Mahabalipuram Monuments - Part 3 (Rathas)
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Feb 10, 2011
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About This Presentation
The Pallavas contributions to temple architecture are many, of which conceiving temples sculpted out of single blocks of stone would remain the most important. There are as many as eight in Mamallapuram, each of which has certain special features. The Panch-pandava group is the most important, in wh...
Slide Content
Single-stone rathas
Ratha-s are the cynosure of Mamallapuram.
They are made out of single living rock and
hence are called monoliths (‘one-stone’).
Each is a complete temple.
We may even say that they are
sculptured replicas of temples ‘in the round’.
Ratha-s are the cynosure of Mamallapuram.
They are made out of single living rock and
hence are called monoliths (‘one-stone’).
Each is a complete temple.
We may even say that they are
sculptured replicas of temples ‘in the round’.
Single-stone rathas
The Pallava-s are the pioneers in
this branch of temple architecture.
And for reasons unknown to us,
even the Pallava-s have not attempted
ratha-s outside Mamallapuram.
The Pallava-s are the pioneers in
this branch of temple architecture.
And for reasons unknown to us,
even the Pallava-s have not attempted
ratha-s outside Mamallapuram.
Single-stone rathas
There are nine of them in various locations.
The group called Panchpandava Ratha-s is
the most important.
There is one more in the main complex,
called Ganesa Ratha.
There are three in the outskirts:
the two Pidari Ratha-s and the Valaiyankuttai Ratha.
Apart from these there are a few where work
had been abandoned immediately
after the starting of the excavation.
One cannot but wonder why did they make
so many and in so scattered places.
There are nine of them in various locations.
The group called Panchpandava Ratha-s is
the most important.
There is one more in the main complex,
called Ganesa Ratha.
There are three in the outskirts:
the two Pidari Ratha-s and the Valaiyankuttai Ratha.
Apart from these there are a few where work
had been abandoned immediately
after the starting of the excavation.
One cannot but wonder why did they make
so many and in so scattered places.
Single-stone rathas
The Pallava-s revelled in variety.
There are three different forms in plan:
square, like the Dharmaraja Ratha
oblong, like the Bhima Ratha and
apsidal, (the Sahadeva Ratha).
There is variety in superstructure too:
pyramidal with octagonal crown
like the Dhahramrja Ratha
pyramidal with square crown
like the Pidari Ratha
wagon-roofed like the Bhima Ratha
hut-roofed like the Draupati Ratha
The Pallava-s revelled in variety.
There are three different forms in plan:
square, like the Dharmaraja Ratha
oblong, like the Bhima Ratha and
apsidal, (the Sahadeva Ratha).
There is variety in superstructure too:
pyramidal with octagonal crown
like the Dhahramrja Ratha
pyramidal with square crown
like the Pidari Ratha
wagon-roofed like the Bhima Ratha
hut-roofed like the Draupati Ratha
Single-stone rathas
On sculpting monoliths
Unlike building structural temples,
causing monoliths is fundamentally sculpting.
The sculptor working in situcannot afford
to make ‘any’ mistake.
Should there be a mistake, like chipping of a nose,
the work will have to be abandoned.
On sculpting monoliths
Unlike building structural temples,
causing monoliths is fundamentally sculpting.
The sculptor working in situcannot afford
to make ‘any’ mistake.
Should there be a mistake, like chipping of a nose,
the work will have to be abandoned.
Single-stone rathas
On sculpting monoliths
It was difficult to work in certain postures.
The sculptor may have to stand, squat or crawl
precariously on a rickety scaffold.
This may explain why, in many cases, the foot portions
are generally incomplete.
On sculpting monoliths
It was difficult to work in certain postures.
The sculptor may have to stand, squat or crawl
precariously on a rickety scaffold.
This may explain why, in many cases, the foot portions
are generally incomplete.
Pancha-pandava rathas
Visiting the Pancha-pandava Ratha-s
would be an unforgettable experience.
Visiting the Pancha-pandava Ratha-s
would be an unforgettable experience.
In this seemingly
disorderly conglomeration
of sculptural forms of
varied shapes and sizes,
is a part of a grand design.
These are carved out of
two hillocks,
which lie north-south.
disorderly conglomeration
of sculptural forms of
varied shapes and sizes,
is a part of a grand design.
These are carved out of
two hillocks,
which lie north-south.
The tallest Dharmaraja Ratha and the Arjuna Ratha have eight-sided top,
the Bhima Ratha is wagon-shaped, the Draupati Ratha is hut-like
and the Sahadeva Ratha is apsidal. This variety is astounding and the
over all effect is enchanting.
Three free-standing animals -an elephant, a lion and a bull -are the
hallmark of the Pallava craftsmanship
the Bhima Ratha is wagon-shaped, the Draupati Ratha is hut-like
and the Sahadeva Ratha is apsidal. This variety is astounding and the
over all effect is enchanting.
Three free-standing animals -an elephant, a lion and a bull -are the
hallmark of the Pallava craftsmanship
Each one of the ratha-s is of different form;
this enables us to study the development of temple architecture
These are all unfinished in various degrees;
this helps us following their sculpting techniques.
this enables us to study the development of temple architecture
These are all unfinished in various degrees;
this helps us following their sculpting techniques.
‘Sculpting’ of monoliths has to start from the top.
This can be seen in the Dharmaraja Ratha,
where the third level is almost finished,
the second level less finished, and
the ground the least.
This can be seen in the Dharmaraja Ratha,
where the third level is almost finished,
the second level less finished, and
the ground the least.
Let us see how the rathas looked in the last few centuries,
when they were lying neglected by us,
but attracted the attention of the Europeans.
when they were lying neglected by us,
but attracted the attention of the Europeans.
A photo by Alexander Rea 1880
Drawing for the aquatint by the Daniells, 1799
Sculptured Rocks, At Mavalipuram, On The Coast Of Coromandel
Thomas & William Daniell, 1799
Thomas & William Daniell, 1799
Mahavellipore.The Five Raths; from James Fergusson’s book
'Illustrations of the Rock Cut Temples of India'.
'Illustrations of the Rock Cut Temples of India'.
Water colour: 'North View of the 5 Pagodas about one mile south of
Mahabilipoorum showing also a Lion and Elephant, the latter as large as life, the
former larger, the whole cut sculptured from solid Granite stones –from a Sketch
by Mr J. Braddock. J. Gantz'.
Mahabilipoorum showing also a Lion and Elephant, the latter as large as life, the
former larger, the whole cut sculptured from solid Granite stones –from a Sketch
by Mr J. Braddock. J. Gantz'.
Pinnacle of achievement of
the Pallava sthapati, stands tallest,
and has three levels.
Along with its Dravida shikhara
is a visual treat.
There are sculptures and
those on the higher levels are
iconographic delight.
This is the only ratha containing
inscriptions, of which some
are important.
Dharmaraja ratha
the Pallava sthapati, stands tallest,
and has three levels.
Along with its Dravida shikhara
is a visual treat.
There are sculptures and
those on the higher levels are
iconographic delight.
This is the only ratha containing
inscriptions, of which some
are important.
Dharmaraja ratha
This ratha, dedicated to Siva,
is the pinnacle of achievement of the
Pallava stapati-s,
of their controlled artistry.
Its shape is exquisite, and
it is a magnificent sight,
even though it is incomplete.
The shrine has quite
a few exclusive features.
The rathahas three floors,
the only rathadesigned to have
a shrine in each level.
is the pinnacle of achievement of the
Pallava stapati-s,
of their controlled artistry.
Its shape is exquisite, and
it is a magnificent sight,
even though it is incomplete.
The shrine has quite
a few exclusive features.
The rathahas three floors,
the only rathadesigned to have
a shrine in each level.
The sanctum on the top floor contains
a Somaskanda relief sculpture
on the back wall.
It is the only ratha
that contains inscription,
mostly label inscriptions.
One of them calls the shrine as
Atyantakama-Pallavesvara-Griham.
This would mean that it is
caused by Atyantakama.
Who is this Atyantakama is
a subject of controversy.
a Somaskanda relief sculpture
on the back wall.
It is the only ratha
that contains inscription,
mostly label inscriptions.
One of them calls the shrine as
Atyantakama-Pallavesvara-Griham.
This would mean that it is
caused by Atyantakama.
Who is this Atyantakama is
a subject of controversy.
Its architectural embellishments,
including the crowning glory,
the crown, are a visual treat.
In the sculptures the sculptors have
some exquisite icons of
the Tamil country.
Both the architecture and
the sculptures
are perfectly balanced.
This perhaps provided a model for
all the shrines in the region,
which can boast of some of
the greatest shrines.
including the crowning glory,
the crown, are a visual treat.
In the sculptures the sculptors have
some exquisite icons of
the Tamil country.
Both the architecture and
the sculptures
are perfectly balanced.
