Mahabalipuram Monuments - Part 4 (Structural temples)

Pallava MallaiUnfinished poetry in stone - 4 Structural Temples

S. Swaminathan(sswami99@gmail.com)

Structural Temples

Earliest structural templesusing stones are first seen here.

Two temples, called the ShoreTemples, are on the sea shore.

Olakkaneswara Temple is on the top of the main hill.

Mukundanayanar Temple ison the boundary of the town.

The very choice of locations betrays the fanciful minds

of the Pallavas:the very edge of the sea, the very top of a hill and

the terra firma

The material

It looks that there has been considerable experimentation

on the choice of the material.

It was hard granite for the cave temples and monoliths,

blackish leptinite for the Shore Temples, reddish granite for the Mukundanayanar Temple,

softer greyish-white granite for Olakkanesvara Temple.

The main reason for the erosion of the Shore Temples is

due to the choice of softer stone.

Chronology in Mamallapuram

The Mukundanayanar Temple dedicated to Siva could be the tentative start

to the structural temple phase at Mamallapuram.

The now more-or-less-gone Olakkanesvara Temple and the pride of Mamallai, the twin temples

on the seashore followed.

Shore Temples

The setting of the Shore Temples is the most dramatic, washed by the sea waves for centuries!

Its slenderness imparts a special grace to the temples.

Though most sculptures are badly eroded the architectural proportions and make-up, and the natural setting on the sea make the edifice one of the finest monuments in India.

There is a belief that a part of the town has been swallowed by the sea.

But there are strong reasons to believe that these temples were built on the shore,

at the very edge of the sea.

The parts of the temple which would have been normally located in front of the temple

are at the back.

It is fairly certain that the Reclining Vishnu image, a rock-cut one, sandwiched between the two tall temples,

is an earlier shrine and the Shore Temple was built around it.

An azhvar has sung the ‘God on the sea shore’.

But why locate a temple on the very edge of sea, exposing to the vagaries of nature?

It is not uncommon for the Pallava-s to attempt uncommon enterprises!

Shore Temples - a short history

The Reclining Vishnu, of unknown origin, is the nucleus for the development of this complex.

Rajasimha built two tall stone shrines for Siva to the east and to the west of this rock-cut figure,with a prakara wall which runs around the larger

temple.

The rediscovery

This Pallava wonder, like all the Pallava monuments, was lying abandoned, many covered by sand,

how long we have no idea, till the Europeans started frequenting the place, for

pleasure.

Towards the end of the 18th century one Col. Mackenzie, an extraordinary person

dug these temples out of sand.

A photo of 1890s

A painting of 1784

Let us first have survey of the complex.

Monuments within the complex

All these three shrines are accommodated in a spacious courtyard, along with accessory mandapam-s, prakaram enclosures and gopuram entrances, but much of it being on the west side.

Monuments within the complex

To the north of the Shore Temples is a well-like deep clearance

in which there are three curios: a varaha, miniature shrine and a cistern.

Similarly on the south there is a shrine shaped like a lion.

Monuments in the environs

There are a few very interesting monuments outside the fenced area.

On the south, on the sand is the basement of a shrine, either incomplete or completed, but now without superstructure.

A little beyond are a few sculpted outcrops,like a Mini-Tiger cave.

On to the north is another interesting carved shrine,called Mahishasuramardini rock.

Shore Temples, its Complex and its Environs

Lithe, sleek and delicate shrines, these are photographers delight.The setting is dramatic, washed by the waves for centuries.

The two temples dedicated to Siva. The beginning of gupuram that became the hallmark of the south Indian temples can be seen here.

The prakaram once contained some beautiful sculptures were eaten away by time and waves.

Between the two shrines lies a rock-cut Reclining Vishnu, most likely the earliest sculpture of Mamallai.

While the complex houses a number of religious artefacts, in the environs the Pallavas have attempted to satisfy their artistic curiosity with every outcrops!

Shore Temples The east-facing shrine is four-storied has a square plan and octagonal crown.

