The area is known for the Airavateswara temple constructed by the Rajaraja Chola II in the 12th century CE. The temple is a recognised UNESCO World Heritage monument.

DARASURAM;
AIRAVATESVARA TEMPLE
Darasuram is situated in the palaiyarai region, which continued to be a crucial hub of chola administration even after the establishment of new capitals like Thanjavur and Gangaikondacholapuram. Around a Shiva shrine that Rajaraja II constructed in the twelfth century, Darasuram developed into a temple community of significant significance. The third in a line of ground stone

facing nand is at the corners, and topped by a dome there, Sikhara, lies above the fifth layer.

A huge gopura greets visitors as they approach the Airavatesvara Temple. Although its upper portion is entirely gone, the gopura inside is in excellent condition, making it possible to determine how it once looked. The second gopura continues on the bigger pregara wall that surrounds the temple, which is adorned with couchant bulls at various intervals. The gopura is supported by pillars that are lined up and have beautiful carvings of siva-ganas, absaras, and other patterns. A sizable bali-pita with lovely lotus flower arrangements is located beyond the gopura. Standing dwarf Siva-gana blowing on a conch is right behind the big Nandi on one side of it. both the hands and the siva-gana, or exquisite works of art. long, skinny frieze strips with several ornaments.

Small balustrades flanking the entrance on either side have lovely makara decorations on their exteriors. These balustrades were once meant to flank steps, but they are now missing. Each makara in the series features a pair of dwarf gana-riders, a curled-up snout, short legs, and a floriated tail, creating a charming theme.

At the entrance, a lovely mandapa with several pillars is accessible via an extension to the south and has flights of stairs to the east and west. The exteriors of the balustrades for these steps are finely ornamented with a long curling trunk emerging from a lion’s head, as well as a similar design running parallel to an elephant’s trunk and lost in the wide jaws of a makara with a curled-up, floriated tail, to balance the overall design. The sankha- and padma-nidhis, two dwarf ganas, are mounted on the elephant and it is exquisitely adorned.

Kumara with six heads, who is positioned to the left of
A lovely sculpture graces the entrance to the main cell.
There are niches in the walls of the mandapa and the main shrine.

In keeping with the custom of the earlier temples at Thanjavur and Gangaikondacholapuram, there are exquisitely carved sculptures on the outside walls on either side of the niches that match to those housed in the niches. Ganesa’s niche is therefore flanked by dwarf attendants known as bhute ganas who transport offerings while riding the deity’s mouse; Dakshina-murti’s niche is bordered by wonderfully carved images of rishis who are, sadly, covered by a subsequent brick construction.The primary temple has three niches. The largest one is in the centre, and it is flanked by two double-pillar decorations. Its top is designed as a sala, and the flanking niches’ tops feature the koshtha pattern. Between them are double-pillar decorations with lion-headed kudus on top. Amid the nooks.

On the north, there is a gargoyle that spews water from the main cell. It discharges water into a sizable, intricately carved water reservoir with figures of dancing ganas on the walls. It is long, has a dip and double course, is embellished with two lion-head patterns, one at the source and the other as it starts the lower course at the point of the dip. Although the gargoyle in the temple at Thanjavur is standing, the gomukha is supported at the base by a caryatid dwarf gana, by a rearing yali, and by triple ganas at the end.

The Chandikesvara shrine, which resembles the one in Thanjavur, is close to the main temple and close to this gargoyle.The substantial paved courtyard’s prakara-wall

This mandapa’s top is embellished with a sala-roof that represents Nataraja’s sabha. The carving on the base of Vishnu playing the drum in front of the mandapa and the sculptures on the pillars and ceiling both clearly indicate that this is the temple’s natya-mandapa. This must have been the Nataraja bronze’s initial home; it is now preserved. The yaga-sala is located to the east of this, and further on are images of a king and queen in addition to representations of gods. The two portrait statues are most likely meant to portray Rajaraja II or Virarajendra and his queen.

Siva is shown as Kankala-murti in a spectacular collection of big carvings in the enclosed chamber to the west .
There are images of rishis in the roofs of the niches along the north wall of the mandapa. In contrast to the heroic aspect that distinguishes the sculpture at Thanjavur and Gangaikondacholapuram, these, along with comparable figures within the niches, suggest a sense of serenity and tranquilly. The lengthy collection of Siva-purana legends and the Siva followers depicted here both allude to the same idea. It should be recalled that this was the time when the revered Devaram hymns and tales of Saiva rulers were compiled together. Furthermore, it is not improbable that Darasuram, given the magnificent collection of sculptures depicting Kankala and the rishi-patnis mentioned above, has something to do with Daruka-vana.

The name of the temple’s linga is Rajarajesvaram-udayar.
A shrine to Devi, built contemporaneously with the main temple, is located next to Airavatesvara at the Deivanayaki Amman shrine. The exterior prakara-wall of the shrine, which is dedicated to Parvati or Deivanayaki Amman, is roughly 70 m west-cast and 30 m north-south. Its vimana has three tiers, its niches contain Devi images, and it exhibits features that place it among the Amman shrines of a slightly later period despite being essentially identical to the main temple.
Fine works of art decorate the balustrade at the entry in the form of yalis with riders on either side. Also noteworthy are some carvings found on lattice windows. The unusual gargoyle serves to both bring water into the cell and convey it out, and it depicts a dwarf gana in a cute position. The small dancers in the miniature

Certain decorative elements, especially the creeper-patterns that create medallions for dance-figures on the pillars and some pillar-capitals, are reminiscent of the Rashtrakuta and Chalukya styles. The continual incursions into one another’s lands by the Chalukyas, Rashtrakutas, and Cholas might readily account for this. As a result, a dvarapala that was once in the Darasuram temple but has since been installed in the Thanjavur temple is made of Chalukya craftsmanship and has an inscription in early Chola letters on its pedestal that states that the Chola king brought it as a war trophy following the capture of Kalyanapura, the capital of the Western Chalukyas.at conclusion, despite the fact that the temples at Thanjavur and Gangaikondacholapuram had simple designs and large statures, it seemed like their maha-mandapas were merely there to appease the Agama.

SAIVA SAINTS’ STORIES DESCRIBED AT DARASURAM
A sequence of stories about Saiva saints, depicted in small panels as the top line of the base of the vimana and the mandapa, are of great interest and narrative force at the Darasaram temple. Many of these are explained by labels carved into historical figures; some of these are listed below.
Numerous scenes feature graphic depictions of the great saint Appar.
Mahendra-varman Pallava, who later converted, and who is invariably shown
potato against his shoulder while doing so.
Then there is the tale of Tirumular, who took a bath in the tank next to the temple with his wife. The legend of a saint who enjoyed feeding Saiva disciples follows thus. Siva tested after.