This perhaps provided a model for
all the shrines in the region,
which can boast of some of
the greatest shrines.
Originally intended to have a shrine in each floor, the ground floor is
incomplete and the steps to reach the upper level has not been made.
But one can go from the second level to the higher.
incomplete and the steps to reach the upper level has not been made.
But one can go from the second level to the higher.
The basic plan is square
but the neck and the crown
are octagonal.
The basement is not finished.
At the ground floor level we
see the ardha-mandapam
and its two pillars and
two half-pillars,
all vyala-based in various
stages of incompletion.
On the two ends on each
face we see two life-size
relief statues.
but the neck and the crown
are octagonal.
The basement is not finished.
At the ground floor level we
see the ardha-mandapam
and its two pillars and
two half-pillars,
all vyala-based in various
stages of incompletion.
On the two ends on each
face we see two life-size
relief statues.
Let us go around the gallery at the ground level
There are a number of similarities among these relief sculptures.
Posture
All are marked by a static pose,
the sthanaka pose in sama-bhanga and sama-pada,
the pose in which they would be depicted
if they are to be worshipped as in the icons in the sanctum.
Most of them have right hand in abhaya-mudra
and their lower left hand on the hip (katyavalambita hasta)
All are marked by a static pose,
the sthanaka pose in sama-bhanga and sama-pada,
the pose in which they would be depicted
if they are to be worshipped as in the icons in the sanctum.
Most of them have right hand in abhaya-mudra
and their lower left hand on the hip (katyavalambita hasta)
The other is a tight garment,
kaupina-like.
Mostly these are secured by waist-band (kati-bandha),
some times along with a loose waist-girdle (kati-srinkhala)
and also a flat cummerbund (udara-bandha).
One is a skirt-like worn in
the kachcha
Dress
The lower garments shown are of two types.
kaupina-like.
Mostly these are secured by waist-band (kati-bandha),
some times along with a loose waist-girdle (kati-srinkhala)
and also a flat cummerbund (udara-bandha).
One is a skirt-like worn in
the kachcha
Dress
The lower garments shown are of two types.
The sacred-thread would be seen
as a rolled piece of cloth (vastra yajnopavita) or
in strands (sutra yajnopavita),
worn in the normal (upavita) style or
with the lower end passing over the right hand,
called nivitafashion.
The vastra yajnopavitais very often found to be with clasps.
as a rolled piece of cloth (vastra yajnopavita) or
in strands (sutra yajnopavita),
worn in the normal (upavita) style or
with the lower end passing over the right hand,
called nivitafashion.
The vastra yajnopavitais very often found to be with clasps.
Headdress
Siva would have jata-makutaand
all others may be portrayed with makuta-s,
mostly karanda-makutaor kirita-makuta.
Siva would have jata-makutaand
all others may be portrayed with makuta-s,
mostly karanda-makutaor kirita-makuta.
Ornaments
Unlike that became to be a fashion later,
most icons have very scanty ornaments over the body.
Kanthikais the common neck ornament.
Some of the icons are decorated
with bangles (kankana-s and valaya-s).
The ear ornaments are of two kinds;
one is a makara-kundala-s, mostly,
hanging from a distended ear-lobe, and
the other is patra-kundala-s.
It is interesting to note that we come across
with images with different kundala-s on the two ears,
which is seen all over Mamallapuram.
Unlike that became to be a fashion later,
most icons have very scanty ornaments over the body.
Kanthikais the common neck ornament.
Some of the icons are decorated
with bangles (kankana-s and valaya-s).
The ear ornaments are of two kinds;
one is a makara-kundala-s, mostly,
hanging from a distended ear-lobe, and
the other is patra-kundala-s.
It is interesting to note that we come across
with images with different kundala-s on the two ears,
which is seen all over Mamallapuram.
West face-North
West face-South
Siva
Wearing jata-makuta,
holds a serpent in one hand and
a kamandaluon the other.
His lower garment in kaccha fashion is unusual;
so is both the upper hands that are hanging down.
Siva, perhaps as, Bhairava
In kaupina-like lower garment,
holding a deer on his left hand
and rosary on the right hand,
with a snake coiling around his thighs
raising its hood on his left
West face-South
Siva
Wearing jata-makuta,
holds a serpent in one hand and
a kamandaluon the other.
His lower garment in kaccha fashion is unusual;
so is both the upper hands that are hanging down.
Siva, perhaps as, Bhairava
In kaupina-like lower garment,
holding a deer on his left hand
and rosary on the right hand,
with a snake coiling around his thighs
raising its hood on his left
North face-East
North face-West
Brahma
Four-headed,
upper right and left hands holding lotus buds.
Harihara,
A composite figure,
a iconographic feat of depicting two dissimilar deities.
Siva’s with jata-makuta on the right,
cylindrical crown of Vishnu on the left.
Siva holds an axe in the upper right hand,
and the lower right is in abhaya mudra.
A snake coils out from the waist
on Siva's side.
The Vishnu part must have had
a conch shell,
and holds a discus on the upper hand.
North face-West
Brahma
Four-headed,
upper right and left hands holding lotus buds.
Harihara,
A composite figure,
a iconographic feat of depicting two dissimilar deities.
Siva’s with jata-makuta on the right,
cylindrical crown of Vishnu on the left.
Siva holds an axe in the upper right hand,
and the lower right is in abhaya mudra.
A snake coils out from the waist
on Siva's side.
The Vishnu part must have had
a conch shell,
and holds a discus on the upper hand.
East face-South
East face-North
Ardhanari
This is an exquisite modeling of
a perfect balance of the feminine
and the masculine features and
a graceful poise.
The droop in the shoulder,
broad shoulder of the Siva half
are prominent features.
Its upper hand, of Parvati resembles
swaying trunk of an elephant.
The mukuta also is a combination of
jata-mukuta and karanda-mukuta
Subrahmanya
On this corner is a four-armed Subrahmanya.
It is a youthful figure with the upper right hand holding
an aksha-malaandthe upper left a lotus.
East face-North
Ardhanari
This is an exquisite modeling of
a perfect balance of the feminine
and the masculine features and
a graceful poise.
The droop in the shoulder,
broad shoulder of the Siva half
are prominent features.
Its upper hand, of Parvati resembles
swaying trunk of an elephant.
The mukuta also is a combination of
jata-mukuta and karanda-mukuta
Subrahmanya
On this corner is a four-armed Subrahmanya.
It is a youthful figure with the upper right hand holding
an aksha-malaandthe upper left a lotus.
South face-East
East face-North
Narasimha Pallava
A majestic royal figure with
tapering crown and royal regalia;
heavy gold earrings,
a jewelled necklace,
garland of strands of pearls
worn like yajnopavita,
a jewelled stomach-band, and
three gold bracelets on each wrist,
familar garment, but not special.
Siva
Having jata-makuta, holding an axe
on his upper right hand and, perhaps,
aksha-malaon the upper left hand,
his dress similar to that of
Subrahmanya in the adjacent niche.
East face-North
Narasimha Pallava
A majestic royal figure with
tapering crown and royal regalia;
heavy gold earrings,
a jewelled necklace,
garland of strands of pearls
worn like yajnopavita,
a jewelled stomach-band, and
three gold bracelets on each wrist,
familar garment, but not special.
Siva
Having jata-makuta, holding an axe
on his upper right hand and, perhaps,
aksha-malaon the upper left hand,
his dress similar to that of
Subrahmanya in the adjacent niche.
A number of royal titles in the Pallava Grantha script
are inscribed above most of the figures. Here are a few samples.
Srimegha Trailokyavardhana
Atyantakama AnekobhayaSrinarasimha Bhuvanabhajanaj
Pridhivisara Sridhara
are inscribed above most of the figures. Here are a few samples.
Srimegha Trailokyavardhana
Atyantakama AnekobhayaSrinarasimha Bhuvanabhajanaj
Pridhivisara Sridhara
The horizontal
superstructure above
is complete.
The curved horizontal
member is
decorated with
a number of kudu arches.
Below that is a frieze of
bhuta-gana-s.
Above the cornice are
human beings and
lions and monkeys,
in the pose of namaskaram.
superstructure above
is complete.
The curved horizontal
member is
decorated with
a number of kudu arches.
Below that is a frieze of
bhuta-gana-s.
Above the cornice are
human beings and
lions and monkeys,
in the pose of namaskaram.
On the first storey,
on the outer side
is a series of mini-shrines,
which became
the standard ornamentation
in temples later.
Between these and the walls
is a circumbulatory corridor.
on the outer side
is a series of mini-shrines,
which became
the standard ornamentation
in temples later.
Between these and the walls
is a circumbulatory corridor.
On the niches of the wall
inside are
some excellent figures,
some of which are
just visible.
inside are
some excellent figures,
some of which are
just visible.
