MAHABALIPURAM, history of temple and its art & architecture

 

Mahabalipuram is just 38 kms from Chennai, on the banks of Bay of Bengal. It had various names such as Mallapuram, Mamallapuram, Thirukkadamalai etc. Not only it had beautiful monuments, it was also a great port and this has been evidenced by the discovery of a large number of Roman gold coins. This prosperous trade is also attested to by Sangam literature. The monuments of Mahabalipuram became so famous that architects from Java, Cambodia and other countries were greatly influenced by Mahabalipuram and this can be seen in the sculptures of those countries.

The most important attractions of Mahabalipuram are the monuments which are carved out of single stone, in addition to temples built in stone. These monuments look like rathas (chariots) and they are called pagodas. Perhaps these are influenced by the architectural creations of Western India. 

At Mahabalipuram, on the shore of the sea there are five rathas — one is in the centre of the small hillock and three are there in the hillocks located in the West of Mahabalipuram. There are five rathas and they are Draupadi, Arjuna, Bhima, Nakula and Sahadeva. Hence, they are also called Pancha Pandava rathas and these bring to our mind the famous Mahabharata. There are many individual sculptures and also sculptural panels. Draupadi ratha looks like a hut in stone. Noteworthy sculpture is Goddess Durgadevi with four hands and in front of the temple is the sculpture of lion on which she sits.

The Arjuna ratha is at the Western side. It is a two-storeyed construction and has a mandapa. But there is no image in the garbhagriha. On the outer walls are found sculptures of human beings. Other noteworthy sculptures are door-keepers, Vishnu with Garuda, Indra sitting on his elephant Airavata, Shiva closely standing by his vahana Nandi. The Sahadeva ratha faces South. In the pillars of the mukhamandapa are found elephants. Elephants are found on both sides of the entrance (dvarapalakas). To the east is a small temple which was perhaps built for Indra.  Bhima ratha which is the third one in this series faces West. The peculiarity of this temple is, it has no garbhagriha or sculptures. Perhaps they were left incomplete by the Pallavas for some reason not known to us

The three-storeyed Dharma-raja ratha is the biggest and most beautiful. It has a large number of sculptures and looks like an open air museum. Perhaps this provided a proto-type for the later South Indian temples. From the inscriptions found in this, it is certain that this was dedicated to Lord Shiva. The beautiful sculpture here is Ardhanareeshwara, half-man and half-woman. The characters are suitably brought about as enunciated in Shilpashastra texts. Among them the most noteworthy are the sculpture of God Ganesha and bhikshatanamurthy etc. Outside Mahabalipuram are two more rathas, Pidari ratha and Valliyankuttai ratha. In front of the latter is the mandapa dedicated to the demon Mahishasura.

In the Krishna mandapa are found various sculptures of Lord Sri Krishna such as his boyhood, Govardhanagiridhari, Gopalaka sculpture in which cow and calf are seen. There is a woman walking with a pot containing curd. One of the cow-herds is playing on flute and the entire group of cow-herd is hearing the flute with rapt attention.

One of the sculptural panels at Mahabalipuram which everyone has to see is named Arjuna’s penance. This huge monolithic stone has the sculptures of three worlds namely patala, the earth and the sky. There is a small cleavage which makes the huge monolithic stone into two pieces. Men, women and seers are watching with eagerness what is going to happen in the three worlds. To see this they are running towards this huge boulder. They include Sun, Moon, Yakshas, Gandharvas, Kinnaras, Kimpurushas, Siddha charanas, divine artists etc. In the South is carved forest life. There are many types of wild animals, wild tribes, which are life-like, while one bird is sitting on the tree, the other auda (iguana) is climbing the tree. A monkey is looking at the gathered people with anxiety as to what is going to happen next. A tribal hunter is walking with the day’s dead animals which he had hunted.

