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Temples are the symbolic reconstruction of the universe. The graceful blessings of God and the lives of human beings are linked together continuously in which time is conceived as a crystal system. Art is the reflection of the life of the people and also the store house of their noblest thoughts. The important contribution of temple is to promote creative art, architecture, sculpture, painting, music, dance, culture and religious activities. Hence temples are the background of all the social and religious activities of the human beings.
In the first chapter, I have elaborately discussed the definition of temple and its meaning and its significances of Mamallapuram which are needed for the study, and also the limitation of the study, plan of the study, delimitation sources and review of literature, The second chapter explains the significances of the temple, arts, architecture, styles of Indian architecture, significances of Hindu temple, folk context of Indian temple, ideals of temple art, symbolism and their significances, religious conditions, Bhakti movement and religion in Pallava period.
The third chapter entitled the contribution of Pallava to
Kanchipuram which comprises the history of Pallavas, characteristic features of Pallava’s religious art, artistic style and the famous temples in
Kanchipuram. The fourth chapter deals with Mamallapuram as a centre of arts creations which contain all the information pertaining to 254
Mamallapuram (rathas, caves, mandapas and temple). This is the central point of my thesis.
The ongoing research reveals Templuism of the great Pallavas with special reference to Mamallapuram that has remained famous for rock – cut temples and structural temples. It is a great centre both for architecture and sculptures. This famous artistic centre is also called as
Mahabalipuram, Mallai, Mamallai and Kadalmallai. It is an account of its immense greatness as one among the Dravidian architectural features.
Though this artistic centre of great antiquity is treated as a centre of arts creations, it has revealed its unique gloriousness, greatness and aesthetic perfections.
The above study exhibits distinctive features of rock – cut temple caves, mandapas and temples particularly Dharmaraja ratha and the
Shore temple. This Research also reveals the Panchapandava rathas and other rathas, Arjuna’s penance and Mahishasuramardini sculptures exhibit the social, religious and philosophical aspects. And also it reveals the contribution of Pallavas to Kanchipuram and the significances of the temples.
The following are the findings of the Researcher
1. The Shore temple is first introduced an ambulatory passage way around the principal shrine and emphasis the door way to this shrine by a prominent barren vaulted roof form. 255
2. The ambiguous sculptural monuments of the Shore temple reveal clearly the religious conditions prevailing in the Pallava period. The prepossessing looks of the sculptures are not only rare outstanding monument, but an anchor of our golden time.
3. All the Siva temples are facing in eastern direction but the Shore temple is facing western direction. This is unconventional.
4. A beautiful mythological scene carved by the Pallavas artisans called Durgadevi or Mahishasuramardini battle with buffalo headed demon Mahishasura and his final destruction had sealed the summit of glory by depicting with amazing aesthetic perfection and also this scene represents the destruction of evil forces.
5. The vicinity of the heritage of the sages is suggested by the presence of the deer fearlessly resting at case near a lion. The radiation of peace and calm has by the sages is reflected in a mediating cat, around which a number of rats are frolicking about. This scene indicates peaceful relationship between the rats and the cats and also it reveals even the animals also practiced the yoga principles and maintain their peaceful relationship.
6. In the vicinity there is a temple of Vishnu where a number of sages are depicted in yoga attitude and seen in deep mediation, some of their legs fixed paryanka granthi or yoga patta to ensure proper yogic posture. This scene represents the importance of yoga. 256
7. The celestial beings like the Hunters, Sages, Disciples and wild animals like the lion, tiger, elephant and bear are so faithfully true to nature are all realistic master piece that enhances the charm of this wonderful carving that are seen only in Mamallapuram.
8. The magnificent Arjuna’s penance is carved excellently that represents the Indian art, not only that but also the God and Goddess like
Chandra, Surya, pairs of Kinnaras, Siddhas, Chandesvara, Apasaras etc rushing towards a central point near the chef where a sage stands on his left foot deeply engaged in penance involving physical medication. It reveals the mediating power of Arjuna and others.
