The Shore Temple of Mahabalipuram, land of Bodhi-Dharma

The Shore Temple of Mahabalipuram

You are one among the two types of people in this world- The art people and the science people.  Be what you may, one thing that might interest you both is the temple architecture of Hinduism in India. The construction of a temple is a combination of both art and science. It is so varied a tradition that I, the architect of Jewel among the notable temples of India, the one at which your gaze is now fixed, have to have a command on mathematics, logic, geography, geology, science, ecology, art, sculpting, music, light and sound, religion, social sciences and astrology. Phew! But there is a secret behind the awesome temple architecture of India. The construction techniques were passed on verbally from generation to generation among the temple designers before the era of design repositories found in modern architectural practice. I am also an old-school architect. You may never know my name. In reality, it doesn’t even matter. What matters is that my masterpiece is in front of your eyes and by knowing its story, I am sure you will get to know me too. I am what my creation makes me. I am not one man; I am many who have come into succession and built this magnificent masterpiece- piece by piece.

The early history of Mahabalipuram or Mamallapuram, the port town that houses my masterpiece, is shrouded in mystery. The ancient sea-farers considered this place as the land of the Seven Pagodas. A significant amount of coins and other artefacts excavated from this region, show a pre-existing trade relation with the Romans. It was even before Mahabalipuram became a part of the mighty medieval age, Pallava Empire.

If you are one of the sceptics, you must know that many historians are of the opinion that Mahabalipuram suffered from a great flood between 10,000 and 13,000 BCE. Controversial historian Graham Hancock was one of the core members of a team of divers from Indian National Institute of Oceanography and the Scientific Exploration Society of UK. The team surveyed the ocean bed near Mamallapuram in 2002. He has given ample reasons to support the flood theory. His exploration also provided him with a fair glimpse of the vast extent of submerged ruins. He reportedly commented after the exploration, “I have argued for many years that the world’s flood myths deserve to be taken seriously, a view that most Western academics reject … But here in Mahabalipuram, we have proved the myths right and the academics wrong.” Myths right and the academics wrong!

Many opinions exist about the origin of the name of the Mahabalipuram too. The most popular of these is that the place is named after benevolent King Bali, also known as Mahabali. The ancient Indian text, Vishnu Purana documents his exploits in which he offered, all he had-Heaven, Earth and the underworld, to Vaman, an incarnation of Vishnu, and attained salvation. “Puram” in Sanskrit means a town or urban dwelling. Mamallapuram is the Prakrit version of the original Sanskrit name given in part due to it being a centre of Jainism and Buddhism. Another belief is that is has been named after the founder; Narsimhavarman I, who was known as Mahamall meaning the great wrestler.

Mahabalipuram flourished as a centre of art and architecture during the rule of Mahendravarman I in 7^th century. He was a well-known poet, playwright and orator. His patronage helped the creation of a number of the city’s most iconic landmarks. This period of artistic excellence was continued by his son Narasimhavarman I and subsequent Pallava rulers.

The arduous pilgrimage of Hien Tsang from China during the 7^th century has a divine relationship with Kanchipuram and Mahabalipuram. The traveller must have crossed the prominent port Mamallapuram to reach the capital of the majestic Pallavas- Kanchipuram. The Chinese are still grateful for the unconditional love and service of their highly revered master, Bodhi Dharma who was born at Kanchipuram.

Quanzhou in southeast China recently unveiled a Tamil stone inscription along with Mandarin scripts. Interestingly, the place of discovery of this inscription was a seaport like Mahabalipuram. Similarly, the excavation of Saluvankuppam in 2004 unveiled that Mahabalipuram was a port town 2,000 years ago during the ‘Sangam’ period. Mamallapuram was a part of China’s ‘Silk Route’ and India’s ‘Spice Route’. The famed silk industry of Kanchipuram owes its genesis to the raw silk imported from China through Mamallapuram.

Oh yes, that was just the commercial aspect of the town. The economic prosperity ensured that the city is also famous for royal carved monuments.  The PanchRathas, which you might have beheld, were constructed during the time of King Mahendraverman I. After his death; they stopped the construction in 668 AD. These structures resemble the Dravidian architecture which later became a guide to temples of higher dimensions built in the region subsequently. The reason for constructing the Rathas, most of which have thought of the Buddhist Viharas and Chaityas is not known till date. The names of five Rathas are DhramrajaRatha, BhimaRatha, ArjunaRatha, Nakul SahadevaRatha and DraupdiRatha. Though there seems to be no connection between these Viharas and the Pandavas of Mahabharta, the names have stuck in the people's conscience.

Cave Temples also become an important part of the landscape of Mahabalipuram. Adi VarshaPerumal Cave Temple dedicated to Lord Vishnu, Trimurti cave and Mahishasur-Mardini cave dedicated to Goddess Durga are notable cave temples. 

The Descent of the Ganges is a religious story that tells about the significance and origin of the sacred river Ganges. The story talks about how the gods permitted the Ganges to come down from the heavens to reward to the Sage and King named Bhagirath, who had been doing penance for years. To control its force and prevent the Earth from destruction, Lord Shiva tied its fall and allowed the water to flow through hair, which then distributed in tributaries. On the Mamallapuram relief, it shows Shiva as one of the largest figures along with an abstainer.

At Mamallapuram, though, Ganga is not depicted in an anthropomorphic form, but it is flown down like a cleft on the rock. It is believed that central cleft represents a channel for the Ganges, as it falls are the sculptures of three Nagas, which serves as protectors of water bodies and resembles the qualities of fertility and prosperity. The Kaveri River was controlled by the Pallavas, and it was a source of their political strength.  It is believed that they wanted to associate the Kaveri and the Ganges to point out viewers of both their earthly and divine power.