Let us look at the very enterprise:
working on the most difficult material,
with rudimentary tools, cramped space and
with inconvenient working postures
what the sculptors have achieved
is truly astounding:
Some introduction is in order to appreciate the sculptures
in the upper two floors
figures that are youthful, full of vigour,
devoid of contrived movement,
with emphasis on clear outlines and
with very few ornaments that don’t distract
a superlative spiritual art appear
for the first time in the Tamil country,
and . . . . the last time
working on the most difficult material,
with rudimentary tools, cramped space and
with inconvenient working postures
what the sculptors have achieved
is truly astounding:
Some introduction is in order to appreciate the sculptures
in the upper two floors
figures that are youthful, full of vigour,
devoid of contrived movement,
with emphasis on clear outlines and
with very few ornaments that don’t distract
a superlative spiritual art appear
for the first time in the Tamil country,
and . . . . the last time
Full of feeling (bhava)
from benign (saumya) to malevolent (ugra),
in variety of postures,
ranging from samabhanga, dvibhanga,
tribhangato atibhanga,
and covering the whole gamut from frontal to profile
looking as if emerging out of the walls with gusto,
make these animated figures
some of the best this culture produced.
Their varied iconography, forms and poses
make them important
in the study of Indian sculptures.
These compare well with those in the Arjuna Ratha
in the same complex and
those in the Great Penance panel.
from benign (saumya) to malevolent (ugra),
in variety of postures,
ranging from samabhanga, dvibhanga,
tribhangato atibhanga,
and covering the whole gamut from frontal to profile
looking as if emerging out of the walls with gusto,
make these animated figures
some of the best this culture produced.
Their varied iconography, forms and poses
make them important
in the study of Indian sculptures.
These compare well with those in the Arjuna Ratha
in the same complex and
those in the Great Penance panel.
There are more than forty reliefs:
Fourteen forms of Siva,
as slayer of evil, a benefactor of devotees,
as player and teacher of music and dance,
and composites, like Harihara and Srdhanari.
Other deities are Vishnu, Subrahmanya, Brahma,
Surya and Chandra.
Human beings are well represented,
which includes, interestingly
members of temple establishment:
priest, his assistant, temple-cook and temple singer.
Fourteen forms of Siva,
as slayer of evil, a benefactor of devotees,
as player and teacher of music and dance,
and composites, like Harihara and Srdhanari.
Other deities are Vishnu, Subrahmanya, Brahma,
Surya and Chandra.
Human beings are well represented,
which includes, interestingly
members of temple establishment:
priest, his assistant, temple-cook and temple singer.
Now let us go around the gallery of the Pallava sculpture
in the second level.
in the second level.
Dharmaraja Ratha
Sculptures –II Level
The level is a wonderful gallery of icons,
which became models for later icons.
Many of them carry titles of the builder.
Showing temple staff
(above) is unusual.
Sculptures –II Level
The level is a wonderful gallery of icons,
which became models for later icons.
Many of them carry titles of the builder.
Showing temple staff
(above) is unusual.
Siva as a divine beggar
is seen carrying
a human skull for a begging bowl,
a pasa, a trisula and a staff
on the right shoulder
on which hangs the dead body
Vishvaksena.
With the right foot kept slightly
forward and alert,
this is a typical Pallava icon.
One can see a slight change
in the depiction of nose,
from a flat Pallava nose a sharper one,
a precursor to the later Chola bronzes.
Kankala-murti
West face
is seen carrying
a human skull for a begging bowl,
a pasa, a trisula and a staff
on the right shoulder
on which hangs the dead body
Vishvaksena.
With the right foot kept slightly
forward and alert,
this is a typical Pallava icon.
One can see a slight change
in the depiction of nose,
from a flat Pallava nose a sharper one,
a precursor to the later Chola bronzes.
Kankala-murti
West face
A graceful devotee walks towards the
shrine carrying a holy water for
puja.
Postured in tribhangasuggests her
moving towards the sanctum with
careful gait.
Her features, bust, hip, legs etc, her
almost diaphanous skirt, and
unobtrusive, but significant, ornaments,
karanda-makuta, patra-kundala-s,
anklets on both legs,
make her an important creation of the
Pallava sculptors.
She is the only female in this shrine.
Woman devotee
West face
shrine carrying a holy water for
puja.
Postured in tribhangasuggests her
moving towards the sanctum with
careful gait.
Her features, bust, hip, legs etc, her
almost diaphanous skirt, and
unobtrusive, but significant, ornaments,
karanda-makuta, patra-kundala-s,
anklets on both legs,
make her an important creation of the
Pallava sculptors.
She is the only female in this shrine.
Woman devotee
West face
One of the earliest Pallava depictions,
Siva stands graceful,
holding his rod-like vina
close to his chest and
is playing attentively,
as can be seen from his lowered head.
Elsewhere we may find
Vinadhara Siva in sitting posture
Vinadhara Siva
North face
Siva stands graceful,
holding his rod-like vina
close to his chest and
is playing attentively,
as can be seen from his lowered head.
Elsewhere we may find
Vinadhara Siva in sitting posture
Vinadhara Siva
North face
Siva as Natarja is very common,
but Siva instructing his foremost
disciple, Tandu, who gave
the name Tandava to the art, is rare.
The student is a personification of
guru-bhaktiand dedication,
who is attempting early steps
under guru’s watchful eye.
Siva as teacher of dance
North face
but Siva instructing his foremost
disciple, Tandu, who gave
the name Tandava to the art, is rare.
The student is a personification of
guru-bhaktiand dedication,
who is attempting early steps
under guru’s watchful eye.
Siva as teacher of dance
North face
A separate shrine for oneself is
what one would earn for
unflinching devotion to the Lord,
and a pilgrimage to a Siva shrine
would not be complete
without paying respects
to Chandikesvara.
His rare devotion is rewarded
by a warm embrace of
Tenderness from the Lord.
Siva’s countenance is benign and
that of the devotee is of utmost
gratitude, devotion and
total submission to the lord.
Chandesanugraha Siva
North face
what one would earn for
unflinching devotion to the Lord,
and a pilgrimage to a Siva shrine
would not be complete
without paying respects
to Chandikesvara.
His rare devotion is rewarded
by a warm embrace of
Tenderness from the Lord.
Siva’s countenance is benign and
that of the devotee is of utmost
gratitude, devotion and
total submission to the lord.
Chandesanugraha Siva
North face
Gangadhara is a favourite motif for
the Pallava-s.
In this lovely portrayal
Siva is seen holding Ganga
while she descends.
Ganga on his upper, left hand,
aksha-malain the upper right,
lower right in mushti-hastaposture
and palms of lower left
suggesting anugraha,
is a stately Siva as Gangadhara
in tribhanga.
Ganga is seen adoring.
Siva as Gangadhara
North face
the Pallava-s.
In this lovely portrayal
Siva is seen holding Ganga
while she descends.
Ganga on his upper, left hand,
aksha-malain the upper right,
lower right in mushti-hastaposture
and palms of lower left
suggesting anugraha,
is a stately Siva as Gangadhara
in tribhanga.
Ganga is seen adoring.
Siva as Gangadhara
North face
Vishnu is resplendent in his royal
attire.
His mount, identified by the beak-
like nose, is as a youthful
person.
The submissive Garuda
resting his left palm on his knee,
ready to bear the lord,
who is holding him with vatsalya.
The sculptor could create
a masterpiece in the narrow
confine available to him.
Vishnu with Garuda
North face
attire.
His mount, identified by the beak-
like nose, is as a youthful
person.
The submissive Garuda
resting his left palm on his knee,
ready to bear the lord,
who is holding him with vatsalya.
The sculptor could create
a masterpiece in the narrow
confine available to him.
Vishnu with Garuda
North face
Dancing in chatura pose on
demon Kala,
deer in upper right hand,
trisulain upper left,
parasuin lower right and
lower left pointing at the demon,
the right leg firm on the ground
and the left raised to attack
Siva’s action is palpable.
The vanquished Kala with two
small tusk-like teeth
projecting on the corners of mouth
is a pitiable picture.
Siva as Kalarimurti
North face
demon Kala,
deer in upper right hand,
trisulain upper left,
parasuin lower right and
lower left pointing at the demon,
the right leg firm on the ground
and the left raised to attack
Siva’s action is palpable.
The vanquished Kala with two
small tusk-like teeth
projecting on the corners of mouth
is a pitiable picture.
Siva as Kalarimurti
North face
Rishabhantika, in a relaxed
tribhanga pose is an exquisite
composition.
His matted hair is made into
a turban with a jewel on its top.
The lower left hand,
resting on his hip,
has the third and thumb folded;
his lower right hand kept elegantly
on the hump of the bull.
The lively bull is looks enjoying
the presence and caressing of his
master.
North face
Siva as Rishabhantika
tribhanga pose is an exquisite
composition.
