Journals

Monuments of Mahabalipuram

After a refreshing tour of the Shore Temple, we made our way towards the hillock at Mahabalipuram. The hill is said to contain numerous heritage monuments from the 7th century CE onwards. These groups of monuments consist of rock-cut caves, monolithic shrines, cave sanctuaries, and structural temples from different eras. These precious historical constructions were accorded the status of a UNESCO World Heritage Site in the year 1984.

As we walked towards the hill, the cool breeze of the morning was gone. The Sun was shining brilliantly. It was harsh but bearable. I wonder if December is so hot in these parts, how terrible would the summers be.

The legend of Mahabali

Mythologically, Mahabalipuram is said to have been founded by Mahabali, a daitya (demon) king who was the grandson of Prahalad (the same one because of whom Hindus started the practice of Holi) and a descendant of sage Kashyapa.

According to the local legend, King Mahabali was once a benevolent and able king and ardently devoted to the Hindu god, Vishnu. Bali was also as powerful as he was kind. After conquering the lands on Earth, he defeated Indra, the king of the devas (celestial beings), and took over the heavens. Bali not only defeated him but also showed the world, how a great ruler should behave. His popularity made many jealous of him especially Indra.

Indra had lost control of svarga-lok (heavenly kingdom) to Mahabali, and he desperately wanted his celestial kingdom back.

As time passed, Mahabali became arrogant and vain. Shukracharya his teacher, once called him, “Bali, You have now conquered the three worlds but if you wish to always be the Lord of the three worlds, you have to perform 100 Ashwamedha Yagnas. Doing so, you will always be the king of the 3 worlds.” Bali who respected his teacher accepted in an instance and announced that he would perform the Yagna. Taking advantage of that moment, Indra conspired to bring about his demise at the hands of Vamana, considered to be the fifth avatar of Vishnu.

People came from far and near to witness the great sacrifice and to benefit from his generosity. Just when the final Ashwamedha Yagna was about to be completed, there arrived a young brahmana of unusually short stature. In Hindu mythology, he is referred to as Vamana which in Sanskrit means dwarf or “small in stature”. As per custom, Mahabali asks the boy to wish for anything he wanted. The Vamana held an umbrella made of palm leaves over his head. According to the legend, he only asks for land that he could cover in three strides. In his haughtiness, Mahabali accedes to his demand and asks the Vamana to measure his 3 paces of land and take it.

The dwarf Vamana suddenly starts to grow and becomes huge, taking the form of Trivikrama. With his colossal legs, he covers the whole of Earth in his first step. With the second he covers the heavens. By then Mahabali realized that his guest was none other than Vishnu. 

On completion of his first two strides, the Vamana asks Mahabali, where should he put his third step. Mahabali says: “In my arrogance, I thought everything in the three worlds was mine to give. You’ve shown me my rightful place. Place your foot on my head.” And with the third step, Vishnu gently placed his foot on Bali’s bowed head.

The benevolent king surrenders himself to Vamana, and requests to be sent back to live with his ancestors in the patal-lok (netherworld). This day of the great sacrifice by Mahabali is celebrated even today as Bali Padyami, during the Diwali festival. I understand logic fails with these mythological stories but then the truth too has many a time shocked us from our beliefs.

The ancient sea-port of Mahabalipuram

Although the ancient history of Mahabalipuram is shrouded in myths, some scattered evidence suggests that it was a significant location even before the monuments were built.

The “Periplus of the Erythraean Sea“, an account by an anonymous Greek navigator of the first century CE refers to the harbor along with Poduke – current day Pondicherry – as a port north of the Kaveri river.

On the western side of Mahabalipuram is a hill region called Mallar. Mallar was a flourishing seaport during ancient times around 200 BCE. But natural geographical changes over the years resulted in the seaport moved to Mahabalipuram.

Of the numerous temples of Mahabalipuram, the credit mostly goes to the Pallava kings. They claimed authority over the surrounding Tamil-speaking region from the sixth to ninth centuries CE. The founder of the Pallava dynasty was Simhavishnu, also known as Avanisimha. He was the first Pallava sovereign, who extended his influence beyond Kanchipuram and ruled between 550 to 580 CE.

Mahabalipuram gained prominence during his reign, a period of political competition with the Chalukyas of Badami and the Pandyas of Madurai. By the end of the 6th century, it had become a principal port from where voyages to Sri Lanka and Southeast Asia were started.

While the Pallavas reigned, artisans carved the site’s natural granite outcroppings into elegant sculptures and many architectural forms. The Pallavas made Mahabalipuram their second capital, after Kanchipuram and brought new artistic styles to the prevailing culture.

Mahabalipuram’s architecture is linked to Simhavishnu’s son, Mahendra Varman I (580-630 CE), who was a patron of the arts. From his reign onwards that stone inscriptions begin to appear. Even though his reign is marked by multiple feuds with the Chalukya and the Pandyas, we also see a rise in the realm of religious and literary activities.

Mahendra Varman’s son, Narsimha Varman I, built on his father’s efforts and scholars attribute most of the monuments to him. It is believed that Mahabalipuram was renamed Mamallapuram after him who went by the name Mamallan because of his great wrestling skills. After a brief hiatus, when Mahendraverman II reigned for about 5 years, temple and monument construction continued during the reign of Rajasimha or Narasimha Varman II (690-728 CE).

The earliest Pallava temples were rock-cut cave shrines. These soon gave way to monolithic temples carved out of giant boulders, resembling chariots or “rathas” during the reign of Mamallan Narasimha Varman. It was during the rule of Narasimha Varman II or Rajasimha (700-728 CE), that the tradition of building structural temples began.

The Monuments of Mahabalipuram

Despite several debates among historians for over a century, the dates of these monuments are still not quite agreed upon, but all agree that there had been foreigners in Mahabalipuram in the first centuries of the Christian era. These exchanges did have their influences in the architecture of some of the structures on the hillock.

Some evidence like the Mandagapattu inscription from the time of Mahendravarman I, date some of the Mahabalipuram monuments to the early 7th century. The inscription reads that he “brought into existence a temple without utilizing either timber or lime (mortar) or brick or metal”, and the temple was dedicated to “Brahma, Vishnu and Shiva”. This was the first Pallava rock-built Hindu temple, and Mahendra Varman I and his descendants probably constructed others.

The monuments at Mahabalipuram can be grouped into four styles based on their mode of construction:

1. Monoliths – free-standing temples cut out of solid rock, most of which are locally styled rathas or chariots. An example would be the Dharmaraj Ratha.

2. Caves, excavated in the hill and used as temples, and which are called mandaps. Very prominent examples of these are the Varaha Cave and the Mahisamardini Temple.

3. Sculptured scenes, carved on the hill-edges. They illustrate all the styles of Pallava architecture. These belong to the period of Narasimha Varman I.

4. Structural temples are the ones built stone by stone, and not excavated out of a rock. The Shore Temple is an example of this type of construction. These mostly belong to the period of Narasimha Varman II.

As we made our way towards the hillock, a few boulder engravings can be seen right on the roadside. This is an example of a sculptured scene.

I few strides away we started with the exploration of a cave that depicts an immortal moment in the life of Krishna, an avatar of Vishnu.

Krishna Mandapa

This cave gallery is cut on the side of a boulder and shows a remarkable scene from Krishna’s life – of him lifting Mount Govardhan. The Krishna mandapa has a length of 29 feet and a height of about 12 feet. The monolithic pillars in the front were added later to support the roof of the cave.

For context, I am going to lay down as shortly as possible the story for the inspiration of this wall art. It is written that when Krishna was a young boy, the celestial king Indra brought a severe storm over his village. It rained for days and to save the people from his village, Krishna supposedly lifts up a mountain called Govardhan, using it as an umbrella. People and animals took shelter under the mountain and they were saved from the harassment.

This rock cut scene depicts that moment when Krishna lifts the Govardhan mountain to protect the villagers from the storm raised by celestial king Indra. For explaining the panel better, I have divided it into four sections. On the furthermost right, Krishna, himself is shown supporting the mountain on his left palm. Close to him are some love-struck gopika’s (female cowherds) standing and gazing at him in astonishment.

To Krishna’s right is Balarama, his elder brother. Balarama is standing with his left hand resting on the shoulder of a cowherd. To his right is a charming scene of a cowherd milking the cow. Behind Balarama, over his shoulder, you can see another representation of Krishna playing the flute with cows gathered around him.

Towards the far left, we see more animal and human figures taking shelter under the mountain.

Right next to the Krishna mandapa, we can find the Panch Pandavas Cave.

Panch Pandavas Cave

The Panch Pandavas Cave is a large cave temple with decorative lion pillars. The cave is mostly empty and undecorated. The design if completed would have consisted of a central rock-cut shrine, surrounded by pillared mandapa all-around permitting perambulation. The original rock face has been cut to a depth of one foot on the northern side and 5 feet at the base to create an adisthana. Over this platform, set back about half a foot from its edge, lies a facade of six pillars and two pilasters.

The pillars and the pilasters are mounted on square pithas with sejant vyalas adorning the lower part. The shaft issuing from the top of the vyalas is octagonal in shape. Behind the facade, is a second row of four pillars and two pilasters that are not vyala-based. The cavern of the temple is about 50 feet long with two lateral sides cut into till the back wall of the mandapa is reached.

The cutting of rock towards the back part of the shrine was never commenced. This plan of excavation with a central monolithic shrine surrounded by a double pillared cloister is a unique style that I have yet to see in a cave temple. The construction of this temple was most possibly started in the period of Paramesvara, if not his successor Rajasimha.

Yali or Vyala very similar to Gargoyle in European architecture. They usually have the stylized body of a lion and the head of some other mythical beast.

Descent of the Ganges

Just beside the Panch Pandavas Cave is the most dramatic of Mahabalipuram sculptures, an entire cliff sculpted with dozens of colossal yet graceful figures of humans, animals, and deities. This is a massive piece of art is the largest open-air sculpture I have witnessed to date. The Great Penance relief looks similar to the preliminary version that we saw earlier about three hundred meters away.

The monument is about 25 meters in length from south to north and 12 meters in height, carved on the side of a huge rock. This huge Mahabalipuram relief is considered a visual counterpart of the celebratory lineage recitations (prasasti) that begin various inscriptions left by the Pallavas at other sites. The Pallavas in simple terms tried to depict their lineage coming from the Gods. It is not uncommon for successful dynasties to depict themselves as Gods. many Egyptian kings had also tried to create a similar narration during the height of their reign. Of all the richly embellished cave temples, free-standing monoliths and open-air carvings during the quarter-century following Mahamalla’s great triumph of 642, none is more overtly charged with commemorative content than the Great Penance relief.

A mid-century artist named Mandhatar has been credited with the creation of this amazing masterpiece. Mandhatar flourished during the reign of Mahamalla Narasimha. He headed the Pallava atelier when victory monuments like the Great Penance Relief were being executed. The most defining part of the sculpture, in my opinion, is the descent of the Ganges. Right in the middle of the wall, dividing it vertically into 2 halves one can see a narrow fissure. It is believed to be depicting the holy Ganges river, which originates from the Himalayas. The rock-cut channels and footing immediately above this rock, suggests that there was a masonry water cistern to store water.

