Unesco World Heritage Site

The Monkey Kingdom of Kishkindha

Today I went to explore the quiet town of Anegundi. I was here with a trekking group from Bangalore. As per the mythological tale of Ramayana, the city used to be known as Kishkindha in ancient times when Vali and Sugreeva, the monkey kings used to rule these lands. The monkeys though have been driven away by the growing number of tourists and it is just the mystifying boulders that remain to tell us the story of what was once a strange but interesting kingdom.

It was 10 am by the time we rode into the ancient city of Anegundi. The all night drive from Bangalore had been a quiet one. The only excitement was provided by the stunning sunrise whence the golden ball of fire rose over the horizon and removed the darkness from this little corner of the earth. Now simply known as Anegundi, the quaint town lies along the Tungabhadra river.

We checked in to our rooms at the lodge. I will prefer not to name it, it was that horrible. All I can say is the living standards were more qualified to be called a sty. After a breakfast of noodles, which took like forever to be served, we marched on to explore the boulders of Anegundi.

The time before Time itself

While writing this article I had to go through many sources. Rummaging through books on history gave me only half the story. To know the origins of Kishkindha I found myself digging into the the study of ancient Earth itself.

Beyond the temples, the huge boulders are the most interesting things around these parts. These brown rusty granite have been polished through 3 billion years into huge rounded shapes which now lean precariously around hills of piled boulders. Surrounded by these rocks, it is hard to imagine any sizeable population to have been supported here, let alone the core of the Vijayanagar empire.

This region is the bedrock of India known as Peninsular Gneiss, the mass of which is amongst the earliest solidified rock on the planet. The rounded contours and grain show it to have once been molten flowing stuff, but then came the sculpturing work of repeated ice ages. This land mass was pushed by the freezing current of the seas. It kept drifting under the pressure from cooling of the earth’s crust until the sub continent rose from the sea as a plateau.

The stage was now set for the mythical tale of Ramayana, in which the area is referred to as Kishkindha on the Papma river – the mythical kingdom of monkeys. The river that I refer to as Pampa is now named Tungabhadra, after the rivers Tunga & Bhadra which join about 10 miles upstream.

Wandering among the Boulders of Kishkindha

The bus dropped us off at a place called Hippie Island. We walked the rest of the way towards the boulders. This was a busy street with many eateries and lodges. Such was the incursion of foreigners that it was difficult to spot the locals among them. On the other side was a vast area flowing with young saplings of paddy. Though the red mud of Karnataka is not favorable for rice cultivation, the river brings in silt making the area fit for rice cultivation. The flat black silted land between the boulder hills and the busy lodges is thickly planted with patches of coconut palms and paddy fields.

Within the hillocks lie a labyrinth of caves. The medieval kingdom of Vijayanagar around present day Hampi, is tightly intertwined with the Ramayana. I would still want to believe that this region of Kishkindha, the kingdom of the Vanaras, or monkeys, referred to in the epic is just a figment of imagination, but I as explore these parts, I find more and more locations for many significant events in Ram’s journey during his exile. Was it just a well told story or real. Lost in this dilemma, I pushed on towards the hillocks.

The Ramayana connection

The story of Ramayana is deeply embedded in the collective psyche of the Hindus the indigenous population of the Deccan. The wide geographical sweep of this narrative has ensured that every corner of this Indian subcontinent, starting from Ayodhya, is associated with different aspects of its story-line.

Kishkindha is identified to be the regions around the Tungabhadra river (previously referred to as Pampa ) near Hampi and belongs to Koppal district in Karnataka. The rocky landscape strewn with massive boulders is widely believed by many to be the fabled Vanara kingdom of the brothers, Vali and Sugreeva.

According to the Ramayana, after Ravana abducts Sita, Ram’s frantic search for his beloved wife brings him and his brother, Lakshman southwards to Kishkindha. It is here that they meet Hanuman.

At the time, Kishkindha’s rulers, brothers Vali and Sugreeva were embroiled in a bitter feud, with the former determined to kill the latter. This part of the tale has its own story, but I am going to elude that in the interests of keeping this article short(er). In short Ram helps Sugreeva defeat his brother ans ascend to the throne, in return for his help in finding Sita.

Bouldering in Hampi

After a 30 minute walk we were at the summit of a small hillock popular for activities like bouldering. Many of the boulders here are sitting at the edge, dangling in precarious angles.

Many of my trek buddies tried their skills at climbing boulders with the help of a local instructor. I am past my days of subjecting my body to these rigors, so I found myself a quiet place in the shadows between some boulders and laid down re-hydrating myself with a bottle of mineral water.

After an hour of lazing in the shade, while the others flexed their muscles in the sun, we walked back to the inhabited area of hippie island. In the strong sun, it was dehydrating. Grabbing a can of sugary indulgence I made my way back towards the bus.

On the way I passed the ancient Hampi bridge, made entirely of rocks. I was pleasantly surprised to see that it had been repaired in some parts. I clearly remember it being in shambles from when I was here a couple of years back.

Once everyone was on the bus, we drove towards our next destination – Sanapur lake.

Sanapur Lake

Sanapur Lake is a reservoir fed by canal from the Tungabhadra Dam. It is beautiful to watch the wide lake in middle of boulders. Apart from the beautiful scenery one can also enjoy coracle rides at the lake, but at their own risk. The rides don’t provide life-jackets.

Sanapur Lake is one of those ‘secret attractions’ around Hampi. Honestly, I was not aware of it, the last time I toured this region. The natural lake with stunning boulder hills all around makes it a beautiful locale to spend the evening.

Sanapur Lake is still a less frequented place. You’ll not find a large tourist crowd in this locale. I was told that this place is sought after for cliff diving even though you can find dozens of warning about crocodiles in the water. 

Evening was arriving at a swift pace and we set off from the lake to hike up one of the hillocks to experience the famous sunset over Anegundi.

Sunset over Kishkindha

Let me confess, I don’t recall the name of this hill. I am not sure if it even has a name. But the trail was clearly marked and we didn’t face any issues making our way up to the top. Because of the haze surrounding the region, the sun hid behind the thick clouds much before the actual sunset.

The trek guides had arranged for a few munchies, packed neatly in a paper bag. With just a couple of gulps remaining in my water bottle, I was rather glad to find a tetra-pack of fruit juice in my energy pack.

The top of this hill has a commanding view of the whole Kishkindha area. The Tungabhadra river passes through these hillocks and boulders. The river, the greenery and the green paddy fields presents a breath-taking scene. One can only imagine the monkey kingdom spanning this whole area during the Ramayana era.

