Pancha Rathas are some of the most surprising structures not only in Mahabalipuram but

in the whole Southern India. This group of ornate, monolithic structures was cut from a
single stone in the late 7th century.

Rare example of monolithic rock-cut buildings

It is not known what was the true purpose for the building of Pancha Rathas. But as the inscription in one of these
amazing structures tells, this happened during the times of the great Tamil king Mamalla (Narasimhavarman I, ruled
circa 630 - 670 AD).
Rock-cut architecture is not that common in the world and most of it represents caves and
passages cut in rock. Pancha Rathas though belong to the very rare examples where whole
buildings with ornate exterior and interior are cut from live cliff.

Sample collection of Dravidian architecture

The incredibly skilled Indian stonecutters here used a ridge of pink granite and, by removing the "spare" cliff,
created a five structures - rathas - and three large monolithic sculptures among these structures.
Structures are named rathas (ritual chariots - temple carts) as somebody in the past thought that they resemble such
carts.Pancha rathas in Hindi mean "five chariots". This term, of course, is not correct because these temples are
not moveable. Four of these rathas though are arranged in a row - like a procession frozen in stone.

Art historicians speculate that these rathas were created as models of diverse typical South Indian temples. Their
architecture most likely is much influenced by the architecture of wooden structures.
All five rathas have very diverse planning, architecture and ornamentation and in a way serve as textbook examples
of South Indian temple architecture.
Four rathas have stepped pyramidal roofs.
Each ratha has got interior room - simple and narrow sanctuary (garbha-griha).

Five shrines and three sculptures

It is not known whether Pancha Rathas have ever been used as temples. Most likely they were not consecrated
because their stupas are still attached with the bedrock. Many other details are not completed either.

Although the works were not completed, this has not harmed the structures inany way. The local granite has been
very sturdy and has survived the test of time very well. It has resisted the constant salty winds from the nearby
ocean, as well as catastrophic tsunami in the 13th century. Tsunami in 2004 here was less pronounced.
Rathas are named after Draupadi and the Pandava brothers - what is not quite correct as these shrines have nothing
to do with these characters of Mahabharata. The five rathas are (from north to south):

Draupadi Ratha
Arjuna Ratha
Nakula Sahadeva Ratha
Bhima Ratha
Dharmaraja Ratha
Among the rathas are three large sculptures:

Lion
Elephant
Nandi bull

Description of rathas
Draupadi Ratha (Draupati Ratha)
The closest to the entrance gate is Draupadi Ratha - it is also the smallest one.
This shrine is shaped lika a thatched hut, with a square roof. It and the nearby Arjuna Ratha are on a single platform
- upa-pitham, which also is rised and adorned with figures of lions and elephants.
This shrine is devoted to goddess Durga and it shows in the amazing artwork. Possibly the best of them is a fine
carved panel, which shows Durga on a lotus pedestal. Goddess is surrounded by other characters, including a man
which is preparing to cut off his head as a sign of devotion.
Outside, above the entrance door, is carved a stylised sea-monster. On the eastern wall, there is an interesting
sculptural group - Durga standing on a head of Mahishasura - a killed demon.
Some sculptures have not been finished.

Arjuna Ratha
On the same platform is located the next ratha - Arjuna Ratha, which is devoted to Shiva.

This small structure is shaped like a small wooden shrine, once characteristic forSouthern India. It is facing towards
the east and has two storeys, a small portico and carved pillars.
Inside the shrine there are no adornments, but the exterior is very rich with interesting details.
The facade is adorned with magnificent sculptures, showing gods and humans. Noticeable is a pair of beautiful
apsaras with lissom bodies.

Nakula Sahadeva Ratha

This shrine is devoted to Indra and is associated with elephants. This ratha is the only one which os not placed in a
"procession", it stands aside. It is also the only one with entrance facing south.
Ratha represents an apsidal vimana - horseshoe-shaped shrine, it is almost completed.
The roof of this shrine is shaped like a back of elephant.
One wall of ratha is adorned with a relief sculpture of Ardhanariswara, columns and pillars are adorned with seated
lions.

