Mahisasuramardini Mandapa - Mamallapuram

People know this place as Mahisasuramardini Mandapa. And, they would not miss paying a visit to this site when they come to Mamallapuram. 

Though this cave temple is dedicated to Shiva, people named it against the incredibly outstanding bas-relief panel of Mahisasuramardini. Let me share a lesser-known anecdote before divulging more details about this shrine. Till early 1800s, it was known as Yamapuri Mandapa.

Architecture

The east-facing triple-celled cave shrine measures 32 feet long, 15 feet wide, and 12.5 feet high. (Thanks to Shri Longhurst A.H.) The central shrine also projects out, and it has a front-side mandapa. The panel of Somaskanda is enshrined in this cell. All three cells have Dwarapalas at their respective entrances. The lateral walls in the Mukha mandapa have two large bas-relief panels depicting Mahisasuramardini and Anantasayana. On the top of this cave, there is a minor structural temple called Olakkanesvara.

First Cell

The first cell on the viewer's left is empty. At its entrance, two Dwarapalas are found on either side.

The Dwarapala on the proper right side of the cell has Trishul (trident) prongs protruding behind his headdress. With his right arm on his hip, he rests his other arm on his heavy club. His right leg balances his body and is planted straight. His left leg is bent and crossed behind. 

The Dwarapala on the proper left side of the cell has protruding Mazhu (axe-blade) on his headdress. His left arm rests on his hip. He points one finger of his right hand towards the shrine. 

These two Dwarapalas are undoubtedly the anthropomorphic depictions of divine weapons of Shiva, simply known as Ayudha Purushas. Hence, it is clear that this shrine is dedicated to Shiva. 

Last Cell

By intentionally skipping the middle cell for now, I move ahead in describing the last cell. Similar to the first cell, it is also empty and has two Dwarapalas at its entrance. 

These Dwarapalas have neither Shaivite nor Vaishnavite symbols. Both wear lower garments reaching their ankles. Each one carries probably a flower in one arm and rests the other arm on the waist. The position of sacred thread, the hand holding the flower, and the arm that rests on the waist of each figure is a mirror image of the other figure. 

As per most of the scholars, this cell was dedicated to Brahma. I have my own doubt here. Probably, this shrine was dedicated to a form of Shiva.

Somaskanda Panel of Central Cell

The shrine in the central cell has a Somaskanda bas-relief panel on the back wall. The unusually large panel covers almost the entire wall, which is unique. The composition differs from the standard composition of other Somaskanda panels found in Mamallapuram.

Shiva is seated with his right leg folded and left leg hanging down and resting on his mount Nandi. He has jatamakuta as his headdress and has four arms. What he holds in his upper right hand is not clear. Probably, it is a garland. (Thanks to Shri K.R. Srinivasan). He holds a rosary in his upper left arm. His lower right arm is in kataka mudra. He has kept his left arm on his lap with his palm upwards. Uma is seated by hanging down her left leg and resting the same on Nandi to his left. She balances the weight of her body by keeping her left hand on the throne. She holds her infant Skanda in her right lap. 

(For the benefit of beginners: In the hand gesture called kataka mudra, the middle and ring fingers are bent to form an arch, with the thumb slightly bent. The other fingers are erect. It might denote holding of some materials.)

Behind Shiva, Vishnu and Brahma are found standing on either side. Both of them are four-armed. Brahma holds kalasa (pot) and aksha mala (rosary beads) in his upper arms; his lower right arm is in adoration, and his lower left arm is in kataka mudra, probably having a flower to offer Shiva. Vishnu holds prayoga chakra (discus ready to be hurled, with its sharp edge pointed outwards) and sankha (conch) in his upper arms; his lower left arm is in adoration and lower right arm is in kataka mudra.

On top between their heads, Surya is sculpted. 

Nandi is seated below the throne. There is a devotee, probably Chandikeshwara, who is seen behind Nandi. (If it is true that Shiva holds garland in his upper arm, this devotee is undoubtedly Chandikeshwara).