Apart from these prominent locations there are other smaller sites associated with the story. The Sugreeva Cave is a popular tourist stop, is believed to be where Sugreeva placed the jewels that Sita dropped along the way as she was being taken away by her abductor, hoping that they might lead Ram to her.

Conclusion

The location of Kishkindha coincides with Hampi that was capital of the Vijayanagar Empire. It is saddening to see the ruins of the magnificent palace structures and fabulous market areas systematically destroyed by the Deccan Sultanate armies. Most of the temples have also been desecrated in this area. Some massive granite structures and idols were defaced in order to stop the worship in the temples.

But Kishkindha with all its linkages to the timeless stories of Ramayana still attracts numerous pilgrims and historians alike. It has withstood the test of time and escaped the ravages brought about by the marauding barbarians. It is heartening to see that these quaint temples are still intact and have continued to inspire reverence in innumerable visitors.

Thanks for reading. You can also check out Navabrindaban nearby, said to be the island where Prahalad repented for his sins. Please leave me a comment if you liked the post or follow my story as I visit go on a heritage walk to Vitthala Temple in Hampi.

The monolithic Pancha Rathas

The Pancha Rathas complex is arguably the most crowded place in Mahabalipuram. The Five Chariots or Panch Rathas are five monolithic temple structures were built by the Pallavas in early 7th century AD. These structures are a part of the Monuments of Mahabalipuram which I have covered in a separate article.

The buildings displaying exquisite carvings have been named individually after Draupadi and the five Pandava brothers though there is no historical basis for it whatsoever. What is even more strange that the Ganesh Ratha found on the Mahabalipuram hill was earlier known as the Arjuna Ratha and the one now called with that name used to be Nakula Ratha.

Moving on…

I tried visiting this place a couple of times before and it was busy as hell, so today I made time in the early morning and drove down to this place. Thankfully it was devoid of the jeering tourists and I could take some nice pictures in the peaceful surrounding.

This compact group of monuments is hewn out of a single rock to form five free-standing monolithic temples. Each of the five structures are chiselled in the shape of rathas or chariots out of large block of stone. They were commissioned during the reign of Narasimha Varman I and are the only monuments of their kind in India. The monuments are a source of many 7th- and 8th-century Sanskrit inscriptions, providing insight into medieval South Indian history, culture, government and religion.

The five rathas have been named as ‘Dharmaraja Ratha’, ‘Bhima Ratha’, ‘Arjuna Ratha’, ‘Nakula Sahadeva Ratha’, and ‘Draupadi Ratha’ after the five Pandava brothers and their common spouse Draupadi from the epic tale of Mahabharata.

History of the Pancha Rathas

The construction of these five rathas is traced back to the 7th century during the reign of King Mahendra Varman I from 600–630 CE and his son Narasimha Varman I from 630–668 AD of the Pallava dynasty. Before their time, wood was generally the first choice for building temples. The concept of carving the rocks in the shape of chariots or rathas was started during the the reign of King Narasimha Varman I. Work on these structures stopped after his demise in 668 AD. Because of its riches, the Pallava kingdom was an obsession with the Chalukya monarchs. After Narasimha Varman I’s death, a series of Chalukya rulers attacked the kingdom and these structures were gradually forgotten over time.

The reason for linking these rathas to the Pandavas is not very clear. Although there is no connection between the structures and the Pandavas, their names have incessantly remained linked with the structures. In 1984 UNESCO granted the entire area the status of a World Heritage Site which included the monuments on Mahabalipuram hill and the Shore Temple.

The five-ratha group is on a north-south axis with the Dharmaraja Ratha on the south, followed by the Bhima, Arjuna and Draupadi Rathas; the latter two share a common platform. Now let’s go over each structure one by one:

Dharmaraja Ratha

The most imposing and architecturally superior structure is the Dharmaraja Ratha. It is also the highest among the five rathas, revealing that the rock utilized for the purpose of making these temples sloped from south to north. Dedicated to Lord Shiva, this elaborately sculptured tri-tala or three-storied vimana stands at the end of the complex, facing west. The name of this structure is attributed to Yudhishthira, the eldest of the Pandava brothers. I will not delve any deeper into the story of the Pandavas here, because I see no connection whatsoever between them and these amazing structures standing in Mahabalipuram.

Sticking to the facts, the temple is a pyramidal structure with a square base, measuring a square of 8.5 m with a height of 11 m. It has an open porch supported by pillars. The temple’s tower consists of a vimana of shrinking squares, capped by an octagonal shikhara. The progressively smaller storeys give the structure the shape of a pyramidal tower. The top of the structure is almost a clone of the Shore Temple, but there is a big difference – the Shore Temple is not a monolithic structure, it was constructed out of blocks of granite.

There are three corner-blocks, each with two panels containing standing figures, between which are two pillars and pilasters supported on squatting lions. The walls have carvings and inscriptions, one mentioning Narasimhavarman I.

The corners of the sanctum contain eight sculptured panels, each representing Harihara, Brahma and Skanda and Shiva. The last image, at the back and facing east, is an Ardhanarishvara – a composite androgynous form of the Hindu God Shiva and his consort Parvati. Ardhanarishvara is depicted as half male and half female, split down the middle. The upper-mid level has carvings of aspects of Shiva and Vishnu, suggesting that the artists revered both Hindu traditions.

A closer look at the pillars reveals some nice detailing near the lions. The Somaskanda panel inside this monument is significant because it dates the temple to the early 7th century. It differs from those created in the Rajasimha period, and resembles those created during the early Pallava era.

Moving on towards the Bhima ratha:

Bhima Ratha

The next temple with a roof, shaped like the hood of a Roman cart-wagon is the Bhima Ratha. You might be wondering how did this design get incorporated into a temple of the 7th century. I can take a guess it was due to the ample trade between the Pallavas and the Romans. The wall panels around Mahabalipuram are another example of Roman influence on the architecture during those times.

Bhima was the next younger sibling of Yudhishthira. He was the muscle of the Pandavas, said to have immense body strength. This structure stands on an elongated rectangular base and is supported lengthwise by four pillars and two pilasters. Its incomplete interior was probably intended to house a reclining Vishnu.

This ek-tala or single stored vimana is the second highest of all the structures here. The north and south sides each have two square, massive pillars. The roof has developed crack lines, possibly caused by structural elements or centuries of weathering.