Bhima Ratha
The third shrine in a row is the longest of all rathas - it is 12.8 m long, 7.3 m wide, 7.6 m high. This is Gopura style
temple with gabled roof.
Most likely this ratha was devoted to Anantshayi Vishnu.
he larger size of ratha can be explained by a large barelief of Vishnu in the form of Sayanamurti, which is located
inside. It remains unfinished.
The sanctuary of this structure has a circumabulatory passage around it.
Pillars of the shrine are adorned with figures of lions.

Dharmaraja Ratha (Dharmaraja Yudhistar's Ratha)

This ratha is shaped like a characteristic vimana (tower above the shrine) of SouthernIndia of its times. This
structure was abandoned before the completion but nevertheless it the most magnificent and tallest of all rathas, with
three storeys.
The shrine is devoted to Shiva and is adorned with one of the best examples of early Pallava plastic art with
important innovations in the art. Very beautiful are the Shiva figures on the corners of structure.

Dharmaraja Ratha contains an inscription in Pallava - Grantha script - it records the titles of Narasimhavarman I.
Inscription mentions also that this was created as Shiva temple of Atyantakama Pallava.
Columns and pilasters of this ratha are adorned with lions.
The ground (first) floor of Dharmaraja Ratha is completed - it contains eight decorative panels.
Especially interesting and attractive is a panel, which shows Shiva reincarnation named Ardhanariswarar - half man,
half women.
Small premises have been hewn in the other two floors of ratha as well. There are no stairs leading to the second
floor, but the second and third floor are connected with stairs.

Animal statues
Among the rathas stand three large sculptures of animals - all carved out of monolithic stone. It is amazing tha all
threestatues are symbolically linked to certain rathas, thus complementing this unique ensemble of monolithic
structures.
Statue of Nandi bull is not finished. This figurine is linked to Arjuna Ratha - shrine of Shiva.
Sculpture of lion is some 2 m high. It is located in the front of Draupadi Ratha - as it is normally placed in other
temples which are devoted to Durga.
Elephant stands next to Nakula Sahadeva Ratha which is devoted to Indra - a deity owning the sacred white
elephants.

The Shore Temple (built in 700728 AD) is so named because it overlooks the shore of the Bay of
Bengal. It is a structural temple, built with blocks of granite, dating from the 8th century AD. It was
built on a promontory sticking out into the Bay of Bengal at Mahabalipuram, a village south
of Chennai in the state of Tamil Nadu in India. At the time of its creation, the village was a
busy port during the reign ofNarasimhavarman II of the Pallava dynasty.[1] As one of the Group of
Monuments at Mahabalipuram, it has been classified as a UNESCO World Heritage Site since 1984.
[2]
It is one of the oldest structural (versusrock-cut) stone temples of South India.[1]

Shore temple is a complex of three temples, one large and two small, located right on the shores of
the Coromandel Coast of the Bay of Bengal in Mahabalipuram, which was earlier known as
Mamallapuram. During the Pallava Dynasty reign this was a port city of their kingdom which they
ruled from Kanchipuram. It was built by the Pallava Dynasty when it was the trading port of the
dynasty.[3][4]

