Musafir

The Pidari Rathas are two incomplete rathas and similar in style with Pancha Pandava Ratha group, hence could be assigned to the same period. One of these faces east and another faces north. Both are two storeys design where the upper part of the ratha is complete but the lower portion is very little done. Both of them are carved in different profile, one has a square roof and another has an octagonal roof. On the ridges of the roofs is seen floral creepers, similar to Draupadi Ratha. Regular arrangement of mini shrines over the cornice is also found here. In one of the ratha we also see pilasters supporting the cornice, however the other one has not still reached to that state of completion.

The Atiranachanda Mandapa is located at Saluvankuppam, about 4 km from Mahabalipuram on Chennai route. This is an east facing mandapa measuring 28 feet long, 6 feet wide and 6.5 feet high. The façade of the cave is supported on two pillars and two pilasters. Above the cornice we see incomplete horizontal frieze of mini shrines. Inside the are seen three cells, however only the central cell is excavated as a square of 3.5 feet, the rest of two cells are just the wall portions separated by the middle cell. Inside the middle cell is placed a black polished multi faceted lingam, which is seen as a characteristic style of Rajasimha. Another proof to support this cave excavation to Rajasimha is Somaskanda panel on the back wall inside the shrine. Shiva is shown seated with Uma and baby Skanda under a parasol. They are flanked by Vishnu and Brahma on either side. Outside this cell, in the sunk niches, are carved two dvarpalas. Two similar Somaskanda panels are seen carved on the back wall of the mandapa on either sides of the central cell. From the pillars and corbel, it looks that the cave might have been executed during Mahendra/Mamalla’s time however black polished fluted linga and Somaskanda panel inside the central cell suggests the creation to Rajasimha. It would be wrong to assume that the excavation was started during Mahendra/Mamalla’s time and completed by Rajasimha as the cave is still incomplete and also to complete such a simple excavation would not require this much time such as between Mamalla and Rajasimha. We see a long stone Lings outside the Mandapa. Some historians suggest that the current granite was placed inside recently and the the Linga outside was the one that was originally inside the cell.

We have two inscriptions, one on northern wall and another on southern wall, in  this temple. Both are similar inscription, only difference is in their script, one written in Sanskrit and another in Pallava Grantha script. From the inscriptions, we found that this temple was called as Atiranachanda-Pallaveshvara-Griham – Ishvara temple of Atiranachanda Pallava. It is clearly stated that this was excavated as an adobe for Shiva, Uma and Skanda with the ganas. Pallava Grantha inscription runs for seventeen lines while the Sanskrit inscription runs for sixteen lines. In the additional line of Pallava Grantha script talks about the musical talents of Kalakala, another title of Rajasimha. Few verses of the inscriptions are similar to Dharmaraja and Ganesha Ratha inscriptions of Parameshvaravarman I. From the inscription, it is clear that this cave can be assigned to Rajasimha.

Yali Mandapam (Tiger Cave) – This structure is quite different and unique from the other cave shrines of Mahabalipuram. This south-east facing structure is located near Atiranachanda Mandapam. This cave is refined, cut at a height of 6 feet from the ground level and the pavilion is closed on three sides and a 4 feet deep and 6 feet high cavity is excavated in the front. The staircase, to reach the high raised platform, is supported by lion parapets on either sides.

There are two rampant lion pilasters at the corners of this cavity. There is a female rider sitting over the rearing lion. This is the first instance of rearing lion pillar style in a Mahabalipuram cave which suggests that it was excavated during Rajasimha’s time. Also the proximity of this mandapam to Atiranachanda Mandapa also supports Rajasimha as its creator. There are two small niches carved on the either side of  this central cavity, the niches are empty. Around this central cell and the two niches is a surrounding garland like arrangement of eleven vyalas (mythological lion-shaped animal). On the same rock, south of this pavilion, are carved two large elephants heads, above which is a horse-show cavity representing a howdah. If we compare the elephants of Arjuna’s Penance then these elephants heads are very inferior in craftsmanship, even if we take account of the damage done due to saline air. The ears of the elephants are  carved with  Inside these are carved four-armed seated figure carrying what seems like a vajra (thunderbolt) in one of their hands. One figure could be identified with Indra as elephant is his mount. There is a pillar (dhvaja-stambha) in between two elephants. On south of the elephants is a figure of horse, approaching towards the elephants. However that figure is not complete and quite worn out due to the saline air.

On northern face of the same rock is carved a huge lion. In its stomach is carved out a cavity. Some figure was planned inside this cavity, as can be seen from what’s left behind,  however it was left unfinished. This lion is similar to the standing lion inside Shore Temple, in whose chest is carved a cavity and inside is a relief of  Mahishasuramardini.The lion head is quite identifiable however In whole it looks like a crude carving. From all above elements of this rock boulder, it can be inferred that this cave was thought to be dedicated to Durga. This surmise is totally dependent upon the presence of so many lions, who is the mount of Goddess Durga. As stated earlier, this creation is assigned to Rajasimha by most of the scholars.

Mukunda Nayanar Temple:

This temple was buried under 12 feet of sand and was excavated at the same time when Sulvankuppam excavations were carried out. This lies little far from town, on the way towards Sulvankuppam. This is a small temple which is very similar to Dharmaraja Ratha in its architecture and design. This east facing double storey temple, thought assigned to Rajasimha’s period, does not have rampant lion pillars, which are very characteristic features of his style and are found in all the temples attributed to him. The temple has a ardha-mandapa supported on two pillars and two pilasters. The pillars are circular in shape with diminishing diameter towards the upper end. Above the cornice is seen regular arrangement of mini shrines interconnected via cloisters. The corner shrines are with square roof however the middle one is with oblong roof. These mini shrines separates the first storey with the ground one. On the first storey are seen niches on all four sides, however all are empty. The ardha-mandapa leads into a square  garbha-griham. On the back wall of this sanctum is a Somaskanda panel. Shiva is shown seated with Uma and baby Skanda, while Vishnu and Brahma are shown standing behind them. Skanda is shown seated in Parvati’s lap. The style is very similar to the other such panels of Rajasimha’s time. The presence of this panel supports the theory of its assignment to Rajasimha. There is a Shivalingam installed in front of this panel, however it seems to be a later addition.