Dedicated to Lord Vishnu, the ornamentation and pavilion are similar to that of the Dharmaraja Ratha but the detailing is lacking. The lower floor of the vimana, although incomplete indicates the plan was to hollow out the rock, creating a pillar-rested circumambulatory passage.

In my opinion, the Bhima Ratha is the most interesting of all the monuments inside the complex.

Arjuna Ratha

The Arjuna Ratha is almost a smaller replica of the Dharmaraja Ratha except for shape of the dome being hexagonal. This dvi-tala or two tiered vimana also facing west was carved out of a live rock with a height of 6 m. It shares the same platform with the Draupadi Ratha and is dedicated to Shiva. This monument looks to have been fully completed. As I mentioned the Arjuna Ratha was earlier known as Nakula Ratha, but later renamed to Arjuna Ratha.

The walls of the ratha are carved into panels with fourteen sculptures. Four are dvarapalas (Vishnu, a rishi with a student, Kartikeya—or Indra—and Shiva with Nandi), and the rest are humans at various stages of life.

The garbhagriha or sanctum sanctorum has a pillared Mukhamandapa or inner porch. The entrance of the Ratha rests on two pillars and two lions carved pilasters. In-between the exquisitely carved pillars lies chiseled figures of several deities like Siva-Vrishabhantika, Skanda on an elephant, Vishnu, a Siddha, Parthiharas, a Chowri bearer and an Amaras. Alternating elephants and lions are carved at the base of this monument all around as supports.

A statue of Shiva’s mount, Nandi the bull, is housed on the rear of the Arjun Ratha.

Nakula-Sahadeva Ratha

This Ratha, dedicated to the celestial king Indra, was named after the twins Nakula and Sahadeva, the youngest of the Pandava brothers. It is the only ratha among the five that faces south. Its front extends slightly forward to form a porch supported by two pillars.

A monolithic sculpture of an elephant also finds place beside the Ratha. All these monuments were constructed on the same base as that of the Dharmaraja Ratha. Although the ratha is devoid of any idol for worship, carved figures of gods and demigods adorn its interior walls. The outer walls of this Ratha have been left blank.

A monolithic elephant sits beside this structure, which I can only guess to be Airavat, the vehicle of Indra.

Draupadi Ratha

Named after the common wife of the Pancha Pandavas, this ratha which lies at the northern end of the five rathas is dedicated to Goddess Durga. Constructed in the form of pre-historic huts from ancient Bengal, it is the smallest of the five rathas with a height of 5.5 m. It is supported by four corner-pilasters and contains two dvarapalikas (female guards) flanking either side of the doorway.

The curvilinear roof is devoid of any sculptures. The corners are decorated with alpana markings. The high-rise platform leading to the entrance door of the west-facing ratha is decorated with sculptures of lion and elephant heads chiselled alternately. The rear part of the Ratha display a lone figure of Durga.

In the cell inside there is another four-armed standing Durga, adored by two male worshipers kneeling at her feet, one of them brandishing his sword.

Best time to visit Mahabalipuram

Best time to visit the Mahabalipuram Rathas is from December to February. Mahabalipuram is unbearably hot for the rest of the year. It is also advisable to come as early as possible. With every passing hour the crowd keeps growing and it becomes almost a carnival by evening. You wont even get any parking space in that crowd.

Although unfinished and never consecrated, these Rathas are part of the monument complex that is marked as ‘Group of Monuments at Mahabalipuram’ by UNESCO. After a last glimpse of the Panch rathas, I made my way towards the parking lot.

Maintained under the patronage of the Archaeological Survey of India, this complex has remained one of the popular tourist destinations of south India that became laid the foundation of the temple architecture of South India.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I drive to the Tiger Cave in Mahabalipuram.

The curious case of Krishna’s Butterball

Today I went to explore one of the most mysterious ancient artifacts found in South India. Krishna’s Butterball is a gigantic granite boulder resting on an extremely small and slippery area of a hill in the historical town of Mahabalipuram.

The boulder is approximately 6 meters high and 5 meters wide and should be easily weighing around 250 tons. This precariously balanced boulder is believed to be a bolus of butter the young Krishna would steal as told in mythological stories. The rock continues to defy gravity and has been sitting on this 45-degree slope for 3 billion years or even more.

The quaint town of Mahabalipuram slept as I drove at the break of dawn to explore the mystery behind this spherical rock. Daytime is a huge deal breaker if you want any quiet time anywhere in India. These tourist places are buzzing with selfie-takers.

History behind the Krishna’s Butter Ball

Being an ASI-protected monument, the area is protected. The gate doesn’t open till 6.00 am, so I waited. One of the guards was having a vigorous discussion with someone on the other line of his mobile phone. I could make out he was speaking in Oriya, the language of Orissa Prefecture. The other guard lay under a rock pedestal near the gate. We both waited on either side of the gate in the darkness until the time to tick over.

When they open the gates at 6.00 am, I was really glad that there was no other soul around and I could have my 15 minutes with the curious stone in absolute solace.

The original name of the rock is “Vaan Irai Kal” which translates to “Stone of the Sky God” But just like the historians have been a confused group with regard to naming the ancient monuments in Mahabalipuram, the locals today just refer to this enigmatic giant stone as Krishna’s Butter Ball.

According to Hindu mythology, when Krishna was just a baby, he was fond of stealing butter. He would steal butter from wherever he could, especially the butter that his mother would keep in a pot. He would steal a handful of butter and run away to relish it in the woods. Now someone came up with the thought that this boulder at Mahabalipuram looks very much like a butter dollop and hence, the name was given as Krishna Butter Ball. This rock which looks like a bolus of butter is said to have fallen from the heavens and turned to rock. Religious people tend to have insane levels of creativity 😉

Unfortunately, tripods are not allowed inside ASI-protected monuments. In the dim light, my camera was screaming at 5000 ISO. Fingers crossed…

Some attribute this phenomenon to friction and the center of gravity. Friction prevents the rock from sliding down, conceptually similar to how we are able to stand on sloping ground and the center of gravity allows it to stay balanced on the smallest of the contact area. However, I did try to walk down the slope and it was not possible. I had to slide down to come back to the base of the hill.

So I am inclined to go with the other opinion that when these boulders cooled off about 3.5 billion years ago the connected parts got fused together and that is holding the rock sturdily for all these centuries.

Attempts to move the Krishna Butter Ball

In the cool breeze, I could feel the rough granite brush against my palms. I am never going to die wondering, so I gave the rock a push with all my strength. Nothing…

Several attempts have been made to remove the rock from its original position but have proven futile. One of the local stories going around is when the Pallava king Narasimha Varman I was working on building the lovely monuments on this hillock, he wanted to move this rock which looked like an obstacle amidst the lush greenery. His commanders tried to pull down the ball using horses and elephants but failed to do so.