The design is such that water could flow from that fissure and stay collected in the tank below. It was also meant to depict the flow of time till at the base it reaches the Pallava Kings. It can be safely said that the Pallavas took the descent of Ganga as an important event and included it in their prasastis (epigraphs). The relief panel at Mamallapuram, therefore, depicts this important event. The presence of the three nagas in the central crevice is of utmost importance as one of them is supposed to be Nagini, the mother of Pallavas.

This part of the wall art focuses on Shiva, suggesting his key role in the episode depicted here. He is shown holding a trishula (trident), parashu (axe) and a snake in his three hands. His fourth hand is in varada mudra, suggesting granting a boon to the ascetic nearby. Five pairs of ganas are found, three of the left and two on the right. They are shown seated wearing a peculiar cap. A standing gana, with a tiger/lion carved on its belly, is part of Shiva’s retinue.

On the left, one can see a withered man in penance. It is believed to be Baghirath, praying for the Ganga to come to earth. He is said to have prayed to Brahma for a thousand years, requesting him to permit Ganga to come down to earth from heaven because only Ganga could release his ancestors’ souls and allow them to go to heaven. The myth of Bhagiratha’s penance, and resultant descent of Ganga from her celestial course through the valley. It does seem to accord better with certain aspects of the reliefs’ iconography.

The Gana with a lion’s head carved in his belly is known as Kumbandhas in the Ramayana. However, there is a big debate among scholars about the main narrative of the panel. At least since the eighteenth-century local tradition has maintained that Arjuna is the chief human protagonist, performing the penance called suryopasthana tapas on one leg. It is to be understood that this pose was not unique and many more characters have been written about that have used the same. On either side of Shiva, on the left and the right of the cleft, are shown Chandra and Surya respectively.

We find a variety of animals on this panel. The carvings at the bottom right are some of the finest elephant sculptures in India. The larger elephant exhibits a bifurcated tusk. It points towards an attribute of Airavata, the mount of Indra, who was a pure white elephant depicted with four tusks. The group contains two adults and six child elephants. Ten deer and antelopes, mountain goats, four monkeys, a hare, an iguana, one boar, a tortoise are among the other animals on this panel.

In front of the majestic elephants is a cat doing penance, with some mice surrounding it. The story of this hypocrite cat can be found in Hitopadesha and Mahabharata (Uluka Dutagamana Parva). It goes like this: A wicked cat once on a time took up his abode on the banks of the Ganga, abandoning all work and with his hands upraised (in the manner of a devotee). Pretending to have purified his heart, and for inspiring confidence in them, he told all resident creatures that it was now practicing a life of virtue. After some time, all the animals gave up their natural instinct and reposed trust in him. They surrounded it and applauded the cat. It was all of course a trap and the mice later realized it. The cat was not really in penance but just looking for the opportune time to grab the mice.

On the lower right, you can see an entire hermitage scene around a Vishnu temple. This is believed to be the Badari hermitage nestled in the Himalayas where all animals would live in peace and harmony. The three decapitated figures are said to represent the reigning Pallava, Narasimha Varman I, and his two immediate predecessors. Though none of the other reliefs exhibit such damage, the headless statues confirm the theory that Pallavas tried to portray themselves as descendants of Shiva and were desecrated by later rulers. Apart from a few broken noses scarcely any signs of deliberate defacing can be found anywhere else in the composition. Most probably, therefore, the vandalism was prompted more out of political considerations than anything else.

Looking at the masterpiece in its entirety, I could not find a specific theme. In my opinion, the panel was constructed entirely to suggest the ancestry of the Pallavas to be flowing down from the Gods. That might be the reason why various bubbles from history are depicted here and it eventually ends at the bottom center of the panel with the depiction of the first of the Pallava rulers.

Ganesh Ratha

While the ones I have written till now lie alongside a road, in the open area, we now move into a protected section, what is known as the Hill area. This age-old granite hill contains many monuments hidden within. This hillock formed of wooded rocks and boulders lies about a kilometer from the sea-shore.

The Ganesh Ratha is the first monument we encounter. It is a monolithic temple built during the reign of Parameshwara Varman in the latter half of the 7th century that resembles a chariot pulled during the Rath yatra.

Ratha Yatra or Chariot festival is a Hindu festival celebrated for Jagannath and associated Hindu deities

This west-facing temple is decorated with dvarpals (gatekeepers), lion pillars, and pilasters. It was once dedicated to Shiva and known as Aruna’s Rath. Some historians argue that because of Arjuna Ratha here, the huge wall relief also contains Arjuna’s penance. My knowledge on the subject is quite limited, but I would like to ask them – then why does the same exact relief appear again near the Mahabalipuram lighthouse.

At some point between 1799 CE and 1803 CE, the linga inside this temple was stolen by a Britisher. When the original linga was removed, an image of Ganesha was placed there and the temple came to be known as the temple of Ganesh. This presents us with another fact that names of monuments at Mahabalipuram were not fixed, and that the meaning behind Hindu temples, even when they are carved out of solid stone, can always be reinterpreted. This temple is still active and we paid our respects before moving on.

Varaha Mandap

We took a left turn from the Ganesh Ratha to reach the Varaha Mandap. This 7th-century temple was constructed during the reign of Narasimha Varman I.

The Varaha Cave Temple conforms to the Mamalla style, and has a large hall with a front row of four pillars and four pilasters supported by squatting lions. This excavation facing west is cut from a large whale-back boulder. It consists of a front mandapa with a shrine behind it.

The facade consists of a row of two pillars and two pilasters with Oma and a molded adisthana cut at the base. Projecting from the center of the adisthana is a rock-cut sopana with three steps. The two pillars and the two pilasters are placed a little behind the edge of the pattika and have well-defined lotus pedestals or padma-pithas.

In the pillars, the shafts are octagonal in section and are decorated immediately over the head by a broad malasthana and padma-bandha. The dvarapals flanking the entrance on either side are almost identical, stately in bearing and wearing yajnopavitas.

The cell in the center, where the deity once stood, is guarded by two dvarapals or guards in stone. Inside the cave there are four magnificent wall panels.

Varaha Panel

Carved on the northern end panel of the mandapa is the group of Varaha uplifting Prithvi from patala. In this group, the main figure is Vishnu as Varaha or the man-boar incarnation. Vishnu has four arms, two of which hold the chakra and the sankha, and the other two arms are thrown around the Bhu-devi, seated on the god’s uplifted and bent right knee.

Varaha is the third incarnation of Vishnu. It is said that when the asura Hiranyaksha dragged the Earth to the bottom of the sea, Vishnu took the form of a boar to rescue it. They fought for a thousand years after which the asura was slain. Thereafter Varaha, who is in charge of the law of gravity made the Earth very light and gently placed her on the surface of the sea where she floated like a turquoise ball. This is a representational story of how Earth was once a mass of water from where lands gradually rose, but these ancients had this knowledge beyond me. Sometimes I do feel the Greeks and the Hindus had extraterrestrial help and then they abandoned us for whatever reason.

His own right leg is placed on the serpent hood of the crouching Seshnaga below. Behind him, to his left is Brahma with three heads (fourth not shown in the bas relief) standing in tribhanga. Behind him comes a sage-like figure carrying a vina, perhaps Narada. Over Brahma and Narada at the top corner is a flying form of Chandra, shown as if emerging from the clouds with his hands in anjali.

Trivikrama Panel

Even though this cave temple is called Varaha Mandap, it also features a breathtaking relief of Vishnu in the form of Trivikrama, the giant form of Vishnu. Vishnu took the form of Trivikrama in order to subdue the asura king Mahabali as explained in the first part of this article.

In the Trivikrama panel, Vishnu is shown standing with his right leg firmly planted on the ground and left raised above his forehead. This shows that Trivikarma has already paced twice transcending measures that bounds of the Earth and the svarga-lok. He is eight-armed, three of his right arms carry the chakra, gada, and the khada while the fourth is held up with the palm up as required in the Vaikhanasagama, Three of his left arms carry the sankha, ketaka, and dhanus. The fourth arm is stretched straight towards his uplifted leg, the fore-finger pointing towards the foot.

Near his uplifted leg is shown Brahma, four-armed, seated on a padmasana offering puja. In the corresponding position at the other end of the panel, to the right of Trivikrama, is a four-armed Shiva, also seated in a padmasana. Both Shiva and Bhrama are shown at the level of the forehead of Trivikarma indicating their position in svarga. Between Trivikarma’s head and Bhrama on the left, shown in the attitude of flying is Jambavan with a bear’s face beating on the bheri(drum). On either side of Trivikarma at the level of his navel are shown Surya and Chandra in the posture of flight. Surya is placed below Shiva and Chandra below Brahma.

Gaja Lakshmi Panel

In the Gaja-Lakshmi panel, Lakshmi is seated on a full-blown lotus, her legs resting on a spread-out lotus leaf. The other lotus leaves shown vertically with their stalks, suggest the location to be a lotus tank.

On either side of her, are standing four celestial nymphs. The two nearest to her are carrying water pitchers in the palm of their hands. The other two nymphs follow holding on to the leading water carrier by the girdle. Over them are shown the heads of two elephants. The elephant on the right of Lakshmi is holding an inverted pitcher by its trunk.

Durga Panel

In the Durga panel, Durga stands four-armed on a padma-pitha. The lower right hand is in abhaya and left in kati, while the upper arms hold the chakra and sankha. Kneeling on her right is a devotee offering his own head, held up by the tuft with his left hand, while with his right hand, he is hacking it off with a long sword at the neck. On the left is another devotee seated on his knees in adoration. On either side of Durga are four dwarf ganas with pot bellies. On top is the head of a rearing lion emerging from the background, while on the left emerge the head of an antelope,

Such an association of lion and antelope with Durga is also found in an almost identical panel near the Shore Temple where a little form of Durga is enshrined in a niche cut into the chest of a squatting lion, while below, curled on the rocks lies an antelope in a sleeping position.

Roya Gopuram

After taking some pictures we followed the trail going up the hill. The trail led us up to Roya Gopuram. This structure does not belong to the Pallava time. It was added centuries later by the Vijayanagar rulers. The entrance was designed with steps and tall pillars.

I immediately recognized the carvings of the dancing-girls, a common occurrence in every temple, from my visit to Hampi – the base of the Vijayanagar empire.

We sat there looking over the town of Mahabalipuram, munching on the goodies Mani always has stored in her bag.

From the looks of it, this structure was abandoned midway. It was supposed to be a large tower but only the base was constructed.

From this structure, there are three trails going in different directions. We chose to go along the middle one. The trail gradually ascended to a higher point on the hill.

This structure was carved out of a rock. It is still functional and contains stored rain water. I am not exactly sure about the purpose of this tank like structure.

Pulipudar Mandapa

This excavation of a five-celled cave temple with an oblong mandapa in front is located at the highest point on the western side of the hill overlooking the Konerippalam tank. The facade line consists of four pillars and two pilasters. Both the pillars and the pilasters have their bases carved out into squatting vyalas in different degrees of finish. The shafts above the vyalas as well as other components have not been finished in their details even though the initial shaping has been completed.

