of the pandyan

Period are still seen in Cave of “Thirumalapuram and Sittanavasal”

Thirumalapuram paintings

The Early pandyan paintings can be witnessed in thirumalapuram,

which is located, in Thirunelveli. Representations of small deities and a

mythical lion image was seen on the roof of the rock Cut cave.

The paintings also display a wide range of colors that had been

used to differentiate the pictures colors, like Indigo, white and black were

frequently used in the paintings.

Sittanavasal cave paintings (Pudukottai)

The jains and Jainism were prevalent during the pandyan period as

most of the pandyan rulers were patrons of Jainism. The sittanavasal cave

temples serve as the important residing place of the Jain monks.

 The walls of the sittanavasal cave or decorated with Fresco and

mural paintings. It contains images of various flowers, devotees, ponds,

Etc.

Most of the paintings of sittanavasal belongs to the 9th century

among them the most attractive painting was that of a “Lotus Pond”

where the entire Pond is covered, like Lotus, goose, devotees and

buffaloes were painted with in hunting colors.

The paintings present in the city, sittanavasal ave the resemblance

to the cave paintings. There are seen in magenta and the bagh caves.
 RELIGION

The pandya period 13th century CE was characterized by air

Temple centered, eite form of Hinduism are popular, bhakti, religion, and

even more widespread, local forms of Hinduism, the distinction between

the three were not clearly differentiated the worship of the god. Vishnu

and Shiva was generally supported by the elite, the bhakti movement

emphasized, the mutual intense emotional attachment between the God

and the devotee.

The pandya country was home to a number of renowned temples,

including Meenakshi Temple in madurai. As some of, the largest

employers and land owners of the pandya country, the temples played an

important part in the tamil economy and Society. The generally also

served as banks, schools, dispensaries, and poorhouses, thus performing

valuable social functions, the large walled Temple complexes Of the

pandya country also contained several administrative offices and bazaars.

It is known that the early pandya rulers followed Jainism. While at some

point, they converted to Hinduism. They supported the bhakti movement

from both saivism and vaishnavism of Hinduism.

Sources of pandya History

The Greek ambassador to chandragupta maurya, Megastenes

mentions Queens of pandyas as ‘Pandaia’ and locates them in the south of

India extending into ocean. It's consisted of 365 Villages which meet the

needs of the Royal Palace each day of the year. He described the queen as

daughter of her class by some author or Shiva or Krishna Madurai,

Capital of pandyas is mentioned in kautiyas Arthashastra (4th Century

BCE) as Mathura of the South.

Pandyas are also mentioned in the inscriptions of Maurya Emperor

Ashoka 3rd Century BCE in his inspiration 2nd and 13th major Rock

edict. Ashoka refers to the peoples of South. India, the Cholas, cheras,

pandyas, and satigaputras. These polities although not part of the maurya

empire, were on friendly terms with Ashoka.

The conquest of by dharma has been won here on the boders and

even 600. yojanas, (5,400 to 9600 km) away where the Four Kings named

ptolemy, antigones, magas and Alexander rule likewise in the South

among the cholas, the pandyas and as far as Tamrabarani River.

The earliest pandya to be found in epigraph is Nedunjeliyan

figuring in the tamil Brahmi mangalam inscription (near Madurai)

assigned to 3rd and 2nd centuries BCE.

 The record documents a gift of rock cut beds to the Jain ascetic. It

is assumed that the people found in the Marungulam inscription,

Nedunjeliyan Kadalan and izanchadaiyan Predates rulers such as

Talaiyanganam Nedunjeliyan and palayagasalai mudukudini peruvaludi.

Kharavela the Kalinga king, who ruled during first century BCE in

his hathigumpha inscription claims to have destroyed and old

Confederacy of Tamil countries. The Tamira desa Sanghata which had

lasted 132 years, and to have acquired, a large quantity of pearls from the

pandyas.