This is perhaps the only Somaskanda panel having Nandi with a devotee and Surya.

An empty circular socket indicating that a Linga was present earlier is too found in the sanctum. This must be a later addition.

Dwarapalas of Central Cell

The Dwarapala on the true right side of the central cell has Trishul (trident) prongs protruding behind his headdress. His left-hand elbow rests in an unusual way on his heavy club. His right arm rests on his hip. A finger in his left-hand points towards the shrine.

The Dwarapala on the true left side of the cell has protruding Mazhu (axe-blade) on his headdress. His left arm rests on his club. He points one finger of his right hand towards the shrine. 

These two Dwarapalas are undoubtedly the anthropomorphic depictions of divine weapons of Shiva, simply known as Ayudha Purushas.

Vishnu or Shiva?

A few scholars think that the central shrine was initially designed to enshrine Vishnu and not Shiva. According to them, the clubs on which the Dwarapalas rest with their arms were not as per the original plan. The Dwarapalas were meant to have Vaishnavite features, and then the clubs got added later. They also add that the Somaskanda panel was a later addition, as the style is unique. As the two terminal cells are already dedicated to Brahma and Shiva, the central cell would belong to Vishnu, they feel.

I totally disagree with their opinion. I believe it was planned initially as Shiva shrine, and no change was done later. All three cells were probably intended to enshrine three different forms of Shiva.

Ardha Mandapa

The central cell projects out, and it has its own mandapa. It is supported on two seated lion pillars and two seated-Vyala pilasters. The pilasters and pillars have circular shafts above.

The cave having such pillars instead of fully cylindrical pillars has made a few scholars assign the monument to Narasimhavarma Pallava's period. However, scholars like Shri Nagaswamy believe that this monument, along with all other monuments in Mallai, was erected by Rajasimha Pallava.

Mukha Mandapa

The front portion of the cave shrine, the Mukha Mandapa, is supported on four pillars and two pilasters, with bulbous capitals and an abacus on top. 

One of the pillars was broken and replaced with a pillar with an unmatching design. The top portion of another pillar is also broken. The Vaishnavite symbols such as discus and conch engraved on the pilasters are later works, probably during the Vijayanagara period. A long pit found in the mandapa was perhaps made to place the icon of reclining Vishnu. 

Mahisasuramardini

The south-facing lateral wall on the front portico has a large panel measuring 4 m long and 2.5 m high. It depicts Mahisasuramardini or Durga slaying an Asura. The monument is named after this masterpiece of Pallava art. All the figures in this exquisite panel are lively and vigorous. Let me describe every sculpture in detail in the forthcoming paragraphs.

Durga, the powerful Mother Goddess, is riding a prancing lion. The eight-armed female warrior stretches her two primary arms to fully draw the bowstring and release the arrow. The bowstring and arrow are not sculpted. She holds shankha (conch), pasha (noose), and khetaka (shield) in her three left arms. Chakra (discus), ghanta (bell), and khadga (sword) are held in her three right arms. If we observe with a sharp eye, we could find a quiver over her left shoulder. Can her onslaught be rendered better than this? This incredibly stunning sculpture will live for thousands of years and will continue to glorify the Pallava sculptors.  

Before describing the next figure, let me talk about a few more features of Durga. She is found wearing the tall conical crown called kirita makuta. The cylindrical-shaped Patra kundalas adorn her ears. A necklace (called kanthika) is found around her neck. Kucabandha (breast-band) is found on her breast. Keyura (ornamental band) is found on her upper arms. Kankanas (armlets) are seen around her wrists of all eight arms. 

While Durga is shown in average size, her enemy and the antagonist of the theme, Mahisasura, is depicted in colossal size. He is shown with a buffalo head and human body. He is seen wearing crown, sacred thread and other royal ornaments. He holds a sword in a scabbard on his left waist. Having a massive club in his two arms, he is found to be retreating. The scene is sculpted clearly that he is in the process of getting defeated and not yet slain down. (Ultimately, Durga kills him and gains the title "Mahisasura mardini").