His matted hair is made into
a turban with a jewel on its top.
The lower left hand,
resting on his hip,
has the third and thumb folded;
his lower right hand kept elegantly
on the hump of the bull.
The lively bull is looks enjoying
the presence and caressing of his
master.
North face
Siva as Rishabhantika
East face is unusual for a few temple staff are depicted here.
For once we get an idea how common people looked like
fourteen centuries ago!
For once we get an idea how common people looked like
fourteen centuries ago!
A temple staff, maintained
by temples even today,
is seen strumming a vina.
The right hand and his facial
expression indicate
that he singing enraptured.
His simple dress and
his matter hair make that
he does not belong to well-to-do
section of the society.
Temple singer
West face
by temples even today,
is seen strumming a vina.
The right hand and his facial
expression indicate
that he singing enraptured.
His simple dress and
his matter hair make that
he does not belong to well-to-do
section of the society.
Temple singer
West face
We now meet the cook of the
temple in a demeanour
very similar to temple cooks
of present day.
He carries food on the right hand
held aloft over his shoulder,
a large-size key on his left shoulder,
top-knot on head,
lower garment in kaccha fashion
and sporting a yajnopavita.
A lively portrayal!
Cook (Svayampaki)
West face
temple in a demeanour
very similar to temple cooks
of present day.
He carries food on the right hand
held aloft over his shoulder,
a large-size key on his left shoulder,
top-knot on head,
lower garment in kaccha fashion
and sporting a yajnopavita.
A lively portrayal!
Cook (Svayampaki)
West face
This bearded attendant is
carrying a bell,
holding by its top handle,
on his right hand.
He wears a jata-bhara.
His expression is
one of utter devotion
to his service to the lord.
Temple Attendant
(Paricharaka)
West face
carrying a bell,
holding by its top handle,
on his right hand.
He wears a jata-bhara.
His expression is
one of utter devotion
to his service to the lord.
Temple Attendant
(Paricharaka)
West face
His top-knot of hair, yajnopavita,
lower garment in kacchafashion
are all typical of a priest.
His kanthikion the neck and
kundala-s as ear ornaments
adds to his importance.
He is holding a long basket
in his left hand and
performing archana.
Deep devotion to his duty can be
felt in the composition.
Priest (Archaka)
West face
lower garment in kacchafashion
are all typical of a priest.
His kanthikion the neck and
kundala-s as ear ornaments
adds to his importance.
He is holding a long basket
in his left hand and
performing archana.
Deep devotion to his duty can be
felt in the composition.
Priest (Archaka)
West face
A dynamic sculpture of Siva
in tribhanga pose,
carries rosary and,
interestingly, chamaraand
sports patra-kundala
on the left ear, and
intriguingly,
none on the other ear.
Siva
South face
in tribhanga pose,
carries rosary and,
interestingly, chamaraand
sports patra-kundala
on the left ear, and
intriguingly,
none on the other ear.
Siva
South face
Siva vanquishing Andhaka
is another panel of great sensitivity.
The posture is vigorous, legs astride,
with the right one on of the asura.
His lower left hand holds a trisula.
In his triumphant posture Siva looks
calm and composed.
Andhakasura, with curved side tusks
showing out of his mouth,
lies on the ground writhing,
fear and pain writ on his face.
Andhakari Siva
South face
is another panel of great sensitivity.
The posture is vigorous, legs astride,
with the right one on of the asura.
His lower left hand holds a trisula.
In his triumphant posture Siva looks
calm and composed.
Andhakasura, with curved side tusks
showing out of his mouth,
lies on the ground writhing,
fear and pain writ on his face.
Andhakari Siva
South face
Crossing legs, relaxed and graceful
Siva is enjoying playing on the
vina.
The upper left hand rests on a gana
and the other holds a damaru.
His has a very heavy jata-bhara.
A patra-kundalaadorns the left ear.
That he has no yajnopavitais
noteworthy.
The pot-bellied ganasports
an unusually large patra-kundala-s.
Vinadhara Siva
South face
Siva is enjoying playing on the
vina.
The upper left hand rests on a gana
and the other holds a damaru.
His has a very heavy jata-bhara.
A patra-kundalaadorns the left ear.
That he has no yajnopavitais
noteworthy.
The pot-bellied ganasports
an unusually large patra-kundala-s.
Vinadhara Siva
South face
On the central niche on this face of
this temple for Siva,
interestingly,
is a sculpture of Vishnu.
It is in sama-bhanga,
like those which are
in the sanctum and for worship.
The posture, dress, standards and
ornaments are
those that are
normally found for Vishnu.
Vishnu
South face
this temple for Siva,
interestingly,
is a sculpture of Vishnu.
It is in sama-bhanga,
like those which are
in the sanctum and for worship.
The posture, dress, standards and
ornaments are
those that are
normally found for Vishnu.
Vishnu
South face
Siva, in perfect beatitude,
rests his left hand on Nandi
in human form.
His benign smile and
deep inner contemplation
are the hall mark of
the Pallava sculptor.
The bhakta’s humble reverence
is also truthfully depicted.
Siva with Nandi
South face
rests his left hand on Nandi
in human form.
His benign smile and
deep inner contemplation
are the hall mark of
the Pallava sculptor.
The bhakta’s humble reverence
is also truthfully depicted.
Siva with Nandi
South face
A grown up Krishna, adorned with
peacock feathers,
heavy patra-kundala-s and
a vastra-yajnopavita,
stands on Kalia,
the serpant-demon in human form,
holding its tail,
his left foot planted firmly and
the right one tramples
upon the writhing demon.
The fanciful and imaginative artist
has used the restricted space to
manage a dramatic moment of
energy and power!
Kaliamardana Krishna
South face
peacock feathers,
heavy patra-kundala-s and
a vastra-yajnopavita,
stands on Kalia,
the serpant-demon in human form,
holding its tail,
his left foot planted firmly and
the right one tramples
upon the writhing demon.
The fanciful and imaginative artist
has used the restricted space to
manage a dramatic moment of
energy and power!
Kaliamardana Krishna
South face
This is another beautifully
modelled Siva,
very similar to the one
we have seen before
on the extreme west on this face.
Siva
South face
modelled Siva,
very similar to the one
we have seen before
on the extreme west on this face.
Siva
South face
The top level is similar to the second level,
but smaller.
On the west side is cut a sanctum,
which is finished with
a relief sculpture of Somaskanda.
On the walls of the shrine also we have
sculptures of great beauty.
but smaller.
On the west side is cut a sanctum,
which is finished with
a relief sculpture of Somaskanda.
On the walls of the shrine also we have
sculptures of great beauty.
Dharmaraja Ratha
Sculptures –Top Level
It has Somaskanda in the sanctum and beautiful sculptures on the walls.
Sculptures –Top Level
It has Somaskanda in the sanctum and beautiful sculptures on the walls.
Siva sits comfortably on a simple seat and lower right hand is
in an ‘exposition’ pose.
What he holds in the upper hands are indistinct.
Uma is seated facing Siva.
A playul Skanda sits cozy on her mother’s lap.
On either corner hover two gana-s with chamara.
Vishnu and Brahma are shown standing on the sides, and would be
shown behind the pair in later compositions.
in an ‘exposition’ pose.
What he holds in the upper hands are indistinct.
Uma is seated facing Siva.
A playul Skanda sits cozy on her mother’s lap.
On either corner hover two gana-s with chamara.
Vishnu and Brahma are shown standing on the sides, and would be
shown behind the pair in later compositions.
The shrine is guarded by
two gatekeepers with
clubs.
They are lively,
attentive and, relaxed,
with a faint smile,
a tribute to the Pallava
craftsmen.
They are attired in
loosely coiled
cummerbund,
Vastra yajnopavita,
heavy patra-kundalaand
jata-makuta,appropriate
to their station.
two gatekeepers with
clubs.
They are lively,
attentive and, relaxed,
with a faint smile,
a tribute to the Pallava
craftsmen.
They are attired in
loosely coiled
cummerbund,
Vastra yajnopavita,
heavy patra-kundalaand
jata-makuta,appropriate
to their station.
Two almost identical
devotees,
one on either extreme
niche of the west face,
are refined sculptures,
exuding great charm and
in stylistic unison
with the rest on this floor.
devotees,
one on either extreme
niche of the west face,
are refined sculptures,
exuding great charm and
in stylistic unison
with the rest on this floor.
The walls of this floor are some excellent
depiction of devotees too.
On the central niches on the three sides
are found divinities.
All others are sculptures of devotees.
depiction of devotees too.
On the central niches on the three sides
are found divinities.
All others are sculptures of devotees.
Chandra stands in sama-
bhangaposture,
With a circular halo.
Two sacred threads from the
two shoulders,
worn in the channavira
fashion is a special
feature.
