Krishna's Mandapa in Mamallapuram

Mamallapuram is a unique site where the great sculptors during the Pallava reign have experimented with many varieties of monuments. We can find gigantic relief panels, Ratha-type monolith structures, rock-cut shrines and structural temples. Among all these types of structures, the open-air relief panels are unusual ones. The gigantic panel known as Bhagirata's Penance or Arjuna's Penance is very popular. Adjacent to that great monument, there is another open-air relief panel named Govardhana Giri. 

Those who visit Bhagirata's Penance panel would generally not miss visiting the Govardhana Giri panel. However, not most of them would realize that it is actually an open-air relief panel. Many consider the structure as a rock-cut shrine. The presence of a mandapa (pillared pavilion) on the front side and the current name of the shrine, "Krishna's Mandapa", make all of us consider it so.

Measuring the length of 48 feet and the height of 11 feet, the massive panel might have provided us a visual treat. But, unfortunately, the mandapa, which was added much later, completely spoils the grandeur of the panel. 

As there is no inscription in this temple, we cannot avoid historians debating about the reign of the exact Pallava King when it was constructed. I believe Rajasimha Pallava must have made this panel in the 8th century CE. As per the architectural features, the mandapa can be assigned to the Vijayanagaras, either in the 15th or 16th century CE. The Vijayanagara Kings have undeniably contributed a lot towards the development of temple architecture. But, they have also spoiled the beauty of many original structures in the name of expansion. This site is one such example.

What is the theme of the panel? It is about Lord Krishna lifting the Govardhana Giri (Giri means mountain) to protect his people. Let us briefly go through the legend before we start enjoying the sculptures.

Legend depicted in the Panel

For the benefit of beginners...Lord Krishna was an incarnation of Lord Vishnu. During his childhood, he lived in Vrindavan. The playful activities of young Krishna are known as Krishna Lila. The story that is depicted in the panel is one such Lila.

Observing the elders of his village performing the religious rituals to please Indra, Krishna objected to the same. (Indra is the Lord of celestials). According to him, the farmers should concentrate on agriculture and cattle farming. Moreover, he was against performing any ritual for any natural phenomenon like rain. 

The villagers listened to the charming Krishna. Indra got furious. Intending to wash off Vrindavan, he caused devastating rain. Krishna, the savior, lifted up the hill named Govardhana Giri and held it like an umbrella. The villagers and their cattle took shelter under the mountain for seven days. At last, Indra submitted to the supremacy of Krishna, and thus the episode came to an end. 

Krishna

The main image of the entire panel is the imposing figure of Lord Krishna at the center. He is in a standing posture. He is seen lifting the mountain with his left hand effortlessly. His right arm is in Varada mudra (boon-bestowing posture).  He wears the tall conical crown called kirita makuta, kundalas (earrings) and yagnopavita (sacred thread). He has minimal ornaments in his arms, wrists and neck. 

This magnificent icon is possibly the oldest surviving sculpture of Krishna in Tamil Nadu. 

Balarama

The ancient Tamil Sangam literature glorified not only Krishna but also his elder brother, Balarama. The second tallest image in the panel, after Krishna, is that of Balarama. He wears minimal ornaments like Krishna. However, his crown is different. He wears Karanda makuta. He is standing in a royal posture with his left leg resting on a platform and his right arm resting on his waist. He is seen spreading his left arm protectively on the shoulder of an elderly person. The person appears to be shivering in fear. Next to him, there is a lady seen trying to cheer him up.

A few scholars/historians have identified the old man as Nanda, the father of Krishna. But, I differ from them. Balarama would not pose in this manner in front of his father. Also, there is no reason for Nanda to tremble with fear. Also, the old man carries an axe, which helps us to identify him as a villager. 

Nappinnai

To the true left side of Krishna, there stands a lady. Compared to other women figures on the panel, she is distinguished from others by her dress and stance. She wears a crown. Unlike the other women sculptures, she alone wears a breast band. She is found holding the hands of another girl, who is possibly her friend.

Who would be this lady? She is definitely not Krishna's sister Subhadra. Krishna was not married when this episode happened. Hence, she must be one of Gopis (the cow-herd girls of Vrindavan who were the friends of Krishna). Radha holds a place of high reverence among Gopis. So, can this be Radha? But, in ancient Tamil Nadu, Radha was not known. The Radha-cult was developed only after a few centuries and it spread to South India even much later. 

Then, who else would be this lady? Can this be Nappinnai? Alwar's poems and Silappadhikaram talk about her. Hence, I would consider her as Nappinnai. (Whether Radha of North India and Nappinnai of Tamil Nadu are the same or different, is not in the scope of the article.)

