Pancha Rathas are some of the most surprising structures not only in Mahabalipuram but in the whole Southern India. This group of ornate, monolithic structures was cut from a single stone in the late 7th century.

Rare example of monolithic rock-cut buildings

It is not known what was the true purpose for the building of Pancha Rathas. But as the inscription in one of these

amazing structures tells, this happened during the times of the great Tamil king Mamalla (Narasimhavarman I, ruled

circa 630 - 670 AD).

Rock-cut architecture is not that common in the world and most of it represents caves and passages cut in rock. Pancha Rathas though belong to the very rare examples where whole buildings with ornate exterior and interior are cut from live cliff.

Sample collection of Dravidian architecture

The incredibly skilled Indian stonecutters here used a ridge of pink granite and, by removing the "spare" cliff,

created a five structures - rathas - and three large monolithic sculptures among these structures.

Structures are named rathas (ritual chariots - temple carts) as somebody in the past thought that they resemble such

carts.Pancha rathas in Hindi mean "five chariots". This term, of course, is not correct because these temples are

not moveable. Four of these rathas though are arranged in a row - like a procession frozen in stone.

Art historicians speculate that these rathas were created as models of diverse typical South Indian temples. Their

architecture most likely is much influenced by the architecture of wooden structures.

All five rathas have very diverse planning, architecture and ornamentation and in a way serve as textbook examples

of South Indian temple architecture.

Four rathas have stepped pyramidal roofs.

Each ratha has got interior room - simple and narrow sanctuary (garbha-griha).

Five shrines and three sculptures

It is not known whether Pancha Rathas have ever been used as temples. Most likely they were not consecrated

because their stupas are still attached with the bedrock. Many other details are not completed either.

Although the works were not completed, this has not harmed the structures inany way. The local granite has been

very sturdy and has survived the test of time very well. It has resisted the constant salty winds from the nearby

ocean, as well as catastrophic tsunami in the 13th century. Tsunami in 2004 here was less pronounced.

Rathas are named after Draupadi and the Pandava brothers - what is not quite correct as these shrines have nothing

to do with these characters of Mahabharata. The five rathas are (from north to south):

Draupadi Ratha

Arjuna Ratha

Nakula Sahadeva Ratha

Bhima Ratha

Dharmaraja Ratha

Among the rathas are three large sculptures:

Lion

Elephant

Nandi bull

Description of rathas

Draupadi Ratha (Draupati Ratha)

The closest to the entrance gate is Draupadi Ratha - it is also the smallest one.

This shrine is shaped lika a thatched hut, with a square roof. It and the nearby Arjuna Ratha are on a single platform

- upa-pitham, which also is rised and adorned with figures of lions and elephants.

This shrine is devoted to goddess Durga and it shows in the amazing artwork. Possibly the best of them is a fine

carved panel, which shows Durga on a lotus pedestal. Goddess is surrounded by other characters, including a man

which is preparing to cut off his head as a sign of devotion.

Outside, above the entrance door, is carved a stylised sea-monster. On the eastern wall, there is an interesting

sculptural group - Durga standing on a head of Mahishasura - a killed demon.

Some sculptures have not been finished.

Arjuna Ratha

On the same platform is located the next ratha - Arjuna Ratha, which is devoted to Shiva.

This small structure is shaped like a small wooden shrine, once characteristic forSouthern India. It is facing towards

the east and has two storeys, a small portico and carved pillars.

Inside the shrine there are no adornments, but the exterior is very rich with interesting details.

The facade is adorned with magnificent sculptures, showing gods and humans. Noticeable is a pair of beautiful

apsaras with lissom bodies.

Nakula Sahadeva Ratha

This shrine is devoted to Indra and is associated with elephants. This ratha is the only one which os not placed in a

"procession", it stands aside. It is also the only one with entrance facing south.

Ratha represents an apsidal vimana - horseshoe-shaped shrine, it is almost completed.

The roof of this shrine is shaped like a back of elephant.

One wall of ratha is adorned with a relief sculpture of Ardhanariswara, columns and pillars are adorned with seated

lions.

Bhima Ratha

The third shrine in a row is the longest of all rathas - it is 12.8 m long, 7.3 m wide, 7.6 m high. This is Gopura style

temple with gabled roof.