History[edit]
Sailors gave the name Seven Pagodas to the Shore Temple when they saw this tall structure on the
seashore, as the temple probably acted as a landmark for navigation of their ships. As it appears like
a Pagoda, the name became familiar to the seafarers.[5]
This structural temple complex was the culmination of the architectural creations that were initiated
by the King Narasimha Varma I (popularly called as Mammalla after whom the Mamallapuram town
is named), in mid 7th century starting with the Cave temples and the monolithic Rathas. [4][6] Even
though the architectural creation of sculpturing cut-in and cut-out structures continued during
subsequent periods, as seen in the Atiranachanda cave, the Pidari rathas and the Tiger cave, the
main credit for the architectural elegance of the Shore Temple complex in the category of structural
temples goes to the King Rajasimha (70028 AD), also known as Narasimhavarman II, of the
Pallava Dynasty. It is now inferred that this temple complex was the last in a series of temples that
seemed to exist in the submerged coastline; this is supported by the appearance of an outline of its
sister temples off the coast during the Tsunami of 2004 which struck this coastline.[3][7] The
architecture of the Shore Temple was continued by the Cholas (in the temples that they built) who
ruled Tamil Nadu after defeating the Pallavas.[8]
The Tsunami of December 2004 that struck the coastline of Coromandel exposed an old collapsed
temple built entirely of granite blocks. This has renewed speculation that Mahablaipuram was a part
of the Seven Pagodas described in the diaries of Europeans, of which six temples remain
submerged in the sea. The Tsunami also exposed some ancient rock sculptures of lions, elephants,
and peacocks that used to decorate walls and temples during the Pallava period during the 7th and
8th centuries.[9]
Though the Tsunami of 26 December 2004 that occurred in the Indian Ocean struck the temple and
the surrounding garden, the Shore Temple was not badly damaged, as the water level returned to its
normal level within a few minutes. The damage was to the foundation of the bali peetam (sacrificial
altar) in front of the temple, the steps leading to the boat jetty, and the small shrine with
the Varaha (Boar) sculpture at the basement of the Shore temple. As the temple foundation is on
hard granite rock, it could sustain the waves created by the Tsunami; the groynes erected around the
temple area on the coastline also aided its protection. [10]
According to the two inscriptions found in the slab of smaller Shiva temple, the names of the three
temples mentioned are as Kshatriyasimha Pallaveshvara-griham, Rajasimha Pallaveshvaragriham andPllikondaruliya-devar. The entire temple complex is called as Jalashayana (lying in

water). This confirms that the Vishnu shrine was the first shrine to be excavated here. The inscription
on the lintel of the Vishnu shrine also mentions this as Narapatisimha Pallava Vishnu
Griha where Narapatisimha is a title of Rajasimha.[5]
An archaeologist has observed that: "In locating the temple on the very margin of the sea, exposing
it to avoidable dangers, the builders, there can be little doubt, sought theatrical effect." [11]
As the Shore Temple was initially identified as part of the Seven Pagodas at Mahabalipuram, an
ancient Hindu legend referred to the origin of these pagodas in mythical terms.
Prince Hiranyakasipu refused to worship the god Vishnu. The princes son, Prahlada, loved and was
devoted to Vishnu greatly and criticized his fathers lack of faith. Hiranyakasipu banished Prahlada
but then relented and allowed him to come home. Father and son quickly began to argue about
Vishnus nature. When Prahlada stated that Vishnu was present everywhere, including in the walls of
their home, his father kicked a pillar. Vishnu emerged from the pillar in the form of a man with a lions
head, and killed Hiranyakasipu. Prahlada eventually became the king, and had a son named Bali.
Bali founded Mahabalipuram on this site.
Myths also mention that Gods were jealous of the architectural elegance of the monuments of
Mahablipuram, and as a result they caused floods to occur, which submerged most parts of the city,
except for a few structures that are seen now.[9]

Architecture[edit]
All the three Temples of the Shore Temple complex are built on the same platform. Viewed from the
northern end, the temples appear to be a replica of the Dharmaraja Ratha.[5] The main Shore Temple,
which faces east so that the sun rays shine on the main deity of Shiva Linga in the shrine, is a fivestoried structural Hindu temple rather than rock-cut as are the other monuments at the site. Built with
sculpted granite stones hauled from a nearby quarry, it is the earliest important structural temple
in South India. Its pyramidal structure is 60 feet (18 m) high and sits on a 50 feet (15 m) square
platform. There is a small temple in front which was the original porch.[12][13] It is made out of finely cut
local granite.[14] The shore temple is also one of the most popular temples. Recent excavations have
revealed new structures here under the sand.[13][15]
The temple is a combination of three shrines. The main shrine is dedicated to Shiva as is the smaller
second shrine. A small third shrine, between the two, is dedicated to a reclining Vishnu and may
have had water channelled into the temple, entering the Vishnu shrine. The two Shiva shrines
are orthogonal in configuration. The entrance is through a transverse barrel vault gopuram. The
two shikharas have a pyramidal outline, each individual tier is distinct with overhanging eaves that

