Adi Varaha Cave Temple, Mamallapuram – The Living Pallava Shrine Few Get to See
When we speak of Mamallapuram, the mind usually goes to the Shore Temple, the Five Rathas, or the great relief often called Arjuna’s Penance. But there is one monument here that many visitors miss. Not because it is insignificant. Not because it is hidden. But because it is alive.
The Adi Varaha Cave Temple is a living shrine. The early Pallava inscriptions within the cave, along with later Chola records referring to the shrine as Parameshvara-Mahavaraha-Vishnu-Griham, indicate that it has remained in active worship from the time of its creation. Even today, the temple opens only during fixed pooja hours in the morning and evening. For the rest of the day, it remains closed. For long periods in the past, entry was restricted to foreigners. That limited access explains why the temple finds little mention in early European travel accounts and why it continues to remain outside the usual tourist circuit.
Yet architecturally and historically, this cave is among the most complete and best preserved examples of Pallava rock cut architecture in Mamallapuram.
The Cave and Its Architecture
The original excavation faces west. The cave measures 33 feet in length, 14 feet in width and about 11.5 feet in height (as recorded by A. H. Longhurst in Pallava Architecture: Intermediate or Mamalla Period).
The façade consists of four pillars and two pilasters. The pillars rest on lion bases, a familiar Pallava signature, and rise into octagonal shafts above. The composition is balanced and restrained, without excessive ornamentation.
The rock surface has been excavated to create a rectangular hall divided into two sections by the pillars, with the rear portion leading into the sanctum. In other words, the excavation forms a pillared mandapa in front and a slightly recessed shrine chamber at the back, all cut directly into the living rock.
In front of this original Pallava excavation stand later structural additions, most likely from the Vijayanagara period in the sixteenth century. A modern masonry structure now partially conceals the ancient façade, which means that unless one steps closer, the original rock cut character is not immediately visible.
The Gigantic Varaha
The sanctum houses an imposing green colored stucco image of Varaha, approximately eight feet in height.
Varaha is depicted in anthropomorphic form with the head of a boar and the body of a man. He has four arms. In his upper hands, he holds the shankha and chakra. In his lower arms, he supports Bhudevi.
Bhudevi is positioned on his right side. She rests against him with composure, her body gently angled as she is lifted. The expression is serene. The rescue is not dramatic but dignified. The Lord stands in absolute assurance.
The right-side placement is significant. At Nithya Kalyana Perumal Temple in a nearby village named Tiruvidanthai, the Lord holds his consort Akhilavalli Thayar on his left side. Hence the place came to be known as Thiru (Divine) + Ida Yenthai (Left side), which later became Thiruvidanthai. In Mahabalipuram, the Lord is known as Thiru (Divine) + Valaventhai (Right side), since he holds his divine consort on his right lap. These subtle theological nuances connect the sacred geography of the region beautifully.
Below the towering Varaha stands Nagaraja with folded hands in anjali mudra. The serpent hood canopy above his head identifies him clearly. He kneels in reverence, acknowledging the cosmic act of restoration.
The present stucco image is heavily plastered and repainted, making it difficult to determine how much of the original Pallava core survives beneath. Yet the iconographic structure clearly reflects early medieval Vaishnava imagination.
Below the main stucco image, a smaller stone icon of Bhu Varaha is kept. Also, the bronze icons of Vishnu with his two Devis are also kept.
The Ayudha Purushas
Two dwarapalas flank the sanctum, carved on the projecting walls that frame the entrance. Standing within shallow niches and facing west in alignment with the sanctum, they guard the threshold with composed authority.
On the true left stands the dwarapala distinguished by the shankha carved upon his head. On the true right stands the counterpart marked by the chakra. These unmistakable emblems identify them as the ayudha-purushas of Vishnu, the personified conch and discus. Their presence leaves little ambiguity regarding the original dedication of the shrine. The iconographic programme clearly establishes this cave as a Vaishnava shrine. Claims that it was originally intended for Shiva do not withstand this visual evidence.