Most likely this ratha was devoted to Anantshayi Vishnu.

he larger size of ratha can be explained by a large barelief of Vishnu in the form of Sayanamurti, which is located

inside. It remains unfinished.

The sanctuary of this structure has a circumabulatory passage around it.

Pillars of the shrine are adorned with figures of lions.

Dharmaraja Ratha (Dharmaraja Yudhistar's Ratha)

This ratha is shaped like a characteristic vimana (tower above the shrine) of SouthernIndia of its times. This

structure was abandoned before the completion but nevertheless it the most magnificent and tallest of all rathas, with

three storeys.

The shrine is devoted to Shiva and is adorned with one of the best examples of early Pallava plastic art with

important innovations in the art. Very beautiful are the Shiva figures on the corners of structure.

Dharmaraja Ratha contains an inscription in Pallava - Grantha script - it records the titles of Narasimhavarman I.

Inscription mentions also that this was created as Shiva temple of Atyantakama Pallava.

Columns and pilasters of this ratha are adorned with lions.

The ground (first) floor of Dharmaraja Ratha is completed - it contains eight decorative panels.

Especially interesting and attractive is a panel, which shows Shiva reincarnation named Ardhanariswarar - half man,

half women.

Small premises have been hewn in the other two floors of ratha as well. There are no stairs leading to the second

floor, but the second and third floor are connected with stairs.

Animal statues

Among the rathas stand three large sculptures of animals - all carved out of monolithic stone. It is amazing tha all

threestatues are symbolically linked to certain rathas, thus complementing this unique ensemble of monolithic

structures.

Statue of Nandi bull is not finished. This figurine is linked to Arjuna Ratha - shrine of Shiva.

Sculpture of lion is some 2 m high. It is located in the front of Draupadi Ratha - as it is normally placed in other

temples which are devoted to Durga.

Elephant stands next to Nakula Sahadeva Ratha which is devoted to Indra - a deity owning the sacred white

elephants.

The Shore Temple (built in 700–728 AD) is so named because it overlooks the shore of the Bay of

Bengal. It is a structural temple, built with blocks of granite, dating from the 8th century AD. It was

built on a promontory sticking out into the Bay of Bengal at Mahabalipuram, a village south

of Chennai in the state of Tamil Nadu in India. At the time of its creation, the village was a

busy port during the reign ofNarasimhavarman II of the Pallava dynasty.[1] As one of the Group of

Monuments at Mahabalipuram, it has been classified as a UNESCO World Heritage Site since 1984.[2] It is one of the oldest structural (versusrock-cut) stone temples of South India.[1]

Shore temple is a complex of three temples, one large and two small, located right on the shores of

the Coromandel Coast of the Bay of Bengal in Mahabalipuram, which was earlier known as

Mamallapuram. During the Pallava Dynasty reign this was a port city of their kingdom which they

ruled from Kanchipuram. It was built by the Pallava Dynasty when it was the trading port of the

dynasty.[3][4]

History[edit]

Sailors gave the name Seven Pagodas to the Shore Temple when they saw this tall structure on the

seashore, as the temple probably acted as a landmark for navigation of their ships. As it appears like

a Pagoda, the name became familiar to the seafarers.[5]

This structural temple complex was the culmination of the architectural creations that were initiated

by the King Narasimha Varma I (popularly called as Mammalla after whom the Mamallapuram town

is named), in mid 7th century starting with the Cave temples and the monolithic Rathas.[4][6] Even

though the architectural creation of sculpturing cut-in and cut-out structures continued during

subsequent periods, as seen in the Atiranachanda cave, the Pidari rathas and the Tiger cave, the

main credit for the architectural elegance of the Shore Temple complex in the category of structural

temples goes to the King Rajasimha (700–28 AD), also known as Narasimhavarman II, of the

Pallava Dynasty. It is now inferred that this temple complex was the last in a series of temples that

seemed to exist in the submerged coastline; this is supported by the appearance of an outline of its

sister temples off the coast during the Tsunami of 2004 which struck this coastline.[3][7] The

architecture of the Shore Temple was continued by the Cholas (in the temples that they built) who

ruled Tamil Nadu after defeating the Pallavas.[8]

