CHENNAI: Great scholars have done remarkable research on the Pallava history, monuments, iconography and epigraphy. I’ve only drawn wisdom from the legacy of work left behind by them and personal field visits to some of the monuments. This presentation will shed light on a few gems from the profound contributions of Pallavas to Indian art,” began temple historian Chithra Madhavan, while addressing 100 history buffs over a Zoom webinar on Tuesday. Her hour-long presentation on ‘Pallava Art and Architecture: Some aspects’ was part of the Pleach India Foundation’s talk series to sensitise and educate people towards the significance of our rich heritage and why it needs to be preserved for posterity.
Of sculptures and stories
In India, particularly Tamil Nadu — keeping in mind the Pallava art and architecture — most temples were made of perishable materials prior to the Pallava and Pandya rule. While there are textual references of such temples, they must have disintegrated at one point, highlighted Madhavan. “It was in the 7th century when Mahendravarman Pallava decided that temples would be built of stone in his kingdom. While there were cave temples already in the Pandyan and Chalukyan countries, in the Pallava Kingdom, he was the pioneer of cave temples,” she said.
One of the first slides drew our attention to a cave temple at Mandagapattu near Villupuram which according to many historians, is probably the earliest cave temple by Mahendravarman Pallava. “The pillars are octagonal in the middle and square at the top and base; typical of his style. The temple walls have one of the earliest Sanskrit inscriptions in the Granta script used by the Pallavas. In Mahendravarman’s poetic language it reads that the shrine was not made using brick, metal, wood or lime plaster. Today it’s not in worship but continues to be an important landmark of their period.”
Another Pallava cave temple is in Seeyamangalam near Vandavasi. It was originally called Avani Bajana Pallaveswaram but people do not identify it by this name. You’ll find one of the earliest representations of Nataraja in Bhujangatrasitha posture with a snake and Shivaganas in sculpture here. Miles away in Tiruchy, nestled between the Uchi Pillaiyar temple and Mathrubutheshwarar temple on Rock Fort, is a cave temple of the 7th century under the Archaeological Survey of India. “There’s a huge carving of Lord Shiva as the Gangadhara Murthy with two celestials on top and two devotees at the bottom, and Shiva with his foot on Apasmara Purusha. On either side, there’re inscriptions in the Granta script composed by Mahendravarman himself. It mentions that this is on the banks of Cauvery. And, he subtly indicates it’s under his jurisdiction,” she explained. Another lesser-known cave temple carved out of a living rock is in Singavaram near Senji. It’s actively worshiped today and there’s a huge image of Ananthashayi Vishnu who is worshipped as Ranganatha.
The many contributions
Moving on to Mamallapuram — the port city of the Pallavas — Madhavan talked about the Varaha temple belonging to the times of Narasimhavarman II. The rough and rugged pillars of Mahendravarman period, in a short period, give way to the Simhapada pillars during Narasimhavarman II’s rule. “On the inner walls, there are profile sculptures of Varaha tenderly lifting Boomadevi. In the same carving, there’s Brahma, the back of a sage, Surya and Chandra. Another exquisite sculpture is that of Gajalakshmi, albeit with one elephant pouring the water and the other one winding his trunk around another pot. You can read so much into one sculpture.”
A few metres away is Mahishasura Mardini cave temple with sculptures of the Goddess pulling her arrow towards demon Mahishasura. Opposite to that is Vishnu in Yoga Nidra. Then there’s the Thirumoorthy cave temple with carvings of Lord Vishnu, Shiva, and Karthikeya. Another important shrine is the Adi Varaha Cave temple which is actively worshipped. “The temple belongs to the times of Parameswaravarman of the 8th century. There are sculptures of Durga Devi in Tribhanga, Gajalakshmi, Gangadhara Murti, Brahma, Chaturmukha, Harihara and Vishnu. There’s a portrait sculpture of Mahendravarman and we have an inscription giving the name. There’s another portrait which could be of Simha Vishnu (his father or even son Narasimha Varman),” she surmised.
Among the other unique contributions of the Pallavas are the monolithic temples. One of the earliest examples of Dwarapalaka (women doorkeepers) can be seen in the Durga temple. Next comes the Bhima Ratha with more advancements like pradakshanapatha. One of the completed monoliths is that of Ganesha Ratha because there’s an image of Ganesh inside. But it was a temple for Shiva as there’s a trishul. “The temple carries an inscription that reads ‘Be cursed, those in whom Rudra does not dwell’. It also mentioned the temple as Anthyanathakama Pallavewara temple,” said Madhavan.
On the way to Mamallapuram, there’s Savuvankuppam — Tiger Cave of today. A few yards away, you will find a temple belonging to Narasimhavarman II (691-721 AD). “There’s a Somaskanda image of the Pallava times. On either side are inscriptions carrying the 20-odd titles of the king. One side, it’s in the Granta script and the other one in Nagari script, which became the Devanagari script. There’s also the Kailasanatha temple, made of sandstone in Kanchipuram, with one of the earliest Gopurams,” she said.
Drawing the curtains, Madhavan said, “The Pallavas were pioneers in many aspects. Every monument has a story to tell about its inscriptions, architecture and sculptures. They have much to say to us if we care to see and listen. Perhaps you should all give them a visit to experience it for yourself.”