(Mahisasura is an Asura King. Asura is a celestial group who were considered enemies of Devas. I never use the word "demon" to refer to Asuras, as it is not a correct term.)

It is not a fight scene between two warriors, but a big battle between two groups. Durga is accompanied by eight dwarf Ganas and a female warrior. 

The first Gana to the viewer's left, who is found below Durga, holds a shield and sword in his arms. The adjacent Gana is stretching his bow and releasing his arrow. 

The Gana found near the hind legs of the lion waves chamara (fly-whisk) with his right arm. The Gana above this figure holds a long parasol above Durga's head. The headdresses of these two Ganas are noteworthy. Unlike the other Ganas carrying weapons, these two do not wear crowns. 

There is one Gana sculpted above the parasol holding person. He has a plate with the offering. The soldier in the farthest end behind Durga and the other adjacent to her parasol hold a sword and wield in their arms. 

The Gana found on the top of Durga's arms is seen fighting with his enemy on the other side. Both the figures are seen with swords and shields.

The female warrior with a good physique in the forefront is seen fighting vigorously. One of her enemies is lying down dead. Another enemy is falling down in an upside-down position over her upraised sword. Shri K.R. Srinivasan identifies her as Yogini Jaya.

Besides the three Asura soldiers mentioned already, four more men are found on the true left side of Asura. 

While Mahisasura's face is turned towards Durga, his left leg and body posture clearly indicate that he is retreating. However, three of four soldiers to his left completely turn their heads in the other direction. It seems they have already made up their minds to run away from the battlefield. One of them holds a sword and shield. Another one fell down and is trying to rise and run away. The third person is probably falling down and is looking for help from his master. The fourth one holds a shield in his left arm and half-heartedly holds a parasol above his King's head. His face and body are wholly turned towards the other side. 

This incomparable panel, thus, clearly captures the confidence displayed by the army of Durga and the defensive attitude of the Asura army. No wonder why this sculpture is famous among routine visitors and scholars alike. 

Anantasayana

The north-facing lateral wall has a large relief panel for Vishnu in reclining posture (Anantasayana) and other subsidiary images. Compared to the Mahisauramardini panel, it is equally executed well. However, there is a comparatively lesser scope, and, naturally, the former looks more attractive for normal eyes.

Let me first describe all the figures, and then in the next section, let me put my points of view on their identification.

The two-armed Vishnu, having the conical kirita makuta on top and the sacred thread across his chest, is lying over the coils of a five-hooded serpent called Adi Sesha. He is adorned with a necklace and kundalas (ear-rings). His right arm is outstretched, and his left arm, bent at the elbow, is in kataka mudra. His right leg is stretched, and his left leg is slightly flexed. His head and chest are somewhat raised. His eyes must be half-opened, which cannot be clearly seen nowadays. As per iconography, Vishnu with these features is known as Yogasayana or Yoganidra Murti.

Two significant male figures are seen near Vishnu's feet. They are identified as Madhu and Kaitabha, the Asura brothers. Adorned with crown, yagnopavita, kundalas and other royal ornaments, they hold mace in their arms. They have an animated discussion, probably contemplating on attacking Vishnu, who is in deep meditation. Upon observing carefully, we can find fumes of poison emitted by the serpent depicted on the back wall. Asuras' posture also makes us wonder if they are perturbed by the flames. 

Below Vishnu, a female figure is seen, with her hands joined in Anjali mudra (hand gesture of praying or greeting) and knelt down. She is identified as Bhu Devi.

Next to Bhu Devi, a male figure is found, knelt down with his left leg. He is facing Vishnu. He is adorned with karanda makuta and yagnopavita. I identify him as Markandeya.