The Tsunami of December 2004 that struck the coastline of Coromandel exposed an old collapsed

temple built entirely of granite blocks. This has renewed speculation that Mahablaipuram was a part

of the Seven Pagodas described in the diaries of Europeans, of which six temples remain

submerged in the sea. The Tsunami also exposed some ancient rock sculptures of lions, elephants,

and peacocks that used to decorate walls and temples during the Pallava period during the 7th and

8th centuries.[9]

Though the Tsunami of 26 December 2004 that occurred in the Indian Ocean struck the temple and

the surrounding garden, the Shore Temple was not badly damaged, as the water level returned to its

normal level within a few minutes. The damage was to the foundation of the bali peetam (sacrificial

altar) in front of the temple, the steps leading to the boat jetty, and the small shrine with

the Varaha (Boar) sculpture at the basement of the Shore temple. As the temple foundation is on

hard granite rock, it could sustain the waves created by the Tsunami; the groynes erected around

the temple area on the coastline also aided its protection.[10]

According to the two inscriptions found in the slab of smaller Shiva temple, the names of the three

temples mentioned are as Kshatriyasimha Pallaveshvara-griham, Rajasimha Pallaveshvara-

griham andPllikondaruliya-devar. The entire temple complex is called as Jalashayana (lying in

water). This confirms that the Vishnu shrine was the first shrine to be excavated here. The inscription

on the lintel of the Vishnu shrine also mentions this as Narapatisimha Pallava Vishnu

Griha where Narapatisimha is a title of Rajasimha.[5]

An archaeologist has observed that: "In locating the temple on the very margin of the sea, exposing

it to avoidable dangers, the builders, there can be little doubt, sought theatrical effect." [11]

As the Shore Temple was initially identified as part of the Seven Pagodas at Mahabalipuram, an

ancient Hindu legend referred to the origin of these pagodas in mythical terms.

Prince Hiranyakasipu refused to worship the god Vishnu. The prince’s son, Prahlada, loved and was

devoted to Vishnu greatly and criticized his father’s lack of faith. Hiranyakasipu banished Prahlada

but then relented and allowed him to come home. Father and son quickly began to argue about

Vishnu’s nature. When Prahlada stated that Vishnu was present everywhere, including in the walls

of their home, his father kicked a pillar. Vishnu emerged from the pillar in the form of a man with a

lion’s head, and killed Hiranyakasipu. Prahlada eventually became the king, and had a son

named Bali. Bali founded Mahabalipuram on this site.

Myths also mention that Gods were jealous of the architectural elegance of the monuments of

Mahablipuram, and as a result they caused floods to occur, which submerged most parts of the city,

except for a few structures that are seen now.[9]

Architecture[edit]

All the three Temples of the Shore Temple complex are built on the same platform. Viewed from the

northern end, the temples appear to be a replica of the Dharmaraja Ratha.[5] The main Shore

Temple, which faces east so that the sun rays shine on the main deity of Shiva Linga in the shrine, is

a five-storied structural Hindu temple rather than rock-cut as are the other monuments at the site.

Built with sculpted granite stones hauled from a nearby quarry, it is the earliest important structural

temple in South India. Its pyramidal structure is 60 feet (18 m) high and sits on a 50 feet (15 m)

square platform. There is a small temple in front which was the original porch.[12][13] It is made out of

finely cut local granite.[14] The shore temple is also one of the most popular temples. Recent

excavations have revealed new structures here under the sand.[13][15]

The temple is a combination of three shrines. The main shrine is dedicated to Shiva as is the smaller

second shrine. A small third shrine, between the two, is dedicated to a reclining Vishnu and may

have had water channelled into the temple, entering the Vishnu shrine. The two Shiva shrines

are orthogonal in configuration. The entrance is through a transverse barrel vault gopuram. The

two shikharas have a pyramidal outline, each individual tier is distinct with overhanging eaves that

cast dark shadows.[1] The outer wall of the shrine to Vishnu and the inner side of the boundary wall

are extensively sculptured and topped by large sculptures of Nandi.[12] The temple's outer walls are

divided by pilasters into bays, the lower part being carved into a series of rearing lions.[16] The temple

walls have large sculptures of Nandi.[17]

Features[edit]

The temple has a garbhagriha (sanctum sanctorum) in which the deity, Sivalinga, is enshrined, and

a small mandapa surrounded by a heavy outer wall with little space between for circumambulation.