He holds a lotus (nilotpala)
on his right hand and
the left is on his hip (kati).
There are similarities with
Chandra in the Great
Penance panel.
Chandra
North face
bhangaposture,
With a circular halo.
Two sacred threads from the
two shoulders,
worn in the channavira
fashion is a special
feature.
He holds a lotus (nilotpala)
on his right hand and
the left is on his hip (kati).
There are similarities with
Chandra in the Great
Penance panel.
Chandra
North face
On this face is Surya, and
is very similar to Chandra
on the other face.
Surya
East face
is very similar to Chandra
on the other face.
Surya
East face
This Siva as the preceptor
is one of the finely modelled
sculptures and is a rare icon.
The south-facing idol here is in the
standing posture,
with left leg firmly on the ground,
the right leg bent at the knee and
almost touching the shank,
is graceful, but uncommon and
reminds us of the ascetic in the Great
Penance panel.
His head is tilted and is in a
contemplative mood.
Dakshinamurti
South face
is one of the finely modelled
sculptures and is a rare icon.
The south-facing idol here is in the
standing posture,
with left leg firmly on the ground,
the right leg bent at the knee and
almost touching the shank,
is graceful, but uncommon and
reminds us of the ascetic in the Great
Penance panel.
His head is tilted and is in a
contemplative mood.
Dakshinamurti
South face
The Pallava dvara-pala-s are an interesting study.
In this face as well as on the eastern wing
on both sides of the central divinity are two pairs of devotees.
There are similarities among the inner-pairs and among the outer pairs,
but they are not mirror images, to avoid monotony,
a trait not found in later times.
Devotees
In this face as well as on the eastern wing
on both sides of the central divinity are two pairs of devotees.
There are similarities among the inner-pairs and among the outer pairs,
but they are not mirror images, to avoid monotony,
a trait not found in later times.
Devotees
The inner pair and outer pair are differentiated,
particularly, in terms of dress:
in the kachcha-fashion lower garment for the inner ones and
tight for the outer ones.
In both the cases, they are retained, in many cases,
by a belt (kati-sutra) and a ribbon-like bad looping around loosely.
A faint smile on the faces speaks of the calibre of the Pallava craftsman.
Devotees
particularly, in terms of dress:
in the kachcha-fashion lower garment for the inner ones and
tight for the outer ones.
In both the cases, they are retained, in many cases,
by a belt (kati-sutra) and a ribbon-like bad looping around loosely.
A faint smile on the faces speaks of the calibre of the Pallava craftsman.
Devotees
The sculptor has also differentiated the two pairs of the devotees
with the main figure, Surya.
Sama-bhangaof Surya against tri-bhanga, the chin-up posture of
the central god
opposed to the slight downward look of the rest.
Devotees
East face
Left
RightSurya
with the main figure, Surya.
Sama-bhangaof Surya against tri-bhanga, the chin-up posture of
the central god
opposed to the slight downward look of the rest.
Devotees
East face
Left
RightSurya
We have an important inscription on the top floors.
These inscriptions have a role to play in the debate on the authorship.
One among them on the east, above the sculpture of Surya
names the shrine as Sri Atyantakama Pallavesvara griham
In the Pallava Grantha characters.
These inscriptions have a role to play in the debate on the authorship.
One among them on the east, above the sculpture of Surya
names the shrine as Sri Atyantakama Pallavesvara griham
In the Pallava Grantha characters.
The finale, the octagonal shikhara, is
the crowning glory of the Pallava-s, and
became the model for all the temples
in the south then onwards.
Kuduarches embellish all the eight sides
With floral designs on all the corners
remind us of typical brass work
of later period.
On the top of the crown is a lotus base,
to which a stupi,
a symbolic final piece
would be inserted,
before the actual consecration ceremony.
A stupiwas found at the bottom
of the east corner of the temple.
the crowning glory of the Pallava-s, and
became the model for all the temples
in the south then onwards.
Kuduarches embellish all the eight sides
With floral designs on all the corners
remind us of typical brass work
of later period.
On the top of the crown is a lotus base,
to which a stupi,
a symbolic final piece
would be inserted,
before the actual consecration ceremony.
A stupiwas found at the bottom
of the east corner of the temple.
We come out of the ratha, with a sense of fulfillment,
of having seen a gallery of exquisite icons
of the Tamil country and
with the pride that our ancestors attained such artistic heights.
of having seen a gallery of exquisite icons
of the Tamil country and
with the pride that our ancestors attained such artistic heights.
Here are a few vintage views
Photo by Alexander Rea 1880
‘Figures sculptured on the North side of the Lower Story
of the Square Ruddam at Mahabalipooram. Copied by Nujeebulla.
of the Square Ruddam at Mahabalipooram. Copied by Nujeebulla.
‘Figures sculptured on the Lower Story of the Square Ruddams at Mahabalipooram.
Copied by Nujeebulla.’ 1816
Copied by Nujeebulla.’ 1816
‘Sculptured Figures on the 2nd Story of the Square Ruddam at Mahabalipooram.
Copd. by J. Mustie,1819.’
Copd. by J. Mustie,1819.’
‘Sculptured Figures on the 2nd Story of the Square Ruddam at Mahabalipooram.
Copd. by J. Mustie, 1819.’
Copd. by J. Mustie, 1819.’
‘Sculptured Figures on the 2nd Story of the Square Ruddam at Mahabalipooram.
Copied by J. Mustie 1819.’
Copied by J. Mustie 1819.’
‘Sculptured Figures on the North side of the Second Story of the Square Ruddam
at Mahabalipooram, Copied by J. Mustie, 1819’
at Mahabalipooram, Copied by J. Mustie, 1819’
‘Sculptured Figures on the South side of the Second story of the Square Ruddam
at Mahabalipooram. Copied by J. Mustie, 1819.’
at Mahabalipooram. Copied by J. Mustie, 1819.’
Bheema Ratha
The Bhima Ratha looks massive and virile.
This striking immensity fits in with
the popular name of the shrine
after the hefty Pandava brother.
Another striking feature is the shape of the superstructure.
This is shaped like a wagon-top.
This striking immensity fits in with
the popular name of the shrine
after the hefty Pandava brother.
Another striking feature is the shape of the superstructure.
This is shaped like a wagon-top.
It is a two-storeyed ratha,
but the upper level is not functional,
though a narrow ambulatory passage is provided.
This one reminds of the wooden original
much more than the others,
particularly the end portions of the crown.
but the upper level is not functional,
though a narrow ambulatory passage is provided.
This one reminds of the wooden original
much more than the others,
particularly the end portions of the crown.
The upper level is complete,
where some excellent architectural features can be seen.
This ratha also remains unfinished at the ground level. There are
very few sculptures and no inscriptions in this ratha.
You can see a big crack running diagonally
which could also be the reason for the stoppage of the work.
where some excellent architectural features can be seen.
This ratha also remains unfinished at the ground level. There are
very few sculptures and no inscriptions in this ratha.
You can see a big crack running diagonally
which could also be the reason for the stoppage of the work.
A long, shallow niche on the eastern wall must be the sanctum,
where vague outlines of Reclining Vishnu could be gleaned.
This, perhaps, dictated a rectangular shrine.
where vague outlines of Reclining Vishnu could be gleaned.
This, perhaps, dictated a rectangular shrine.
The requirement of rectangular sanctum is accomplished by
choosing a barrel roof, which resembles roof of a wagin,
hence called sala.
choosing a barrel roof, which resembles roof of a wagin,
hence called sala.
The cornice has well shaped
kudu-arches, one pair for each bay.
A few features of the superstructure are
of architectural importance.
kudu-arches, one pair for each bay.
A few features of the superstructure are
of architectural importance.
Above that we see a string of
five beautiful sala-s
and two karnakuta-s at the ends,
all connected by harantara-s.
Beyond this we see the wagon-shaped roof.
Between the two is a narrow passage.
five beautiful sala-s
and two karnakuta-s at the ends,
all connected by harantara-s.
Beyond this we see the wagon-shaped roof.
Between the two is a narrow passage.
On the roof we see five kudu-arches.
Each is supported by a pair of half-pillars.
These are sculpted on the griva (neck).
These provide niches, called nasika-s (nose).
These are most likely duplication of the ventilators
of the timber-brick temples of the period.
Each is supported by a pair of half-pillars.
These are sculpted on the griva (neck).
These provide niches, called nasika-s (nose).
These are most likely duplication of the ventilators
of the timber-brick temples of the period.
There are beautiful royal figures,
sculpted upto the bust, in some of niches.
sculpted upto the bust, in some of niches.
On both ends of the arch are seen makara-s in low relief.
From their mouth emanate floral decoration reaching to the top.
The sides have some interesting features, perhaps,
these duplicate the contemporary wooden design.
There are six dainty brackets form another decorative element.
From their mouth emanate floral decoration reaching to the top.