More recently in 1908 the then Governor of Madras(Chennai), Arthur Lawley decided the boulder to be too dangerous to nearby homes and wanted it removed. Seven elephants were employed to push the rock, but the rock didn’t budge an inch and the task was eventually abandoned.

If you have traveled parts of Karnataka specially Hampi, you will realize that there are hundreds of such precariously places boulders strewn across the Deccan plateau that defy common sense.

I am just going to categorize this as a curious phenomenon that defies the laws of science, in particular physics. People do tend to get attracted to these and so this rock will, in all probability, keep the interest alive for centuries to come.

Other deserving mentions

I have made a small list of a few other boulders that have left me scratching my head.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I visit the Five Chariot monuments in Mahabalipuram

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.

The shrines of Nikko

It was a sudden rush of the moment when I decided to visit the shrines of Nikko. The day before I was shuffling through some souvenirs at the Tougyoku Doll museum, when I chanced upon a set of hand painted cards of popular UNESCO sites in Japan. The box contained a set of six UNESCO sites, of which I had visited all, barring Nikko. So it was decided right then that we were going to Nikko the next day.

The “Shrines and Temples of Nikko” refer to the Toshogu and Futarasan-jinja shrines, the Rinnoji temple and the surrounding sacred forest located in Tochigi Prefecture, in the northern part of Japan’s Kanto region. These architectural and decorative masterpieces of Nikko, together with their natural surroundings, have been a sacred site for centuries.

Train ride from Takasaki to Nikko

We started out in the early morning from Takasaki. It was a dull cloudy day. We had been staying at the Tokoyo Inn in Takasaki. It’s just a 5 minute walk from the station and has good facilities.

I had been to Nikko once earlier when I visited Lake Chuzenji, so I knew it takes some time specially on the local train from Utsunomiya Station on the JR Nikko Line. I hope they would schedule some express trains in the future for tourists who generally go directly to Nikko, rather than stopping at all stations. That would save a lot of travel time.

We reached Nikko by noon. At the station the first thing we did was check with the information booth.

The lady at the counter alerted us that a huge traffic jam was underway and we would be better off on foot rather on the sightseeing bus. So we walked down the quiet streets. Along the way, we picked up a couple of ice cream cones for the road.

The city of Nikko is a cozy place with small shops and restaurants. We saw many foreign tourists also making their way towards the shrines. The city does not have many hotels and generally visitors come here on day trips and head out before dusk.

Shin-kyo Bridge

After walking for about 20 minutes we were at a beautiful arch-shaped bridge covered in vermilion lacquer and supported by stone piers. The Shinkyo Bridge acts as a gateway to the shrines and temples of Nikko.

Legend has it that once Shonin was unable to cross the strong rapids of the Daiyagawa river. So Shonin prayed to the gods and gods answered by sending two snakes which formed a bridge for him to walk across. We stayed at the bridge for some time enjoying the cool breeze across the river.

History of Nikko

From the bridge, we entered the forested area of Nikko. A series of moss-covered steps led us up the mountain towards the Tosho-gu Shrine. It had started to drizzle as we made our way uphill towards the shrine. Even though Nikko is 3 hours away, the cloud cover had followed us all the way from Takasaki

The sacred forest of Nikko dates all the way back to the 8th century. It was then that Shonin founded the Shihon-ryu-ji Temple (formerly Rinno-ji Temple). Later he also founded the Chuzenji Temple in 782 at the foothills of Mount Nantai. Shodo Shonin passed away in the year 817 and was buried in Kaizan-do Temple. Thereafter for centuries, the area with its forest and mountains became a training ground for Buddhist monks.

However it was only when the forest was chosen to house the mausoleum of Tokugawa Ieyasu, the ruling warlord of Japan, that Nikko became popular. People came from all over Japan to witness the  beautifully ornate shrine.

The path to the Tosho-gu shrine is lined with giant ancient trees that reminded me of the Kumano trail in Nachi.

At certain points pilgrims had tied Ema on the bushes.

After the initial climb, the trail is easy and we were quickly at the shrine.

I was surprised by the huge crowd that had gathered at the Tosho-gu Shrine. Nikko, it seems  is very popular among foreign tourists and even though it was a Monday afternoon, there was no letting up. Many of them are like me who may not be Buddhist but still appreciate the ornate temples created by craftsmen in the late 17th Century. From that moment on, I couldn’t enjoy the place. Too much noise disturbs me. A spiritual place like Nikko can only be enjoyed in silence. But since we were here we decided to at-least witness the decorative Tosho-gu Shrine.

Tosho-gu Shrine

Tosho-gu is the main Shinto shrine in Nikko, and the entrance is through the magnificent Omote-mon gate. It was built as a shrine and mausoleum to deify Ieyasu Tokugawa (1543-1617), founder of the Tokugawa Shogunate that lasted over 2 centuries. As many as 450 thousand workmen and artisans labored over a period of two years to complete Toshogu.

There was a long queue for the admission tickets to the shrine. Beside the ticket booth there is a heavily decorated 5 storyed pagoda. The original pagoda dated from 1650 but burned down in 1815. The present tower is a reconstruction from 1818. The twelve Chinese zodiac signs are carved around the Pagoda’s first level.

While Mani stood in the queue to obtain the tickets, I took some shots of the Omote-mon gate.

The gate is protected by huge red Nio guardian kings on either side.

Through the Omote-mon front gate we found ourselves in front of the three San-Jinko Sacred Storehouses. The beautifully decorated storehouses with colorfully painted carvings are used to keep costumes for spring and autumn festivities. One can see a carving of elephants on the top-tier of the buildings, even though they are not indigenous animals of Japan.

To the left of the entrance is the famous Shinkyusha (meaning “Sacred Stable”), decorated with wood carvings of monkeys. The stable is Toshogu’s only unpainted structure. The only decorated carving is of the three, “Hear no evil, See no evil and Speak no evil” monkeys demonstrating the three principles of Tendai Buddhism. The stable houses a horse named Kotuku, donated by the government of New Zealand.

The “Three Monkeys”, carving below is famous throughout the world for the “see no evil, hear no evil and speak no evil” poses. The carved monkeys covering their eyes, ears and mouth, respectively, were inspired by the Buddhist teaching that if we do not hear, see or speak evil, we ourselves shall be spared from evil.