cast dark shadows.[1] The outer wall of the shrine to Vishnu and the inner side of the boundary wall
are extensively sculptured and topped by large sculptures of Nandi.[12] The temple's outer walls are
divided by pilasters into bays, the lower part being carved into a series of rearing lions. [16] The temple
walls have large sculptures of Nandi.[17]

Features[edit]
The temple has a garbhagriha (sanctum sanctorum) in which the deity, Sivalinga, is enshrined, and a
small mandapa surrounded by a heavy outer wall with little space between for circumambulation. At
the rear are two shrines facing in opposite directions. The inner shrine dedicated
to Ksatriyasimnesvara is reached through a passage while the other, dedicated to Vishnu, is facing
outwards. The Durga is seated on her lionvahana. A small shrine may have been in the cavity in the
lion's chest.[13]
The Shore Temples configuration of the two Shiva shrines with the small Vishnu shrine in between
illustrates an attempt to balance the different, competing religious requirements. [1]
The roofs of the temples have ornamentation similar to the Pancha Rathas. The roofs have finials on
the top, indicative of its religious functional nature, as it was a completed temple. The octagonal
shape of theshikaras of the two temples dedicated to Shiva are in the Dravidian architectural style.
[5]

Beneath the towers, the sanctuary walls are mostly blank with out any decorations but the columns

are carved over lion mounted bases.[18] The decorations on the outer faces of these shrines are
similar to those seen on the Pancha Rathas, though due to their closeness to the sea, are partially
eroded due to salty winds.[17]
The most distinctive feature of the temple are the Dharalinga and the Somaskanda panel, which are
enshrined in the interior walls of the sanctum of the east facing Kshatriyasimhesvara temple. The
Dharalinga is deified in the garbhagriha, which is in square shape of 12 feet (3.7 m) and the height is
11 feet (3.4 m). The Dharalinga or Shivalinga is in Rajasimha style, carved out of black basalt stone.
It has sixteen faces with slight fluting to create a crown at the top. The top portion of the linga is
damaged. Its total height is 6 feet (1.8 m) with one foot embedded in the foundation to provide
stability.[5] A bas-relief, which is a family image of Shiva and his consort Parvati with their
child Kartikeya built over a stone slab is located in a small shrine in the temple. This is also called
the Somaskanada panel, a carved stone panel. Two more similar panels are seen at the entrance
porch of the temple. This type of panel is also depicted in the nearby Dharmaraja Ratha of the
Paramesvarvarmans era.[5][19][20] The ardhamantapa or half chamber which is the first chamber before
entering the sanctum sanctorum, also has sculptures of Brahma on the south wall and Vishnu on its

north wall. Sculptures of Shiva as Tripurantaka and Durga are seen on the back side of the north
wall of the main shrine. There is also a circumambulatory passage to go round the main shrine in a
clockwise direction.[5]
The smaller Shiva temple behind the main temple is a double storied structure with a stepped
pyramidal tower with an octagonal sikhara built over a circular griva. A kalasa and finial are fitted
above the sikhara. Kudus(horseshoe-arch dormer like projections) and small shrines are part of the
cornices at both levels of the structure. A Somaskanda panel decorates the back wall of the inner
shrine. There is no mantapa (hall) in front of this shrine (probably damaged). The external walls
display two panels. One is called Ekapadamurti, a eye-legged form of Shiva with Brahma and Vishnu
emanating from his sides. The second panel is of Nagaraja (king of serpents) standing below a fivehooded serpent.[5]
Anantashayi Vishnu (reclining posture of Vishnu lying on the serpent Ananta) is enshrined in a small
rectangular shrine between the large Kshatriyasimhesvara temple and the Rajasimha Pallaveshvara
temple. Vishnu is depicted with four arms but his attributes are missing (damaged). The temple
structure's rectangular tower is missing. The typical design of kudus and small square shrines are
part of the cornice arrangement. The external walls have carvings of Krishna slaying the
demon Kesi[disambiguation needed], Krishna dancing over Kaliya (the seven hooded serpent), and Vishnu
seated on his vehicle Garuda in the act of saving Gajendra (elephant) from the mouth of a crocodile.
Inscription noted in Pallava Grantha script is on the lintel indicating it as the earliest shrine of the
complex.[5]
The entire compound wall surrounding the temples is sculpted with large sculptures of Nandi, the
vehicle or mount of Shiva,[17] and also with Yalis and Varahas (boars).[10]