Cut into the back wall of the mandapa behind the facade are five oblong shrine-entrances. While the excavation of four of them had progressed to a certain extent, the excavation of the fifth had just started when it was abandoned.

This was a dead-end, so we back-tracked from here back to the Roya Gopuram from where another two trails went in different directions. We climbed down the hill and hurried towards the south section of the hill. The trail leads to a whale-shaped boulder, superposed by another of about the same height. Steps carved in the stone led to the top of the boulder but I couldn’t find anything interesting up there.

Ramanujan Mandap

The path led us to the Ramanujan Mandap. This cave is not listed on the map. A banner near the cave refers to it as a Shiva Temple created in the Mammalan style during 640-674 CE.

In its original condition, it seems it was one of the finished cave temples in the whole series at Mahabalipuram. It is carved on the eastern scarp of a long whale-back boulder on top of the Mahabalipuram hill, almost at its center.

The temple consists of a large rectangular ardha-mandapa with one row of pillars on its facade and with three shrines behind it. At either extreme, beyond the pilaster, the vertical face of the rock affords space for two large dvarpala bas reliefs, which were totally chiseled off by later occupants, obliterating totally the original sculptures as well as the three inner shrines.

The two pillars and pilasters are vyala based. While the vyalas of the pillars face front, those of the pilasters in antis face each other. The vyalas are typical with three divaricating horn-like projections over the heads, sitting upright on their haunches.

For some reason, the reliefs on the side of this temple were destroyed. It is likely that the reliefs were in some way linked to the Pallava dynasty and just like the beheaded statues on the Descent of Ganges were removed by later kings.

Mahisamardini Cave

A few paces to the south of the Roya gopuram lies the Mahisamardini Cave. This area of Mahabalipuram was locally known as Yamapuri. This cave was also commissioned during the reign of Narasimha Varman I. The cave temple is built higher from the ground and a series of steps took us to the cave platform. The caves are all fronted with fine columns resting on seated lions, typical of the Pallava style. On the top of the same boulder is the Pallava structural temple Olakkannesvara, on top of which formed the lighthouse before the present one was built.

The cave temple consists of a long verandah with fluted columns and three shrines. Of the four pillars, one has been totally removed leaving only the bracket hanging down from the beam. The lost pillar is now replaced with a plain stone-cut column. The facade is divided into five bays. The floor and the ceiling of the mandapa behind the facade lie unfinished.

On top of the projecting adisthanas, are two lion-based pillars with circular shafts. The two pillars in the front row of the porch have vyalis sitting on their haunches. Placed inside the two pilasters of the portico on either side of the central shrine-entrances are double-armed dvarpalas. At a height of 3½ feet above the floor level of the mandapa, cut into the back wall are three shrine cells.

The shrine chamber is oblong and on its back wall, filling it totally is a large bas-relief of a unique form of the Somaskanda seated on a simhasana. Shiva is four-armed, the upper right holding what appears to be a roll of cloth. Shiva is in the sukhasana pose. Parvati is two-armed with the tiny Skanda on her right lap. While her left hand is resting on the top of the seat, her right hand is gently holding Skanda from behind. It is to be noted here that this Somaskanda panel is the only one that shows a Nandi and in addition to a devotee below.

The entrance to the southern cell is devoid of pilasters. The shrine cell is empty except for a very shallow socket. The entrance to the northern shrine resembles that to the southern shrine in having no pilasters. The cell is empty and there is not even a faint trace of any socket on the floor. At the base of the back wall are three rough cubicle projecting blocks.

Mahisamardini Panel

Occupying the whole of the northern end of the wall of the mandapa and filling the space between the adhisthana below and the uttira above is a large and finished panel showing Durga as Mahishamardini. Mahisamardini is depicted with her eight arms, riding her lion, and equipped with all her weapons provided by the celestial beings. She is shown riding astride a lion, holding the bow with her outstretched lower left hand, while her lower right is bent behind her ears as if drawing the taut bowstring to the full. The three other right hands hold a khadga, ghanta, and chakra and the other three other left hands hold a dagger, pasa, and a sankha. While the front pair of hands are shown as engaged in shooting with the bow. the pair of hands just behind are shown as if thrusting and stabbing simultaneously with the sword and the dagger.

She is attended by hosts of ganas and yoginis, and is in the war-like posture using a giant club. Below the Durga, is one of her yoginis also striking with a sword. Below the darting lion is another gana holding a shield and sword. Three other ganas behind the Durga, hold fight with shield and sword, while two more hold a parasol and chamara respectively for the goddess. An eigth gana is flying, carrying offerings on a plate.

On the other side in the ferocious battle is the buffalo-shaped Mahisasur surrounded by his demon warriors. Mahisasura is depicted in an equally powerful pose wielding defiantly a club in his hands. The merging of the buffalo-head with the human trunk is marvelous as also the depiction of his body-line from the tip of the crown between the horns through the snout down to the straight right leg suggesting defiance.

Vishnu Panel

Likewise in a panel of similar size on the southern wall, is a finished and deep relief of Vishnu as Anantsayi. He is yogasayana-murti reclining on the couch formed by Adisesha with its five hoods providing shade over the recumbent god’s head. Vishnu is two armed and at his foot are two asuras, Madhu and Kaitabha. They seem to be conspiring with each other as to how to strike at Vishnu. Below the feet of Vishnu is Bhu-devi kneeling down in prayer with her hands in anjali, while in front of her are what are believed to be two of the four ayudha-purushas, Sudarshana and Nandaka depicted as handsome youths, The other two ayudha-purushas are depicted as flying above Vishnu. The reclining figure of Vishnu is a picture of peace and calm in contrast to the virility and movement of Durga on the opposite panel.

This cave was probably dedicated to Shiva, perhaps the three forms of Shiva were to be installed in the three shrines.

By this time, we were out of breath. The heat had taken its toll. We walked back to the park near the Krishna butterball. It was surrounded by dozens of people wanting to take selfies.

The queue for selfies just kept getting bigger, so we decided to leave for an early lunch.

Secrets of Mahabalipuram

Much of history is debatable. It is said history is written by the victors. The knowledge I have gathered is mostly from guides and some historical books. I have tried my best, but it is quite possible that my interpretations might not be correct.

As we walked back to my car, the local shops had opened. The town is lined with these shops selling beautiful life-sized stone statues. Along with local delicacies, one can also find bakeries. Sunbathing is one of the must-do activities at Mamallapuram beach. Mamallapuram beach offers visitors a rare combination of historical significance and natural splendor.

From one of the shops, I purchased a wooden idol of Radha & Krishna, that would fit nicely with the other souvenirs that I have procured from over the world.

The ancient tradition of stone carving is still alive in the region, and rhythmic sounds of hammer and chisel on stone afford a glimpse of how these monuments, rock-cut caves, and sculptures came into being, almost fifteen centuries ago.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I try to explain the curious case of Krishna’s Butterball.

The last Pagoda of Shore Temple

It was still pitch-dark as we drove towards the Shore Temple in Mahabalipuram – one of South India’s most celebrated monuments. About 60 kilometers from the metropolitan city of Chennai, overlooking the southeastern coast of India, Shore Temple is one of the oldest temples in south India. Constructed sometime in the 8th century CE, the Dravidian-style temple reflects the royal taste of the Pallava dynasty.

Every day, the temple draws thousands of people from different parts of India. It is impossible to explore the mesmerizing monument in peace and the reason why we were awake at the break of dawn on a vacation. Having my car around for the trip turned out to be quite helpful as we didn’t have to go hunting for public transport at these awkward timings.

So, let me start at the beginning:

History of Mahabalipuram

Mahabalipuram landscape is dominated by huge granite boulders. Along with these pre-historic rocks, the sandy beaches create a unique surrounding. The whistling winds at the seaside bring a vivid aliveness to the natural beauty.

According to ancient scriptures, Mahabalipuram was already a thriving seaport on the coromandel coast of the Bay of Bengal during the Sangam Age (200 BCE to 300 CE). Ancient Tamil literature does not mention Mahabalipuram, but the poem Perumpanarrupadai, dedicated to Tindaiman Ilamtiraiyan, a king of Kanchipuram, describes a port called Nirppeyarvu, that could be either identified with Mahabalipuram. The harbor town was used by many for trading with south-eastern countries like Kambuja (present-day Cambodia) and Shrivijaya (present-day islands of Malaysia, Sumatra and Java).

Coins of Theodosius (4th century CE) and other artifacts excavated from this region indicate to a pre-existing trade relation with the Romans long before the town became part of the Pallava Empire. The Romans have been believed to have come shopping for spices, precious stones, sandalwood, and even exotic birds like peacocks. Excavation in the neighborhood has yielded amphora jars in which the Romans used to store wine and other food items.

The town’s name, Mahabalipuram, according to some, was meant to honor the benevolent King Bali, also known as Mahabali. The ancient Indian scripture of Vishnu Puran documents the interesting story of Vamana, an incarnation of Vishnu and Bali.

Who is this Bali?

According to the medieval scripture of Vishnu Puran, one of the eighteen Mahapuranas, Mahabali was the great great-grandson of sage Kashyapa, great-grandson of Hiranyakshipu, the grandson of Prahlada. The time under his rule was considered one of great prosperity and happiness. His success as a loved king, lead even the gods to be jealous of him, who conspired to bring about his demise at the hands of Vamana, the fifth avatar of Vishnu.

According to the legend, after he failed to fulfill his promise to provide three paces of land for the Vamana. Vamana sends Mahabali to live in netherworld. The benevolent king surrendered himself to Vamana, following which he is said to have attained enlightenment.

The town is also known as Mamallapuram in some quarters, read on to know why:

Even though Mahabalipuram was already a popular seaport, it was during the rule of Mahendra Varman I (600 CE – 630 CE) that the town started to flourish as a center of art and culture. The Pallava kings who ruled along the seashore, with Kanchipuram as their capital, were great patrons of art and music. Their patronage facilitated the creation of a number of the town’s most iconic landmarks. This period of artistic excellence was duly continued by his son Narasimha Varman I (630 CE – 668 CE).

The town is said to have got the initial name of Mamallapuram from king Narasimha Varman I (630 CE – 670 CE), after his bestowed title ‘Mamallan’ which means the ‘great warrior’. It was during his reign that most of the rock-cut temples and carvings were commissioned. The Shore Temple however was commissioned quite later in the 8th century during the reign of Narasimha Varman II (695 CE – 722 CE) who was also known as Rajshimha.

Puram, the second part of the town’s name is a Sanskrit term for a city or urban dwelling.

Shore Temple in Mahabalipuram

We reached the Shore temple gates at 6.20 am. The ASI ticket office had just opened. The tickets cost ₹30 per head for Indians. The officer at the ticket counter insisted that I leave my tripod at the ticket office since it is not allowed inside the temple garden. As we walked down the long path amidst the green lawns, two temples with elegant towers emerged in the distance, with pine trees surrounding them, swaying in the strong breeze of the Bay of Bengal.