The sides have some interesting features, perhaps,
these duplicate the contemporary wooden design.
There are six dainty brackets form another decorative element.
In the middle is a relief of a model of a single-storey temple,
That gives an idea of contemporary temples in timbre.
Similar replicas would be seen
in Ganesa Ratha and Sahadeva Ratha too.
An actual one can be found in the Shore Temples complex.
That gives an idea of contemporary temples in timbre.
Similar replicas would be seen
in Ganesa Ratha and Sahadeva Ratha too.
An actual one can be found in the Shore Temples complex.
Arjuna Ratha
Arjuna Ratha
Arjunarathais
anirresistiblesight.
It is similar to Dharmaraja
Ratha, square and
pyramidal,
and with an octagonal crown,
butsmallerinsize.
anirresistiblesight.
It is similar to Dharmaraja
Ratha, square and
pyramidal,
and with an octagonal crown,
butsmallerinsize.
Itstwostoreysare
notfunctional.
Forthosewhofeelsorry
tohavemissed
theexquisitesculptures
ontheupperfloors
oftheDharmarajaRatha
theyhave
someconsolationhere.
notfunctional.
Forthosewhofeelsorry
tohavemissed
theexquisitesculptures
ontheupperfloors
oftheDharmarajaRatha
theyhave
someconsolationhere.
The niches on
the outer wall
can boast of
some of the best
that the Pallava
sculptors produced
in the classical style.
the outer wall
can boast of
some of the best
that the Pallava
sculptors produced
in the classical style.
Its outer walls,
both at the ground level
and upper level,
are veritable gallery of
relief sculptures.
both at the ground level
and upper level,
are veritable gallery of
relief sculptures.
It is unfortunate that
there is no approach to
the upper tala and
the sculptures there
will have to be savoured
only from distance.
there is no approach to
the upper tala and
the sculptures there
will have to be savoured
only from distance.
The facade
Basement is supported by
elephants and vyala-s and
is common
with the Draupati Ratha.
Till a few years ago this was
covered with sand.
Basement is supported by
elephants and vyala-s and
is common
with the Draupati Ratha.
Till a few years ago this was
covered with sand.
The facade
The adhishtana is of
the pada-bandha type.
The adhishtana is of
the pada-bandha type.
The facade
The cornice is similar to
that of the Dharmaraja ratha,
carries three pairs of kudu-s.
The cornice is similar to
that of the Dharmaraja ratha,
carries three pairs of kudu-s.
The facade
Above the cornice are
a sala, two karnakuta-s
all connected by harantara-s.
This is repeated
on the roof of the first storey.
Above the cornice are
a sala, two karnakuta-s
all connected by harantara-s.
This is repeated
on the roof of the first storey.
The facade
The ratha is topped by a
beautiful sikhara(crown).
The ratha is topped by a
beautiful sikhara(crown).
The facade
Unlike the Dharmaraja Ratha
there is no circumbulatory
passage in the first floor
nor there an approach
to the upper floor.
Unlike the Dharmaraja Ratha
there is no circumbulatory
passage in the first floor
nor there an approach
to the upper floor.
The facade
There are a few
beautiful divine couples
carved upto the waist
on the niches in the first floor.
When these are not even fully
visible from the ground,
what would have been the
purpose of making
these figures there?
There are a few
beautiful divine couples
carved upto the waist
on the niches in the first floor.
When these are not even fully
visible from the ground,
what would have been the
purpose of making
these figures there?
Sanctum
Before savouring the sculptures on the outer wall,
let us a quick look at the sanctum.
The sanctum has a narrow ardha-mandapamin front.
It is empty except for a pedestal carved on the back-wall,
for fixing the image of Somaskanda.
A socket for taking a linga,
which looks too large for the shrine,
must be a later addition,
as also the crude outlet for
abhishekamwater to go out.
Before savouring the sculptures on the outer wall,
let us a quick look at the sanctum.
The sanctum has a narrow ardha-mandapamin front.
It is empty except for a pedestal carved on the back-wall,
for fixing the image of Somaskanda.
A socket for taking a linga,
which looks too large for the shrine,
must be a later addition,
as also the crude outlet for
abhishekamwater to go out.
Around the sculptural gallery
Now we are ready to go around the Ratha gallery.
The outer walls on all the three sides contain some beautiful
sculptures.
All the central niches contain divine figures.
On both the sides we have human figures, mostly royal couples.
And in the corner niches are princely youths,
perhaps doorkeepers in pensive and devotional mood.
Now we are ready to go around the Ratha gallery.
The outer walls on all the three sides contain some beautiful
sculptures.
All the central niches contain divine figures.
On both the sides we have human figures, mostly royal couples.
And in the corner niches are princely youths,
perhaps doorkeepers in pensive and devotional mood.
On the right
Vishnu is shown resting
on the shoulder of Garuda,
his eagle mount,
who is here depicted in man-like form,
identified by the beak-like nose,
kneeling next to his Lord,
with his finger to his lips,
requesting the spectator's silence.
Garuda in human form
was depicted on the 2
nd
level of the
Dharmaraja Ratha too.
Northern wall
Vishnu is shown resting
on the shoulder of Garuda,
his eagle mount,
who is here depicted in man-like form,
identified by the beak-like nose,
kneeling next to his Lord,
with his finger to his lips,
requesting the spectator's silence.
Garuda in human form
was depicted on the 2
nd
level of the
Dharmaraja Ratha too.
Northern wall
Indra on Iravatham or
Subrahmanya,
on his mount elephant.
The expression on the
face of the god is
benign and the animal
figure is a result of
careful observation.
Eastern Wall
Indra
Subrahmanya,
on his mount elephant.
The expression on the
face of the god is
benign and the animal
figure is a result of
careful observation.
Eastern Wall
Indra
The one on the right is
exceptionally modeled:
round shoulders, narrow waist,
tapering thighs,
supple but strong legs and arms
like proverbial creepers;
blushful smile on her face like
‘a half-blown lotus’.
What would have been
impossible in the hardest stone
has been attempted.
A senior lady is on the left,
her stand contrasting
with the other one
to enhance
her voluptuousness.
Eastern Wall
Royal ladies
exceptionally modeled:
round shoulders, narrow waist,
tapering thighs,
supple but strong legs and arms
like proverbial creepers;
blushful smile on her face like
‘a half-blown lotus’.
What would have been
impossible in the hardest stone
has been attempted.
A senior lady is on the left,
her stand contrasting
with the other one
to enhance
her voluptuousness.
Eastern Wall
Royal ladies
Eastern Wall
A staff-carrying rishi
with his dutiful
sishya.
Who are the two and
why are they depicted
are not known.
Teacher & disciple
A staff-carrying rishi
with his dutiful
sishya.
Who are the two and
why are they depicted
are not known.
Teacher & disciple
Eastern Wall
Two youthful dvara-pala-s, strong and alert,
they stand majestically,
with outer hands on the hips.
These are ideal figures
with round and robust shoulders, narrow waist,
wearing kiritaand patra-kundala-s,
with smile on their full and tight lips
And are all characteristics of the period.
The one of the left, sports
a yajnopavita made of skulls and holds a bow.
Two youthful dvara-pala-s, strong and alert,
they stand majestically,
with outer hands on the hips.
These are ideal figures
with round and robust shoulders, narrow waist,
wearing kiritaand patra-kundala-s,
with smile on their full and tight lips
And are all characteristics of the period.
The one of the left, sports
a yajnopavita made of skulls and holds a bow.
Four-armed Siva, cross legged,
is leaning on Nandi.
He wears simple jewellery,
a necklace, a patra-kundalaon
the left ear, jatamukuta and one
uttariya around his waist.
Easy, graceful an relaxed pose,
tranquil smile and
a spiritual expression,
all within a narrow niche,
are a pinnacle of the Pallava art.
Probably this is
the first representation of Siva
as Rishabhantika.
There are two excellent depictions
of Rishabhantika
in the Dharmaraja Ratha.
Southern Wall
Rishabhantika Siva
is leaning on Nandi.
He wears simple jewellery,
a necklace, a patra-kundalaon
the left ear, jatamukuta and one
uttariya around his waist.
Easy, graceful an relaxed pose,
tranquil smile and
a spiritual expression,
all within a narrow niche,
are a pinnacle of the Pallava art.
Probably this is
the first representation of Siva
as Rishabhantika.
There are two excellent depictions
of Rishabhantika
in the Dharmaraja Ratha.
Southern Wall
Rishabhantika Siva
Royal couples,
majestic kings and
demure queens,
are another example
of delicate modeling.
The kings with broad chest and
prominent and round shoulders
and firm limbs are juxtaposed
with curvaceous torso and soft
and supple limbs of the queens.
But who are they and are they
portraits, we may never know.
Southern Wall
majestic kings and
demure queens,
are another example
of delicate modeling.