The finial, the stupi, adds to its elegance.

The sanctum contains an excellentSomaskanda relief and a lingam that was added later.

The attending deities, Brahma, Vishnuand the gate-keepers are all eroded, so are most of those on the prakaram.

Shore Temples

The twin temples are a magnificence sight, the sea and the sky for the backdrop.

The temples are approached from the east, and enter Kshatriya-simhesvara,

which is the name of the east-facing temple.

It would have been extraordinary sight during the Pallava-s to stand on the base of the temple

and watch the sun rising in the eastern waters.

The splendour is the same even today, after 13 centuries, the eroded sculptures

adding a mystical charm: a most befitting entry to the art and commerce

of the Tamil country in the past when Mamallai was a flourishing port,

and, now, to the ‘poetry in stone’.

The temples are eaten substantially by time and by the sea,

mainly because of the choice of soft variety of stone, called leptinite.

To the east of the temple is a flag staff made of stone, which used to be in the sea,

before the present protective embankment was erected some years ago.

This is a four-storeyed shrine with a square plan.

The usual sala-s and kuta-s are found only on the prakara walls and in the second and third levels.

Kshatriya-simhesvara (East-facing temple)

On the four corners on the top of the ground

level are squatting lions and on the top level bhuta

gana-s blowing conches occupy these positions.

This arrangement we see for the first time and are significant, for these motifs came to be adapted in later temples.

The sikhara and the stupi are octagonal,and are made basalt, which is not available

locally.

One enters the shrine through a gateway, the beginning of a gopuram.

The shrine is guarded by

two dvara-pala-s, both badly eroded.

On the two side walls of the ardha-

mandapam have Vishnu with his consort and Brahma with

Sarasvati, in highly weather-

beatencondition.

Sanctum

The sanctum has a relief sculpture of Somaskanda.

Four-armed Siva is shown on a rectangular seat in

sukhasana and on his left side Parvati with

two hands is seated facing Siva.

In between, Skanda as a boy is shown

seated and enjoying the parental

affection.

Brahma and Vishnu are standing behind Siva.

It is an excellent composition.

A fluted, but broken lingam, withour avudaiyar

is also found installed in the sanctum.

There are interesting references to the existence

of beams made of sandalwood above the deity,

which are now lost.

Sculptured panels on the prakara

The outer walls of the shrine, the prakara, have tell-tale marks of some very interesting

images.

On the corners are rearing lions, another motif introduced and popularised by

Rajasimha.

Besides this, we have the elephant, ram, naga-s and bhuta gana-s.

A figure of Durga along with her gana-s is carved on the outside of the back wall of the temple.

Her left leg is resting on her mount, lion and holds a long bow on his right hand.

This relaxed Durga, is a masterly composition. If only we had all the originals to view

instead of shapeless weather beaten figures…!

The northern wall of the shrine contains a few sculptural reliefs,

some of which are barely identifiable.

In the centre is a very beautiful Tripuranataka, on the east a lively Mahishasuramardini and

on the west Narasimha.

A host of gana-s, in vibrant poses, are shown below.

Till the time of Rajasimha, Ganesa we don’t find the

image in the Pallava shrines,

though in both the Pandya and the Chalukya temples,

belonging to the same period,

Ganesa idols are found prominently.

In the Shore Temples Ganesa figures start appearing,

which can be seen in many places.

Here area few.

Ganesa in the Mini-shrine located to the north of the Shore Temples

Ganesa on the superstructure

of the east-facing temple.

On the outer wall of the northern prakara are kept a number of loose sculpture panels,

and most of them are difficult to be identified.

There are at least a few interesting and intriguing sculptures,

though eroded substantially, still identifiable.

There are three panels. that have motifs similar to those

on the Great Penance open-air bas-relief.

On the top one can see the unmistakable posture of the ascetic.

Below this on the right is the deer pair, and just to the left of the pair is the cheating monkey with a few mice.