Lion monolith[edit]
A monolith sculpture of a partly carved and partly sculpted lion with a hole in its torso is erected
within the compound wall of the temple complex. A miniature image of Durga is sculpted on the back
of the image, which is a depiction of Durga as Mahishasurmardini. The open mouth of the lion is
inferred as representation of its role as the favourite mount of Durga. A female guardian with a bow
is also carved on the leg of the lion.[5]

Miniature Shrine[edit]

Miniature Shrine in Shore Temple complex

In 1990, the Archaeological Survey of India (ASI) discovered a miniature shrine with
the Bhuvaraha image in a well type enclosure. This is dated to the Pallava King Narasimhavarman
Mamallas (AD 638660) reign. It was enclosed with an elliptical well built during Rajasimhas (AD
700728) period. These are carved on the bedrock that also has the reclining Vishnu in the Shore
Temple complex.[21] The miniature shrine is also dedicated to Shiva. It has sixteen-sided base which
is carved from bedrock. The circular wall and superstructure are of structural type. There are lions
depicted on the pilasters. It is reported as a unique single tiered temple and not seen in other
temples of the Pallava period. Its circular shikara, is in vesara style architecture. The sikhara is
erected on a circular griva, which has kudus and maha-nasikas on its four sides and
each nasika has an image of Ganesha. The kalasa above the shikara is missing.[5] The carving of the
Bhuvaraha depicts Varaha as the boar incarnation of Vishnu. This image is in unusual form, unlike
another Varaha depictions in other regions of the country, as there is no Bhudevi shown nor an
ocean. The depiction is in the form of Varaha performing a diving act into the ocean to rescue
Bhudevi or mother earth. The symbolism of this act denotes the myth, only when the temple is
submerged in water, as it is below the ground level.[5] The sculpture is seen broken and the base has
an inscription referring to titles of the Pallava king Rajasimha. The wall that surrounds the shrine to
prevent intrusion of sand from the sea also has an inscription on the topmost layer, in PallavaGrantha script, which equates the king with Arjuna.[5][21]

The Cave Temples of Mahabalipuram are located on the hillock of Mahabalipuram town,
overlooking the Coromandel Coast of the Bay of Bengal in Kancheepuram District in Tamil Nadu,
India. Also called mandapas or rock-cut caves, they are sanctuaries or temples covered with basreliefs. The earliest period of use of these caves as sanctuaries is traced to
the Buddhist and Jain periods. They were excavated on rock faces which were cut and then carved
using chisel and iron mallet. Of the eleven mandapas or caves seen in Mahabalipuram, the most
notable are the Varaha Cave Temple, Krishna Cave Temple, Panchapandava Cave Temple, and
theMahishasuramardini mandapa.[1][2] They are cut and decorated with panels in the Mamalla style of
the Pallava period in the 7th century. They are differentiated from the Adiranchanda cave temples
which are dated to the Mahendraverman period of the 8th century. Remnants seen in the caves also

