Nearness leads to disenchantment. It is true in the case of many things including visiting historical places of importance close to you. The common refrain is – it is always there to see- a sure recipe for postponing. How many of us have taken time out to see important museums or monuments in the city we live. These are generally meant for excursions during school days and the only memories of such places would be the pranks on the bus ride or the ice-cream you had. Mahabalipuram, Mamallapuram or Mahabs for youngsters zipping past on bikes is popular for its beach. It is unlikely that many grown-ups and children alike in Chennai would have seen the architectural masterpieces of Mamallapuram in detail. Yet, it is a UNESCO World Heritage Site, just about 60 kms and an hour’s drive south of Chennai on the scenic East Coast Road running parallel to the sandy beaches of the beautiful Bay of Bengal. The recent World Chess Championships has shone the light on this remarkable place.
There were four main kingdoms in South India – Cheras of present day Kerala, Pallavas with their capital at Kancheepuram, Cholas with capital at Thanjavur and Pandyas at Madurai.
In terms of architecture, Pallavas were the very first to experiment with hard granite, a medium not easy to work on. They pioneered cave temple architecture with open air bas relief and monolith works during the seventh-ninth centuries. The Pallava king Narasimhavarman is mainly credited for the architectural marvels of Mamallapuram.
At first sight, one wonders whether it was some sort of an open-air art studio where several experiments on a gigantic scale were in progress. Sculptures, with varying stages of completion lend credence to this belief.
The sites to visit are spread over a large area that would confuse the uninitiated with sequencing and time management. It is best to go with a good guide (which looked difficult) as otherwise one would be unable to appreciate the finer aspects of the architecture. I was fortunate to be in a group which was taken by Tamil Heritage Trust. They are committed to the cause of propagating the history and architecture of Mamallapuram with professional guides, well trained, including in epigraphy.
The heritage site, maintained by Archeological Survey of India (ASI), opens quite early at 6 a.m. which is the best time to visit as one can avoid the crowd and the harsh sun, approaching noon. The added advantage is to view the sun rise. The ticket counter houses a good collection of ASI’s booklets on various UNESCO Heritage Sites of India. The first stop was at the Five Rathas.
The Panchapandava Rathas (Chariots) are a classic example of an open-air craftsmen village where different forms of single-stone carvings (monoliths) have been crafted by the Pallavas. The five Rathas have been carved out of hillocks and the form and styles are distinct. The Draupadi Ratha which is the first to the left as one enters has a hut type of roof, devoid of vimana. With Dwarapalakas (sentries) on either side, goddess Durga resides inside the sanctum.
The striking feature is a devotee in sitting posture with a sword, seen above, cutting the neck in an act of extreme self-sacrifice.
The next ratha is the Arjuna ratha. The roof is square, followed by a pyramid and an octagonal top. The deity inside is missing. The walls have some fine sculptures of Indra atop an elephant (also interpreted as Kartikeya). To the right of Indra are two beautiful ladies and to the left is a rishi with his faithful disciple as seen below.
The south wall depicts Shiva languidly resting on His vehicle, the bull. There are two exquisitely carved royal couples on either side with head gears and finery.
Arjuna Ratha is followed by Bhima Ratha with a wagon roof, completely different from the first two. Here again, the deity inside is unknown. The mythical lion or vyalas are found on the pillars here. There are five arches on the roof.
The southern most ratha which is the largest is the Dharmaraja Ratha. This temple has inscriptions and is considered to be the model on which later temples of South India were constructed. The temple is three-tiered. The top tiers are complete but the lower one is incomplete. The staircase is available from the second to the third tier, but is not completed from first to the second.
The side walls are adorned by Shiva, Brahma and Vishnu as also the Ardhanareeswarar brilliantly portrayed with subtle differences bringing out the masculine and feminine features.
The Nakula and Sahadeva Ratha below is to the side of Arjuna Ratha and the roof is again of a different style, that of apsidal or U-shaped. The varying roof types of the five rathas speak volumes of the experimentation conducted by the Pallavas. As if to reinforce the style, there is a huge monolithic elephant, which one can say is the mascot of Mamallapuram, with its back exactly resembling the roof of the Nakula and Sahadeva Ratha. This shows the inspiration the sculptors took from all living forms.
After a good look at the rock cut sculptures and monoliths, it is time to head to the awe inspiring open air bas relief of Arjuna’s Penance. It is a wide angle canvas on a sheer rock face where the craftsmen have chiseled, end to end, a kaleidoscope of characters from the puranas. The 3D effect, with images popping up is mesmeric. The wide panel is more than 30 metres (100 ft) long and 12 metres (40 ft) high, an incredible size for an art canvas by any standards.
Ancient Indian history is always subject to interpretation as there are no written records. The mega open air Arjuna’s penance as it is popularly referred to is also interpreted as Bhagiratha’s penance. The central character is an emaciated person with exposed rib cages standing on one leg in extreme tapas. If it were to be taken as Arjuna, then his penance was to get the Pasupata astra from Lord Shiva to vanquish the Kauravas. If it were to be Bhagiratha, then his severe tapas was to propitiate Brahma and erase the curse to his forefathers by bringing down Ganga to the earth. Lord Shiva, larger than the tapasvi, is seen to the left, granting the boon.
The panel abounds with scenes like brahmins taking bath and a shrine of Vishnu with an ascetic bent in deep meditation. One can also see celestial beings like Gandharvas, Siddhas and Kinnaras floating. Sceneries of forest with wild animals abound. The cleft in between the rocks is where Ganga appears to descend with Nagas.