To the left of the stable on can find some sacred lanterns made of stone and bronze.

Further on after a right-hand bend in the path is the Omizuya lavabo, a holy washing trough, dating from 1618. Water is siphoned from the nearby river for worshipers at the shrine to purify themselves.

A staircase leads up to the Yomei-mon gate. In front of the gate, there are two bells on either side, the roofs of which have a carved Baku on each of the four corners. The elephant-like Baku (獏) is an imaginary creature from Chinese mythology thought to prevent or devour nightmares. It has the trunk and tusks of an elephant, the eyes of a rhinoceros, the tail of a cow, and the paws of a tiger.

The Yomei-mon (meaning “Sunset Gate”) is another amazingly decorated structure with gold leaves, intricate, colorful carvings and paintings of flowers, dancers and mythical beasts and Chinese sages. Historians say about 2.5 million sheets of gold leaf were used, each gold leaf being about 4 square inches. The extensive decorations of the gate displays the artistic taste of this ruling family of Japan that lasted for two and a half centuries. The Youmeimon tower gateway is famous for its lavish decorations that include over 300 dazzling carvings of mythical beasts, such as dragons and Chinese sages. Unfortunately, the gate itself was partly covered due to the restoration underway.

We were finally inside the main area of the shrine. It was so crowded in there, we had to forego all hopes of getting inside the shrine.

During the years, the area has been subjected to many natural disasters, mainly due to earthquakes. Each time, the damaged buildings were restored faithfully, following rigorously the original plans and techniques, using the original materials whenever possible. This has enabled the site to maintain its authenticity and continue to function as a place of religious rituals drawing pilgrims from all over Japan.

Nikko is a vast area of shrines and temples that it is almost overwhelming! Outside the Toshogu shrine, we walked past many other small temples, some closed, some in ruins. The drizzle had stopped by 2 pm and we slowly started on our way back to the train station.

The Nikko shrines and temples is a perfect illustration of the architectural style of the Edo period as applied to Shinto shrines and Buddhist temples. The shrine and temple buildings, together with their natural surroundings, have for centuries constituted a sacred site and the home of architectural and decorative masterpieces. It was a satisfied feeling to have visited the shrine, although I would have loved to be in a less crowded place.

Thanks for reading. Please leave your comments below or follow my story as we visit the Shorinzan Daruma Temple in Gunma.

Hike to Yamadera Temple

After witnessing the exhilarating warrior floats of Aomori Nebuta Museum, I began my journey towards Yamadera. The Hayabusa Shinkansen brought me to Sendai and from there I switched to the local train to Yamadera. Yamadera Station is about a 40-minute train ride from Sendai, Tohoku’s most happening city. The local train to Yamadera goes very slowly through the beautiful and thrilling mountainous territory. Many self-mummified monks trained among these mountains of Haguro, Gassan and Yudono. Their bodies still lie at these sacred sites, the locations of which are closely guarded by the locals. 

The train dropped me off at the Yamadera station at about 1 pm. From the small station, I walked straight towards the location of the temple entrance, across a small bridge, painted in traditional bright red, over the Tachiyagawa river. 

Multiple road signs on the street guided me towards the entrance of the temple grounds at the base of the mountain. I was on the clock and upon knowing I would have to climb 1,015 steps to reach the summit of Risshaku-ji Temple, I was a bit circumspect if I would be able to make it back in time to catch the next train to Yamagata. Trains are far apart scheduled at intervals of an hour. So it is important to plan your ascent and descent so you don’t have to wait for an extra hour for the train to come along.

The street in front of narrow temple entrance is lined with restaurants serving local delicacies. You can also find some souvenir shops in the vicinity. The area is named after the common name of the temple of Risshaku-ji (立石寺), founded in 860 AD by the priest Ennin, who is better known in Japan by his posthumous name, Jikaku Daishi. Though the temple’s official name is Risshaku-ji, locals refer to it simply as Yamadera – which means “mountain temple.”

From the narrow entrance path I turned left towards the Sanmon, entrance gate. Along the way I passed a lovely statue of the respected poet Matsuo Bashou. 

Just beyond the statue of Matsuo Bashou on the right lies the Nenbutsudo temple with a bell tower beside it.

The History of Yamadera

I bought my tickets for ￥300 at the Sanmon (山門), entrance gate and started my ascent.

The Buddhist temple better known as Yamadera, was founded in the 9th century by the Tendai school by the Buddhist teacher Ennin. The temple complex was founded to oversee and assist in the growth of Tendai Buddhism sect in the northern Tohoku region. The temple enshrines Yakushi Nyorai – the Buddha of healing and medicine. From the entrance, along the trail there are more than 30 small sacred structures. Legend has it that climbing the long road and paying homage at the temples will break your bad luck. I also noticed a few teenage visitors hopping on one leg, making their way up to the temple. I am not sure but maybe its a local practice.

After several centuries of prosperity, the temple was partially destroyed in early 16th century during the chaotic Sengoku era. It was later rebuilt in AD 1543 under the monk Enkai. For over a hundred years, its popularity was gradually lost but it shot back to fame in 1689, when Matsuo Bashou, the famous haiku master, stayed in this remote place enchanted by its natural beauty. A place that inspired him to write his famous haiku “Ah this silence / sinking into the rocks / voice of cicada”. It describes how moved he was by hearing only the sound of a cicada echoing across the silent wood. A number of stone monuments bearing Basho’s words line the mountain path. 

Just like on my hikes to Wakakusayama and other places, the descending hikers offered nods of encouragement to us, making their way up, with a smiling “konnichiwa” as they passed.

As I climbed the small steps higher and higher I found many small shrines, stone statues and carvings. 

The religious complex is composed of about thirty structures. One of the most important cultural asset is the Heian period seated wooden image of Yakushi Nyorai (the Buddha Bhaisajyaguru). Apart from it, Yamadera holds many other important cultural assets in its treasure-house, the Hihokan, including standing wooden idols of Shaka Nyorai, Yakushi Nyorai and Amida Nyorai, a seated wooden idol of Dengyo Daishi, a hanging wooden mandala of Buddha, and a stone monument of the Nyohō-kyō Sutra from 1144 AD. The Konpon-chudo Hall is said to house a Buddhist flame that’s been burning continuously for more than 1,000 years.

The ascent is easily accessible and I had no problems whatsoever tackling it. The stone trail consists of massive moss-covered boulders on either side. Among the luxuriant pines and cypresses trees, if one is lucky they can hear the cicadas chirping away happily.