9. The five monolithic soiled rock to form five free-standing rathas are associated without any historical basis what so ever, with the five
Pandavas of the Mahabaharata can been seen only in Mamallapuram.
Hence Pallavas are the founders of carving rock – cut temples in the history of Indian architecture. It reveals the story of Mahabharata.
10. The sculptural science, carved on the hill-edges illustrates the special style of Pallava architecture and plastic art. The majority of them belong to the period of Narashimavaraman-I.
11. The great Pallava rulers of this century. Were responsible for most of the cork-cut temples looked beautifully and majestically. It represents the aesthetic character of the art. 257
12. Monolithic or free standing temples cut out of soiled rock most of which are locally styles as rathas or chariots are very first introduced by the Pallavas in the history Indian architecture.
13. Caves excavated in hill-scarps and used as temples, they are called mandapas or canopies introduced only by the Pallavas.
14. Temple, the term being used here to denote built-up masonry temple constructed only in stones by the Pallava rulers in stone.
15. Ancient traditions of stone-carving are still alive at
Mamallapuram. The visitors are not only shopping but also witness the actual techniques of stone carving, built with some modern powered tools or the rhythmic sound of hammers and chisels.
16. The exposed structures were conserved by reselling. Masonry and burnt bricks, besides consolidating damaged image of Bhuvaraha and architectural components of miniature shrine are seen.
17. The credit of introducing stone in temple construction goes to
Rajasimha. Earlier his period stones were not used to construct the temple.
18. Even before the Pallava rulers dressed stones were not used to construct the temples. They are the rulers, who introduced the dressed stone. 258
19. It is proclaimed that the dual shrines of two opposite sects of
Vishnu and Siva are in the Shore temple. It brings a fair conclusion about the religious tolerance and communal harmony of the rulers.
20. The recent excavations adjoining northern prakara of the Shore temple brought to light on ovalish pond, like stepped-structure, over the chiseled basal outcrop of the structure, were noticed and monolithic sculpture of Bhuvaraha abutting the southern apse and to its north a miniature shrine with adhisthana carved in the bed rock sporting circular super structure, art seen the majestic Bhuvaraha carved realistically over a platform, bears an inscription consisting the virudas
SriRajasimha, SriRanajayah, Sribarah and Srichitrakarmakha attributed to
Narasimhavarman-II and Rajasimha (AD 700 to 727).
21. The miniature shrine is dedicated to Vrishabhantika. It bears architectural features of Pallava period with a unique Rudrachchanta.
22. Further excavations at the site brought to light flight of steps leading to Mahadevara and bathing ghost like structure running north to south almost paroled to the sea – line.
23. Kanchipuram is sanctified by Divinity, nourished by nature and inspired by Spiritualism. The three divine dispensations – mokshapurei,
Prithivishethram and sakthipetham are seen here.
24. The entire temple architecture and sculptures are still retaining the Dravidian artistic tradition and religious tolerance. 259
25. Mamallapuram Shore temple and kanchipuram temples were praised and sung by the saints Appar, Sambandar, Sundarar and
Manickavasagar.
26. Because of the antiquity, the immense greatness, aesthetic appearance and beautification, it received the attention and of many philosophers and tourists.
Mamallapuram was ravaged by sea, wind and time, and these sculptural treasures speak volumes about the magnificent heritage of the ancient Dravidian art and architecture. The majestic monument (Shore temple) is situated in an enviable location – on the shore washed constantly by the waves. The Shore temple stands as a symbol of
Exhibiting aesthetic aspiration of the Pallava. In order to prevent further sea erosion of the structure, periodic bulb and chemical treatments are being given. Under the plan of beautification, the hitherto-neglected Shore temple now has a lush green lawn ground. The natural atmosphere both sunrise and sunset offer brilliant spectacle and spectacular sight.
Generally speaking, temples are the product of religious, philosophical, cultural, sociological and aesthetic quest. So that man is still able to achieve spiritual contact with the world of Gods, even today.
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