indicate that they were plastered and painted when built. [3] One of the most impressive sculpture
panels, bas-reliefs, carved on the walls in the caves is that of the goddess Durga (a form of
goddess Shakti) who killed Mahishasura the buffalo-headed demon which has a natural beauty with
elegance of sense of movement, and this bas-relief panel in the Mahsisuramardhini Cave Temple is
considered a masterpiece of Indian art.[4] Many of the caves of the Pallava period have remained
incomplete. The procedure in creating these caves involved creation of a smooth rock face, then
cutting columns through the polished rock faces of required size and then carving bas-reliefs on the
walls of the cave.[2] Some of the cave temples are covered by the UNESCO inscription while others
are not, such as the Koneri Mantapa, the Yali Mantapa, and the Kotikaal Mantapa. All caves here
with simple plan and elegant architectural style, and have no deities deified in the sanctum
sanctorum.[5] It is one of the Group of Monuments at Mahabalipuram that were designated as
a UNESCO World Heritage Site since 1984 under the heading mantapas.[6]

The caves reflect a transitional style architecture evolved during the rule of kings Mahendra Varman
I and Rajasimha or Narasimhavarman I known as Mamalla and this style was continued by his son
Parameshvaravarman I.[9] Historical research has also confirmed that Mahabipuram town came to be
established only after it was named after Mamalla and the caves and rathas are dated to his period
during the year 650 AD.[10] That Mahabalipuram was a busy port and prosperous during Mamalla's
rule is attested by the fact that Xuan Zang, the Chinese traveller stayed here in 642 AD as a guest of
the court recording the greatness of the town and its king. Thirumangai Alvar, avaishnava saint of
Tamil Nadu has also recorded glowingly about the towns richness as seen from the loaded ships
exporting goods. The caves excavated during this period though similar to the earlier caves but were
more sophisticated in their decorations. The Varaha Cave temple or Mandapa has fluted columns
separating the openings. Certain Greco-Roman architectural styles could also be discerned and the
sitting statues are said to have likeness to the sitting styles seen in European architecture, as
against the Indian cross legged style. The style thus created at Mahabalipuram became a forerunner
for Dravidian style of architecture.[11] The Pallavas were great patrons of art.

Krishna[edit]
The Krishna Cave Temple is dated to mid-7th century. Its excavated entry is seen with columns
leading to a hall. A notable carving in side the cave is a sculpted panel which brings out the myth
of Krishna lifting the Govaradhan hill to protect the cow herds and gopis(milk maids) from heavy
rains and floods, and also scenes of Krishna frolicking with the milk maids. [15][16]

Mahishasuramardini[edit]

Vishnu in a reclining pose lying on a serpent in Mahishasuramardini cave temple.

The Mahishasuramardini Cave Temple is close to the lighthouse on the top of the hill. It has two very
beautifully carved frescoes of Durga, the mother goddess at both ends of the long hall of the cave.
She is shown seated on lion her mount or vehicle with all her weapons. The depiction also features
her posture of slaying the buffalo headed Mahishasura. At the other end of the hall, opposite to the
Durga panel, the scene carved is of Vishnu in a reclining posture on the bed of Ananta multi-hooded
serpent. He is surrounded by the divine beings of heaven appealing him to continue with the creation
of the universe. There is also a third chamber which shows a carved fresco of Vishnu. [15]

Varaha[edit]

Bas-relief inside the Varaha Cave

The Varaha Cave Temple (also known as Adivaraha) is dated to the 7th century. The most prominent
sculpture is that of Vishnu in the incarnation form of a boar lifting mother earth from the sea. Also
carved are many mythical figures.[15] In the entry porch carved on the rock face the columns are
carved on lion bases. At the centre of the rear wall, guardian figures are depicted flanking a shrine.
The side walls have carved sculpture panels of Vishnu as Trivikrama and Vishnu in the incarnation of
Varaha, the boar, lifting Bhudevi, the earth goddess.[17]

Trimurti[edit]
The Trimurti Cave Temple is dated to the early 8th century. It has separate sections in a sequenced
dedicated to each of the Hindu trinity gods of Brahma, Vishnu and Shiva or Maheshwara. [18] The
three shrines are cut out from the rock-face. Each shrine is flanked by pilasters with guardian
figures. On the rear wall of the cave, individual carvings of Brahma, Vishnu and Shiva attended by
devotees are carved.[19]