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| Ayudha Purusha (PC - V K Srinivasan) |
The guardians themselves are elegant rather than intimidating. Their bodies are gently curved, one leg bearing the weight while the other is slightly bent. One hand rests near the waist, the other is raised in a controlled gesture. The torsos are slender, waists narrow, and limbs elongated, hallmarks of Pallava sculptural grace. Tall kirita-makutas rise prominently above their heads, and their expressions remain calm and composed.
These are not fierce gatekeepers meant to inspire fear. They protect through presence, dignity and quiet strength.
Harihara
To the true left side of the sanctum entrance, after the Ayudha Purusha with Shankha, stands Harihara, the composite form of Shiva and Vishnu. The figure is carved in a tall and composed stance within a well-defined niche. He has four arms. In one upper hand he holds the parashu (axe), while the other upper hand carries the chakra (discus), clearly identifying the fusion of Shaiva and Vaishnava attributes. The lower right hand is shown in abhaya mudra, offering reassurance, while the lower left rests gracefully near the waist.
Above his head is a carved parasol, emphasizing divinity and sovereignty. Harihara wears a kirita makuta, a tall conical crown with rich ornamentation, rising prominently and reinforcing his elevated status. The face is serene, the torso slender, and the stance balanced, conveying theological harmony rather than tension.
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| Harihara (PC - V K Srinivasan) |
At his feet, two devotees kneel on either side with folded hands. Their crowns are noticeably different. They wear karanda makutas, the shorter, basket-shaped crowns, modest in height when compared to the towering kirita makuta of the main deity. This subtle variation in crown form visually reinforces hierarchy within the composition.
The entire panel is restrained and symmetrical. Rather than dramatic movement, the sculpture conveys equilibrium, a visual expression of the union of Shiva and Vishnu.
Anucara
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| Anucara (PC - V K Srinivasan) |
Mahisasuramardini
The Goddess stands in tribhanga mudra, her body curved gracefully in three bends. Beneath her is the severed buffalo head of Mahishasura. The battle is over. There is no frantic movement. Victory is established. She stands composed, weight slightly shifted, the torso subtly turning, creating a sense of controlled energy rather than aggression.
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| Mahisasuramardini (PC - V K Srinivasan) |
Vishnu
If the true left side presents the sequence of dwarapala, Harihara, attendant, and Durga, the true right side mirrors it in a carefully balanced arrangement.
Immediately next to the sanctum entrance stands the dwarapala with the chakra carved on his head, facing west in alignment with the sanctum. His presence marks the threshold, just as the conch-bearing guardian does on the opposite side.
Beyond him, in a corresponding niche parallel to Harihara, stands Vishnu. He has four arms. The upper hands hold the shankha and chakra, while the lower right hand is shown in abhaya mudra, offering reassurance. The lower left rests near the waist in composed ease.
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| Vishnu (PC - V K Srinivasan) |
He wears a tall kirita makuta rising prominently above the head, reinforcing divine authority. The body is slender, vertical and calm.
At his feet kneel two devotees with folded hands. Their bodies incline inward toward the deity. They wear shorter karanda makutas, modest when compared to the towering crown of Vishnu. The sculptor subtly establishes hierarchy through scale and ornamentation.
Adi Sesha
Parallel to the attendant figure on the opposite side appears Adi Sesha. He is represented in anthropomorphic form with seven serpent hoods rising above his head, forming a protective canopy. The body retains human proportions while the serpent hoods declare his identity unmistakably. Sesha has his left arm in kataka mudra, delicately holding a flower. His right arm rests on his waist. The posture is composed, the arms positioned with quiet restraint.
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| Adi Sesha (PC - V K Srinivasan) |
The arrangement is deliberate. Just as Harihara stands on one side balancing Shaiva and Vaishnava identities, Vishnu stands here in full Vaishnava clarity. Just as an attendant supports Harihara, Adi Sesha supports Vishnu. Unlike Adi Sesha, the attendant on the other side bears no overt Shaiva or Vaishnava attributes. He remains a courtly attendant, balancing the composition without asserting sectarian identity.
Gaja Lakshmi
Further along, parallel to the Durga panel on the other side of the sanctum, appears Lakshmi in her Gaja Lakshmi aspect.
She is seated upon a fully blossomed lotus pedestal. The legs are folded gracefully, the body upright and centered. The image evokes the moment of her emergence during the churning of the milky ocean. She holds lotuses in her hands, reinforcing her association with abundance and auspiciousness.