What do these signify andhow did these motifs

come to be sculpted here?

The inside surfaces of this wall appear to have had a series of sculptured panels.

According scholars these illustrate the history of the Pallava dynasty.

But all of them are now beyond recognition.

The inside surfaces of this wall appear to have had a series of sculptured panels.

According some scholars these illustrate the history of the Pallava dynasty.

But all of them are now beyond recognition.

This is perhaps the forerunner of the well-documented series

carved on the prakara wall of the Vaikuntha Perumal Temple, Kanchi.

Narapati-simha-Pallava-Vishnu-griha (Jala-sayana Vishnu Temple)

Half way through the perambulation of the eastern temple,

just behind its sanctum is a shrine for Reclining Vishnu.

It is called Narapati-Simha-Pallava-Vishnu-Griham,as per an inscription.

It is the oldest image of Mamallapuram, and is excavated in live rock, that is, the earliest monolith too!

Most likely this Vishnu shrine was built by an early Pallava and did not have a ceiling.

Vishnu here is now called Jalasayana Perumal (‘God-who-lies-by-the-water’),

to identify this shrine being close to water.

This is to differentiate it with the other Anantasayana Vishnu

in the structural temple in the town belonging to a much later period, which is known as Sthalasayana perumal (‘God-who-lies-on-ground’),

to mean that the shrine in inland.

But originally this Perumal was the Sthalasayana Vishnu, sthala here

referring to Vishnu sleeping on the floor, and not on the Ananta serpent.

The sanctum is rectangular to accommodate a reclining figure.

Vishnu is reclining on bare rock, with head to the south, and has two hands.

The sculpture is somewhat crude, by the Pallava standards.

On the southern wall of this shrine is the scene of Gajendra Moksham and

on the north side is a mural of Kaliamardana.

In the next one Krishna in the form of a horse is seen killing an asura.

All these indicate that the temples in this complex are filled with reliefs.

Even in the eroded form all these show great dynamism.

During the Pallava times it would have been a great sight!

Kshatriya-simhesvara (East-facing temple)

This temple is similar to its twin neighbour, but shorter and three-storeyed.

Four bhuta-s can be seen seated at the corners blowing conches on the two floors.

These positions are taken over by Nandi-s in the later Siva temples.

The pilasters on the walls have rearing lion bases, as is characteristic of the Rajasimha temples.

Kshatriya-simhesvara (East-facing temple)

In the sanctum is a Somaskanda panel,

similar to the one in the other shrine,

but smaller and better preserved.

There is a socket cut in the floor, but the lingam is

missing.

On both sides of the temple are inscriptions of Rajaraja.

In the sanctum is a Somaskanda panel,

similar to the one in the other shrine,

but smaller and better preserved.

There is a socket cut in the floor, but the lingam is

missing.

Main Entrance and Maha-mandapam

In front of the west-facing shrine is the maha-mandapam, an open-air mandapam.

In fact the main entrance to the shrines has been from the west.

This is understandable as the east-facing shrine is at the very edge of the sea,

which would have been often unapproachable.

This is a spacious hall with a prakaram.

Time has eaten most, except the basements.

Many sculptures are lost or badly eroded, some of which are placed in this complex.

The inner side of the pakaram wall contained relief sculptures depicting the Pallava history, the other side, of warriors riding lions and were placed on the walls.

Most of these are lost. Whatever could be retrieved is kept along the prakaram walls.

Further west lies the main entrance. Two sculptures are found at the entrance.

One on the southern side is an eka-pada-murti (‘one-legged-deity’): three heads, six arms carrying among other things sula and snake, supported on one leg.

On the west is the naga-raja standing under the hood of a snake with many

heads.

In front of the entrance are three bali-pitha-s, and these contain panegyric sloka-s

in Sanskrit praising Rajasimha.

The entire complex shows the influence of sea over a millennium.