On the way I paused for a while near the Midahora (弥陀洞), the cave of Amitabha, embedded with thousands of one-yen coins. I am not sure about its significance, but I assume it’s some kind of wishing thing, similar to wishing wells in Europe.

From the Midahora, I picked up my pace as I was almost near the top. In a few minutes I was at the Niomon Gate. The Niomon gate contains many stickers with names of people who have walked these steps.

Just after the Niomon Gate very close to the peak lies three other buildings: the Daibutsuden, Okunoin and Kaizando temples. Okunoin is the main temple hall but not the biggest draw of this place. Interestingly it is the small red building Nokyodo that attracts the most attention of the tourists including me. Indeed, Yamadera is best known for its impressive view of the Nokyodo over the valley.

Nokyodo of Yamadera

Before I even reached Okunoin hall, I was near the most photographed structure at Yamadera: the small red Nokyodo building. The Nokyodo is perfectly positioned to appear on the pictures of this splendid landscape. 

A nearby path takes visitors to the wooden observation platform, Godaido, which gives incredible views of the surrounding Yamagata countryside. The Godaido Observatory is definitely the best place to enjoy the beauty of the wide landscape. I didn’t have much time left for the next scheduled train, so I skipped the main hall, I started on my descent.

Yamadera is a good half-day stroll. The ascension is not difficult, and I was able to make my way to the base pretty quickly. On the way back to station I took a left from the Sanmon entrance gate that led me towards the Bakuman exit.

The place must look truly amazing during koyo in autumn when the leaves change colors to a brilliant red, but it’s not so bad during summers either. 

The biggest downside of this place, in my opinion is that there is only one train per hour, whether you come from Sendai or Yamagata. So your visit must be synchronized  perfectly with the railway timetable if you do not want to wait for long at the station. I thoroughly enjoyed the trip, specially the view from the summit, which was magnificent. The mountain hides withing itself many sacred shrines for the pilgrims, and an equally picturesque temples clinging to the steep rocky hillsides for the camera clicking tourists. The thousand step climb through the dense cedar trees is absolutely worth it, once you reach the top and the view the valley from there.

I grabbed a drink from the vending machine at the station. The hike in the dry weather had sapped me out. I sat for a few minutes before the train to Yamagata arrived and I was on my way.

Please leave a comment if you like my story or continue with me as I visit Tsuruoka to witness the mummified remains of Tetsuryou-kai.

The radiant Shuri Castle

31 October 2019 Update. It is a sad sad day as I see helicopters capturing the video footage of the Shuri Castle in flames. A massive fire broke out and burned down the Seiden, the main hall, and also the Hokuden and Nanden. The fire alarm went off around 2:30 am and by afternoon, the fire had completely gutted six of the castle’s heritage buildings. I feel a heavy burden in my heart as Okinawa’s most iconic heritage site and some of my most memorable moments vanished up in smoke.

This is my story of when I visited the castle in 2016.

Shuri Castle is a Ryukyuan gusuku castle in Shuri district of Okinawa Prefecture in Japan. The castle was built sometime in the 13th century by Shunbajunki, the second king of Chuzan. It served as the center of politics, foreign affairs, and culture of the Ryukyu Kingdom until the archipelago was annexed by the Japanese Meiji government in 1879 CE.

My day began among sunny blue skies in Nara. It was hot, but the strong breeze made it pleasant. I and my wife, Mani, got up early and had a light breakfast. We packed light. The trip to Okinawa was a short one and a single cabin bag was enough for both of us.

Our flight to Okinawa was scheduled for 10.30 am. From Nara, we took the limousine bus to Osaka KIX Airport. From KIX Airport, we caught the flight to the Ryuku kingdom on the southernmost island of Japan.

If you are catching a Peach flight from KIX Airport, you will need to get down at Terminal 2

Peach Airlines is one of the cheapest ways to reach Okinawa from Osaka. I wouldn’t recommend flying economy if you are a large figure. The spacing on the aircraft was quite constrained. Thankfully the discomfort only lasted for a wee bit over 2 hours.

We landed in Okinawa at 12.40 pm to wonderful but hot weather. The airport building is directly connected to the Okinawa Urban Monorail, also known as Yui Rail. The monorail line serves as a useful commute in the busy cities of Naha and Urasoe in Okinawa. If you don’t have anyone to pick you up and you want to save on the cab fare, you can use the monorail, which takes you directly into the city.

Fact: Okinawa is the southernmost island of Japan and Akamine Station and Naha Airport Station, are the southernmost and westernmost active rail stations in Japan.

It was only later while writing the journal that I realized, that at that moment I had inadvertently traveled to the southernmost train station in Japan. For the record, I have already been to the northernmost active station in Japan.

We had to wait for some time before the train arrived. We were heading to Asahibashi Station, where, just a few blocks away, we had booked our stay at the Naha Beachside Hotel.

As the monorail carried us into the city, I kept staring out of the window with the excitement of a schoolboy on a camping trip. I have to admit that Naha is unlike any Japanese city. Not only are the homes designed differently, but the trees and shrubs are also more tropical, like the ones found in my home city of Kolkata.

From Asahibashi Station, it was a long walk to the hotel. We were exhausted by the time we reached the hotel, but we still had some time before we could check-in. So, we just dropped our bags at the hotel reception and walked back to Asahibashi Station. The Sun was extremely strong, but we kept going.

At Asahibashi station we gathered the available information regarding local sightseeing and train timings. Since we were already out, we decided to head out to Shuri Castle. On the way, we grabbed some onigiri from a nearby convenience store.

Trains are at 8-minute intervals and it takes about 17 minutes to get to Shuri Station from Asahibashi. Within a few minutes, the monorail came wooshing along and we were on our way to explore our first heritage site in Okinawa.

The train comprised of two coaches, with a capacity of around 100 people. After getting down at Shuri Station, we were not sure about the directions to the castle so we used our phone navigation to guide us towards the castle grounds.

Shuri Castle is surrounded by a massive park. Within the castle park, there are numerous historical buildings and sites that have been passed down from the bygone era. Usually, one gains access to the castle’s grounds via the Shurei-mon Gate and passes the stone gate – Sonohyan-utaki, before entering the actual fortification walls at the Kankai-mon. However, we wanted to explore a few other structures surrounding the park before entering the castle grounds.

Benzaitendo

The first building we landed at was the Benzaitendo, sitting idly in the middle of a manmade pond called the Enganchi. A masonry bridge, called Tennyo bashi, connects the edge of the pond to the small building. The railings of the stone bridge are beautifully decorated with images of lotuses on either side.