The kings with broad chest and
prominent and round shoulders
and firm limbs are juxtaposed
with curvaceous torso and soft
and supple limbs of the queens.
But who are they and are they
portraits, we may never know.
Southern Wall
The two,
shown on the ends
in three-fourth profiles,
are another examples of
youthful royal guards.
They wear
ribbon-like kati-sutra-s
and carry long swords.
The one on the left wears
jata-makuta with
all the Saivite symbols,
a skull and the crescent
moon.
Southern Wall
shown on the ends
in three-fourth profiles,
are another examples of
youthful royal guards.
They wear
ribbon-like kati-sutra-s
and carry long swords.
The one on the left wears
jata-makuta with
all the Saivite symbols,
a skull and the crescent
moon.
Southern Wall
To stand back and savour the site, serenity is palpable. Isn’t it a miracle that the
sculptors could manage all these in hard, unyielding granite? Thank god they
have chosen this hardest material for us to enjoy their creations after millennia!
All these look that the work was completed only yesterday!
sculptors could manage all these in hard, unyielding granite? Thank god they
have chosen this hardest material for us to enjoy their creations after millennia!
All these look that the work was completed only yesterday!
From the Guest Book
-By Charles Fabri,
Former Director,
National Museum, Delhi
“The two queens, guard and elephant with rider’
is an "example of this peaceful,
tranquil and harmoniously balanced classic art",
characteristic of classical art… ‘
so perfect, so peaceful a composition’.
The central panel is a masterpiece of
exquisite feminine beauty.
-By Charles Fabri,
Former Director,
National Museum, Delhi
“The two queens, guard and elephant with rider’
is an "example of this peaceful,
tranquil and harmoniously balanced classic art",
characteristic of classical art… ‘
so perfect, so peaceful a composition’.
The central panel is a masterpiece of
exquisite feminine beauty.
"The guard . . . . stands in an
easy, nonchalant pose, legs
crossed;
a variety of natural stances
was no problem to the classical
artist,
who chiselled these three reliefs.
He obviously was a thorough
master of drawing,
knew all about reality,
and used this knowledge
to create exquisite beauty.
From the Guest Book
-By Charles Fabri, Former Director, National Museum, Delhi (Year?)
easy, nonchalant pose, legs
crossed;
a variety of natural stances
was no problem to the classical
artist,
who chiselled these three reliefs.
He obviously was a thorough
master of drawing,
knew all about reality,
and used this knowledge
to create exquisite beauty.
From the Guest Book
-By Charles Fabri, Former Director, National Museum, Delhi (Year?)
“The two lovely ladies, with
slender, elegant bodies,
seem to rest contentedly . . .
Both stand in elegant,
aristocratic poses of great
beauty, attractive, gently
curving shapes,
legs elongated and their lovely
faces seen in two different
inclinations. Their grace and
dignified charm make them
exquisite examples of feminine
attractiveness;
. . they certainly do not seem
very spiritual or very religious
in yeaning; they are just
beautiful women, and that is
what the artist wished to show.
From the Guest Book
-By Charles Fabri,
-Former Director,
National Museum, Delhi
slender, elegant bodies,
seem to rest contentedly . . .
Both stand in elegant,
aristocratic poses of great
beauty, attractive, gently
curving shapes,
legs elongated and their lovely
faces seen in two different
inclinations. Their grace and
dignified charm make them
exquisite examples of feminine
attractiveness;
. . they certainly do not seem
very spiritual or very religious
in yeaning; they are just
beautiful women, and that is
what the artist wished to show.
From the Guest Book
-By Charles Fabri,
-Former Director,
National Museum, Delhi
From the Guest Book
-By Charles Fabri, Former Director, National Museum, Delhi (Year?)
“The amount of realism
he was capable of
is best seen
in the elephant . . . ;
a superbly truthful image
of the great, slow
pachyderm,
a masterly depiction
of the animal.
-By Charles Fabri, Former Director, National Museum, Delhi (Year?)
“The amount of realism
he was capable of
is best seen
in the elephant . . . ;
a superbly truthful image
of the great, slow
pachyderm,
a masterly depiction
of the animal.
From the Guest Book
-By Charles Fabri, Former Director, National Museum, Delhi
"Finally, it should be observed how here,
in Mamallapuram, just as in Ajanta,
the framework is unadorned;
there is hardly a single decorative device
on either the plasters or on the panel
frame. Classical simplicity prevails".
-By Charles Fabri, Former Director, National Museum, Delhi
"Finally, it should be observed how here,
in Mamallapuram, just as in Ajanta,
the framework is unadorned;
there is hardly a single decorative device
on either the plasters or on the panel
frame. Classical simplicity prevails".
Draupati Ratha
This hut-shaped shrine has a relief of
Durga in the sanctum.
This relief along with
the two elegant female-gate-keepers are
a proof of high calibre of the sculptors.
This hut-shaped shrine has a relief of
Durga in the sanctum.
This relief along with
the two elegant female-gate-keepers are
a proof of high calibre of the sculptors.
The Draupati Ratha is
a shrine for Durga, and
it is the smallest
in the complex.
Its superstructure is
unique and exquisite.
The roof is in the form of
a thatched hut.
The sanctum contains
a relief image of Durga,
which is again a novel feature
for a Mamallapuram ratha.
a shrine for Durga, and
it is the smallest
in the complex.
Its superstructure is
unique and exquisite.
The roof is in the form of
a thatched hut.
The sanctum contains
a relief image of Durga,
which is again a novel feature
for a Mamallapuram ratha.
The shrine,
of very beautiful shape,
sits on the same platform
that is common with
the Arjuna Ratha,
supported
by elephants and vyala-s/lions.
The thatch-like roof with
its corners ornamented with
beautiful scroll work is
an excellent sight.
The final element stupi,
which would have been inserted
at the time of consecration,
can be seen on the floor.
of very beautiful shape,
sits on the same platform
that is common with
the Arjuna Ratha,
supported
by elephants and vyala-s/lions.
The thatch-like roof with
its corners ornamented with
beautiful scroll work is
an excellent sight.
The final element stupi,
which would have been inserted
at the time of consecration,
can be seen on the floor.
Inside the sanctum is Durga,
standing on lotus, though frontal
and symmetrical, captivating.
The upper right hand holds a
discus. The right hand is in the
gesture of protection and the left
hand rests on her hip. The upper
left hand is broken and missing.
Four gana-s carrying swords are
shown on the upper corners.
The devotee sitting on the right is
doing archana, while the one on
the left is in shown in the
gruesome act of self-sacrifice,
cutting his own head.
standing on lotus, though frontal
and symmetrical, captivating.
The upper right hand holds a
discus. The right hand is in the
gesture of protection and the left
hand rests on her hip. The upper
left hand is broken and missing.
Four gana-s carrying swords are
shown on the upper corners.
The devotee sitting on the right is
doing archana, while the one on
the left is in shown in the
gruesome act of self-sacrifice,
cutting his own head.
Sahadeva Ratha
This last of the five temples
and has been sculpted out of a
freestanding boulder.
The plan is unique,
a semi-circle over a rectangle,
and resembles
the hind part of an elephant,
and hence called gaja-prishtha.
This is the only shrine of this plan.
This last of the five temples
and has been sculpted out of a
freestanding boulder.
The plan is unique,
a semi-circle over a rectangle,
and resembles
the hind part of an elephant,
and hence called gaja-prishtha.
This is the only shrine of this plan.
The three-storeyed shrine
faces the south.
This was evidently dictated
by the orientation
of the boulder
out of which it is caused.
According to canons
Hindu temples
don’t face the south.
faces the south.
This was evidently dictated
by the orientation
of the boulder
out of which it is caused.
According to canons
Hindu temples
don’t face the south.
The ardha-mandapamis
supported
by two vyala-based pillars
and,
but the pilasters are
elephant-based,
which is a novel feature.
supported
by two vyala-based pillars
and,
but the pilasters are
elephant-based,
which is a novel feature.
There are no gate-keepers
and we have no clue
as to the identification
of the presiding deity.
The rectangular sanctum
is empty.
and we have no clue
as to the identification
of the presiding deity.
The rectangular sanctum
is empty.
The upper floors are not
approachable.
They are similar to the
Dharmaraja,
the Bhima and the Arjuna
Ratha-s.
The kudu-arches contain
faces of gandharva-s.
The sikharamis apsidal.
approachable.
They are similar to the
Dharmaraja,
the Bhima and the Arjuna
Ratha-s.
The kudu-arches contain
faces of gandharva-s.
The sikharamis apsidal.
The decorative elements
on the south-facing front
resemble the side faces
of the Bhima Ratha.
A miniature
single-storeyed shrine
is also found here in relief,
but it is hexagonal
from bottom to top.
on the south-facing front
resemble the side faces
of the Bhima Ratha.