Shore Temples Complex

On the north of the Shore Temples area few, interesting, but intriguing objects:a mini-shrine that has a Siva with his bulland a Varaha, both excellent sculptures.On the base of the Varaha and elsewhereare found some important inscriptions.There is also a cistern with a royalmaiden in relief.

To the north is a lion. Its chest has a niche ofMahishasuramardini sitting on the Buffalo-demon.

Two lovely women, shown on the sides, areguarding the shrine.

Durga is also associated with a lion and deer, the latter, headless now, being sculpted by the side.

The Pallava-s keep us guessing all the time.

Now it is a mini-complex comprising a host of very unusual, miniature

monuments.

Butting the twin temples is a shallow stepped pit, apsidal in shape.

This complex was unearthed only recently.

There are three curios,boar in the round, a small cylindrical shrine and a cistern,and an interesting inscription.

Each of these puzzles us, but fortunately one thing is clear, the ‘atyantakama’ here is

Rajasimha, and this is inscribed here!

Varaha in animal formThe realistic boar is carved out of live rock.This must be Varaha trying to find the feet of Siva,for boar’s snout is rooting downward as in mythology,and whorls and lotus shown between the legs may

represent ocean. Its being carved in the round is also important, as the Pallava-s didn’t sculpt many sculptures in the

round.

There are three important inscriptions on the front of the pedestal, which are titles of Rajasimha, in the Pllava Grantha

script,in the characteristic Pallava calligraphic hand.

The titles inscribed are: in the front are Sri Rajasimhah (‘lion-among-kings’),

Sri Ranajayah (‘victorious-in-battles’) and Sribharah (‘upholder-of-prosperity’), and

one, Sri Chitrakarmmukah (‘wonderful-archer’) on the western flank.

That the same titles in the same order appear in Mamallapuram, Kanchi Kailasanatha Temple and

Talagirisvara Temple in Panamalai, add to their importance.

Very close to the boar, on the inner faces of three upper rim stone slabs

on the south-west side of the wellIs another important inscription.

The same text is repeated in a temple by Rajasimha in Vayalur.

For all the self-praise and after causing a number of shrines for Siva in the complex, why did Rajasimha create this unique image

of an avatara of Vishnu in this complex?

There is a possibility that this image has suffered

vandalism, broken into pieces.

It looks these were collected and

assembled, whose tell-tales marks are visible.

Mini-shrine

To the north of Varaha is another curio,an unusual mini-

shrine dedicated to Siva,

a complete temple in miniature.

The east facing temple,

is cylindrical from bottom to top,and is made of five

parts.

The base is part of the mother-rock.

A ring open on the east is the wall of the shrine,

with four half pillars with lion-riders,

a Rajasimha motif.

The sanctum houses Vinadhara Siva,

sitting on a bull,a very beautiful

miniature idol.

The side walls are Vishnu and Brahma attending on him.

all these miniatures are the unique Pallava contributions.

Time has taken the toll, and

all these wonderful images are badly eroded,

The superstructure has all the components of a regular temple.

Third part is a block placed like a lid,

with chaitya-windowsat the bottom,vyala-s and gana-s

alternating above, and finally,

with a griva with gana-s.

The fourth forms the crown, with four kudu-s.

The last, the stupi, is missing.

We have seen similar mini-shrines shown in relief on the roof of the

Bhima, the Sahadeva and the Ganesa Ratha-

s.

Mini-well

To the north of the mini-shrine, is a small well cut in the mother-rock.

It would have no significance if it did not have a relief image in it.

It is a beautiful goddess or a royal lady

with two female attendants.

This composition is another excellent miniature relief.

Isn’t the entire complex exciting and intriguing?

All these fantastic pieces of spiritual art,seen for the first time, and the last time.

Mini-Durga Temple

A Durga Temple in miniature in the Shore Temples Complex

is another Pallava gift.

Durga seems to be a favourite deity

for the Pallava-s and we have her shrines and

her idol in numerous shrines elsewhere too

in Mamallapuram.

But the composition of this temple is most unusual, even by the Pallava standard.