The Enganchi is a man-made pond. It was initially constructed in 1502, to hold the spring water and rainwater that flowed from the top of Shuri Castle. Water that overflowed from this pond was collected at the Ryutan, another pond located adjacent to it.

The Benzaitendo, sitting idly in the middle, with faded, red roof tiles, enshrines the goddess Benzaiten, a deity that watches over people on voyages at sea. But I hear that it was always not so. The history of this pond and the building in the center goes back to the mid-15th century, during the reign of King Sho Toku.

The Sho family ruled the Ryukyu Kingdom from the early 15th century through 1879 when it was annexed by Japan and renamed Okinawa Prefecture

Precious Housatsuzou-kyou (Buddhist scriptures) were presented by the Korean king Sejo of the Joseon Dynasty to the then king of Okinawa, King Sho Toku. Many years after the death of Sho Toku, In 1502, by the order of King Sho Shin, a small building was built over the Enganchi Pond in order to house these scriptures.

The building was destroyed in 1609 during the invasion of Ryukyu by forces of the Japanese feudal domain of Satsuma. When it was later restored in 1629, an image of Benzaiten was enshrined here. The statue was ruined a couple of more times but it was always restored. The last time it was destroyed was during the Battle of Okinawa but again restored in 1968.

After exploring and capturing some the shots of the pond, we moved on towards the back of the castle.

Shuri Castle Grounds

Built inside a sprawling complex, Shuri Castle or Shuri-jo, includes layers of inner and outer walls constructed in different eras. As I mentioned before, Shuri-jo is a Ryukyuan gusuku castle. The “Gusuku” were basically walled compounds created between the 12th to 16th centuries, that evolved into forts and castles of local chieftains. Not all gusuku buildings evolved into castles, some of them were also religious centers used for traditional religious rituals such as nature worship.

Like other gusuku, the Shuri Castle was built using Ryukyuan limestone. The outer walls which were built during the Second Shō Dynasty, dates back to the 15th-century, while the inside walls were commissioned some time in the mid-16th century. Surrounded by these winding stone walls, Shuri-jo is neither an imposing citadel like the Matsumoto Castle nor a fortress-like the Matsue Castle. Locals describe it as a castle designed to welcome people.

Most parts of the castle can be explored free of charge. Only if you want to see the very inner parts of the castle, you’ll have to buy admission tickets, which can be purchased at the Kōfuku-mon.

Kyukei-mon Gate

We entered the castle grounds from the Kyukei-mon Gate at the back. Its foundation was laid sometime in 1477 and it was completed in 1526. Kyukei-mon is also known as Hokori Ujo. While the Kankai-mon was the main gate, Kyukei-mon functioned as a service gate where mainly women passed through. The gate was also used on certain occasions by the King when he visited the temple at the base to offer his prayers or during times he visited Urasoe district in the north

From the Kyukei-mon Gate a cobbled path leads to the Kankai-mon gate. From there a curving path leads to the Zuisen-mon gate.

Zuisen-mon

Two Shishi lions, carved in stone sit on either side of the Zuisen-mon gate. “Zuisen” means “great, auspicious fountain,” and the gate was named after a “dragon head” water conduit called “Ryuhi” in front of the gate. Shishi lions traditionally stand guard outside the gates of Japanese Shinto shrines and Buddhist temples. They are always depicted in pairs, one with mouth open and one with mouth shut.

A few paces up the path leads you to the Houshin-mon Gate.

Houshin-mon Gate

Hoshin-mon Gate means “a gate to respect the gods.” Beyond the Houshin-mon Gate you will find yourself in front of the Una Forecourt with the beautiful Seiden Hall at the end.

Shuri Castle

The date of construction of Shuri Castle is uncertain, but it was clearly in use as a castle during the Sanzan period (1322 – 1429). It is believed that it was probably built during the Gusuku period (1050 -1429), like most other castles of Okinawa. The beginning of the Gusuku period corresponds to that of the Old Ryukyu period of Okinawan historiography, both beginning in 1187 with the semi-legendary ascension of King Shunten. When King Shō Hashi unified the three principalities of Okinawa and established the Ryukyu Kingdom, he used Shuri as a residence. At the same time, Shuri flourished as the capital and continued to do so during the Second Shō Dynasty.

The characteristics of Ryukyuan architecture at Shuri-jo lies in the unique features of Ryukyuan designs arranged with the influences of both the architectural styles of Japan and China. The Seiden is the Honden or the main hall of Shurijo Castle and, unlike Japanese castles with Tenshukaku or castle towers, it shows architectural styles of Chinese imperial structures and strong influences of Japanese architectural features of shrines and temples.

A three-story structure with wide stone steps at the front, and the dragon pillars of Dairyuchu and Shoryuchu which are carved out as columns. At the center of the Seiden’s roof is a design known as Karahafu.

The karahafu is perhaps the most instantly recognizable Japanese architectural feature, yet its origins are not well established in Western literature. Folk etymology suggests that the style was imported from China sometime during the Nara or Heian period. You can clearly see its ominous presence at the entrance to the Todai-ji.

Seiden Hall of Shuri Castle

For 450 years from 1429, it was the royal court and administrative center of the Ryukyu Kingdom. It was the focal point of foreign trade, as well as the political, economic, and cultural heart of the Ryukyu Islands. According to records, the castle burned down several times, and rebuilt each time.

The 15th century was the kingdom’s golden age but after that, it experienced one hardship after another. During the reign of Shō Nei, samurai forces from the Japanese feudal domain of Satsuma seized Shuri in May 1609. The Japanese withdrew soon afterwards, returning Shō Nei to his throne two years later, and the castle and city to the Ryukyuans, though the kingdom was now a vassal state under Satsuma’s suzerainty and would remain so for roughly 250 years.

After taking a breather we walked in to explore the interiors of the castle. In order to enter the Seiden, one enters the buildings on the right hand side of the Una at the one-storied Bandokoro, which houses, just like the connected, two-storied Nanden, a museum documenting the eventful history of the castle and royal dynasties of Okinawa.

The Shuri Castle complex itself can be divided into three main zones, namely a central administrative area (including the Seidan and Ura), an eastern living and ceremonial space (behind the Seidan) called the Ouchibara (literally “inside field”), and a southwestern ceremonial area including the Kyo-no-uchi. The living quarters were occupied by the Ryukyu Kingdom’s ruling family from 1429 to 1879.