Around her stand four maidens. Each carries ritual objects, such as water pots and toiletry vessels, preparing for the ceremonial ablution. Their bodies are slender and gently curved, echoing the elegance seen in the Durga attendants. Their crowns are modest and structured, smaller than the principal figure’s headgear.
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| Gaja Lakshmi (PC - V K Srinivasan) |
Above, in the upper corners of the niche, two elephants face inward. They are shown in different profiles. One actively pours sacred water over Lakshmi, while the other appears poised, as though waiting for its turn. This small detail introduces narrative progression into the composition. The gesture is rhythmic and symmetrical. Unlike the martial energy of the Durga panel, this composition is serene and ceremonial.
The Pallavas seem to have repeated this composition in both the Varaha Mandapa and this cave, a rare instance of compositional repetition that underscores the importance of this theme.
Gangadhara
On the south-facing wall of the cave are two significant panels. One is divine in theme. The other is deeply historical. In the first panel, Shiva is represented as Gangadhara, the bearer of the river Ganga.
He stands in a composed posture with four arms. The front right hand is held in abhaya mudra, offering reassurance. The left hand rests confidently on the hip. In one of his upper hands he holds a rosary, while in the other hand is extended upward, holding out his matted locks as if to receive the descending river. In one corner of the panel, Ganga appears in anthropomorphic form, gracefully descending toward him. The sculptor has captured the moment of her arrival, not in violent motion, but in controlled descent.
Shiva is richly adorned. A live serpent serves as his belt. A rudraksha mala rests across his torso. The sacred thread appears as a vastra-yajnopavita. He wears varied ear ornaments, and an elaborate jata-makuta crowns his head. Yet despite these ornaments, the body remains slender and composed.
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| Gangadhara (PC - V K Srinivasan) |
Unlike many later representations, this panel is striking for its restraint. There are no ganas, no devotees, no mount, no elaborate surrounding figures. The focus remains entirely on the interaction between Shiva and the celestial river.
The Gangadhara theme seems to have been particularly significant during the Pallava period. We encounter another celebrated Gangadhara panel at the Tiruchirappalli cave, widely regarded as a Pallava masterpiece and likely earlier than the one here. Yet another image appears on the Dharmaraja Ratha at Mamallapuram. The recurrence of this theme across Pallava monuments suggests that the descent of Ganga held ideological as well as devotional meaning during this period.
Its repeated use in Pallava architecture also provides important context when one studies the larger relief popularly known as the Great Penance, a subject that deserves separate and detailed discussion.
Simhavishnu
Adjacent to the Gangadhara panel is one of the most important sculptural compositions in this cave, the portrait of a seated Pallava king.
These are among the very few royal portrait sculptures known in early Indian art. Unlike mythological panels, these figures represent historical personalities.
The king sits in sukhasana upon a high simhasana. His torso is broad and upright, the chest well defined. The posture is completely frontal, composed and authoritative. His right hand is held in chin-mudra, a gesture often associated with contemplation and spiritual insight. The left hand rests on the thigh, slightly clenched.
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| Simhavishnu (PC - V K Srinivasan) |
A tall kirita-makuta crowns his head, clearly marking his royal status. Yet, interestingly, the ornamentation is restrained. He wears only a necklace and heavy kundalas. There is no excessive display of jewellery. The simplicity enhances his dignity.
In contrast to the formal stillness of the king, the two queens flanking him are rendered with subtle liveliness. They stand slightly angled, their bodies gently curved. Their garments appear almost transparent, but each is draped differently. Their ornaments include patra-kundalas, karanda-makutas, bracelets and anklets. The queen on the left wears a necklace that the other does not. Both figures appear shy yet respectful, their expressions calm.
Above the seated Pallava king panel appears a Pallava-Grantha inscription reading:
“Sri Simhavinna-Potrathirajan.”
It translates as:
“The glorious Athiraja (Adhiraja) Simhavinna-Pottra (Simhavishnu-Pota).”
(SII, Vol. XII, No. 17)
Though debated extensively, the inscriptional evidence strongly favours identifying the king as Simhavishnu (560–580 CE), and this attribution appears the most convincing.