Shore temple is the most iconic structure of the group of monuments at Mahabalipuram. It appears quite different in terms of design compared to the popular temples of Kanchipuram, more like a pagoda. In terms of design, it is closer to Kailasanathar temple that I visited in Kanchipuram. Probably because both were constructed during the reign of Narasimha Varman II.

Ancient mariners have referred to this sea-port as the land of the Seven Pagodas. Locals tell tales of the Shore temple that was once part of a much larger temple structure featuring seven pagodas. When Marco Polo arrived in India on his way back to Venice from Southeast Asia, he mentions “Seven Pagodas” in his journals. In fact as recent as the 19th century, European explorers have left written records that locals had witnessed glinting copper tops believed to be the submerged pagodas out at sea.

As I walked towards the heritage structure, I could recall faint memories from when I was here in my childhood. The place has changed so much, but for the better. The temple is now surrounded by fences. A manicured lawn adds to the beauty of the heritage building. The rows of pine trees along the shore stand as a first wall, stopping the strong sea breeze from hitting the temple directly.

The Shore Temple is in asymmetrical alignment in plan, having two temples in front and back. Between these two, one more hall type of a temple without the superstructure of vimāna also dedicated to Vishnu as Anandasayana Murti.

Vishnu is known as Anantasayana when he is recumbent on the king of nagas (serpents), Anantashesha.

Ardha Mandapa

A 4 ft granite wall surrounds the temple, enclosing all its shrines. A wide stone staircase led us down into the temple complex, implying that the ground level has risen since the time when the temple was first created. A narrow gate from here leads into the Ardha Mandapa. The gate is designed with relief sculptures of Brahma and Vishnu on either side. On the walls, I can only assume are the carvings of the Bhootganas, disciples of Shiva.

Rajasimha Pallaveshwara Griham

The shore temple stands as an architectural marvel in the once port city of Mahabalipuram, the second capital of Pallavas. All three structures here have been sculpted from granite stones hauled from a nearby quarry.

The temple comprises of:

  • Rajasimha Pallaveshwara Griham, a west-facing structure that has a small tritala vimana (3 storeyed)
  • Kshatriyasimha Pallaveshwara Griham, an east-facing structure that has the largest vimana and,
  • Pallikondaruliya Devar, another east-facing structure that is a flat-roofed mandapa in an oblong shape, and which enshrines the reclining Vishnu.

The temple has two opposite entrances. Walking around the Ardha mandapa, we reached the first temple also known as Rajasimha Pallaveshwara Griham. It is the smaller of the two Shiva temples, facing the west. The pilasters on the wall have rearing lion bases making it a characteristic feature of temples built in during the reign of Narasimha Varman II. A small Nandi bull sits just above the doorway of the temple.

Its towering roof or the Vimana goes up to three storeys. The tower (sikhara) has four bhootganas (disciples of Shiva) seated on the four corners blowing conches. A rounded stupa sits on the top (sikhara) made out of basalt. The pyramidal towers have become black and gloomy from the continuous attack of the moist salt winds.

Inside the doorway in a dim-lit room, lies a bas-relief of Shiva with his consort Uma and young Skanda at their side. Skanda is said to be the god of war. He was the firstborn son of Shiva but he was reared by the Krittikas. Hence, Skanda is also called Karttikeya (Son of Krittikas). In the same carving, Brahma and Vishnu are seen towards the top giving them blessings. I noticed multiple instances of this relief at Kanchi Kailashantar Temple.

Under the smaller Shiva temple, one can see two inscriptions depicting Rajaraja Chola I dated 1010 CE. These inscriptions mention the names of all the three temples as “Rajasimha Pallaveshwara Griham – Kshatriyasimha Pallaveshwara Griham – Pallikondaruliya Devar“. The first two names refer to the two Shiva temples. Pallikondaruliya devar, refers to “the God who is pleased to sleep” namely Vishnu who is generally depicted in a sleeping position with the seven-headed serpent providing shade over his head.

Mahishasura Mardini

To the south of the Rajasimha Pallaveshwara Griham is a large rock-cut lion. On its right legs sits goddess Durga. Mahishasura was a shape-shifting demon from Hindu mythology, known for deception and who pursued his evil ways by shape-shifting into different forms. He was ultimately killed by Durga in her Mahishasura Mardini form.

Ah.. these mythology stories are so interesting.

Below the big lion is a carved headless deer as if to suggest a sacrifice to the goddess Durga. This is, in my opinion, one of the most unfortunate aspects of any religion – the sacrifice of animals. What gives us humans the right to decide whether the Gods, we created in our image, desire animal sacrifice or not.

A carved socket inside the lions heart serves as the sanctum of Mahishasura Mardini (Durga). It is truly surprising, how the craftsmen carved this detailed statue inside the socket.

Kshatriyasimha Pallaveshwara Griham

The path to the two other temples had been blocked, so I have no photos of these sections. We walked around the temple to its backside. The reliefs on the outer walls have been worn away and even the granite walls have been hollowed out by the waves and spray that for centuries during storms have washed over them and invaded the innermost parts of the structure.

The five-story edifice towards the back is also known as the Somaskanda Temple. It is the highest structure in the complex and designed in a way that the first rays of the rising sun fall on the presiding deity of the temple, Shiva. Unfortunately, the section was blocked off. Visitors were earlier allowed to enter the premises through the gate here. It was possibly under repairs.

Inside the east-facing temple, behind a broken Shiva Lingam on the wall lies a large Somaskanda. The Shiva Lingam inside is said to have sixteen faces.

The shikhara (roof) of both the shrines resembles a pyramidal structure with a stupa, which can be only seen at the Kanchi Kailashantar Temple. However, like some other remarkable structures at Mahabalipuram, this too is embellished with intricate bas-reliefs. This could in a way suggest an exchange of ideas during the design phase with other cultures.

According to our guide, sandwiched between the two Shiva temples lies a Vishnu temple where one can see Vishnu as ‘Anantashayana’. Vishnu is seen in different contexts and moods when he is reclining on Anantasesha (Seven-headed Serpent). He is called yogasayana when he is meditative and the sages Bhrigu and Markandeya are with him.

Monolithic sculptures of Nandi bull can be seen scattered all around the temple complex.

With the Sun up, there was better light to capture the carvings along the walls of the corridors. Near the Ardha Mandap, on the floor lay a stone carving of Vishnu. In this photo, you will notice how different quality of stone has degraded differently. The brownish one is all but disintegrated but the whiter stones have maintained most of its carvings.

The stone wall surrounding the temple are lined with eroded carvings in granite. With so much corrosion, it is hard to identify the scenes that they depict.

Completing a full circle of the temple, we found ourselves back at the Ardha mandap gate.

Bali Peethas

Not to be confused with “Bali” pronounced “baali” which means strength, Bali means sacrifice. In the temple complex are also three Bali Peethas or temple altars where animal sacrifice was once practiced. The Bali Peethas are said to have inscriptions in Sanskrit written in Pallava Grantha, praising the virtues of king Rajasimha.

Tank with Varaha statue

The Sun was by now shining bright in the sky. Beside the main temple is a small tank-like structure. In the middle of this tank is a miniature circular granite pillar.

The base of this miniature temple is a square with octagonal and circular paths one above the other. In the side of this little tank, beside the miniature temple is a sculpture of a rock-cut boar with the body of an elephant.

Mahabalipuram underwater city

Now you may think that’s it, but it gets better:

Remarkable as the Shore temple may seem, it is the six other submerged temples that had obviously piqued my interest. Mannuci a European sailor who was visited Mamallapuram during the period of the 17th century and given a name to this historic site as “The Seven Pagodas.” According to a local myth, the beauty of Mahabalipuram aroused the jealousy of Indra, the king of celestial beings. As a result, the king of devas, who is said to have control of the thunderstorms, is said to have submerged the entire town, including six of the seven temples, under the sea during a great storm. Only the Shore Temple survived above the water, evidence that this beautiful city had once existed.

This myth also finds backing from some archaeologists, who believe that the majority of the temple complex was likely destroyed in a previous tsunami traced back to the 13th century.

The 2003 underwater explorations by National Institute of Oceanography had revealed the presence of many structural remains including a fallen wall, scattered dressed stone blocks, a few steps leading to a platform and remains of many more fallen wall sections in 5 – 8 m water depth which is believed to be man-made. Their research done in five various place in a stretch of 500 to 700 meters distance from the Shore Temple at the depth of 5 – 8 meters. The interesting one of these findings is a lion sculpture that ensures their belonging probably of Pallava.

During the devastating December 2004 tsunami in the Indian Ocean, it briefly exposed the beachfront near Saluvankuppam, north of Mahabalipuram, revealing inscriptions and structures. The tsunami also revealed large structures on the seabed about a kilometer offshore, which archaeologists speculate may be the ancient Mahabalipuram. When the waters returned, these features were submerged again. These artifacts include a large stone lion still found on Mahabalipuram’s beach and a half-completed rock relief of an elephant.

Want to know the best part?

As a result of these eye-witness reports, the Archaeological Survey of India along with the help of the Indian Navy conducted a survey of the site. The search revealed a large series of buildings, walls and platforms that have been interpreted as forming a large complex dating to the Pallava era. Among many submerged structures, a big structure was found about 700 m east of the Shore Temple, under 6 m of water. The structures were covered in marine growth. Huge rectangular blocks were also noticed on the upper portion of the structure. About 200 m towards NNE of this lies another structure at about 5-8 m in depth. This site has remains of a wall, dressed stone blocks and natural boulders. Apart from these many more structures were found believed to be fallen walls and stone steps leading to a square platform.

These new discoveries have sparked renewed interest in the Mahabalipuram legend. Based on these new pieces of evidence, it has been speculated that the underwater structures off the coast of Mahabalipuram may have been part of a small seaport city. I hope with further investigations, a greater understanding of these submerged structures can be gained and the myth of the six submerged temples might one day be considered as a true historical fact.

It was almost 9 am and the sun was beating down upon us. Groups of tourists had begun surrounding the temple. A couple of local guides were already harassing us to employ them. It was time for me to leave.

Despite continuous erosive effects of the moist and salty sea air, the Shore Temple preserves its beauty in many parts. Of all the temples I have witnessed in South India, its unique design hides many secrets. Unfortunately, it is the only temple remaining to tell the tales of a glorious past. The ASI continues its good work on the site, with the hope of identifying more structures and their purpose as well as better understanding the history of the submerged city as a whole. The myth of the Seven Pagodas may yet, in coming years, be excavated back to life before our very eyes.

Tourism in Mahabalipuram has grown substantially over the years which contribute to the growing number of tourist arrival. Initially, tourists were small in numbers and treated as guests but now hospitality has become commercialized. The bars, discos and other entertainment spots have led to a spurt in disturbing public behaviour, drunkenness and vandalism. If you are looking for a peaceful exploration, I would suggest you lodge up at one of the hotels with a private beach. Make the rounds of the heritage monuments during weekdays and if possible towards early mornings. The sites open up at 6.30 am and the crowds only start to gather around 8 am.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I explore the ancient monuments of Mahabalipuram.

