Musafir

Dharmaraja Mantapa is located behind the lighthouse and is triple celled and faces east. This mandapa shows striking resemblances with the earlier Pallava excavations of Mahendravarman I. Here the middle cell is projected forward in comparison to two side ones. All the cells are empty.

This Mantapa is fine made into a huge stone. And we wonder how much it takes to chisel a stone to that level. Here we find angled corbels suggesting that the use of the old architecture of construction. Curved corbels are supposedly taken as an advanced architectural style. The cells inside this cave are about 2 feet above the ground and staircases are provided in front of all, whereas the middle cell staircase is supported by parapets on both sides. This cell style suggests the advanced architectural style.

Here we have dvarpalas carved on the sides of the central cell, though there is ample space on the front façade. Here we see chandra-silas (moon-shaped stair step) on all the three cells. This chandra-sila is also seen a characteristic style of Mahendra as we see this feature in his later temples. In conclusion, this cave is excavated in advanced architectural style, except the corbels of the pillars. We do not see any carvings, like miniature shrines and horse-shoe (kudu) windows, above the cornice. This puts this as one of the earliest creation among the caves of Mahabalipuram. This cave was vandalized during the Vaishnava resurgence when the dvarpala figures were completely chiselled off and marks of Vishnu were carved on the front pillars. From the outline of the markings of dvarpala, it can be said that those were carved with front facing profiles with one hand on their waist and another hand resting on something which is not very clear. We are fortunate to find an inscription here, however it only adds to the confusion about the creator of this cave.

The Olakkaneshwara Temple located above the the hill in which the Mahishasura Mardhini Cave is carved out. The temple could be a creation of Rajasimha, as it is most accepted that structural temples have started being constructed during his time. The gopura of the temple has not survived. We need to climb some steps to reach the top. Its a bit tedious as each step is at a considerable height and one cannot climb easily.

Before the stone lighthouse was built in 1900 CE, this temple roof was used as the lighthouse and for that purpose a wooden shad had been constructed on its flat roof. This wooden shed would have been constructed when the tower of the temple would have fallen. The sikhara (tower) of the temple would have been on the same design as that of the Shore Temple, of Dravidian style. The dvarpalas of the main shrine are carved with half-profile, instead of regular posture of front facing style. Guardians on the back wall of the temple are carved with full frontal profile. This east facing temple was under worship till nineteenth century. There is a small ardha-mandapa which leads into a rectangular shrine.

On one external wall of the ardha-mandapa, within a niche with pilasters on each side, is carved Shiva slaying Yama. The execution of the sculptures does not suggest any comparison with other Pallava sculptures, such that it seems that this has not been done by those artists. There are three devkoshtas (niches) on external walls of the main shrine, on south we have a nice sculpture of Shiva as Dakshinamurti sitting under a tree, on west is shown Ravana trying to shake up Kailasa with Shiva and Parvati seated over the mountain and on north we see Shiva as Nataraja.

The sculptures are much ruined, and were plastered and painted over hence the originality is much less visible. The temple would have been dedicated to Shiva, as supported by his various postures on external walls. Interestingly we do not find any Somaskanda panel here, which is very characteristic feature of Rajasimha. Also no Shiva-linga found inside.

In absence of any inscriptions, it is hard to assign the temple to any king, however as rampant lion pilasters are present hence this could be assigned to Rajasimha, still the mystery persists that why other characteristic features are missing.

We can see the sea out there from the shrine. I spent around 15 minutes checking each of the sculpture that is carved out on  this amazing temple, and then move on to visit one of the important landmarks of Mahabalipuram, the Mahishasura Mardhini Cave.

This west facing cave excavation is a pillared hall of 20.5 feet long, 8.5 feet wide and 10.5 feet high. It is supported, in front, by two lion-base pillars and two lion-base pilasters on the sides. It is one of the shrines where it is sculpted in detail and the ASI is doing a commendable job in protecting the relics. 

There is a closet in the middle and are guarded by dwarapalas As we do not see any dwarapala with trisula character (horned dwarapala), it can be assumed that this cave was dedicated to Vishnu.

One the Northern part of the Mantapa, has a bas relief of Varaha, one of the incarnations of Lord Vishnu, in a standing posture. He is carrying Bhudevi (Goddess Earth) in his hands. His one leg is firmly rested on the ocean ground while another is on the hood of Sesha-naga. He is shown with four hands, in upper hands he carries a chakra and shankha while right lower hand is behind the goddess and left lower hand is holding the legs of the goddess. Bhudevi is shown seated in his bent uplifted right knee. Shesha-naga is shown with five hoods, emerging from the waters with his hands folded in devotion. Brahma is shown standing beside Varaha and Narada behind him, holding a Veena. Over Brahama and Narada is shown Chandra coming out of clouds. Opposite corner shows Surya. There is a female standing with folded hands in front of Varaha and Sesha. The way the detail is depicted in this bas relief is extraordinary. And each of the figure is lifelike.

Next to the above relief is shown a relief of Gaja-Lakshmi. Lakshmi is shown seated on a lotus seat, her both hands is a position probably to hold lotus stalks. Her hair are put in a conical formation on the top. Four maidens are shown standing, two on  either side of Lakshmi. Two inner side maidens are shown holding water vessels, while the outer maidens are holding flowers in one hand. There are two elephants on the top, left one is shown pouring water from a vessel while the right one is shown picking the vessel from the hands of a maiden.

Southern end shows a bas relief of Trivikrama, Vishnu in Vamana incarnation. Vishnu is shown with one leg placed firmly on the ground and another lifted up to the level of his neck. This posture suggests that he has taken his two steps already and in that he has measured the earth and the heaven. He is shown with eight hands. In left hands he carries Shankha (conch), Khetaka (shield) and dhanush (bow), while one left hand is pointing to the direction of his lifted leg. In his right hands he carries chakra (discus), gada (club) and khadga (sword) while his one right hand is raised up with palms turned up. Brahma is shown seated on a lotus and shown washing the foot of Trivikrama. Shiva is also shown seated in padmasana with one hand raised in adoration. On left of Trivikrama, Shukracharya is shown seated facing king Bali and trying to move away from the impact of Trivikrama’s expansion impact. Demon King Bali, wearing a crown, is shown seated next to Shukracharya. He is shown with gloomy faces and amazed at the scene he is witnessing.

Next to this panel is a bas relief of Durga. She is shown standing on a lotus seat She is shown with four hands, in upper hands carrying shankha and chakra while one lower hand is resting on her waist and other lower hand is in abhaya mudra. Four ganas (goblins) are shown flying across the panel, two on either side of the goddess. Ganas on right side are carrying a bowl of offerings in their one hand. On top corners, left and right, are lion and antelope, both mounts of the goddess. There are two devotees shown seated near the feet of the goddess. Devotee on left side is shown cutting his head, holding it by his tuft by one hand, with a sword in his another hand. Right side devotee is seated with one hand raised in adoration and another rested on his thigh.

I spent almost 10 minutes in this small mantapa move on to visit the Dharmaraja Mantapa.