Brahma
If the south wall brings together Shiva as Gangadhara and a seated Pallava ruler, the north-facing wall mirrors it with another royal portrait and a panel of Brahma.
Opposite the Gangadhara panel stands Brahma.
He is depicted with four arms. In one of his upper hands he holds a rosary. One lower hand rests upon the waist, while another is shown in abhaya mudra. The fourth arm extends outward, though its original attribute is no longer clearly preserved.
Interestingly, the abhaya gesture appears on his left hand. This is unusual for Pallava-period iconography. While later examples and notably certain Buddhist images, do show the left hand in abhaya, it is not common in early Pallava sculpture. One possible explanation may be compositional balance. Since Gangadhara on the opposite wall raises his right hand in abhaya, the sculptor may have deliberately reversed the gesture here to create visual equilibrium across the space.
Unlike Durga, Lakshmi or the royal portrait panels, Brahma stands alone. There are no devotees, attendants or narrative elements. The niche is quiet and contained, almost austere.
The proportions of the figure appear somewhat unconventional. The upper arms project slightly away from the torso, creating a mild visual tension. Whether this was an intentional stylistic exploration or simply the result of spatial constraints within the niche remains open to interpretation.
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| Brahma (PC - V K Srinivasan) |
The face, however, carries the same calm composure seen throughout the cave. The kirita-makuta rises in measured height, and the garment falls straight to the feet. The stance is frontal and stable.
With Brahma on the north wall and Shiva as Gangadhara on the south wall, the cave subtly integrates the Trimurti presence within what is fundamentally a Vaishnava shrine. Vishnu occupies the sanctum and central iconographic space, while Shiva and Brahma appear in complementary panels, not in competition, but in quiet theological harmony.
Mahendravarma I
Opposite the seated king panel appears another portrait sculpture of a Pallava ruler.
Here the king is shown standing, flanked by two queens. Unlike the contemplative stillness of the seated monarch, this ruler appears active and engaged. One of his hands is raised and points toward the direction of the sanctum (Adi Varaha).
With the other hand, he gently holds the hand of one of the queens. This queen stands slightly closer to him and may represent the chief or senior queen. The second queen stands just behind, her posture composed and dignified.
All three figures wear minimal jewellery. The bodies are slender, the garments fall in controlled vertical lines, and the crowns are structured yet not overly elaborate. The emphasis is not on regal opulence but on presence and composure.
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| Mahendravarma (PC - V K Srinivasan) |
Above the Pallava king panel appears a Pallava-Grantha inscription reading:
“Sri Mahendra-Potrathirajan.”
It translates as:
“The glorious Athiraja (Adhiraja) Mahendra-Pottra.”
(SII, Vol. XII, No. 18)
Though debated extensively, the inscriptional evidence strongly favours identifying the king as Mahendravarma I (580–630 CE).
Inscriptions
The Adi Varaha Cave Temple is not merely a sculptural monument. It is also an epigraphical archive spanning centuries.
The Royal Labels
Above the seated Pallava king panel appears a Pallava-Grantha inscription reading:
“Sri Simhavinna-Potrathirajan.”
It translates as:
“The glorious Athiraja (Adhiraja) Simhavinna-Pottra (Simhavishnu-Pota).”
(SII, Vol. XII, No. 17)
Above the standing king panel on the north-facing wall appears another inscription:
“Sri Mahendra-Potrathirajan.”
(SII, Vol. XII, No. 18)
This translates as:
“The glorious Athiraja (Adhiraja) Mahendra-Pottra.”
These label inscriptions identify the royal figures, though their exact historical attribution remains debated. Probably, these inscriptions may have been engraved many years after the creation of the cave itself.
The Dashavatara Inscription
On the lintel above the Harihara image is another important inscription in Pallava-Grantha script (SII, Vol. XII, No. 116). Again, it is also not dated. It enumerates the ten incarnations of Vishnu:
Matsya, Kurma, Varaha, Narasimha, Vamana, Rama, Rama, Rama, Buddha and Kalki.