Musical Waves of Mahabalipuram Beach

I can hear the sound of waves crashing on the shore. The moist, salty air flays my hair into the air as I walk towards the lovely beach in Mahabalipuram…

Drive to Mahabalipuram 

In the morning, a couple of hours drive is all it took for us to reach the quaint town of Mahabalipuram. The roads from Kanchipuram are a pleasure to drive.

It was easy to find the Chariot Beach Resort, where we would be staying for the duration of our trip in Mahabalipuram. A huge signboard announces the resort to the passersby. The entrance gate leads into a long driveway and unto the resort building where a lady received us with garlands made of seashells.

Once we were finished with the formalities of checking in, we had our lunch and headed right away towards the windy beach. Please be aware that I am not talking about the public beach, that experience would be a lot different.

The little town of Mahabalipuram is blessed with a glistening coastline with clean private beaches on the one hand and a plethora of UNESCO World Heritage sites and medieval temples on the other.

Mahabalipuram Beach

Mahabalipuram is a very ancient town, seeped in history & mythology. The town was largely developed by the Pallava king Narasimhavarman I in the 7th century AD. The history of the town however, goes much beyond the Pallava dynasty when it used to be a popular seaport since the 1st century. The town flourished and was brought into limelight in the 7th to 9th century during the Pallava rule which gave them the heritage sites, the primary reason I was there.

The resort is clean and well maintained. Apart from a bar and two restaurants, it also features an inviting swimming pool.

Buggy rides to the beach were available from the reception area, but we chose to walk. As we strolled towards the beach, I realized that the resort also serves independent cottages for visitors looking for more privacy.

We were at the beach in no time. The beach heightens my senses. The music of the waves of the ocean make me forget myself. Mani watched me reluctantly as I was drawn into the cold blue waters. As the waves hit me, I could feel the rough texture of the sand as it deposited itself on my feet.

Once my initial excitement petered out, we found a nice place to sit on the sand. It is hard in such a mystical surrounding to stay in the present. With each wave hitting the shore my mind was already starting to slip away into nothingness.

We lay down on the sand, next to the water’s edge, making a head stand of my camera backpack. Looking at the vast blue sky, I felt so connected to the earth as my body settled into the ground.

As we sat there, gazing out into the horizon, taking in the vastness of the seascape, a young boy in his teens came along looking for casual tourists if they wanted to ride a horse. We didn’t ride it but we did made friends with the handsome creature.

Music of the Waves

Looking for prospective clients, the boy rode off with the horse and we were back on our makeshift mattress on the sandy beach. I closed my eyes, listening to the consistent ebbing and flowing of the waves crashing on the shore. Just like the sharp sound of clanging bells at the temples, the sound of these waves hammered away, driving out all my tensed thoughts . I could hear nothing… nothingness was good.

On my left, far away into the horizon, I could see a faint silhouette of the pagoda of the Shore temple. We will go there tomorrow, but for now I let my mind wander.

We sat there for a long time, under magical skies, immersed in the music of the strong waves of the Bay of Bengal.

Sunset at Mahabalipuram Beach

Behind us, the Sun had quietly slipped away into oblivion. It was starting to get colder now. The few tourists that were, were starting to leave, leaving us alone with the raging sea.

As the evening drew to a close, we took a last walk along the water’s edge, letting the cool waves gently wash our feet. Mani’s jeans were fully drenched, my cargoes were too.

As evening turned into night, we walked back to the resort. The lights had come on and it looked lovely in the night.

The historical town of Mahabalipuram is an enchanting place to explore age-old stone carvings and century old temples, but in-between the sweaty hikes, one can immerse themselves at the peaceful beaches along the quite town.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I visit the last remaining pagoda on the shores of Mahabalipuram.

The Kovils of Kanchi Kailasanathar Temple

Today I explore a lesser-known, 8th-century Shiva temple in the city of Kanchipuram. The Kailasanathar temple complex is a cluster of sandstone buildings constructed sometime between 674-800 CE under the patronage of the Pallava dynasty. Though this temple is of exquisite architectural and spiritual merit, it remains greatly unexplored due to a lack of knowledge about the temple.

Bangalore to Kanchipuram

Towards the fag-end of 2017, Mani and I had planned a weekend trip to Mahabalipuram. Mahabalipuram is just about half a days’ drive from Bangalore. It is an excellent destination if you want to laze around the beautiful beaches spread along the eastern coast.

The drive to Mahabalipuram goes through Kanchipuram, a popular temple city in the Indian state of Tamil Nadu. Kanchi or Kanchipuram is one of the seven holy cities of India, the other six being Haridwar, Ujjain, Varanasi, Madhura, Ayodya, and Dwaraka. In the olden days when the city was known as Kanjeevaram, it served as the capital city of the Pallava Kingdom. Since it was on the way, we decided to take a break there for a couple of days and explore some of the ancient gems of the heritage city.

The drive from Bangalore was fairly routine. We initially took the national highway NH75. At Mulbagal, we switched to the Bengaluru-Tirupathi highway on NH69 to Chittor. At Chittor we turned into NH40 which connected us to NH48 at Walajapet, which led us all the way to Kanchipuram. For most parts of the route, in Karnataka as well as Tamil Nadu, we drove on toll roads and they are a pleasure to drive on.

I had already made reservations at the Pine Tree hotel. The exteriors of the hotel might appear to be a deal-breaker but the interiors were nice and clean. Though it lacks a few amenities like a lift and in-house restaurant, it is still a fair place to put up for a couple of days.

Kanchipuram is believed to be of significant antiquity and has been ruled, at different times, by the Pallavas, Medieval Cholas, Later Cholas, Later Pandyas, and even the Vijayanagar Empire. I am discounting the British here, as they were here just for the loot. The city has a number of historical monuments, the Kailasanathar Temple and Vaikunta Perumal Temple being the most prominent among them. In its heydays, the city used to be an ancient education center like Banaras and was also known as the Ghatikasthanam or a place of learning. Moreover, Kanchi was the birthplace of many literary scholars and religious saints. Buddhism and Jainism once flourished here, side by side with Sanatan dharma. Today the city is crowded with religious tourists searching for God in the many temples spread across the city.

History of Kanchi Kailasanathar Temple

Between the 6th and 9th centuries, the Pallavas were a powerful dynasty and ruled a huge chunk of southern India, including Tondaimandalam (present-day Tamil Nadu). They were passionate about art and architecture, and their reign saw an extensive growth spurt in the creation of temples.

Though Kanchipuram has innumerable temples spread across the city, I was mostly interested in exploring the Kanchi Kailasanathar temple. It is the oldest temple in Kanchipuram, located near the banks of the Vegavathi River, at the western limits of the holy city. The east-facing temple was commissioned between 685-705 AD by Pallava king Rajasimha, better known as Narasimha Varman II (700-728). The date of the foundation stone of the principal shrine is estimated to be between 550 CE to 567 CE. The temple, at that time, was named Rajasimha Pallavesvara Graham. After his demise, his son, Mahendra Varman III, is said to have added the front facade and the gopuram (tower).

Dawn at Kanchi Kailasanathar Temple

I woke up before dawn and took a quick hot shower. I left my car at the hotel and hailed an auto-rickshaw. When the auto-rickshaw dropped me off in front of the temple, it was 6.30 am and still very dark. The gates had not been opened yet. In the dim light, I could make out the front of the complex, lined with eight small shrines – two to the left of the doorway, and the rest to its right.

The temple premises is surrounded by beautiful gardens. A small square pond is located to the right side of the temple entrance. A few feet away from the entrance of the temple, a large Nandi statue sits, facing the doorway to the temple. I waited patiently for a few minutes by which time the caretaker presumably noticed me and opened the complex gates. I was the first one inside.

Tripods are not allowed to be used inside the temple premises.

Architecture of Kailasanathar Temple

Leaving my shoes outside the doorway, I entered the holy temple via a narrow passage known as “Sandharaprasada“. The cold granite kissed my naked feet. Years of weathering had rendered the granite smooth.

Before you reach the main temple, you will come face-to-face with this structure. This addition to the temple was commissioned by Rajasimha Pallava’s son, Mahendravarman III. Its walls are adorned with sculptures of several forms of Shiva like Bhikshatana (in which he is a mendicant begging for alms). You can easily make out the difference between the deterioration of this structure and the mini-shrines along the compound walls, which were clearly constructed much before.

A narrow path beside the shrine leads you to the main temple. The Kailasanathar temple is the largest among the Pallava temples. Kangapatakai, the wife of Rajasimha is also credited for the construction of this temple. The most notable contribution of Rajasimha to Pallava architecture is substituting bricks and timber for stone in the temples.

The Kanchi Kailasanathar Temple is dedicated to Shiva, referred to as Kailasanathar in this temple. His consort here is Kanakavalli Thayar. The temple design has been created so as to recreate the environment of Mount Kailasha, the abode of Shiva.

The worship of Shiva as a supreme God is being carried out in India since time immemorial. A Pasupati seal found in an archaeological site in the Indus Civilization shows Shiva in a yogi posture, surrounded by animals. The antiquity of the Pasupati can be traced to the period ranging from 2500 to 1800 BCE.

The Kailasanathar Temple is enclosed within walls in a rectangular layout and the sandstone kovils including many half-lion carvings speak volumes of architectural beauty that flourished during the reign of the Pallava Kings. Here you can see the back wall of the Gopuram where Siva is depicted along with his consort Uma and child Kartikeya.

Once you get past the gopuram, you will find yourself in front of the main temple. A circumambulating passage goes around the temple. The inner side of the temple wall houses several smaller shrines in an array, while the outer side of the wall houses statues of the temple protectors called Yali. I have laid out the structural layout of the temple for ease of understanding.

Devoid of people, early mornings at the Kailasanathar Temple are incredibly serene. The caretaker went about his business and I was alone with the disintegrating blocks of sandstone, that have quietly watched history unfolding for centuries. The silence was only interrupted by the rare worshiper, making rounds of the temple, chanting shlokas (religious chants).

Maha mandapa

The main temple has a simple layout with a tower or sikhara at the center of the complex. The foundations are made of granite, while the upper floors including the carvings are all made of sandstone. The main shrine is built in a pyramidal format, which is typical of Dravidian architecture as we will see more of it at the Shore Temple in Mahabalipuram.

The mandapa is surrounded by a high compound wall adorned with pillars with carvings of lions. These intricate carvings on sculptures and rare portrayals of Lord Shiva in his various forms in several sculptures are the prime source of attraction of many visitors to the temple.

Inside the main temple, the deity is a majestic Shivalinga in black granite. The inner sanctum is square in shape and houses a Shiva Lingam of six feet in height and three feet in diameter. The gates to the garbagriha (sanctum sanctorum) weren’t open yet. They open much later during scheduled prayer hours. So if you are into offering prayers, you should come at around 9 am.

The Shiva Lingam inside the maha mandap faces the east direction and it is a sixteen-sided one. There is a narrow circumambulatory passage around the inner sanctum that can be reached by a flight of steps. The local people are of the opinion that, the entry and exit of this passage symbolizes the birth and death of an individual.