We have come to the end of the wonderful journey of Mahabalipuram. This place would always have a special place in my trips as this is the first time i ventured into Tamil Nadu. I bid adieu to the land where stones speak history and move to my next destination, Thirukazhukundram.

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The Ganesha Ratha is located on the backside hill of Arjuna’s Penance and is one of the most complete ratha at the site. As this is the most complete ratha hence it might be that it was started earliest among all however there is no evidence to support this. Though the shrine is meant to be dedicated to Shiva, but a Ganesha image is housed inside. This image was placed by the villagers in about 1880s with  the permission of the then District Collector.The original Shivalinga however was installed later below a nearby tree. This west facing ratha has two upper storeys with a wagon roof and is 20 feet long, 11.5 feet wide and 28 feet high, in proportions. There is cell excavated in the centre, measuring about 7 feet by 4 feet and 7 feet high. The west frontal façade is supported on two lion-base pillars and two lion-base pilasters. The lions of the pillars faces front and those of pilasters faces each other, as per the regular arrangement seen in other similar monuments.

There is seen a human face peeping out of the cornice. Above the cornice is seen regular arrangement of oblong and square mini shrines, interconnected by a cloister. This horizontal frieze of shrines separated the first storey with the ground floor. The gabled ends are very interesting in design, east side end is fully survived. These horse shoe shaped windows have three doors carved out, where the central one is shown containing a high Shivalinga like structure. Many scholars suggests that this design is taken from Buddhist style where a stupa is carved or placed under the  central door. The deign does show some affinity with Buddhist style however if such an influence is there then it would have come from Amaravati artists. On the west portico is a Sanskrit inscription, similar to that of Dharmaraja Mandapa. There are total of fourteen verses in this inscription and the twelfth verse  states that this temple is founded by a Pallava king named Atyantakama, Atyantakama-Pallaveshvara-Griham. The other verses eulogized Shiva.

The Mahishasura Mardhini Cave is one of the important monuments in Mahabalipuram and a must visit for its beautiful architecture. This cave temple is below the Olakkaneshwara Temple. This is a three celled shrine, 32 feet long, 15 feet wide and 12.5 feet high hall, where the central one is projected forward compared to the two subsidiary cells. The front facade is supported in four pillars and two pilasters. The central cell has a small mukha-mandapa in front of it which is supported in two pillars with seated lion bases.

The middle sanctum is flanked by dvarapalas (guardians) on either side, and inside it has a panel on the back wall. In this panel Shiva is shown seated majestically on a platform with Parvati. Baby Skanda is shown seated on Parvati’s lap. Shiva’s mount Nandi is shown seated near Shiva’s feet on the ground. Shiva and Parvati are shown  wearing various ornaments such as necklaces, bracelets, ear-rings etc. There is a devotee shown on right side corner. Brahma and Vishnu are shown standing behind Shiva-Parvati. Brahma is shown standing on left side with four heads and four hands. He is shown holding a water vessel and akshamala in his upper hands. Vishnu is also shown with four hands, carrying chakra and sankha in his upper hands. Surya is seen on top, between Brahma and Vishnu.

This cave is with so much detail that once can take even an hour to completely explore each part of it. Let us see the other panels and the sculptures in this beautiful Mandapa.

The most astonishing features of this cave are the two side panels, which are very exquisite in sculpture art. The north wall depicts Durga as Mahishasura Mardhini fighting with demon Mahishasura. This panel is simply put as one of the most elegant example of the Pallava art. Because of this panel, this shrine is named accordingly. If we can divide this panel in two parts with a vertical line, then left part shows the army with Goddess Durga while the right part shows the army of the  buffalo-demon Mahishasura. Durga is shown mounted on prancing lion and carrying weapons in her eight hands. She is shown holding khadga (sword), dhanush (bow), bana(arrows), ghanta (bell) in her right hands while pasa (rope), sankha (conch), dagger in her left hands. Durga is shown getting ready to fire an arrow towards the demon. One chatra(parasol) is held above her head by one of her companion. She is accompanied with her female warriors and ganas(dwarfs). On right is shown retreating army of the demon. Mahishasura is shown in retreating himself back and trying to save himself from falling. He is holding a gada (club) whose heaviness can be felt in his posture. One of his companion is trying to hide himself behind another so to escape from death. One of his soldier is shown falling head down. Another is shown fell on the ground and looking above in fear. The panel depicts the victory of divine power over the evil forces, and sculptors were successful in taking this theme out in perfection.

On southern wall is a panel depiction Vishnu in anantasayana mudra. He is shown with two hands, stretched over the coil of serpent, Adi-sesha. Adi-sesha’s five-hooded head is spread as an umbrella over Vishnu’s head. Two demons are shown  approaching Vishnu near his feet to attack him. Both are shown carrying gada (club). Seeing them approaching near, Adi-Sesha hissed and flames came out of his hoods. Due to these flames, the demons retreated backwards, as shown in the scene. One hand of Vishnu is shown taping over the coil of Adi-Sesha. The rightmost female figure is Bhudevi.

I spent almost half an hour in this Mantapa. It was quite hot that day and i was really tired. I took a break for some quick lunch and moved on to visit the Pancha Pandava Rathas.

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.