Silver punch Marked coins with the fish symbol of the pandyas

dating from around the same time have also been found.
 POETRY AND MUSIC

There is evidence of both occupational poets that recounted on the

affairs of the king as a profession as well as those who pursued poetry as

a hobby, sangam poetry, Which derived from pandya Chola and the chera

influence, narrated the distinction between love and War and the power of

the human experience. Other poetry of the empire reflect a sarcastic and

sophisticated take on everyday life in the pandyan Village.

Attruppadai is a genre of ancient India poetry whereby one

minstrel addresses, another Madurai - Kanchi is a poem written in the

Attruppadai genre admiring Nedunjeliyan, the pandiyan king.

Many of the Kings themselves were poets and literacy experts that

wrote extensively

Music attributed to the pandiyan period, was derived from the

poetry and was created by bands of both male and female singers and

dancers.

Traditionally, these long poems were publicly played to music by

Thirteen musicians with a variety of instruments. Professional musicians

would also chant the melodic poetry outside temples.

 DANCE

The pandyas along with other dynasties of the Tamil Nadu District,

also participated in various traditional dances, the Devarattam translating

to the god or King dance in Tamil language was one particularly

performed by the pandiyan dynasty. It was generally danced by the kings

and fighters after a successful battle against other Indian dynasties. It was

a dance of joy and a symbol of hope for the following battles.

 FESTIVALS

Bhakti movement was great force in Tamil Nadu, Saivism and

vaishnavism became a popular movement, the Nayanmars and alwars

praised the glory of their gods and their sacred places of pilgrimage their

songs become the sacred songs and were being recited in temples. The

idols of Saiva saints were installed in the temples and festivals are

celebrated on the auspicious day of their birth Stars. The Kings also

deliberated their birthdays on the birth of stars.

Archaeological sources of Pandyas

Pandys are also mentioned in the inscriptions of maurya Emperor,

Asoka 3rd Century BCE in his inscription 2nd and 13th. Major Rock

edict. Asoka refers to the peoples of South India. The Chola cherah's

pandyas, and satiyaputras.

Pandya inscriptions

Velvikudi inscriptions is an eighth Century. Billingual copperplate,

Grant from the pandya kingdom of Southern, India inscribed in Tamil and

Sanskrit language. It records the renewal of the grant of the velvikudi

village to a brahmana by the pandya. King, Nedunjadaiyan varagana

varman I alias, Jatila parantaka (c. 768-815 CE) in 7c769-770 CE.

 CONCLUSION

The pandiyan kingdom was replaced by the princes who assumed

the title as cholas pandyas in the 11th century after being overshadowed

by the pallavas and cholas for centuries pond. In glory was briefly

revived by the much celebrate Jatavarman Sundarapandiyan in 1251 and

the pandya power extended from that Telugu countries on banks of the

godavari river to the northern half of Sri Lanka. This success had a lot to

do with the rapid decline of the great Imperial cholas and also to the

extraordinarily brilliant, revival attempts made by the later pallavas

Chiefs Koperunjinga-I and Koperunjinga-I

The pandyan kingdom, was only a default success to void Creator

by complete Extinction of illustrious, cholas and pallavas macro Polo

notes that the pandya kingdom, though, the richest in the world and very

prosperous did not possess the proportionate military strength.

On their Death of Maravarman Kulasekara Pandiyan –I in 1308, a

conflict stemming from succession disputes arose amongst his Sons,

sundarapandian and Veerapandya fought each other for the throne.

Padyas and their descendants were confined to a small region

around thirunelveli for a few more years and after the 17th century CE,

We hero no more of them.

 The Pandyan kingdom was an ancient Tamil state in South India.

That was little known. The pandyas were one of the three ancient Tamil

kingdoms that ruled the tamil country from prehistoric times until the end

of the 15th century from the 3rd Century BCE to the third Century.

Pandya history was reconstructed using various sources such as

megalithic burials inscriptions in Tamil brahmi and Tamil poems from

the Sangam literature.

TEMPLES
SCULPTURES
COINS