Olakkanneshvara Temple dedicated to Lord Shiva overlooks the Coromandel Coast off the Bay of Bengal. It is also a structural temple, like the Shore Temple and is known locally as the old lighthouse.

The centre of attraction, my masterpiece, the Shore Temple is located on the beach and as per local lore; it is one of the surviving structures of the colonial era legend of the Seven Pagodas. It still preserves its beauty despite the continuous onslaught of moist and salty sea-air. Built between 700 and 728 CE during the reign of Narasimhavarman II, this is a remnant of a larger complex of temples and civil structures much of which lies under the depth of the sea now.

This five-story edifice is built in such a way that the first rays of the rising sun fall on the presiding deity of the temple, Shiva. You may enter the premises through a barrel-vaulted gopuram or gateway. The shikhara, roof of the actual shrine resembles a pyramid. This too is embellished with intricate bas-reliefs like other structures at Mahabalipuram. Monolithic sculptures are also scattered about the temple complex which you should have a look at minutely. Tread lightly on the octagonal neck griva, which is topped by a round finial. Dravidian temples are typically enclosed within an outer wall, prakara, with a large gateway tower known as a gopura.

This majestic temple known locally as Alaivay-k-kovil comprises three separate shrines. Pallava kings were primarily worshippers of Shiva, but they also constructed and supported temples dedicated to other Hindu gods and other religious traditions such as Jainism. The temple stands on naturally occurring granite stone and inhibits the characteristics of both a rock-cut and a structural temple. The Vishnu shrine is the oldest and smallest of these shrines. In making other structural elements like gateways and walls, mortar and quarried stone is used.

The entrance to the temple complex is from the western gateway, facing the smaller Shiva shrine. On each side of the gateway stand dvarapalas or gatekeepers, will welcome you and declare the sacredness of this site. The large Shiva shrine faces east and has a square plan with a sanctum and a porch called mandapa. At the centre of the shrine is a lingam, the phallic representation of Shiva where you can sit and meditate if you fancy. No active worshipping practice is being followed now. But sometimes, I can see the devotees offering flowers on the lingum, which brings back the sacred site to life. On the back wall of the shrine appear carvings of Shiva with his consort, the goddess Parvati, and their son Skanda. The inner walls of the mandapa contain images of the gods Brahma and Vishnu, and the outer north wall of the sanctum includes more sculptures of Shiva and a depiction of the goddess Durga.

The small Shiva shrine sits facing west and has a square plan with a sanctum and two mandapas. Same as the larger Shiva shrine, this one also housed a lingam, which is now missing. A sculpted panel depicting Shiva, Parvati, and Skanda adorns the back wall. Both shrines have identical multi-storied pyramidal superstructures typical of the Dravidian style.

The smaller Vishnu temple is located between the two Shiva shrines, connecting the two. It has a rectangular plan with a flat roof and houses a carved image of Vishnu in a sleeping position. Images of Vishnu reclining on the cosmic serpent, Sheshanaga, appear throughout India. While the artists who made this carving did not include a depiction of Sheshnaga, it is possible that originally the rock was painted to include the snake. The shrine walls have carvings depicting the life stories of Vishnu and one of his many reincarnations, Krishna. Krishna’s butterball, which is a granite boulder resting on a short incline and Krishna’s butter-well stand testimony to the Bhakti tradition of the Pallava Kings.

The rich sculpted designs of the three shrines spill on the outer walls of the Shore Temple, facing the sea. Wind and water have worn away the details of these carvings but you can still witness the intricacy depicted in them. A row of seated bulls will appear in front of your eyes at the entrance wall of the larger Shiva shrine. These bulls represent Nandi, the vehicle of the Shiva. Nandi is believed to be the guardian of Shiva’s home at Mount Kailasha and it features in most Shiva temples.

Shore temple is very important from an architectural point of view, as it is the culmination of rock-cut and free-standing structure. It also displays the elements of a mature Dravidian style and has served as an inspiration for later regional architecture. It signifies religious harmony with sacred spaces dedicated to both Shiva and Vishnu and was also an important symbol of Pallava political and economic strength. In 1984 UNESCO marked the place as World Heritage Site.

According to the legends, sailors could spot the shikhara of the temple from the sea and use those majestic towers as a landmark for embarking on the port of Mahabalipuram. The temple is not only a home for the gods Shiva and Vishnu but also a feature of the landscape, and an icon of the dominion of the great Pallava kings. You can equally share the local populace’s pride they put on this creation of their Tamil ancestors that has stood the tests of time, time and again.

They have now built walls towards the beach to protect the temple complex from the onslaught of the sea. The famed seven pagodas gave a brief glimpse during the Indian Ocean Tsunami of 2004 when the water receded by 500 metres. Historians from all over the world and Archaeological Survey of India have shown a newfound interest in the structures that may have been submerged in a previous Tsunami. There are shreds of evidence of a Tsunami in the 13^th century in Bay of Bengal that may have done this. There is still a lot to be unearthed about this ancient temple and one day I wish this lost treasure will regain all its former glory. It has been brought to the limelight by the historic visit of Chinese Premier Xi Jinping and India’s Prime Minister Narendra Modi. I will leave you with these thoughts to admire this real beauty and judge with your own eyes whether it fulfils its promise of grandeur. Please be careful to not wander your eyes a lot as you may miss the little details I have put in there. Let your sight absorb the intricate designs and let yourself immerse in this ancient Tamizh beauty.