MONOLITHIC TEMPLES
• The more outstanding achievement of Mamalla would be the cut-out shrines or vimanas, popularly called Rathas,
• They are large sculptures of architectural models carved out of the entire boulders. The ratha are nine in number, all confined to Mahabalipuram, which was perhaps in Mamalla’s time a regular school of architecture and sculpture.
• This ratha is smallest and simplest in its appearance and architecture. The ratha faces west and is constructed over a square measuring 11 feet.
• The shrine is eka-ratha in plan with a niche in the centre of each wall. The niches are topped with a makara-torana with two bends.
• Figures of Durga standing on a buffalo head are placed in all the three niches. Only the figure on the eastern niche is complete, the rest were left incomplete.
• The entrance, on the west, has a makara-torana above its lintel. The entrance is guarded by two female dvarapalas (guardians). The dvarapala on the right is holding a sword and the one on the left is holding a bow.
• On the back wall is a figure of Durga as Korravai. She is shown standing on a lotus pedetsal in samabhaga posture. She has four hands, carrying shankha (conch) and chakra (discus) in her upper hands, one lower hand is in abhaya-mudra while another lower hand is resting on her thigh.
• This monolithic ratha has an apsidal (Gajapriishta) plan from base to sikhara, recalling the earlier chaitya models. It is carried out of an independent boulder, stands near the Arjuna ratha and faces south.
• It has a dvitala vimana (two storeyed). The adhistana of this vimana is not defined. The pada is simple punctuated by pilasters. There is a mukha- mandapa in the front.
• This monolithic Vimana is one among five that carved out of a live rock. This small dvi-tala (two tiered) vimana consists, on plan a garbhagriha with a pillared Mukhamandapa. It shares an Upa Pitha with Draupathi ratha.
• The adhisthana is of simple Padabandha type. The pada portion has slit-niches between elegantly carved pillars carrying very handsome figures of Parthiharas, Amaras, a Siddha, a Chowri bearer, apsaras, and various deities like Vishnu, Skanda on elephant and Siva-Vrishabhantika.
• The upper tala (Storey) carries a hara with octagonal sikhara. There is a stupi carved out of the live rock but not detached from it, possibly to crown the Sikhara of the Vimana.
• This monolithic Vimana is one among five that carved out of a live rock. This small dvi-tala (two tiered) vimana consists, on plan a garbhagriha with a pillared Mukhamandapa. It shares an Upa Pitha with Draupathi ratha.
• The adhisthana is of simple Padabandha type. The pada portion has slit-niches between elegantly carved pillars carrying very handsome figures of Parthiharas, Amaras, a Siddha, a Chowri bearer, apsaras, and various deities like Vishnu, Skanda on elephant and Siva-Vrishabhantika.
• The upper tala (Storey) carries a hara with octagonal sikhara. There is a stupi carved out of the live rock but not detached from it, possibly to crown the Sikhara of the Vimana.
• This monolithic ratha is oblong in plan and having an ekatala vimana possibly intended to be dedicated to the reclining form of Vishnu.
• Only the impressive Sala -Sikhara is fully finished and there is a hara above the ground storey and has high griva wall.
• The Sala roof carries bold nasikas to carry a row of Stupis and Astradeva trident-finials at the apexes of gable ends.
• The gable ends is brilliantly relieved with decorative motifs and at the centre is a miniature model of a square, ekatala shrine with circular and crowning stupi.
• The ratha is dvi-tala (two story) structure built over a rectangular plan. Its main entrance is through a mukha-mandapa which is built over a roughly carved adhisthana (base) reachable by a flight of two rock-cut steps.
• The entrance has two pillars and two pilasters, all with lion bases. At the terminals are provided niches framed within pilasters. These niches carry dvarapala images.
• A trishula (trident) emblem is present at the terminals of the ridge. This motif is very significant as it has a face at the base supporting the three prongs of the trishula. This motif is also present above the nasikas (kudu arches) on the sides of the shikhara. It has a cylindrical shrine in the middle.
• These two incomplete rathas are located near a village goddess Pidari Temple, and named after it. One ratha faces east and the other faces north.
• Both are dvi-tala (two story) vimanas, upper part is complete but the lower portion is very much left incomplete. Both of the rathas are carved in different profile, as one has a square shikhara and another has an octagonal shikhara.
• The ratha with a square shikhara has a projecting mandapa in front. The shikhara has nasikas (kudu -arches) on its each face. The space between the pillars and pilasters would be forming a niche to position the dvarapalas. The niches on the side walls are adorned with makara-torana with double bends, very similar to the decoration of the Draupadi Ratha.
• This incomplete ratha faces east and its northern side is most complete. It is a dvi-tala (double story) shrine topped with a square shikhara.
• The square shikhara puts it under the Nagara category. This shikhara has nasikas (arch) on each face, each nasika contains a mini shrine inside.
• The ratha is composed of a mukha-mandapa followed by garbha-grha. The entrance of the mukha-mandapa is flanked by two pillars and two pilasters.
• Arjuna’s penance is an impressive bas-relief, datable to Narasimhavarman I’s period, suggestively depicts the story of Kiratarjuniya, wherein Arjuna, the great warrior hero of the Mahabharata, obtained the all-pervading Pasupatha weapon from Siva after a gruelling fight and severe penance.
• Siva and an emaciated Arjuna, doing penance, are shown prominently at the centre. The artist has excelled in imagination by placing the scene by the side of a river, judiciously suggesting the natural cleft as a river by depicting a naga and nagini.
• The peace and calm of the situation further enhanced by the presence of Chandra, Surya, Kinnaras, Ghandarvas, Apsaras etc., hunters carrying the hunt, host of animals, sages doing penance in front of a temple and Brahmins doing the mid-day rituals.
• The deer resting at ease by the side of a lion and the rats frolicking around the wily cat doing penance on hind legs have only enhances the mood.
• Depicting the animals in the most natural form and in right proportion is a testimony to the skilful execution by the artist.
• The huge bas-relief with a hall (mandapa) of 16th century added in front depicts the story of Krishna lifting the Govardhan hill to protect the cowherds and the cattle from the storm raised by Indra. The central figure of Krishna, with Balarama by his side, is shown lifting the hill with his little finger.
• Enjoying the divine protection, the rest are carrying on their business as usual. The artist suggests this by depicting a gopa (cowherd) milking a cow while the cow itself is fondly licking its calf.
• Another cowherd is seen playing a flute while the gopis carry a pile of pots. A woodcutter strolls with an axe. While one child enjoys the warmth of her mother, another takes a ride over the shoulder of an old man. The hill itself is a habitat for lions, griffins, and sphinxes. This is the best representation of this story in the art of India.
• This cave temple differs from all other specimens at the site as it does not have a front mandapa or porch. Also it is one among the very few which can put under the category of the most complete excavations. This cave temple consists of three shrines which have been excavated on the western façade of the hill.
• All the shrines are adorned with their own set of dvarapalas, carved in the niches framed between slender pilasters. The upper part of the cave façade is decorated with dormer windows (kudu arches) topped with interconnected oblong shrines.
•Usually a set of triple shrine suggests dedication to the Hindu trinity of Brahma, Shiva and Vishnu. The case in this temple is also the same, however with one exception that Brahma is replaced with Surbrahmanya.