On the other side is a seer standing on one leg and doing penance. He has closed his eyes and had put both his hands on his head. His face shows that he is thinking of Lord Shiva and completely surrendered to Lord Shiva. By its side is a small temple in which is found a sculpture of Lord Vishnu. All these are shown as if they happened on the banks of a river. This shows the living of men and women on this banks of a river. It is also both enjoyable but if rivers overflow they may cause great commotions including death. All these various moods are beautifully shown on the faces of men, women and seers as well as animals. There is fear in many on the faces of sculptures. Most of these are taken from various puranas and this shows the sculptors had a good knowledge of puranas also

Almost the entire world of men, women, animals living in water etc., are graphically carved here. For the people living in the sky, the sky seems to be their limit. That is the imagination of the sculptors. Visitors who have admired the Pallava sculptures have admired the Pallava sculptors and architects and compliment them for these skills. They seem to give the impression that they are sculpted by Gods of heaven. These sculptures bring reality to the visitors. A tiger is licking its young ones with great love and a large number of deer are galloping with great speed while a cat is following a seer etc.

Some scholars believe that this huge boulder represents the descent of the Ganga (Gangavatara) while others think that it represents Arjuna’s presence to get Pashupatastra from Lord Shiva. Whatever, interpretation one may accept, the sculpture is highly wonderful.

Other caves dedicated to Varaha and Mahishasuramardini have many sculptures. This  shows that Pallavas not only carved temples but also built them.

The Shiva temple is one of the great temples at Mahabalipuram. It had a lamp in its garbhagria. It serves two purposes, namely to show the respect to the God and also show direction to the people who took voyages to this place Finally, who built these temples is  important. Many Pallava kings undertook this task, right from Mahendravarma (600 – 630) to Rajsimha II (700 – 728). Whosoever was responsible, deserve our admiration. 

Mahabalipuram is a heaven of temples and the Archaeological Survey of India (ASI) is maintaining them well. Hence ASI should be congratulated.  

KHAJURAHO TEMPLE, art & architechture

KHAJURAHO TEMPLE : History 

Inscriptions at the Khajuraho temples indicate that these shrines were constructed from the period of 950 to 1050 AD. The construction of the temple is attributed to the rulers of the Chandela dynasty. It is believed that the temple site, covering an area of 20 sq. km had around 85 temples during the 12th-century. However, only 25 temples out of these have managed to defy the test of time and survive till date. These temples are spread across an area of 6 sq. km today.

It’s interesting to note that the Khajuraho group of temples are linked to two religions – Jainism and Hinduism. The Kandariya Mahadeva Temple is the largest and the most famous one among the surviving temples. It is adorned with innumerable sculptures exhibiting intricate details that mirror the richness of ancient Indian architecture.

Till the end of the 12th-century, these temples were active places of worship. But from 13th-century to 18th-century, these temples suffered massive destruction as the region came under the control of different Muslim dynasties. These temples were also the target of Sikandar Lodi’s drive in the 15th-century to destroy Hindu temples. After a long period of destruction and neglect, the temples at Khajuraho were rediscovered by T.S. Burt, a British surveyor, in the 1830s. Since then, the temples have gained popularity among travelers from all around the world.

Khajuraho: Architecture

The Khajuraho temples feature Nagara-style of architectural symbols. They are best known for the erotic sculptures that adorn the temple walls. Built upon granite foundations, these temples are made using sandstone. Like most Hindu temples, the shrines at Khajuraho follow the Vastu-Purusha-Mandala design plan.

Another characteristic feature of these temples is that the sculptures are arranged in symmetric repeating arrangements, even though every image is unique. Highly ornate carvings adorn the walls, pillars, ceilings of these temples. Several panels and sculptures in these temples have inscriptions. Barring one, every temple at Khajuraho faces the east and has an entrance in this direction.

Architecture of the temples

Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components – Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.

The layout plan of Kandriya Mahadeva Khajuraho temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan

The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The sikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.

The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.

Most Khajuraho temples deploy the 8×8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.

Khajuraho temples use the 8×8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Sikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.

The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.

Khajuraho temples use the 8×8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Sikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.

All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.

An illustration of Khajuraho temple Spires (Sikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.

Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Sikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.

In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life – kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.