Vallam Pallava period Cave Temples

Are you from Chennai or Chenglepet? If yes, have you heard about Vallam? Else, have you visited the site? It is a sad fact that many of you might answer in negative for the above questions. Located hardly at a distance of 3 kms from Chenglepet, this hamlet is historically significant and has exquisite ancient sculptures. Forget about people thronging the site in huge numbers. Not many of them even know the name of this site. You could easily find the location as Alapakkam Doctor's House or Alapakkam Madha Kovil. If you are adamant about calling the site Vallam or Pallava Cave temples, no one in the locality might be able to guide you.

What is so significant in this lesser-known village? Let us explore in detail. 

(Note: I have visited this place ten years ago and had a detailed coverage in my blog. When I revisited this place recently (in 2021 CE), I felt sad as this site still remains lesser-known and rarely attracts visitors. The poor condition of this hillock temple led me to rewrite about this temple in my blog. The article carries exclusive coverage on the architectural features, iconography and inscriptions. A lot more information has been provided here.)

Vallam - An Introduction

Vallam is a small settlement near Chenglepet. It is nowadays known as Alapakkam. There are three rock-cut temples of the Pallava period located in a hillock. 

Two cave temples are on the same boulder, one above the other, whereas the third temple is located little north of the lower cave. The first two caves are dedicated to Shiva and the lowermost temple is for Vishnu. A flight of 81 steps leads us to all these shrines.

Vasantesvaram

Vasantesvaram

The uppermost cave is the most prominent and most perfect rock-cut shrine. It is known as Vasantesvaram. 

It was built by Skandasena, son of Vasantapriyaraja, a vassal of Mahendravarma Pallava I, in the 7th century CE. 

It consists of a sanctum (moolasthana) with a broad and oblong ardha mandapa in front. The east-facing sanctum enshrines a large Shiva Linga. It is an old icon. However, it does not belong to the Pallava period. This Shiva Linga is called Vedanteeswara.

The traces of lime plaster on the interior wall of the sanctum indicate that there was probably a painting initially.

Two shallow niches are cut on either side of the sanctum's entrance. Two large attractive bas-relief images of Dwarapalas are found on these niches. As these icons warrant detailed descriptions, they are covered in a separate section below.

The facade of the ardha mandapa has two massive pillars and two pilasters. The top and bottom portions of the pillars are square in shape (called Saduram), while the central portions are octagonal (called Kattu). 

Nandi is located in ardha mandapa facing the sanctum.

Dwarapalas of Vasantesvaram

The Dwarapalas standing on either side of Vasantesvaram are stunning. Both are similar in design and style except for a few differences.  

South Dwarapala

The dwarapala on the southern side rests his left hand on a massive snake entwined club. His right arm rests on his waist (known as kati posture). He stands with his left leg and his right leg is found crossed with the other one. 

He wears kirita makuta (tall conical crown) on his head and a heavy kundalas (ear rings) on his ears. He has massive locks of jata (hair) on both sides below the crown. He wears vastra yagnopavita (the sacred thread) in the usual upavita fashion. 

Two side tusks are found on either side of his mouth. Two curved horns project behind his makuta. They are actually not horns, but they represent Trishul, the diving weapon of Shiva.

The dwarapala on the northern side rests his right hand on a massive club. His left arm rests on his waist in a kati posture. 

North Dwarapala

The crossed legs, kirita makuta, massive locks of jata, massive kundalas and protruding tusks are similar to the southern side dwarapala. 

Two side tusks are found on either side of his mouth. He wears sarpa yagnopavita (serpent as the sacred thread). There is no curved horn projecting out of his makuta. However, some sort of projection is found at the center of his headdress. It also represents a weapon of Shiva, called Mazhu or Parasu (axe).

(Even the temple authorities nowadays call these sculptures as Shula Devar and Mazhu Adiyar, as the personifications of Trishul and Mazhu. But, it was Dr. Gift Siromoney who researched the style of such Pallava period door guardians' sculptures and wrote about them.)

Ganesha

Outside the cave shrine, on the north side of the rock, a big relief image of Ganesha is found. He is seated on a throne, with his left foot tucked inside and the other dangling down. This is called Lalitasana posture. 

Ganesha's body is slightly turned towards the shrine. He has four arms. His right upper arm has an indistinguishable object, and his left upper arm holds a lotus bud. His lower right arm rests on his thigh, and his left arm is placed on a pillow. 

His trunk is coiled towards the right. Hence he can be called Valampuri Vinayaka.

He has a single tusk on his right side alone. Even that tusk is half-broken.

This icon of Ganesha has so many unique features, as described above.

A few scholars such as K.R. Srinivasan believe that this icon was sculpted not during Mahendra Pallava's period but perhaps during the time of Rajasimha Pallava (8th century CE). 