The three “Ramas” refer respectively to:
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Parashurama
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Rama, son of Dasharatha
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Balarama
The verse reads:
Matsya… Kurmo Varahaśca Narasimhaśca Vamanaḥ |
Ramo Ramaśca Ramaśca Buddhaḥ Kalki ca te daśa ||
This inscription is particularly significant in a shrine dedicated to Varaha. It situates the cave firmly within Vaishnava theology.
The Imprecatory Verse
On the floor of the mandapa appears a striking imprecatory verse engraved in Pallava-Grantha characters (SII, Vol. XII, No. 117):
dviṣatāṁ dviṣatāṁ punaḥ api dviṣad-vastu dviṣṇe
yaṁ yo na vasati hṛdaye kupatha-gati-vimokṣaṇaḥ rudraḥ ॥
“Six times cursed be those, in whose hearts does not dwell Rudra, the deliverer from walking on the evil path.”
The verse invoking a curse, engraved on the floor of the cave, raises an intriguing question. It curses those in whose hearts does not dwell Rudra (Shiva), a surprising sentiment in a shrine unmistakably dedicated to Vishnu. Its unusual placement on the floor suggests it may have been added after the temple’s construction, likely by a ruler with strong Shaiva leanings. Among the Pallava rulers, Parameshvaravarman I appears to be the most plausible candidate for engraving the curse verse, given his known devotion to Shiva. Later inscriptions referring to the shrine as “Parameshvara-Mahavaraha-Vishnu-griham” lend further weight to his association, where the term Parameshvara may well denote the king rather than the deity.
Yet it seems unlikely that a ruler so strongly aligned with Shaivism and one who caused a verse invoking Rudra to be engraved, would have originally excavated a shrine dedicated to Varaha (Vishnu). If the curse verse is indeed attributable to Parameshvaravarman I (672–700 CE), it would imply that the cave itself was executed earlier, most probably during the reign of Narasimhavarman I (630–668 CE). This, in turn, suggests that the excavation may have been initiated under Narasimhavarman I and later completed, consecrated, or modified under Parameshvaravarman I.
This was not an isolated inscription; the same curse verse recurs in the Dharmaraja Mandapa, the Ramanuja Mandapa, and the Ganesa Ratha at Mamallapuram.
The Nandivarman II Inscription
On a slab built into the floor near the bali-pitha is a Tamil inscription dated to the 65th regnal year of the Pallava king Nandivarman II (c. 796 CE).
(SII, Vol. XII, No. 38)
This inscription records the purchase of land by Idaivalanchan Kandan, son of Ilam-Paduvumar, the headman of Kunrattur in Amur-nadu, a merchant of Mamallapuram. The land was acquired in lieu of gold, and its boundaries are specified. Among them are two tanks: Kon-eri and Mandai-talaivan-eri.
This inscription is of great historical importance for two reasons:
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It contains one of the earliest inscriptional references to the town as “Mamallapuram”
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The regnal year mentioned is the highest known date for Nandivarman II.
“Mahamalla,” meaning “Great Wrestler,” was the celebrated title of Narasimhavarman I.
The Chola Inscriptions
The cave continued to receive patronage well into the Chola period. An inscription engraved on a niche refers to the reign of the Chola king Rajendra II, styled Parakesarivarman alias Udaiyar Sri Rajendra-deva, and dated to his ninth regnal year (c. 1061 CE) (ARE 1890, No. 54; SII, Vol. IV, No. 377). It records a tax-free gift of land by the nagaram and perilamai of Mamallapuram, also known as Jananathapuram in Amur-nadu of Amur-kottam, a subdivision of Jayangondachola-mandalam, to the deity of Sri Parameshvara-Mahavaraha-Vishnu-griha. The inscription also specifies the boundaries of the gifted land and names the signatories to the deed.
Another inscription, engraved on a niche and attributed to the same King, is dated around c. 1052 CE (ARE 1890, No. 54-A; SII, Vol. IV, No. 378). Though much damaged, it records a tax-free grant of land by the village of Tiruvelichchil, described as a devadana-brahmadeya in Amur-nadu of Amur-kottam, to the temple of Parameshvara-Mahavaraha-Vishnu-grihattalvar at Mamallapuram. The inscription also refers to a gift of ninety sheep to the temple.
These Chola records clearly show that the shrine remained active, endowed, and institutionally supported across successive dynasties.
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