The majestic elephant of 15 feet with its herd in attendance is a masterpiece. The hypocritical cat to the left of the elephant is also a classic. The cunning cat pretends to mimic the ascetics on one leg, lulls the mice to surround it and even pray at his feet ! The detailing in this wide open-air canvas would take at least half an hour to appreciate in full.
Adjacent to the gigantic open air bas relief of Arjuna’s penance is the Govardhana Mandapam which depicts the story of Lord Krishna through exquisite sculpting.
The panel above shows Krishna effortlessly lifting the Govardhana mountain with his left hand and saving the pastoral community from the fury of Nature induced by Indra. Balarama, brother of Krishna is to his right with his arm around a commoner who is seen squirming with folded hands. The pastoral scene is well captured below with one milking the cow and a lady carrying milk produce in her hands.
The sculpture above is again a gem with Krishna playing melodious music on his flute and a lady totally lost in a trance, unmindful of the child dropping off her hip.
The east facing Shore Temple below is by the beach of Mamallapuram and largely eroded by the salty air. The temple was buried in sand and excavated by a Britisher Colin Mackenzie. The well maintained lawns of ASI and the blue sky and waters make the temple a fascinating sight.
The Sanctum of the Eastern temple is Shiva which is broken but there is a beautiful sculpture of Somaskandan where one can see Shiva and Parvathi along with son Skanda in between. There is a mini shrine for Lord Shiva by the side of the main temple.
The Lion temple below is a huge monolith of a lion with a scooped up square with Goddess Durga residing within.
The Shore Temple complex has a temple with reclining Vishnu known as Jalasayana Perumal, the lord residing by the water, which is under lock and one has to peer through a grilled door.
There are a number of cave shrines dotting Mamallapuram and prominent among them is the Mahishasura Mardini Mandapam, carved out of a hill.
The Mahishasura Mardini panel is probably the best of the sculptures in terms of poetry in motion with fine detailing. It is bewitching to see the calm, yet confident countenance of the Goddess riding a fierce lion in forward motion as also the fear in the demon’s eye, cowering and retreating in utter despair. One can also almost hear the twang of the bow as Goddess Durga vanquishes the demon. The fluidity of war is brilliantly brought out with great finesse.
Opposite the Durga panel is the Anantasayana Vishnu. Exquisitely carved with the Lord’s head resting on the five-headed hood of a serpent, He is in a deep, peaceful sleep. At the feet of Mahavishnu is Bhudevi. The indentations in the sculpture stand out splendidly.
Amidst several cave excavations, yet another exceptional one is that of the Varaha Mandapanam. Vishnu, in this avatara takes the form of a wild boar and rescues Bhudevi from a deluge. He delicately holds Her in His lower hand with a foot on top of the hood of a serpent. The ecstasy in Devi’s face is well depicted as is the tenderness with which she is handled.
The Varaha Mandapam also has the beautiful Gajalakshmi panel. The Goddess Lakshmi is sitting on a lotus throne with the protrusion brought out brilliantly. The elephants take turns in pouring holy water over Her and the attendants are ready with the water jugs.
One more side of the Varaha Mandapa has this well chiselled, clearly defined Trivikrama below. Vishnu, in this avatar, also known as Vamana avathar, took the form of a dwarf to vanquish Mahabali by asking for a small piece of land to be measured in three steps. The arrogant Mahabali gave away the land derisively and found to his chagrin that the dwarf assumed gigantic proportions and after measuring the earth, lifts up his leg to reach for the heavens which is so clearly depicted in the sculpture below. The third step is on Mahabali’s head which can be seen. The celestial bodies surrounding the Lord in awe is brought out distinctively.
The Varaha Mandapam also houses Durga in standing position with a parasol above. With four dwarfs surrounding and two devotees sitting, one of them can be seen having a sword on the right hand and grasping the hair with the left in an act of suicide which was seen earlier in the Draupati ratha in the Panchapandava enclosure. This seems to be a ritual practiced in those days.
The Olakkaneswara temple below is on a hillock which is the highest point of Mamallapuram and from where one can have a bird’s eye view of the Shore Temple. The British used this as a light house unmindful of its significance till a new one was built around 1900. It is actually Uzhakku-ennai ( a measure of oil) – Isvara temple which used to be collected for lighting a permanent lamp atop and which has morphed into Olakkaneswara temple.
There is more to Mamallapuram, one of which is known as the Butter Ball which is a natural phenomenon where a huge boulder is precariously poised and a favourite spot for visitors to take selfies and photos, Atlas style.
A few kilometers enroute Mamallapuram from Chennai is the tiger caves. Calling them tiger caves is a misnomer as it is actually the mythical lion known as Vyala. This open air amphitheatre must have been a place for dance or a resting place for the kings.
Mamallapuram is dotted with many more wonderful mandapas with sculptures like the Ganesha Ratha, Adi Varaha Mandapam etc.
It is mind blowing to imagine such works of art about 1,400 years ago which has stood the test of time and ravages of Nature, including tsunamis. It must be on the “to-see” list of every resident of Chennai in particular and Indians in general. Foreigners seem to be more aware of our treasures than us, which is a pity.
Mahab is fab!
Damvilram Photo Blog 
Marvelous, awesome picture describing Pallava architecture which seems later period to Ellora caves but here detailing is more finer.
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Thanks a lot
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I have been to Mahabalipuram a number of times but have not yet come across a writeup on the marvels there with photos like this. Superb pictures and I am in awe of your writing style too! Mahab is indeed, fab! Must reading for those planning to go there.
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Thanks Nathan. Glad you liked it
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