Kotikal[edit]

Kotikal Mandapa

The Kotikal Cave Temple is dedicated to goddess Durga. [18] Its entrance faces west and is in
continuation of the Dharmaraja Mandapa. The rock cut faade has two supporting pillars and two
pilasters in Mahendravarman style of architecture with an octagonal shaft built over a cubical base,
and a similar top. The cave chamber inside is 21.5 feet (6.6 m) long, 8 feet (2.4 m) wide and has a
height of 8 feet (2.4 m). There is also a small chamber on the rear wall flanked by female dvarpalas
(guards); the dvarapala on the left, facing to the front, is carved in a standing posture with one hand
holding a club and the other hand holding a sword. The dvarapala on the right is carved with one
hand holding a dhanush (bow) and the other arm is resting on her waist. The dvarpalas are in a
dancing pose, called tribhanga (triple break). Though there is no deity inside this shrine now, it is
conjectured that the sanctum inside housed goddess Durga with the female guardians protecting her
at the entrance to the cell.[20]

Tiger[edit]
The Tiger Cave Temple (also known as Yali) is dated to the early 8th century. It is a shallow cave but
is unusual and unique when compared to the other caves here. The entrance to the cave faces
south-east. It is close to the Atiranachanda Mandapa and located at Saluvankuppam village, 4
kilometres (2.5 mi) to the north of Mamallapuram. This is a refined cave which is carved about 6 feet
(1.8 m) above the ground level and has a pavilion which is closed on three sides. The front cavern is
6 feet (1.8 m) in height and has a width of 4 feet (1.2 m). Approach to the cavity is over a series of

steps, and the protection parapets on either side of the staircase are decorated with lions. The two
niches on either side of central cavity do not have any carvings. It has been carved out of a boulder
with a portico which has sculpted garland of eleven yali heads, mythical animals in the shape of
tigers. The main carving here is that of Durga riding a tiger. It is also inferred that this cave may have
been used for holding open-air shows or as utsava mantapa (festival pavilion) for the festival
of Indra. The lion pilasters carved at the corners of this cavity also show a female riding a ferocious
looking lion, which is reported as the first of its kind in Mahabalipuram caves, and hence credited to
the Pallava King Rajasimha; there is also a carving of its creator Rajasimha. [12][15][21]

Atiranachanda[edit]
The Atiranachanda Cave Temple is east facing. It is situated at Saluvankuppam village, about 4
kilometres (2.5 mi) away on the Mahabalipuram Chennai road. Its layout is 28 feet (8.5 m)t in
length and 6 feet (1.8 m) in width on plan, with a height of 6.5 feet (2.0 m). The faade carved on the
rock face has two pillars and two pilasters, typical of Mahendravarman style, with an octagonal shaft
with square base at the top and the bottom. The corbels of the pillars are curved and of rollmoldings. Horizontal friezes in the form of mini shrines are also carved above the corbels, though
incomplete. There are three chambers in the cavern with the central chamber being a square of 3.5
feet (1.1 m), whereas the other cells are integral to the wall. [22]

Panchapandava[edit]
The Panchapandava Cave Temple is near the open air bas-relief of Arjunas Penance. The cave
entrance is east facing and is the largest cavern at 50 feet (15 m) length. The cave is unfinished. The
length of the opening is indicative of creating a circumambulatory passage within the cave to go
round the main shrine. At present only a small chamber has been carved at the ceenter and has
remained attached to the main rock. At the entrance, the curved cornice has a series of shrines with
the four central shrines projecting out. The vaulted roofs of the shrines are carved with horse-shoe
(kudu) shaped windows and each houses another smaller shrine. The niche below the kudu has a
carved deity. Ferocious looking lions are also carved. From the architectural features carved here it
is conjectured that this style could be assigned to Narasimhavarman I Mamalla period extending to
Narasimhavarman II Rajasimha perio