Mahishasuramardhini Cave
Temple, Mamallapuram
Mahishasuramardhini mandapa (Cave Temple; also known as Yampuri) is
an example of Indian rock-cut architecture dating from the late 7th century, of the Pallava dynasty. It is a rock-cut cave temple located on a hill, near a
lighthouse, along with other caves in Mamallapuram. It is the one of the finest testimonials of ancient Vishwakarma
Sthapathis (Vishwakarma sculpture). Mamallapuram, also popularly known as Mahabalipuram, is a small
village to the south of Chennai, in the state of Tamil Nadu, India. The temple is part of the Group of Monuments at Mahabalipuram, a UNESCO World Heritage Site inscribed
in 1984.
This Cave Temple has many interesting architectural features of
which three exquisitely carved reliefs on the cave walls of three sanctums are
prominent. One is of Vishnu reclining on the seven hooded serpent, Adisesha, another of Durga, the main deity of the cave temple slaying
the buffalo headed
demon Mahishasura, and the third sanctum
also has a sculpture of Vishnu. The cave also depicts many scenes from
the Puranas (Hindu mythology stories in Sanskrit dating from the 5th century AD).
Mahishamardini Cave is a monolithic sculpture located in the
Chengalpet District of Mahabalipuram. The cave dates back to mid 7th century
and is one of the major sites in Mahabalipuram. Dedicated to mother goddess,
there are carvings of Shiva, Parvati and Murugan in the centre of the cave. The
two sculptures on the walls of the cave depict the Pallava form of arts.
One of the sculptures represents Lord Vishnu, sleeping on serpent
and surrounded by gods. Another carving shows Goddess Durga killing the
buffalo-headed demon. Tourists also visit this place to see the battle scene of
the goddess killing the demon Mahisha. Goddess Mahishamardini with eight arms
holding all weapons and riding her lion is also depicted in this cave.
Legend
According to legend, Durga killed the demon Mahishasura, who was considered unconquerable. Hence, following his slaying,
she was given the title Mahishasuramardhini (conqueror of Mahisha). The granite-carved cave temple depicts the goddess
Mahishasuramardhini, considered an incarnation of the goddess Durga, and is named after her as "Mahishasuramardhini Cave
Temple".
The cave's interior relief depicts this battle. The goddess is
shown riding a lion, her several arms holding a bow and arrow, pursuing the
retreating Mahisha with his followers.
History
The cave is dated to the period of King Narasimhavarman Mahamalla
(630–668 AD) of the Pallava dynasty, after whom the town is also
named. The cave architecture is also said to be a continuation of the
great religious themes that were carved in Western India. The cave reflects a transitional style of architecture in its
columns mounted on seated lions and frescoes carved on the walls inside the
cave which evolved during the rule of Pallava kings Mahendra Varman I and Rajasimha or Narasimhavarman I
known as Mamalla.
This style was continued by Mamalla's son Parameshvaravarman I. Historical
research has also confirmed that Mahabalipuram town came to be established only
after it was named after Mamalla and the caves and rathas are all attributed to
his reign during the year 650 AD.
Geography
Mahishasura Mardhini Cave or Mantapa is situated on the top of a
hill range along with other caves in Mahabalipuram town, on the Coromandel Coast of the Bay of Bengal of the Indian Ocean. Now in the Kanchipuram district,
it is approximately 58 kilometers (36 mi) from Chennai city (previously,
Madras) and about 20 miles (32 km) from Chengalpet. A lighthouse is located beside it. A structural temple of
the 8th century called the Olakkannesvara Temple (mistakenly
called a Mahishasura temple) is situated near this cave at a vantage location
which provides scenic views of Mamallapuram. The area is a high security zone
as there is a nuclear power station a few kilometers to the south; hence,
photography is prohibited.
Layout
The cave shrine faces east and has three chambers. Its internal
dimensions are 32 feet (9.8 m) in length, 15 feet (4.6 m) in width,
and 12.5 feet (3.8 m) in height. There is frontal projection of the main
central chamber when compared to the two chambers which flank it. In the front
façade of the cave are 10 horseshoe-shaped windows which are kudus on the cornice; these are unfinished carvings.