Devakulikas

Kovil is the Tamil term for a distinct style of Hindu temple with Dravidian architecture. There are fifty-eight smaller shrines located in an array on the inner side of the temple wall. Each small shrine is comparable to a temple, in terms of architectural merit. Each of them houses an image of Shiva in his various forms, along with a shikhara built in the top.

These small shrines house seventeen different forms of Shiva as Samhara Moorty (portrayed with anger) and twenty-three forms of Shiva as Anugraha Moorty (Portrayal of Shiva showering his divine grace over the devotees). The reason, why this number of portrayals is sculptured is not known. The walls around this shrine are covered with exquisite reliefs depicting Shiva in various forms like Lingodbhava, Urdhava Tandavamurti , and the Tripurantaka.

The light was much improved by this time, with the Sun showing itself towards the front of the temple. As I went around taking pictures of these crumbling beauties a family of parrots appeared from nowhere at the roof of the temple. Below is the west side wall of the main mandapa, covered in detailed carvings of Shiva.

Towards the back in a mini shrine, I found a carving of Shiva and his consort. This bas-relief engraving portraying the image of Soma Skanda-Lord Shiva and Goddess Parvati sitting together, with Lord Subramanya seated on the lap of Parvati. This Soma Skanda image is located in several places in the temple.

Modern iconographers call this set of signs Somaskanda, meaning Shiva with Uma and their son Skanda (Sa Uma Skanda). A part of the mural on the side walls still tells the story of what was once a colorful section of the temple. This Somaskanda panel, depicting Shiva and Parvati with Karthikeya sitting on Parvati’s lap, is a repeating feature of the temples built by King Rajasimha. It can also be found at the Shore Temple also commissioned by Rajasimha.

Passing all the mini shrines, I had walked to the back passage of the compound where lies an idol of Murugan in black granite.

Lion pillars were a Pallava specialty, and in this temple, they seem to have chosen to go all out with the lions. One can say this is the richest of all Pallava shrines in terms of figural decoration.

Each of the 58 devakulikas (mini-shrines) that run around the main temple has a different lion protecting it. They have frescoes that portrayed scenes from the Sivalila and sculptures of Uma Mahesvara, Parvati, Ganapati, and Kartikeya, among others. Each of these mini shrines has a stupa on the top. The builders placed huge sandstone blocks one on top of the other and then chiseled them into shape.

More than two hundred birudas of the king Rajashima, engraved at the Kāñchi Kailasanatha temple is rare documentation in history

These sculptures of Shiva in 58 postures, present a picture of the hugeness of Hindu mythology. This adulation of Shiva can be attributed to the renaissance of the Hindu religion in the 7th Century when there arose a group of Tamil Psalmists who sang brilliant prayers to Siva and Vishnu and this energized Saivism and Vaishnavism. They are identified as the Nayanmars and Alwars. . The Shaivite poet-cum-saint hymnodists were called the Nayanmars and the Vaishnavite poet-cum saint hymnodists were called the Alvars in the Tamil tradition.

These groups added impetus to the Bhakti Movement, a historical event in the Hindu religion during the time of the Pallavas. Through the reign of the Kalabhras tribe (3rd – 6th century CE), hailing from the northern borders, the status of Hindus had gone down. Hence, with a view to reviving the Hindu religion and spreading its principles among the common people, a movement was started by Nayanmars and AlvarsThis movement attracted the attention of the people and flourished due to the hard work of the Hindu saints. The re-emergence of the Hindu religion albeit led to the decline of Jainism and Buddhism in Tamil Nadu.

Rajasimha was also a great patron of dance. The Kailasanatha temple at Kanchi contains magnificent sculptures on the mode of dancing Shiva. One can find that many of the Kanchipuram temples are made up of hard stones, but this temple is built up of sandstone, apart from granite that gives good support to the upper structure. The shore temple in Mamallapuram, built by the same king bears a strong resemblance to the Kailasanathar temple

In-between the moments of ecstasy of finding myself among these age-old works of art, I was frustrated by the damage in certain areas of the temple. You can see flaking in many places. This is caused due to salt attack. Thermal gradient and dampness increase the mobility of the salts and crystallizes within the structure near the exposed surfaces. Swelling of salt crystals below the exposed surface causes blistering and scaling of the outer layers. Standing in front of these decaying pillars, I could sense the enormous moments these shrines have seen and still stand today to tell heritage hunters like me, stories that have weathered away in the winds of time.

By the time I completed my pradkshina (walk-around the temple), the temple was basking in beautiful golden sunlight. The caretaker at the site told me that this is one of the few temples in Kanchipuram, which was purely a contribution of Pallava kings and which didn’t have any additions by other dynasties such as Cholas and Vijayanagara kings.

Circumambulation of temples or deity images is an integral part of Hindu and Buddhist devotional practice. The inner sanctum is believed to have positive energy and as the devotees go round the sanctum performing the pradkshina, the positive energy is also believed to be absorbed into them. I am an atheist but that doesn’t stop me from respecting faith.

Once I was done taking shots inside the temple, I walked outside to capture some of the external carvings. Compared to the carvings on the inside many of the carvings on the outside walls have deteriorated beyond the point of recognition. Amateur restoration has resulted in white patches over the sandstone rocks.

The front shrines are still better but the shivlings are in pitiful condition. The top of the stupa in most of the shrines have weathered away. It is still better compared to some other temples that have been totally destroyed by the Muhammedan invaders. Sometimes being unpopular is a blessing in disguise, otherwise, I wouldn’t be seeing these original carvings as they were created thousands of years ago.

The majority of the inscriptions inside the temple are in Sanskrit. The Pallavas issued their inscriptions in Prakrit and Sanskrit because of their Satavahana connections, and also patronized Brahmanism. The inscriptions of a temple are written so that the forthcoming generation must gain knowledge about the temple’s history. It is a matter of common sense that, the inscriptions are written in a temple in a language, which the majority of the people of that particular period knew and the language should be in wide practice. From this, we can infer that Sanskrit had a profound influence in the areas ruled by the Pallava dynasty and Kanchipuram in particular.

It was still early in the day and I believe the temple has become a popular photo-shoot spot for newly-wed couples.

This temple stands as the masterpiece of Pallava’s structural architecture. The grandeur and beauty of this famous temple cannot be described in words but must be seen and appreciated. With the Sun making its way into the sky, more and more people had started coming in.

Nandi of Kailasanathar Temple

Before leaving, I walked to the far end of the park to capture one of the most detailed Nandi bull I have seen till now. The stone Nandi sits on a pedestal facing the temple complex, surrounded by four lion pillars.

Nandi is said to be a symbolism of eternal waiting. It is not expecting Shiva to come out, it just waits on its beloved master in a meditative state. Prayer is when you talk to God, but Nandi meditates, it just listens.

The Sun was shining bright by now and there was a steady stream of people at the complex. It was time for me to get out.

As one of the most elegant temples in Kanchipuram, this temple is regarded more as an architectural wonder rather than as a holy place. The Pallavas rule continued till Tondaimandalam was captured and annexed by the Cholas at the beginning of the 10th century. The Chola Emperors continued the tradition and gave a large number of grants, land – properties, gold, and silver to the famous Shaivite temples in Kanchipuram. Encashing upon the experiences of his predecessors, the Chola Emperor Rajaraja I (985 – 1016 ) went ahead boldly and fervently to declare Shaivism as a state religion and encouraged the generosity of the public to follow the royal line in religious matters.

One of the Kanarese inscriptions inscribed in one of the pillars of Maha mandapa records the victory of the Chaulukyan king Vikramaditya II, who conquered the city of Kanchipuram. The Chaulkyan and Pallava dynasties were said to be natural enemies to each other. Vikramaditya II wanted to destroy this temple, as it was built by the Pallavas, but he got astonished by the architectural beauty of this temple and left it intact without causing any damage to it.

I came back in the evening. At dusk, bright lights surround the historical beauty making it even more mesmerizing.

Today, the temple is well maintained by the Archaeological Survey of India, but it can do better. Since the monument’s commencement, phases of neglect and renovation have left it battered. It has seen much history and still stands today to tell heritage hunters like me, stories that have weathered away in the winds of time.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I visit the beautiful beaches of Mahabalipuram.

Built

685-705 CE

Built by

Pallava king Rajasimha, better known as Narasimha Varman II

Timings

6.00 am – 7.00 pm
Sanctum Sanatorium is closed between 12 pm – 4 pm

Material of construction

Yellow Sandstone

Price of Admission

Free

A stroll on Mandvi Beach

I am strolling on Mandvi beach, with the cool waters of the ocean slipping though my toes. The noise of the jeering tourists is drowned by the gentle waves of the Arabian Sea. A wave of black herons fly by as if the dimming sun is prodding them to go back to their homes.

Situated at the border of Diu and Gujarat, Mandvi beach is a 6 km long stretch where the pristine water of the turquoise Arabian Sea adjoins the seashore. It was once a major port of the region and summer retreat for King Maharao of Kutch.

Once we were back from the salt desert of White Rann, we decided to spend an evening at this pristine beach. The reception at Click Hotel helped me obtain a car for the ride to the port city.

Drive from Bhuj to Mandvi

Mandvi is about an hour down the road from Bhuj, a busy little place with a spectacular shipbuilding yard. I was pleasantly surprised as the flat landscape gradually changed into a hilly terrain as we drove farther away from Bhuj. While in Bhuj and during my stay at the Rann Utsav, all I have seen is vast stretches of flat lands.

There isn’t much to see along the highway except tiny huts and a few single floored concrete buildings. Mandvi suffered far less destruction than Bhuj in the 2001 earthquake and the heart of town, around Mochi Bazar doesn’t show much damage as I witnessed at Chattardi in Bhuj. The buildings along the colorful town are decorated in faded pastel hues.

History of Mandvi

Located right on the Gulf of Kutch, with the Rukmavati River flowing on the east, the town of Mandvi has a rich history. A fortress was established here in the late 16th century and the town itself was a bustling sea port and trading center. Its landmark temples that drew people from all over the kingdom of Kutch. Today it is a slower, calmer place known for its golden sand beaches and migratory birds.

Mandvi Beach

Our driver dropped us off at the parking area. The beach is just a minutes walk away. Before I reach the turquoise green waters of the sea, huge wind mills on my right draw my attention away. The Wind Farms Beach and Wind-mills, which line the horizon of Mandvi, offer a spectacular view from the beach. The Wind mills projects running here is Asia’s first Wind-Mills Projects, started way back in 1983.

The noise grows louder as we walk further towards the wide sea. It was like a carnival out there. People are busy with swimming, surfing and speed boat trips. Some of the more daredevils are trying their hand at parasailing.

We walk away from the crowd and find ourselves are quiet spot in the sun. A few kilometers away from here lies Vijay Vilas Palace. Built as a summer resort in the 1920s by the then Maharao of Kutch, Vijay Vilas Palace is a beautiful red sandstone structure fusing Rajput architecture with colonial elements. Unfortunately we wont have time to explore it today.

As we sat, chatting away, camels keep running by, carrying shrieking tourists on their back. Apart from swims and walks; one can also avail of these camel rides available at the beach.

