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Location:
51 km south of Chennai
Ruling Dynasty:
Pallava
Periods:
Man-made caves - Mahendra Varman
c.580-630 A.D
Monolithic temples – Narasimha Varman I Mamalla
c.630-690 A.D
Masonry construction – Narasimha Varman II
Rajasimha
c.690-728
The rock-cut architecture of Mahabalipuram shows 4 broad categories:
Sixteen man made caves are seen , in different levels of completion and different stages of
evolution, scattered through the area. The caves are cut into the back or sides according to
the configuration of the rock on the site. With pillars of square and octagonal blocks and
elementary bracket capitals . These are plain and unadomed , except where the shrine
chambers have simple architectonic base, mouldings , pilasters and dwara palas.
TIRUMURTI CAVE TEMPLE
KONERI MANDAPAM
DRAWING INDEX
From Indian Architecture,
Christopher Tadgell
DRAWING INDEX
From Indian Architecture,
Christopher Tadgell
TIRUMURTI CAVE TEMPLE
Probably the first attempt at giving
depth to the surface, the Tirumurthi cave
temple has only the façade of the
vimana. Each of its three shrines
dedicated to Siva, Visnu and Brahma-
sasta, is a finished unit, consisting of the
adisthana with a flight of steps in front,
an excavated shrine, and a prastara
(architrave) on top.
The carved niche enclosing the deity and
the ascending ground plane that
transforms from the plinth to the
descending steps establish a very basic
hierarchy of spaces.
ELEVATION
PLAN
SECTION
The kapota is decorated with kudu arch motifs ,with a
row of haras over it. dvarapalas flank each of the
shrine entrances.
dwarapala
Kudu arch hara
kapota
ELEVATION
VARAHA MANDAPAM
The Varaha Mandapa sees greater
depth in the cave, giving rise to a
pillared mandapa before reaching
the shrine. A small ablution tank is
also carved into the ground just
before stepping into the mandapa.
Niches created on the walls of the
mandapa serve as surfaces for relief
carving-telling the story of the
Varaha avatar
The shrine rests on a well moulded
adisthana, with a flight of steps cut
into the middle whose curved
parapets seem to emerge from the
mouth of vyalas.
ELEVATION
The Varaha mandapam has
Six kudu arches with human
heads adorning the kapota above
the shrine, while below these the
geese turn their heads in
various directions. The façade
has two padma kumbha type
pillars.The potikas have taranga
ornamentations.
PLAN SECTION
ADIVARAHA CAVE TEMPLE
The Adivaraha cave temple, or the
Paramesvara-maha-varaha-vishnugriha, the
plan consists of an oblong mandapa and shrine
facing west. Two rows of pillars demarcate the
mandapa in front and Artha mandapa before
the shrine. The oblong projecting shrines
stands on a well moulded adisthana.
The pillars of the vyalas look straight a head,
Pilasters facing the north-south. the capital
consists of a kalasa (vase), tadi (saucer
shaped member), kandha (necking), kumbha
(bulbous member). the potika decorated with
ten kudu arch motifs, upholds five salas
connected by harantara (length of the cloister)
ELEVATION
SECTIO
PLAN N
RAMANUJA MANDAPAM
The Ramanuja mandapa plan adds to the
carved out pillared mandapa of the cave a
new dimension. The addition of a built up
unfinished mandapa in front of the cave
sees the combination of rock cut and
structural construction.
While the interior three celled shrine and
columns are much decorated, the outer
stone pillars remain unadorned.
ELEVATION
PLAN SECTION
FAÇADE SHOWING TWO ROWS OF COLUMNS AND SHRINES
OUTER COLUMNS
INTERIOR
SHRINES
MAHISAMARDHINI CAVE
The Mahisamardhini cave goes a step further in the
exploration of rock cut architecture. The shrine,
dedicated to the mother goddess for killing
Mahishasura, brings a new element into the cave
temple.
In addition to the colonnaded mandapa, the next layer
introduces a seemingly freestanding pavilion before
the garba griha.
The façade has been left unadorned with only the basic
forms of the kapota and haras chiseled out. It is the
inner pavilion that sees heavy ornamentation
establishing it as the most important part of the
structure.
ELEVATION SECTIO
N
THE RATHAS
After having experimented in carving caves out of rock, the Pallavan sculptor architect,
under King Mahendra Varman in 7th C A.D , proceeded to chisel down the granite outcrop
into free-standing monolithic buildings - resulting in the creation of the “rathas” or chariots
in Mamallapuram. There are nine such rathas in Mamallapuram.
NORTH WEST :
Valayankuttai ratha
Northern pidari ratha
NORTH :
Ganesha ratha
SOUTH :
Draupadi ratha
Arjuna ratha
Bheema ratha
Dharmaraja ratha
Nakul- sahadev ratha
PANCHA PANDAVA RATHAS
At the southern end of Mamallapuram, the Pallavas created, in a single spot, a multitude of
shapes and forms that the ideal Hindu temple could take. This experiment, on a small
outcrop of granite about 75mx9m, resulted in a form of architecture that flourished into a
mature consummate art in India.
The eight structures that were
carved out were named after the
Pandavas, the heroes of the Hindu
epic the Mahabharatha-Draupadi
ratha, Arjuna ratha, Bhima ratha,
Dharmaraja ratha and Nakul-
Sahadev ratha. Animal figures
were also carved out of the rock
in accordance with the deity
enshrined-a lion, a bull and an
elephant.
dwarapalika
stupi
common
plinth
SIDE ELEVATION
VALAYANKUTTAI RATHA
Kapota
with kudu
motifs
(horse
shoe)
arches
Faceted capital
Padmabandha
Shaft