Unknown secrets of Pallava

Do you know the developmental stages in Indian rock-cut temple art?

Have you ever wondered what must have been the inspiration and motivation of the mediaeval  master craftsman?

Are you familiar with the above bas relief? Can you tell if the cat(at the bottom) is mocking or imitating the man doing tapas: penance on top?

If you would like to know more, then read on…

The East Coast Road (ECR, State Highway 49) runs along the Bay of Bengal, starting from Chennai connecting many cities and townships, all the way up to Kanyakumari. Besides being scenic, it connects many places of interest including Mahabalipuram. Mahabalipuram is not only worthy for travellers who are adventure seekers but also to those who show keen interest in experiencing history, art, temple traditions and its cultural heritage. 

My earliest visit to Mahabalipuram (that I can remember) was as a teenager in the 1980s. I remember seeing rows of modest houses with raised verandahs, having minimalistic stout pillars tapering upwards, and ornamental wooden short doors. Around the foot of trees near the houses, I remember seeing boulders of granite stones scattered. Tuning the rocks with their tools were the sculptors working either alone, or in two-s and three-s. The sounds of the chisels was something that cannot be ignored as they were rhythmic. The scorching Sun which was blazing, punishing the travellers, was hardly a discomfort for the sculptors. 

If you are a fan of Kalki’s Sivagamiyin Sabatham, then you will know what I mean. Kalki describes similarly in his historical novel built on the Pallava dynasty, centering around the Pallave cities Mahabalipuram and Kanchi. Mahabalipuram, being their port city, is India’s pride and a UNESCO heritage monument. In recent times, it made headlines when Chinese President Xi Jingping met with PM Modi. Apparently, the meeting location was deliberately chosen as early mediaeval traveller Huian Tsang had not only documented these cities but glorified them. 

Mahabalipuram is famous for many rock-cut cave temples, the monolithic monuments, and the structural Shore temple. Here is where the world’s largest open bas relief can be found. Containing varied rock-cut forms separated in Time over a span of only 150 years, this destination is an idealistic location for art enthusiasts to begin their journey for grasping the nuances of South Indian temple architecture. Although, for the historians, Mahabalipuram is an enigma, a cryptic historical site difficult to concretely decode, this location is ideal for travellers and art buffs.

Even though there are plenty of pictures available on net, the waves rolling in and dashing against the giant granite rocks of the Shore Temple: is a visual symphony to be experienced in person. For those who have a compulsion for all things beautiful, this man-made structure must be romanced at dawn or on a Moonlit evening. The reflection of the celestial light sources on the dancing waves adds beauty to the man made structures, making it a destination that breathes stillness and silence.

A Pallava inscription in Sanskrit, found in Mahabalipuram (below) aptly captures the land and its people of a bygone era.

‘Atyantakama’ here could either refer to the Pallava artisan or a king in particular. Unarguably if you visit you will agree that the vishwakarma-s, or the architects of this town were undoubtedly possessed by extreme passion.

An overview  of Pallava dynasty and their contribution to Indic art

The Pallava dynasty (340- 908 CE) rose to fame under King Simhavishnu (550- 580 CE). Some historians believe that they were the noblemen of the Andhra Ikshvaku-s and were already ruling between the rivers Krishna and Palar, which is known as Thondai Nadu. However, since Thondai Nadu was first established by the Chola-s during the Sangam age, some historians believe Pallava-s to be as descendents of Chola-s. 

Anyway belonging to a clan of noblemen, the Pallava-s were a witness of how Buddhism and Jainism swept the land with artistic forms. Although the Buddhist and Jain expressions of art through sculptural forms had already reached a stylisation, Hindu ideas of form and Dravidian architecture were yet to take shape. In fact, Pallava king Mahendravarma himself was initially following Jainism. It was not until Adi Shankara’s time that separate Vedic off-shoots and non-Vedic cult worships got integrated. Not only did Shankara reinvent advaita (a metaphysical path), he conquered the wilfulness and loyalty of kings and his subjects, reinstating the position of Veda-s in the society. The by-product of this integration and new knowledge spilled over into as the bhakti period. During the bhakti movement, the expression of regional artisans and saint poets took Hinduism: its heroes, religious forms, icons, temple art and literature to another level all together.

At Mahabalipuram, athough the architects of Dravidian temple art technically must be attributed to the master craftsmen; since art needs a patron, the Pallava kings are considered as the masterminds for infusing a ‘Dravidian identity’ into the land.  The room and space given to temple art by the Pallava king Mahendravarma I (590-629 CE) that developed as the Dravidian style, was carried forward not only by his illustrious son Narasimhavarman I (629-668 CE) and his successors, but also by the contemporary native dynasties like Chola, Pandya during the later mediaeval period. The Pallava art peaked during the reign of Narasimhavarman and under Raja Simha (690-728 CE). 

While studying the Pallava period for understanding Dravidian style, the Shore temple can be attributed to Raja Simhan’s reign. But, the experimentation to arrive at it began as early as the period of Mahendravarma. The rock-cut cave temples during Mahendravarma’s time quickly transformed, gaining volume, shape and form during Mamalla’s (Narasimhavarma I) time as the pancharatha-s. Pancharatha-s are the monolithic rock-cut temple art that was original innovation (re)invented by Pallava-s that are considered as the greatest contribution to Indian art and sculptural traditions. 

At Mahabalipuram, there is no “religious” significance even though it houses some of the most beautiful Hindu deities as forms. Mahabalipuram is to be enjoyed purely as a heritage site where artistic experimentation is at its best. No experience of South Indian culture and visits to other Dravidian temple art and architecture can be complete without first visiting Mahabalipuram, the land where shore meets the ocean and beauty meets divinity. Since the appreciation of forms and its beauty need the knowledge and ideology of ‘aesthetics’, laya is the underlying theme for Jvala’s Pallava Passions. Art being closest lie to the Ultimate Truth, is cryptic and esoteric; and therefore definitely not everybody’s forte. But since the the appreciation for true beauty and ability to recognise good art can make life fulfilling; Jvala’s destinations are curated around a theme to initiate interested people into concepts involved in the Indian art.

‘Laya’, which translates as rhythm, is the grammar of Indian knowledge systems. Exposure to laya could enhance the delight not only appreciating the Dravidian sculptural tradition but also its application in other yogic traditions. Hence, the Pallava Passion path is scheduled amidst the Madras Margazhi Festival, the longest spanning music and dance festival in the world and compliments the spirit of Margazhi. Besides all, any little knowledge and experience in laya, will pulsate and resonate, progressively shaping taste, refining perceptions, laying the foundation of Indian sensibilities of aesthetics and art appreciation thereafter.