But I am here just for a leisurely walk on the beach. The beach is a curving stretch of golden sand fringed by blue-green waters, with windmills on one side, the breakwater on the other, and an uninterrupted view of the Arabian sea in front.

As the hot Sun began to make us uncomfortable, we walked towards what appeared to be a breakwater. Some people were sitting precariously at the edge enjoying the gentle breeze. We couldn’t find any way onto the platform, from our side of the beach, so we resigned ourselves to this side of the sandy beach.

Time flies when you are having fun. I didn’t realize, how quickly evening was upon us. The crowd had thinned and many of the people ferrying camels were casually moving around trying to find interested clients. We don’t ride animals, but I called up to one of the camel owners to ask if I could use his tattooed pet to take some pictures. His pet camel called Saagar, was friendly. He stood there calmly as I took a few photos.

The guy also offered to click a photo of us with the handsome beast.

Sunset on Mandvi Beach

We waited at the edge of the shore, even as the tide slowly receded, revealing more and more of the golden sands. Occasionally someone would disturb the peace with the vrooming of the engines of the monster sand bikes gliding over soft beach sand.

Luckily I was carrying my 80-400mm lens. With the Gitzo tripod holding the beast of a lens, I managed to get a zoomed shot of the lone star in our solar system.

Due to the strong haze, the sun started to disappear a lot before even touching base with the ocean. We said our final goodbyes to the lovely beach on Mandvi and headed back towards the parking lot.

Mandvi beach is one of the finest beach of Gujarat and a historic port town of the Maharao of Kutch. Embraced with golden sands and fishing villages, Mandvi is an idyllic location for a relaxed evening. It is beautifully besieged by windmills on the one hand and green waters on the other. Though not as famous as its northern neighbor Bhuj, Mandvi remains a great place to soak in history and enjoy Kutchi hospitality, all at a leisurely pace.

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Interesting places around Mandvi

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Colors of Rann Utsav

The advent of winter in India brings with it the best weather to experience the historically rich nation. We were in Bhuj to spend a few days in leisure at the Rann Utsav. Rann Utsav is an initiative of the government of Gujarat, which facilitates a four-month long festival in the midst of the Thar desert, every year starting from November and lasting till February. A smart move that generates livelihood for the local villagers who are only too happy to welcome visitors from across the globe – to savor the local delicacies and to witness the unique culture of Kutch.

Bhuj to Rann Utsav

We landed in Bhuj a day before to prepare ourselves for the days at White Rann tent city. We were staying at the Click Hotel, just 15 minute drive from the Airport and just adjacent to the Bhuj Railway Station. The folks from the Rann Utsav, had set up a makeshift tent just adjacent to the hotel.

Dhordo tent city, where Rann Utsav is held, is quite some distance away from the city and they transfer visitors on buses from this base. Various buses are scheduled over the length of day at frequent intervals. We had a quiet breakfast at the Hotel and checked out at 10 am. In the morning I had quietly obtained our passes on the 11 am bus so it was no hassle for us. In fact we were upgraded to an air-conditioned Jeep.

With the bright Sun was beating down upon us, we zipped past the desert. The vegetation went from thorny Babool and Keekar bushes to a desolate golden brown flat desert.

Welcome at Dhordo Tent City

We reached Dhordo tent city in an hours time. Dhordo is the nearest village near the tent city. A large gate welcomed us into the complex.

The visitors got down one by one form the bus and were taken on one of the buggies to the reception hall.

The reception hall lies on the right just after the entrance gate. At the reception, we were handed out our meal tickets to use over the period of our stay. Our luggage was sent directly to our tent.

Each tent is a stand-alone unit, laid out in a circular area. with a massive green carpeted area in the center. The tents were clean and with lot of space to move around.

The sun rays are softened by the thick dotted tent cloth and creates a beautiful glow inside. The AC tents were equipped with all possible amenities that one can think and ask for – Room coolers, round the clock supply of warm water in the middle of a desert.

It was mid afternoon and the AC was already on. Let me tell you right now, even though its November, the afternoons are very bright and consequently hot.

Day 1 at Rann Utsav

It was lunchtime, and after cooling down in front of the AC, we walked out for a block towards the dining hall nearest to our lodging. Two magnanimous dining halls serve sumptuous authentic Kutchi cuisine at the tent city. The dining hall is huge, about the size of a small football field. The eat-as-much-as-you-want buffet is delicious, but vegetarian. They also have special counters set up for Jains, as their food requirements are rather strict. During the stay of our span, I had various dishes, each fulfilling my insatiable appetite for local delicacies.

With our satisfied tummies, we got hold of one of the buggies ferrying visitors around the complex and requested him to take us on a quick tour of the area. The Rann Utsav a city made of more than 400 AC and non-AC tents, divided into 7 blocks, each with around 60 tents. Some of them are basic tents and some premium like the one we were lodged in. The driver also showed us the executive tent, allotted to VIP’s. He went on proudly how the current Prime Minister of India, Narendra Modi had been their guest for a couple of days.

He dropped us off in front of our block. We spent the rest of the afternoon lazing on the cot.

As evening approached, we were informed about the sunset visit to white Rann at 5.50. We slipped into the local village attires that we had obtained the previous day from Waniyawad market in Bhuj. There are many local handicraft shops around Bhuj and their artisans, ingenious with thread and needle create extremely fine style of embroidery called Mutwa, patterned around tiny mirrors.

Sunset at White Rann

Nothing beats a sunset and that too at the endless desert of White Rann. While basking in the beautiful sunset the only thought that grazed my mind was this, right here – is one of the “Real” 7 wonders of the world. During the monsoon months, the Rann of Kutch is submerged in sea water. As the sea water finally begins to recede in October, the Agariyas move in and begin the elaborate process of salt farming. First, they dig wells to pump out highly saline groundwater from the lake of brine that lies 40 feet below the crust.

More pictures of the sunset at Rann of Kutch

White Rann at midnight

We stayed awake till midnight when the die-hard night crawlers came out of their tents as did we. We were taken to the zero point where the full moon showered us in its blue light.

Day 2 at Rann Utsav

The next day, we woke up late after the midnight stroll at White Rann. The weather was just perfect, not to warm and neither to cold. We stayed in for much part of the morning. There wasn’t much to do at the edge of a desert and as we chatted away, loosened its grip on our minds. Without the demands of schedules crammed with “attractions” and “things to do – we were free to let thoughts unravel, reflect, or simply tune out.

We got out of bed around noon. A tour bus was scheduled to pick us up for Kalo Dungar. After another round of paneer and mawas, we were ready to visit the highest point in Kutch.

Gandhi-Nugam

The bus picked us up at 3 pm. The driver was a bit of a novice and he lost his way a couple of times. On the bus a young guide explained to us how surrounded by the sea on one side and the grim, treeless and practically inaccessible Rann mountains on the other, Kutch had been for centuries cut off from the rest of India. With the sea as their primary outlet, the local tribes took to the sea, trading with Arabian kingdoms. Yet while Kutchies have traveled far and wide, Kutch itself remained in a time warp, closed to the influence on the Indian subcontinent.

In the villages around Kutch, these nomadic tribes, each with their own unique tradition of craft-work passed down from generation to generation, gave Kutch its reputation for producing India’s most beautiful handicrafts.

It is at one of these villages where we got down to indulge ourselves in some of the Kutchi handicrafts. Amid the arid and barren land of Kutch, a new dimension is added by the vivid imagination of Rabari women.

Rabari embroidery is characterized by chain stitches and a generous use of mirrors. The women depict the world around them, without the help of sketches or patterns. The only material used is a simple needle and thread, which they purchase from Bhuj, the nearby town. Mani bought a stole for herself.

Many of the villages where the Rabaris, Ahirs, Meghwalis and other tribes lived were devastated by the 2001 earthquake.

After spending an hour among the most vivid shopping mall, we left for Kalo Dungar.

Kalo Dungar

We ride out deep into the desert to explore Kalo Dungar also known as the Black Hill. Kalo Dungar is the highest point in Kutch and the best place to enjoy a panoramic view of the amazing Rann of Kutch. Though not literally black, the hill is known so because in olden times, the merchants returning to Kutch from Sindh used to be guided by this lonesome hill in the grim desert, which used to appear black because of the shadow cast by the sun.

[su_icon icon=”icon: info” background=”#f20000″ color=”#ffffff” text_color=”#4a4a4a” size=”14″ shape_size=”10″ radius=”4″ text_size=”18″ ]More pictures of Kalo Dungar[/su_icon]

It was dark by the time we reached the tent city.

Day 3 at Rann Utsav

Sunrise at White Rann

I would be the last person to get up at 5 am on a vacation. But I did and yes I am not complaining. I was witness to the most lovely sunrise over the white melted salts of White Rann. The silence accompanied with the vastness of space, the cool breeze of early November and the locals dressed up in ghagra & cholis make this moment a feast for my disenchanted urban soul.

More pictures of the sunrise at White Rann

Back to Bhuj

It was a special couple of days in White Rann. For centuries, Kutch had its own time, currency and language. Its walled cities were locked at sunset and opened at dawn. It is said, during the reign of Rao Khengarji III between 1876 to 1947, the keys of the five gates of Bhuj, were delivered to him every night and handed back every morning. This system ended in 1948, when his successor, Maharao Madan Sinhji, acceded to the Indian Union, and in November 1956 Kutch became a district in the state of Bombay.

Best time to visit Rann of Kutch

The climate in Rann owing to its desert land is considered to be one of the harshest and hottest temperatures recorded in India. The summer temperatures go as high as 50 degree Celsius. The winters are also quite extreme with temperatures dropping to as low as 0 degree Celsius. During the monsoon, the salt desert is covered with water considering its proximity to the Luni, Rupen and Indus rivers. The marshy desert is only about 49 feet above sea level.

The best time to visit Rann of Kutch is in winters at the time of Rann Mahotsav. Rann Utsav usually starts from the first week of November & usually, lasts up to March. One of the biggest salt deserts in the world, the great Rann of Kutch in the Gujarat state of India is known not only for its natural splendor but for what its inhabitants have created – The Rann Utsav. Magnificent is the word that one could simply use and glorify the natural beauty of Kutch with the canvas of culture, the profusion of art forms, and an overabundance of life. Please check out the official website of the Rann of Kutch Festival before you plan out.

Considering the magnitude of the festival, the accommodation at Rann is expensive during season time and hence it is advisable to pre-book if one wishes to visit the white desert during the utsav. Other than the festival months there is no accommodation option available in the desert, in this case one could opt to stay around Rann or could make a day trip from Bhuj.

Once at Rann Utsav the shopaholic can also indulge in buying authentic Gujarati handicrafts handmade by the Kutchhi people with a variety of options in clothes, bags and other items such as shoes and puppets.

During season, a variety of food options are also available at Rann starting from local chaats, Gujarati snacks to full-fledged Gujarati thalis. Apart from the festival months, there are barely any options available for food. It is advisable to carry water and food if one wishes to visit Rann from March to November.

Other Places to see around Bhuj

The capital city of Kutch is one of the most interesting and cultural cities of India. It was ruled by the Jadeja Rajput dynasty of the Samma tribe in 1510 and made Bhuj their capital and remained Kutch’s most important town ever since.