At the rear are two shrines facing in opposite directions. The inner shrine dedicated

to Ksatriyasimnesvara is reached through a passage while the other, dedicated to Vishnu, is facing

outwards. The Durga is seated on her lionvahana. A small shrine may have been in the cavity in the

lion's chest.[13]

The Shore Temples configuration of the two Shiva shrines with the small Vishnu shrine in between

illustrates an attempt to balance the different, competing religious requirements.[1]

The roofs of the temples have ornamentation similar to the Pancha Rathas. The roofs have finials on

the top, indicative of its religious functional nature, as it was a completed temple. The octagonal

shape of theshikaras of the two temples dedicated to Shiva are in the Dravidian architectural style.[5] Beneath the towers, the sanctuary walls are mostly blank with out any decorations but the columns

are carved over lion mounted bases.[18] The decorations on the outer faces of these shrines are

similar to those seen on the Pancha Rathas, though due to their closeness to the sea, are partially

eroded due to salty winds.[17]

The most distinctive feature of the temple are the Dharalinga and the Somaskanda panel, which are

enshrined in the interior walls of the sanctum of the east facing Kshatriyasimhesvara temple. The

Dharalinga is deified in the garbhagriha, which is in square shape of 12 feet (3.7 m) and the height is

11 feet (3.4 m). The Dharalinga or Shivalinga is in Rajasimha style, carved out of black basalt stone.

It has sixteen faces with slight fluting to create a crown at the top. The top portion of the linga is

damaged. Its total height is 6 feet (1.8 m) with one foot embedded in the foundation to provide

stability.[5] A bas-relief, which is a family image of Shiva and his consort Parvati with their

child Kartikeya built over a stone slab is located in a small shrine in the temple. This is also called

the Somaskanada panel, a carved stone panel. Two more similar panels are seen at the entrance

porch of the temple. This type of panel is also depicted in the nearby Dharmaraja Ratha of the

Paramesvarvarman’s era.[5][19][20] The ardhamantapa or half chamber which is the first chamber before

entering the sanctum sanctorum, also has sculptures of Brahma on the south wall and Vishnu on its

north wall. Sculptures of Shiva as Tripurantaka and Durga are seen on the back side of the north

wall of the main shrine. There is also a circumambulatory passage to go round the main shrine in a

clockwise direction.[5]

The smaller Shiva temple behind the main temple is a double storied structure with a stepped

pyramidal tower with an octagonal sikhara built over a circular griva. A kalasa and finial are fitted

above the sikhara. Kudus(horseshoe-arch dormer like projections) and small shrines are part of the

cornices at both levels of the structure. A Somaskanda panel decorates the back wall of the inner

shrine. There is no mantapa (hall) in front of this shrine (probably damaged). The external walls

display two panels. One is called Ekapadamurti, a eye-legged form of Shiva with Brahma and

Vishnu emanating from his sides. The second panel is of Nagaraja (king of serpents) standing below

a five-hooded serpent.[5]

Anantashayi Vishnu (reclining posture of Vishnu lying on the serpent Ananta) is enshrined in a small

rectangular shrine between the large Kshatriyasimhesvara temple and the Rajasimha Pallaveshvara

temple. Vishnu is depicted with four arms but his attributes are missing (damaged). The temple

structure's rectangular tower is missing. The typical design of kudus and small square shrines are

part of the cornice arrangement. The external walls have carvings of Krishna slaying the

demon Kesi[disambiguation needed], Krishna dancing over Kaliya (the seven hooded serpent), and Vishnu

seated on his vehicle Garuda in the act of saving Gajendra (elephant) from the mouth of a crocodile.