The cornice also depicts carvings of five gable-roofed
semi-complete shrines. The façade has four carved pillars and two pilasters at
the ends, which are part of the façade and are carved in the traditional
Pallava architectural style. The central chamber is fronted by a small mukha
mandapa (entrance porch), which has two carved pillars with lion bases in
the Pallava style.
Architecture
The mandapa is one of the most important caves in Mahabalipuram.
It is dedicated to the goddess Mahishasuramardhini, who is
considered an incarnation of the goddess Durga. The mandapa is carved into
the granite rock face of a hill. The verandah cut at the cave entrance,
long and calumniated, has a composition of three chambers; the central chamber
entrance depicts guardians (Dvarapalas) on the flanks.
The back wall of the central chamber features a carving of a
Somaskanda panel; this panel is carved with images of Shiva and his
consort Parvathi in their regal dress, each wearing a crown known
as kirita-mukuta and other ornamentation, with their son Skanda seated between them. This panel also shows the carving
of Nandi (bull), Shiva's
mount (Vahana). Chandesa, an ardent devotee of Shiva, is carved to the left of the carved
images of the trinity gods Shiva, Brahma, and
Vishnu, who are shown standing behind the main image of Shiva and Parvathi.
The carving of the trinity gods gives the impression that they are
pleased with the seated couple of Shiva, his consort and their son. In the
individual depiction, Brahma is carved with four heads and four hands, with the
upper hands holding a water vessel and akshamala; the lower right hand is shown raised in an appreciative gesture
to Shiva, while the left hand is in a kataka mudra.
Vishnu's carving is also depicted with four hands; chakra and shankha are held in his upper hands, with the lower left hand
showing a gesture of appreciation to Shiva, and the lower right hand held up in
a kataka mudra. The image of Surya (Sun) is carved on the top part of the panel, between Brahma
and Vishnu. A separate Brahma panel carving appears on the back wall of the
left chamber, while the right chamber is repeated with a panel of Shiva that,
according to the opinion of archaeologists, was originally meant to host a
panel of Vishnu.
Another interpretation mooted for the dominance of Shiva panels in
this cave is that the religious leaning of the Kings who ruled at that time
changed from Vaishnavism to Shavisim. Additionally, the Somaskanda panel in this cave is of a
different architectural composition than similar panels carved in Dharmaraja
Ratha, the Shore Temple, and the Atiranachanda Cave. Archeologists suggest the
panel here was created during the reign of Rajasimha.
The north wall in the cave contains a relief depicting the battle
scene of the two adversaries, goddess Durga and the demon buffalo-headed Mahishasura. This panel symbolizes the triumph of good over evil. The carving
is considered one of the best creations of the Pallava period. In the war
scene, Durga appears with eight hands riding a fierce-looking lion. She is
holding a khadga (sword), dhanush (bow), bana (arrows), ghanta (bell)
in her four right hands; her four left hands display pasa, sankha,
and dagger.
An attendant holds a chatra (parasol) over Durga's head. She is in the battlefield with her army of
female warriors and ganas (dwarfs). She is shown attacking, with arrows, the demon
Mahisha, causing him to retreat with his followers. Mahishasura is armed with
a gada (club).
On the southern face of the cave, there is a panel of Vishnu in
an Anantashayana mudra, a reclining posture, lying on the bed of a serpent. He is
shown with two hands holding the coil of the five-headed serpent known as Adisesha, which forms a cover over Vishnu’s head. Madhu and Kaitabha, the two demons, are carved near Vishnu's feet in an attacking
mode, armed with a gada (mace).
The demons are in a position of retreat,
as Adisesha hisses at them with flames emerging from its hoods.
Vishnu, unconcerned, is patting Adisesha to pacify him. Also shown in the panel
are the two ganas (dwarfs). Dwarfs are Vishnu's ayudhapurushas (as his personified weapons); the male gana is
known asshankha or Panchajanya, and the female gana is Vishnu's gada Kaumodaki.
Also seen in the panel, at its lower end, are three figures;
his chakra in Sudarshana inayudha - purusha form, Nandaka on the right is
his khadga (sword), and the female figure is Bhudevi, also as ayudha-purusha.