Watercolour of the Shore Temple, with a palanquin and resting bearers by the shore at Mamallapuram, by George Chinnery, 1802-05.

Shore Temples

Watercolour of the Shore Temple at Mamallapuram, by an anonymous artist, 1784

Shore Temples

'N W View of two ancient Temples by the Seaside. Mahabilipoorum. J. Gantz'. 1825

Shore Temples

From James Fergusson's 'Ancient Architecture in Hindoostan'. 

Shore Temples

Watercolour of a general view of the Shore Temple and beach at Mamallapuram, by Elisha Trapaud, c. 1805

Shore Temples

Shore Temples – a photo in 1890s

To the north of the shrines is a hillockthat has a niche for Durga. On the face of the rock it is the lion which attacksthe demon. Done in low relief this is

a remarkable composition.

To the south, a number of boulders have beensculpted as mini-TigerCave, sitting lion, runninghorse etc.

There is no end to the Pallava riddles!

Shore Temples environs

There is no doubt of the Pallava infatuation for Durga.

On most available rock the Rajasimha sculptors celebrated the Devi.

Here on the northern side another outcrop we have yet another Durga temple.

And it is a Pallava marvel!

Shore Temples environs

It is a small rock-cut Mahishasuramardini temple facing the sea.

Being nearer to the sea and left without protection both nature and vandalaism, this piece of art of yore

would be lost to us in a very short time.

The small cave shrine facing the sea enshrines a relief image of eight-armed Durga.

The doorway is provided with lion-based pilasters, and is guarded by highly eroded female-gatekeepers.

The surprise is on the outside. In low relied the fighting scene, a unique composition,

we see the vahana of Durga mauling the buffalo demon which is running away in agony.

This scene is the only one of its kind; The Pallava sculptor abhorred monotony.

Here is a reproduction of a painting done by a European artist in early 19th century.

This tells you the details that we have lost.

And in the near future, we would lose the remaining too!

To the south, a number of boulders have been sculpted as mini-Tigercave, sitting lion, running horse etc.There is no end to the Pallava riddles!

Shore Temples environs

A few hundred metres south of the Shore Temples along the sand are a few astonishing object d’art.

Among the outcrops, there are three low ones close to each other.

These have been shaped into varieties of shrines.

Interestingly, all of them have models elsewhere, but are not stereotypes of their models.

There are three boulders which had the benefit of the Pallava chisels working on them.

On the extreme left is the mini-tiger cave. which is much smaller, and not so grand

as the original Tiger Cave in Saluvakkuppam.

The boulder itself is far thinner, and couldn’t accommodate any more than a few vyala-heads.

On the extreme right is a slightly bigger boulder,

which has been shaped into a mini-Durga temple

on the chest of a lion.

This has more details.

On the back side of this is sculpted in relief

an elephant with howdah with

an unidentified figure inside it,

like in Saluvakkuppam.

Is it a shrine? If so, is it for Indra or Subrahmanya?

In front of the mini-Durga shrine,on the smallest outcrop, is a couching lion in repose.

All of them are disfigured considerably exposed to the natural elements for

centuries.

One would wonder whether the Pallava-s or their silpi-s

were ‘atyantakama-s’!

Aren’t these quaint? Or crazy?

Olakkanesvara TempleThe Pallava fancy in action, again;constructing a temple on the top of a hill!

This abode for Siva has lost itssuperstructure, and to add to the woe,most of the exquisite sculptures are nowmostly eroded.

Being the tallest point, one can have a view of the sea and around.

Olakkanesvara Temple

This is a very interesting structure,

sadly neglected and unwisely used

for a few centuries in the near past.

Why was a structural temple built

on the top of a hill, we may never know.

Perhaps again the Pallava desire to be fanciful triumphed.

Located on the hill directly above the Mahishasuramardini cave, is approachable by a narrow flight of stairs.

The Temple is without its superstructure and only a few sculptures remains to appreciate the past glory.

Today it looks rather severe, bereft of the Pallava charm.