Inscription noted in Pallava Grantha script is on the lintel indicating it as the earliest shrine of the

complex.[5]

The entire compound wall surrounding the temples is sculpted with large sculptures of Nandi, the

vehicle or mount of Shiva,[17] and also with Yalis and Varahas (boars).[10]

Lion monolith[edit]

A monolith sculpture of a partly carved and partly sculpted lion with a hole in its torso is erected

within the compound wall of the temple complex. A miniature image of Durga is sculpted on the back

of the image, which is a depiction of Durga as Mahishasurmardini. The open mouth of the lion is

inferred as representation of its role as the favourite mount of Durga. A female guardian with a bow

is also carved on the leg of the lion.[5]

Miniature Shrine[edit]

Miniature Shrine in Shore Temple complex

In 1990, the Archaeological Survey of India (ASI) discovered a miniature shrine with

the Bhuvaraha image in a well type enclosure. This is dated to the Pallava King Narasimhavarman

Mamalla’s (AD 638–660) reign. It was enclosed with an elliptical well built during Rajasimha’s (AD

700–728) period. These are carved on the bedrock that also has the reclining Vishnu in the Shore

Temple complex.[21] The miniature shrine is also dedicated to Shiva. It has sixteen-sided base which

is carved from bedrock. The circular wall and superstructure are of structural type. There are lions

depicted on the pilasters. It is reported as a unique single tiered temple and not seen in other

temples of the Pallava period. Its circular shikara, is in vesara style architecture. The sikhara is

erected on a circular griva, which has kudus and maha-nasikas on its four sides and

each nasika has an image of Ganesha. The kalasa above the shikara is missing.[5] The carving of the

Bhuvaraha depicts Varaha as the boar incarnation of Vishnu. This image is in unusual form, unlike

another Varaha depictions in other regions of the country, as there is no Bhudevi shown nor an

ocean. The depiction is in the form of Varaha performing a diving act into the ocean to rescue

Bhudevi or mother earth. The symbolism of this act denotes the myth, only when the temple is

submerged in water, as it is below the ground level.[5] The sculpture is seen broken and the base has

an inscription referring to titles of the Pallava king Rajasimha. The wall that surrounds the shrine to

prevent intrusion of sand from the sea also has an inscription on the topmost layer, in Pallava-

Grantha script, which equates the king with Arjuna.[5][21]

The Cave Temples of Mahabalipuram are located on the hillock of Mahabalipuram town, overlooking the Coromandel Coast of the Bay of Bengal in Kancheepuram District in Tamil Nadu, India. Also called mandapas or rock-cut caves, they are sanctuaries or temples covered with bas-reliefs. The earliest period of use of these caves as sanctuaries is traced to the Buddhist and Jain periods. They were excavated on rock faces which were cut and then carved using chisel and iron mallet. Of the eleven mandapas or caves seen in Mahabalipuram, the most notable are the Varaha Cave Temple, Krishna Cave Temple, Panchapandava Cave Temple, and theMahishasuramardini mandapa.[1][2] They are cut and decorated with panels in the Mamalla style of the Pallava period in the 7th century. They are differentiated from the Adiranchanda cave temples which are dated to the Mahendraverman period of the 8th century. Remnants seen in the caves also indicate that they were plastered and painted when built.[3] One of the most impressive sculpture panels, bas-reliefs, carved on the walls in the caves is that of the goddess Durga (a form of goddess Shakti) who killed Mahishasura the buffalo-headed demon which has a natural beauty with elegance of sense of movement, and this bas-relief panel in the Mahsisuramardhini Cave Temple is considered a masterpiece of Indian art.[4] Many of the caves of the Pallava period have remained incomplete. The procedure in creating these caves involved creation of a smooth rock face, then cutting columns through the polished rock faces of required size and then carving bas-reliefs on the walls of the cave.[2] Some of the cave temples are covered by the UNESCO inscription while others are not, such as the Koneri Mantapa, the Yali Mantapa, and the Kotikaal Mantapa. All caves here with simple plan and elegant architectural style, and have no deities deified in the sanctum sanctorum.[5] It is one of the Group of Monuments at Mahabalipuram that were designated as a UNESCO World Heritage Site since 1984 under the heading mantapas.[6]

The caves reflect a transitional style architecture evolved during the rule of kings Mahendra Varman I and Rajasimha or Narasimhavarman I known as Mamalla and this style was continued by his son Parameshvaravarman I.[9] Historical research has also confirmed that Mahabipuram town came to be established only after it was named after Mamalla and the caves and rathas are dated to his period during the year 650 AD.[10] That Mahabalipuram was a busy port and prosperous during Mamalla's rule is attested by the fact that Xuan Zang, the Chinese traveller stayed here in 642 AD as a guest of the court recording the greatness of the town and its king. Thirumangai Alvar, avaishnava saint of Tamil Nadu has also recorded glowingly about the town’s richness as seen from the loaded ships exporting goods. The caves excavated during this period though similar to the earlier caves but were more sophisticated in their decorations. The Varaha Cave temple or Mandapa has fluted columns separating the openings. Certain Greco-Roman architectural styles could also be discerned and the sitting statues are said to have likeness to the sitting styles seen in European architecture, as against the Indian cross legged style. The style thus created at Mahabalipuram became a forerunner for Dravidian style of architecture.[11] The Pallavas were great patrons of art.