The Hokuden also houses two miniatures of the palace’s buildings set for special ceremonies. The seating arrangement will surely remind you of scenes from mythological movies depicting the Forbidden City in Beijing.

The throne in the Karahafu area of Shuri Castle. The first floor of the Seiden was referred to as Shichagui, and this was where the King himself mainly led the ceremonies. The lavish area at the center was called the Usasuka, the royal throne where the King presided for various ceremonies. Through the sliding Shoji screens behind the Usasuka is the Ochokui, a set of stairs used exclusively by the King, and it was from these stairs that the King arrived to the Usasuka from the second floor.

The dragon is a vast imaginary beast that originally symbolized the Chinese emperor. The Ryukyuan king made extensive use of dragon images in imitation of the emperor.

The second floor of the Seiden is called the Ufugui and at the center is where the King’s throne was placed, on a platform similar to that of Shumidan Buddhist altars. Above the throne were a number of framed writings sent by Chinese emperors that read, Chuzan Seido – Ryukyu is to be ruled by the King of Chuzan; Shuzui Kyuyo – Ryukyu is where auspicious markings gather, and Eiso Eizen – rule the Kingdom of Ryukyu found across the seas with eternal happiness. These writings were framed after coated with lacquer in Ryukyu, and displayed in the palace.

The glorious throne we can see today is a reconstruction of the throne used by King Sho Shin, who ruled the island from 1477 to 1526.

There are a total of 33 dragon ornaments inside and outside of the Seiden, including the pair of large dragon pillars standing at both sides of the main entrance.

Here we have the The Royal Crown is also called HIBENKAN or TAMANCHAABUI. Along with a formal costume gifted by the Chinese emperor, it was a formal wear for the king at such nationally significant events as Sappo (enthronement of the king) and the New Year’s celebration.

Black silk crepe was attached to the crown’s surface, and 12 of tape shaped golden threads were sewn on it. 7 kinds of 24 beads – a total of 288 beads – including gold, silver, coral, and crystal were tacked on each golden thread. A dragon, the symbol of the king, was engraved in the golden ornamental hairpin.

In 1879, the kingdom was annexed by the Empire of Japan and the last king, Shō Tai, was compelled to move to Tokyo, and in 1884, he was “elevated” to the rank of marquess in the Japanese aristocracy. The kingdom was turned into Okinawa Prefecture, and its 500 years of history came to an end. Subsequently, the castle was used as a barracks by the Imperial Japanese Army. The Japanese garrison withdrew in 1896, but not before having created a series of tunnels and caverns below it.

In 1908, Shuri City bought the castle from the Japanese government, however, it did not have funding to renovate it. In 1923, thanks to Japanese architect Ito Chuta, Seiden survived demolition after being re-designated a prefectural Shinto shrine known as Okinawa Shrine. In 1925, it was designated as a national treasure.

Ryukyuan elements also dominate. Like other gusuku, the castle was built using Ryukyuan limestone, being surrounded by an outer shell which was built during the Second Shō Dynasty from the second half of the 15th century to the first half of the 16th century. Similarly, Okushoin-en is the only surviving garden in a gusuku in the Ryukyu Islands, which made use of the limestone bedrock and arranged using local cycads.

The large dragon pillars erected on both sides of the stone steps at the center of the Seiden are called Dairyuchu, and these were first created in 1508. Later, they were remade several times as the Seiden saw reconstruction works after fires. The present Dairyuchu were made after 1712, and their shape and size were referenced from damaged remains of the present pillars that managed to survive the ravages of war, and also from records that documented repairs of the Seiden in 1758.

Unlike Japanese castles, Shuri Castle was greatly influenced by Chinese architecture, with functional and decorative elements similar to that seen primarily in the Forbidden City. The gates and various buildings were painted in red with lacquer, walls and eaves colorfully decorated, and roof tiles made of Goryeo and later red Ryukyuan tiles, and the decoration of each part heavily using the king’s dragon.

Shuri Castle operated not only as a base of political and military control, it was also regarded as a central religious sanctuary of the Ryukyuan people. Formerly there were 10 utaki (shrines) within the castle and the large area on the south-western side of the citadel was occupied by a sanctuary called the Kyo-no-uchi.

We take it for granted so naturally that the islands of Okinawa are an integral part of Japan, and yet the fact is it has only been less than 150 years since they became part of the Japanese Empire.

We were both extremely tired from the exhausting walk. As the sun set of the beautiful castle we made our way down. The street lamps were on. I wished I had had some strength to set up the tripod, but I was very tired. The shots thereafter are noisy as they were taken hand-held.

We passed by the Tennyo Bashi which was dimly lit up and looked fantastical in the night.

We took the monorail back to Asahibashi Station. On the way to the hotel, we grabbed some food from a convenience store to eat at the hotel.

It was about 9 pm by the time we reached the Naha Beachside Hotel. We checked in quickly and directly went for a hot tub bath.

Shuri Castle’s history is enmeshed in the imperialist history between the island of Okinawa and Japan, which annexed the Ryukyu Islands into its feudal domain in 1879. Before then, Shuri had been the capital of Okinawa. Now, the city is part of Naha, the new capital of Japan’s Okinawa prefecture.

Thanks for reading! Tomorrow we head out to the Okinawa Churaumi considered one of the biggest aquariums in the world.

Open Timings:

April to June: 8.30 am to 7 pm (last entry: 6.30 pm)
July to September: 8.30 am to 8 pm ( last entry: 7.30 pm)
October to November: 8.30 am to 7 pm (last entry: 6.30 pm)
December to March: 8.30 am to 6 pm (last entry: 5.30 pm)

Admission fees:

Adults: 800 Yen

The moonlit Kofuku-ji Pagoda

I walked down to Kofukuji today in the evening to catch the huge Pagoda with the moon rising behind it. The five-story structure(Gojunoto) is the second tallest Pagoda in all of Japan. Built in 725 AD by the Empress Komyoh and last rebuilt in 1426, it is also a UNESCO World Heritage listed site.

The walk to Nara walk is generally entertaining.

Sarusawa Pond

Kofuku-ji Pagoda from the front

Kofuku-ji Pagoda

Petting the deer near Kofuku-ji

Deer at Nara Park

Dusk begins to take over Kofuku-ji Pagoda

The kofuku-ji Pagoda in the evening

A close-up shot of Kofuku-ji Pagoda

Nan’en-dō, Kōfuku-ji

Read all about my walk to Kofukuji. If you are visiting Nara, you can also check out my day at the Nara Deer Park.

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