Bhuj sells some amazing handicrafts which is known worldwide apart from the historic buildings such as the Aina Mahal and Prag Mahal which are worth a watch.People who are fond of exploring of old monuments and temples will love to explore this city.

Chattardi

Chattardi in Bhuj is a small yet wonderful place to experience the history of Kutch. These Chattardis or umbrella-shaped domes were built around 1770 AD to glorify the tombs of the Royal families of Rajput lineage. Surrounded by sea on one size and the grim Rann mountains on the other, Kutch remained cut off from the rest of India, in a time-wrapped cocoon with its amazing culture and art confined within these natural boundaries.

More pictures of the ruins of Chattardi

Mandvi Beach

We drive to Mandvi Beach to laze out in the winter Sun. The beach is a curving stretch of yellow sand fringed by green waters, with windmills on one side and an uninterrupted view of the Arabian sea on the other. The sea is safe for swimming and the beach is ideal for walking. The beautiful beach offers many fun activities including Camel rides, bubble floats, speedboats and even para-sailing. But for us peace hunters, a few steps away there is the silence of the gentle waves and the occasional herons flying by.

More pictures of Mandvi Beach

The earthquake of 2001 that cost tens of thousands of lives in India last January also destroyed a unique civilization in a remote desert haven.

It was the destruction of part of our heritage. For India, the earthquake left its second largest district ruined; for Kutch, it left an age-old, distinct culture in tatters.

Like the Rann itself, that silence, that solitude, is an expanse unto itself. As a break from my urban life, it is a luxury, an escape.

Sunrise at White Rann

I am back again at the zero point of Rann of Kutch and I cannot decided if I am disappointed or enthralled. The sea water has moved back into the salt mud-lands dissolving all the white salt. The visuals have changed completely from a couple of days before when I came here at sunset.

The landscape appears more like as if I am standing on the shores of the sea as I wait for the sun to rise. Only, the sea isn’t a mass of blue or for that matter green. Its is white!

Only a handful of people have made it to the sunrise. I am guessing to much festivities of last night when a popular Indian actress, Vidya Balan suddenly made her appearance at the Rann Utsav.

Towards the western side, the moon rides slowly into oblivion, but no one is interested. Everyone’s gaze are towards the purple sky that has already started to change colors every minute.

A huge three floor structure is standing at the edge of the zero-point. I set up my tripod on one of the platforms below the top floor, where there are no people. Everyone is at the top trying to get the best available viewpoint.

Because of the strong haze, we are able to see the first glimpse of the red ball of fire only after it has already risen a few degrees above the horizon.

After taking a few shots I climbed down the steps, intending to get closer to the edge of the water.

As the Sun goes higher, it casts a long reflection over the melted salt of the marsh . A group of Gujarati tourists break into a dance. It is hard to make out what they are singing, might be a recent bollywood song, but I bet they are just as thrilled as me, looking at the beautiful sunrise over the White Rann.

This is part of my experiences at the Rann Utsav. If you are interested in knowing more about how Rann Utsav can be a memorable experience for you, click here.

Ride to Kalo Dungar

I am at Kalo Dungar, some 50 km north of Dhordo tent city, on the top of the Black Hills. The highest point in Kutch, offers a bird’s-eye view of the Great Rann of Kutch. From here, the entire northern horizon vanishes into the Great Rann, the desert and sky becoming indistinguishable on the horizon.

Drive from Dhordo Tent City to Kalo Dungar

I and my travel companion – Mani, were staying at the Dhordo Tent city. Every year, the government of Gujarat holds a four-month-long festival known as ‘The Rann Utsav’ starting from November to February. The stay at the Tent city includes a free bus tour to Kalo Dungar.

The route to the hill is not very clearly marked. It is best to visit Kalo Dungar before sundown to avoid getting lost on the secluded roads leading to the hill. Our driver, though being a local, got lost twice and had to backtrack to get the bus back on the correct route. Although if you do get stuck at the hill, there is a dharamshala at the top where you can find shelter and basic food.

Even at 462 meters, the hill can still pose a challenge to the novice driver with roads inclined at very steep angles. Halfway up the hill, for a moment the bus driver almost gave up looking at the steep terrain.

Eventually, after a lot of coercing, laced with encouragement from fellow tourists, the bus reached the parking zone, which lies a little distance away from the top. From here local jeeps took us to the peak for Rs. 20 per head. It’s not much of a distance, probably just a way to allow the locals to make some earnings.

While going up, looking down from the back of the jeep, I realized that no bus would have made the drive to the peak. The jeep dropped us off in front of the Dattatreya Temple.

Just opposite the temple lies an Army outpost. This is one of the places where a civilian can get closest to the Pakistan border,  and there is tight security around the hill.

Dattatreya Temple on Kalo Dungar

The hilltop is also the site of a 400-year-old temple to Dattatreya, the three-headed incarnation of Brahma, Vishnu, and Shiva in the same body. Many fables and tales are associated with the history of the Kalo Dungar. One of them says that Dattatreya happened to pass by this hill while walking on the earth. While admiring the barren landscape, he found a band of starving jackals. He offered them his body to eat and as they ate, his body continually regenerated itself.

Some people differ saying that it was actually a holy saint named Lakkh Guru, a worshiper of Dattatreya who used to live there in an ashram. One day a pack of wild jackals appeared in his ashram and stood expectantly in front of him. When he realized that they were famished, he offered them a simple meal of rice and dal, the staple diet of his ashram. Since that day the jackals started coming each day, day after day.

Because of this, for the last four centuries, the practice of feeding jackals still continues to this day. The priest of the temple prepares food and serves it to jackals every morning and evening, after the aarti (praying).

Beside the temple is a makeshift tent selling Gujarati handicrafts and traditional dresses.

From here we were on foot, making our way upwards towards the topmost viewpoint. People with a disability or just plain unfit can avail the use of beautifully dressed Camels, who can carry them to the top.

The road though steep, is an easy walk and we were hardly challenged as we reached the top viewpoint within a few minutes.

In the distance, despite the haze, I was still able to make out the rectangular salt fields. These are the lands of the Agariya tribe, traditionally salt farmers, who have lived here for centuries. Working every day under a scorching sun from mid-October to June, the Agariyas harvest almost 75 percent of India’s overall salt produce.

Across the Black Hills, staring into infinity, one can realize the tremendous effort of the Sindh merchants, who undertook the crossing of the Great Rann for trade in the olden times.

Why is the Kalo Dungar called Black Hill

Well here is another interesting story. It is intriguing why the locals refer to this hill as the Black hill. There is not a point on the hill that is remotely associated with that color.

Though not literally black, the hill is known so because, in olden times, the merchants returning to Kutch from Sindh used to be guided by this lonesome hill in the grim desert, which used to appear black either because of the shadow cast by the sun or because of the dense forest cover. Just like the North Stars guides the lost people at sea, Kalo Dungar used to act as a marker so the caravans of people crossing the desert would follow it to understand their location.

There weren’t many tourists at the top. A cemented platform with makeshift benches provided relief to those who had tired from the climb. A small structure stood below us shaped like a hut with the words “Suswagatam” painted, which means “welcome” in Hindi.

We wandered around immersed in the beauty of the surrounding. Local kids in their teens would, from time to time, come around offering tea. A few of the brave-hearts had ventured beyond the cemented platform into a narrow trail that went further to the edge of the hill.

The Sun gradually slipped into oblivion. After taking a few shots of the picturesque landscape we started walking back towards the bus.

While driving back, there was a section on the road which our guide brought attention to. He reported that in that 4 km stretch of the road, vehicles roll down in neutral gear at speeds of 70-80 km/hr.

However, a quick search on the internet informed me that the movement of the vehicle is only because of the steep slope and there was no anomaly causing it. Experts from the Indian Institute of Technology (IIT), Kanpur and Institute of Seismic Research (ISR), Gandhinagar have concluded that vehicles suddenly gain speed in the descent only because of the steep slope. So much for the magic theory.

Going back was thankfully devoid of any adventure and we reached Dhordo in an hour’s time.

How to reach Kalo Dungar using public transport

Kandva village is the closest inhabited village which is located around 25 kilometers from Kalo Dungar. Reaching the hilltop by public transport is difficult; the only bus travels there from Khavda on weekend evenings and returns in the early morning. Hiring a jeep from Khavda is the better option. Bhuj is almost 90 km away and a day tour from Bhuj would be quite taxing.

People who want to see the Great Rann of Kutch from a different perspective must head up to Kalo Dungar. In my opinion, staying at one of the resorts in Dhordo is the best option for enabling a good experience of Kalo Dungar. The drive takes about an hour and one can stay a bit late after the sunset and still make it back to the resort quickly.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I visit Mandvi Beach on the Arabian Sea.

Sunset at White Rann

I am standing at the edge of the White Rann, an endless stretch of white that goes all the way from Gujarat’s Kutch district to Pakistan’s Sindh. The tattooed Camels have helped us reach this point from where everything is a blank white of nothingness.

The vast expanse of uninterrupted whiteness makes me feel as if I was miraculously zapped from the grim Indian desert to the frozen white lakes of Japan, only I didn’t need the safety of my hefty gloves or winter jackets. Oh yes, it looks like a frozen lake but looks can be deceiving. This is one of the most unforgiving places in India with summer temperatures averaging and peaking at 49.5 °C. Thankfully it is November when it is pleasantly warm.

Centuries ago, the Rann of Kutch was part of the sea until an earthquake turned the exposed sea bed into a sprawling desert. The name “Rann” comes from the Hindi word ran (रण) meaning “desert”. Today, it is a vast expanse of arid land, devoid of habitation, stretching out to the Arabian Sea.

The salt desert spreading over 30,000 sq. km gets submerged underwater during the monsoons. The Luni River, which originates in Rajasthan, drains into the desert in the northeast corner of the Rann. The Rupen from the east and the West Banas River from the northeast also feed freshwater into the desert, making it the world’s largest salt marsh.

Even though it was November the salt was still slimy and difficult to walk over. Just below the white salt lies gooey black mud. The Sun was dipping fast. Mani in her beautiful Ghagra was trying her best to help me take a shot of the sunset over the White Rann. I think I will talk about this photo for years to come.

The low-lying mudflats of the White Rann, which is all but 15 meters above sea level, fill with water during the monsoon between June to September, and then gradually dries out over the rest of the year leaving behind the saline crust that hardens to form the signature luminous white color of the desert. By January when temperatures reduce dramatically and can go below 0 °C, the marsh is transformed into an unending white desert.

In the wee hours of twilight, we were gifted with the sight of the Moon rising in the opposite direction. Most of the tourists had left by then and it was easier for us to take this shot via the tripod.

The salt desert is about 100 kilometers away from the nearest town of Bhuj and that allows the place to be free of random by-passers. There is a quietness to the place, allowing me to ponder. I even forget that I haven’t click a single photo of the white desert in its entirety. No worries there because I will be coming back.

We stayed back till the sun disappeared over the horizon and darkness engulfed us.

Our experience of Rann of Kutch was made even memorable by our stay in the premium tents of Rann Utsav. If you want to know more read the full story here.

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