Jyeshtha

Outside the cave shrine, on the south side of the rock, a bas-relief image of Jyeshtha is found. She is seated with her legs hanging down. She wears a heavy jatabhara (mass of matted hair) with a conical crown. Unlike Ganesha's icon, it is not clear and worn out. She is normally found along with her two attendants. But in this sculpture, she is found alone.

This icon is also believed to have been sculpted in the later Pallava period.

I am not sure about the period of Ganesha and Jyeshtha. But, I see no logic in sculpting these sculptures outside the shrine. Hence, I believe they might have been made after the original cave temple was built. However, there is no doubt in classifying them as Pallava sculptures. 

Other Deities

Unfortunately, the beautiful Pallava period temple has been extended with modern-day walls and grill gates. Also, a lot of new icons are placed in the Ardha Mandapa.

Jyeshtha

Gnanambika

The icons of Ganesha, Subramanya-Valli-Devasena, Dakshinamurti, Shaneeswara, Chandikeswara and Bhuvaneswari are situated in the mandapa. They are all recent additions.

Gnanambikai, the Goddess with three eyes, is found in the standing posture and she faces east direction. Although it is not an old sculpture, it looks attractive.

An old sculpture of Jyeshtha Devi, along with her attendants (Manthan and Agni, as per few interpretations), is notable. It originally does not belong to this cave shrine. It was found near the temple tank.

Inscriptions

The pillars of ardha mandapa have three inscriptions. 

Two of them belong to the 7th century CE. The inscription on the southern pillar calls Mahendra Pallava by his titles (birudas), namely Pakappiduku and Lalitankuran. The inscription on the northern pillar gives the details of the builder of the temple. It also calls Mahendra as Shatrumallan and Gunabharan. We could also understand that the temples were referred to as Devakulams in those days. (Please refer to A.R. No. 185 of 1892 to know more about these inscriptions.)

It must be noted that these are the earliest Pallava inscriptions engraved in Tamil characters. There are dots over the pure consonants. During the Chola period, the practice of marking the dots over the consonants was discontinued.

The third inscription, found on the lower face of the southern pillar, is from King Kopperunsingan, corresponding to 1230 CE. It calls the deity as Tiruvayanadisvaramudaiya Nayanar. It also provides information such as Vallam was part of Valla Nadu sub-division of Kalattur Kottam division. (Reference - A.R. No. 186 of 1892).

Lower Cave of Shiva

The cave shrine that is located right below the Vasanteesvaram is a small one. There is a narrow mandapa without any pillar on the front side. There are just two pilasters.

The cell enshrines a tall Shiva Linga without base (aavudai). It is a later addition.

Two bas-relief images of Dwarapalas are found at the entrance of the sanctum. Both of them are identical in most aspects. Both stand with their legs crossed and their right arms hanging over massive clubs. Their left arms rest on their waists (called kati posture). Their heads turned towards the shrine. The dwarapala on the south has his jata bhara flowing down his face. The other dwarapala has his hair done up into a large top-knot. Both wear yagnopavitas and large kundalas.

On the north-facing wall in the mandapa, the bas-relief of Ganesha is found. He is seated on a lotus, and his trunk is turned towards his right direction.

As per the inscription found in this shrine, this temple was referred to as "Lakka Somasiriyar Makal Devakulam", meaning "temple that was constructed by the daughter of Lakka Somasiriyar". It is interesting to know that this cave shrine was excavated by a female during Mahendra Pallava's period. 

The pathway to this cave shrine has been converted into a modern-day dyana mandapa, and a lot of newly made large stucco images are found. 

Vishnu Cave

The lowermost cave is in the north direction. The shrine has the latter period Vishnu along with his consorts Sri Devi and Bhoo Devi. Nowadays, Vishnu is known as Karivarada Perumal.

The images of Dwarapalas at the entrance are beautiful. Both are identical in style. They face the front side. With one arm raised up in adoration and with the other arm resting on their hips, they both wear yagnopavitas, makutas and large kundalas.

The south-facing wall has the bass relief sculpture of Vishnu Durga in the standing posture. She has four arms. Her upper arms hold discus and conch. Her lower right arm is in abhaya mudra (represents protection) and her lower left arm rests on her waist.

This cave shrine was also excavated by a female during the period of Mahendra Pallava. The inscriptions calls this temple as "Pallavar Perarasar Makal Kommai Devakulam". It means that this temple was named as Kommai Devakulam and Kommai was the daughter of Pallava emperor. 

Who was this Kommai, the Pallava Princess? Did Mahendra have a daughter or sister named Kommai? The analysis is beyond the scope of this article.

Tank

The beautiful temple tank (or village tank?) is located at the foothills. 

Happy travelling.  

Bibliography

https://www.cmi.ac.in/gift/Archeaology/arch_dvarapalaka.htm

Cave Temples of the Pallavas - K.R. Srinivasan

Inscriptions of the Madras Presidency

Tamilnaattu Sivalayangal - Ma. Chandramurti