Krishna[edit]

The Krishna Cave Temple is dated to mid-7th century. Its excavated entry is seen with columns

leading to a hall. A notable carving in side the cave is a sculpted panel which brings out the myth

of Krishna lifting the Govaradhan hill to protect the cow herds and gopis(milk maids) from heavy

rains and floods, and also scenes of Krishna frolicking with the milk maids.[15][16]

Mahishasuramardini[edit]

Vishnu in a reclining pose lying on a serpent in Mahishasuramardini cave temple.

The Mahishasuramardini Cave Temple is close to the lighthouse on the top of the hill. It has two very

beautifully carved frescoes of Durga, the mother goddess at both ends of the long hall of the cave.

She is shown seated on lion her mount or vehicle with all her weapons. The depiction also features

her posture of slaying the buffalo headed Mahishasura. At the other end of the hall, opposite to the

Durga panel, the scene carved is of Vishnu in a reclining posture on the bed of Ananta multi-hooded

serpent. He is surrounded by the divine beings of heaven appealing him to continue with the creation

of the universe. There is also a third chamber which shows a carved fresco of Vishnu.[15]

Varaha[edit]

Bas-relief inside the Varaha Cave

The Varaha Cave Temple (also known as Adivaraha) is dated to the 7th century. The most

prominent sculpture is that of Vishnu in the incarnation form of a boar lifting mother earth from the

sea. Also carved are many mythical figures.[15] In the entry porch carved on the rock face the columns

are carved on lion bases. At the centre of the rear wall, guardian figures are depicted flanking a

shrine. The side walls have carved sculpture panels of Vishnu as Trivikrama and Vishnu in the

incarnation of Varaha, the boar, lifting Bhudevi, the earth goddess.[17]

Trimurti[edit]

The Trimurti Cave Temple is dated to the early 8th century. It has separate sections in a sequenced

dedicated to each of the Hindu trinity gods of Brahma, Vishnu and Shiva or Maheshwara. [18] The

three shrines are cut out from the rock-face. Each shrine is flanked by pilasters with guardian

figures. On the rear wall of the cave, individual carvings of Brahma, Vishnu and Shiva attended by

devotees are carved.[19]

Kotikal[edit]

Kotikal Mandapa

The Kotikal Cave Temple is dedicated to goddess Durga.[18] Its entrance faces west and is in

continuation of the Dharmaraja Mandapa. The rock cut façade has two supporting pillars and two

pilasters in Mahendravarman style of architecture with an octagonal shaft built over a cubical base,

and a similar top. The cave chamber inside is 21.5 feet (6.6 m) long, 8 feet (2.4 m) wide and has a

height of 8 feet (2.4 m). There is also a small chamber on the rear wall flanked by female dvarpalas

(guards); the dvarapala on the left, facing to the front, is carved in a standing posture with one hand

holding a club and the other hand holding a sword. The dvarapala on the right is carved with one

hand holding a dhanush (bow) and the other arm is resting on her waist. The dvarpalas are in a

dancing pose, called tribhanga (triple break). Though there is no deity inside this shrine now, it is

conjectured that the sanctum inside housed goddess Durga with the female guardians protecting her

at the entrance to the cell.[20]

Tiger[edit]

The Tiger Cave Temple (also known as Yali) is dated to the early 8th century. It is a shallow cave

but is unusual and unique when compared to the other caves here. The entrance to the cave faces

south-east. It is close to the Atiranachanda Mandapa and located at Saluvankuppam village, 4

kilometres (2.5 mi) to the north of Mamallapuram. This is a refined cave which is carved about 6 feet

(1.8 m) above the ground level and has a pavilion which is closed on three sides. The front cavern is

6 feet (1.8 m) in height and has a width of 4 feet (1.2 m). Approach to the cavity is over a series of