Art and Architecture of South India---Part VII

[Kuram T Narayana]

Art and Architecture fo South India---Part VII

In the South, the Pallavas bridge the transition from rock architecture to
structural stone temples. Their architecture and sculpture constitute a most
brilliant chapter in the history of south indian art. The credit for initiating
the rock architecture in the Pallava country goes to the royal artist
Mahendravarman I. A number of his temples bear his inscriptions, giving his
titles. The cave temple on the hill at Mandagappattu in South Arcot district
bears an inscription recording the construction of the temple dedicated to
Brahma, Vishnu, and Siva without the use of brick, mortar, timber, or metal
by king Vicitra citta. The five celled cave temple at Pallavaram near Madras
was also his creation but on a more elaborate plan. It bears a number of his
titles, like Mahendravikrama, Mattavilaasa, Chettakari, Vicitra citta, etc.
This cave has now been converted into a muslim dhargha. At Maamanduur in north
arcot district, there are four cave temples, two in a finished stage and the
others in an unfinished condition. From the Chola inscriptions in that place, it
is learned that the two finished caves were dedicated to Siva. One of them bears
a long inscription of Mahendra, mentioning the composition of a play,
Mattavilaasa prahasana, in Sanskrit, which has luckily survived. His other
titles GuNabhara, Avambhajan and Mattavilaasa found in this inscription are
also found in the Sanskrit play. The Siva temple, Avanibhajan PallavEsvaram, at
Siyamangalam in north arcot dist, is named after one of Mahedra's titles and
bears an inscription of him recording the foundation of the temple. The upper
rock-cut cave at Tirruchchirapalli is by far the best of Mahendra's creations.
With an excavated sanctum on the side, the cave temple bears one of the finest
representations of Gangaadhara on the opposite wall. Befitting the granduer of
the cave temple, there is an inscription of Mahedra which is sublime poetry.
Mahendra makes a pointed reference to the installation of a linga in the temple
and his conversion to Saivism from an alien faith. Mahendra also claims to have
made the figure of Sthanu and a portrait of himself adoring the lord. Probably
one of the seated figures in the Gangaadhara panel represents Mahedra. A cave
temple at Vallam was excavated by KandasEna, one of Mahendra's feudatories.
Besides these cave temples, dedicated to Siva, a few Vishnu cave temples were
also excavated by him, the most important ones being the MahEndravishnugriha
at MahEndravadi in north arcot district. A few pillars, one carrying his titles,have been found in the EkaambarEsvara tenple at Kannchi. A few sculptures, now
in the GuNadharEsvara temple at Thiruvadigai, also probably belong to this
period.

The post Mahendra period art is found at the mouth of Paalaar river, 32 miles
south of Madras,. A large granite hill, 100ft high, half a mile length from
north to south and a quarter of a mile wide, and a smaller granite outcrop
further south admirably served the talented Pallava sculptors. Maamallapuram
must have been a busy port with its royal residences, bazaars, warehouses and
harbour. All secular buildings of relatively perishable materials have
disappeared but the halls and sculptures quarried out of the natural rock with
a religious intent have survived. ...

The monuments at Maamallapuram can be grouped into a) cut-in cave temples
b) cut-out monolithic temples now called rathaas, c) bas-relief sculptures
in the open air rocks and d) structural temples.

There are about 15 cave temples in Maamallapuram and 2 in Saluvankuppam, a
village about 2 miles north of Maamallapuram. These cave temples, popularly
called mandapas (they were probably mandapa type temples) are modest in
proportion and are in various stages of completion, only a few being nearly
complete. A careful analysis of the plan of these temples show that each is
laid on a different plan: some have the sanctums cut at the back wall, while
others have them projected into the hall from the rear wall; others have,
in addition to the sanctums, a pillared pavilian in front, and others have
sanctums cut into the outer wall of the rock face. Perhaps the biggest cave
to be attempted, with a sanctum in the center and provision of circumbulatory
path around, is the Panca Pandava cave, near the bas-releif, the Descent of
The Ganga. A great number of these caves are plain, while some carry sculptures
of exemplary beauty. The Mahishamardini cave, the Adivaraaha cave, the Varaaha
cave, and Trimuurti cave, have preserved their sculptures, but ones in
Raamaanuja cave have suffered damage having been chipped off completely at
a later period. The Goddess Durgaa mounted on a prancing lion, attacking the
buffalo headed demon Mahishaasura is the most outstanding creation of
Maamallapuram art. Though a powerful monster, he is shown retreating unable
to withstand the onslaught. It is the most powerful expression in stone of
the victory of divine nature over evil. This singularly graceful sculpture of
Mahishamardini has rightly received the admiration of visitors from all parts
of the world. Opposite this panel is shown Vishnu in cosmic sleep, another
excellent product of Pallava genius.

(to be continued..)

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Excerpted from NA Sastry's History fo South India. Typos are mine. Rest are
NA Sastry's.