Other Sculptures

Besides depicting Krishna, Balarama and Nappinnai, everything else in the panel represents the contemporary pastoral life. Importantly, none of these figures face Krishna. All of them seem to be busy in their regular chores, unaffected by the threat of Indra. It also shows their unshakable faith in Krishna. 

A couple is found happily dancing by holding each other's hand. A calf and a bull are interestingly watching the dance. 

A woman gracefully carries a rolling mat on her head and a sling containing curd in her arm. The man who follows her holds an axe on his shoulders. Next to him, a woman carrying her baby is found. 

We could find a beautiful depiction of a man milking a cow and the cow licking her calf at a little distance. The affection towards her calf is clearly visible in the eyes of the cow. Who created these sculptures? A sculptor or a magician?

A mesmerizing sculpture of a flute player is there. A mother and her baby on her thighs, get mesmerized by the music played by him. Such a poetic expression and beautiful depiction!

A tall lady is carrying pots of curd on her head. A kid is holding her hand. Another kid is found nearby, which is holding the hand of the friend of Nappinnai. Finally, an elderly man with his kid on his shoulders is found behind her holding a stick in his arms.

Besides the sculptures mentioned above, there are 27 cows and oxen found across the entire panel. Only their heads are sculpted instead of whole bodies. 

When all these images depict the people and animals under the protection of Krishna, there are a few animals that are found away from the mountain. 

On the northern side, a fantastic sculpture of a bull resting on a high platform is seen. Unlike the other statues, it is not a relief image, but it is a free-standing icon. The Vaishnaivite mark seen on the forehead of the bull is a vandalism act. This mark is seen even in the sketch produced in 1816 CE. 

Additionally, the two sides of the boulder were skillfully utilized by the Pallava sculptors to create a few more icons of animals. Most of the animals are either lions or tigers. But one particular image is interesting. It has a lion body and human face, similar to the Sphinx of other parts of the world. It is called Purushamrigam. 

Purushamrigam

List of Sculptures

Overall, the panel depicts Krishna holding the mountain and protecting his people, while the villagers and cattle are seen across the village, carrying varieties of chores. Away from the mountain, there is a bull and a few animals watch this spectacular scene.

Let me list down all the sculptures from the southern end to the northern end.

Sculpture #1 - Seated lion

Sculpture #2 - Seated Purshamrigam (the animal with a lion's body and man's head)

Sculpture #3 - Seated lion

Sculpture #4 - Standing lion looking towards the other three lions

Sculpture #5 - Tiger cub looking back

Sculpture #6 - Tiger (Whether it's a tiger, leopard or any other type of wild cat - I am not too sure though)

Sculpture #7 - Dancing man

Sculpture #8 - Dancing woman

Sculpture #9 - Calf

Sculpture #10 - Bull

Sculpture #11, #12, #13, #14 - Four cows/oxen (depicted only up to their necks)

Sculpture #15 - Woman with child

Sculpture #16, #17, #18, #19, #20 - Five cows/oxen (depicted only up to their necks)

Sculpture #21 - Man carrying axe on his shoulders

Sculpture #22 - Woman carrying mat and sling

Sculpture #23, #24, #25, #26, #27, #28, #29 - Seven cows/oxen (depicted only up to their necks)

Sculpture #30 - Woman with a child

Sculpture #31 - Man playing flute

Sculpture #32 - Calf

Sculpture #33 - Cow licking the calf

Sculpture #34 - Man milking the cow

Sculpture #35 - Balarama

Sculpture #36 - Elderly man

Sculpture #37 - Woman

Sculpture #38, #39, #40, #41, #42 - Five cows/oxen (depicted only up to their necks)

Sculpture #43 - Krishna lifting the mountain

Sculpture #44 - Nappinnai

Sculpture #45 - The female companion of Nappinnai

Sculpture #46, #47, #48, #49 - Four cows/oxen (depicted only up to their necks)

Sculpture #50, # 51 - Two kids

Sculpture #52 - Woman carrying pots

Sculpture #53 - Man with a kid on his shoulders

Sculpture #54, #55 - Two cows/oxen (depicted only up to their necks)

Sculpture #56 - Seated bull

Sculpture #57 - Lion sculpted till its neck

Sculpture #58 - Tiger

Sculpture #59 - Seated lion

Sculpture #60 - Seated lion facing the other lion

Mandapa

The front-side mandapa was done by the Vijayanagara sculptors. There are twelve pillars, four in a row, in this mandapa. The four pillars on the first row and two pillars on the second row have Simha Vyala (lions with horns) base. Although the practice of Vyala base pillars were started by the Pallavas, the style was followed in the later period. However, the style of those Vyalas would have notable variations. In this mandapa, the Vijayanagara artists have tried to replicate the Pallava Vyalas without any noticeable variations. I wonder if it was intentionally done.

Happy travelling.