Rashtrakutas - Administration, Society, Cultural, Economy, Art and Architecture

Administration

The Rashtrakuta Empire was divided into several provinces called rashtras under the control of rashtrapatis. They were further divided into vishayas or districts governed by vishayapatis. The next subdivision was bhukti consisting of 50 to 70 villages under the control of bhogapatis. These officers were directly appointed by the central government. The village administration was carried on by the village headmen. However, the village assemblies played a significant role in the village administration.

Society and Economy

The Hindu sects of Vaishnavism and Saivism flourished during the period of Rashtrakutas. Yet, they did not affect the progress of Jainism under the patronage of Rashtrakuta kings and officers. Almost one third of the population of the Deccan were Jains. There were some prosperous Buddhist settlements at places like Kanheri, Sholapur and Dharwar. There was harmony among various religions. There was a college at Salatogi, situated in modern Bijapur district. An inscription gives details of this educational centre. It was run by the income from the endowments made by the rich as well as by all the villagers on occasions of functions and festivals.

The economy was also in a flourishing condition. There was an active commerce between the Deccan and the Arabs. The Rashtrakuta kings promoted the Arab trade by maintaining friendship with them.

Cultural Contributions

The Rashtrakutas widely patronized the Sanskrit literature. There were many scholars in the Rashtrakuta court. Trivikrama wroteNalachampu and the Kavirahasya was composed by Halayudha during the reign of Krishna III. The Jain literature flourished under the patronage of the Rashtrakutas. Amogavarsha I, who was a Jain patronized many Jain scholars. His teacher Jinasena composedParsvabhudaya, a biography of Parsva in verses. Another scholar Gunabhadra wrote the Adipurana, the life stories of various Jain saints. Sakatayana wrote the grammer work called Amogavritti. The great mathematician of this period, Viracharya was the author of Ganitasaram.

The Kannada literature saw its beginning during the period of the Rashtrakutas. Amogavarsha's Kavirajamarga was the first poetic work in Kannada language. Pampa was the greatest of the Kannada poets. His famous work was Vikramasenavijaya. Ponna was another famous Kannada poet and he wrote Santipurana.

Art and Architecture

The art and architecture of the Rashtrakutas were found at Ellora and Elephanta. At Ellora, the most remarkable temple is the Kailasa temple. It was excavated during the reign of Krishna I. It is carved out of a massive block of rock 200 feet long, and 100 feet in breadth and height. The temple consists of four parts - the main shrine, the entrance gateway, an intermediate shrine for Nandi and mandapa surrounding the courtyard. The temple stands on a lofty plinth 25 feet high. The central face of the plinth has imposing figures of elephants and lions giving the impression that the entire structure rests on their back. It has a three-tiered sikhara or tower resembling the sikhara of the Mamallapuram rathas. In the interior of the temple there is a pillared hall which has sixteen square pillars. The Kailasa temple is an architectural marvel with it beautiful sculptures. The sculpture of the Goddess Durga is shown as slaying the Buffalo demon. In another sculpture Ravana was making attempts to lift Mount Kailasa, the abode of Siva. The scenes of Ramayana were also depicted on the walls. The general characteristics of the Kailasa temple are more Dravidian.

Elephanta is an island near Bombay. It was originally called Sripuri. The Portuguese after seeing the large figure of an elephant named it Elephanta. The sculptural art of the Rashtrakutas reached its zenith in this place. There is a close similarity between the sculptures at Ellora and those in Elephanta. They might have been carved by the same craftsmen. At the entrance to the sanctum there are huge figures of dwara-palakas. In the walls of the prakara around the sanctum there are niches containing the images of Shiva in various forms - Nataraja, Gangadhara, Ardhanareesvara and Somaskanda. The most imposing figure of this temple is Trimurthi. The sculpture is six metre high. It is said to represent the three aspects of Shiva as Creator, Preserver and Destroyer.