A miniature
single-storeyed shrine
is also found here in relief,
but it is hexagonal
from bottom to top.
Right next to this monolith
stands a large elephant,
carved out of stone.
Is it carved next the shrine
to emphasis its apsidal
nature?
stands a large elephant,
carved out of stone.
Is it carved next the shrine
to emphasis its apsidal
nature?
Ganesa Ratha
This wagon-shaped ratha
is almost finished.
Its sculptural quality is
very good,
particularly of the architectural details
on the superstructure.
It contains
an enigmatic inscription,
most of which are reproduced
in a few other monuments
adds to its importance.
This wagon-shaped ratha
is almost finished.
Its sculptural quality is
very good,
particularly of the architectural details
on the superstructure.
It contains
an enigmatic inscription,
most of which are reproduced
in a few other monuments
adds to its importance.
This is the intriguing inscription
as similar ones are found in
the Dharmaraja the Atianachanda Mandapams.
as similar ones are found in
the Dharmaraja the Atianachanda Mandapams.
Ganesa Ratha
The Ganesa Ratha, craved out of
a free-standing boulder,
is very elegant shrine and
the ambience adds to it.
The name Ganesa Ratha is
a misnomer;
it was not built for Ganesa,
but for Siva, which is adduced
from the inscription found here.
But due to historical twists
the divine son came to occupy it.
The Ganesa Ratha, craved out of
a free-standing boulder,
is very elegant shrine and
the ambience adds to it.
The name Ganesa Ratha is
a misnomer;
it was not built for Ganesa,
but for Siva, which is adduced
from the inscription found here.
But due to historical twists
the divine son came to occupy it.
As usual first its uniqueness.
It is the only ratha
under worship,
though a different deity
than the original,
has been installed.
It is also the most
complete of all the ratha-s.
It is the only ratha
under worship,
though a different deity
than the original,
has been installed.
It is also the most
complete of all the ratha-s.
It contains a very important inscription,
in Sanskrit verses in the Pallava Grantha script.
According to this, the shrine is known
as Atyantakama-Pallavesvara-Griham
(‘Sive-shrine-caused-by-Atyantakama-Pallava).
The fact that this is not the only shrine known by this name,
and that very similar inscription
is found in other temples within Mamallapuram
have been a subject of research among the experts,
as to who were the authors of the Mamallapuram monuments.
in Sanskrit verses in the Pallava Grantha script.
According to this, the shrine is known
as Atyantakama-Pallavesvara-Griham
(‘Sive-shrine-caused-by-Atyantakama-Pallava).
The fact that this is not the only shrine known by this name,
and that very similar inscription
is found in other temples within Mamallapuram
have been a subject of research among the experts,
as to who were the authors of the Mamallapuram monuments.
This is the intriguing inscription
as similar ones are found in
the Dharmaraja the Atianachanda Mandapams.
as similar ones are found in
the Dharmaraja the Atianachanda Mandapams.
This two-storeyed ratha exudes
quiet dignity and
is, like the Bhima ratha,
a shrine that is rectangular in plan.
The superstructure has
the familiar arrangement,
like the Bhima Ratha.
Nine stupi-s, the finial elements,
along with head bearing a trident
on each end of the roof,
are in position.
quiet dignity and
is, like the Bhima ratha,
a shrine that is rectangular in plan.
The superstructure has
the familiar arrangement,
like the Bhima Ratha.
Nine stupi-s, the finial elements,
along with head bearing a trident
on each end of the roof,
are in position.
The pillars and half-pillars are all
vyala-based.
vyala-based.
Two typical Pallava dvara-pala-s,
smiling, shy and thoughtful,
from their cramped niche,
greet you.
smiling, shy and thoughtful,
from their cramped niche,
greet you.
The ardha-mandapam, bereft of sculptures,
contains the celebrated inscription.
contains the celebrated inscription.
There are no sculptures on the niches of the outer wall.
But there are a lot of details on the superstructure.
Because it is of rectangular plan,
the ends have specific design,
like we had in the Bhima and the
Sahadeva Ratha-s.
But there are a lot of details on the superstructure.
Because it is of rectangular plan,
the ends have specific design,
like we had in the Bhima and the
Sahadeva Ratha-s.
As had in these two temples,
we find a replica another contemporary style of temple.
In relief on each of the end of the shikhara is
a tall and column-like two-storeyed shrine,
circular in section from base to apex.
we find a replica another contemporary style of temple.
In relief on each of the end of the shikhara is
a tall and column-like two-storeyed shrine,
circular in section from base to apex.
Ganesh Temple, a photograph, 1870s
Three rathaslie in desolate majesty
onthe outskirts of the town.
These least-visited shrines not only
offer scope for study
of Pallava architecture by themselves,
but the captivating natural
surrounding provide us quite
a few interesting clues to the now-lost
excavating shrines.
Pidari Rathas & Valayankutta
Ratha
onthe outskirts of the town.
These least-visited shrines not only
offer scope for study
of Pallava architecture by themselves,
but the captivating natural
surrounding provide us quite
a few interesting clues to the now-lost
excavating shrines.
Pidari Rathas & Valayankutta
Ratha
Three ratha-slie in desolate majesty onthe outskirts of the town.
These least-visited shrines not only offer scope for
study of Pallava architecture by themselves,
but the captivating natural surrounding provide us
quite a few interesting clues to the now-lost excavating shrines.
Valayankutta &
Pidari Rathas
These least-visited shrines not only offer scope for
study of Pallava architecture by themselves,
but the captivating natural surrounding provide us
quite a few interesting clues to the now-lost excavating shrines.
Valayankutta &
Pidari Rathas
The names they go by are
recent ones.
The twin temples get
their name
because of the presence of
a Pidari temple nearby,
so the other, because of
a small tank,
called Valaiyan-kuttai.
Valaiyan-kuttai Ratha
Pidari Ratha-s
recent ones.
The twin temples get
their name
because of the presence of
a Pidari temple nearby,
so the other, because of
a small tank,
called Valaiyan-kuttai.
Valaiyan-kuttai Ratha
Pidari Ratha-s
These three monoliths
seem to be minor variations
on the Arjuna Ratha
theme.
They are smaller, and lack
major sculptured
figures.
All three shrines are
unfinished and
there are no inscriptions.
The deities, they were
to house, are unknown
nor are their authors.
seem to be minor variations
on the Arjuna Ratha
theme.
They are smaller, and lack
major sculptured
figures.
All three shrines are
unfinished and
there are no inscriptions.
The deities, they were
to house, are unknown
nor are their authors.
Though there are no
sculptures of
importance,
its meticulous sculpturing
is a tribute
to the Pallava sthapati.
Particularly,
the makara-torana-s,
with four makara-s
and two volutes
supported by
a central bracket stone,
attempted on the northern
Pidari ratha and on
the Valaiyan-kuttai Ratha.
sculptures of
importance,
its meticulous sculpturing
is a tribute
to the Pallava sthapati.
Particularly,
the makara-torana-s,
with four makara-s
and two volutes
supported by
a central bracket stone,
attempted on the northern
Pidari ratha and on
the Valaiyan-kuttai Ratha.
We may go into some detail,
Two of them are
square-domed and
the other is octagonal.
The northern Pidari Ratha
faces north,
a direction not permitted
in the later canons.
Perhaps this is because of
the fanciful nature
of the Atyantakama clan!
It must be the same reason
why two are square-crown,
while the last is octagonal.
Two of them are
square-domed and
the other is octagonal.
The northern Pidari Ratha
faces north,
a direction not permitted
in the later canons.
Perhaps this is because of
the fanciful nature
of the Atyantakama clan!
It must be the same reason
why two are square-crown,
while the last is octagonal.
The three temples, on their own, and their environs
offer study of steps in monothic sculpturing.
On all the three, the unfinished boulders at the ground level
tell give you an idea how the excavation was gone about.
offer study of steps in monothic sculpturing.
On all the three, the unfinished boulders at the ground level
tell give you an idea how the excavation was gone about.
On the hill to the east of the Pidari Ratha-s
one can see typical makings of square patterns,
the traditional methods of removal of stone.
On the top of this low hill can be seen
markings for the excavation,
perhaps for a monolith, from the top.
As one walks towards the Valayankuttai Ratha
from the Pidari Ratha-s,
the picturesque path also takes you
through a few sites where various stages of
cutting boulders can be witnessed.
What a cleat-cut, a butter-cut!
one can see typical makings of square patterns,
the traditional methods of removal of stone.
On the top of this low hill can be seen
markings for the excavation,
perhaps for a monolith, from the top.
As one walks towards the Valayankuttai Ratha
from the Pidari Ratha-s,
the picturesque path also takes you
through a few sites where various stages of
cutting boulders can be witnessed.
What a cleat-cut, a butter-cut!
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