On the true side of Markandeya, another male icon is seen. Only the upper part of his body is sculpted. He wears a conical kirita makuta. His left arm is in Tarjani mudra (the gesture of threat). I identify him as Vishwaksena.

Above Vishnu, there are two hovering images found on the rear wall. The dwarf male is identified as Panchajanya (conch), and the female image is Kaumodaki (mace).

Identification of sculptures

As there is no consensus among the scholars/authors on identifying images in this panel, there is a need to discuss the same.

Let me first brief the legend that the panel depicts.

It was during the creation of the entire universe by Vishnu. Madhu and Kaitabha, the Asura brothers, were born out of Vishnu's ears. Brahma was born from a lotus that emerged from Vishnu's navel. The Asuras stole Vedas from Brahma and wanted to destroy him. The frightened Brahma sought Vishnu's help.

There are different variations on the remaining story. As per a version, the Asuras prayed to Uma and became invincible. Vishnu got a boon from the Asuras themselves, and thus he was able to destroy them. Another version states that Vishnu incarnated into a horse (Hayagreeva) and eliminated the Asuras. 

We are not sure based on which Puranic source or which version of the legend the panel was designed. However, we cannot deny the fact that Brahma was well connected in all versions. The absence of Brahma in this panel perplexed me. I even questioned myself if the two male figures are indeed Madhu and Kaitabha. It took a while to explore a few other sites depicting the reclining Vishnu and get convinced they are indeed the Asura duo.

Vishnu in the reclining pose, accompanied by Shiva, Brahma, Sapta Rishis, Garuda, Vishwaksena, Bhrigu, Markandeya, five Ayudha Purushas, Madhu, Kaitabha, and a few other icons, provides entire iconographic completeness. However, it is rare to find such representations. Srivilliputhur and Tirumaiyam are two sites where such representations are found. In all other sites, some of the images are omitted. 

As Yogasayana Murti, Vishnu should not accompany his consorts. However, it is common to find Bhu Devi in the place of Bhrigu near his feet. The panel that we discuss is one such example.

There are four figures besides Bhu Devi. Most of the scholars identify them as Ayudha Purushas, the personification of divine weapons of Vishnu. However, none of them seem to have given the reason why only four out of five weapons are depicted. No one has explained why two Ayudha Purushas alone would be found below Vishnu, that too facing opposite directions.

There is no logic to identify the central male figure below Vishnu as an Ayudha Purusha. Unlike the other Ayudha Purushas found above the image of Vishnu, he is not facing towards the Asuras. Like Sesha, who is emitting poison towards the Asuras, these weapons are supposed to run towards Madhu and Kaitabha to protect their master. The two weapons found above the image of Vishnu clearly depict that. However, this male is found towards Vishnu, and he is found to be praying. 

Can this be Brahma, who is pleading with Vishnu to protect him from the clutch of Asuras? No, he does not have four heads.

Can this be Garuda, who is always facing his master? No, he is in complete human form, and his nose is not sharp.

Then, the only other alternative is Markandeya Rishi, although he is wearing a crown. As per a Puranic text, he is the chief sage, performing poojas to Vishnu. Probably to depict that he is the chief, he is given a crown.

The easternmost image cannot be an Ayudha Purusha. Look at the gesture of his right-hand index figure. It is in tarjani mudra, that is, the gesture of threat. It is generally displayed by the guardian deities. Hence, it is logical to identify him as Vishwaksena, the chief guardian of Vishnu.

Now, who are the figures above the image of Vishnu? I know a few scholars identify them as Nidra Devi (personification of sleepiness) and her attendant. I disagree with that opinion. If we explore similar panels of Anantasayana, undoubtedly, they are Ayudha Purushas. Kaumodaki, the mace of Vishnu, is always depicted as a female. Panchajanya, his conch, is always depicted as a dwarf. Hence, it becomes a perfect identification.

Conclusion

I hope my article will kindle people's interest in visiting this excellent site and exploring some of Pallava sculptors' best creations.

Happy travelling.