We don’t know how this temple was called in the Pallava time.

In the 19th century this temple was under worship.

We understand that it was the practice in those days of collecting a measure of oil (Uzhakku-ennai) from the community for the permanent light of this temple.

Thus it came to be called Uzhakku-Ennai-Isvarar Temple.

Olakkaneswra is its corruption is a view.

It is believed that there grew

a banyan tree on its superstructure and this was the reason for its damage.

The rape of the monumentwas not the handy work of nature and the apathy of the people

alone.

The British used this for a light-house in the 19th century till a new one, around

1900,was built.

What a shame, to use acultural signpost for

signaling!

Believed to have been the contribution of the structural-temple poineer, Rajasimha,

has his stamp of rearing-vyala-based pilasters on the four corners of

the garbha-griham and the ardha-mandapam. What we see today just the outer shell of

adi-tala and ardha-mandapam.

The sculptures on the niches and pilasters of the outer walls, though extremely eroded,

give a glimpse of the Pallava art.

There are a few relief sculptures on the outer walls which are still discernable.

On the south is Dakshinamurti, Siva as a teacher, heralding a practice in all Siva temple then on,

Siva as the divine dancer on the eastern wall and finally, on the north side, an exquisite relief of Siva subduing Ravana who had the temerity to lift Mount

Kailasa.

This is the highest point of Mamallai.

It gives a commanding view of the vast stretch of the agricultural fields all around,

dotting Pallava creations here and there, the spread of the Bay of Bengal,

the Shore Temples standing as permanent sentries and the milling crowd, mostly aimless.

Mukundanayanar Temple

Because of the poor quality of work, it is unbelievable that this was caused by the Pallavas.

But the Somaskanda image in the sanctum and a few reliefsculptures on the supersturcture arethe only saving graces!

Mukundanayanar Temple

Because of the poor quality of work, it is unbelievable that this was caused by the Pallavas.

But the Somaskanda image in the sanctum and a few reliefsculptures on the supersturcture arethe only saving graces!

Mukundanayanar Temple

The Mukundanayanar Temple, at the entrance to the town, is an oddity in Mamallapuram, a Pallava drishti-parikaram.

Scholars wonder how the greatest aesthetic Pallava clan could build such an uncouth edifice.

It is a pity, that as an introduction to the treasure of Mamallapuram, it its least attractive;

the architectural elements don’t balance, a very freak un-Pallava shrine by the Pallava-s!

An inscription mentions its name asTiru-makalippa-mudaiyar Temple.

Its importance is not in its architectural features, but because it is the earliest structural temple by Rajasimhaand contains some interesting sculptures.

The material used is reddish granite.

It is different from leptinite used for the Shore Temples and

softer greyish-white granite for Olakkanesvara Temple,

the three Pallava structural temples of Mamallapuaram.

The oblong temple has a pillared ardha-mandapam beyond which is a square garbha-griham. The outer walls contain no sculptures.

Kuta-s, on each on both the floors look incongruous. The upper floor is squarish and plainer, and

the octagonal griva looks rather tall and the sikharam above is correspondingly short.

These give the shrine a squat and unbalanced look.

Added to this is the poor stone-work.

But there is some compensation;there are a few beautiful sculptures.

The sanctum houses a typical Pallava Somaskanda, a beautiful composition.

Also found in the sanctum, a round lingam.

On the griva are also found some beautiful sculptures: Uma-sahita-murti in the east, Dakshinamurti in the south,

Yoga-Narasimha in the west and, finally, Brahma in the north.

'An old ruined Temple about half a mile North of the Village Choultry Mahabilipoorum; from a Sketch by Mr J. Braddock'; 1825

Mukundanayanar TempleMukundanayanar Temple

‘View from the S.E. of a Ruinous Temple buried in the Sand North of the Mavellapooram Rock. Copied by J.S. May, 1819 from the original by J.

Newman.’

Mukundanayanar TempleMukundanayanar Temple