Varaha Cave Temple

History

The cave reflects a transitional style of architecture in its columns mounted on seated lions and frescoes carved on the walls inside the cave which evolved during the rule of Pallava kings Mahendra Varman I and Narasimhavarman I known as Mamalla. This style was continued by Mamalla's son Parameshvaravarman I. Historical research has also confirmed that Mahabalipuram town came to be established only after it was named after Mamalla and the caves and rathas are all attributed to his reign during the year 650 AD. It is the earliest known monument in Mahabalipuram though not the most visited due its hidden location. The distinctive feature of the Pallava style is that the frontage of the cave has, without exception, finely carved columns mounted on lions in a sitting posture. The structure is part of the Group of Monuments at Mahabalipuram, a UNESCO World Heritage Site inscribed in 1984.

Architecture

Layout

The temple is a small monolithic rock-cut temple with a mandapa carved into the rock face of pink granite formations, dating from the 7th century. The cave is of smaller dimension and has a simple plan. The fluted columns separating the openings have cushion-shaped capitals and seated lions at the base. 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 South Indian style of architecture. The walls inside the cave have several striking mythological scenes carved in relief. Vishnu rescuing the earth, Vishnu taking three strides, Gaja Laksmi and Durga are all impressive panels carved in the Adivaraha Cave.

Features

At the centre of the rear wall of the mandapa, opposite to the entrance, guardian figures are carved on either side of a shrine. Inside the mandapa, the walls have four large sculptured panels, good examples of naturalistic Pallava art. The side walls have carved sculpture panels of Vishnu as Trivikrama (Vamana) and northern panel, which is very large, depicts Vishnu in the form of Varaha, the boar, lifting Bhudevi, the earth goddess symbolically representing removal of ignorance of human beings. In this panel, Varaha has four hands, two arms carrying shankha and chakra, which are shown towards the back and in one of the arms in the front he is carrying Bhudevi. There are no attendants fawning on him. However, the original panel has been plastered and painted.

The Gajalakshmi panel is on the rear wall which represents Gajalakshmi, an aspect of Lakshmi - the goddess of prosperity. The religious significance of Gajalakshmi is well brought out in the panel. She is shown with her hand holding lotus flowers, fawned by four attendants, and carved in "perfect beauty and gracious countenance". Two royal elephants are filling the water vessels held by the attendants and one elephant is pouring water from the vessel on Lakshmi and the other is about to take the vessel from the maiden's hand to pour water over Lakshmi. The Durga panel, also on the rear wall, is indicative of victory over ignorance. The Trivikrama panel depicts Vishnu as the Lord of the three worlds. Another strikingly impressive panel is of Durga slaying the demon Mahishasura who is in an anthropomorphic form of a human with a buffalo head; the scene is reminiscent of a battle between good and evil forces, with the side of Durga represented by the confident looking ganas advancing and the other side of Mahishasura with his army of asuras (demons) retreating. This scene is a new architectural depiction which is appreciated as to "enhance the drama and realism of the subject." The Brahma panel is carved with Brahma having three heads in sambhaga or standing posture.